La Club Resource レコード& CD

Review: Previously seen on a hook-up between LA club come label Rhonda International and Scion A/V, Greg Shin's Delivery project resurfaces in notable style with the latest release on LA Club Resources. Though it's got the LACR004 cat no, Drama marks the fifth release on Delroy Edwards label and hints the LIES affiliate is really coming to grips with his role as a label boss and is a great platform for young Gregory. Both tracks on Drama nestle snugly in the viciously unhinged and high octane aesthetic that's been a hallmark of LACR from the off, with lead track "B.A.H.G.T.F.O." a particular highlight. Here a quiet intro lulls you into a false sense of security before pulling you through ten minutes of crunchy West Coast techno grit laced with unpredictable acid overtones.

Review: We've always been big fans of Delroy Edwards. But, we don't only rate his music; we love his attitude and the way in which he's gone about releasing material through his own LA Club Resource imprint. Whether it be grainy, maladjusted techno or noise and distorted juke, he has managed to build a concrete sound aesthetic for himself. Moreover, we love the fact that he's waited until now to drop his debut album instead of going in too early and risking to dilute his talents because of pressure from the scene of which he's part of, a scene which expects instant gratification and albums from the start. Hanging At The Beach has been described by Edwards himself as the most personal work he's done to date, and it truly sounds like the artist has space to play and get his mood across correctly throughout its thirty cuts. These range from his signature house sound, through to lo-Fi drum machine sketches and fine segments of power electronics. This one comes hugely recommended!

Review: Early in the year, forthright lo-fi techno experimentalist Delroy Edwards released an eccentric, 22-track, download-only album called Rio Grande. Here, he makes some of the highlights of that set available on vinyl for the very first time. It's an intriguing and largely enjoyable affair throughout, with the sometime L.I.E.S man following the glassy-eyed, recorded-from-the-radio Balearic warmth of "When I Think" with the stripped-back, noise-laden jack-track "Sugar Shack". These kinds of juxtapositions continue throughout, as Edwards flits between sweet and tactile downtempo doodles (see "Rio Grande"), clattering proto jack-tracks ("Let It Rock!") and hissing 1980s deep house bliss (the woozy brilliance of EP closer "Wild Illusions").

Review: We've always been big fans of Delroy Edwards. But, we don't only rate his music; we love his attitude and the way in which he's gone about releasing material through his own LA Club Resource imprint. Whether it be grainy, maladjusted techno or noise and distorted juke, he has managed to build a concrete sound aesthetic for himself. Moreover, we love the fact that he's waited until now to drop his debut album instead of going in too early and risking to dilute his talents because of pressure from the scene of which he's part of, a scene which expects instant gratification and albums from the start. Hanging At The Beach has been described by Edwards himself as the most personal work he's done to date, and it truly sounds like the artist has space to play and get his mood across correctly throughout its thirty cuts. These range from his signature house sound, through to lo-Fi drum machine sketches and fine segments of power electronics. This one comes hugely recommended!

Review: By sampling a famous scene from Scarface for this release's first track, is Delroy Edwards, like Tony Montana, trying to say: "You need people like me so you can point your fuckin' fingers and say, 'That's the bad guy'"? With an EP title like Kickin' Butts!! it's certainly possible, and he's the type of artist that's made it known he doesn't care what others think of his music. It's a minimal five-track EP overall and very lo-fi, none more so than the Steve Poindexter-styled "Str8 Fuckd" and on the swirling, metallic phase action of "Insane In The Membrane". Edwards throws down a basic hip hop beat in "Die Motherfucker" while it's the title-track that provides this release with the most dynamic moment of the lot.

Review: The inclusion of veteran Chicago producer Gene Hunt on Delroy Edwards' L.A. Club Resource label may initially seem like a bit of a strange move, but on listening to Pandemonium it's easy to see the connection between Edwards' own raw, grotty, overdriven take on house and techno and the two productions from Hunt on this 12". Both sound like the most primitive of jack tracks, with the title cut featuring a queasy synth line which careers in and out of sight amongst some satisfyingly crunchy drums, and "Jackzone" providing an even more disorientating take on house music. For fans of L.I.E.S. and L.A. Club Resource this comes highly recommended!

Review: Delroy Edward's LA Club Resource finally drops its next bombshell, this time a collaborative effort that includes three newcomers, possibly riding low-key under different aliases. Riding shotgun, you got Chicago legend Gene Hunt with the minimal and freaky vibes of "OW (Drum Beat)", a woman's scream darting in and out of the stripped-back groove, and the heavily filtered "S Sonics" by the mysterious Wrecking Project. Over on the flip of the wax plate you have Blacktail's old-school lick "Now Muzik", while "Blimp Works" by Innsyter is a pumping techno gunshot that goes dirty and heavy on the percussive rattle. Raw, dirty, and messed up from the start.

Review: LA Club Resources dip into the archives of another US house legend that has undoubtedly influenced label owner Delroy Edwards, presenting a four track EP of lost cuts from Steve Poindexter. A name immediately familiar to anyone with a modicum of Chicago house music, Poindexter recorded the four tracks on Streetfighter in his mid '90s pomp but they never saw the physical release the music merits until now. It's all quite raw and to the bone as you'd expect with the manic "Blazing Saddles", a collaborative production done with Johnny Key and Trackmaster Scott, a body jacking highlight of the record.

Review: Delroy Edwards' label won't win any prizes for releasing safe music and certainly its sixth record is not for the faint-hearted. "Dirge 2" is lttle more than a wall of fuzzy, frazzled noise interspersed with incessant filter bursts, while "Dirge 4" is more danceable as the author drops crunchy beats and waves of building feedback. On the remaining "Dirge" tracks, the unnamed producer focuses squarely on the floor. "Dirge 1" is an uncomplicated but effective fusion of banging beats and firing hats. Best of all, though is "Dirge 3", which features pounding titanium drums supporting relentless percussive volleys, a killer club track to rival Edwards' own material.

Review: Oh boy, another fine episide of L.A. Club Resource has dropped on us! Since the first Delroy Edwards EP on the imprint, this has been one of our favourite labels over the past year. However, this is not simply due to its house and techno releases, but more for how Edwards himself has given such creative freedom to his brainchild. While many were expecting straight floor cuts, releases such as this latest Zipcode demonstrate that Edwards and his tight-knit group of artists mean to showcase their own passions and skills. Zipcode aka Vereker - one of our own personal legends - drops four segments of noise and stripped beats. All apart from "Track 4" - a cavernous broken techno loop - all the other three tracks are pure machine noise from the depths of the inferno. Imagine Kevin Drumm loaded up on cough medicine and you're kinda close. Big.