We've been waiting for this one for a while being the Hood obsessives that we are, and here it is - the new album from Chris Adams, aka Bracken.
Day-dreaming dub, ambient pop and downbeats are the order of the day, wrought with that melancholly vibe Adams has been doing so well for over 20 years now.
If you're into Hood, or any of its many offshoots and inter-related projects, or indeed the likes of Moon Wiring Club or Animal Collective, this one comes with our highest recommendation...
Perfume Advert really coming into their own with a swirling suite of garage and dub-house bubblers and swingers for 1080p, following excursions with Opal Tapes and Where To Now? in the last few years. One for fans of ’00s Berlin-style takes on early ‘90s NYC grooves.
“The tracks are amongst the last few written and recorded in the Boro before they moved to Salford, and are a result of moving the sound out of the bedroom and experimenting at clubs and festivals over the past couple of years. Artistic influences remain inside the same oddball sci-fi realm as “Tulpa”, sandworms everywhere, drawing from; Ballard’s scribblings and on-screen adaptations, Yoshitaka Amano’s earlier surreal + textile laden works and fantasy dreamscapes, Philip K Dick’s dystopian, near-future prophecies, and Akira Toriyama’s hyperactive, OTT approach to character and storytelling.”
More than few folks’ dreams have been realised here as Arovane does dub techno proper in four variations for Echocord.
With firm credentials as an eminent producer of IDM/electronica since the late ‘90s on CCO and DIN, this 12” finds Arovane indulging a deep rooted love of Maurizio and Basic Channel’s classic Berlin templates.
As you’d hope for; the results are clinically, authentically effective - stretching out with a breezy, gritty style that perhaps also nods to later T++ productions in the loping, open architecture of Modul 1 and with a strident momentum vaulted into gassiest echelons with Modul 9, and at best in the ragged, cirrus chord structures of Modul 3.
BAT folds time and space with half-awake hardware in Brute & Blind for his Working Nights label.
A really dreamy, detached one, this, yielding six tracks of saturated yet uncannily spaced-out lo-fi sonics smushing jazzy hip hop nods in Alkahest and deftly tender ambient in Gold whereas Sultratur and Allgeist alternately switch between vaporous and screwed techno dimensions with full sunken subs.
Fluxion returns to the Vibrant Forms series for a third volume.
One of dub techno’s greatest producers yields Vibrant Forms III; a previously unknown addendum to his two original volumes released by Chain Reaction circa 1999-2000, and recently reissued by Subway BCN, who are also behind this remarkable third collection and four corresponding 12” versions.
So we’re greeted with nine tracks of previously unreleased gear, which, from the sounds of ‘em, were presumably produced during the same era as the original Vibrant Forms (we aren’t informed otherwise). If you’ve ever taken the plunge in Fluxion’s deep, undulating waters, you’ll have some inkling of what to expect, and, if not - it’s approximately some of the closest gear you’ll find to the Basic Channel blueprints.
If we’re playing favourites, the album’s walloping but elegant nine minute closer, Contact is right up there for club-melting potential, as is the dusty drive of Autonomous, but, as you’d be warranted to expect, there’s lots to get to grips with in altered, low-key states, too, especially in the pensile dub suspension system of Gradual Approach and the album’s pair of roiling, ten minute skanks, Hordes Descent and Safe Harbour, catching Konstantinos Souls at full stretch comparable with his much loved early transmissions.
Faded, classy filter house and disco joints from the Letherette duo last spotted on their debut album for Ninja Tune back in 2013.
No major change of direction here, rather a distillation of what was good and right on their last one. Check for Pepe Braddock-style soul warmth of Rayon or the submerged looping filter funk of Without You.