Tuesday, 30 June
Monday, 29 June
**Edition of 300, new on Skam's Kasm label**The square root of hip hop, industrial and electronica, Jack Dangers a.k.a. Meat Beat Manifesto furnishes Skam's 2nd Kasm drop. As a major influence on the label's hybrid hip hop and techno aesthetics, MBM makes a logical inclusion in the series, following James Ruskin and Mark Broom's outing as The Fear Ratio with four cuts of skudgy, eldtrich acid and hip hop. Up top, he extrudes the malleable acid quirks and thrumming EBM bass of 'Nocebo' beside the pulsing, crepuscular house minimalism of 'Lurker'. Flipside, he unfurls the slippery acid drea… Read more
Shed cuts loose on this towering one-off for Hardwax label, The Final Experiment. A-side is a '90s-style breakbeat techno behemoth putting the boot in with thunderous kicks and armour-plated breaks, mercifully softened up with some really sweet pads at the drop. B-side, he rides with a ruder, heady halfstep in 'Final Distortion', and jumps back on that 2-step techno pivot with 'Up The Hills', whereas the brash thwack of 'Crystal Cubes' yearns for nasty, early Polygon Window styles.
Class techno from a producer last spotted on DVS-1's Mistress Recordings. This is proper club tackle, doing it Chicago-style with the bucking merry-go-round of 'Machine Code' up top, and again with that wonky Relief-style organ/acid line barely kept on track in 'Recursive Descent', whilst 'Compiler' trims back for a Rob Hood-compatible minimalist 'floor burner.
Turbo-charged "Manctalo" scandals from the zest prince, Ste Spandex, and diva spar, Sarah Bates, hanging with the Red Lazer Disco troops. Once you pull off the awful artwork skin, you'll find four throbbing dancefloor pulsations, scaling from the deadly effective phazer volley and hulking Hardy-style excess of 'Soaking Wet' to the crystal-eyed winks and lip-bitingly rainbow-plumed syn-funk uchronics of 'Breakin My Heart', before hittin' the brakes for a wobble-arsed boogie in 'Gotta Move', and the short sureshot, 'Nice Weather'.
The Room Below blends classic Chicago and Detroit strains to make their own rich blend of experimental house for DBA. Up top, Henry Keen a.k.a. the CDR regular and Gilles Peterson-favoured Soundspecies and The Room Below welcomes us in with the conscious sampling and shimmering mid-tempo move, 'Trusted', beside the pastoral acid house of 'Rainy Friday'. Down below, it gets freakier with the frayed blips and and salty, splashing drums of 'Mad Energy' and a bit-crushed samba buzz entitled, 'Freedom'.
*2015 reissue on Magic Wire* Deriving its name from a lost, mythical continent, Lemurian has little to do with lost undersea cities and the like, although there is something ever so slightly fantastical about these heavily compressed instrumental hip hop productions and their evocative song titles: 'Lens Flare Lagoon' conjures up the glistening, watery effect suggested by its name, and 'Buried Coral Banks' has a Boards Of Canada-meets-Jacques Cousteau feel that's hard not to love. Incongruous with all this, interlude tracks like the gratuitous '80s soul sampling of 'Green Sea Pageant'… Read more
RP Boo, the OG source of all things Chicago footwork, comes correct with a killer 2nd solo album for Planet Mu. 'Fingers, Bank Pads & Shoe Prints' is an armoury of battle trax for the 'floor, delivered with a conviction and density of energy that's impossible to ignore if you're into electronic dance music or the lineage of Afro-American sonics. As with its predecessor, 'Legacy', this album is a showcase of RP Boo's finely-honed dancer's instinct and incisive sampling technique, using uniquely fractured motifs and complex repetitions to reconfigure our physiology, so firmly … Read more
'The Blue Quicksand Is Going Now' is the staggering debut album by Oliver Perryman a.k.a. FIS. In pursuit of a sound ecology reflecting the complex dynamics of nature thru electronic music, FIS' un-quantised, texturally abstract compositions have practically ripped the rug from beneath the feet of D&B, techno and ambient music to leave them spinning in gyroscopic hyperspace. Now, after a series of cultishly acclaimed singles for Samurai Horo, Exit and Tri Angle, a.o., he atomises that aesthetic to exhilarating and utterly arresting new levels, leaving the dancefloor and bedro… Read more
Hyperdub pull out a posthumous collection of unreleased DJ Rashad bangers. All tried and tested in the circle, they get wild in a variety of styles, from the discofied DJ Spinn hook-up, 'CCP2', and the soul-belting burn of 'Vause I Know U Feel' with Gant-Man, to the strobing Footwork hyper-funk of 'Ya Hot', feat. Taso, and the virulent blend of trapped siren stabs, palpitating subs and darkside D&B-style synth lashes in 'Do Not Fuck With', which could well be one of the most FWD, unique footwork cuts we've heard, no messing. R.I.P. Rashad.
Manchester's Walton consolidates grime, techno and dubstep frames in a taut collection for Tectonic. Last spotted on a trio of 12"s for Hyperdub, he remains true to a mutant 130bpm stylein the 'Bulldoze' EP, throwing down the icy strings and whirring worksite percussion of 'Wrench' beside the ruffneck bongos and wheezing grime melodies of 'Flute Riddim' up top, whilst B-side brings a killer sound synching pirate radio barks with EBM-strength drums and massive subs, and 'L.E.A.N.' comes off like some Chiraq drill infused with roadwise UK flex. Cold and deadly.
Moiré, Disguise and pals flex their new Neversleep moniker for Phonica White with a trio of ruder house functions. Leading on from Moiré's 'BBoy 202' for Werk Discs/Ninja Tune, he gets busy on the A-side with a hulking, Kardashi-assed house bomb in his remix of 'Mouth Shut', before tagging in Disguise on the B-side for a sorta wonky Daft Punk (Homework era) style hip house boogie slam, and the man's own Special Mix of 'Mouth Shut' swapping the choking pressure for something much lighter, defter.
Like bloody buses, you don't get a new Nico Jaar for four years and then two come in the space of months! 'Nymphs Vol.III' yields a pair of subtly emotive cuts for the 'floor and home, with 'Swim' sharing 13 minutes of tousled tech-house melancholy and 'Mistress' 'fessing an richly evocative and warped solo piano vignette pulling on the auld 'art-strings.
N.M.O.'s electronic half, Rubén Patiño, flies solo on Anòmia with a batch of "impulsive edits realized in trains, airports, buses, living rooms, public libraries and temporary bedrooms in Western Europe." Birthed from a series of recordings made at the Danish Institute of Electronic Music in Aarhus, 2009, the results were initially abandoned, left to marinate since 2009, and are now mercifully retrieved for your entertainment. As you'd hope and expect from Pato, they're cerebral but cheeky pieces, existing in a lineage of skewed avant-garde research and practice twisting betwee… Read more
Potently concentrated and visceral electronic abstraction from Private Archive label owner, C. Latina a.k.a. Article Collection, for Barcelona's Anòmia. From ductile, amorphous shapes to engrossing techno flux, this dude clearly has an uncompromisingly intimate relationship with his machines. Flying in the face of techno scene obsessed with distortion, the production on 'Stirling June '72' is all about precision and bite, working on a plane somewhere between the sensitive yet brute force of Exoteric Continent and the layered dimensions of Lee Gamble. For more invasive sensati… Read more
Panda Bear, Larry Gus, Fhloston Paradigm, and Anthony Naples realign the misshapes of Eric Copeland's 'Joke In The Hole' album. The versions of 'Cheap Treat' could hardly be more different; Panda Bear deigns for a wonky, melodic mix focussed on progressive pop arrangement and bittersweet vox whereas King Britt a.k.a. Fhloston Paradigm takes the same elements down a winding path of crushed, psychedelic grooves propelled by swampy bass subsidence and sloshing arpeggios and keening from dry groove to black hole suction in its nine minute lifespan. G… Read more
Badboy Beneath rolls out his most substantial collection for a while with 'Shlocky' for Berceuse Heroique. His follow-up to the 'Vobes EP' [PAN, 2014] delivers 4 pressurised, shoulder-barging rollers cherry-picking from the last 25 years of rave music and updating its essence with an austere sense of modernism. In '50/50' he comes off like early '90s Shiver clashing late '90s Optical, whilst the crushed swagger of 'Freeze' feels like Digital doing UKF. In the crushed swagger of 'Soho' he spend nearly eight minutes exploring the crankiest syncopation of ruddy dancehall and dread techno tones, bef… Read more
Nonplus trigger a keenly awaited series of Source Direct remasters + remixes with their Hokusai killer, 'Black Rose' (1996), reworked by Blawan. This is truly momentous stuff, illuminating a pivotal pinnacle of '90s dance music for a new generation whilst also providing fresh, state-of-the-art context thru modern scenes. Beloved of everyone from Kode 9 to Nonplus+'s infamous boss, Boddika, the original 'Black Rose' is an unparalleled blueprint for mid '90s jungle, a 'marish phantasia of slashing strings, bowel-spilling Reese bass and ouroboros-like breakbeats chasing their… Read more
Panda Bear collects remixes by Andy Stott, PC Music's Danny L Harle, DJ Marfox, Container and Pete Rock.
One of Germany's most feted IDM acts reunite on their first new album in over 10 years. Since disbanding with 'Disconnected', the duo followed separate paths, with Chiurs De Luca continuing to make music as Phon.o and executing mastering duties at Calyx, before MoM's Andy Thoma brought them back together in 2014 for the 21 project. After a bit of bro and to, they've conjured a new album that goes easier on their signature "glitch" style and brings forward a warmer sense of soul in that sterile sense of hazy chords and swung beats accentuated by neo-trilby jazz vox from Taprikk Sweezee, Jamie Lidell and Jay-Jay Anderson.
*Newly remastered audio* "The work of Karin Krog may be unfamiliar to much of the world, but in her native Norway and Scandinavia at large, she’s practically a household name. This says much about the local enthusiasm for post-bop jazz but also about the tyranny of distribution: until 1994, Krog’s albums weren’t available in the USA or UK, meaning three decades of recordings were waiting to be discovered. With this anthology of her best recordings from 1963 to 1999–curated with Krog’s own input–we hope to set the record straight. To listen to opening t… Read more
Time to get loose and freaky with Aybee & Afrikan Sciences' 2014 collaboration now availed digitally. 'Sketches of Space' renders an uncompromising vision of future jazz and broken beats 52 minutes wide and fathoms deep. Their three-part 'Deep East Suite' opens a wormhole to other dimensions and lop-sided hip hop (not wonky!) and spiralling synths tettering over each other in crooked calculations a noisy overstepping climax. Closer to the 'floor, 'K-Fetisch 01 (Kosmo Bahn)' synchs pendulous swing from brittle drums and tiered, polymetric keys and synths with fusioneering… Read more
"Tangents #02 is from BrokenThree, recorded live and improvised in Edinburgh in 2013 as part of The Outer Church. BrokenThree is a collaborative effort from Erstlaub, Production Unit and TVO, who are collectively the heads behind Broken20. The group was borne of necessity when The Wire’s Joseph Stannard requested a contribution from all three artists for his ‘The Outer Church’ compilation on Front & Follow records. When Joe brought his uncanny audiovisual activities to Glasgow and Scotland in 2013, the three embarked on an improvised live performance. A vi… Read more
Atmospheric slow/fast motions from the German wing of Cosmic Bridge. Danny Scrilla does that quicksilver halfstep thing best in the heady roll of 'Helium' and at a jazzy tilt with 'Rigel7', before linking with Om Unit on the jungle juggling weightless step of 'Free Flight'.
Steven Tang is a producer of sadly-underappreciated merit, who blends the best of the motor and windy cities' dancefloor sounds here into a slamming slice of goodness with some raw 326 remix action from fellow jackman Jamal "Hieroglyphic Being" Moss of Mathematics fame. TR707 drums and addictive basslines from the deep end of jack. On the flip, the lush strings and pads of 'Reminiscence' warm the soul while a space-aged acidic bassline moves it and 808 drums take you to a mystical place. Finishing off 'Pulsating Through' just throbs, with a rounded bass sound at a higher octave providing the lead melody.
Berlin's Sleeparchive furnishes Mord with four cuts of prime bleep techno. No messing about here - it's pure techno - stoking the club with perfectly paced ice-drip bleeps and thundering momentum in the first track, beside a body-scanning 2nd part, and absolutely slaying us with the psychotomimetic cadence and raw noise stabs of the 3rd cut, before locking in the deliquescent chimes and guttural bass jabs of the 4th track.
**The French synth-pop freaks return in colourful, spiky fashion** "Their new album ‘NO VOID’ is now being released on SHITKATAPULT, whose label slogan ‘Special Musick for Special People’ fits perfectly to the often euphorically rocking music of the French duo. DAT POLITICS themselves refer to their latest LP as a “hallucinating ride in a space roller coaster: scary and funny!” This time around, their songs took shape once again under influences outside of music such as astronomy, philosophy and programming language as well as surrealism, fantasy films and their own dreams. The nine tracks,… Read more