Review: Paranoid London is a label born out of a desire to do things differently. A willingness to turn left when all around follow the beaten track. Wanting to stick out instead of blending in. The time is right for a brand new, old school acid label. The first release says it all - "We Make Acid" is an 8 minute, warehouse acid track from One Last Riot, with K. Alexi chanting over the top. A killer.
Review: The sporadic Paranoid London imprint returns with another single from the outfit devoted to championing acid tracks with old school production values. The A-side features "Paris Dub 1", a bass heavy example of understated 303 manipulations complete with snappy 808 percussion, which is complemented by an instrumental version on the flip for those who like their acid pure. Rounding out the 12" is a cut recorded and improvised entirely live at Manchester's Warehouse Project in 2008, but sounding like it could have been lifted from the mixer of an acid party from Chicago in '85.
Review: There's a fair chance that you'll have missed Paranoid London's four singles to date; they were pressed in limited quantities, appeared in stores with no promotion, and quickly became must-have items for those obsessed with stripped back machine music and ragged acid house. Mercifully, the mysterious, no-holds-barred combo has decided to put out a double album containing much of this material, alongside a smattering of previously unheard cuts (including, most excitingly, a collaboration with Detroit legend DJ Genesis). The hard-to-find classics still sparkle - check the brilliantly sparse-but-heavy "Paris Dub 1" (with regular vocalist Paris Brightledge) and ragged "Transmission 5" (featuring a killer spoken vocal from Mutado Pintado) - while the new cuts are thankfully up to similarly high standard. Recommended.
Review: Given that acid revivalists Paranoid London have yet to put a foot wrong, it's no surprise to find that "(Vi-Vi) Vicious Games" is another absolute belter. It's taken from the duo's forthcoming album and features sometime Posthuman collaborator Josh Caffe channeling his inner Robert Owens and Jamie Principle over a retro-futurist backing track. In its full length, the track brilliantly combines Paranoid London's jacking drums and thrusting acid bass with dreamy chords and just the right amount of glassy-eyed melodic flourishes. It sounds like a classic TRAX release given the Paranoid London treatment, which I'm sure we all agree is a very good thing indeed. If you're in the mood for something even sleazier and more driving, the Bam Bam-inspired Dub has it covered.
Review: Given their famously militant approach to music formats, it's a surprise to see Paranoid London's previously vinyl-only 2014 debut album finally being issued on CD. For those who missed out first time around, it's well worth checking. As you might expect, it makes great use of both vintage analogue equipment and similarly old skool influences, in turn doffing a cap to Phuture-style Chicago acid, Inner City, hip-house, Green Velvet, Dance Mania style ghetto-house, and stripped-back, dancefloor-friendly machine soul. Despite the ragged nature of some of the material, it's both hugely listenable and hangs together impressively - no mean feat given the DJ-friendly nature of the tracks. It all adds up to a retro-futurist treat.
Review: Back in July, hardware fetishists and acid house revivalists Paranoid London returned with We Come To Rock, their first 12" single for three years. Here they build on that success with two more razor-sharp, 303-enhanced hardware jams for sweat-soaked basements and pitch-black warehouses. Of the two, it's the more ragged and psychedelic "Our Man Though" that hits home hardest, thanks largely to the combo layering waves of twisted acid lines on top of distorted, teak-tough drum machine beats. "Give Me The" is a little more sedate in comparison, but still impresses thanks to its smart combination of a menacing groove, pitched-down vocal samples, and occasional, undulating acid motifs.
Review: Acid house hooligans Paranoid London are back with another session of raw hardware driven shenanigans on the We Come To Rock EP. On the A side, the title track is one totally infectious and funky groove which boldly declares "We come to rock!" no guesses where that sample comes from and that perfect amount of dust and overdrive coats this gutsy vintage flavoured groove. On the flip "Buck Stoppin" sounds like classic Egyptian Lover on this surefire DJ tool with an emphasis on some killer vintage drum machine rhythms.
Review: Across a smattering of releases, the Paranoid London crew have built up something of a cult following without having to rely on the usual press or promo channels. How they do that, you say? By specialising in their own distinct brand of acid house, blending dark analogue productions with live vocals from exotically named artists such as Mulato Pintado and Paris Brightledge. With last year's Paris Dub 1 currently the subject of some high prices amongst vinyl speculators, a second edition arrives in timely fashion and the combination of Paranoid London's Acid and Paris Brightledge's vocal once again works wonders. Yes this is simple, but some of the best house music is just that. Do not sleep.
Review: With the 303-heavy sounds of their "Paris Dub 1" still ringing in our ears from last summer, the anonymous Paranoid London outfit return with the fifth release on their eponymous imprint, aptly named Transmission 5. Once again hooking up with vocalist Mutado Pintado, the track sees a sinister spoken word vocal laid over a subtle acid line, complete with raw drum machine manoeuvres, while the flip sees a straight instrumental. Stripped back, but deadly as the last - don't sleep on this one...