Review: Yaleesa Hall returns to his Will & Ink imprint with some fascinating techno derivatives on the Hayley Laura EP, although these are much more straight ahead than his usual stripped down experiments - best heard on his 2016 debut album. Beginning with the electro-bass assault of "Zoe Price" bringing that UK style sound popularised by Carl Finlow or Radioactive Man in true style. "Hayley Roach" with its splintered beats and and tunnelling sequences are reminiscent of Regis' output in the late '90s, while "Laura Pomeroy" being the the most atmospheric cut on offer here - going down a more lush and hypnotic route. This is the first solo output from the Amsterdam based producer on the label.
Review: Shadowy Dutch producer Yaleesa Hall returns on his Will & Ink imprint with yet more fascinating techo derivatives. We thought it was pretty hard to beat his last release (Zoe Hayley Laura) but WNK 013 certainly delivers the goods. From the Bristolian, low-end driven techno assault of "Daisy Wright" (featuring a truly ripsnorting bass!), it follows the slow burning, dystopian electro journey "Barbara Adams". The electro flavour continues on the flip, with some mental smacked-out breaks on the futurist journey "Harriet Brown" which comes with a rather experimental and IDM influenced VIP mix to even out the B side.
Review: The latest release on Dutch label Will & Ink comes from one of its founders, Yaleesa Hall, and recent arrival Nick 'Malin' Putman. Lucas is similar in style to previous releases on the label, but it pushes farther in a loopy direction. "First Lucas" is a rolling, tracky affair, littered with disco riffs and reminiscent of a heavy take on Thomas Melchior's house sound. "Second Lucas" meanwhile sees the pair follow a similar route, but on this occasion, wired frequency drops and tonal shifts replace the disco elements. Finally, "Third Lucas" sees the duo deliver a more steppy rhythm, the dense drums still underpinning the swinging arrangement.
Review: The almost endless flow of techno from Holland is enough to mean that the country often rivals and sometimes supersedes Germany as Europe's electronic music hub. Certainly, Mersenne shows why Dutch producers are so well regarded. Both "First Mersenne" and "Second Mersenne" are tough, functional tracks in the Sawlin vein. It's easy to do these kinds of tracks competently, but very difficult to do them well, but through the use of sleazy vocals, smart filters and crisp percussion, they stand out. "Third Mersenne" isn't as heavy, but its dubby nuances and resonating vocals are memorable, while the release ends in introspective mode with the dub shanty of "Mersellanious".