Everlast Records owner Del Gallo Franck dons his occasional Orestt guise for an outing on Cosmo Vitelli's I'm A Cliche imprint. He brings with him "Homies", a vintage chunk of dark-wave disco first released in limited quantities in 2007, and two previously unheard gems. While EP closer "Delta" is a fine chunk of John Carpenter style synth-horror, it's the decidedly epic "L'Age De Glace" that stands out. Moody, murky and intoxicating, it builds slowly via waves of foreboding synthesizers, low-slung bass, occasional vocals and hypnotic electronic rhythms. Indonesia-based Jonathan Kusuma provides contrasting remixes of that track; a sludgy but floor-friendly no wave disco interpretation, and a terrific "alternative version" packed with razor-sharp synthesizer melodies and rubbery bottom-end grooves.
There can be few curves in artistic development between albums as the one Jam City has undertaken here with Dream A Garden. His 2012 debut album Classical Curves has had a seismic influence on the structure of much UK club music since then, but instead of further developing and finessing those sonic ideas Jack Latham has gone a whole other route into fully fledged song writing. Or perhaps not, Night Slugs suggest the nine track album is not a total break from the hyper-realised world Latham explored on Classical Curves, it should be seen as an inversion, asking "what becomes of the people struggling to live and love beneath the chrome-plated, vacuous and superficial machinery that we must fight to see beyond?" A bold move by artist and label that demands further investigation!
After a few well-received releases on labels like Throne of Blood and Rawax, In Fields aka Ed Cox and Raoul Marks, unveil their debut album. It's a loose, freeform collection that starts with the dubbed out, mid-tempo grooves of "Feature Length" and "Speakeasy", where trance breakdowns and tingling percussive licks seem to evolve in slow motion. It feels like In Fields record their music at a different pace to other house acts; indeed, "Serpentine" has a similarly languid pace, only this time they sound like Efdemin played at 33rpm, as chiming bells crawl along. There are some unusual dance floor tracks on Phantoms, particularly the insistent, filter-led "Rise Up", but as the jangling guitar of "To The Limit" demonstrates, this is a highly unpredictable collection.