Review: Sam Binga has established himself with boundary-pushing club tracks on labels like Critical and Exit and for this one teamed up with Welfare, a junglist and the Rua Sound label boss. Together they were inspired by the rugged beauty of Conamara, County Galway and began the project in a 300-year-old cottage overlooking the sea in a place free of creature comforts but rich in inspiration. Using a handheld recorder, the duo explored tidal caves, ruins and windswept coastlines while recording the ambient sounds they heard on the way and then turned them into these deeply textured dub compositions through live desk mixing at Dubkasm's studio.
Review: "Right, OK!" Worm Records offer up their second various artists release for 2024, coming just a neat two months after September's inaugural release featuring Ruf Dug, Wallace, The Mole and Gallegos. Now the label turn their hand to a completely different league of artists, convoking Boulderhead, Wooka, DMX Krew and Jorg Kuning for yet another star-studded audio-strudel, spanning both chilled and heated ends of the spectrum. Boulderhead's A1 is the ludic highlight among the four, a charming Valley Girl voice peppering the vocal track with exceptional backhandedness; we hear talk of floating on clouds and an affect of casual acceptance behind the glitch-science, suggesting vibes of bounciness and breeze. Wooka goes sillier speed garage on 'Make Yourself Comfortable', a challenging charge given the track's otherwise rather jagged jam; Krew and Koenig close things off on a comparatively calm note, the former's B1 opting for a set of bruk-en beats and wet synth yaps, and the latter's 'Imbolc' quiescing with clement Rhodeses and homely drum machines.
Spectrums Data Forces - "Darkness In My Head" (6:04)
EC13 - "Profundo" (Interludio) (0:49)
Wicked Wes - "X1000" (feat Space Frogs From Saturn) (5:48)
Review: Granada's Cosmic Tribe know the definition of "electro" in its broadest sense; their new Xtrictly Electro comp keeps the dystopian sound endemic to the genre's most present incarnation, but refuses to restrict itself to one tempo: the standard 130-ish that has sadly infected the otherwise genius genre as a necessity. An international splinter cell of spec-ops and mercenaries are recalled from retirement here, as we hear Calagad 13, Nachtwald, EC13 and many more mechanoid ilk lay down all manner of slick utilities, making up a morbid multi-tool. 5zyl brings further lasery Lithuanian steeze on 'Vilnius Bass', whilst Spectrums Data Forces betrays the existence of a sinister corporate entity, whose business model works towards the object of instilling 'Darkness In My Head' through giant, killer mozzy basses.
Review: The world of dark disco tech is vast and so covers plenty of niches and nuances with artists all over the world adding their voice to the conversation. Spanish label Waste Editions offers up four more to the mix here with another well-assembled VA. Dark Vektor's 'Amb La Mirada Ens Menjarem' begins with some synth sounds that evoke a horror scene over snappy drums and sleazy guitar riffs. Synth Alien's 'Replica Cosmica' gets a little more loose but still comes with evocative vocal samples and a characterful world of synth sounds, some that fart, some that gurgle, some that amuse. Imiafan's 'Stupaj (Keen K RMX)' is another prying, loopy sound brought to life with myriad effects, textures and vocal snippets and Wardum shuts down with 'Wrambling' which has grinding bass and scuttling effects topped with occult vocals.
Review: A collaborative new single by sampletronic master Kieran Hebden (aka. Four Tet) and guitarist and composer William Tyler, two acclaimed musicians and both longstanding friends. Part of a recent spewing-forth of Hebden-adjacent material to hit the shelves after the artist's oft-reported-upon "agent of chaos" phase, these two tracks, pressed to a furtive 12", provide a neat counterpoint to that assessment. Rather than a pair of riddim bangers, the record flaunts Hebden's signature electronic textures and Tyler's guitar into a hypnotic, nominally dark soundwhirl, reminiscent of the earliest days of Text, but with a unique edge - a sonic corner never quite scoured before by either artist.
Review: The "Rhythms Of The Pacific" series hears Vancouver label Pacific Rhythms reimagine dance music to aid in vast ocean traversals. Returning with another 12" sampler of material - the tracks are slated for inclusion in a celebratory ten year anniversary comp later this year - we hear Lnrdcroy, Waterpark, Kennedy and Active Surplus bring upper-echelonic, chameleonic beats of the much-less-peggable variety. 'Galaxio Salaxio' moves between dark synth and watery dub, scarcely preparing us for the immersive chordal swims that ensue on 'Coastal Plus'. Finally, 'Blue Beam' incurs an underwater search for coves and water pockets, as jets of pressure escape through riser synths and pufferfish drums.
Review: Oyster Ass return with their Italian brothers for a third round of mind-bending techno. This EP is a retreat into altered worldsirigidly organised, timeless and often inescapable trance-like states. Public Request and WAS take charge of the correction, guiding listeners through a sonic landscape of hypnotic rhythms and disorienting soundscapes. 'C'MON' by Public Request sets the tone with its pulsating energy and infectious groove, while WAS's 'Spoon My' dives deep into a hypnotic abyss. 'Ego' and 'Tunnel' further explore the depths of this sonic odyssey, each track offering a unique perspective on the theme of mind-body dislocation. This is one for those who like their techno with a touch of the surreal and a healthy dose of sonic exploration.
Review: Rain & White Transit Van kick off a new collaborative project with this first EP on Damo B's Emotec label, and what an inspired cosmic trip it is. 'Cliffdive' is a subtle opener with thinking cosmic leads and lazy mid-tempo groves sweeping you up and depositing you amongst the stars. 'Castaway' then puts crunchy drum breaks front and centre, waiting around the edges with mystic chords and melancholic emotions. There is high-speed electro slickness to 'Park' complete with flashes of acid and 'Sin' closes with a mix of muted synth modulations, warped metal surfaces and bumping electro beats.
Review: Hilltown Disco have been nurturing their own micro scene up in Dundee, bringing a punchy, gnarly strain of electro to the Scottish city and creating a strong community around it. Now that community comes out in force to celebrate five years of the label and club night, presenting a cast of underground operators singing from the same hymn sheet. Whatever stripe of electro you're into, you're sure to find something to sink your gnashers into here. Keep an extra attentive ear out for the opening track from W1BO, the sadly departed Wibo Lammerts, who the five-track release is dedicated to.
Review: Anna Wall has been making moves for a while now and has released a wide range of sounds on some top labels. She has finally decided to go it alone as she launches her own self-titled outlet here with a new two-track 12" of blistering and club-ready sounds. 'Escape Velocity' is a punchy number that will enliven any floor with its bold bass notes and prickly acid lines screwing throughout the mix as the snappy drums keep things moving. On the flip, takes a slightly different path with fulsome tech house, dubbed out low ends and nagging leads that rise up through them and towards the cosmos. Very effective stuff.
Hieroglyphic Being - "This Is The Right Time In Human History 2 Be Stupid" (10:27)
Review: There is a ton of sonic scuzz and frosty electronic texture to both cuts on this new limited 12" from Natural Sciences. And that is frankly to be expected when you are dealing with these two artists - the long-time LIEs associate Beau Wanzer goes first with the fucked up drums and gnarly synths, wiry electronics and dark vocal mutterings of 'The Table Scrap'. On the flip is Chicago noise specialist Hieroglyphic Being with 'This Is The Right Time In Human History 2 Be Stupid.' It's a lo-fi and fuzzy world of busted drum loops and anxious synths.
Review: Overthink Records marks its 10th release milestone with Waveratio 618's blend of techno and EBM. Following his standout contribution to the label's Split Series, the Italian producer delivers an intense collection crafted entirely from live jam sessions that capture the raw energy and spontaneity of such an approach as he translates hardware explorations into dynamic grooves filled with tension and drive. With a mix of analogue warmth and digital waveforms, this one is perfect for both dark dancefloors and more introspective moments.
Review: Takuya Sugimoto AKA Web is an electronic innovator who released a slew of essential albums in the mid-nineties. This new EP - except for a re-issued track that first appeared in 1995 - is a continuation of his fusionist style where he layers up wonky rhythms, detuned synths, IDM, ambient and techno into something new, something spiritual, something utterly fresh. Everything from Herbie Hancock to Larry Heard to Yellow Magic Orchestra can be heard if you listen closely to these rhythmically complex tracks, and you really should, because there are all kinds of magical sonic sorcery to be found.
Review: While most party DJs lament their wedding gigs while lauding their fun cool jobs, Wedding Acid Group - the openers of this latest V/A by Undersound Recordings - marks a point of going beyond mere cultural Stockholm syndrome, not just making light of our matrimonial masters, but redirecting those cheugy energies into a killer beatific-corrosive intro.AThen come three more riveting uplifts of a blissful and bouncey variety, from 'Do As I Say' by Albert Ess to 'Singlestranded' by Systelman to 'Love2' by J. Mono, seguing from industrial anvil clankage to a nightbus-bound house closer.
Never Stay For Love (feat Eefje De Visser - Night version) (3:30)
Changed For The Better (Disco version) (4:35)
Review: Amsterdam-based duo Weval, known for their intricate and richly layered electronic music, return with a new EP titled Night Versions via Ninja Tune's Technicolour imprint. This EP presents club-ready reimaginings of key tracks from their critically acclaimed album Remember, which was celebrated for its high-energy blend of nostalgia, euphoria, and genre-blurring creativity. On Night Versions, Wevalicomprising Harm Coolen and Merijn Scholte Albersifocuses on enhancing the dancefloor appeal of their original tracks. The EP includes dynamic versions of tracks like 'Remember' and 'I Saw You,' now infused with the pulsating energy reminiscent of artists like Max Cooper and Apparat. The result is a five-track journey that amplifies the frenetic, danceable elements of the original album while maintaining Weval's signature complexity and emotional depth. A compelling evolution of their sound, designed to ignite the dancefloor.
Bang Tang (Vertical67 Bang For The Buck mix) (6:08)
Paula Z Meets Sound Synthesis (Sound Synthesis remix) (6:12)
Train Station (36 Night Train remix) (6:30)
Review: The mysterious Who is a Berlin based artist who releases brilliant music but only sporadically so. They launched their own Who Is Paula label in December last year. That was an original EP which now gets revisited and remixed for the label's second release. Electro don Cignol gets first with a plenty of rueful pad work and leggy drums. Vertical67 's take on 'Bang Tang' is hurried, with bleeping melodies and closely stacked kicks bringing the cyborg-funk. The Sound Synthesis remix is a punchy one that goes deep and Train Station (36 Night Train remix) is lo-fi and thoughtful, with end-of-the-night melodies sending you home in a blissful state.
Review: Windy City - which is of course the colloquial name for Chicago, the US house hotbed - serves up a pair of dazzling electro bombs here for NYC. This mad-limited 7" packs a mighty punch from the off. 'Acid Wash' is laced with 303 lines and has jacked-up broken beats, silvery percussion and plenty of cosmic charm to get floors rocking. On the flip, 'Acid Dry' then strips things back to some loopy snares and roaming pads, all with another crisp electro rhythm down low. These two ageless jams are sure to be hugely effective.
Wish & Fonda Rae - "Touch Me (All Night Long)" (9:28)
Wish & Fonda Rae - "Touch Me (All Night Long)" (remix) (7:24)
Wish & La Rita Gaskin - "Nice & Soft" (8:26)
Review: Unidisc knows what's up with this one, a reissue of an irresistible disco classic tinted with UK street soul vibes. Wish & Fonda Rae's 'Touch Me' has it all - the chilly 80s drum sounds, a raw and hooky chord sequence and a fast and squelchy bassline all topped off with a singable vocal that is hella emotive and heart swelling. As well as the almost ten-minute All Night Long mix there is a more wonky remix full of mad filter work and a second tune from Wish, this one with La Rita Gaskin. Their 'Nice & Soft' is another belting disco banger for pure good vibes only.
Messin’ With My Mind (Electric Press remix) (8:03)
Messin’ With My Mind (Electric Press dub) (5:50)
Review: Ralph Lawson's legendary Leeds-based label 20/20 Vision is in the middle of celebrating 30 years in the game. Part of that now extends to this reissue of a record that played a huge part in establishing the imprint back in the day. It comes from the co-founders' production alias Wolf n Flow and though it was recorded more than 20 years ago, this record still bangs. 'Messin' With My Mind' is a perfect mix of squelchy tech and vocal loveliness that calls to mind early Fresh & Low. The Oliver.r dub is more sleek and blissed out and two Electric Press remixes close out with some late-night heft.
Review: The Worm burrows deep with this evocative new outing on Deep Cub label, which continues to turn plenty of heads before it has even got to release number 10. '12 Days Of Squirm' is dubby, mid tempo and slow motion techno for early evening warm ups. 'Lisa' brings a more cid laced and percolating sound to up the energy levels and '808 Verb Talk' is darker, more heavy, with bright acid leaving a menacing mood in its wake. 'Pytch1' is another deft and atmospheric wedge of slow, purposeful techno.
Review: DEL Records is back doing its thing - which is specifically unearthing exceptional electronic sounds discovered in the outer reaches of our galaxy while on a research mission. Enterprise crew, eat your heart out, the sci-fi feeling runs deep with this one, as we're taken on a deep and immersive journey through intergalactic tones as intellectual as they are immediately compelling.
The right ingredients for any strong narrative, German artist Woyke splices together IDM, electronica, movie-theme-worthy epic synthdom, ambient, downtempo and electro-breaks in a way that feels very fresh, not to mention reassuringly warm, considering the early-winter release date. An expansive journey to the other side of somewhere, it's impossible not to get overly immersed, presenting the very real risk of wormhole closing and getting stuck here forever. Still, there are worse places to end up.
Review: Ruf Dug has long been one of the cultish followers of mysterious beat-maker and frequent Instagram poster Wu-Ki, an artist with zero previous releases but a vast archive of largely home-made music (much of which samples dusty old VHS tapes). The pair met by accident last year (or so Ruf Dug says - it could all be an entertaining tall tale) and a deal was thrashed out for the Mancunian producer to sign Wu-Ki to his reliable Ruf Kutz imprint. There's a definite 'child of the 80s and early 90s' vibe to proceedings - all fizzing, multi-coloured synth sounds, chopped-up house-not-house beats, stabbing TB-303 sounds, mutant boogie beats and layers of deliciously analogue fuzz. Set phasers to fun!
Pan Sonic Youth (Thee Church Ov Acid House Balearic mix) (7:05)
Pan Sonic Youth (Sampledica dub) (3:29)
Review: The legendary German producer behind such mythical techno names like Acid Jesus and Alter Ego delivers an eclectic exploration of electro and acid with 'Pan Sonic Youth'. This release shows his ability to create genre-bending soundscapes and analogue textures, each of the four mixes offering a unique perspective on the original. Side-1 starts with the acid version which is a deep, addictive dive into heavily drenched acid sounds. Harnessing the spirit of 80s electro, its bold, immersive energy demands attention. The original version follows, delivering strong electro rhythms and a sharp, immediate impact. Both versions are sure to wow any listener. Side-2 opens with the drone version, where heavily processed analogue tones create a dense, experimental atmosphere. Jorn's 'Thee Church Ov Acid House Balearic Mix' reimagines the track as a chill-out anthem, blending beachy vibes and lounge influences while retaining the original's spirit. Closing the release, the 'Sampledica Dub' deconstructs the original into abstract fragments, offering a more avant-garde, interpretive take. Wuttke's ability to create so many different versions of one track is truly amazing in itself, and add the extra demension that a true veteran brings and you have one unmissable piece of vinyl.
Review: It only seems like yesterday when Nick Cave delivered his wonderfully captivating joint piece with fellow-Australian Bad Seed Warren Ellis. In fact it was early March, and since then we've all likely been through the kinds of highs and lows this record reflects so accurately. There's a lot of space to Carnage, but it's also an album of intensity, in a refined and sophisticated way.
Packed with incredibly cinematic, theatrical and dramatic moments, at its loudest 'White Elephant' is bordering on a genuinely euphoric religious experience, one rousing and hugely emotional crescendo of chorus and big stage notes after another. At its quietest, 'Shattered Ground' sounds like one man alone with a piano and eternal sadness. Meanwhile, the title track is classic troubadour business. In summary, a grand, mesmerising and personal voyage.
Review: Wild Up continue their exploration of Julius Eastman's work with Julius Eastman Vol. 4: The Holy Presence, out June 21, 2024, via New Amsterdam Records. Opening with Our Father, a haunting duet performed by Davone Tines, the album delves deep into his spiritual side, blending choral elements with his signature avant-garde style. This release highlights Eastman's unique, mystically charged compositions, including The Holy Presence of Joan D'Arc, with cellist Seth Parker Woods' multi-tracked performance showcasing Wild Up's profound dedication to Eastman's powerful legacy.
Review: Shackleton and Waclaw Zimpel's first album Primal Forms was a masterful collaboration which arrived on Cosmo Rhythmatic in 2020. The pair clearly found fruit in their crossover as they return for a second instalment, this time on 7K! and with an expanded approach thanks to the addition of Siddhartha Belmannu, a strikingly talented young singer in the field of Indian classical music. The over-arching intention of the artists was to make a joyous album about the wonder of life and living, but of course this isn't a one-dimensional happy-clappy record. Rather, it's a meditative exercise dealing in fascinating microtonality and mesmerising harmonic interplay with the power to have a profound, uncanny effect on the listener.
Review: Los Angeles-based composer Tashi Wada steps out with his long awaited debut album, What Is Not Strange?, and a fine first solo outing it is too. It is by far his most ambitious and widescreen work to date and it comes laden with plenty of emotion as a result of the fact that it was written and recorded over a period that encompassed the death of his father and the rather opposite feelings of experiencing the birth of his daughter. As such Wada reflects inward to explore various themes including being alive, mortality and finding one's place in the world. His unique song based expressionism goes from ecstatic to denser forms and starker contrasts. It is a wonderful experiment and immersive listen.
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