‘Lick In Heaven’ offers the juicy first taste of new Jessy Lanza material since 2016
Working again with the signature touch of Jeremy Greenspan (Junior Boys), Jessy warmly remind us of what we all loved about her first two albums, puckering up lyrics about “being angry with people and not knowing what to do about it” over her rude SH-101 bassline, and a nagging chorus beautifully shaped by Greenspan. Bodes very well for a new album...
"Rising through the queer American DJ circuit, Eris Drew and Octo Octa, co-owners of dance label T4T LUV NRG, share multiple decades between them actively participating within the dance music community and are currently both weekly residents on BBC Radio 1."
"The CD compilation was mixed from all-vinyl in their log cabin home and studio in the woods of New Hampshire, taking in cuts that span house, bassline, UK hardcore and trance. It includes exclusive tracks from both Octo Octa (‘River’, a trancey and euphoric house classic) and Eris (‘Reactiv-8’, an electro selection with Eris’s own vocals), as well as many rare 90s house gems previously limited to the collections of vinyl-heads. Released alongside the CD is a double vinyl plus digital download code format featuring ten full length tracks from the mix."
Tuff but playful house and juke tekkers from Chicago’s Ariel Zetina on their debut for femme culture; a London-based record label and collective.
Taking YouTube Make-Up Artist videos as inspiration, Zetina jumps from the syncopated psycho-jack of ‘Eyeshadow Fallout’ to a killer spin on Prince classic production for Vanity 6 in the aptly titled ‘Vanity 7’, whereas ‘Bombshell’ wickedly ramps the tempo to a sort of rapid, acidic Jersey bounce, and ‘Channel’ hits even harder with wild, 303-laced nods to Belizean punta, and ‘Compact Mirrors At The Bottom Of The Sea’ starts out in 90’ of subaquatic 8-bit tones, before popping its percolated funk.
“Ariel said about MUA's at the End of the World - “it’s stemmed from the rhythms of putting on makeup. And the perception of makeup as armor, barrier, stealth; makeup as a method for passing for trans women (and the politics of what it means to pass for a cis woman in general).” But digging more in depth, Ariel also mentions more key elements of this EP that are underlining throughout - such as makeup tutorials (and internet as method for passing on information) for a public broadcasting of private routines.”
‘Salvador’ is the strong debut album from Sega Bodega. Self-released on the Nuxxe label which has hosted his ace productions for Shy Girl, Brooke Candy and Coucou Chloe over the past few years, ‘Salvador’ is a uniquely formed slice of contemporary pop and R&B with an effortlessly avant edge thanks to his diamond-cut studio tekkers.
It also marks the artist’s full fledged emergence from behind-the-desk producer to a triple threat of all singing, all producing, all scowling frontman in possession of 2020 pop’s “narcissistic misery”, as defined by his UK synth-pop forebears, The Pet Shop Boys. However, Sega Bodega is among the most stylish to do this sound, and his music is defined by a subtler, more ambiguous sort of nervous energy and icy cool, balancing woe with glimmers of dancefloor optimism and a curious brand of negative ecstasy.
‘Salvador’ reveals a canny lyricist, too. Bar a cranky interlude of messed-up music box melodies, he sings on all ten other songs, touching on topics of self-abuse and enervation in ‘Masochism’ over a strange mix of hip hop and post-punk drum patterns, while ‘Smell Of The Rubber’ is a thoroughly modern sex jam with the classic opening line “when you lie you look like you’ve cum / but as if you’ve cum in public”, over rugged deep south trap drums.
Held in balance with more “up” moments such as the the rolling electro-pop weirdness of ‘U Got The Fever’, the bolshy swagger of single cut ‘Salv Goes To Hollywood’, and the poignant downstrokes of neo-classical keys and Coil-esque electronics in ‘Calvin’, and the elegiac finale ‘Kuvasz In Snow’, the whole album adds up to one of the most grown-up but acutely modern expressions we’ve heard from the new wave.
Deep London groove pressure from Parris, with a cameo by Minor Sciences, on a dead classy follow-up to his energetic outing for TTT
Debuting for Brighton’s ace Wisdom Teeth, Parris plays into a classic vibe on the balmy swag of ’Soft Rocks With Socks’, bobbing along at a laidback sub-110bpm with gently heart-in-mouth pads and feathered drums, while ‘Sabor a Ceniza’ steps up the pace to a floating, buoyant sort of broken beat swing working shades away from Sensate Focus in a dubbier way.
From the archives comes ‘Terrapin’, a crafty joint cooked up with Minor Sciences a few years ago, seeing the pair neatly out-do each other with swiped-out drums and melting deep house chords that resemble a sort of crunchier Move D cut or some early Juju & Jordash stroller.
Blood Orange’s Devonté Hynes applies his evocative skills to a 2nd soundtrack, following his work on Gia Coppola’s ‘Palo Alto’ in 2013 which really broke his sound to a whole new audience.
Anyone expecting Hynes’ signature, prized R&B drum programming or spellbinding way with vocals may leave disappointed, but listeners who appreciate his feel for exquisite melancholy will be in their element with his 20 track, chamber-like suite of compositions for strings, keys, and synths kerned and cropped for use in the titular romantic thriller directed by Melina Matsoukas (her debut feature) and starring Daniel Kaluuya and Chloë Sevigny.
"Scored for Melina Matsoukas’ forthcoming feature, ’Queen & Slim’ is Hynes’ 2nd soundtrack following his 2013 job for Gia Coppola’s ‘Palo Alto’. While the recently released OST version notably features guest appearances from Lauryn Hill, Megan Thee Stallion, Lil Baby, Vince Staples, The Internet and many more, this version is entirely instrumental and demonstrates to the fullest Hynes’ ability to subtly evoke a range of emotional colour."
Matmos’ Drew Daniel wraps up a sensitive anti-fascist statement with ‘Shall We Go On Sinning So That Grace May Increase?’ in his 4th album proper as The Soft Pink Truth, starring guest vocals by Colin Self, Angel Deradoorian, and Jana Hunter. It's quite a trip...
Daniel returns to dancefloor-wise fundamentals and more sensuous styles here that link back to the project’s emergence as the result of a bet by Matthew Herbert that Daniel couldn’t produce a decent house record. Twenty years later he’s still proving Herbert wrong, showing off a fine grasp of deep house dynamics in parts, but typically offset by his tastes for stranger, more esoteric modes of ambient and modern classical elements which come to define this record.
While the album is presented as a response to the torrid reign of Trump in America, Daniel offers a suite that errs toward hypnagogic meditation with a few key bits of dancefloor communion holding it together. If you’re just after his prized deep house styles, go straight to the padded swang of ‘We’, the buoyant and breezy flex of ’Sinning’, and the shimmering ambient jazz house of ‘Grace’, but if you’re in it for the ride, expect to be carried away on warm currents of new age bliss and Reichian minimalism in between those moments, and let yourself go with the album’s flow, celebrating creation and communion over nihilism.
Dippy UKG and deeper, bumping business from Facta on his spiritual home, Wisdom Teeth
‘Doves’ comes up a treat on a tight but frothy UK flex, all bubbling bleeps and pendulous garage motor, like Bobby Peru and Artwork after a big line and a balloon, while ‘MPH’ works off to the wonky side of Finn with choppy vocal motifs and melancholy licks gelling into a soul-kissing style that winks at UK and Jersey house styles.
Manchester’s Queen of Clubs comes with her 5th annual production showreel, throwing down 35 unreleased dubs in just under 1.5 hours of fresh rave frolics - proper jawmelter.
The last 30 years of rave music are fair game for Anz’s magpie eye, whirling thru styles from deep soulful garage to boisterous electro, Jersey-meets-Afrobeat jams to whistle-blowing hardcore and UKF mutations, ghetto-tech and jungle, all with the quicksilver flow and focussed, yet polygamous style she’s come to own over the past few years.
As anyone who has raved to an Anz set will testify, she simply doesn’t know when to let up, and that force of nature is in full effect again on ‘spring/summer dubs 2020’, stirring up a spectrum of sweaty rave feels bound to bring baying hordes to her agent to book her when those scuzzy temporary autonomous zones finally reopen their doors in 2021.
Taking inspiration from the open spaces, noise, and density of his adopted city Copenhagen, Perko follows up the acclaimed ‘NV Auto’ EP with new music that yields maximum impact via minimalist principles.
"Across the record’s eight tracks, rhythms are reduced to their most essential components. There is no wastage, just pure precision and skeletal funk juxtaposed with microscopic melodies. Embedded across the entirety of the release are the sounds of the city. Listen carefully and you’ll hear recordings of his friends and their local neighbourhoods, with the city becoming a bed of sound.
‘Stutter’ melts these influences into quick-footed vaporous electro. On ‘The Reason’ Perko strips away the CSI synced excesses of drum n bass and synthesises percussion from samples of Stevie Williams skating at Love Park.
‘Grounds’ is a collaboration with Australian DJ / Producer Lia T, and stems from an exchange of field recordings between the two. These recordings became the core of the track, before Lia laid down additional synths. This all bleeds away into ‘Luna’, which connects gently cascading melodies to the urban landscape.
The record closes with ‘Pippin’, which comes in two versions. The grime concrète of the ‘Version’ oozes feelings of creeping dread and nightmarish bass stabs. The original takes the stabs and merges them with his take on the steppers’ riddim.
In Perko’s world, introspective and breakneck electronic music share the same space, mirroring the complexities of the city around him. "