Wednesday, 23 April
Livity Sound (Pev, Kowton & Asusu) hand two riddims to Ghost 202 (Ron Morelli and Svengalisghost) and Beneath for darker, tuffened remixes. The L.I.E.S. crew spill a tarry but brilliantly bristling industrial techno groove across the A-side cued up for the boggle-eyed 5am crew. Beneath locks down to some patented swing jack business on the B-side, punctuating a proper dread rollers riddim with snappy claps, bouncing toms and stomach-churning subs. Killer DJ tackle.
Huntleys + Palmers supplement the Latin-flavoured club sounds of Auntie Flo and Alejandro Paz with this tasty tune from Carolina Paz of Santiago, Chile. Classic 80s dance-pop sounds bring out its decent hook, and a remix from South American house star Ana Helder seals the deal with technical prowess and creativity.
Subeena Plamenova aka Alis turns out two techno trax for Fifth Wall backed with Ital and Matrixxman remixes. 'Apache' skanks and swings on an airborne techno coda buoyed by plush synth arrangement and restless percussion beside the firmly grounded acid attack of 'Modus'. On the flip, Ital turns 'Apache' inside out with a delirious flux of delays and warehouse reverbs and Matrixxman licks up the same cut with raging power surge mentasms and kinky drums.
Yung Bristolian, Facta, takes to Idle Hands with a personalised brand of 130bpm bass darkness, beefed with a fine Hodge hook-up. Much like Beneath, Batu or Kowton, he's adapted the dank dread space and groove pressure of classic dubstep, garage and dub techno to a lean, viscous new format built for brooding in front of big soundsystems. His 'Tungsten' solo joint is a case in point, patterning minimalist, skanking rhythms with coarse textures, slivers of dawning light and a skunk-hazed mumble (maybe Tricky?) in a mesmerising groove that could last twice as long and not lose our attention. B-side, he t… Read more
'Ardcore-sparked and moody, melodic house cuts fresh outta Leeeeds and backed with a Trevino remix. The one to check is the schizoid 'Mirdad' which can't decide if it's a slick 4/4 roller or a lip-bitingly breakbeat hardcore tune, and settles for something right down the middle. His 'Pledge' groove is a canny mix of almost synth-pop styled melody and laidback UK house, which gets a straighter remix by Trevino, and 'I Love Me' sets a swinging New Jersey coda for the buffed up, wife-beater and backwards 5-panel narcissists.
Happa and Manni Dee go for the jugular on two brutalist techno missiles for Rob Booth's Electronic Explorations. Under the Habits Of Hate aegis, the Leeds/Brighton-based axis of evil twists out a raging piece of broken 4/4 recalling BMB at their most slavering with the dubbled kicks and crushing breakbeat deviations of 'Limelight Roles'. B-side 'A Rebel From The Waist Down' shots blistered techno from the hip with ravenous steppers' techno patterns and napalmed noise textures. Riot music.
Taut, lean UK Bass/house movers on Lobster Boy's label. 'Bodywork' plays for the big rooms and gully basements with grunting bass heft leavened by a strained soul vocal snatch and swinging drums. 'Electro Funk Massacre' is ruder, riding muscular Boddika-style electro bass and clipped, precise drums.
Thursday, 17 April
Deeply enigmatic house from southside Chitown '89 rescued from cassette tape by Theo Parrish's Sound Signature label. Chronologically, this session would have proceeded Leron Carson's brilliant 'Red Lightbulb Theory '87-'88', which was also reissued by the label a few years ago (oh sh*t, five years ago?!) and stylistically charts similar, mysterious house terrain, this time with his pal Dion Wilson. A-side they put down the kicks and kinky 727 drums for an attuned display of kaotic harmonies and virtuosic acid squiggle bound to blow some minds 25 years later; B-side they arrive… Read more
Kassem Mosse brings his surprise debut album to land with minimal fuss or fanfare on Workshop. In case you don't know, Kassem is responsible for some of the finest, most definitive techno-house productions of the last decade, racking up soulful, forward-facing anthems for FXHE, Trilogy Tapes and Nonplus and, of course Berlin's Workshop, which remain firm favourites in myriad DJs boxes. For his low-key debut album, he sticks to the shadows and the eerier, sensual spaces between house, techno and electronica, finding a graded mid-ground between midnight Detroit beatdown and European electronic… Read more
Devastating bruk house badness from the inimitable Dave Huismans for Will Bankhead's Trilogy Tapes. This is ostensibly some of the straightest dancefloor material in the considerable AMUS cache, but beneath the surface lies some of the canniest, whirring groove mechanics totally primed for dancers and DJs with abilities. A-side 'Fortress (The Hague, 2005)' slams out a proper Shake-style Detroit groove kinked with coiled drums, mad trills and freaky samples, before 'Caustic Network' slips down a few gears to a 105bpm chug tricked with frothy acid wiggle. B-side, the pendulous 'Kovaxxxt' show… Read more
Killer, free-styling machine dub murderers from the incognito Itinerant Dubs duo. Both sides are loose, whacked-out riddim trips rubbing traces of hip hop and weird, wavey electronics into skeletal steppers' frameworks. The longer side, 'Non Material Space' weighs up a sparse, rocking machine rhythm with dippy scratches, rub-a-dub bassline and off-kilter vocal to waist-charming effect, whilst the flipside fires the stepping techno dub of 'Last Snare (1st Mix)' coming off like some mad Shake or Pepe Braddock groove, before easing off with the juggled FX of 'Dub Echo'. Flash it!
Finland's Kim Ripatti aka Mono Junk returns in a serious way with this monstrous warehouse session for the Skudge White series. Since the release of his incredible 'Channel B' 12" the analogue fetishising producer's been noticeably absent from the release schedule, save the odd 12" here and there. Safe to say, he's back in force, charging up a droning darkside acid missile titled 'Electric Chair' on the A-side, and an effective industrial juggernaut named 'Jupiter Acid' on the flip, plus two other more melodic numbers. It's f**king life-affirming stuff.
A touch of reel house class from Willie Burns as Daywalker and Entro Senestre aka C.F. on the mighty L.I.E.S. It's all about the deeply romantic A-side, 'Supersonic Transport', with its sweeping, tiered synth layers and effortless swing jack momentum, but the B-side is none-too-shabby either, with the introspective ambience, purring groove and sampled monologue of 'Bulldog Named Carl', and a slow-mo celestial arpeggios of the closing 'Untitled' cut.
Fade To Mind flounce back to the 'floor following Kelela's 'Cut 4 Me' mixtape with two ballroom bangers by Mike Q and DJ Sliink. Up top they juggle a choppy Miss Jay vocal into staccato stabs on a strobing, acidic synthline and all-important kick/clap syncopation to technoid, haughty effect. Downtown, 'Werk'd It' blazes a trail to the centre of the 'floor with tightly edited, almost minimalist drums and stabs laced with "pussy" and "work it" stabs to drive 'em wild. Use with caution.
Genuinely enigmatic and highly effective techno shake-downs from an unknown US quantity. There's bot-all background info to give you, but we can tell you there's some strange aquatic techno gear licked with guitars and exotic voodoo, and a droning weird stepper on the front, whilst flipside synchs some canny clave patterns with brooding bass and bleeps, beside a really druggy hypnotiser. Definitely gonna keep an eye on this label and artist, whoever you are.
Debut turn of bucking raw and space-headed house from P.O.I., who last appeared on L.I.E.S.' 'Music For Shut Ins' 2CD. Levels are set to charmingly rudimentary on two A-side trax of wall-banging fizz and grotty acid laced with tangential synthlines and strange ether voices. B-side kicks a more mellow vibe with soggy, swinging groove and colourfully melodic arrangement reminding of earlier NWAQ/154 joints as heard through a lysergic fug.
Smart 3rd EP of rugged Parisian house grit from Coni for French Fries' CleckCleckBoom Records. A-side, 'The Opposite' puts a good foot forward with chunky, bashy toms and insistent hi-hats held in balance with low key bass propulsion and teasing sliver of synthline for the DJs and dancers, and 'Napalm' steps up with a kicking Dance Mania coda. B-side he sustains a tense groove with the thumping bass undertow and technoid dubbing of 'Bunker's Groove' coming off like a blunted cousin of Kowton or Levon Vincent, and 'Exit To The Comfort Zone' checks out with a abstracted sci-fi vignette.
Four slamming techno tools from Brummie DJ/producer, Rebekah. Proper, robust yet kinky gear powered by massive kicks and shook down with tidy, latinized percussion and searing, sparingly used synth stabs.
Reissue of classic, swinging house and tribal grooves from the New Jersey architects, originally released in 1994. The nagging Korg M1 riff and tumbling tribal drums of 'Nafara' are the big highlight, but there's also the fruity swing of 'Chicago Blues', the jazzy sensuality of 'Sunlight In My Eyes', and the kinky 'Freaky Funk Feeling' to get your glutes around.
**Hand-stamped white label** Ooooh, this is good. Bay Area's Vin Sol & Matrixxman follow-up last year's very well received Sade edits with another pair of pearlers adapting Clackton's finest for the house 'floors. Up top they make 'Couldn't Love You More' sound like a Larry Heard version with glistening keys and melting square bass groove primed to seduce any room into submission; downtown 'Give It Up' is turned into a sultry, cooing slow jam for the lovers...
Delectable deep house excursion from Acido regular Dresvn, backed with a super fly Sotofett jungle remix. The A-side is one of those pearls that could happily work at 33 or 45 rpm, although it's probably supposed to be at 45rpm - alloying a nimble disco bass riff with stray analogue dust mites and wheezing dub electronics to genuinely psychoactive effect. Flipside Sotofett gets his flex on with a proper display of breakbeat chicanery harking back to the infectiously loose torsion and accelerated culture of classic AGCG and Remarc styles, but with an up-to-the-minute canniness. So dope.
""Virgo Cluster" by Jonas Reinhardt fuses elements of cosmic disco and krautrock into a live transcendental package, with amazing guitar work by Phil Manley (Trans Am/Life Coach), and a bonus remix by the Beat Broker (digital only). "Seven Miles Down" from London's Timothy J. Fairplay (The Asphodells) is a testament to Zombie Horror Cinema, featuring a pulsing dub-house beat that dives into cavernous sonic territory. "Guave" by PLAzA is a playful dancefloor workout, that evokes a slow acidic line and classic Chicago house elements. Lastly, "Back Outside" from Roche is druggy outsider ho… Read more
Trancing electro-disco from Gavin Elsted aka Adultrock, backed with stronger remixes from Naum Gabo and Ghost 202 aka Ron Morelli and Marquis Cooper. The originals opt for a cheesily gratifying dancefloor sound flush with over-egged synthlines, ambient motifs and boogie flourishes, before JG Wilkes and James Savage's Naum Gabo straighten 'Chants' to more rugged, sexy effect, and Ghost 202 head in the opposite direction with a slow, moody Industro Dub version.
Thursday, 10 April
Freestyling, noisy dancefloor hammers from Delroy Edwards in DJ Punisher mode on LA Club Resource! Hot on the heels of his killer 'Teenage Tapes' mini-LP for The Death Of Rave, Delroy takes that album's aesthetic one step further with four tracks veering from schranzy pound to banking walls of distortion and dub. It boots up with a jagged acid noise assault coming off like Russell Haswell meets Gene Hunt on a furious whiskey session before descending into a pair of brutalist beat-offs oscillating between wild knob twisting and crushing, Prurient-style noise violence on the front; … Read more
**Die-cut jacket** Shited & Ventress' Avian Records make space for a full solo debut from Sigha, following his anonymous drop as A Vision Of Love and a handful of previous remixes for the label. Six tracks capture Sigha at his most stripped down and crafty, working a palette of desiccated drums and fibrillating bass into driving, serpentine rhythms. As DJ tools they're tricky but highly useful little buggers...
Unknown Precept follow their industrial compilation 'The Black Ideal' with a noisy, clattering vinyl debut by Damaskin. Toiling scorched earth between AnD, Prostitutes and the Weevil series, four tracks rove from heads-down industrial churn to skippier, sub-heavy off-beats, wild-eyed experiments and grubby monotone slammers.
Omar-S drops proper Detroit knowledge on a doublepack of deepest house grooves. Time and again this man delivers the stuff other producers would give their little finger for. First plate cruises in with the lushed pads, rainbow arpeggios and square bass bounce of 'Leave', plus a pure, happy-clapping piano house joint called 'Romancing The Stone'. Second plate he switches tack with the laidback, minimalist lather of chicken scratch guitar sample and spitting acid, and dips out on the outstanding epic of percolating chords and triplet shimmy in 'Surpass'.
Stormin' norman techno remixes of Paul Birken's 'Acid Youth Of Malibu' from Blawan, Bas Mooy, Truss, and himself. The original first appeared on his 2012 'Midwest Whippersnappers' collaboration with Freddy Fresh. In case you're under illusions, this stuff ain't pretty, but it does kick like a cranky mule. A-side Blawan bang out a galloping acid techno coda, and Bas Mooy brings the big room pound, whilst Truss lowers the levels with massive, soggy kicks, and steamed organ riffs beside Birken's own, crushing remix.