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!
Delectable deep acid rubs from Dozzy and Tin Man. It's practically an acid nerd's wet dream come true, featuring twenty of the most patient digits in modern house and techno milking the 303 into pure silk. A-side is subtly breathtaking, a masterclass in debonaire groove and melodic acid augmented by drifting pads and trickling synthline for something reaching beyond the sum of its parts. B-side, they indulge more wayward tastes with a beatless copulation of square bass shapes and skin-prickling pizzicato synths, and drift out to the bluest ambient haze.
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.
**Includes hand-numbered artwork inlay. Edition of 550** The Swedish techno miscreants bang the box on two wobbly acid joints for Midlight Records. A-side 'Absorb' rides a jagged but frothy acid groove until the lines start smudging to mind-bending, discordant effect in the final throes. B-side, 'Instant Transport' nudges the tempo up for a more suspenseful, driving acid roll.
Supply Records' John Barrera (B-Tracks) & Will Martin play out a trio of deep house cuts on Steffi's Dolly label, backed with the boss's own Third Side remix with The Analogue Cops. Up top their 'Nomad' treks into Chez Damier-styled swing jack territory with some nifty dub chords and playful polyrhythms, whereas 'Flux' is given to a more sultry early morning sway propped by breezy chords and fruity bassline. Flipside, 'Milestones' finds that classic balance of strobe-lit techno-house fever and cool swing practically guaranteed to bring up any 'floor, and Third Side give the same cut a reduced, concentrated drive riding on humping bass and hypnotic drone chords.
**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...
**Red vinyl edition of 250** Rugged, sleazy jakk attacks from avant-garde Korean noise artist Greem Jellyfish, psych musician/model Angela Chambers, and studio whizz Michael Sherburn. This, their 3rd 12" is also their best yet, a dissolute dancefloor come-on blurring the lines between Chicago Acid, Italo and Coldwave. 'Feel It' comes on strong with a swaggering, darkly dubbed-out house trip haunted by mutanted vocals and earworming hook that resonates long after the run-out groove. 'Acid Freak' is a more sultry beast, coolly stalking out a drugged-out synth loop into a well-paced acid groove built from … Read more
Spellbinding, exotic-minded percussive house workouts from Berlin's very highly regarded Acido crew. Phillip Gelberg and SVN (AU, XI, Tase, Dreesvn) on the buttons for this trio of mellow and gently insistent grooves shimmying from rippling tabla timbres and breezy Pacific chords to bumpier chops coming off like a more organic, placid analogue of Sensate Focus and over to an extended B-side locked into a slowly unfolding moire of tabla and warm, cheek-kissing chords to sink right into.
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.
The Hotflush boss showcases some sharpened sound design chops and big room heft on 'Phenix 1', his first release of 2014. The melancholic vibe and field recording infusions of 'Throb' open for a big, rolling number named 'Cyanide' on the A-side. Flipside opens with the cheesy vocal and ambient dubstep styles of 'Time Relentless Time' and 'Curious Paradox' gets back to Breaks-y electro trance business.
Sub-100bpm cosmic disco drug chug from Southern Italy via Glasgow with love. Michele Mininni's debut release yields four buoyant electronic grooves distilling elements of kraut, post rock, new wave and disco with a romantic vision of the dancefloor. 'Tupelo Love' is a sub 100bpm cosmic trancer while Telekomdisko raises the tempo and heads off into sun drenched space territory. The EP is completed by Michele's fellow countrymen, Boot & Tax's great acid inflected remix of 'Tupolev Love'.
""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
Jorge Velez puts his Professor Genius alias to bed with a fine debut LP of searching hardware manoeuvres for L.I.E.S. Six tracks spell out a cosmically detached sound scoping out immersive ambient xones in the black hole of 'Blood and Bone' and underwater bliss of 'Wrecks', along with dancefloor-courting mutant chug in 'Festival Mounds' and more abstract, industrial expressions in the murky rhythms and synth washes of 'Curves', or the blunted pulses of 'Ley Lines'.
**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.
Hodge comes heavy with two tribal riddim trips for Dnuos Ytivil, the sister label of Peverlist and co's Livity Sound. Miles away from the buttoned up boogie-house grooves of his Outboxx duo with Matthew Lambert, both tracks here really give the 'floor something to dance with. A-side 'Amor Fati' rolls out the drums like a Beneath reduction of Shackelton, all hypnotic percussive cadence and booming techno junglist bass. B-side is better still, brukking forward with tight-cut drum edits, snake-charming melody and sirens like some secret weapon from A Made Up Sound or dego. Killah sound, supported by Ben UFO, Pangaea, Martyn, Surgeon and more. Big tip!