The Hessle Audio captain charges up two sloshing, bucking and rolling house freaks on his eponymous label after a wicked recent excursion as DJ Harlow.
It’s possible to detect common Chicago/Detroit links between his DJ Harlow 12” and these cuts, but where Harlow treats that template with a mix of classic reverence and grimy hybrids, here he melts tracky jackers patterns with wildly over-stepping FX and cascading bleeps to dizzying effect with XLB whereas Tsunan Sun veers off into tribalist breaks and rolling subs with a mix of early UK and Detroit-style techno methods to spaced-out and dreamy effect.
Randomer kicks out the 2nd session on Dekmantel UFO Series, so titled after their stage at the annual festival in Amsterdam.
It’s Breaks gone tribal, beating out shifty percussive codas over patented bin-thump kicks like Stomp on their Ibiza jollies. There’s four cuts, and they’ll each make you dance like a numpty at a Russian backwoods rave.
Bruce works at the most rugged, cranky and bittersweet angles of the Hessle Audio aesthetic with his 2nd EP for the label.
Steals toils at a salty, grubbing groove bruised with depth charge-filtered detonations and arced by noisy dub chords until a distorted, balafon-style melody completes its journey from dark to lighter vibes.
With Relevant Again he sinks to a sort of murky illbient, instrumental trip hop sound recalling vintage Spectre, and Petal Pluck shifts uneasily in dank modular dub space, working in the cracks and negative space between and around the groove to great effect.
Johann Johannsson presents his OST for another Denis Villeneuve flick, following from his work on Sicario and essentially, perhaps unavoidably, turning up as a sort of preface to thee most anticipated score of the 21st century; his work on the forthcoming Bladerunner 2049 sequel.
Whilst the recent, extraordinary Orphée gave room for Jóhannsson’s solo spirits to roam, back at the day job he provides the perfect backdrop of unearthly terror and fear-of-the-unknown atmospheres for Arrival’s first contact themes, employing a palette of symphonic strings and perilous electronic abstraction in thick, impending strokes of minor key portent and chasmic electro-acoustic wormholes interspersed by zones of weightless chamber music and blood-curdling alien chorales.
It’s all you want from the soundtrack to a big budget sci-fi and leaves us quite literally salivating for what comes next…
Expanded 2016 reissue of DJ Stingray’s killler EP for Lorenzo Senni’s Presto!? label, originally turned out in 2012, now reshuffled and reloaded with two extra pieces.
The originals are just as strong as we remember them, with particular string highlights in the shadow-boxing hardstep tackle of Fullbodyscan and the furtive low end frequency manipulation of The Sadist III, whilst the new cuts reveal a possibly updated production palette betrayed by the plangent 3D dynamics and super-coiled core of Hypoalgesia, and again in the more spacious balance of soulful chord progressions and brute undertow in Cognitive Load Theory. Then again maybe that’s just us? Fuck knows, but either way they’ve made a wicked EP even better!
Exclusive Tracks From Regis, Blawan, Tessela, Randomer, O/V/R, Lakker, Makaton, Planetary Assault Systems, Steve Bicknell, Truss, Rumah & Progression, Rommek, Oliver Ho, The Fear Ratio, James Ruskin & Dvs1.
20th anniversary celebration from James Ruskin’s Blueprint posse, throwing down 17 tracks from a generational cross-section. The boss teams up with Karl O’Connor (Regis) for a rare O/V/R outing in the scything stepper Metal Slipper, and with DVS1 for the bend minimal trip, Page 1, whilst also chipping in itchy swing of 6Teenth and Regis hammers it head-down on Party Spoiler Too.
The newer skool represents deeper, tripper aspects with Blawan’s dusty modular rumbler Passer By and the gritty tech-step of Lakker’s Chain of Combs, with more wayward highlights appearing Truss’s ragga grinder Wonastow and Tessela’s writhing latin blighter Rub.
Here’s to another 20 years!
Overdue but well on-point, Kassem Mosse’s 2nd solo album proper - his debut with Honest Jon’s - is a time-and-space bending set of ancient yet modern-sounding techno deviations that makes the rest of his field seem like frustrated, gridlocked passengers.
Blending the drum machine of Jeff Mills with the hi-tech jazz chops of Mad Mike and a wondrous feel for plasmic radiophonics and dustily organic textures, Disclosure is patently KM’s definitive artistic statement, largely steering shy of any easy anthems in favour of pursuing a mystic, abstract muse deep into the wires.
No doubt at all it will piss off the bro’s fishing for big tuna, but for anyone else who can dance outside of the lines there’s stacks of crafty time-signatures, alien electronics and loose-limbed patterns to get with, from the bitter dissonance of Stepping on Salt to the frayed bustle of Drift Model and the sun-melted techno of Galaxy Series 7, whilst Monomer trades in Tevo Howard-style Chicago class and it’s hard to deny the Memphis-style percolations of Aluminosilicate Mirrors or the Molecular Memories’ Africans With Mainframes-esque projections.