Brighton’s Zak Brashill aka Etch diversifies and fine tunes his breakbeat sound on Altered Roads following celebrated shots for Parris’s Soundman Chronicles, Keysound and others over the last 5 years.
Starting with the ambient bardo of When The Soul Departs The Body, he withdraws his sword (say it like RZA, sounds better) for the skillful parries and gut jabbing subs in Lore Of Samurai, then lets loose proper with the Photek and Source Direct-inspired technique of Flamingo Grove, and tightens up on a Wu Tang-meets-dubstep tip with Defunct Logic.
“Answer Code Request’s 2014 debut LP Code was an exciting moment for electronic music in Berlin – one that offered a break from the eternal hall and monolithic 4/4 kicks that ruled the city’s club landscape. As a hybrid gesture, the album’s spirit recalled an especially fruitful era in the German capital from the mid-90s to early 2000s, when dub and pad-driven Detroit techno cross-pollinated with Berlin’s industrial aesthetic to create one of the city’s most exciting musical chapters.
Today the musical vision offered by Berghain resident Answer Code Request, real name Patrick Gräser, has proved far-sighted. While at first glance electronic music in 2018 seems increasingly balkanized, borders between genres have once again become fuzzier. Now, on his follow up LP Gens, Gräser looks beyond the bass euphoria of Code toward darker horizons and a desolate atmosphere befitting of current global circumstances.
In a sense, Gens (Latin for tribe or lineage) reverses the notion of the hardcore continuum as proposed by music journalist Simon Reynolds: embedded in a tradition of US and continental European techno, Gräser seeks its disruption through hardcore outgrowths, from ambient jungle to later variations of British bass music and IDM. It’s an interesting twist when seen in the larger biographical context of Gräser who, born and raised outside of Berlin in early 1980s, jumped from East German youth radio DT64 to American hip-hop, acid and early UK hardcore – a radical shift of musical interest born of a radical shift in political circumstances.
On Gens, the unsettling atmosphere is established early on with the fading rave opener of the album’s synonymous title track, and continues through the scrambled military communications and post dubstep rhythms of “Sphera”. From there, sci-fi pads, heavy phasing and alien syncopation lead explorative third track “Ab Intus” out into space. A glimmer of otherworldly positivity arrives with the warm, distorted breakbeats and interwoven synth melodies of album standout “knbn2”, while Gräser’s most dancefloor- oriented melds jungle and techno, Amen and 4/4 kicks, on “Cicadae”.”
Raw-ass cosmic disco tech mutations for fans of Jamal Moss, UR, Patrick Cowley, and banging loads of gear!
It’s 2018. Donald Trump is president, posh kids wear LOUD AF shellsuits, and everyone (literally your mum) listens to house and disco edits. Welcome to the world imagined and projected by Ste Spandex via his orgone energy accumulator from various, baggy-strewn bedrooms of South Manchester over the past decade.
After putting in the hours, man and boy, Ste Spanex finally breaks into vinyl orbit on his first solo mission, scaling from the chromatic drag co-efficients of Naptha to an absolutely monstrous belter in the strapping arps and eyebrow-licking lushness of Mimosa, before Caustic takes it to the wall for a proper, sweat-drenched Chi buck in the mould of Oliverwho Factory’s ‘floor demolishers, and then he scuds off into the dawn light with a psyched-out polychromatic peach called Water.
Big in the charts in 1985, the Italian queen of “romantic dance” made her second single “Get Closer” a clairvoyant poem about… errr… life and love: “when the world is running down - get closer”!
"Think stonewashed jeans, endless summers on Italian beaches, boats coming back to the shore.
Remixed by fellow country men Tiger & Woods, “Get Closer” gets sandblasted into our modern times and the necessary treatment to be the peak- and night time hug fest, it’s always supposed to be. Add a run out tool by DJ Oyster and a gentle DJ-friendly edit by Gerd Janson of the original to the billboard. And always remember: changing your spell can save you."
On Infinity Scroll, Khotin & Project Pablo’s Rest Corp offer a soundtrack to your evenings mingling with likeminds on social media, and maybe, just maybe even IRL, in the club and such.
The A-side’s title cut spumes their take on a sort of percolated jazz-trance with spiralling riffs and roving bassline harnessed into a longing forward motion, before the B-side gets down to some grubbing wooden drum hustle and bubbling chords in the mould of Chez ’n Trent or friskier Spronkles on Love It TBH, and Current Mode pools their energies in a deeper, darker, acidic style.
"Johnny Lee Jones was born on June 25, 1936 in Marion, Alabama. Growing up, Johnny said he and his brothers were "country boys" - farming, planting cotton, picking cotton, pulling corn, plowing mules, raising cows, chickens, and hogs, but they also had the spiritual life. Johnny's mother was a very active member of the church, and his father was a deacon. Every Sunday the family would sing and praise at Macedonia Baptist Church in Howell Crossroad, Alabama. Drawn to music at a young age, Johnny said his family did not own a piano, but one day he offered his mother a proposal, "if we make 21 bales of cotton next year, will you promise me that you will give me one bale?" That next year, Johnny's family made 24 bales of cotton, and his mother granted him a bale to buy a piano. Johnny taught himself how to play the instrument, and before long he was appointed the church's choir director. In Atlanta, Johnny went from church to church and from place to place, preaching and playing the piano. He hit his stride in LaGrange, a town a little more than an hour's drive southwest of Atlanta. Johnny claims he had "a lightning spark" while pastoring several churches in the rural town. Then, the biggest event in the history of Johnny's ministry came when Second Mount Olive Baptist Church, located on 154 Maple Street in Atlanta, called him to preach. Johnny still remembers the call very well. He and his wife Dorothy "didn't have but one child then - Johnny Lee Junior - and we stayed there and worked and watched the church grow, and just enjoyed our lives." It was at Second Mount Olive Baptist where Johnny would receive the nickname "The Hurricane." At that time, Esmond Patterson was one of the most popular radio disc jockeys in Atlanta, and when it came to nicknaming a person, Johnny said Esmond "had a good vision." Patterson said that a hurricane starts off slowly, slowly, slowly, and as long as it is in process, the faster, the faster, the faster she gets, and when she gets a certain speed, that's when she's dangerous. He noticed Johnny's style of preaching, singing and praying, and said "we're gonna nickname you the Mighty Hurricane." the nickname stuck, as did the church. Today, Rev. Johnny L. "Hurricane" Jones is still married to Dorothy. He is still preaching, singing and playing music every Sunday at Second Mount Olive Baptist in Atlanta. He still does a radio show on WYZE every first and third Saturday of the month. In fact, many of the recordings on these CDs were made to assist Johnny with his radio ministry. The songs serve as church to those who are physically unable to leave their house, while they are a calling for those who cannot wait until Sunday to hear "Hurricane" Jones. The reels of tape, which date back to Johnny's first days in Atlanta, provide documentation of a church across seven decades. The quality is raw and often distorted, yet the sounds are nothing short of heavenly..."