Den Haag’s Mark Du Mosch does his gritty, stealthy, tracky house thing for Clone Royal Oak.
Built for all-night play, UM-ing builds it from the toes to yer nose over the course of four tracks, patiently raising the temperature with his raw, woozily dubbed jacker Heat It Up, then with firmer kicks and spaced-out disco synths in the upward tilt of Adrift, before squaring off theGherkin Jerks-styles of UM-ing, and following into the cosmic buck of Firefly. Either someone put some mud in my lunch or this shit works.
Low-key, charmingly eccentric solo piano works on the ever curious Reckno label
“Reckno is extremely proud to present PIANO MUSIC, two side long live recordings featuring the piano as the primary sound source.
On Side A: the composer and inventor Leafcutter John joins forces with the sound artist Devon Loch for an improvised duet, utilising John's self-made light interface and a piano that had sat unused for decades in the Margate Arts Club.
By connecting ultra sensitive contact microphones to the antique piano's frame, the pair were able to sample notes and other timbres from the instrument's strings and body, which were manipulated live using a photo-sensitive grid stimulated with an array of bike lights, torches and sparklers.
The result is an investigative, transportive piece of electro-acoustic music. Between sparse dissonance and flurries of alien texture, the performance keeps at its heart a sensitive understanding - like two unfamiliar creatures attempting communication for the first time.
Performance/sound artist Claire Orme takes us on an elegant trip across the dark sea using the piano as a boat. Vibraphone, violin and live sampling merge to conjure images of a ritual happening on the shore; only partially visible through the fog. Orme uses the space and the objects around her to create a fragile dreamlike sound world, the initial beauty giving way to mechanical clanking and violin contortions. Everything ends with the piano back on dry land and a romantic encounter with a Ghost.”
Wonderfully eccentric instrument builder Pierre Bastien meets electro-acoustic whiz Eddie Ladoire on Versatile with first fruits of their new duo, backed by ‘floor-ready remixes from Suzanne Kraft and Oceanic.
Phantom Dance features Bastien playing a trumpet underwater against see-sawing organ and drum machine patter with an effect recalling the horror disco vibes of Goblin meets DJ Bert & Eagle. Suzanne Kraft reworks it with a more viscous, acidic hustle for the darkroom, and Rotterdam’s Oceanic tilts between tucked minimal tech house swing and twanging Afro flavour in two respective mixes on the B-side.
Golden, evergreen Chi house from 1987
Serving the resolutely classic jacks of Robert Owens’ belting vocal in acapella, and on the tumbling House Mix, beside Mr. Fingers or Fingers Inc’s delirious, tracky instrumental and the Bonus Beats for crafty DJs.
Tipped for ever!
UTTU catch Frak dicing with more funked up US house and disco styles
Dancing up the spicy organ vamps and ruddy acid bass lixx of Lane Escape, then like a rawer, Landcruising Carl Craig in Protes, before stomping out the early UR-like techno tattoo, Long Fork and some gritty ghetto-fonk in Large Function.
Inventive electronic explorer AGF seriously impresses with the playfully loose-limbed and devious calculations of her Solid EP, a killer, “messy” adjunct to her self-released Solidicity LP released in 2017.
The Solid EP firms up as four deliciously sloppy spurts of unquantised rhythm and abstract electronics almost certain to catch the dancefloor off guard, offering myriad permutations for the adventurous rug-cutter in the fractious funk of Solids, with the mind and body-bending proprioception of Unlimited Migration, and to noisier, brittler degrees with GReeD, and gleefully ripping the spine out of footwork and replacing with concrète electronics on i-tikka.
Trax Couture kick the arse end out of 2017 with a 47 track brace of bassy reggaeton, hip hop, dancehall and Jersey house bangers by immediate and extended label fam in The Whole World Series Mixtape.
You can do one if you think we’re breaking down the full set, but from its hail of underground bullets we can safely point to highlights in the icy dembow minimalism of Realidad from Funeral; the tranced-out gqom of DJ Scriby’s Somtin; the Leonce-liek swerve of raptor from Thrityoneseven; a metallic Jersey zinger from Grovestreet; the taut future freestyle flex of retina Freze from DANNN; the Dembow Rework of Imaabs severe White Noise ace.
P.s. if you’re a tempo guy, it basically goes from around 100bpm, to 160bpm footwork and then beatless across the 47 tracks…
Edit Select parse some five years of Selected Remixes from themselves and label associates.
Of Edit Select’s reworks for other artists, we direct you to the ice-skating elan of their take on Antonio Ruscito’s Seconda Immagine, a cavernous version of Teste’s techno classic The Wipe, and the Basic Channel-esque 2012 remix of Fused.
Also check for the pounding Blue Hour rework of ES19.3, and the psychedelic tunnel of Rrose’s version of The Wipe.
Boris Bunnik (Conforce) slips into proper sci-fi soundtrack mode with the furtive atmospheres and slow, intricately sculpted rhythms of Encrypted Mind under his Versalife alias.
Consider this a must-check release if you’re into Heinrich Mueller’s more abstract designs.
Next in the Aqualung reissue series periscope, Drexciya’s Lab Rat XL - the last of his seven storms LP cycle - comes up for air, ready to stun future generations.
Mice or Cyborg was first dispatched posthumously thru Clone in 2003, in the year following James Stinson’s final dive into the next dimension. It has since become one of his most elusive recordings, with original vinyl copies and even the repress fetching high prices, in parts due to the dead artist factor, and linked to that, the album’s unshakeable feeling of soulful melancholy that’s almost difficult to listen to, knowing that he knew what was on the horizon while making the record.
These ears clearly remember first hearing the record at SV3N’s legendary iLEKTRO event at The Park in Manchester, quite possibly NYE 2003/4, and just being floored by the moody swagger of Lab Rat 3. It was one of those moments when Drexciyan music really hits home, and never leaves you.
Along with the spine-freezing vocals and synth flares on Lab Rat 1, the mad subs on Lab Rat 2, and its eventual turns to more atonal, salinated flow in Lab Rat 5, or the way Lab Rat 6 feels like he’s being absorbed into the wires and re-routed back to the L.A.M. days, Lab Rat XL is undoubtedly one of Detroit’s high water marks, and surely ranks among techno and electronic music’s most legendary.
An essential listen. R.I.P. James Stinson.
Swedish boschmaster Pär Grindvik gives Peder Mannerfetl and Malcolm Pardon’s Roll The Dice cut a surprisingly subtle edit, refraining from simply putting a dork on it, and turning in something like Colin Stetson recording on mogadon for Profan.
Pedro gives a taste of the Lisbon’s Damaia suburb with six percolated aces taking in the natty marimba line of the title cut and its etched-out remix, plus a highlight in the slippery banger No Mussulo.