Monday, 30 August 2010
Deadly Dutch dude, Delta Funtionen drops dancefloor diamonds on the latest from Ann Aimee. There feels like a more urgent yet refiend agenda behind the tracks here compared to his previous work for the label, from the frisky flex of 'Abundance' to the pounding pressure of 'One's Space', both keeping matters heavy but with enough space and finesse to impress the most discerning techno conoisseurs. Meanwhile 'Please Identify' is the darkest and grooviest of the lot, revolving around a filtered acid bass and economical yet commanding percussion you just wouldn't argue with on the … Read more
Wolfgang Voigt leaves his slightly more difficult (yet brilliant) releases aside to go deep and smooth on his new Profan sublabel Protest. 'Apathie' features a twinkling lead motif and melancholy counter-melody at play with his effortlessly rumptious bassline, making one of those tracks you could listen to on loop at the right floor, at the right time. 'Empathie' is a more urgent techno piece, creating a dramatic tension with insistent loops but still glides with the touch of a hi-end technician. Very smart dancing music.
Extraordinary and essential archival obscurity from kosmische generator Conrad Schnitzler, reissued for the first time on vinyl with reshapes from Pole, and Bornbräber & Strüver. Schnitzler's 20 minute composition 'Zug' was issued on a private tape back in 1974, capturing the innovator in his most alien and transcendental form. The track revolves around a hypnotic and infinitely linear rhythm which Schnitzler gradually develops into glorious astral plumes, increasing with creepy intensity towards some foreboding, unresolved conclusion. The two remixes offer possible solutions to this proble… Read more
Strong Bass styles for all fans of Joy Orbison and Doc Daneeka! On the front Chesus X Diverse Concepts whip up a slick killer in 'Baduka' with frisky Garage/Funky drums, yearning vocals and deep house motifs that already caght the attentions of Gilles Peterson, MAH, Martyn, Seiji and the rest! On the other, C.R.S.T really impresses with the light-footed flex of 'Bump' winking to classic El-B styles. Killer!
Making sense of the multi-genre mesh that makes up modern beat music requires a dedicated head and focused set of digits. The DJ sets of Brackles have been instrumental in creating the current state of affairs with his meta-mixes trailing through Garage, to Funky and Dubstep, plus that unquantifiable boogie factor. For K7 he weaves an enviably acute overview of the scene, tying together tracks from Zomby, Floating Points, Cooly G, Rishi Romero, Dorian Concept, Fly Lo, Roska and many more. It features some of the most definitive tracks from the last 12-18 months … Read more
This immense new album from Big Troubles follows on from a great four-song EP for the Olde English Spelling Bee singles club, featuring the New Jersey fuzz-pop project bejewelled with pop hooks and spurts of brain-scorching noise. There's an abundance of blistering C86-style pop nuggets on here, from the distortion-surfing 'Bite Yr Tongue' to the euphorically hooked-up 'Freudian Slips'. There's an overwhelmingly fizzy, treble-some recording style here which imbues the whole thing with a hazy, nostalgic quality that reminds us of everything from My Bloody Valentine to The Jesus and Mary Chain… Read more
Certified Chicago classic from badboy Frankie Knuckles on Trax circa 1987. Jamie Principle vocals are on definitive form, sexed up and deeply funky. A must.
South African House represents with a heavy debut album from MC Spoek Mathambo of Sweat.X. 'Mshini Wam' proves the Jo'berg rapper is at the vanguard of a fresh African sound, mixing traces of Kwaito with dubstep, techno and electrofunk in charismatic style. Recent single 'Gwababa Don't Be Scared' fires the first warning shot of technoid Zulu beats, while 'War On Words' sounds like a dubstepped Various Production joint. For the dancing gear, we'd direct you towards 'Tonight' and the percolating pop of 'Let Them Talk' feat Zaki Ibrahim, while the cover of Joy Division's 'Control' is an un… Read more
I'm Here is a thirty-minute film by Spike Jonze - a love story about two robots living in LA. The soundtrack is every bit as notable as the film itself, featuring not only original music by Sam Spiegel, but song contributions from emergent talents like Aska Matsumiya and well-established acts like Animal Collective, Of Montreal, Girls and Gui Boratto. There's really not a dud moment on here, and even if you already know what AC's 'Did You See The Words' or Girls' 'Hellhole Ratrace' sound like, they're still welcome here alongside awesome cuts like Sleigh Bells' mighty 'A/B Machines' and the motorik 'The Past Is A Grotesque Animal' from Of Montreal.
The lead track from Ellen Allien's latest long-player, Dust, gets the single treatment here, presenting it in an extended format along with similarly elongated takes of 'Should We Go Home' - with its curious, processed vocal textures - and 'Ever', a tremendous, spiralling dancefloor workout. Additionally, 'Searching' rounds off the set with a non-album track that takes on a driving, melodic character.
This new EP paves the way for Antony's forthcoming full-length, Swanlights, taking its lead track from the album but supplying a further four non-LP recordings - one of which features none other than William Basinski. 'Thank You For Your Love' is a graceful, gospel-tinged ballad that swells up with horns and feverish expressions of gratitude as it wheels towards the chorus. As it progresses, the song turns out to be one of Antony's most outwardly jubilant songs, making for a refreshingly unabashed upbeat entry into his catalogue. Another new song, 'You Are The Treas… Read more
The incomparable comic book great Alan Moore embarks upon this new musical/spoken word project with a host of formidable collaborators including photographer Mitch Jenkins and musicians such as Adam 'Doseone' Drucker, Andrew Broder (of Fog fame), Stuart Braithwaite from Mogwai, Hella drummer Zach Hill, Justin Broadrick (of Jesu, Godflesh et al) and Mike Patton. Having previously penned landmark works such as Watchmen, From Hell and V For Vendetta, Moore now presents an epic new two-hour story, read by Moore himself and focussed not on superheroes or the like, but rather Steve Moore - a fel… Read more
A new album of expansive post-rock epics from the mighty Crippled Black Phoenix, I, Vigilante finds the group taking a slightly different approach to recording, laying down new material under relatively abrupt circumstances. This is to get across more of the band's sound as a live entity, and while CBP are keen to assert that this isn't necessarily a new direction as such, it does seem like a sensible development after the heavily worked, upscale endeavours of recent output like The Resurrectionists and Night Raider. You still get a substantial package here however, with exte… Read more
THis album corresponds to a new film of the same title from Parisian polymath Chilly Gonzales. The movie stars Gonzales himself alongside musical pals Tiga and Peaches, with the two male leads playing chess champions competing for the affections of everyone's favourite electro-punk provocateur. The album is produced in coalition with Boys Noize and finds Gonzales in the kind of danceable pop territory often occupied by Sebastien Tellier. Flirting with both loungey disco escapades and lavishly orchestrated easy listening jaunts, Ivory Tower is seldom less than striking, particularly when t… Read more
Wonky garage styles from Erra for L2S. 'Getting Happs' goes hard and wild with forceful bass gestures and seasick synths shackled with splayed 2-step drums, 'Babyface' splurts tuffer, hypercoloured snth juice all over the floor and 'Butterz' rolls with a stranger, spooked 8-bit vibe.
Jilt Van Moorst comes correct with a pair of alternately wet 'n dry warehouse jackers. His brilliant 'Oops' cut features gamelan-like tones worked into a brilliant techno frisson while 'Rivulet' is a dry and funky techno aid for more discerning DJs. Two aces.
Killer weirdo disco-techno from Bristolian producer October backed with a Balearic infected mix from Ewan Pearson. The original welds disco samples to a slow pounding 4/4 like some lo-fi Marc E production. Ewan Pearson's mix is predictably of a high standard, fleshing the cut out with spectral dub FX and a rude Italo bassline.
Crooked beat breaking from Germany's Comfort Fit, including a psyched and very cool slump-hop remix from Shlohmo and further reworks from Saine, Mr. Dibiase, KenLo and DZA. For us, Comfort Fit inhabit that area betwixt the Beat Dimensions crew's Dimlite and Brainfeeder weapon Lorn, serving deft, lurching drum edits and dynamic synth strikes. On the flip Shlohmo reduces 'Sky Raper' into a claggy head of ominous moods and sluggish, bass-driven rhythms, occasionally bobbing out of the murk for light-headed moments before diving back into the ferric molasses.
New York's techno and house stalwart Abe Duque drops an unmixed compilation of classic tracks plus two mixes using those tracks to showcase the two sides of his DJ persona, Mr Techno and Mr Acid House. The compilation includes killer rarities such as Bam Bam' 'Give It To Me' and Air Liquide's tripping acid rub 'Liquid Air' and the seminal 'Video Crash' from Tyree. The first 70-minute DJ mix is a recording from a recent performance, encompassing a dozen of his own productions and remixes, plus others, while the second embarks on a heady 64 minute acid house journey.
Boris Brunnik aka Conforce has been a busy boy of late, dropping a killer debut album for Meanwhile and very useful 12"s for Curle and Field. The 'Grace' EP is infused with the same Detroit/Dutch techno spirit that made those releases so special, from the fluttering, near beatless synth Convextions of 'Shade', deep into the sunken bass groove of 'Grace', strongly reminding of label mates Redshape or Quince, plus the dramatic progressions of 'Insecure'. Fans of Delta Funktionen should also check this out!
Om Unit producer Jim Coles supplies a big, vulcanised stepping rhythm for 'Searching', complete with sampled vocal hook and borderline-epic synth melodies. By the time it reaches its final leg, the track lurches into a double-time feel with some thumping electro-house beats that cast a new light on that nagging synth riff. The EAN remix builds the piece up with massive roving basslines and heavily compressed drums.
Working from Om Unit's crisp electroid-dubstep source material, Adam Freeland offers up a more dancefloor-conscious overhaul, full of addictive, wonkily tuned synth arps. The track sticks to a 4/4 template but builds its way up towards deploying the more melodic constituents (ie. vocals and big synth chords) that made the original.
Refined, trippy and super-cool minimal house music from Aksel Schaufler's Superpitcher project. We have an inkling that the title may be a sly jab at those producers who furiously scuttle out 12" after 12", unlike Aksel who delivers one or two very well measured records each year or so. 'Rabbits In A Hurry' effortlessly balances metronomic Kompakt rhythms with a dryly funky bassline and a slightly deranged mid section to incite some sophisticated madness in the dance.
Georgian musician Natalie Beridze is one of the artists to emerge from Monika's Four Women No Cry compilations. This five-track EP gives a taster of a full-length album, titled ForgetFulness, due for release later in the year. The EP's title track is a slice of futuristic, minimal 4/4 electronic pop that sways to the more avant-garde, AGF-leaning end of the spectrum, whilst 'The Face We Choose To Miss' is a more melodically engaging affair that almost runs into Italians Do It Better levels of retro disco invocation. Also of note, Beridze boldly takes on a cov… Read more
While it's tempting to say that the new LP is 'business as usual' for Stereolab, there is nothing that commonplace in Stereolab's world. The recordings have once again been undertaken mostly in Chicago with the team of John McEntire and Jim O'Rourke producing the LP with the group and with regular cohort Sean O'Hagan also on hand to add to the keyboard and arranging strengths of the ensemble. All compositions are once again written by Tim Gane and Laetitia Sadier with the exception of 'Nothing To Do With Me' (some lyrics were paraphrased from a Chris Morris 'Jam' sketch). 'Sound-Dust' has… Read more