Wednesday, 15 September 2010
Diverse and effective set of Disco-infected House music from Red Rack'em on his new Bergerac imprint. Leaving the usual edits aside for a minute, Rack'em proves some impressive chops on 'How I Program' working up a hungry square bassline under agile drum machine patterns, kinda like Claro Intellecto gone freaky. On the flip 'Bonn' heats up Rhodes chords and sly-slipping deep house rhythms like a more up-for-it cousin to Kerrier District before 'It Happens To Us All' glides off on a sumptuous Detroit vibe inna Recloose kinda manner. Big record for everyone from Move D to Jus Ed...
Slickly atmospheric, future garage-compatible cuts from Cessa. His previous installations for Missing Link Records have established a techy, deep-side style akin to the Hessle Audio or Formant operators and 'Recon' continues in style with efficiently skittering rhythms, pinned with warm subs and enriched with a blanket of swirling blue synth pads. On the flip, 'Down and Out' is a stranger number built from an ominous bass riff and laidback but rolling 4/4 garage rhythm with widescreen sci-fi atmospheres. fans of Hyetal, XXXY, and SBTRKT should peep this.
Nang Records revisit D-Pulse's 2008 disco hit 'Highway To Saturn' - retitled here as 'On A Highway To Saturn' - with a set of able bodied remixes from Sare Havlicek, Jan Ken Po and Proper Heat. The vocal driven original is omitted in favour of D-Pulse's own 'Australian Shore' dub with hazy cosmic guitars and a languid evening pace. Havlicek's dub goes the opposite way with a boost of dancefloor energy while Proper Heat bring up the rear with a chunky Baltic disco version.
Tuesday, 14 September 2010
Anthemic Funky heaters from D'Explicit and DJ Naughty featuring vocals from Sweets. 'Follow Me' is the first Funky release from Grime pioneer, D'Explicit, turning his hand to a dutty, forceful variant of the style with nuclear-powered synth licks and robust bass thrusts. However, the two mixes from DJ Naughty are far more subtle, and by turns, successful, operating with a crafty sleight-of-hand and groovesome flex designed to incite far sexier moves on the 'floor. Tipped for all Funky pickers!
Joining forces with her partner, Spanish musician Voctor Herrero, alt. folk queen Josephine Foster presents a freshly arranged rendering of Federico Garcia Lorca's popular folk song collection Las Canciones Populares Espanolas. The songbook was outlawed during Franco's dictatorship but had previously been recorded in 1931 by Argentinean flamenco dancer La Argentinita. The renditions laid down here are all characterised by a live, simply mic-ed sound that calls upon a wide variety of Iberian instruments including castanets, rociero drum and Portuguese guitar. The… Read more
Ballin' for the rave, Matt-U & Riskotheque do the damage on Boka. 'Guillotine Growl' is their collaborative effort on the A-side, sounding kinda like Noisia is they did HipHop due to its ultra-slow pace and diced rap samples. On the flip Matt-U's 'Double Blind' is a snaky groover, more uptempo and reinforced with an electric lead synthline. For fans of N-Type, Headhunter or Noah D.
Monday, 13 September 2010
Two electro-driven and breaksy sounding Dubstep variants from Bristol's Bloodman. As a close associate of Appleblim and Gatekeeper he shares some of their taste for darker IDM-inspired melodies, while striking his own style of electroid rollidge with 'Remote Viewing', and augmented breakstep in 'Deep Fish'. One for followers of Applepips, Elemental or the techier Bristol heads.
A new twenty-minute EP from the fairly unlikely pairing of Japanese avant-metal heroes Boris and Ian Astbury, vocalist for The Cult and the rebooted line-up of The Doors. Astbury seems to have been a bit of a gun for hire in recent years, adding his distinctive rawk yelp to albums from the likes of UNKLE and Slash over the past couple of years. This project seems to work out well for all concerned - Boris have always been up for a bit of a old-fashioned stadium melodrama, and Astbury certainly comes out of the collaboration smelling of roses. 'Teeth And Claw' fi… Read more
"HoZac Records is proud to announce the much anticipated debut album by Melbourne duo Super Wild Horses. It's rare that such a striking balance between tough and tender can be executed as well as it has on this long-player, bridging post-punk simplicity with savagely primitive propulsion, all wrapped up in a scratchy indie-pop envelope, sealed and delivered right into your vulnerable skull. Super Wild Horses are two Melbourne gals who switch between guitar, drums and keyboard. Formed in 2009, they play taut, minimal and decidedly garage based pop music that relies heavily on dual harmonies … Read more
In the wake of his warmly received debut single 'Coconut Coast', the Spanish-Trinidadian, but Cambridge-based Oriol serves a heatwave of electronic jazzfunk augmentations for Planet Mu. He really honed his sound at the CDr nights in London alongside the likes of Floating Points and the Eglo heads, a place where boogie informed hiphop and soul fired Broken Beats melded into one another to produce the rare groove sound of 2010. The vibe of 'Night & Day' is helplessly happy and warm, soaked with a spectrum of Bermuda-short colours and a halcyon dazed stupor that says, fuck it, lets boogie. Of course, Or… Read more
Thursday, 09 September 2010
A wonderful new collection of modern post-folk songs from Toronto songwriter, Eric Chenaux, Warm Weather With Ryan Driver is collaboration with the keyboard instrumentalist of the title. These two clearly gel brilliantly on these songs, conspiring to create some highly original and always very emotive takes on balladry. Of Chenaux's three Constellation full-lengths to date, Warm Weather is surely his most fully formed and accomplished, with the sublime 'Since We're Smokey' and 'New Boon Harp' ranking amongst the finest works in this songwriter's repertoire. While Chenaux… Read more
Now lodged somewhere towards the upper echelons of American indie rock aristocracy, Interpol deliver their fourth album, their last with bassist Carlos Dengler. Usually when a band releases an eponymous album that isn't their debut offering it denotes some sort of landmark or creative milestone for them, and if that's to be the case here, on first listen it seems that Interpol (The Album) is less a radical makeover and more a maturing of existing tendencies within the group's music. The early highlights here tend to occupy a midtempo, very morose setting: 'Memory Serves' is a strong enough second… Read more
Wednesday, 08 September 2010
In fine desert-rocking style, 'You Won't Let Me Down Again' finds Isobel Campbell and Mark Lanegan's ongoing collaboration at the summit of its powers, taking on a gutsy, bluesy tone that brims with Americana authenticity. Hard to believe then that this was penned by a woman from Glasgow. Smashing Pumpkin James Iha joins the fray on guitar. The B-side takes the form of an extended cut of album title-track 'Hawk'.
Tuesday, 07 September 2010
Two deep freeze steppers from Kryptic Minds, delivered on their homegrown Osiris imprint. Darkside lovers need to watch out for these two, between the haunting female vocal imprint on the A-side and the ghoulish halstep of 'Rubberman' you'll get more than your recommended weekly allowance of urban ennui. One for fans of Icicle, Loefah, and proper 2006 dubstep business.
Vintage sounding Detroit rhythms from an original Member Of The House, Lawrence Hall aka Daha, with additional production from Delano Smith. 'Treat Me Like A Man' works a sophisticated funky house groove with plush strings and deep filters, a great mixing device for the smooth rollers. 'The Journey' meanwhile hits that just-gone-midnight vibe with swirling crimson chords and a yearning female vocal intoning the title. Nice.
Monday, 06 September 2010
DJ Madd kicks out the dubstep rave jams on latest excurson for Black Box. The blatant force of 'On Top' has made this a winner with all the top dubstep jocks at Rinse FM, while 'Need It' goes more experimental with surging electro synthlines and rave diva vocal snippets.
Black Acre's Special Branch launch a new mission from 501. 'Short Circuit' finds its flex somewhere between jazzed Broken Beat and dubstep with a blend of live double bass, purple synths and unstable drums collapsing on the halfstep. 'Everything In It's Place' follows with a techy breakstep roll out, updating original '93 styles with crafty 2010 dynamics. For fans of Toasty and Elemental.
Certified Dubstep anthem from Skream. 'Listenin' To The Records On My Wall' signifies the evolution and maturation of Dubstep into a recognised pop format, with the scene leader honing his influences from hardcore jungle and UK Bass into 3+ minutes of hands-in-the-air rave with a melancholy edge. Imagine the vibes of Zomby's 'Where Were You In '92' augmented for MTV and you're almost there. On the flip 'Give You Everything' features a saccharine vocal from Freckles over a crisp swinging riddim with heavy hints of Burial's lovelorn garage flex.
Another strong airing from blues rockers Sleepy Sun, 'Marina' was the opening song from their album Fever, released earlier on in the year. Once again you'll no doubt find yourself struck by the silky execution of this band's boy-girl harmonies, but the inventive percussive work and lightly psychedelic synth treatments take this track beyond the usual stoner-centric constraints of the band's genre. B-side 'Horses' puts in a memorable shift too, switching between spectral, deconstructed balladry and space-rocking sequences that recall early Verve singles.
Thursday, 02 September 2010
Philip Selway's bandmates, Thom Yorke and Jonny Greenwood (you may have heard of them) have already gone and released solo efforts - wildly differing ones at that. While Yorke reshaped his songcraft through electronica on The Eraser and Jonny Greenwood proved his worth as a composer and film scorer (particularly on the outstanding There Will Be Blood OST), Selway steps out from behind the drum kit to offer up a collection of acoustic songs. Perhaps more conventional and grounded in the traditions of the guitar-wielding troubadour than anything in the Radiohead back catalogue, Famil… Read more
Wednesday, 01 September 2010
A.R.T. show no signs of lettting up in 2010, delivering another throbbing big room builder from Kirk Degiorgio. 'Exodus Earth' revolves around driving, muscular 909 percussion and steady-handed synth ascensions leading to an uplifting Detroit chorus in classic style. 'New Genesis' however, is a funkier effort with sweet-singing hi-hats and a warm, acidic transfer of synth energy reminiscent of Kevin Saunderson in full swing. Pumpin'.
Techy, Break-infected nu-skool dubstep from Innesekt aka Sneer and Sully. 'Cluster' is the winner, setting out super crisp and punchy percussion over a corrugated bassline that stays just the right side of wobble. On the flip they rework Sumone's 'Zombie' with an injection of breakbeats. For fans of XI, Kontext or Elemental.
Monday, 30 August 2010
Highly likable folk-pop that's at least partly in the Mumford mould, from new Midlands-based band Goodnight Lenin. Tight and chummy vocal harmonies, rattling upbeat songwriting plus liberal use of mandolin are all key elements of the Goodnight Lenin sound, and they're undoubtedly very accomplished at what they do. The equally good 'Ragged Schools' further plunders a record collection that no doubt includes Crosby, Stills & Nash, The Band and Fleet Foxes.
Motorik slabs of instrumental psyche-rock from Yellow Moon Band. 'Barehed' is the fiercely charged A-side, abruptly dropping in from a folkrock intro to find a churning, heady rut of psych goodness. On the flip 'Reign' leans back a little for a more melodic involvement with lush middle eight and crafty lead flourishes.
Thursday, 26 August 2010
Two more dancefloor slayers from Shortstuff, completing his trilogy of 10"s for Ramp. This one contains the lethal strains of 'Swine Time', a considered fusion of quicksilver Grime and Garage styles sounding like a Zomby remix of Africa HiTech, maybe? 'Fig Rolls' holds it down on the flip, cutting loose on a crafty Funky mutation with wild samples strewn across its bumpy grooves. There's no solid brackets for these bits and that's something very hard to achieve. Ace.
Studio Rockers prop up four unknown producers on the first of their 'Rewired' EPs. First introductions come from Pempi ft. Jahbliss on the highlight of 'Fire, a natty Benga-style roller with fat subs. Next Dodge Virus serves a crushed and swampy halfstepper on 'Wa Gwaan', followed by the other highlight in Albert's smudged and mellow garage stepper 'Cross Eyed'. Nuphlo signs off with the lurching, atmospheric halfstep of 'Karma Than Calm'.
Hanoi Janes plunders scuzzy garage, rock-a-billy and Afrobeat via five pop perfected songs. They're very much in the style of his 'Year Of Panic' LP and bound to receive just as much attention. Very good.
Chris 214 has been in the electro game since 2004. 'Cascadian Nights' is his first full release for Touchin' Bass, following a catalogue of records for AI and Pyramid Transmissions among others. His sound reference everyone from Bitstream to Gescom and Mesak, with the production values to match. Make sure to check the mechanical syncopations and darkside synth wipes of 'Lost In Place', the chasmic synth spurts of 'Burbujas' and the almost Ultradyne styled 'Live Animals' for a dose of the dark stuff.
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 extensiv… Read more
Tuesday, 24 August 2010
**Includes code for hi-res MP3 download - redeemable from the label** Now three albums into their career, Detroit-born Awesome Color return with another classy long-player, arriving after six years spent touring with mentors like Sonic Youth and Dinosaur Jr. In the finest tradition of the Motor City's garage-bred rock & roll this power trio pack a heavy punch that fits in with all the classic genre tropes whilst avoiding any gratuitous descent into nostalgia or kitschness. Blistering opener 'Transparent' is especially successful, thrashing through almost heavy metal-like riffs and blues… Read more