Torn Hawk hitches his wagon to UTTU for a tightly packed EBM session called Worm Quest, taking the examples of his Men With No Memory 2x7” down wilder back alleys of industrial dance music.
The four tracks fall somewhere between Gatekeeper’s EBM maulings on their Giza 12”, and the hi-energy Swedish EBM of Cats Rapes Dog, packing as much hi-tech funk torque into every second between the robocop dancer Wormquest and the new beat-nodding promo sample stabbed into Drain The Club on the A-side, then strangely recalling early ‘90s AFX in the taut clatter and martian melodies of Homeschooled Weirdo, saving something like a VHS Head sound with angular DX7 twang and tense techno ructions in The Paramus Achievement.
Hodge puts some much needed air and swing in Randomer’s drums on their smart, driving rave techno collaboration If I Could Stop, while Slipping catches them working on the offbeat with a nimble rhythmelodic hustle.
Alden Tyrell & Clone boss Serge give If I Could Stop a killer remix punctuated with achingly tight electro suss and riddled by virulent acid lines. Kowton sees to Slipping with his ghostly, gritty dub style, re-licking its envelopes to make the drums slide around a slippier sound sphere against keening, forward leaning electronics, right on the cusp of groove control and psychedelic looseness..
CPU boss and electro-obsessive Chris Smith has meticulously notated and recreated classic electro-bass drum tracks on the Roland TR-808 for DJ Tools, Vol. 1: 808 Tracks
Ranging from the bare bones of Hashim in The Soul, thru Mantronix’s Needle To the Groove, Herbie Hancock’s Don’t Stop, and, best of all, Juan Atkins’ Clear. It’s pretty mad to hear them all shorn of synth flesh and muscle, but they’re evidently all primed for DJs who wanna extend or cut-up any of the originals. Good work.
Jon Hassell’s downbeat, jazzy slice from 2005, now available to download
“BEGINNING with three live concerts, each recorded in four instrumental layers, some performances (notably, trumpet) were kept intact, other layers were either re-performed or invented anew while some layers migrated from one performance to another. Some completely new tracks were made by cannibalizing parts from previous works and reshaping them. My hope is that, by weaving together the spontaneity and "imperfections" of a live concert with the "detailing" of a studio recording, something distinctive results.
I almost subtitled this record "Improved Concerts", after Mati Klarwein's "Improved Paintings" series in which ordinary flea market paintings were miraculously transformed by painting into and out of the original. But one track—which exists only as a stereo recording—has been left untouched: the "encore" at the end, 'Open Secret (Milano)'. - Jon Hassell”
The Trilogy Tapes grip Bass Clef rolling out on a rave tip with his first 12” shot in over 12 months.
With Entendrillar Mr. Cumbers whisks clipped rave chords into an aerated frenzy on a sloshing, whipsmart electro-swing groove (not that kind, but we could almost imagine the same crowd getting bandy-legged to this wan), whereas his Transprism dips to a lilting, Afrrhythmelodic cadence compatible with Elgato’s slippery, breezy styles.
Diverse beats from MBM, dropping a precursor to their 'Answers Come In Dreams' album. 'Moving Body' makes the first move with chunky and distorted hiphop swing, while '4our' offers something far more interesting in a robust downtempo acid jacker with heaving dub bass and distinct Autechre-inflections. 'TRS2' follows on a heavyweight darkside electro tip akin to the Pyramid Transmissions lot and the title track sounds like vintage Mike Ink.
Fabric 96 is a mesmerising, needle-point techno mix by DVS1
Flowing thru 29 tracks in 78 minutes with an unfeasibly tight appreciation of tonal modulation and pressure control. We’ve not heard this style so stringently applied since Hawtin’s DE9 | Closer To The Edit, but DVS1 does it with a finer, uptempo flow of his own that firmly represents what he does in the club. Sheer class.
Bass Clef’s back on Trilogy Tapes for his 2nd shot of 2017.
A-side he locks deep into JA/UK dub traditions with the barrelling subs and messed-up, spooling steppers’ drums of Interform, then maintains that sense of undulating turbulence into the off-centre lope and skank of Untunnel like N.M.O. on a sun-dazed mission to West Africa, climaxing by driving over the edge into a febrile descent of dubbed-out and cold-sweating darkness.
Fiercely direct grime instrumentals from J Beatz
Going in heavy with the maaad acid bass graffiti on Stinjan, giving it up for Gyal from Brum with proper feminine pressure, then getting nasty with the snares and crud bass in Hop Scotch, and delivering the knock out blow with those combustible, distorted bass and brass sounds on Sket, saving the dark blue R&G of Nutshell for dessert.