Well studied throwback funk, soul bossa and jazz-fusion from London, 2017
“The album starts with 'Moonlight Woman,' a song that harks back to the Headhunters era, but with a contemporary twist - close your eyes and your transported to 70s Harlem, walking shoulder to shoulder with Richard Roundtree! 'Elephant & Castle' follows, a clear reference to south Londons Latin quarter, the tune has a distinct hustle and bustle quality. With a strong flute solo and upbeat rhythm section this tune is sure to have you clapping your hands and stomping your feet. The first side draws to a close with a tasteful Dilla inspired skit, 'Trudi's Mood,' which demonstrates the bands wealth of influences and leaves the listener eager to continue their sonic voyage, with Ruby Rushton at the helm.
Side two opens with a haunting ballad, 'Prayer For Yusef,' a song written in memory of the late Yusef Lateef. It starts softly with a bowed double bass and bamboo flute, accompanied by ghostly percussive noises and slowly rises to a large crescendo, with drums and piano in tow. It's a strong tune and a fitting dedication to the late, great Yusef Lateef. No sooner has Lateef's ballad gently faded away then 'Where Are You Now?' kicks in. Starting with a cool, neck-popping 3/4 beat, and utilising a four-piece horn section, the rhythm section struts its stuff whilst flute and trumpet carve out a playful melodic line. Just as you settle into its hypnotic bounce the tune falls through a Monk inspired chromatic bridge and without warning reappears as a solid Latin groove, leading to strong solos from both sax and keys. The rhythm section charges through to the end, never lagging, and are rejoined by the four-piece horn section, which stabs its way to a tight finish. The album comes to a close as 'The Camel's Back' fades in with an eerie sax solo and free form drums, before settling into a catchy bass motif and quickly fading away, leaving listeners on the edge of their seats and wanting more. It’s a great ending to an intoxicating joy ride through a multitude of genre defying styles!
Simply put, this album is a must have for any listener yearning for exciting and fresh contemporary music. Essential listening for fans of Kamasi Washington, Yussef Kamaal and GoGo Penguin.“
Dry and crunchy techno variants from Detroit youngblood Altstadt Echo, making his first incision on Interdimensional Transmissions’ Eye Teeth imprint after a string of 12”s for his Modern Cathedrals label.
The sound is distinctly more european than Detroit, turning up a brittle, breaks-driven groove in the titular A-side Reposed In Nihilism, whilst the B-side’s Ersatz juggles Diwali Riddim-style claps over gaunt dub chords and restless bass, and The Necessary Facade kills the lights for a hunched tri-step shuffle with stark features picked out by spotlighting chords.
The Early Years follow up last year’s comeback album ‘II’ with a new EP featuring two reworkings of ‘Hall Of Mirrors’ by Andrew Weatherall, which the man himself describes as “like taking Steve Reich down the disco with a bit of acid thrown in”.
"Joining him on remix duties are Andy Bell from the reformed and rejuvenated shoegaze legends Ride, who welds the bassline from Wayne Smith’s ‘Under Mi Sleng Teng’ on to 'For The Fallen’ and turns it into a pulsating electronic groove. Finally, The Early Years’ Sonic Cathedral labelmate XAM (aka Matthew Benn from Hookworms) stretches out ‘Fluxus’ into 13 exhilarating minutes of Kraftwerk meets New Order (circa ‘Power, Corruption & Lies’) meets Simple Minds’ ‘Theme For Great Cities’."
Biding her time until now, Nina Kraviz makes her maiden appearance on трип, the label she’s run since 2015, with a trio of signature, hypnotic house and techno pieces informed as much by Chicago as cold European electronics.
On Pochuvstvui she beats out a crisp, driving jack track layered up with echoic vox and feathery acid lines primed to bring the up the big rooms. You Were Wrong follows in the vein of Green Velvet with nagging, EBMy bass and skipping hi-hats neatly tripped out again with her own vox and silvery, sylvan organ to lip-biting effect, also presented in a condensedShort Version.
Venerable virtuoso guitarist Mike Cooper evokes rich imagery and narrative through simple means - lap steel guitar, FX and imagination - on a particularly personal, compelling solo journey for Room 40; an elegy to formative influences, acknowledging departed friends in beautifully affective style.
If you’ve ever heard a Mike Cooper album you’ll already no doubt be familiar with his peculiar kind of alchemy, taking traditional Pacific music and re-factoring it with electronic treatments influenced by his love of radio art and sound installations.
Now 75 years old - his music sounds utterly contemporary, situated somewhere between Takoma, Exotica, 4th World and Ambient musics; always with a minimal, evocative signature that honestly sounds quite unlike anything or anyone you’ll have heard before.
His inspiration for this album, recounted below, provides heartbreaking context for the sounds you’ll hear on ‘Raft’, but suffice to say that this album has once again convinced us that Cooper is one of the most inspirational and consistently brilliant artists working on the scene today, long may his reign continue.
“When I was 18 years old I had a friend who was twice my age - 36. We worked together in the same timber mill - Baynes in Reading - where i was apprenticed by my father - I had no say in the matter - despite wanting to go to art college - which in hindsight would probably have been a mistake.
My friends name was Jim - Jim Sale. I sensed that Jim was different to all the other men who worked in the mill and my suspicion was confirmed when discovered that he was building a boat in another part of the mill - nearer to the Kennet and Avon canal that ran past - not far away. i was actually destined to work for a while in that part of the mill for a while - it was where they ‘kiln dried’ timber prepared for building purposes.
As time went on Jim became a kind of ‘life mentor’ for me. He and his wife (name gone Im afraid) were my first ‘adult’ friends outside my family. Jim and his wife already lived on a boat when we first met - a canal barge - longboat - and i often visited them down on the river Thames where they were moored. I began to love the river due to them and spent many hours walking it in all the time that I lived in Reading.
The millionaire and holiday resort owner Billy Butlin organised a charity walk from John O Groats in Scotland to Lands End in Cornwall for a prize of 500 to the winner -- 715 people entered - including Jim who as far as I remember completed the walk but didn’t win the money to finance his boat. It was about 1000 kilometres all in all. That was kind of person he was.
Eventually Jim did finish building his boat -- more of a waterproof plywood box really. One weekend he borrowed one of the timber mill cranes and lifted it up and over the fence into the canal. It floated -- he then single handed poled it down the canal to the main body of the Thames. He had no means of steering this box and its only power was his two arms and a long pole. It was reasonably ok going down the fairly tranquil flow of the canal but when he finally hit the main river the current took hold and it began to rotate while being dragged down stream - which wasn’t the direction Jim intended for it to go. Somehow he survived it all and managed to get it to go where he wanted which was to De Montfort island - now called Fry’s Island. There was a ‘bohemian jazz club’ on the island at the time called The Bohemian Club. The island was named after Robert De Montfort who fought a duel there in 1157 with Henry Of Essex.
Jim and his wife settled into life on the island - fitted out the ‘boat’ and had two children - they travelled back and forth to the river banks by a small rowing boat whenever they needed. My own life took me away from them as i began to play music with my band The Blues Committee and sing and play in folk clubs.
We had friends in common and I stayed in touch and I visited several times - one day I heard the terrible news that the boat had caught fire and they were unable to rescue their two children. It was the first funeral i ever attended and I have never saw either of them again after that.
So - Raft will be dedicated to them as well as William Willis and Vital Alsar and his crew.”
Light the Currents is the third release by Glasgow's Sound of Yell, following their 2014 LP Brocken Spectre and 2015 single Fortunate Fume on Chemikal Underground.
"Composed by Stevie Jones, and performed together with Georgie McGeown, visual artist Vikki Morton (Muscles of Joy, Suckle) and Trembling Bell's Alex Neilson, Light the Currents is a bright and buoyant acoustic arrangement in two parts; the first written for a special performance at an exhibition of artwork by Katy Dove at Dundee Contemporary Arts in October 2016, the second written afterwards as a response to the exhibition and the experience of playing there.
Stevie Jones is one of the great music collaborators of Scotland, involved with a variety of projects incorporating theatre & film, playing as a member of Alasdair Roberts Trio and Arab Strap as well as a wealth of ensembles from Glasgow's genre bending fringes, all to the benefit of his own project. Sound of Yell possess a musical dexterity and lightness of touch that seem distinctly of their home town. These two gorgeous compositions are the perfect summer soundtrack."
Micromanic is a colossal slab of percussive energy composed and performed by Berlin based Matti Gajek.
"Micromanic begins with tentative steps, which soon morph into a chattering electronic birdsong before giving way to an assertive, hammering bassline. The structure eventually crumbles into discordant noise and echoes, eventually giving way to something gentler and almost bucolic.
Gajek weaves a complex and varied narrative with absolute technical aplomb, resulting in an experimental and hypnotic recast of Krautrock. Gajek is signed to Monkeytown Records and recently toured with Chris Clark. He is also a member of the freshly formed New Composers Collective (NCC) together with Andi Toma, Jan St. Werner and Michael Rauter."
Lucerne’s zweikommasieben Magazine cough up two chunks of cranky noise and gabber from —Nilbog (aka Mr. Peña & L.A.B.) and Mr. Peña in the wake of previous editions by Raime, Robert Turman, dane//close, P. Noir a.o.
The A-side very cannily features the edition number written on the wax in marker pen, and whilst the ink doesn’t actually disturb the wax, it’s kinda hard to tell the difference anyway as its Liverecording 02/11/16 sounds like the death gargle of a modem anyway.
The B-side’s TMC (The Markt Chornicles) however is easier categorised as a mutant gabber thing mixing ear-shreddingly sweet hardstyle melodies with rampant bass drums at breakneck velocity.
Either side could have feasibly come out on Zhark or Praxis over the last 20 years.
Charmingly frivolous Belgian soundtrack for contemporary dance and children’s theatre. File beside your copies of Alain Pierre’s jan Zonder Vrees OST, and Graeme Miller & Steve Shill’s score for The Moomins
“Considering Elko Blijweert's been active in the Belgian music scene for about fifteen years now, it comes as quite a surprise that "I Bambini Di Basilisco"is only his first ever solo album. Known mainly for his virtuoso yet ever idiosyncratic guitar playing, Elko B. treats the listener to much more than just that. With the exception of the heavily guitar-driven western pastiche "Cochon Torrero", the emphasis here lies on dark Carpenteresque synthesizer sounds as well as jolly child-friendly melodies.
The twelve pleasantly concise songs, mainly based on compositions Blijweert made as soundtrack material for contemporary dance theatre and children's puppet theatre, beautifully blend together into a whole as the listener is presented with a unique glimpse inside the wide-ranging imagery that is Elko B.'s ever-expanding musical world.”
French soundsmith Sebastien Bouchet has a well-documented knack for deep, eccentric techno and house – as well as a reputation for keeping his solo releases few and far between.
"Seeing him return to Kompakt under new monicker Sebastopol is a pretty special treat, then – his last contribution to the Kompakt label family dates back to 2014, when he dropped Speicher 77.
Opener and title track Gahalowood gets things off the launch pad quickly, thanks to its stoic kickdrum and surging synths – but it’s those vocals that really pull you in, evolving from atmospheric swabs of texture to full-blown mumblecore imbued with all the deadpan romanticism of an early 80s New Wave act. B side follow-up FLASH POOL seems equally committed to the human voice, deploying its intimate groove whispering upfront, but takes an unexpected turn into psychedelic cowbell territory where feral bleeps roam the lands and hooklines grow in the weirdest of places.
Closing cut HEAVEN presents a comparatively straightforward house arc - while still sniffing out some trippy goodness that’ll leave your thirst of sonic adventure wholly satisfied."
Untold takes the deconstructed club music thing to a logical next stage with the tattered dynamics of HEK029, his first new release since Doff , and a fine follow-up to Parris’ Your Kiss Is Sour for Hemlock.
With the fractious, febrile dynamics of Tear Up The Club it sounds like he’s been dream-stealing from Lee Gamble and BLOOM, resulting a cloud of dissected jungle and ambient tropes diffused into a delirious, elusive polymetric designs suggesting myriad options for the DJs and dancers and a remarkable headful of madness for the home or headphone listener.
Watton Res feels to invert that effect, conducting his rhythmic itchiness at the perimeter of the piece around a languid core of balearic, new age strums and convulsive bass in a sore but lush flux of ballistics and proprioception-challenging dimensions.
Kenny “Moodymann” Dixon Jr.’s remixes for Pollyn, given a plate to themselves for the first time, cut a side a piece for the DJs and optimal dancefloor pressure.
The loose-limbed swang of his take on Sometimes You Just Know owns the front with darting bass swerve and dabs of crowd noise livening up and cooling out Pollyn’s disco-pop original.
On the flip you’ll find KDJ’s sublime, sensuous rework of Too Late To Change The Past, taken from their Distress Signals  album and smushed with an amazing, oily bassline and impeccably ‘90s-sounding pop vox - think Opus 3.
After a session together in a Bergen studio 20 years ago which sadly only resulted in a distorted tape, Bjørn Torske and Prins Thomas finally get back together to make music.
"Bjørn Torske is a figurehead and grand old man of the electronic music scene in Norway, inspiring and laying the foundation for producers like Prins Thomas, Lindstrom and Todd Terje.
Bjørn and Thomas' relationship goes back to the mid 90's when they first bonded over a shared passion for oddball disco, dub and detroit techno. This album is in many ways full circle with Bjorn and Thomas making music together for the first time.
Square One is a collection of loose, abstract and freeform avant-disco jams, parallel world-disco maybe? Whatever you call it, this album is a labour of love. A sound they both have traveled towards for all these years. And here they finally are, at square one.
The album was recorded live in Taakeheimen Studio, Oslo, in the spring of 2015 with both guys manning an instrument each in each overdub, piling the layers of sounds on top of each other. A year later they took the now edited tracks and mixed them down in live takes with all hands on the desk in Malabar, another Oslo studio. After a couple of rounds with some very blunt scissors the tracks became what are now included on this album.
Square One is a meeting of two minds. Probably as close to their musical soul as you can get."
The dual albums find the trio of Buzz Osborne, Dale Crover and Steve McDonald showcasing two distinct sides to the band’s music: ‘Death’ is a ‘proper’ Melvins’ release and ‘Love’ is the score to the Jesse Nieminen-directed, self-produced short also titled ‘A Walk With Love & Death’.
"“This was a huge undertaking,” explained band ringleader Buzz Osborne. “All three things: the album, the soundtrack and the film are benchmarks for us.” Drummer Dale Crover added, “‘A Walk With Love & Death’ is one giant, dark, moody, psychotic head trip! Not for the faint of heart. You’ll sleep with the lights on after listening.”
The albums, which include guests Joey Santiago (The Pixies), Teri Gender Bender (Le Butcherettes / Crystal Fairy) and Anna Waronker (That Dog), were co-produced with engineer Toshi Kosai."
As one of the standout projects unveiled by the excellent but sadly now defunct /\ \ Aught label (2014-2015), Xth Réflexion’s /\ \ 05 + /\ \ 06 tapes transmitted some of the most enigmatic dub techno mutations since Chain Reaction kicked the bucket in 2003. Now brought to vinyl by a mysterious new label, Chained Library, we’re given a firmly tangible, if decidedly elusive reminder of Xth Réflexion’s raving, abstract excellence here.
Collecting /\ \ 05 + /\ \ 06 in their entirety - 10 tracks to be precise - Xth Réflexion’s first vinyl plunges listeners into a world of kinetic dub ephemera, feeling out a grayscale palette of cracked rhythms, silty chords and atmospheric grit with a sublime appreciation of flux and drift that feels to emulate the sensation or dynamic of brownian motion with an intoxicating appeal akin to the systolic diffusion of opioids or air-con in a sparsely furnished, humid room.
They scale and skid between tempos with naturally fluid agility, sucking us in with the flux of acousmatic source material, strobing dub rhythms and coruscating noise in 01 before winding up the tightly coiled, double-time flex of highlight, 02 and jabbing out the panicked underwater coda of 04 on the first disc, before the 2nd wraps up wickedly restless square bass squirm and rhythmic noise in 05 and 06, along with the desiccated structures of 07, plus the Voices From The Lake-style roil of 08 and the Lee Gamble-like immersion 10.
Striking the finest balance between abstraction and just-about-buoyant dub function, they are, by some distance, the best examples we’ve heard crawl out of the whole grey area in the last few years. A really strong look for anyone looking for solutions to grid-locked rhythm and sound problems.
P.S. if you’re worried about the packaging affecting the fidelity of the vinyl, we’re pretty sure that’s supposed to be the point, especially considering that the originals were presented on tape.
Akkord slip out of the shadows with the wraith-like jungle killer RCVR and a mutant ‘ardcore twyster, XMTR for their spiritual home; Rob Booth’s Houndstooth.
With time spent on respective solo projects since release of the Obelisk 10” , they hungrily converge on a sound somewhere between Burial and Demdike Stare with the lip-bitingly strong swerve of RCVR, seemingly reanimating the cadavers of ’94 Dillinja and Bizzy B like when you run an electrical charge thru a dead frog, triggering a golem-like creation of brittle breakbeats and arcing, slashing mentasms primed to run amok in the rave.
XMTR goes even farther backwards/forwards into the grave of UK ‘ardcore, exhuming and experimenting with the bodies of 2 Bad Mice in a back street vivisection of illegal subs and gristly breaks guided by a dread hand.
Rubadub kicks off an irregular new series with three dead-on techno-house tracks by New York's Anthony Naples (Mister Saturday Night / Trilogy Tapes / Opal Tapes). Buff up yer dancing clogs 'cause this one's an ace, from the Shake-like chords and jack of 'Ill Still' to the good-times disco -house vibes of 'Faceless', and the gritty-but-elegant thump of 'I Don't See Them' on the flipside. Aces.
Aisha Orazbayeva and Naomi Sato link up for this richly textured reading of John Cage´s Two4, a late work from the composer's series of Number Pieces. The release follows recent records from SN Variations featuring music by Giacinto Scelsi, Adrian Corker and Chris Watson among others.
Steady, crystalline tones emanate from Naomi Sato's shō - a Japanese wind instrument associated with gagaku court music, and one of the few non-Western instruments that Cage wrote explicitly for. In contrast, Orazbayeva brings out the violin's fragile grain with the soft scraping of horsehair and the interplay of upper partials.
Like all of Cage´s work from the early 1950s onwards, the Number Pieces were composed using chance procedures, in an attempt to free music from the composerly impulse to order and fixity.
The Number Pieces occupied Cage throughout the last six years of his life, and are marked by the use of time brackets: simple fragments of music with timings indicating when, in the overall composition, they should begin and end. In Two4 (as in the majority of the series) these timings are flexible, to be determined by the musician either in performance or, again, through chance procedures.
In Two4, the fragments are often no more than a single note. The interaction of sounds becomes highly unpredictable: at some points violin and shō mesh in a kind of brief unity, while elsewhere they seem to drift serenely past, or through, each other. Throughout, sounds spill out like ink on blotting paper, surrounded by pregnant silence.
Other recent projects from Aisha Orazbayeva include performances at Oslo's Only Connect (with Tim Etchells) and Copenhagen's Klang festival (with Plus Minus) as well as recording Morton Feldman's Piano, Violin, Viola, Cello for forthcoming release on Another Timbre.”
After hinting at this sound for years, Stefan Schneider and Sven Kacirek turn out as uniquely beguiling mesh of textured rhythmelodic electronics and Sofia Jernberg’s pinched, puckered vocals shaped into wistful, sorta-ambient pop songs. RIYL Kriedler, To Rococo Rot, Harmonia
“Another dose of whirring rhythms and dark drones courtesy of Stefan Schneider and Sven Kacirek. This time around they have introduced the beguiling tones of Swedish singer Sofia Jernberg on three pieces. The Düsseldorf/Hamburg duo Schneider Kacirek released their debut album Shadows Documents some three years ago (BB 175CD/LP). A coarse energy ran through Shadows Documents, drawing on the pair's various excursions to Kenya as producers. Shadows Documents was a somnambulistic interpretation of Kenyan music using drums and percussion (Kacirek) and analog synthesizers (Schneider) -- no samples. The two of them took their time working on Radius Walk. Since their debut release, they have toured extensively with the likes of John McEntire (Tortoise, The Sea and Cake). The experience of playing together in live situations has influenced how they interact as musicians, a process which has helped to shape the new record. The acoustics of Sven Kacirek's studio were set up perfectly to capture the forceful sound of the drums and analog synthesizers as they melt into a compact whole. The result is a sonically more concentrated and more transparent album in comparison to its predecessor.
Dark bass drones and whirring percussion sounds figure prominently in the music. A fascination with repetitive rhythm is the common thread which runs through the musical development of both musicians: listen to Stefan Schneider in his other projects, the bands Kreidler and To Rococo Rot, and his albums with Hans-Joachim Roedelius. Further evidence can be heard on Kacirek's solo albums, in particular on his much-lauded Kenya Sessions (PING 020CD, 2011). By introducing the Swedish singer Sofia Jernberg, Schneider and Kacirek have added a new dimension to their music. They first met Jernberg in Berlin, where she performed with Kenyan singer Ogoya Nengo for whom Schneider and Kacirek had done production work in the past. As one of the most sought after vocalists on the improvised music circuit, Jernberg made an immediate impression on Schneider and Kacirek, who were quick to suggest that they work together. The splendid fruits of their labors can be savored on three tracks on the album. "Dust", "i Atlanten", and "Smiling" express both Jernberg's love of Scandinavian folk music and her mastery of improvisation. Her voice neither dominates the songs in the manner of a singer-songwriter, nor does it lean towards crossover experimentation. It feels more like a brand new genre of music.”
Smoky, lo-fi introspection from Italy’s Morkebla and Portland-based Best Available Technology (BAT) from 2015, making its first digital appearance here.
The Morkebla tracks are oozing with late night feels, with the claggy chamber synth meditations of Absent Visor and I Numeri Maestri sandwiching the SKRSINTL-esque dub wormhole, A Sob Inverts, and BAT does his cranky offbeat thing with murky results in Recasting Ope and what sounds like Pole played by machine sprites in Spectra Exigent.
Dutch electro-jazz-funk oddball Jameszoo gives a welcome follow-up to his bugged-out Fool album with the mad flair of his Flake EP, including faithfully freaky remixes from Niels Broos and Frans Petter.
Working at the maddest angles of his ‘Comedy Funk’ style, Jameszoo treads a fine line between instrumental looseness and bittersweet synthetic tones across the EP, turning up most endearing highlights in the head-pinching highs and collapsed groove of Rolrolrol, and the almost Arca-esque swoon and discordant keen of Spit, before his Jameszoo Quartet keyboardist Niels Broos squeezes the title cut Flake into wild, squirming, weightless figures, and Frans Petter strokes the same elements into a sort of curdled fusion jazz with tuffer breaks.
Jan Schulte makes his Dekmantel debut with Peace Moves, an EP of percussive soul, that captures the Salon Des Amateurs resident in full, tribal swing.
Four tracks of informed, well-paced grooves, and finely crafted beats that extenuate the German’s penchant for the mature, and fun loving heads.
Drowsy, melancholy dub-pop from New Jackson’s From Night To Night album
...backed with a dosed-up and floppy skanking Peaking Lights remix and his vocodered kosmiche boogie ace, Let The Freak Come Out At Night.
San Antonio, Texas-based House of Kenzo add to the trail of dancefloor destruction on Rabit’s Halcyon Veil with a debut EP of rugged hard club tracks experimenting with a fusion of gabber kicks and heavy metal slashes.
Bonfires of Urbanity showcases three of the collective in fierce fashion, tossing up the controlled rage of Ledef’s blast beat rushes, side-eying vocals and cartoonish sirens in Purity Bynez, and to Death Grips-like effect in Hangar Queen featuring barked vocals by Kelly Mizrahi, with a paranoid, claustrophobic diagnosis of American contemporary culture in the EP’s most impressive part, Tone Pardon’s fractious anti-banger, Melania Carry.
From the ashes of the excellent /\\Aught label comes Chained Library with a deadly smart incision on the whole abstract and noisy techno paradigm from the enigmatically monikered Agnes.
The label’s first release - preceding a vinyl issue of Xth Réflexion’s /\\05-06 - offers two extended tracts of stoically convincing and oblique rhythmic noise threaded with ghost ion the machine fluctuations that keep us utterly rapt for the duration.
We could compare it to a stoned Russell Haswell getting fixated on the minute of his thing, or perhaps more pertinently a Zbigniew Karkowski piece, but as with the best of its ilk, there’s just something about these pieces that’s deeply fucking satisfying, but we can’t quite place our finger on or explain.
At long f**king last, DJ Bone’s stone cold Metroplex classic sees reissue on Anotherday for its 18th birthday, putting one of the deadliest Detroit electro-techno 12”s back into circulation for a new generation and those who’ve worn theirs to the bone (pun intended).
Riding The Thin Line notably features two cuts that were integral to DJ Bone’s seminal and incredible Subject: Detroit Volume 2 mix, namely Shut The Lights Off, a slamming tribal tool with stentorian vocals and utterly spine-freezing pads that get us every time, and the body messing acid-electro hydraulics of The Funk, which is pretty much a definitive answer to the question, what is Detroit electro?
Factor in the floating peak time pressure of The Haunting, pitch it all to about +4, and you’ve basically got an unmissable 12” for any self-respecting Detroit fiend.
R&S dig into the Romanian tech-house underground with Ada Kaleh’s woozy, Villalobos or [a:apia:r]-styled jaunt on Palatul De Cleştar, which is given a slightly darker shake-up by Hungary’s Laurine Frost on the remix
The hypnotically contoured and sloshing form of Kaleh’s Devotare is recoiled as a surging minimal techno burner by Romania/Berlin’s Cosmic TRG.