Pablo Valentino drops a batch of disco-house track on his and Danilo Plessor’s MCDE label in honour of his 4 year old son, Hugo-João, and four years since he started working at the label.
A-side dispenses the lo-slung, funked-up beatdown of My Son’s Smile replete with Hugo-João’s gurgles in the breakdown, whereas Atlantic’s Calling (One For Portugal) pushes a smoother sort of deep house burn.
B-side, Brooklyn’s Ge-ology, who was last heard on Dekmantel and Sound Signature, brings the plate up to date with an infectious orchestration of piquant electronics and blustery chords on a rolling, broken rhythm, leaving Valentino on the DJ Dez style downstroke of Good Ol’ Days to close.
Remix and new version of material from Maria Rita Stumpf's Brasileira
"In order to properly remake "Kamaiurá", they recruited Paulo Sergio Santos and Carlos Gualda, aka Carrot Green. At Vice-Versa studio in São Paulo, Paulo Sergio Santos recorded 12 different instruments and Maria Rita Stumpf sang in a studio after more than 20 years, on a different arrangement than the original. Concerning the "Lamento Africano/Rictus" remix, Joakim was just very interested about the singer, the instruments used, the lyrics, and jumped aboard this project quickly.”
One of the most nattered about new Bristol acts, Giant Swan pile forth on Batu’s Timedance with the cranky, rusted techno jag of Celebrate The Last 30 Years of Human Ego
They tuck away the fibrillating techno charge of IFTYLOYL somewhere between Tessela and Phase Fatale styles but with added briztle grunge for flavour.
L-Vis 1990 marks 33 years on earth with 12 Thousand Nights, a sort of mixtape saga giving form to his current explorations of R&B, hip hop dancehall and pop, cut specifically for the vocal indentities of Flohio & Cassive, Gaika, Tali Whoah, Mista Silva and many more.
The icy UK drill of Yeah Yeah is a big highlight, providing a cold platform for London’s Flohio & Cassive, while the glinting Afrobeats bling of 121 shows off his sweetie side, suitably blessed with vox by Mista Silva, who’s previously linked with J Hus and Gaika, as he also does on the chromed out R&B splash of Sunlight, whilst some of the sharpest production pinches come from L-Vis’ collaboration with Sinjin Hawke on Cake, and likewise in the rude-af Buck with NA (Nguzunguzu) and Tiko Texa$.
Dub specialists SKRS Intl. rinse out Red Snapper’s mid-‘90s coffee table classic Prince Blimey in wicked style, meting out nearly 40 minutes of re-chopped jazz funk breaks and hacked loops that sound far wilder, restlessly gripping than the original record ever did.
A strong look for anyone who got snagged by SKRS’ immense series of mixtapes and original material for Bokeh versions, etc over the recent years.
After 10 years hiatus, NovaMute reboots with three pieces of no-prisoners techno by Canada’s Nicolas Bougaïeff, drying out the funkier afflictions of his 12”s for Trapez in favour of a serious, lockjaw EBM sound.
The A-side is a peak time steamroller with incessant alarm sounds wrapped around murderous kicks and swarming sound designs.
Flipside gives a moment to breathe before grinding out a trilling, martial tattoo that wickedly refrains from easy gratification - mek ‘em beg for it - which comes with a twisted sense of pleasure in the pinched, off centre sequencing of the slamming final cut.
In his element on the album format, The Cyclist swirls myriad vintage dance tropes with rootsy signposts and x-amounta fuzz in the mix
“Having given us a taster of things to come back in September 2016 with the 'Pressing Matters' single, The Cyclist returns to Hypercolour with a brand new, full length album. As the title suggests, 'Sapa Inca Delirium' leans heavily on South American mysticism, not just musically, but in the visual imagery that the eleven-track album paints so well across its various tempos and rhythms. From the tropical burst of mood setting opener, 'Go Back' to the steamy and pacey percussive flow of 'Inhale/Exhale' which features regular collaborator Tanaya Harper on vocals, The Cyclist's fourth long player is crammed full of intriguing atmospheres and soundscapes.
'Antiexist', with its down-tempo rolling snare fills and ethereal Gregorian chanting segues effortlessly into 'A Blind Girl Drinks Ayawaska', a suitably discordant and hallucinogenic skit that ensures the album flows into the more rhythmic cuts like 'Skateboarding In The Jungle' and 'Mirrors' (the second album cut to feature Harper on vocals). Even the traditional jazzier vibes of 'When We All Break Down' featuring Joni are kept rugged and boisterous, with heavyweight bending bass, choppy breakbeats and FX'd ambience amongst the smooth jazzy chords and sweet vocal delivery. 'Sapa Inca Delirium' is one of those albums that will reward on repeat listen, such is the diversity of style on show here, and the detailed and wide eyed curiosity offered up across the long player's fifty three minutes.”
Fanfare, please, for the first release from the funniest programme on UK TV right now; People Just Do Nothing’s Kurupt FM and Suttin Like That, transmitted direct from the slums of Brentford.
Sounding like a pastiche of Wiley’s Wot Do U Call It from an also-ran Channel U act, Suttin Like That is the debut calling card from MC Grindah, DJ Beats, Steves and Decoy. We were hoping for guest bars from Craig, but the Grindah/Beats one-two “Is It House Music / Nuttin Like That” will do for us.
Out Lines is a project by singer / songwriter Kathryn Joseph, The Twilight Sad’s James Graham and producer / songwriter / musician Marcus Mackay.
"This body of work was inspired by conversations Kathryn and James had with people who use Platform: a groundbreaking multi-arts and community space in Easterhouse, an area in the east end of Glasgow.
With James and Kathryn at the helm of translating the stories heard through their conversations with locals and Marcus steering the sound, this inspiring collection of songs is being released through Rock Action Records."
3rd album from Om Unit, maturing his signature blend of jungle, hip hop and brooding bass to incorporate vocals by Rider Shafique, DRS and Amos...
“Since Jim Coles took on the mantle of Om Unit, the English producer has sought to challenge himself and his audience by going beyond the confines of genres and styles he has so far explored. In the process he has found success by striving for more feeling, for a more human and daring electronic music. This journey continues with 'Self', Coles' third album as Om Unit and a true follow-up to his 2013 debut 'Threads'.
'Self' captures Coles in a period of growth, change, and experimentation. Inspired by personal psychological and emotional healing work, and a vision of the self as an egg — which Coles later on discovered is a Jungian archetype — the album blends dubwise, bass-heavy music with the space of experimental ambient compositions and the daring imagination of a cold wave science fiction soundtrack.
The first Om Unit album on Coles' own Cosmic Bridge label, 'Self' offers new forms amid familiar touches. Stripping away what people might expect, Coles deconstructed and reimagined his work so far as a challenge to himself and, in turn, to his fans.”
Weightless, diaphanous synthscapes and abstracted techno from the Posh Isolation cabal
“Much needed reissue of 'Brazil,' a collaborative work by three spearheads of Scandinavian electronic music today. The original edition was presented in a limited run of four cassettes, boxed and with an accompanying book. This timely reissue comes as a remastered double LP set and digital release, inviting a new set of listeners to the work.
Four sides of uniquely textured summer ambience, industrial rhythms, synthesizer pieces, and piano works, complete 'Brazil.' The luxuriant melodic drones of Loke Rahbek’s Hvide Sejl project converge with the percussive work of Varg and the largely acoustic work of Frederik Valentin of Kyo, producing a fragile beauty.
There is a sense of narrative to 'Brazil.' The work cryptically leads us through a small collection of moving panoramas. Keeping its distance, the storyline remains perpetually obscured. Like a crime unsolved, or a nameless love letter, as greater detail comes into focus the intrigue blooms. A multifaceted affair for multifaceted affairs.
"Things were somehow so good that they were in danger of becoming very bad because what is fully mature is very close to rotting."
When the masked Swedish collective Goat toured Europe in the Autumn of 2016 to promote their then recently released third album Requiem - the band came up with the idea to record every show.
"On returning back to their home town of Korpilombolo, Goatpainstakingly went through all the recordings and have to picked out 6 tracks to be released on for limited live album Fuzzed in Europe.Goat picked these 6 tracks in particular as they are different versions to what is found on the releases the songs originally came from and the band liked the idea that these versions are documented onto vinyl.
Goat’s live reputation is second to none – since their first public shows in 2012 they have stunned audiences across the globe. The bands brand of dancable, tribal psychedelia is guaranteed to create mass hysteria from the wanting crowds – Goat know how to create music that is made for the ‘head’ as well as the ‘body’. There are rumours of Goat disappearing into the hills – that they have hung up their masks now for good and have slipped away as quietly as they arrived on to the scene. Whether this is true or not, we don’t know, but even if they have or have not disbanded from public view, this is a great document of their immersive power to cherish, it celebrates band completely at the top of their game. The eye popping beautiful artwork for Fuzzed in Europe was created by the great poster artist Adam Pobiak – who has worked with everyone from Soundgarden to the Justice and Swans to Flaming Lips."
Aleksi Perälä (Ovuca) puts the Colundi sequence to work on a batch of floating techno tracks for the Clone Basement Series
Generating some fine results with the squelchy electro of NLL561606935, a rugged acid pressure bomb called NLL561606936, and the uniquely resonant tang of NLL561606938.
Featuring remixes from Dixon, I:CUBE and Wassermann.
"As one of the album’s most highlighted cuts, DSCHUNA gets the royal treatment by Innervisions head and internationally revered selector DIXON who proves his strong command of the dance floor with a hypnotic ride that surrounds the soaring sounds of the original with tribal- esque vocals. The instrumental version drops the chants, but retains the enchantment, all elegant rhythm and gorgeous strings.
Versatile’s I:CUBE, legendary producer and DJ in its own right, brings a distinctly Parisian touch to the spectral SKORBUT, whose sci-fi-imbued widescreen aura gets reimagined as laser-gun-wielding space funk machine. Meanwhile, Wolfgang Voigt aka WASSERMANN condenses PARADIGMA’s roaming synths into pulsating trance swells on his stomping KRAUTRAMATRIK MIX."
Firecracker’s sister label, Unthank, embraces a “micro-cosmic opera” from Italian producer Raffaele Arcella a.k.a. Whodamanny, the Early Sounds Recordings affiliate and capo of Periodica Records.
Not gonna lie, we could spot an Italian electronic vibe from the first ambient section iris Primum and certainly in the pulsating disco track indigo Auctoritas that follows, and all before we’d clocked his name. Not sure what that says apart from an assurance of high quality electronics recalling the innovations of legendary Italian library producers and reams of go-to studio heads.
The rest follows in suit, conjuring giddy library style animations in the playfully wigged-out Crystal Aestus, and a spot of tropical synthesis with Iris Secundum, saving the cosmic canter of Wise Glaciem and natty Alessandro Novaga/Jamal Moss/Faces Drums flex on Neuter Gyrum.
Capel Celyn is Bibio’s bittersweet, improvised synth meditation on the eponymous Welsh village, which was flooded in the ‘60s to provide a reservoir for industry in Liverpool and The Wirral.
It’s one of the loveliest pieces we’ve heard by Bibio. He should release this sort of thing more often.
Bnjmn joins Ed Davenport’s Counterchange Recordings with MDCCLXXII’s alternately booting and trippy techno variations.
A-side commands the rolling heft of Tor with its submerged hydrodynamics and hypnotic drones, plus a grungier, acidic steamer called MDCCLXXII.
Turn over for a smart piece of abstract sound design which gives way to the sloshing ambient techno pulses and head-swimming harmonics of Where The Wild Berries Grow on some vintage Chain Reaction tip.
Ron Trent meets french house player Manoo on a high class pair of deep house drug-cutters.
The Sound trades in slinky, Afro-latinate shuffle layered up with spiritual vocals and a haze of brass, synth and strings to properly sensuous appeal in a widescreen sound design lit up with thunder and lightning.
The Reprise condenses all that into a more succinct mix of tropical storm systems and fluid tribal percussions, which they dry out for the leaner, arid dub where the thunder still strikes, but leaves the players dry to do their hustle.
Lankum are a Dublin four-piece who combine four-part vocal harmonies with arrangements of uilleann pipes, concertina, accordion, fiddle and guitar.
"Their repertoire spans humorous Dublin music hall ditties and street-songs, classic ballads from the Traveller tradition, traditional Irish and American dance tunes and their own original material. The band were originally formed by brothers Ian and Daragh Lynch in the early 2000s and have since progressed through a number of incarnations, culminating in the four-piece group playing today.
The release of their album ‘Cold Old Fire’ cemented their reputation as a band that successfully crosses genres. Lankum are busy breathing new life into old music. Although an acoustic group whose repertoire is fundamentally based on traditional song, influenced by legends such as Frank Harte, Planxty, The Dubliners and the Watersons, subtle traces of the group’s collective influences can be detected, ranging from American old-timey music to Krautrock and drone."
Rugged, dry techno pounders for the big rooms
Booting off with the depth charge of We Believe, kicking up a noisier fuss with the off-kilter Blood Purity, injecting some insectoid funk in Reclamation.
Nice ’n breezy debut solo album tessellating techno, jungle, house and all those vintage feels with a classic feel for genteel, pastoral psychedelia. RIYL Lord Of The Isles, Carl Craig, SW
“Whacked out from the whisky soaked bristles of Firecracker HQ, the Danish DonDaDa DJ Sports (he of Regelbau and Help Recordings fame) offers up a maiden LP of vast and varied sonic states. Get set for solid rave aesthetics aplenty - the double pack’s journey trudges over a musical milieu of broke-beaten, ambient driven house and techno, melancholy junglist and dubwise downtempo. One foot in the past, one foot in the future and killing the present - a perfect and timely addition to the Firecracker canon.”