Review: With its fractal-sporting artwork, psychedelic electronics, bold melodies and thrusting grooves, France's 39 label feels like it is rooted in another, earlier time - one where progressive house, trance and techno were still evolving. This collaborative EP from Wigs and Body Clinic fits neatly in its catalogue. They begin with 'Into The Void', a spiralling slab of uplifting 90s progressive house/trance fusion, before unveiling 'Lost Souls', where spacey headiness rubs shoulders with thunderous beats, restless bass and trippy TB-303 motifs. They plump for a darker and more intense, acid-fired techno sound on 'Tuna Bap, while 'NK Prog' sounds like a long-lost progressive house gem from 1995 (bonus points awarded for their use of MK style organ stabs).
Review: Walker And Royce and Dirtybird are perfect bedfellows - they both have a penchant for bright, colourful sounds, big-hearted beats and playful energies when it comes to club music. No Big Deal, the duo's new album, doesn't disappoint on that front. It is an album that goes big on collars and features the likes of comedian and musician Reggie Watts, Grammy-nominated and multi-platinum-selling artist James Patterson peak-time producer VNSSA, another Grammy-nominee in the shape of vocalist Barney Bones and more besides. Plenty of weird and wacky beats are run through with some great lyrics to make this as functional as it is fun.
Review: Real-deal 90s ethereal breaks from the electronic music duo Way Out West. First released in 1997, this was not their best-known outing: only when this Bristolian duo was later joined by singer Omi (Emma Everett) did this happen, and this Deconstruction debut had only seen their instrumental incarnation so far. Nevertheless, this is a distinctly of-its-time record, offering blinding, game soundtrack-informed fusions of chillout flourishment with ascendant breaks-phoria and only vaguely touching on the theme of the wild West, ironically separate from the electronic music enthusiast's main imaginary. The record's non-breaksy moments are well worth noting too, with the slidden guitars of 'Earth' and chattering dub atmospherics of 'Dancehall Tornado' serving as the two most out-there numbers.
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