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Reviewed this week
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In the three years since his last full-length outing, Personality, Scuba's stock has continued to rise, nudging him further towards to higher echelons of DJ culture. The fact that he now plays colossal rooms and festival headline slots can be heard in the more dancefloor-minded material on Claustrophobia. While some of the best material is more downtenpo and circumspect - see the heady ambience of "Transcience", the spinetingling wooziness of "All I Think About Is Death" and the immersive dubstep of "Needle Phobia" - it's the stripped-back techno throb of "PCP", hissing rhythms of "Television" and the progressive house inspired hedonism of "Why You Feel So Low" that will get most attention.
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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.
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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!
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Something has clearly stirred at Fernow Towers of late with this collection of material under the Exploring Jezebel name one of several album endeavours from the multifaceted US noise icon due within 2015's first quarter. Dominick Fernow completists will be fully aware of Exploring Jezebel, a project of S&M themed nocturnal transmissions issued on limited cassette format mostly through his own Hospital Productions. It's perhaps the one creative endeavour that shows off Fernow's black sense of humour best, as evidenced on the tracklisting for this Blackest Ever Black album. The label describe On A Business Trip To London as a "dramatic document of curious electronics" and that's certainly the case from what we have heard.
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Blackest Ever Black boss Kiran Sande recently described "Tragedy of the Commons", the 17-minute lead cut on Felix K's belated label debut, as "exemplary Berlin noir". In many ways, it's an apt description. A murky, claustrophobic collage of looped Tangerine Dream style synth lines, dystopian field recordings and fuzzy bass, it's a particularly atmospheric snapshot of Felix K's immersive, off-kilter aural world. "Silent Money" continues the otherworldly feel, delivering post trip-hop rhythms and thunderous sub-bass. Finally, "Onar Anxiety "delivers a thrillingly dark, paranoid and tribal remix of "Fundamentals", with voodoo drums helping propel the bleak techno groove towards the horizon.



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It is shaping up to be a most interesting year yet again for Robin Carolan's Tri Angle, a label that is clearly focusing efforts on the current wave of producers bending rhythmic conventions and people's conceptions into compelling new forms. Following swiftly on from the excellent Lotic release, Tri Angle now welcomes Rabit into the fold with Baptizm, a four-track EP that builds on the Texan's previous output for Glacial Sound, Soundman Chronicles, and the newly launched Different Circles. There a distinct swerve in styles as the four tracks progress here, with the ornate calm of "Imp" contrasting massively with the appropriately titled "Bloody Eye" which is a heaving, joyously evil mass of hydro mechanical bass drums, liquefied industrial bleeps and gun shots. The playful twilight grime riddims of "Hex" provide some respite before Rabit veers back into the hyper mechanical drum programming on "Straps" which sounds like it was a lot of fun to produce.



$1.49
Cue Release play release
Something has clearly stirred at Fernow Towers of late with this collection of material under the Exploring Jezebel name one of several album endeavours from the multifaceted US noise icon due within 2015's first quarter. Dominick Fernow completists will be fully aware of Exploring Jezebel, a project of S&M themed nocturnal transmissions issued on limited cassette format mostly through his own Hospital Productions. It's perhaps the one creative endeavour that shows off Fernow's black sense of humour best, as evidenced on the tracklisting for this Blackest Ever Black album. The label describe On A Business Trip To London as a "dramatic document of curious electronics" and that's certainly the case from what we have heard.
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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.
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It's always been hard to pin down the work of Shit & Shine, an ever-changing collective of drummers, guitarists, electronics wizards and experimentalists gathered around industrial maverick Craig Clouse. Their self-proclaimed "post everything" sound changes with each successive release. Here, Clouse and company doff a cap to krautrock, drone, lo-fi rock, metal and industrial on a set that veers between spaced-out, hypnotic post-rock excellence, angry, riff-laden soundscapes and pleasingly-spaced out epics. There's something decidedly psychedelic about Clouse's approach, even if the resultant music is remarkably down to earth, and some will hear the out-of-this-world swing of freestyle jazz amongst the rumbling bass and mentalist keys on "Writing Poetry On Your Forehead With The Tip of A Hunting Knife".
Exclusives
HOPKINS, Jon/VARIOUS - Late Night Tales: Jon Hopkins (unmixed tracks) (Late Night Tales)
JAM CITY - Dream A Garden (Night Slugs)
ORESTT - L'Age De Glace (I'm A Cliche)