Timedance task Beatrice Dillon and Peder Mannerfelt with remixing Ploy
Resulting in a sublimated, weightless inversion of Footprints In A Solid Rock from Beatrice and a rolling, monotone Rock Solid remix of the same elements from Mannerfelt that prangs out with nutty metallic rave breakdown and a caustic 2nd half.
TJ Hertz’s first original release since 2014’s Flatland LP comes in the form of Objekt #4, a continuation of his club-focused white label series and a tribute to the sadly now defunct Basement Q, a formative and beloved haunt in Berlin’s Schöneberg district which quietly but profoundly shaped the musical identities of Hertz and several of his contemporaries until its final closure in 2012.
Following his recent credits on Frank Ocean's Blonde and Endless, Vegyn steps out of a two year hiatus with a new 12" single on his 'PLZ Make It Ruins' label.
"'Phone Phoneys', the title track, immediately delves into familiar and focused textures backed by woozy synths, dancing between glitzy euphonious melodies. The drums and rhythm section channel the energy of prior dance classics but still feel eager and original in their deployment.
On the flip side, 'PLZ XX' diverts listeners expectations by jumping between several frenetic moods, all whilst maintaining an energetic frivolity found throughout the record as a whole."
This one's a bit special, the debut release from Cy An, a crucial member of FKA Twigs’ band and production team since LP1, making a highly impressive maiden solo voyage with a slab of self-released sublime tension for his own label, lighting up heady noumenal space somewhere between 0PN and Visionist, or Arca and Kuedo.
It feels like another piece of FKA Twigs’ tessellating 3D puzzle falling into place, as you begin to grasp a sense of the other personalities and sonic traits that were subsumed into what is arguably this decade’s definitive (avant)pop project.
K gives the EP a nervously tentative start, all fluttering high register tones anchored only by strokes of sweeping subbass, establishing massive spatial dimensions where brassy notes freeze at the top and wilt like metal petals thru the mix between piped choral voices and post-junglist glitches, then MINUS ONE firms up, alternating tightening and loosening the screws of footwork-trap-trance convention to unfold and morph like an origami’d smack foil.
Turn the page and Sprawl Monolith farther belies Cy An’s murky sci-fi roots in a vertiginous piece scaling cinematic heights of cascading arpeggios and over swirling, Reese-like basses in weightless, OOBE style, and Azrael Rotor closes the chapter with a teasing sense of modern classical ambiguity, leaving us on tenterhooks for more.