JAY TRIPWIRE レコード& CD

Review: Minimal stalwart Jay Tripwire has been as prolific as ever this year, serving up the Narcotic Oscillator EP for The Other Side and collaborating with Cristi Cons on Witching Hour. Now it's time for the Canadian veteran to serve up some boss level beats to emergent label VRNT, holding true to the rhythmic demands of the stripped-down tech house scene while finding plenty of space for expression and innovation in the sound design. 'The Real Life Of John Merrick' is a masterfully sculpted workout, while 'Pleiadian Wavelength' unfurls exquisite melodic and textural synth forms around an understated groove. Herck completes the package with a crunchy, bugged-out version of the lead track which harks back to the crooked computer funk synonymous with Canadian minimal in the mid 00s.

Review: During the early 2000s, Jay Tripwire was responsible for a string of killer records that blurred the boundaries between tech-house, dub-house, deep house, acid and more tribal-tinged flavours. The ongoing 'My Life With The Machines' series taps into this golden period from the Canadian producer, offering a mix of sought-after classics, rarities and unreleased jams from the archives. Highlights are naturally plentiful, with our picks including his deeply sub-heavy, Dubtribe influenced rework of Yabby You dub classic 'King Pharoah's Plague', a tough, TB-303 laden stomp through Marky Starr's 'Disco Freak', the dense-but-rolling deep house funk of 'In Your Mind', and the '4AM at a Californian free party' flex of the accurately titled 'Dope Groove'.

Review: There is a load of Jay Tripwire newness around at the moment and some of it is from his back catalogue and some of it is all new. Here the longtime minimal mainstay and Canadian scene-pioneer serves up a multi-volume collection of cult tracks of his from the early 2000s. They have a west coast tech house sound and are still future in design. The likes of Villalbos have long been banging these and they sit well with the days current underground sound. Acid, dub, tech, electronic soul and more all colour the grooves.

Review: Steve O'Sullivan invites a trio of artists to lay down some serious head nodding beats for 'Rhythm Method Vol.4'. Calling on one of Canada's trusted talents and solid purveyors of deep grooves Jay Tripwire leads the charge with 'Mung Bean Medley'. There's simply no messing: pushing through a taught rhythmic workout, incessant toms and metallic tones etch deep into the mood - awash with dubbed out atmospherics and crafty touches that more than a give a nod to the dark house dubs of yesteryear. On the flip, 'Hidden Sequence' inject their creative flex, demonstrating the all important art of minimalist bounce with 'Synchro'. The kind of fully swung beats and tripped out twinges that brighten the groove more often than not when 7am comes calling. The svelte bustle and soothing tones of 'Makka' from Fletcher by contrast, soothe the mind and leaves plenty of room to kick back as weary limbs take their toll: a fine tonic indeed.

Review: Jay Tripwire has popped up a lot recently, which is always going to be good news for fans of those freaky late-night tech sounds that he is so well known and loved for. He kicks off Serenity's fifth release here alongside Jehr on 'Magic Man', a deep cut underlapping drum funk and lots of whirring machine sounds. Parisian space techno talent Cyberduck then takes care of both tunes on the flip - firstly 'Arzach', a deep and dynamic cut that hurriedly scans a vast cosmic world with silvery drums and lush melodies. Then 'Cerclon' gets a little more edgy, with dark and nagging baselines moving up through the mix as the crisp, well-swung tech drums power along.

Review: It's time to get to know Club Magnus, a new label that launches with Moonlight 001, a various artist collection that brings together some fresh contemporary talents across three forward thinking cuts. Jay Tripwire opens up with his scintillating tech house sounds embellished with all the usual acid and after party freakiness. Magnus Asberg then keeps you on your toes with his nimble drum work and the cyborg electro funk of 'Sunset' (vs Sound Of The Suburbs) while Microman closes with the more dark, involving and intense techno convulsions of 'Inga Aviseringar'.