WhyYouFuggMyOpps (feat Link Sinatra, Ciarah) (2:26)
Glitch N Ass (feat Cheapskate Skutta, Dastardly Kids) (3:12)
Birthday Pearls (feat QuikKash) (2:17)
Pocket Pussy (feat Milfie) (1:51)
TakeOffOnnaPorsche (1:59)
TeeTees Dispo (feat Sprng4evr) (2:31)
No Games (feat Nlghind, Dastardly Kids) (2:54)
Review: Is there a more vital label in all of underground electronic music than FXHE? It never ceases to amaze us how Omar S manages to put out so much music of such high quality, mostly of his own making, but also from plenty of satellite producers he lures under his wing. This time we're treated to a rare full-length from someone other than the boss as the Motor City's Hi Tech duo step up with a raw ghettotech workout. These are sleazy tracks with raw production, bumping basslines, high-speed rhythms and plenty of rapped vocals packed with juke and footwork attitude.
DJ Rashad/DJ Spin/Taso - "Roll Up That Loud" (3:37)
DJ Rashad/Gant-Man - "Get Fuk'd Up" (3:01)
DJ Rashad/DJ Manny/DJ Spin - "Let's Roll Out" (3:48)
Microglobe/Machinedrum - "High On Hope" (4:13)
DJ Rashad/DJ Phil - "Come Close" (4:25)
DJ Rashad/DJ Earl - "Wear Her Pussy Out" (3:53)
DJ Rashad/DJ Spinn - "Oh God" (4:51)
DJ Rashad/Gant-Man/DJ Manny - "Ratchet City" (3:02)
DJ Rashad/Dj Taye - "Get You Burnt" (4:22)
DJ Rashad/Tripletrain/DJ Spin - "Pass That" (3:14)
DJ Rashad/Boylan/DJ Manny - "Tony Montana" (2:51)
DJ Rashad/DJ Tre - "Yeah We Do This" (4:49)
DJ Rashad/Traxman - "Lost Worlds" (3:38)
DJ Rashad/DJ Spinn/DJ Paypal (RSP) - "Do You Wanna B Mine" (5:26)
DJ Rashad/DJ Manny - "Roll A Tree" (4:49)
Review: This debut release from footwork crew Teklife's label sees them pay tribute to DJ Rashad, the late, great innovator who passed away in the spring of 2014. Afterlife gathers together a collection of DJ Rashad tracks co-produced by Rashad's close friends and associates, including DJ Spinn, Traxman, DJ Manny and more. As the label themselves state, this 14 track album really conveys the wealth of musical influences and knowledge Rashad possessed with soul, hip-hop, house, techno and many more all brought together at 160 BPM. "Afterlife is our tribute to our friend and our inspiration. Rest In Peace DJ Rashad," Teklife write. Enough said. A must for all fans of Rashad.
Review: Inimitable footwork titan Jlin returns for yet another challenging take on footwork and juke, Perspective. A pivotal follow-up to her 2017 album Black Origami, it comes as a comparatively terse mini-album, and consists of electronic versions of her compositions for the percussion ensemble Third Coast Percussion. Something about Perspective seems to appreciate footwork's rhythms as rhythmic "impossible shapes", owing to the genre's loose and sometimes off-kilter triplets. On the likes of 'Fourth Perspective' and 'Disonance', she seems to equate juke with minimalism, introducing Reichean additions and subtractions, not to mention a glassy, surreal timbre overall.
Review: Dark Vektor's 'Universos Infinitos' was first released a couple of years ago via HC, and the label have now resolved to reissue the record, by popular demand, on vinyl. Privileging a full-throttle, cosmic electro sound - one that makes full use of the digital medium's spectral potential, yet still echoes something of the imperfect medium that is space-time - 'Universos Infinitos' invites us to consider the vast expanse of the cosmos through a chrome-tinted radio telescope. From the off, of the title track, we hear analogous readings of vocoded pulsars and sidereal stabs, both of which are received loudly and clearly by our technilicious giant satellite dish. 'Darkness Around Me' is more an intermittent sound-source, perhaps signalling the cosmic presence of a partially botched nova - or even a Dyson sphere - through its equally ecstatic square waves and washout vocals from singer Marinetta. The Lost Boys deliver a rogue and vampiric schranz version on the B, shortly followed by an even archer footwork remix from our newest favourite outer-space visitor, Kaxtelian.
Review: By the time Double Cup landed in 2013, footwork had already well and truly infiltrated global dance music culture, with DJ Rashad held high as one of the true visionaries of the Chicago-born sound. Still, Double Cup seemed to break through and take the genre even further out, turning more people onto footwork's hugely innovative potential and fuelling its interpolation with other scenes in the UK and elsewhere. With Rashad's tragic passing in 2014, it also serves as a swan song of sorts, loaded with the weight of a genius gone before his time. If you don't already have this one etched in your memory banks, now is the time to play catch up.
I Swear It's A Bop (feat KAYY & ALLGIRLSALLOWED) (2:17)
Fitness By King Milo (2:07)
Review: The spirit of ghetto tech looms large over this full length offering from duo Hi Tech, surfacing on Omar S' FXHE label. That said, the usual straight forward pumped up booty bouncing beats that the genre flaunts are left well behind by an eclectic and well constructed trip across the rhythmic spectrum. 'Milf Milo' is one of the more regular sounding jams, riding a relatively conventional house/garage production, but elsewhere elements of trap, hip-hop, techno, footwork and electro all influence the genuinely innovative and original frameworks. Even better, the cleverness of the arrangements doesn't lessen the alarmingly thuggish timestretched and over-autotuned vocals, giving us the best of both worlds.
Suit & Tie Guy Vs Dorian Electra - "Fa$t Ca$h (Easy Credit & The Economic Cra$h)" (Objacktivist mix) (8:14)
Suit & Tie Guy Vs Dorian Electra - "Fa$t Ca$h (Easy Credit & The Economic Cra$h)" (Lorenzo Vektor remix) (3:04)
Suit & Tie Guy - "The Bilderberg Gate (RIP Pete Namlook)" (7:12)
Suit & Tie Guy - "Because It's Lucky (Where's The Kibble At?)" (4:46)
Review: STG Soundlabs' first drop is a wild ride. First up, Suit & Tie Guy goes up against Dorian Electra on 'Fa$t Ca$h (Easy Credit & The Economic Cra$h)' which gets remixed by Objacktivist into eight minutes of bendy deep house with lashings of Ibiza soulfulness. The Lorenzo Vektor is a wild footwork remix with drums piled up on top of one another and the vocal chopped and diced into pieces. On the flip is a star-gazing synth house exploration of outer space and then a killer electro-funk jam. One of the most unpredictable EPs we've heard in ages.
Review: Johnstown, Pennsylvania isn't the first town on everyone's lips when it comes to deep dive electronics. But then, sadly, most people still don't seem to have encountered Nondi. Better known to some of those who have as Tatiana Triplin, the US producer and head of the 'net label HRR has developed a cult following for her experimental takes on some already quite leftfield electronic genres: breakcore and footwork, alongside Detroit-hued techno. What's remarkable about all this is the fact she confesses to only really having direct experiences of these genres online, as oppose to amid the sweat and frenzy of the situations they were first intended for. While this might lead some to assuming her work lacks authenticity, nothing could be further from the truth - it's all so authentic because the interpretations are entirely hers.
Review: Into The Cosmos kick off their label with a promising start, demonstrating rather than describing their stated sonic mission with a rivetingly unusual fusion of footwork and fourth world; nu-house in a new age. Drum Dance's 'Zani!' is zany enough, sparring subtle sonic mysticisms contra hard-driving synth and drumwork, with the titular opener recalling the subtleties in the work of Machinedrum, albeit excepting the latter artist's technical itches for a calmer sonic drapery of tropical, topical balms and salves. 'Body Heat' goes housier, fusing the chromatic electric piano chords common to the voguish, incantatory ends of UK funky with the whispering yet determined hollers of a female vocal dance-guide. The B-side moves much more Balearic, preferring detuned, overtonic tremolos and slow ataraxic fruitions, ending on the calmly carpet-squatting jazz suspension that is 'Adan On Dot Soley'.
Review: French finesse with German fusion... Willis Anne makes his Shall Not Fade debut with this killer 'Movement' EP. As with previous missives on his LAN imprint, the beats roam and romp freely between footwork, jungle and ghetto-tek with strong twangs of Detroit bringing it all together. Highlights include the wonderful layers of organs and vibrant chords of 'Direct Effect' and the fully-swung breakbeats and bellowing sub of 'Unison'. Get moving.
Review: RP Boo is a footwork originator widely credited as being a pivotal and foundational figure. He started producing in 1995 inspired by the house sounds of Chicago and broke through in 1997 with 'Baby Come On' which is credited as being the first proper footwork tune. Legacy Vol.2 is a collection of cuts created between 2002 and 2007 that tell the story of Boo's musical evolution as well as that of footwork itself. There is everything from the darkness of 'Eraser' inspired by visiting club War Zone on the west side of Chicago to 2005's 'Pop Machine', which was made when Boo worked at Speedway Oil Change and made use of a temperamental soda/pop machine. This is vital music history, frankly.
The Precision Of Infinity (feat Philip Glass) (4:37)
Review: Jerrilyn Patton's dark energy finds a new form on this beguiling new album Akoma. The title meaning heart in Akan, once again this maverick multi-disciplinary artist bares all in a totally unique way. At points intriguing and intimate (the playful bounce and momentum of 'Open Canvas', the spider-like patter and skittishness of 'The Precision Of Infinity' the classic glitches and switches of 'Sodalite') At others moody and moving (the powerful staccato strings of 'Summon', the cold percussive minimalism and stirring chants of 'Eye Am') At all times captivating and genuinely unlike anything else around. Featuring the likes of Bjork, Philip Glass and Kronos Quartet, this is a powerful body of work from all directions.
Review: Jim Coles' decision back in 2010 to implement a swerve in his sonic trajectory away from his hip-hop past as 2tall in favour of a more all-encompassing approach that touches on various strands of bass culture as Om Unit has paid off and then some. Subsequent releases on Exit, Autonomic, Civil Music, Metalheadz and his own Cosmic Bridge imprint have all shown Om Unit eminently capable of tempo shifting productions that appeal to fans of Bass music, Drum & Bass and footwork alike. The latter has been explored further while the Dream Continuum collaboration with Machinedrum on Planet Mu and his Philip D. Kick alias where the link between Chicago's juke heritage and UK Jungle was explored. All this and more is included on Threads, a debut Om Unit LP for Civil Music that deftly collates various strands (or threads) of his production career over the past fifteen years for a cohesive 15 track set that veers through of hip hop, dubstep, jungle and even house.
Review: Darryl Bunch Jnr has been operating in the Chicago footwork scene as Heavee for some time now, most notably collaborating with the legendary DJ Rashad as well as luminaries like Zora Jones and Sinjin Hawke. Following up on the promise of his Audio Assault EP for Hyperdub a couple of years ago, Bunch Jnr comes good with an album that broadens his palette without losing focus on the rhythmically intriguing, uptempo framework of footwork. Skittering beats and staggered vocal samples abound, but there's also some soulful synth work and artful sound design which nudge this work into its own sphere, upholding footwork's instinct for innovation and deepening the Heavee creative stamp in the process.
WhyYouFuggMyOpps (feat Link Sinatra, Ciarah) (2:26)
Glitch N Ass (feat Cheapskate Skutta, Dastardly Kids) (3:12)
Birthday Pearls (feat QuikKash) (2:17)
Pocket Pussy (feat Milfie) (1:51)
TakeOffOnnaPorsche (1:59)
TeeTees Dispo (feat Sprng4evr) (2:31)
No Games (feat Nlghind, Dastardly Kids) (2:54)
Review: Diners Club International recently served up this Hi Tech album, Detwat, on CD, but now backs that up with a limited cassette version featuring some bonus cuts. It originally got released on Omar S's FHXE label and is a sleazy and high-speed ghetto workout with filthy low ends aimed well and truly at the rump. Juke, footwork and plenty of spin-off styles are all chewed up and spat out with plenty of top collars and guests adding colour. There are pumping beats and fractured vocals on 'Money Phone', Drake style trap vocoders on 'TakeOffOnnaPorsche' and bright, reflective, optimistic chords over hurried beats on 'Glitch N Ass' (feat Cheapskate Skutta, Dastardly Kids) amongst many more highlights.
I Swear It's A Bop (feat KAYY & ALLGIRLSALLOWED) (2:17)
Fitness By King Milo (2:07)
Review: After a recent release on CD following its first outing on Omar S's FXHE, Diners Club International now drops Hi Tech's self-titled album on cassette with some added bonus joints. It's a thrilling, pacey listen that whisks you off your feet and through a world of juke, footwork and ghetto beats that are all drenched in soul. The cuts are short and sweet, from the smudged and smeared r&b overtones of 'Funny Fuckits' (feat Nila & Stefan Xix) to the heavily filtered and trap-style 'Fitness By King Milo.' It's a futuristic sound steeped in fresh and inventive rhythms and heartfelt emotions.
Review: We don't know who is involved in this brand new Diner's Club International project but we do know that they have put together three superb new records, all of which are landing at the same time. We also know they have come from Detroit, specifically Joy Rd on the West Side, and so come drenched in plenty of the swaggering attitudes you would expect. Diners Club International Part 1 fuses electro, ghetto and techno into booty-shaking cuts designed square for the club. The rhythms are infectious, the drums booming and the vocals bawdy, so snap these up before they're gone as quickly as they arrived.
Review: If you love a good old game of musical guess who then get your ears around this, the second of three Diner's Club International records that dropped on our laps under a shroud of mystery. All we have been told about the project is that is a collective of artists from Joy Rd on the West Side of Detroit who are keeping the city's rich ghetto tech traditions alive. The tracks on this, Part 3, are all super short but super compelling - elements of juke, footwork and electro make up the bumping rhythms with smart r&b samples and diffuse synth soul all adding heartfelt charm to the irresistible dancefloor chaos.
Review: Introducing Diner's Club International, a new and anonymous collective, we have been told on the low down, that is here to keep clubs bumping. They hail from Joy Rd on the East of the city of Detroit and are here to keep the ghetto tech scene going strong with a vast array of breathless new rhythms across three different records. Their MO is to get in and out quickly with each track - short, snappy sketches packed with attitude, cut-up vocals and spongy drum and bass patterns. As physical as all these cuts are, they also have a real human heart thanks to the warming pads and well-deployed r&b stabs. These are red hot so do not sleep.
Review: Finnish underground icon Sasu Ripatti returns under his most frequently used pseudonym, Vladislav Delay, for another bout of Dancefloor Classics. The series has already established a loyal following, and the fourth episode is enough to explain why, even if you've not encountered any of the preceding instalments. Music for imagined dancefloors is how the official release information puts it, it quickly becomes clear just how vivid that imagination is. Throwing down a string of footwork inspired cuts, the four tracks here are frantically upbeat and packed with filthy, jacking potential. But they're also deep, at times ghostly - or at least a little eerie - and ground in a desire not just to make people move, but also push sounds forward into new territories. Never an easy line to tread, the overall results hit as hard as the beats themselves.
Review: Planet Mu has been one of the breeding grounds for juke and footwork even before many people over in Europe had cottoned on the hyper-rhythmic US style. They continue to put out the genre's fresh sounds, this time with Chicago man DJ Manny pushing the template into fresh new realms. He climbs high on the BPM counter here with his 160+ beats staying soulful, with plenty of hook melodies and well-treated and deployed vocal samples adding character to the physicality. Minimal techno, r&b, jungle and more are all referenced in this brilliantly driving album.
Review: London-based producer Otik releases his first album Cosmosis on Martyn's label 3024. The 11-track LP signifies the fourth album on the imprint across its ten-year tenure, showcasing a more introspective side to Otik's musical output. The album leans into delicate melodies, hazy atmospheres and lush analogue sounds, often evoking blissed-out feels and ripples of brilliant colour. Produced three years ago during lockdown, Cosmosis comes after a period of spiritual struggles, where Otik questioned his faith, religious beliefs, and the concepts of right and wrong. While the pandemic allowed ample time for reflection, Otik translated these thoughts into music from his Peckham-based studio, later finding a home on 3024's evolving discography. Keen to release a body of work that explores the journey of enlightenment and the struggles to get there, Otik drew inspiration from the luminary filmmaker Terrence Malick and how Malick portrayed ideas and philosophies in films like The Tree of Life and Voyage of Time. As a result, the record conveys a compelling narrative of rebirth, told through exquisite sound design and a push-pull pace that oscillates across the album.
Review: Travis Stewart, better known by his stage name Machine Drum, is an American electronic music producer who has been pushing the boundaries of drum and bass for over two decades now. Stewart's unique approach to rhythm and sound design has earned him a cult following among discerning music enthusiasts. Machine Drum's latest album, 3for82, is a testament to his minimalist aesthetic. Released on the respected Ninja Tune label, the album marks Stewart's return after a four-year hiatus. 3for82 showcases Machine Drum's signature blend of intricate drum patterns, atmospheric textures, and sparse melodies. The album features an eclectic mix of vocal artists, each contributing their own unique flavor to Stewart's sonic tapestry. From the catchy vocals of Tinashe on 'Zoom' to the slick style of rapper Deem Spencer on 'blessed', 3for82 is a testament to Stewart's collaborative spirit. Stewart's attention to detail is clear in every layer of the album, from the subtle shifts in rhythm to the evocative sound design. The result is a hypnotic and immersive experience that energizes the listener to an album full of memorable music. With 3for82, Machine Drum once again proves himself to be a master of his craft.
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