Review: Scott Fraser and Timothy J Fairplay's Crimes Of The Future label has had quite the banner year, ushering in various projects from the pair as well as seeking out like-minded contemporaries such as Perseus Traxx. The latest Crimes of the Future release introduces Bulb, another project bearing the label founder's finger prints along with a high profile third colluder in one William Burnett. Apparently laid down at WT Records HQ in the spring of 2014 whilst Fairplay and Fraser were committing Crimes in NYC, Bulb is a bold offering from the trio with two extended dancefloor workouts taking a side each. "Light It Up" pairs ghetto techno breaks with something from wayward Kosmiche studio experiments in deepest Germany, whilst "Dimmer Switch" plunges into a world of psychedelia and cavernous cave dwellings thanks to some dark ambient synthesis and stabbing drums.
Review: The latest Crimes Of The Future comes from Dimitri Distant and LVRIN, two emergent artists with a penchant for pitch black grooves steeped in the kind of acidic, wavey styles that COTF are consistently striking gold with. "Blasphemy" is a powerful slice of reductionist acid that uses a bare minimum of elements to create a sinister atmosphere to strike fear into the hearts of unwitting dancers. "Dead Sunday" is no slouch in the creepy department either, its clattering beats and bubbly acid line straining against a tape-stretched backdrop of synthesizer malaise. "Achromatic" switches stance to slow, undead electro soaked in embalming fluid and filtered through a B-movie veil for maximum guttural impact.
Review: Exclusive 7" single in conjunction with Mount Alalog Los Angeles presenting Crimes Of The Future label bosses Scott Fraser and Timothy J. Fairplay with 2 exclusive cuts of leftfield house and electro psychedelia... very limited copies!
Review: Haunted Doorbell are Timothy J. Fairplay and Matilda Tristram who released 'Xylophone' together last year on Astro Lab Recordings. Picking up where Xylophone left off 'Unconnected thoughts on jacking' is four tracks of naive melodies, rough slamjack drums, and new age atmospheres. 'Starclash' kicks off side A, with its dramatic arpeggios and SID chip crashes, Techno to soundtrack the Saturday night laser show at the planetarium. Following is 'A night of adventure' with its eastern scales and washy broken chorus unit hiss. On side B we have 'Beautiful Sheffield' - an ode to electronic music's (possibly) most important British city and the title track rounds of the EP - house music for listening to while looking out to sea.
Review: Junior Fairplay steps up with a special one-sided Crimes Of The Future release. While we can't confirm if Junior Fairplay is an alias for Timothy Fairplay, we do know that this upbeat piece of Korg M1-featuring breakbeat house is the kind of 90s throwback music we want to be hearing right now - absolutely essential stuff.
Review: 'White of the Eye' is the first release under "Nothing but Blood" from Scott Fraser, a direct link back to Scott's earlier 90's work and sound around the darker realms of techno and harder-edged Chicago house. The EP title refers back to a favourite Donald Cammell film of Scott's from 88'. 'White of the Eye' on the A-side is an 11 minute extended mix of the lead cut. Silent Servant on remix duties delivers an amyl fuelled techno bomb landing somewhere in an 80's new york basement. Diving deeper on B2 it features Atlanta resident Claire Elise Tippins on vocals.
Review: Having appeared only once before with the excellent Reel Nitty Gritty 12" on Echovolt, Paradise Box makes a return on Crimes Of The Future with a new set of crunchy leftfield club tracks infused with house, electro and disco sensibilities. "Hookup" is a cracked and mucky affair, but it kicks where it counts, but then "Running Up That Hill" comes along to impart a more emotive, clear-cut message via a cover of Kate Bush. "Ya Mo Be There" throws down a heavy wedge of 80s synth lines that refigures the James Ingram and Michael McDonald belter in a most unlikely of ways.
Review: Fresh off introducing the Bulb project from William Burnett and Crimes Of The Future bosses Tim Fairplay and Scott Fraser, the label adds to its growing roster of artists with the introduction of Tapan. Steeped in Belgrade's club scene as residents at Disco Not Disco, Tapan are evidently well equipped to the Crimes cause on the basis of the two productions presented here; both "Volumes" and "Who's There?" are creeping, slow techno numbers rich with psychedelic qualities with the latter featuring some fine guitar work from Vladimir Djordjevic. Willie Burns and Drvg Cvltvre have been collared to remix the title track and both opt to up the tempo whilst taking "Volumes" in distinctly different directions. The former reimagines the track as heavily processed shoegaze techno that could feasibly have surfaced during the Hacienda's pomp, whilst the latter mutates "Volumes" into an exercise in dank acid.
Review: Crimes Of The Future rounds off the year in fine style with an absolutely essential EP from Twins. 3 moody US house cuts straught out of Atlanta and a sublime deep remix from label boss Scott Fraser. Opening up with Cause Of Dissociation, a slice of banging Chicago house that would not have been out of place in the hands of Mike Dunn at the warehouse. Rattling drums amd percussion a cut up vocal and a killer bassline make for dancefloor devastation. Next up "You Take too" takes things a little deeper, maintining the groove with Chicago inspired percussion and filtered drums and stabbing synths grooving the track along. Over on side B Scott Fraser takes "You Take Too" on to 5am on a dark smoke filled dancefloor, with a deep bassline and soaring strings. Adding additional percussion, keys and swirling echoes... could be the sound of a lost Nu Groove classic. Finally things close out with "A Way From Now" with more Chicago inspired goodness with a funky bassline, pumping percussion and eerie ethereal keys rounding the EP off in fine style.
Review: Crimes Of The Future is the kind of label you can trust, no matter who is at the controls. The same could be said for Giallo Disco, and certainly the two labels orbit a similar space for lurid soundtrack-inspired hardware jams from the Italo age. Vercetti Technicolor is one half of the Giallo team alongside Antoni Maiovvi, and here steps out with a perfectly bombastic range of compositions that revel in B-movie brilliance. "Golden Taurus" is the perfect slow-burner, those mono bass notes warming like no soft synth ever could, while "Topaz Fear" brings a more action-driven sequence into the mix. "Death Wish" too opts for a pumped up club scenario, while Heinrich Dressel smokes out "Golden Taurus" into a seedy slow-jam.