Four Tet switches to midnight mode on this of bittersweet garage-house turn
taking a long, winding scenic route from deep house to windswept electronics via cascading post rock breakdowns in SW9 9SL.
Warp bundle up a haul of early, obscure B12 cuts in Electro-Soma II, a companion piece to their reissue of the AI series classic Electro-Soma, which is also made available to officially download for the first time.
If Electro-Soma is the perfect springboard into B12’s stellar catalogue, then II is required further listening, collecting tracks also found on their B12 Records Archive volumes issued c. 2009, such as the mystic electro-stepper, Transient Pathways and the head-first ambient immersion Go With The Hiss, along with deeply Detroit-inspired material in the elaborate design of Debris, with the sci-fi panorama of Satori, and the lump-nib-throat inducing choral synth arrangement, Paradroid.
A single, 17-minute meditation on plasmic guitars and rustling acoustic space. Sounds like the equivalent of a long exposure photograph taken in a paranormal hotspot, making invisible spirits auditive. We could listen to this for hours…
“A haunting and volcanic suite of electric guitar and piano from the modern master of the avant blues and the abstract -- Loren Connors. Angels That Fall slips deeper into Loren's headspace where vocalists in glissando and the swelling romanticism of chamber strings echo from beyond this mortal plane. Transcribed through Connors effect-laden six strings, he carries the listener from bluesy violence to sadness, hope and a piano coda.
Angels That Fall was recorded May 2016 at First Unitarian Congregational Society in Brooklyn, NY.”
Sam Binga and Danny Scrilla go twos-up on a ruddy bass mongrel for Om Unit’s Cosmic Bridge
Launching tribal drums, barrelling subs and virulent acid lines in the high-pressure jungle-footwork of Frolic In Brine, then with a hard-nosed half step D&B juggernaut spiced with glitches and screwface noise in Further Peaks for fans of Pessimist or Ruffhouse.
Peder Mannerfelt gets it dead right on this pair of rave nutters for Pär Grindvik’s Stockholm LTD.
Obey catches Mannerfelt at the very limits of his sound, screwing a ricocheting jungle break fathoms deep into a dark ambiebnt matrix with the sort of pensile suss and pressure control that should bring dancers to their knees. I guess one can only do this idea once, and thankfully the execution is spot on.
Stream Of Time is far straighter by comparison, rolling out on nervy hi-hats and lumpy kicks pierced by frankly fucking vicious hardcore stabs and a curdling acid line like some HATE meets Phase Fatale bomb.
A diverse cast of remixers take on Dead Light’s eponymous modern classical LP
...with fine results reaching out from Andrea Belfi (The Swifter, B/B/S/) in a quietly delirious pastoral take on Sleeper, to The Sight Below’s lustrous shoegaze techno version of the same track, and over to eldritch infections of Luek Abott’s revision of Falling In, and Dead Light’s own, dusty take of Trills.
A real gem of the Metalheadz catalogue remastered for 2017
Digital defines state-of-the-art, mid-’90s D&B in the absorbing sci-fi atmospheres and rug-pulling breakbeat chops of Niagara, and again on a full-stretch amen roll-out with Down Under .