Completing the one-two of soundtrack discs from Twin Peaks The Return, this is the Music From the Limited Event Series, containing pretty much all the songs from the Roadhouse scenes; from a new Nine Inch Nails song to classic rock by ZZ Top and even Dirty Beaches’ Alex Zhang Hangtag with Dean Hurley and Riley Lynch (David’s son) as Trouble.
In classic Lynch fashion, the closing scenes were often total non-sequiturs to the madness which preceded them, and, despite a few duds, they were mostly watchable as we all tried to figure out the past hour’s events.
There are strong moments in the likes of NIN’s heaving industro-dub growler, She’s Gone Away, and likewise in the cocksure swagger of Trouble’s Snake Eyes, or the diaphanous latin torchsong of Rebekah Del Rio’s No Stars (the one with Moby on bass).
However, Julee Cruise's already familiar (and re-recorded?) version of The World Spins ends the set, and the series, to spine tingling effect - just so damn good.
ASC and Sam KDC plot new vectors thru the grey area on a sleek but rugged Saturne debut for Auxiliary.
Named after there massive planet, Saturne zoom out and scale up to vast space between techno, D&B and cosmic electronics in four parts, conjuring a strange temporal sickness with the hoofing bass and glacial atmospheres of Polarise, and gating that energy into the icy, Monolake-alike roll of Momentum.
The gritty hydraulic pump and fathomlessly wide space of Entropy is the EP’s most impressive showing for techno heads at the deep end of the pool, where Density Matrix finds them jumping off from nods to early Virus nods monotone techno into trip deep space techno zones.
Coucou Chloe pays up on the promise of her live shows and a strong debut for Berlin’s Creamcake with six tracks of plasmic new club music, both self-produced and featuring peers, Sega Bodega and Kablam.
Launched by new label, Nuxxe - also home to Shy Girl - Chloé’s Underdog spells out a distinctively aerated take on reggaeton, ambient R&B, grimy drill and hardcore techno, each perfused with her own vocals, varying from diaphanous clouds of gender fluid android accents to louche, ASMR-like whispers.
It’s all anti-banger in effect, deferring the gratification of “big drops” or breakneck drum programming in favour of plaintive but generous grooves and layers of dissonant, processed electronics moving acres of negative space, always leaving room for suggestive doubts and nervy uncertainty.
The four solo parts are strong, shelling the slow, icy fire of distorted dembow drums and percolated vox in Underdog, and with an absorbingly stark, piquant take on south London road rap and Zomby’s Eski grime in Stamina, whereas GS recalls the crooked lean of early Arca and The Letter adopts a floating ambient chamber stance before calving into reggaeton drama.
However, the strongest moment is arguably Flip U, made with Sega Bodega to sound like Jam City working with a blank-eyed Siri.
Typically enchanting electro-acoustic enigma from Philip Jeck, forming a richly abstract narrative from the reactive fizz and and timbral thizz of smeared shellac textures and their keening, dissonant harmonics
“Philip Jeck studied visual arts at Dartington College of Arts in the 1970's and has been creating sound with record-players since the early 80's. He has worked with many dance and theatre companies and played with muscians/composers such as Jah Wobble, Steve Lacy, Gavin Bryars, Jaki Liebezeit, David Sylvian, Sidsel Endresen and Bernhard Lang.
He has released 11 solo albums, the most recent Cardinal, a double vinyl release on Touch. Suite, another vinyl -only release, won a Distinction at The Prix Ars Electronica, and a cassette release on The Tapeworm,Spool, playing only bass guitar. His CD Sand (2008) was 2nd in The Wire's top 50 of the year. His largest work made with Lol Sargent, Vinyl Requiem was for 180 record-players, 9 slide-projectors and 2 16mm movie-projectors. It received a Time Out Performance Award. Vinyl Coda I-III, a commission from Bavarian Radio in 1999 won the Karl Sczuka Foderpreis for Radio Art. Philip also still works as a visual artist, usually incorporating sound and has shown installations at The Bluecoat, Liverpool, Hayward Gallery, London, The Hamburger Bahnhof Gallery, Berlin, ZKM in Karlsruhe and The Shanghai and Liverpool Bienalles.
Philip Jeck has won the Paul Hamlyn Foundation Award for Composers 2009. A presentation ceremony took place at The Royal Institute of British Architects, London, on 9th November 2009. He has toured in an Opera North production playing live to the silent movie Pandora's Box (composed by Hildur Gudnadottir and Johann Johannson). He has also worked again with Gavin Bryars on a composition Pneuma for a ballet choreographed by Carolyn Carlson for The Opera de Bordeaux and has recently made and performed the sound for The Ballad of Ray & Julie at the Everyman Theatre, Liverpool.”
Blue-eyed souljazz music...
“At only 25, the multi-instrumentalist, vocalist and producer - born in New Zealand to a Kiwi mother and father from the Cook Islands - is a rare talent whose distinct take on soul captures a sonic and emotional awareness many artists spend their entire careers chasing. He writes with a maturity and flair that belies his years and new album “Wallflower” sees Jordan edging beyond the peripheries of the genial, often sun-flecked sound his fans have come to know him for. The easy swing that has been the backbone of his sound from the outset is ever present, harking back to teenage days spent in his bedroom with his beloved MPC trying to emulate 9th Wonder and Pete Rock.
On “Wallflower” the tools and the process have evolved - the focus is on live instrumentation - but the groove and the cadence are unmistakable, framing soul and jazz in a truly vibrant oeuvre that simultaneously recalls his predecessors The Roots and peers The Internet, Nick Hakim and Hiatus Kaiyote.”
Lushly suspenseful, ecstatic and diaphanous new age magic, incorporating jazz, raga drop blues and folk-wise turns, by one of the sound’s genuine originals. Do yourself a favour and check the gorgeous lift of ‘Open The Gift’
“A collection of brand new studio recordings, recorded by Davey Jewell (Peaking Lights/Flaming Lips) and mixed by Carlos Niño (Leaving Records). A magical mixtape of tracks that run the full gamut of ‘Laraaji music’, from blissed-out percussive jams to reflective vocal hymnals to trance-inducing drones. A perfect Laraaji entry-point on his never-ending creative journey through inner light.
Laraaji is a musician, mystic and laughter meditation practitioner based in New York City. He began playing music on the streets in the 1970s, improvising experimental jams on a modified autoharp processed through various electronic effects. Brian Eno saw him playing one night in Washington Square Park and invited him to record an album for his seminal Ambient series (Ambient 3: Day Of Radiance, released 1980). Laraaji went on to release a prolific series of albums for a wide variety of labels, many of which he recorded himself at home and sold as cassettes during his street performances.
In recent years he has had his career celebrated extensively, with two All Saints retrospectives Celestial Music 1970–2011 and Two Sides of Laraaji – as well as reissues on Glitterbeat and Leaving Records/Stones Throw. He has also collaborated with a new generation of underground musicians such as Sun Araw - their recent LP Professional Sunflow (Superior Viaduct) being the fruit of the live shows they played together in 2014.”
Digging beneath the mess of the world to find the beauty underneath is perhaps the most consistent theme in Chelsea Wolfe’s expansive discography—a theme that ties together her ceaseless explorations in unorthodox textures, haunting melodies, and mining the grandeur embedded within ugliness and pain.
"With her sixth official album Hiss Spun, Wolfe adopts Miller’s quest to become empowered by embracing the mess of the self, to control the tumult of the soul in hopes of reigning in the chaos of the world around us. “I wanted to write some sort of escapist music; songs that were just about being in your body, and getting free,” Wolfe says of the album before extrapolating on the broader scope of her new collection of songs. “You’re just bombarded with constant bad news, people getting fucked over and killed for shitty reasons or for no reason at all, and it seems like the world has been in tears for months, and then you remember it’s been fucked for a long time, it’s been fucked since the beginning. It’s overwhelming and I have to write about it.”
Hiss Spun was recorded by Kurt Ballou in Salem, Massachusetts at the tail end of winter 2017 against a backdrop of deathly quiet snow-blanketed streets and the hissing radiators of warm interiors. While past albums operated on the intimacy of stripped-down folk music (The Grime and the Glow, Unknown Rooms), or the throbbing pulse of supplemental electronics (Pain Is Beauty, Abyss), Wolfe’s latest offering wrings its exquisiteness out of a palette of groaning bass, pounding drums, and crunching distortion. It’s an album that inadvertently drew part of its aura from the cold white of the New England winter, though the flesh-and-bone of the material was culled from upheavals in Wolfe’s personal life, and coming to terms with years of vulnerability, anger, self-destruction, and dark family history. Aside from adding low-end heft with gratuitous slabs of fuzz bass, long-time collaborator Ben Chisholm contributed harrowing swaths of sound collages from sources surrounding the artist and her band in recent years—the rumble of street construction at a tour stop in Prague, the howl of a coyote outside Wolfe’s rural house in California, the scrape of machinery on the floor of a warehouse at a down-and-out friend’s workplace. Music is rendered out of dissonance—bomb blasts from the Enola Gay, the shriek of primates, the fluttering pages of a Walt Whitman book are manipulated and seamlessly integrated into the feral and forlorn songs of Hiss Spun.
The album opens with the sickening bang of “Spun”, where a lurching bottom-heavy riff provided by Chisholm and Troy Van Leeuwen (Queens of the Stone Age, Failure) serves as a foundation to a sultry mantra of fever-dream longing and desire. The first third of Hiss Spun—whether it’s the ominous twang and cataclysmic dynamics of “16 Psyche”, the icy keyboard lines, restless pulse and harrowing bellows of Aaron Turner (Old Man Gloom, SUMAC) on “Vex”, or the patient repetition and devastating choruses of “The Culling—all carry the weight of desperation, lost love, and withdrawal. Wolfe’s introspection and existential dread turns outwards to the crumbling world around us with “Particle Flux”, an examination of the casualties of war set against an aural sea of static. White noise is a constant thread through Hiss Spun, with Wolfe finding solace in the knowledge that radio static is the sound of the universe expanding outwards from the Big Bang—a reminder that even dissonance has ties to creation. The electronic thump of “Offering” serves as an ode to the Salton Sea and the encroaching calamities stemming from climate change. The obsession with white noise and global destruction carries over into “Static Hum”, where the merciless percussive battery of Wolfe’s former bandmate and current drummer Jess Gowrie helps deliver the dire weight of a sonnet dedicated to a “burning planet.” By the time the album closes with “Scrape”, Wolfe has come full circle and turned her examinations back inward, reflecting over her own mortality with arguably the most commanding vocal performance in her entire oeuvre.
“The album is cyclical, like me and my moods,” Wolfe says of Hiss Spun. “Cycles, obsession, spinning, centrifugal force—all with gut feelings as the centre of the self.” And it’s an album that Wolfe sees as a kind of exorcism. “I’m at odds with myself... I got tired of trying to disappear. The record became very personal in that way. I wanted to open up more, but also create my own reality.”
Yep, Terror Danjah fully gets down with Funky, albeit with inimitable dynamism on a remix of Roska's classic 'Without It' from the 'TWC' EP. In a rare instance, East London's Grime architect works to a fairly straight 4/4 schematic, turning it inside-out with offset, 'ardcore grime twysts at crucial moments to mek your body attempt moves it's never done before. Killah tune!!!
Cheeky organ and subs driven Funky from DJ Naughty backed with a Roska remix! 'Firepower' rolls with lustrous bass offset by hard snares and synched to dubby organ stabs to help hone your Marcus Nasty look. 'Gearshift' is largely missable but the 'Quicktime' refix from Roska reworks a Funky anthem with proper dread subs and a tougher riddimic syncopation.
A fitting, posthumous remembrance for original Can drummer, Jaki Liebzeit (R.I.P.), Compass renders five rare and transfixing examples of his Drums Off Chaos unit - an all-percussion ensemble he started in the ‘80s, who have made only sporadic appearances on record for Magazine and Emotional Rescue since then.
For dancing, rambling, or whatever takes your fancy, Compass mines a fine vein of rhythmelodic brilliance in accord with the play-it-monotonously agenda Liebzeit worked into his Can recordings, resulting highly infectious body music in the swingeing flux of Clockwise Instinct and the grubbing hustle of Nine out of Nine, with more experimental, eastward-looking infections in the splashing shimmer of On Circles and Turn Off Blue.
Lina Tullgren is from Southern Maine just over the border of the northernmost seacoast of New Hampshire. It’s an unexpected location for artistic incubation but osmosis is bound to occur when you grow up surrounded by family, friends and weirdos interacting at all times with their own interpretations of creative output.
"Shifting in trainings and traditions, the 23 year old eventually found herself a voice with the electric guitar, uniquely flavoured and shaped from the many years of fiddle lessons and classical technique. The shifts in genre and instrumentation are stark but important for her growth as a songwriter. Lina’s morphing interaction with music has mirrored a growing determination to harness her ability to melodically and lyrically express complex emotions - a rare gift at such a young age.
With 2016’s ‘Wishlist’ EP - recorded to tape at the home of band mate Ty Ueda - Lina proved an ability to craft simple, introspective and succinct songs, each one a pulsing glow leaving you both hollow and whole, alone but never lonely. It is on Lina’s debut album ‘Won’ that we reap the full rewards of this newfound confidence in expression and rejection of internal hesitation. “The writing doesn’t necessarily get easier, but I feel more comfortable tapping into emotions and going to those places that need to be written about.
‘Won’, as it turned out, is the product that I have been hearing and picturing in my head as I write and listen to music.” It is the product of what happens when you push past the fear of what it means to think out loud - to become accountable for your internal struggles by way of manifesting your ideas into songs that are then free to grow apart from you, to exist on their own while always remaining specifically implicative of you. Now backed by a full band, each track manages to remain piercingly intimate, sometimes brief and always honest, while gaining a wholly new sense of gestation both sonically and lyrically."
Omni-talented Roxanne Clifford (Veronica Falls) embraces the flashing lights ever fonder with the New Order-esque perfection of ‘White of an Eye’ and the levitating lullaby, ‘Blue Sparks’ for her pals at Glasgow’s Night School
“Patience – aka songwriter Roxanne Clifford – may have begun as a solo refuge from the Manchester-born, LA-Resident’s band duties but White Of An Eye, her 3rd single, is a fully formed, dancing-with-a tear-in-your-eye, confident Pop Moment. The attempt at shedding memories to embrace the present, an ode to the moment. Like her previous two singles The Church and The Pressure, Lewis Cook of Happy Meals engineers Clifford’s vision to Jacno-esque synth pop perfection. Blooming with a tentative synth cadence and nonchalant spoken word introduction, White Of An Eye soon erupts into perfect disco melancholy, with Clifford’s imagery perfectly nailing that nagging regret that haunts every new adventure. With the first appearance of a guitar hook in a Patience song, it’s a classic pop moment enunciated perfectly by Clifford’s instantly recognizable vocal.
“Melted skies, horizon lines are floating overhead” Blue Sparks Is a nocturne peppered with impressionistic imagery, romantic and doomed. Minimalist and affecting, here Patience is simply two synth lines and Clifford’s vocal. It’s Patience’s version of a Berntholer-style sadness, even evoking a Yazoo ballad. Like a Johnny Jewel production injected with passion, Patience captures the spark between two human hearts, the elusive, indefinable chemistry of sleepless, endless nights.”
In fine style, Roska serves three of the best from his RKS 2012 cabinet. A-side gives up the overproof industro-Funky of 'Battlestar' by Shox; B-side Gemmy goes in as you've never heard him with the synth-seared Bashmentechno ruckus of 'Badman Ting' next to the jawside snares and gnarly kicks on 'Utopia' by Slap In The Bass.
In our clammy mitts at last, one of two soundtrack sets compiled from the incredible 3rd season of David Lynch and Mark Frost’s Twin Peaks.
This is the instrumental collection, featuring 18 tracks including recurring evergreens such as Angelo Badalamenti’s Twin Peaks Theme and Audrey’s Dance along with Badalamenti and Lynch’s Thought Gang, gems from Lynch & Dean Hurley, and the hair-raising Threnody To The Victims of Hiroshima which accompanied the climax of Part 8, arguably one of the most brilliant pieces of TV in recent memory.
Everyone who has seen "The Return" will no doubt have their favourite moments - Wally Brando’s fleet homecoming is among our’s - but musically speaking, two of them appear here, firstly with David Lynch’s cracking DJ Screw-style re-drag of Muddy Magnolia’s American Woman, as deployed in the 1st episode, and particularly the mottled jazz loops of Lynch & Dean Hurley’s Slow 30’s Room, also from he amamazing Part 8, that was originally realised for a Lynch retrospective in Paris - also found on his The Air Is On Fire  release - and sounds uncannily like a special dram from The Caretaker’s dusty teak cabinet.
The version of Windswept included here is different to Johnny Jewel's original and is to die for, while the closing track will take you straight back to that fade to black final moment as the credits rolled up to bring the whole thing to a close...
With signature gusto GY!BE put the world to rights in Luciferian Towers, a statement of individual vulnerability and communal resistance holding steadfast against complex, crenelated forces.
Roaring with raw emotion harnessed in banks of guitars, drums, brass and electronics, the Montréalais phalanx cluster as one tight and powerful unit in four parts, reprising the format of their last two LPs to pack all you need into one satisfying disc.
For disambiguation, the band were informed by, in their own words; “the following grand demands: an end to foreign invasions + an end to borders + the total dismantling of the prison-industrial complex + healthcare, housing, food and water acknowledged as an inalienable human right + the expert fuckers who broke this world never get to speak again”.
For the listener, that results in some of GY!BE’s sorest and most swollen work, with Undoing Luciferian Towers aiming their fire at the shiny obelisks of big money which adorn every big city, while Bosses Hang rails against “labor, alienated from the wealth it creates” with optimistic militancy, then Fam/Famine heads for burning orchestral horizons, and Anthem For No State laments kanada’s ecological crises with dustbowl-scanning country and raging rock tropes fired up to get listeners off the sofa and joining the march.
The new mini album from The Lemon Twigs, ‘Brothers Of Destruction’, features six previously unreleased tracks. It was recorded by the D’Addario brothers - Brian (20) and Michael (18) - on their 8-track at home in New York, not long after they finished making their acclaimed debut album, ‘Do Hollywood’, with Foxygen’s Jonathan Rado in Los Angeles.
“In the beginning of 2015, we had songs left over from the ‘Do Hollywood’ sessions, so we decided to record them at home in New York on our 8-track. Many of you will recognise some of the songs from our live shows. They’ve changed a lot over the past year, but these are the original versions. We consider the EP the last chapter of the ‘Do Hollywood’ era of our group.”
Gully bass music from Roska's label. Debut producer Jello (we're pretty certain it's not Darrell Fitton) makes a fine introduction with contrasting bass styles. 'Speed Trip' is the one for us, a classically-styled mix of junglist think breaks, Darqwan-style belly-twistin' subs and scything techno riffs. 'Make You Go Crazy' is much sweeter, mixing soulful chords and vocal stabs with swinging electro-boogie breaks.
Sweeping neo-classical and Americana pastoral gestures from the expanses of Texas, USA
“A decade-plus on the road, near-constant musical output, and shifting creative priorities caused the revered Austin duo, comprised of multi-instrumentalists Rob Lowe and Michael Muller, to soberly assess the band’s future. What, in the form of Balmorhea, was there left to say? And did they have the energy to say it?
Stranger, the group’s maximalist, genre-leaping full-length from 2012, had already seemed to trace the group’s farthest bounds. And, over the years, they’d worked with a roving cast of accomplished string and rhythm players to craft a glassy-eyed, sage-brushed, instrumental Americana that, while celebrated in The New Yorker, Pitchfork and The Atlantic, among myriad other press, and attracting the film, ad, and television worlds risked pigeonholing them for good.
As they had in the beginning, in 2006, Muller and Lowe worked simply and with restraint, letting intuition guide them as they molded the 10 elegant, spacious gestures that comprise Clear Language. A relaxed, clear-eyed sense of reflection flows gracefully through the album as these two old friends transmit unfettered meaning through simple sonic gestures that resonate with the cosmos as much as they echo the pulse of a human heart.”
Radioactive funky house rolige from Frederique catering to Roska's Kicks & Snares sound.
'Just Me' balances slinky, technoid swing with nasty-edged synth buzz; 'Moving On' yokes dubstep-style sawtooths on a jackin' UK rhythm.
Coventry's Andrew Diggs ratchets 'Moving On' with a loco remix built for peak time slaughter. We'd love to think he's some distant relation of Russell Haswell…
RKS continues it’s assault on the Funky scene with yet another killer release by game-changing producer, DJ Champion. His trademark basslines dominate all three productions here, switching from low rumbles to higher pitch modulations that imbue proceedings with that signature sound. The title track is the one - all foundation-crumbling bass notes and flexed percussion, keeping things impossibly heavy yet hot and tropical, the way it should be. Big big twelve.
The Black Dice freak ratchets his most fecund phase in years with a hyper new batch of dancefloor x-ing garage-punk-tronic oddities
“Eric Copeland (Black Dice) returns to DFA with a brand-new set of hyper & hectic leftfield club music. Goofballs places its emphasis on playful melodies, ear worm hooks & vocals mixed with trademark machine funk rhythms that hit hard and land off-balance. Any other way would be too obvious for an artist like Eric. Perhaps he even invented a new dance genre: ‘Goofstep’. We’ll see if that one sticks…
Eric explained the creation of this new LP to us via email from his home on an island in lovely Balearic Palma Spain:
“i made it here in Palma at my studio, this is the first full record i’ve made entirely here since moving. some of this material was road tested September 2016 on tour supporting Animal Collective. This album was the result of real isolation here, countless hours, focused only on this. The whole recording & writing was a fast process. I focused most on the bass groove. I had a very minimal gear setup: 90’s drum machine, cheap bass machine and a sampler. But most important was a homemade ‘drum brain’ that Barry’s London custom made for me. Barry was in the Van Pelt Soldiers of Fortune & Oneida. That piece of gear was a big part of this record and informed the direction it took the most.”
Eric Copeland is a founding member of Black Dice as well as a prolific solo artist. Besides DFA, he has released albums on L.I.E.S., Post Present Medium & Paw Tracks.
Goofballs was mixed by Rusty Santos (who has mixed everyone from DJ Rashad to Panda Bear to Owen Pallett) and mastered by Joe Lambert. It is Eric’s third solo album for DFA Records.”
Stripped back, natty drum machine and glassy sequencer sparkles from St. Louis, Missouri, c.1987, all making 1st ever appearance on vinyl. File somewhere between bedroom boogie and new age 4th world hybrids...
"Music From Memory return with their penultimate EP of 2017, this time with four tracks drawn from Virgil ‘Vincent’ Work Jnr’s little-known cassette only debut from 1987, ‘Fast Forward’. Following on from a previous compilation of works taken from one of Virgil’s collaborative projects as the duo ‘Workdub’, this album under simply ‘Vincent’, reflects a more stripped back and raw musical approach from the St. Louis musician.
Experimenting with rhythm programming, midi, layering, sequencing, digital effects and sound synthesis the ‘Fast Forward’ sessions grew out of a series of late night jams with Vincent’s brother Scott who was then living in Kansas. With nothing planned in advance and no written music involved in the final recording sessions, the songs that would form ‘Fast Forward’ very much evolved out of improvisation lending a unique often spatial and searching quality to the tracks. Virgil’s equipment at the time very much lead the experimentation with the album being produced on a Yamaha DX7 Synthesizer, Korg DW-8000 Synthesizer, Yamaha RX-15 Drum Machine, Korg SQD-1 Sequencer and a sequential TOM Drum machine. As Virgil himself explains the title of the album in fact came about because it felt “as if I had fast forwarded to a different sound”.
Bedroom produced, the "Fast Forward" album had an initial run of only 100 copies, of which none were commercially available and were simply sent to friends and family along with a handful mailed out to local radio stations in his hometown of St Louis. Although the album received a good response from local radio DJs and music magazines, the album sadly never gained enough momentum or demand for a further run of copies. Fast forward to 2017, exactly thirty years are their production, and Music From Memory are delighted to be able to finally make Vincent’s music commercially available again."
Rune Reilly Kølsch completes a bout of nostalgia with the autobiographical 1989, looking to his ‘difficult’ teenage years for inspiration after previously drawing on his early childhood and memories in 1977 and 1983.
The result is the Danish producer’s most wistful batch of posh trance pulses and proggy arrangements, describing a ‘journey’ from those greyed memories into the ‘colour’ of maturity thru swelling orchestral strings from The Heritage Orchestra, alongside his patented pill-belly keys and arpeggios plus sparingly used vocals from Aurora.
Roska on the buttons for this ruddy ace from Ramzee decrying all the bullshit of social media: “i’m like nobody cares, see ya insta, but nobody cares /see ya snapchat, but nobody cares / see ya WhatsApp, but nobody cares”.
Freshest five track debut EP from Roska's new signing, including a remix by Rinse FM's DJ Shox. With its tilting synthlines and shoulder-dropping drum patterns we could easily imagine the tart title track to slip into a Roska or DVA set, whereas 'Grinding' comes on techier with biting synths and crisply tucked drums. 'Predator' injects a bit of Dubstep bass wobble a la Fis-T over Afro-Latin drum shivers, and 'Run The Style' leans deeper into Altered Natives-style rhythm programming and arrangement. The Shox remix of 'Lemon' features extra batt(er)y licking stabs and a killer stop/start, Dutch-House debted rhythm rearrangement for the dancers.
J:Kenzo unveils his new 130bpm alias with three hard-edged rollers on Roska's home brewed imprint. 'Fibreoptickz' sets the swagger with clipped 808s and wormy synths, before 'Let It Move' comes nastier and more gritty, jamming on evil bassline squelch and Breaks-y beats. Finally 'Tec Toy' works with a bleepier halfsteppin' agenda.
Addendum to Object Collection’s Fugazi-inspired opera-in-suspension, ‘It’s All True’, Slip present three further tracks of their densely tooled, discordant avant-punk extrapolating from Fugazi’s iconic live archives.
“Object Collection was founded in 2004 by writer/director Kara Feely and composer/musician Travis Just. Based in Brooklyn, the group operates within the intersecting practices of performance, experimental music and theater. They are concerned with simultaneity, complexity, and radicality, combining dense layers of text, notation, objects and processes. They work to give audiences unconventional viewing experiences through our merging of theatricality and pedestrian activity. Their works upset habitual notions of time, pace, progression and virtuosity. They value accumulation above cohesion.”
Roska rounds up three UKF heroes for RKS Allstars 5: turning out a smooth and slinky wriggler from Funkystepz in Baileys; some ruffer ’08 styles from DJ Naughty in Pasa; and a brooding tribal roller called Umboh from MA1 finding wicked balance between UKF and SA Gqom.
Champion, MA1 and Naughty wheel out three sturdy hardcore House/Bass hitters for Roska's 3rd 'Allstars' collection. Man-of-the-moment Champion comes hot and heavy with the soundsystem ruination of 'Selecta', fusing pitch-dipping Niche/Bassline elements with rogue bashment flavour. Flipside, Roska's fellow Rinse FM resident MA1 lends some Dutch-style synth flavour to the Afro-Caribbean shimmy of 'Bassbox', and Naughty's 'Unstoppable' teeters on drunkenly bent synths and tightly wound bass grind.
As the hippie movement hurdled towards its emanate demise, bad vibes infiltrated the rock world. Tainted LSD, loud motorcycles, and a series of brutal deaths spawned inspiration for guitar-wielding teenagers across the globe.
"Implementing deafening fuzz and satanic screams to create their proto-metal monstrosities, short-lived stoner bands pressed their lysergic experiments in microscopic quantities before blacking out entirely. Lifted from the ashes of the acid rock hell fire are 18 distorted tales of dope fiends, pill poppers, and the baddest of trips."
Steffi follows up her Doms & Deykers LP alongside Martyn with a plush 3rd solo album harmonising classic Detroit, UK and Dutch AI and electro-techno styles with personally expressive style.
“World Of The Waking State is Steffi's third solo album for Ostgut Ton and a musical departure for both her and the label. It's also a serious statement of intent. Over ten tracks she embarks on entirely new electronic terrain for her productions, marking industrial spaces with superlunary warmth while exercising a refined knowledge of polyphony and arrangement. Subdued melodies interact with each other over implied harmonies and microcosmic drum patterns, luring us into a world that is introverted, bewildering and gratifying all at once.”
Bristol's Distro works the 'floor with nasty and nice riddims for Roska Kicks & Snares. 'Thug Girl' kits rudeboy bassline to tribal drums to sound shades away from DJ Champion or Redlight styles; 'Deep Down' plays sweeter with chiming keys and smudged soul sample coming off like a caffeinated Julio Bashmore.
MA1 returns to Roska Kicks & Snares with lowdown dirty dancefloor tracks. 'Bassbox' is driven by an intensely shrill, prodding synthline and swinging claps, while 'Beyond The Sea' works on a sweetoutened broken beat tip and 'Circles' brings the soulful House vibes.
OG UKF hero Jook 10 on the hot foot for Roska Kicks & Snares: piling in with the techno-updated skank and parry of Slaughter; then with a mad natty thing named Lockdown which is perhaps best described as a cubist Dego & Pépé Braddock collaboration, or just a straight up fucking dancer, in other words.
Rounding up the best of RKS' recent digital output on one platter with tracks and remixes by Terror Danjah, Tickles and J:Kenzo. A-side Terror Danjah absolutely decimates Roska's 'Without It' running the riddim inside out with body-twysting syncopation. B-side J:Kenzo leans on a whooping, brick-hard House joint 'Let It Move', and Tickles drop the barking ruffige of 'Da Growler'.
Deep dark tribal house rolige, latinate UK style from Bristol’s Majora.
If Rhythmic Theory linked with Loefah, the results may sound like Majora’s wickedly reserved one foot shuffler Urges with its super wide bass signals and trim, clipped drum patterns. Likewise, Lint Roller finds that sweetspoit between tucked-in south London rolige and bubbling Bristolian pressure with irresistible effect.
Jamie George cuts out two wicked UKF/UK house roller for Roska’s label; summoning flies and macaques to the floor on the trim and natty Apple Grumble, before getting freakier with the colourful 8-bit squirts and nipped soda-house knees-ump, Life Lien.
Miami’s Marks pulls back to Coyote Records with a wickedly cold, stripped-down fusion of footwork, drill and grime components. Coming off the back of his Green EP in 2016, this one goes shades darker and ropes in Spokes on a stellar cyberpunk trap remix.
Drain is an icily perfect example of Afro-Cuban drum patterns applied to eerie grime/drill dimensions; South Cold glares with dissonant synths and hard-bitten, reticulated percussion on a tight-belly halfstep[/triplet waltz; Lantern and Dash are like schizzy sides of the same coin - like medieval themes for snow-slinging trap baws.
What those riddims perhaps lack ion spatial sophistication, Spokes makes up for with a staggering remix of Drain that sounds like it was ripped right out of the upcm,going Bladerunner OST, framing the original deeper in-the-mix against snarling brass flares and reverb contrails, precipitating a toxic shower of Salem or Araabmuzik-style hardstyle/trap rhythms.
Roska cracks out his old skool (if 2008 is old skool) drum palette for a wicked Funky session. Returning to similar styles as 'The Climate Change' EP or 'Elevated Levels', it's a pure bass 'n drums session with infectious highlights in deep and rugged thrust of 'This May Take A While', a darkside brokebeat player called 'N.D.O.W.' and tribalist grunter, 'WIAS'.
Next in line for Metalheadz 2017 remaster treatment, Optical’s pivotal 1997 debut for the label, also featuring a lush anomaly from his brother, Matrix.
With To Shape The Future Optical did just that, setting a taut, hi-tech production precedent for TechStep D&B that defined and ushered in a whole new era for that sound, also explored in the lip-bitingly tight roil of Raging Calm.
For stark contrast, Matrix shapes up one of late ‘90s D&B’s most curious outliers with the ambient sound design of Undersea Flight, a totally beatless number that’s better compared with Biosphere than anything else from his scene.
From member of Matt ’Toast of London’ Berry’s backing band, Jonas 3, to cooking up whirring techno as Cocktail Party Effect, Charlie Baldwin has seemingly led a more exciting life than most.
Following a split 12” with Nomine and his solo album, Helloyellow in 2016, he goes hard and crafty on Pinch’s Cold Recordings with four rogue rollers; leaning in the IDM-like intricacies of Battered, bubbling up rugged UKG/dubstep in OOYFM, and then with punchy Breaks on Intens, and the El-B styled dark swang of I Kno3.
Seiji and his buddies go in hard with three fresh Mr. Tickles productions. 'Short Fuse' detonates serious subbass pressure and blinding eaves of synth on a galloping swagger riddim, while 'Crisp Biscuit' steps with more upfront synthlines and 'Ironhide' jacks on some electroline-style business.
Bumpy electro-house/Funky fusions from DJ Naughty backed with remixes from Gemmy and Jamie George. The original has a loose and ragged feel fit for the floor, which Jamie George rearranges with heavier kicks for a 'Goosebumps At Night' mix. Gemmy goes straight to the dubstep rave with his mix, skweezin' out fluoro melody and brittle 808s.
Heavy dose of Roska’s distinctive UKF styles.
Check for some vintage sounding but subtly updated UKF templates in the Afro-Cuban swerve of Make Way and the simmering percolator, Level Up, and certainly make some time for Live Life featuring UKF royalty, Princess Nyah, which sounds like it coulda come from one of his early plates.
Straight from his Saturne duo with ASC, Sam KDC pushes off solo into the grey area with four cuts of rumbling techno pressure and Burial-esque darkside rolige.
With his atmospheric instincts to the fore, Sam feels out expansive, gloomy industrial space around the offset kicks of Oracle, and what sounds like an early Burial in the back-masked loops and low lying Reese basses of Pareidolia.
Mercurial Dreams catches him tucking the rhythms where the sun don’t shine as he operates in a murky foreground of RPG-like sound design, then drawing lines from early Suicide up to modern D&B with the palpitating menace of Tower of Babel at the EP’s perimeter.
Jamie George and Roska test out a neo New Jack Swing sound with the London swang of 'In 2 Minds'. On the remix, Roska resets it to a West London Broken beat pivot, and Jodo Kast plays ruff and tuff with a tensile garage take.
Late night UK house pressure from Roska's ever-rolling Kicks & Snares label.
Transcode in the driving seat for a slick set at best in the Reese-bassed darkside rave house of 'The Way I Feel' and the deeply swung romance of 'Intellect' for Cooly G followers.