Numbers At Juno Download

Review: Excellent release here from Deadboy on Glaswegian imprint Numbers, who returns to the imprint after dropping their first ever 12" in early 2010. The Brighton based producer serves up the epic "Wish U Were Here", which locks into a 4/4 pulse with euphoric Virgo-style synths and a deftly tweaked vocal snippet - solid end of night tackle right here! Up next you'll find "Here 4 U" and "Ain't Gonna Lie", with the former's rolling congas and snare patterns complemented by the latter's syrupy vocals, pinball percussion and straight up garage rhythms. Serious heat once again from the Numbers crew.

Review: Ill Blu's debut for Numbers kicks off with the much talked about eponymous track of the EP. "Meltdown" acts as the perfect entree, with a reverberating vocal sample and a similar synth/bassline sound to Redlight's tune "Stupid". It makes for a compelling listen with plenty of dancefloor driven panache and synth flourishes colouring it along the way. "Overdose", up next, is more comparable to the aforementioned "Bellion" than any of the rest, building from a sparse intro with echoing cooing and tripping, crispy beats, into a more bleepy, high pitched main tune, masterfully counteracted by throbbing low end b-line action and jungle style chirrups. "Chelt" brings the EP to a close, with a more tech-ed up approach, accelerating into the drop with a clamour of jingling SFX, rumbling atmospherics and quirky, bubbling synths. Dreamy rippling waves drive things forward, underpinned by a thunderous b-line, making this another late night party starter and one to add to the record box if UK funky is your thing.

Review: Arriving in a fashion not dissimilar to the all encompassing deviations from Burial is "Far Nearer", the long awaited drop from The xx's Jamie - courtesy of the always on point Numbers imprint. Subject to many a YouTube appearance over the months, this charming steel drum infused summer jam can finally be enjoyed after potential sampling issues were circumnavigated by the smudged vocal that runs throughout being re-recorded. It's perhaps too twee and gentle to drop in the midst of a set, though it will certainly have the requisite effect should you deem to slip it in at the end! Complementing this, "Beat For" channels darker sounds, with off kilter drum drops at the core surrounded by gut punching sub bass undulations, bubbling sonics and pitched out vocals with punching throwback house riffs giving the track rhythmic impetus.

Review: Ever committed to their position on the wild frontier of glossy party sounds, the first Numbers release of 2012 reveals a brand new production duo from London who go by the name of Kodiak. Kicking off on a jagged UK Funky rhythm, "Spreo Superbus" piles on the drama from the first bars as whipcrack snare delays and rushy synth pitch bends lead to the first of many drops. The production is immaculate, packing scores of detail into the framework, from ranging synths to a multitude of vocal snippets, off beat bass stabs and clattering yet precise percussion. Tempering those rambunctious attributes, Actress snakes in with his Uraeus remix and pares things down instantly with a low slung beat, spacious chords and vaporous hisses. It's not until the twilight of the track that a nasty bassline comes crawling in to ruffle the feathers of its sonic compatriots. Girl Unit isn't pulling any punches with his reworking, riding a smoother beat but keeping the delirious synth energy of the original intact before slamming down into an electro-fied freak-out full of edgy ripples of melody. While the remixes do well to give credit to the source, it's the original that really shines on this release for sheer flair and studio prowess, not to mention a deadly knack for creating hype out of pure digital freakery.

Review: The latest release from the Glaswegian imprint adds a further sheen of excellence in a year where Numbers has really knuckled down and concentrated on a schedule of multi faceted releases. Such has been the demand for Mosca's debut on the Numbers imprint, the London based producer cheekily took to touting advance DJ copies of Do Me Wrong via Facebook. Both tracks here are fully poised for the floor, priming a throwback Bassline / UK G swing dipped in a nowness from Mosca that's been evident on drops for Night Slugs and Fat City. Unusually, it's the B Side that's garnered the most attention, which is odd as "Done Me Wrong" is excellent, reigning in vintage female hollerations over clipping rhythms, swamping basslines and parping synths that pay homage to the classic "RIP Groove". Flipside, the more celebrated "Bax" is a dual assault on your senses, murky sub bass jabbing at your ribs, whilst the sweet cooing vocals whisper sweet nothings in your ears. All this is underpinned by a skipping mid 90s flex heavy on the neon stabs that has warehouse jam written all over it.

Review: Numbers drop Mr Mageeka's latest offering, the wonderfully and weirdly unique, "Different Lekstrix." Sounding like a blend of early Warp style bleeps and a 21st century UK house production, this track is a loopy, untamed affair. It joins the dots between UK funky and a kind of London-centric house sound with intensely hypnotic jacking rhythms. Backed with a L-Vis 1990 remix, the original is taken to the next level, pushing to the point where it almost blows its own top.

Review: This release sees Jackmaster's always on-point Numbers label with their first reissue, and they've pulled off something quite special with this reissue of Pierre's Pfantasy Club's seminal "Mystery Girl (Set Me Free)". It's a full on piece of vintage analogue 303 jack, characterised by its synthesised slap bass and catchy-as-hell vocal. Considering this is vintage acid house, the 303 line is actually quite restrained, only drifting in briefly, but is made no less furious by the cut up vocals that see the track out. Up next, Numbers employ veteran UK producer Seiji to provide a "Bassrub" of the track. It's actually incredibly sensitive to the original, letting it do its own thing for the most part, forgoing his usual funky tempos, but cutting the vocals up further and adding some devastating subs that will blow out bass-bins everywhere.

Review: Glaswegian imprint Numbers maintain the release pressure that's built up a head of dizzying steam in 2011 with their 20th drop being a label debut from Randomer. The Norf Londoner's musical path began with jungle and that's more than apparent on the title track "Real Talk" which will get a certain SoYoer called Blawan worried about his status as the best drum programmer in town. It's the sort of disjointed, thumping house track that provides immediate gratification, especially when the sub destroying bass purge comes through. "Lime Pie" is equally thrilling, gradually aligning into a ruffed up 303 flex and concrete thick drums, whilst "Stalker" throws pots and pans into the rhythmic equation with neck snapping results. Possibly our favourite NMBRS drop to date.

Review: Redinho offers a taste of what to expect from his forthcoming debut album for Numbers with a one-track EP entitled Stay Together. The sultry Chromeo-meets-UK bass vibe of the track bodes well for the full album, which is set to drop on the Glaswegian imprint in 2012. The London-based producer has already served up two previous EPs for Numbers, namely 2010's excellent Bare Blips and this year's Get Off. It rounds off a big second year in business for Numbers, which saw the divisive Jamie xx 12? released alongside material from Ill Blu, Redboy, Italian techno legend Lory D and, most memorably, Mosca. Highly recommended.

Review: Post dubstep vibes on this constantly shifting and mesmerising track from Canadian production unit Sibian & Faun, making their debut for the Glasgow based Numbers label. "I'm Sorry" employs soulful, R&B influenced cut up vocals and twisted up synths to give this a late night feel. Meanwhile the mammoth bass frequencies and glitchtastic beats are guaranteed to achieve maximum impact through your bassbins. Melodic yet brooding mastery from this promising duo, this is futuristic dance music at its finest.

Review: While by no means as prolific in their output as last year, the quality of Numbers releases this year has remained a constant. Here the Glasgow operation reissues what they describe as "a secret weapon and personal favourite" in "Multi Ordinal Tracking Unit" from late 90s techno outfit Unspecified Enemies. The lengths the label have gone to in order to secure this reissue makes us think Jackmaster and co. set up Numbers with the specific intention of one day having the release in their discography. Made with the most basic of equipment in a North East London bedroom by the duo of Simon Whalley and Louis Digital, "Multi Ordinal Tracking Unit" was subsequently embraced by everyone from Underground Resistance to Surgeon. Crucially, Rubadub's Club 69 resident Martin McKay also caned it and ingrained it in the young memories of the Numbers troupe. Fully remastered by original cutting engineer, Christoph Grote-Beverborg at Dubplates & Mastering, the track retains all it's hard edged funk today and comes backed with a "City Of Quartz" remix from Louis Digital himself. The digital version includes two further gems, both originally produced for Digital's City Of Quartz label, but unreleased until now - "Bellona: Do I Mind Dying", a piece of razor-edged techno cut through with dystopian pads, and "Insurgency Soul", a piece of precise, clean breakbeat house reminiscent of Mark Fell's recent experiments in the genre.