Green Eyed Monster (feat Emma-Lou - radio edit) - (3:43) 140 BPM
Rain In The Sahara - (4:39) 140 BPM
After occasional appearances last year Guido is gearing up to releasing his anticipated second album with this sneaky two track single for Tectonic which shows just where the Bristol bass n' soul boy is at. Replete with the fulsome vocal turn from Emma-Lou, "Green Eyed Monster" is an impeccable crossover record that moves with the rush of a modern pop production, from the trancey arpeggios to the bittersweet bridges to the catchy chorus. "Rain In The Sahara" meanwhile indulges Guido's instrumental side with a tricky arrangement of percussion slanted somewhere between tribal and juke, all fluttering whispers of melody that branch out into bold strings, playing on the expressive skills that have always lain at the heart of Guido's music.
Green Eyed Monster (feat Emma Lou) - (4:34) 140 BPM
Heartful Dodger - (4:36) 144 BPM
Same Road - (3:55) 140 BPM
Letting Go (feat Emma Lou) - (4:00) 140 BPM
Lucky Git - (3:54)
Jupiter - (4:51) 140 BPM
NRG - (3:54) 141 BPM
Afrika (part 2) - (4:09)
Midnight Savannah - (4:11)
Kalm - (4:23) 141 BPM
Squeaky Jungle - (4:14) 140 BPM
After rapidly maturing away from the constraints of the dubiously dubbed "purple" sound, Guido's last album Anidea quickly established him as a multi-faceted producer with a gift for highly-evolved melodic content and no fear of poppy hooks. On this album for Tectonic, the groundwork laid out by his early releases has been built upon with tracks that channel that effervescent soul into tightly wound tracks as focused as they are emotionally charged. There are surprising moments such as the heavy vocoder action of "Heartful Dodger" and the doe-eyed R&B of "Green Eyed Monster", but it all adds to the sense that Guido has matured gracefully and kept his finest musical traits intact.
Damon Kirkham develops his Kid Drama project furthermore with this stunning quad of slinky half-step based compositions. While it oozes musicality and soul throughout, the darkness is never far away. The best contrast of this can be found between the twinkling harp-like arpeggios of "Retract" and the grumpy slug-like bass gurgles of "Retract". Elsewhere we get bashy with Om Unit on "Grind" and have an emotional meltdown to the soothing beauty of "In Mind". No drama here, just incredible, forward-thinking electronic music.
After the impact of their Keysound release, Mumdance and Logos are now cropping up on Pinch's bastion of Bristol bass, Tectonic, with a pair of dark and atmospheric cuts that reflect the ever-broadening of the label while fitting right in with the predominantly murky aesthetic. "Legion" largely charges forth on a 4/4 groove while dread-filled synth lines and spooky strings hover overhead, complete with a filter-tweaking meltdown in the middle that almost never drops back in. "Proto" is a more viscious beast, launching into action on a militant kick but swerving into hardcore reveries, spun back breaks and plenty more besides on its unconventional journey.
We won't insult your intelligence by explaining who Stray is, but suffice to say that so far, he's not put a foot wrong as far as we're concerned. Since Halogenix and Ivy lab are both in the process of putting EPs together, to have Stray fixing up the missing piece of the puzzle on Exit couldn't be a more perfect resolution. Creating painstakingly produced tunes that somehow sound rounded and lived-in is his forte, and out of miniscule sounds that catch his ear he's created something remarkable. If you like your beats on the experimental side, do yourself a favour and pick this up.
New transmissions from Dave Huismans - whether under the 2562 moniker or as A Made Up Sound - are seemingly all too rare, but are always guaranteed to cause the kind of excitement usually reserved for big budget summer blockbusters, albeit without the inevitable sense of disappointment. After Hours is a welcome return then and sees Huismans further muddy the waters of definition when it comes to A Made Up Sound; both tracks are characterised by a more steady approach than we're used to from Huismans, with the title track described as offering a "brooding alternative soundtrack to that most underrated of Scorsese movies" (complete with film dialogue samples), while "What Preset" provides an abstracted combination of confrontational bass stabs and broken kick drums that seem to explode like landmines. Like the recent output of the Livity Sound trio, it's a release that explores techno's slower possibilities without compromising on impact.
It's been a productive year for Alex Coulton with some sturdy appearances scored for the likes of 2nd Drop, Livity Sound and Hypercolour, and he's found time to slip one more into the mix for Black Acre. "Murda" rides on the kind of staggered grime stomp that has peppered the likes of Untold's output for some time, particularly calling to mind "Anaconda" with its catchy synth phrases and militant beat. "Break Pressure" takes on a more limber, breakbeat fuelled stance that moves through dubby chord reflections and a meditative headspace, all the while underpinned by that guttural UK rave heart that has always beaten at the core of his music.
Allmostt delivers the goods once again with the single, "Rice N Peas", which receives three remixes designed for the club. The original is the straightest of all productions, breaking down into a percussive solo of mutated metallic hits and warped Clavinets. Crown Duels offer a bass-heavy dancehall remake, while Pelikan's footwork-tinged remix is worthy of a credit on the next Need For Speed video game. Roby Howler & Sunko then complete the EP with a remix which sounds like a ragga version of Jessie Rose's "Touch My Horn" on steroids.
Benny Kane returns to Apexape with a thunderous three track EP, bringing through some serious heat. He hasn't released much as of yet, but we're all very impressed by his funky take on UK bass house, and "FX" itself is a glorious power-tune, dashing out heavy basslines and shuffled garage breaks. "Keep Your Soul Up" is more contained and hazy but nonetheless filthy on the dancefloor and features the lovely vocals of Eva Lazarus, whereas "Selecta" feels like its skunked-out sibling, pulsating with mutant bass and an almost D&B low-end to its core. Large.