One of Manny’s finest DJ/producers Anz offers this funked-up ‘Invitation 2 Dance’ on Finn’s 2 B Real following her introductory EP for Chow Down and production for grime gob Jammz
Built to spec as ammo for both her own sets and Finn’s, the EP shots flavas for all ravers in four parts, gearing up with a transition from ‘80s laser-funk chops to early ‘90s rave noise and hardcore breaks in ‘No Harm’, before ‘Helps Your Two Hips Move’ does it loosey goosey with spannered dembow claps synched to ghetto-tech electro bounce.
‘But At Least We Have This’ brings a big splash of colour to the EP with Todd Edwards-style vocal cut-ups and wavey AF G-funk leads on a skippy charge recalling Finn’s style, and the EP’s killer title cut winds up on a darkside electro pivot replete with pinging cowbells and vocoder vox.
Anz sez: “to the boys who used to muscle me off the decks at house parties. Play these ones loud.”
A smoky, funky ghetto-tech and hip hop riddle wrapped in ferric tape, ‘An Introduction to Michael J. Blood’ finds DJ Tom Boogizm as conduit for one of Manny’s best kept secrets - think Didsbronx’ answer to Moodyman, Urban Tribe or Theo Parrish - for DJ/producer Finn’s 2 B Real bootyque.
Newly edited from a lauded 2017 NTS broadcast, this outstanding session follows on the label from DJ Finn’s classic ‘Accelerated Club’ mixtape and Anz’s ‘Invitation To Dance’ 12” to supply a rare glimpse into the mind of Michael J. Blood and his coven; a low-key character and his pals who specialise in off-the-cuff, killer vibes steeped in classic Detroit and Chicago soul, hip hop and ghetto-tech steez.
As much a showcase for Michael J. Blood’s production and his circle as the deadly deft DJ tekkers of Tom Boogizm, the mix was built live from Blood’s mostly <30 second loops and addictive, hard-to-place edits, all seamlessly filleted, juggled and sequenced for house party-ready function or settee slomping by Wigan’s funkiest son, Thomas Boogizm Esq.
Side A sees him toggle the vibe back ’n forth between red-eyed studio abstraction, slompy Dilla-esque beats, synth-funk vamps and mutant ghetto-tech/Jit/juke with a charming, jazzy loucheness, while The B-side follows suit, but keeps the gauge ticking up with a ruder feminine pressure recalling Finn’s own productions, and crucially includes some proper nifty, hands-on CDJ chops by the Boogizm that sounds like RP Boo or DJ Rashad’s footwork flips of classic funk or even Actress’ Thriller edits.
Trust it’s the lick. No download. Do not sleep on this!
London’s India Jordan absolutely bosses it on her solo debut proper with Local Action, throwing down four cuts of filter funk, lush trance and booty-rattling ghetto-tech, plus a canny remix by ELLLL
As organiser of London’s premiere new age social, New Atlantis, you’d be forgive for thinking India was a sanguine soul, whereas in fact she’s a long time spar of the uptempo donny Finn, and highly regarded for her no-holds-barred DJ style.
On ‘DNT STP MY LV’ she does dance music in no uncertain terms, gutting you in the swing with the titular Todd Edwards-meets-Thriller style boogie fling, before sending it into orbit with a 160bpm rocket ‘DN4’ fuelled on the meanest Reese bass, while ‘Through Lacuna’ sustains that trajectory into lusher realms and then, for measure, she cools your heart rate and ups the lip-smacking factor with the full wingspan trance-breaks flight of ‘Leaving Stanley’. Bonus round comes from Ireland’s ELLLL, graduate of Sligo’s Art For Blind and Dublin’s All City, with a woozier, abstract, but still banging remix of ‘Through Lacuna.’
So yeh, India is just as adept at lulling you to sleep as rudely rousing the ‘floor.
A 2nd double hammer of speed garage excitement from Doncaster’s rudest daughter India Jordan, chasing up the rave-taking success of her Local Action debut
‘Warper’ by name, and by nature, the title cut comes with that unique SoYo meld of extreme LFO bass tweaks and Nitro-jacked drums peppered with ragga chat and soundsystem-ready splashes of FX that makes big people dance like skipping schoolkids in the very best, Moët-clutching way. ‘Bulbasaur Shuffle’ meanwhile proves she’s not just some joy-riding, speed-freak hooligan with a much subtler mutation where atmospheric techno sound design meets rolling broken beat garage in ‘floor-rinsing style and pattern.
‘Dolos’ is the hyper shiny debut album by Murlo, a UK garage/bassline/grime obsessive beloved for his lucent melodic arrangements and animated rhythms
The physical variant comprises of a graphic novel and corresponding 15-track album (downloaders will have to make do with the tracks only), ‘Dolos’ ties together Chris Pell a.k.a. Murlo’s audio and visual practice into a compelling sort of gesamtkunstwerk where each chapter of the novel relates to a track on the album.
Murlo’s music has always had a sort of playful, even naive charm to his melodies and lean grooves, and, whilst explicitly digital and synthetic in tone and feel, the canniness of his productions lies in their filigree tactility, and the way he extracts an almost natural, fluid sense of movement and instrumental virtuosity from virtual plugins.
At 15 tracks wide and 51 minutes long, ‘Dolos’ is practically feature length, allowing all the time he needs to weave an emotive narrative between the giddy anime themes of ‘Evaporate’, thru the intricate choral pointillism of ‘Breeze’, and evocative titles and music such as ‘Watching The Sun Through Eyelids’, to proper dancefloor drama in ‘End Of The Road’, and the long closing sequence of ‘Furies Call’ into the 4th world reggaeton of ‘Goodbyes’, and the winky plushness of ‘Peace;.
One of Manchester and UK’s most original new artists, Loft aggregates 3 years of instability in a remarkable debut EP for Tri Angle
Where Loft of yore was yoked to linearity, or the “mono” of her new record’s title, Loft’s current iteration feels as though she's bifurcating and spiralling around, into herself like a blooming double helix, or, in her own words forming a “sound ecology in which the arrow of time splits along the shaft.”
They prove a perfectly imperfect work-in-progress fit for Tri Angle’s ever evolving aesthetic, emerging form the noisy chrysalis of ‘Lassanamae’ with hyper wingbeats and flexing exoskeleton, before ‘And Eats Itself And Eats Itself And Eats Itself’ finds its legs like a mutant newborn chimera, only to find those legs have legs and chattering acid teeth.
’sSLABicks’ follows with ravenous effect, torn in every direction at once to suggest a true, balletic sort of dancefloor freedom, and ’That Hyde Trakk’ only accentuates that effect with devilish junglist chicanery recalling classic Plug and encouraging full body expression in the rave.