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Reviewed this week
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Pinch's new vessel for the darker side of the dance officially cements its existence with this sturdy compilation that draws on a limited cast of characters for a focused lecture on how to keep things icy and heavy in the splintered dubstep scene. Acre brings industrial tones and jungle breaks to bear in spartan environments, while Ipman channels murky techno and gnarly sound design to vicious and paranoid ends. Batu's offerings follow on neatly from his Dnuos Ytivil appearance and Elmono brings some more colourful elements into oddly moody environments, while Pinch's own efforts find him taking his sound into playfully eerie headspaces that should freak out the dance admirably.
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After some impressive turns for ClekClekBoom and Needwant, Chaos In The CBD are moving over to Hot Haus for some more of their old-skool styled house offerings with a focus on lo-fi charm and pure hearted groove. "Delorean Dreams" has a dystopian electro tone at its core, as defined by the warbling synth line and punchy bassline, although it still moves with the strict instruction of a house beat. "Okinawa" likewise has its own raw edge to it, as though it were lifted from an early KMS record, warts and all. Legowelt gets beamed in for a remix of "Delorean Dreams" that heads into a nightmarish swirl of lurid sci-fi synths and subtle breaks.
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Solar One Music founder Robert Witschakowski joining the Clone West Coast series for a triptych of releases as The Exaltics makes perfect sense in the context of his music and the labels he's previously featured on. The Jena-based producer has racked up a healthy discography of albums and 12? releases for a wide variety of underground labels including Bunker, Creme Organization, Panzerkreuz, Abstract Forms, Modal Analysis and Last Known Trajectory. The first six-track installment of the Some Other Place series finds The Exaltics in a more introspective mood than some of his recent dank squat party electro. Cuts such as "It Still Remains" and "Walking Through The Stratosphere" are filled with a sense of hope, though there is still plenty of dancefloor material here - see the delightfully bouncy "Places".
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