Monday, 31 May 2010
Techy Teutonic machine soul from Munich-based Dirty Cat. 'Back Home' is a clinical proggy groover with detailed layeres of filigree textures whiel the remix asserts a heavier bass-charged vibe.
Dublin's D1 label returns to the mnml ratrace with Baiyon's 'Evening Glow Of A River' backed with an Eamonn Doyle remix. The original is 10 minutes of filigree Edit Select-style minimalism shuffled with an exotic trace of vocals but Eamonn Doyle's mix os the winner, adding an irresistible Latin-concrete shake made for the movers.
For his second release on Gigolo Skwerl delivers the widely acclaimed 'Best I Can Do' featuring KDJ cohort Paul Randolph and b/w the spacey 'Messier 31'. The ebullient lead cut is on regular rotation with the likes of Luke Solomon, Fabrice Lig, Tiga and Ewan Pearson right now.
'Evening Harvest' is the debut album from Montreal-based minimal tech-house producer James Teej. With the album format he afford himself more time to play around with form and structure leading to the folktronica effort 'All We Have Is Time' and a handful of vocal tunes including the dOP collab 'Greenback' and 'Left Believing' slotted in between his tech-house standards. Fans of Ripperton, Trentemøller and Adam Marshall should peep this.
Pompin' big room Detroit techno-house from the veteran Stacey Pullen. 'Alive' is all about maintaining an steady build with propulsive bass drops and sinister vocals wheras the Hi-Tek Soul remix concentrates on tribal rolled percussion and an uplifting synth drive.
Raw electro jams from Miami's Alpha 606 and Touchin' Bass regular, Sync 24. 'Lunar Passport' is Alpha's Latin-patterned and acid etched electro effort while Sync 24 goes tuffer on the Rephlexian bounce of 'Forest Communication'.
Seed offer up the debut album from Skitanja following their contributions to the two previous Seed compilations. The Bournemouth based ensemble of Steve Potatoes, the Powdered Cow, Duncan Fannykettle, D.I Signs and co all have daft names and make an excellently unhinged racket straddling jazz, gabber, punk and scuzzy IDM. Any given track can stretch itself between those parameters at will, jolting the senses with the acute mentallness of the maddest Adaadat records. Ace.
It would be all too easy to write-off Chrome Hoof as a bit of a novelty act and the sort of band that would be a veritable hoot on a festival bill but a little too eccentric and contrived in practice to be much of a prospect on record. Crush Depth proves there's more to this lot than spangly space armour and tongue-in-cheek collisions of doom metal and disco culture. 'Crystalline', the album's first song proper, opens up proceedings with a suitably unlikely concoction that swills together dramatically-charged horns and violins with the charismatic vocal of Lola Olafsoye - who also sings f… Read more
Advanced techno-pop album from TBA_Natalie Beridze for the Laboratory Instinct label. There's a wealth of influences at play in 'Pending', ranging from Aphexian techno to Raster glitches knitted with a deft feminine sensibility and acute melodic awareness. 'To Hell Risers' imagines the glitch work of Coh and Cosey in an altogether cosier fashion, warmed through with fluid electrobass and a pop-friendly swing. 'Don't Know Why' sounds like the Acid edit of 'Windowlicker' mixed with Schnauss-like gauzy shoegaze-tronica and 'Good Night Tokyo' floats drowsy vocals and hyper-glistening stri… Read more
Four smart tracks of digital techno electronics not included on her 'Pending' album. 'CI' sparks off with a urgent techno pumper nudged with swirling vocal edits and arcade bleeps before 'OldskulonE' drops an advanced Luke Vibert-style rave swinger. 'To Earth Digger' digs into a rut of monotone sub-industrial techno and 'Warewa' jiggles some Berlin ass to a loopy tech-house groove.
No Means No is a long-running Canadian band that can lay claim to being one of the world's very few prog-punk acts. Despite that oxymoronic billing, the band successfully manage to spin the venom and aggression of rock & roll into something more elaborate and convoluted, stretching their songs over very un-punk-like durations. 'Old', for example breaches the eight-minute mark, charging through a musical narrative that comes in lurching fits and starts, flirting with bluesy desert rock and slowed down, sustaining chords that probably have more in common with metal than actual pu… Read more
Richard Chartier has carved out a reputation as one of digital electronic music's most uncompromising minimalists, helping define the microsound aesthetic with landmark albums like Series, Decisive Forms and Of Surfaces released on influential labels such as Bernhard Gunter's Trente Oiseaux and Chartier's own Line imprint. A Field For Mixing finds Chartier on top form, releasing what's probably his best album for some time. Given the extreme lowercase dynamics of his defining works A field For Mixing seems relatively accommodating. You'll still have to crank the volume and lis… Read more
Preceding the release of her debut album, Philharmonics, Danish-born singer-songwriter Agnes Obel presents the three-song Riverside EP. You can reasonably expect to constantly hear about how much Obel sounds like Joanna Newsom on this release, and there's certainly something in that. The title track is a tremendous piano-driven slice of downbeat folkiness, perhaps also bringing to mind PJ Harvey's White Chalk album. Next up is an atmospherically charged cover of John Cale's 'Close Watch' coated in spooked vocal reverb, leaving 'Sons And Daughters' to close the EP with a breathy, stark and minimalist excursion into balladry.
This new Duoteque EP gets underway with a rather cheeky four-to-the-floor retake on the 'Dance Of The Sugar Plum Fairy' before the epic title track shows up in the form of a slab of driving, peak-time ordinance. Subsequent remixes represent good value, with a nice, flowing stream of percussion running through 'Amarcord (Marascia Mix)' while 'Lola (The Dolphins Mix)' is a more urgent, staccato production with plenty of layers.