Bank Records NYC enlist an Unknown Artist (purportedly Lyubocha, who was last spotted on Opal Tapes’ Contemporary Dance compilation) for their 10th volley of grotty dance trax.
Abakan feels out murky techno space between 154 and Lee Gamble which gets more acidic in the proceeding Krusheniye, whilst Novaya Kalami drags that vibe underwater with soggy bass hits and mottled brown acid flow, and Trauma rolls off the bone with a more rugged swang.
Crafty little shot from Gonçalo F. Cardoso, who was last spotted on A Study Into 21st Century Drone Acoustics  and now presents two beguiling short form pieces
Firstly the bubbling metallic polyrhythm and heat hazy summers day field recordings which give way to skronky abstract ‘tronics, acousmatic chat and eventually a downpour of static in the A-side’s Radio Kampala; then a recording of what sounds like a sliced up boxing match sprayed with machine gun fire and electronic shrapnel on the other side’s Skull Cave.
A proper oddity.
Deep but up-for-it disco house bangers from Florence, Italy’s Marco D’Aquino a.k.a. Dukwa for the purposes of this 12” with the Glaswegian Italophiles at Numbers.
Well versed in Anthony Shakir style chops, the four cuts on Shattered In A Thousand Places cook up solid US styles with an extra hint of Italian gourmet, resulting the strobing chord delicacy of Thoughts feat. Mar G on all-night-long vox, plus the pumping sasturday night pressure of Fries Friends, a skipper slice of John Swing styles in Illusory Dreams, and a rugged Frictional downstroke on Lazy.
Berlin’s Laura ODL and Eva Geist a.k.a. As Longitude carve out five grubby ruts of dubbed-out acidic chug for Amsterdam’s venue-turned-label Knekelhuis; pulling the ‘floor along at 100bpm pace thru the wavy oddity Black Rice to the piquant percolations of Pink Is Orange on the A-side, and then from the stumbling triplets of Kalte Füße to the Colin Potter-esque kosmiche hypo-dub of Blauer Part and share an analog bubblebath with Sharks Are Coming.
Further to A Made Up Sound’s swan song compilation, the Dutch beat maverick places its two exclusive cuts, Bygones and Peace Offering on the project’s final 12” destination.
They form a fittingly melancholy finale to the series, rumbling up the drizzly deep house pads, rolling bass and broken beat hustle of Bygones as one of AMUS’s tenderest shimmies, before really cutting the lights and taking his last breath of the pipe and dissolving into the ether with Peace Offering’s dark blue dub techno ephemera.
Who else but Andy Votel and co’s Cache Cache could dig up Gerry & The Holograms’ near-mythical post punk oddity - Frank Zappa’s mum’s favourite, apparently. Trust that they’ve gone all-out with the mirriboard jacket and typically in-depth liner notes, but it’s the other 10 NEVER BEFORE-HEARD tracks that should have you moist with anticipation. Because let’s face it, nobody knows any other tracks apart from their eponymous zinger?! Moist we tell ya!
“Gerry And The Holograms were well documented as one of Frank Zappa’s favourite ever groups and instantly recognisable as the blueprint of 80’s Mancunian electro pop, the inflated alter egos of Gerry & The Holograms (and their unrivalled brand of conceptual sarcastic synth pop) successfully remodelled, ridiculed and redefined plugged-in punk before hitting the self-destruct button and burying the evidence under a pile of hand mutilated microgrooves.
Having risen from the electronic embers of Manchester’s first genuine psychedelic band, via Vertigo commissioned prog and experimental theatre, then refined through the musical mind behind the most inspired vinyl moments of Martin Hannett, John Cooper Clarke and Jilted John.The discography of Gerry & The Holograms remains unrivalled as the most idiosyncratic and enigmatic pivotal post punk artifact from the first electronic entrenchment of pop.
A consistent inclusion on record collector wantlists, transcending both decades and musical genres, the first and only listenable two track record by this masked art rock studio duo, entitled ‘Meet The Dissidents’, originally appeared in record racks in 1979, selling out instantly only to be sequelised by a totally unplayable situationist inspired follow up which was glued into its own sleeve destroying the grooves in the process (rivalling that of Peter Saville and Durutti Column’s Debordist sandpaper re hash by at least three years).
With a lifespan shorter than the hours on their studio bill, the band would find bedfellows amongst other incognito groups like Naffi Sandwich, The Mothmen and Blah Blah Blah within the Absurd Records stable, a daring Mancunian imprint that sat awkwardly between older and younger half sister labels Rabid and Relentless. With a release library of mostly non returning faceless atonal electronic punk DIY industrial bands Absurd would spearhead and pre empt the subsequent decades of Mancunian independent record labels that followed in the footsteps of the more commercially successful Factory Records (while also drawing comparisons with Spiral Scratch, Test Pressings, Object Music and Throbbing Gristles’ Industrial Records).
Despite just one official title to their name however, the true identity behind Gerry & The Holograms would unify those sister labels and collectively play an important supporting role in Manchester’s independent music history with a story which goes back as far as most rain soaked memories can attempt to forget.”
On vinyl for the 1st time - a superb cross-section of romantic new wave funk, post-industrial and minimal synth tracks originally collected and released together in 1984 by Danielle Ciulini; a pivotal member of the Italian and European tape scene who conceived Nouances as a showcase for the breadth of underground Italian music culture, combining articles by the scene’s leading ‘zine writers and editors, together with strong musical proof .
Looking for all intents and purposes like a Crepuscule compilation, but sounding closer to something you might expect on Music From Memory or Ecstatic (who were coincidentally behind Ciulini’s Domestic Exile Collected Works 82-86), the songs on Nouances are balanced in a half light between hacking Gang Of Four funk in The Tempest’s Abc, and Minox’s exquisitely low key new wave slide into Purgatoryo on the front, whilst the other swerves from 23 Skidoo or Cabaret Voltaire styles with Rinf’s Tropical Nacht / Spass Muss Sein (live at Tenax) to a very canny stripe of gloomy gothic minimal wave from Belgium’s Twilight Ritual, I Never Called You A Dream, and not least, Danielle Ciulini’s icy hot-stepper Silences.
Visual artist Jesse Kanda (FKA Twigs, Arca) makes his musical debut with the compellingly bittersweet introspection of his Heart EP for Hyperdub.
In key with the off-kilter harmonies of his peer, Arca, but willing to pursue more abstract angles of expression, the ostensibly tart sharpness and distorted exoskeleton of Doon Kanda’s sound belies the inspirations at its core, “love, compassion, empathy” in a very similar way to which his hyperreal visual work also gets under the skin, right to the core of it.
While relatively simple, linear in construction when compared with, say, Arca’s output, the five tracks of Heart ache with a pent romantic yearn that hits home from the off: Axolotl - described by the artist as “like a chant for giving it your best try” - exemplifies that raw emotive effect with ruggedly thuggish drive and searing hook juiced for all it’s worth, but the beats barely return over the next four songs; leaving his licks lingering in wide open space like a rhythmic gymnast’s ribbon that never falls to the floor in Womb, or percolated in a curious call-and-response of evaporating bass hits and chiming strokes in Wings, before claggy trap trills infiltrate Heart’s starkly contoured chromatic dimensions.
We sense the start of a very promising musical streak from this artist. Check it!
Throbbing Gristle's second album, remastered - making for markedly superior sound quality to some previous editions - and reissued on Industrial Records.
This finds the band at their sleazy (no pun intended) and savage best, reaching an apogee of apoplectic rage on 'We Hate You (Little Girls)', and has to rank as one of the most brilliant British evocations of decay and dysfunction to appear in any art form, ever. For all the P.Orridge-helmed murk, you feel Chris Carter's presence more firmly on this album - as on the the steam-powered, laser-striped synth-wave of 'Dead On Arrival' and especially 'AB/7A', reminiscent of his recently canonized solo set The Space Between.
For all its electronic innovations, DoA also captures TG's oft-forgotten ability to rock, as heard on 'I.B.M.', 'Hit By A Rock' and 'Blood On The Floor', which locate and update the essence of the Stooges and Gen’s beloved Velvets. 'Five Knuckle Shuffle' is as disconcertingly, flagellatingly funky as it always was, and in 'Walls Of Sound' you see the roots of Whitehouse and pretty much all P.E. and harsh noise that's come since.
Never mind the bollocks, you've got Throbbing Gristle.
Moss Garden is a stunning dark ambient opus from Erik Skodvin (Deaf Center) aka Svarte Greiner: collecting his soundtracks for two installation pieces commissioned by Marit Følstad, perfectly distilling the space between waking life and nightmare as uncannily as anything else you’ll hear this side of a David Lynch flick, or that recurring dream where you’re trapped going the wrong way down an escalator into an icy fjord. If you're into Mica Levi's unique string arrangements, this one's a must.
The album marks the return of Skodvin’s most prized solo alias, trailing in the smoky wake of a recent reissue of his Deaf Center classic, Pale Ravine (2005) to effectively resolve the three year wait since he left us dangling with Black Tie, which was also released thru his label; Miasmah.
As any avowed follower of dark ambient music will likely acknowledge, there’s a fine line between numbing tonal drift and genuinely enchanted sound, and it’s one which Skodvin is patently aware of both as a listener/consumer and producer/alchemist operating within those parameters, allowing him to skilfully navigate the sound’s most subtle aspects without ever being accused of being one-dimensional, as could be applied to many others in that field.
Crucially, like the best of Greiner’s work, Moss Garden strikes a balance of almost academic stoicism and expressive pathos, using rarified technique at the service of an instinctually guided tension. He commits something more akin to one of Harry Bertoia’s Sonambient recordings, revealing a widescreen, mazy field of convulsive, recursive metallic shockwaves that open out at unfathomable, horizontal angles whilst the centre ground gains a mass of blackened drone energy, as though we’re moving ever deeper into a space as long as it is wide until we’re greeted by a frost of sylvan timbres that seem to mimic the vocal tone of its translucent inhabitants.
K Leimer’s 4th LP Land of Look Behind is a genuine ambient pearl from the early years of his Palace Of Lights label. Remastered (by Greg Davis) and reissued on vinyl for first time since 1982!
It was originally conceived and deployed as the soundtrack to Alan Greenberg’s film of Bob Marley’s funeral, taking the film’s location recordings of crowds at the funeral and Rastas in Cockpit County - high in JA’s mountainous interior - as cues and raw source material for a sublime, rhythmelodic suite of 4th World Ambient themes. The result are totally absorbing, some of the most enduring music in Leimer’s revered cache.
Opening up the process-oriented approach of his then-previous album, Closed System Potentials (1980), Leimer’s 2nd side for PoL is a beautifully ethereal, pensile thing which bears an intrinsic link to the film, which, like the soundtrack, isn’t just a straight-ahead match of sound and image; rather it’s dreamily immersive yet detached, hovering between enigmatic and sublime thanks to the use of sampled and reframed dialogue, and most subtly, in the way Leimer and his quartet of drummers - Steve Fisk, Kevin Hodges, David Keller, James Keller - also use the dialogue and street noise as cues, trigger points for syncopated patterns and weightless tones.
Like his best work with Savant, both prior and post this album, the meeting of swaying, pointillist percussion and floating electronics is key to the magic of this one, too. At many times between the chiming instrumental call-and-repsonse of Two Voices and the mix of grubbing bass, pealing synths and patina of glossolalia in The City Far Below, you’d be forgiven for thinking you’re in the midst of an Eno & Hassell record, but the distinction is clearly made by Leimer’s grooving suss and unfathomable sense of space, at its most compelling in the slow, crisply rolled Nyabinghi and keening pads of Testimony and Honor, or its widescreen partner piece, The Cockpit.
Colour us enchanted. This is a properly lovely record.
Hardcore techno pelters from NYC industrial survivor Collin Strange
Private Room is a straight-up, gristly wall-banger fuelled on bone-melting acid, thuggish kicks and razoring hi-hats; Private Lies throws down massive inverted kickdrums and 303s right between the eyes; Private Thoughts polishes you off with a kinkier sort of darkroom acid canter.
Smart survey of productions by members of New Order, including classic tracks released on Factory Records between 1982 and 1985. Bonus material on the CD includes the full 22 minute version of Video 5-8-6 and a Section 25 song produced by Ian Curtis and Rob Gretton in 1979!
New Order Presents Be Music is a compilation of productions by members of New Order, including classic dance and electro tracks released on Factory Records between 1982 and 1985, as well as more recent remixes for current artists such as Factory Floor, Marnie, Tim Burgess and Fujiya & Miyagi.
"The generic tag Be Music was first used in 1981 and covered studio production work by all four members of New Order: Bernard Sumner, Peter Hook, Stephen Morris and Gillian Gilbert. Sumner often teamed with Donald 'Dojo' Johnson of A Certain Ratio, including the pioneering electro cuts featured here by Quando Quango, 52nd Street, Marcel King, Paul Haig and Surprize. Morris and Gilbert worked with Thick Pigeon, Life, Red Turns To and also 52nd Street. Although more rock orientated, Hook proved he was no slouch on the dancefloor either with the mighty Fate/Hate by Nyam Nyam.
'Producing was a really important sideline,' recalls Bernard Sumner of the Factory era. 'It's OK doing it because although all the groups are skint, you learn a lot and you're helping somebody.'
After 1985 the band focused more on producing their own records, both as New Order and solo projects such as Electronic, Revenge, The Other Two, Monaco and Bad Lieutenant. However in recent years Stephen Morris in particular has remixed several newer artists, notably London industrialists Factory Floor, as well as former Factory workers A Certain Ratio and Section 25.”
Scott Morgan’s Loscil hovers back into view with a decidedly moody album of his patented dub and ambient productions for Kranky some two years since Sea Island.
Monument Builders is a nerve-riddled and unpredictable thing and perhaps not exactly what you’d expect from him. Where once there was a sense of blue optimism to his music, there is now a brooding pensiveness manifest in its minor key arrangements and bruised, textured tone.
The album perhaps betrays a return influence from his day job as a sound director for the video game industry, as Monument Builders could soundtrack a bleak first person immersion in some dark parallel world not too dissimilar to our own, patiently plotting a course thru the resonant, widescreen space and cracked ice patterns of Drained Lake to ascend a vertiginous vortex of throbbing synths - among the most kinetic piece in his whole catalogue - in the anxiously melancholy Red Tide, pausing for murky reflection in the title track, and raising the tension again with the frosty brassy swells of Straw Dogs and coolly baffling the senses with the headlong techno velocity and strangely static poise of Anthropocene, leaving with us the OOBE, swarmed by deliquescent, dying angels in Weeds.
You don’t usually expect an artist’s most powerful piece of work to arrive fifteen years into their game, but that what Loscil has arguably achieved with his 10th solo album.
Regis compiles a killer Downwards label survey for 2017 featuring excluisve new material from DVA Damas, Autumns, Grebenstein, Sefried and Layne, veering from dank EBM to collapsing industrial structures.
Downwards send their new vanguard on road with The Immortal Eye; the mood is intensely depressive and pessimistic throughout, but, in the classic sense of gothic industrial music, the impeccably maintained atmosphere conversely acts as comfort or redemption to those need it.
Berlin’s Jan Grebenstein remerges with Seefried on the tunnelling Wufferfraction only months after their excellent Strong Proud Stupid and Superior 12”. Imagine an anxious HTRK or ToC have just run out of downers and the technoid tension becomes palpable… before, the uncomfortably stark, empty-stomach concrète churn of Layne’s Love will put you back face down again.
Autumns have flirted with Clan Destine and CF Records since their Downwards debut of eviscerated shoegaze in 2014, but they enter the B-side with a markedly different silhouette, framing spectral electronics and unheimlich voices in acres of negative, miasmic space before slipping into a pulsing techno trajectory, whilst LA’s DVA Damas clear up with the erotic asphyxiation of Shortcut To X, which is effectively a crushing reduction of by now familiar sound...
Warm, spacious deep house trax from Vancouver’s Flørist and his alter ego, V. Rosso.
Classic import house vibes here, from the romantic yearn of Windows On The World and its sublime Moving Day Dub hustle to the weightless, Martyn-meets Chez Damier-esque swing of Down & Out, to the nifty, faded pressure of M-80.
Levon Vincent caps his most productive year since 2009 with the brassy club fanfare of Berlin and NYC’s deft minimalist sound design on NS 15.
Berlin is by far one of the brightest, most optimistic club plays in over a decade of LV’s productions, simultaneously drawing on his classical/minimalist studies and Berlin’s history of economic hedonism to hypnotise with a patented blend of subs-driven pressure, martial trills and heady lead horns that nod toward Steve Reich as much as Moritz Von Oswald’s reworks for Deutsche Grammofon.
Likewise, NYC links with a fertile history of downtown experimentation and deep Black dance music roots in its intricately pointillist, pizzicato top line whilst the pounding bass is physically fierce, irresistible in the right situations.
Fresh digital delivery of STL’s mesmerising Sound Transmission, originally released thru Stephan Laubner’s Something label in 2014.
The standout is a 14 minute trip entitled Mind Picture, catching STL at his hunched and grubbing best knocking dusty chords and wooden drums into the most delicious late night groove. The loops are pretty cool, too; especially the buzzing balafon on Loop A - whilst Timeblind spells out one of his most wistful, folksy set dances and Locked Area burrows deep into the bones with some of the german artist’s tricksiest jazz syncopation.
RIYL Mohammad, Mika Vainio, SPR/V I S, Emptyset, Kareem’s Porto Ronco
Plaintive, plangent doom sighs from the Greek underworld, recorded deep within caves on the islands of Kalymnos and Lesbos and realised in tribute to the region’s ongoing refugee crisis.
Constantine Skourlis does not take his subject matter lightly in Hades, offering a heavy-as-your-life sequence of recursive, concatenated tremors and sustained levels of acoustic and electronic peril that perhaps point to the issues as both ancient and modern at the same time.
This one really is an experiential listen, the sort that may sound hackneyed on paper, but when released into the air of your listening space takes on a majestic and almost overwhelming power that’s not necessarily cinematic, nor academic; but transcendent, imposing and immersive in its own sense of purpose and the way he and the ensemble conveys it.
No doubt in our minds: this is the most important release yet on Salem Rashid’s Bedouin Records.
Famed Labradfordians Mark Nelson and Robert Donne exhibit an even stronger desire for freeform synthetic experimentation on this second Anjou album for Kranky.
Picking up belatedly where their celebrated eponymous debut LP left off, Mark Nelson and Robert Donne’s Anjou project sounds as sublimated and spacious as ever on Epithymía. No longer in need of Kranky percussionist Steve Hess, Donne and Nelson distil the Anjou approach of framing their synthesis into a state of constant fluctuation down to a suite of six tracks. Largely favouring the long-form approach, this allows Donne and Nelson the freedom to truly express their creative intentions with Anjou
14-minute opener Culicinae is a fine example of this. Framed of five distinct movements, the track shifts between them with a subtle mastery that reveals itself with close attention. There are still whispers of Donne and Nelson’s post-rock inclinations from their Labradford days, evident in the percussive rainstorm that briefly filters through Culicinae, the abstracted bass that cuts through the gauzy, shapeless ambience of Greater Grand Crossing and the smartly deployed guitar drones towards the solemn closing moments of An Empty Bank.
The duo does find a semblance of rhythm on the swelling Soucouyant, choosing to toy with just a few refrains rather than let their fingers wander, whilst Glamr and Georgia combine for an eerie, intangible finale.
BNJMN makes a diverse debut incision on Tresor with four tracks spanning gauzy, beat-less synth gaze (Overskies, Enceladus), bitterest electro (Hadal Zone), and, at its best, a nerve-biting noise techno alignment (Syzygy).
Bambooman wickedly freshens up his palette to ear + booty-snagging effect on this winner for Matthew Herbert’s yung Accidental Jnr label.
Stepping out of the garage/hip hop paradigm and into a more inquisitive, new zones of polymetric measures and of kilter harmonics, yet without losing the subtly swung charm of his earlier releases, Bambooman embraces the present future with style in the four tracks of Shudder.
The title track lives up to its mantle with a lean display of nipped, recursive rhythms that sounds like a Beatrice Dillon groove filleted by Gábor Lázár. The combination of rude swagger, vocal stabs and slicing chords in Grasp is a little more conventional, perhaps closer to recent Joy Orbison gear, for example, whilst M1 turns back to the kind of fresh, metallic shimmy also explored by Björk producer, Spaces, and Kyrian also impresses with a bittersweet broken beat twyster that sounds like Dego with a ear-infection; all unbalanced swang and perfectly dissonant chord combos.
Montreal’s Project Pablo continues a world tour of labels with his latest landing on San Francisco’s Spring Theory after shot for Church, Clone’s Royal Oak, and Lone’s Magicwire.
Leading out with the percussive tumble of Morning Shift, Pablo is clearly aiming for this year’s languid Canadian House anthem, opting for a combination of humid bottom end and parping horns comparable to Jack Jutson’s Future Times viberoni from several years back.
The zigzagging Forgetful Dance has a certain Teradi-style charm to it, which stands in stark contrast to the bucked bruk techno of Jup Jup and the delicate, smeared emotion of Smudge
After an eight year break from releasing music, Scott Kannberg (founding member of Pavement and Preston School Of Industry) AKA Spiral Stairs releases his new album ‘Doris & The Daggers’.
"‘Doris & The Daggers’ was recorded over a batch of short sessions at Exactamundo studios in Eagle Rock, California. The band features Broken Social Scene’s Justin Peroff on drums, Kevin Drew sang on ‘Emoshuns’, Kelley Stoltz lent guitar to the summery chime of ‘AWM’ and The National’s Matt Berninger lends vocals to the bittersweet, zephyr-light ‘Exiled Tonight’."
Focken deadly debut album of definitive Jersey Club juice from DJ Jayhood, the King of the scene’s second wave, which itself evolved from the ruffneck B-More sound. Pure, uncut party gear...
“DJ Jayhood is one of the most important producers from the second generation of Jersey Club.
A regional form of dance music that evolved from Baltimore Club after artists like DJ Tameil started putting their own twists on B-more drum breaks and kick patterns, Jersey Club is one of the most influential and imitated dance styles in the world today. Dance music powerhouses (Diplo, Skrillex, Cashmere Cat) and underground taste-makers (Sinjin Hawke, Her Records) alike have been openly inspired by its raw, sample-driven sound and the dance moves that accompany the songs (such as the recent Running Man Challenge) regularly take on lives of their own.
Although he’s not received the same international DJ bookings as a club producer as some of his peers, DJ Jayhood is one of the most respected and popular Jersey artists in and outside of the state. His remixes of dance classics like ‘Show Me Love’ and ‘Heartbroken’ have racked up millions of plays online, while original productions like ‘Hands on Ya Hips’, ‘Jersey Anthem' and ‘Patty Cake’ are considered all-time Jersey dance classics. He’s also built a successful sideline as a rapper and hip-hop/r&b producer through his production work for Sharaya J and Missy Elliott, and coined his own sub-genre of Jersey Club called Booty Bounce Music (or BBM).
On King, Local Action collects Jayhood’s greatest hits - many of which already have legendary status on Soundcloud and YouTube, but have never been officially released before - with a handful of unreleased tracks from his ridiculous archive of demos. Amazingly, it’s one of the first ever albums from one of Jersey Club’s key players, and although to understand the real context of the music it’s important to trawl YouTube for the dance contests and home-made videos that are so key to Jersey Club, the raw power of these tracks stands up in its own right.”
Two celebrated veterans - anticon. co-founder Doseone and the esteemed underground rapper Mestizo - come together.
"A7PHA is the culmination of years of radical thought, lives lived on the knife's edge. Their self-titled debut record (anchored by production from Alias) absorbs that left-field energy, splinters it into component parts, and re-assembles it into something uniquely human.
Listen to "At The Altar": a song built on steely, industrial instrumental pieces, but in its final form, you can practically hear the track inhale and exhale. The breaths are strung together by Doseone and Mestizo's vocals, which flit back and forth from staccato and precise, to formless and gothic. Or check "99 Point Static," where the track builds such steam that when the bottom falls out on the coda, you get transported through to the end on raw adrenaline. A7PHA does this over and over - building massive tidal waves of raw, immovable emotions, then turning on a dime, and leaves you scrambling to keep up.
Few boast the pedigree to forge something so simultaneously listenable and invitingly bizarre. Doseone has spent two decades as one of hip-hop's most inscrutable talents, working with a who's-who of underground legends and establishing himself as one of the most dazzling technical MCs, chimerical lyricists, and creative visionaries. His contributions to A7PHA find him flexing all his undeniable vocal gifts: razor-sharp, rapid-fire cadences, an elasticity that unspools a vertiginous array of emotions. As a writer, he marries his cryptic strings of imagery to a frenzied search for something deeper. He pushes
A7PHA as far as possible into uncharted territory. For his part, Mestizo grounds the proceedings, filling the songs out with flesh and blood. His vocals on "Sicked" set the tone for the rest of the album: dense, punishing, and propulsive. If Dose is busy sliding around the seams of a beat, Mestizo cuts directly through. The Philly resident is the stone-eyed center of the record, the steady hand on the wheel while everything around him burns. But as "Hater Hate It" makes abundantly clear, he's not above some verbal acrobatics of his own. A7PHA isn't made for upscale bars or low-key gatherings. It's about shattering the facades around you, then staring, unflinching, and what's left behind. It's supposed to soundtrack minor mental breakdowns and house parties that permanently fuck up your security deposit. Doseone and Mestizo have something highly combustible on their hands, but for the time being, it seems that they know just how to handle it."
Dancefloor gold right here from Young Marco’s Safe Trip label, packaging ten cuts of divine, sensual Italian Dream House 89-93 in the wake of his excellent Dekmantel Selectors pack and his previous sojourns along more cosmic vectors.
A bit of a red flag on our disco radars, this portion of the worldwide house revolution has mostly evaded reissue schemes and wider appreciation when compared with, say, Japanese house or New Beat, for example, which both proliferated during the same era, respectively, and have all seen more love in recent years. However, despite constant reference from those in the know, Italian house remains a distant, exotic land to those out of the loop, which is where Young Marco really steps up to the plate with this expert overview crammed with vital, life-affirming selections.
As sophisticated as any of Soichi Terada’s early ‘90s productions, but perhaps closer to the ruggedness and soul of the original Chicago, Detroit and New York deep house sounds, the Italian Dream House sound is defined by proper, wide basslines, earthy drum machines and the sultriest vibes, bordering on pure dancefloor sex. By dint of geography, it clearly shares a lot in spirit with the decadence of Ibizan needs, too and it ain’t hard to imagine how these cooing, winking grooves would have melted all over the Gucci loafers and fresh bikini waxes at Pacha during that epoch.
There are too many highlights to mention them all, but the real standouts for us lie in Don Pablo’s deeply horny blend of Chi-acid and synth-pop in Animals Paranoia, the tanned gorgeousness of Last Rhythm’s Last Rhythm (Ambient Mix), the languorous piano house hustle of Calypso Of House (Paradise Mix) from Key Tronics Ensemble, and the lip-biting swang of Deep Choice’s Fix Of 4:38 PM, but we’re sure that selection could shift around with a few more listens.
Consider this a perfect gateway drug for your inevitable addiction to early Italian house.