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Older articles

Golden Teacher – Meets Dennis ‘Dubmaster’ Bovell At The Green Door

by on at 09:20am

Here’s a poser for you. Who would you get to remix Golden Teacher? The Glasgow six-piece are notoriously difficult to pin down musically; their wild, often spaced-out singles incorporate post-punk disco, strobe-lit techno, weird ambient, off-kilter electronica, dub and tribal African rhythms. You get the impression that they’re not the sort of act that would not respond well to the idea of straight-up club revisions, or even quirky versions from producers whose reputation stems from servicing the needs of lazy, uninspired DJs.

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Pender Street Steppers – The Glass City

by on at 16:24pm

Mood Hut ended 2014 with critical praise ringing in their proverbial ears and the simple delights of their last release, Jack Jutson’s breezy “Something (On My Mind)”, finding the label new fans with each day. Mood Hut’s eighth release feels like an attempt to temper this growing attention, as Jutson teams up with fellow Pender Street Stepper Liam Butler for two quietly unassuming tracks. Both “The Glass City” and “Golden Garden” are described quite aptly as Lo-NRG by Mood Hut, and you should ignore the 12” centre label’s suggestion you play this record at 45rpm.

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Entro Senestre – Surface

by on at 09:49am

US producer Jon Beall has established his reputation with releases for WT Records, L.I.E.S and Echovolt. However, this latest release under his Entro Senestre name offers a different perspective to his production work and suggests that his musical roots go deeper than one might have expected. Inspired mainly by Detroit electro and techno, it starts with “The Screen”, a wonderfully paranoid piece of music. Acid-soaked bass and hardcore-referencing ghostly ‘ah ahs’ provide the backdrop against which Beall plays out Drexciyan synth riffs and a narrative that claims consumers are being controlled by corporations via the use of mobile devices. It’s electro conspiracy theory material of the highest calibre.

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Mono Junk – FP008

by on at 09:44am

Is Forbidden Planet doing for techno what Mannequin and Dark Entries has done for wave and Italo, pushing ‘90s producers back into the spotlight? Having reissued The Mover’s hardcore classic “Nightflight (Nonstop To Kaos)” last year, the Canadian label refocuses efforts on contributing to the re-emergence of Mono Junk, aka Finnish techno artist Kimmo Rapatti.

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Various Artists – Test Pilot Volume 1

by on at 15:56pm

For some people out there, one of the most eagerly awaited releases of 2015 will the second instalment of the Test Pilot series from Viewlexx. Apart from boasting exemplary new material from Roberto Auser and Gesloten Cirkel, it also contains the unforgettable “Everybody” by Tandy Ogmo, a fist-pumping disco track that was the highpoint of label boss I-f’s Boiler Room set some time ago. What marks Viewlexx and its sister label Murder Capital apart from other imprints is the fact that while they are not prolific, each release feels like an unmissable event.

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Local Artist – Feelings

by on at 09:44am

The appeal of Vancouver’s Mood Hut umbrella crew to a post-Plastic People London landscape is a fairly understandable one. The running together of influences from jazz, ambient, broken-beat, and dub to create a kind of house-focused groove is close to an ideal for esoteric DJs, so no surprise that guys like Floating Points, Brian Not Brian or Ben UFO have been quick to rally their support for the cluster of musicians. The past couple of years has seen Peckham-based Boiler-Room man Bradley Zero similarly falling for their company and the charm too, with more than a handful of the Rhythm Section parties he runs featuring one artist or another from the orbit. Generally focusing on the performative ability of head Mood Hut man Jack Jutson or his group the Pender Street Steppers, but giving coverage to others too.

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Bourbonese Qualk – Lies

by on at 09:53am


You have to wonder about the inherent logic underpinning reissue culture, especially the part that appears to dictate ‘if it’s obscure and was released during the ‘80s, then it’s fair game’. In support of this way of thinking, let’s look at this reissue of “Lies” by Bourbonese Qualk to complement an upcoming retrospective of the band from Berlin label Mannequin. The song originates from the Preparing For Power album the band released on their own Recloose Organisation label back in 1986, and perhaps the strongest case for a reissue here is that original copies of Preparing For Power are hard to find and expensive to purchase.

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Deadboy – White Magick EP

by on at 10:02am

The ‘healing qualities’ of New Age Music were central to the movement when it first emerged in the late ‘60s; gentle sound surfaces and heavenly melodies were, and still are, supposed to enable a journey into the inner self. This new Deadboy EP, White Magick, sounds a lot like this celestial music, bringing together New Age and ambient influences with grime to further advance current developments in the contemporary evolution of the genre.

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The Cyclist – Hot House EP

by on at 12:15pm

The Cyclist, aka Andrew Morrison, was responsible for two excellent releases in 2014 -  the psychedelic house of his Buz Ludzha EP and Flourish, a mini-album as The Cyclist – both on All City. The support of indie music outlets has undoubtedly helped to raise the Irish producer’s profile stateside and probably played a role in his latest release being picked up by 100% Silk for an issue on cassette in the US. However, in places Hot House represents a far more upfront iteration of his style and if you are looking for the subtle nuances of last year’s releases, some of these tracks may surprise at the very least.

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PMM – Serpent’s Promise

by on at 09:14am

Berceuse Heroique is one of the few contemporary electronic music labels that fully understands what it means to be an underground operation. From the abrasive sound that it propagates to its guerilla tactics – unexpectedly and with little notice putting out rare Loefah material, using controversial, situationist artwork – Berceuse cuts an individualistic shape in a world of blokey sameness. The fact that the music they release is flawed and imperfect, gives off the sense the producers involved are just getting to grips with their machines, makes it all the more attractive.

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Black Deer – Pray For Us

by on at 17:14pm

Swift hands clapping, percussion rattling softly in the background, a warm bassline and some spiritually enriching synth patterns. That’s all these ears can discern from the nine minutes of “Pray for Us”, the wonderful opening track from William T Burnett’s latest adventure as Black Deer. Sometimes the simplest of tracks evoke the greatest emotional response in you. Words, however, are not so simple to come by when trying to do this production justice. Opening sentences for this review have been continually scrapped as “Pray for Us” plays out again and again, and how best to convey my utmost affection for its sublimeness? Perhaps it’s best to experience it for yourself.

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Ekman – GMMDI

by on at 09:14am

While the grimy acid and electro of Ekman’s Panzerkreuz release was one of 2014’s best records, last year also saw the Dutch producer strengthen his ties with Berceuse Heroique, the UK label that he had provided the debut release for. It seems that after years of working and preparing, it has all paid off for Roel Dijks, and he now finds himself in the enviable situation of being able to pick and choose whom he releases for.

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Iueke – Tape 5

by on at 09:00am

There’s something a little maddening about the slow emergence of Iueke material from Gwen Jamois via his friend Quentin Vandewalle’s Antinote label. With all these tracks made back in the early ‘90s, one can’t help but feeling a little flustered as to why they sat unreleased for so long, with not so much as a whisper coming out of whichever Parisian attic they were crafted in. Between the three records already released and this latest trio of tracks there is a consistent level of sophistication that deserves to have been recognised back in the time when they were created. It hardly matters to the quality of the sounds, but one wonders what might have happened if the music had found its way to the surface back when it was made.

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Madteo – Raveyard Shifts

by on at 09:24am

Is it the fundamental nature of its complete brokenness, and disconnection from a navigable, scalable, trenchant grid of reference, that has kept Madteo’s music so hermetically sealed? The stoned mumble, curled papers, deft looseness of touch all seem so tangible and recognisable at this point that hearing a new record seems like slipping back into an old fever dream; the shapes different and the same. Often it’s the character of the weirdness rather than the weirdness itself that seems most familiar, and along with the consistency in terms of that ‘oddball’ approach there’s an out-of-time, out-of-progression quality to the music.

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Marc King – Ever Forward

by on at 12:19pm

Not much is known about Marc King, the latest artist to release on FXHE. It seems that King put out a few releases on 430 West, Underground Resistance and Soul City under his own name and as Bobby Ceal and Marc Pharaoh during the ‘90s, but not much has been heard from him since then. It’s fitting though that he makes his comeback on Omar-S label. FXHE has a long and proud tradition of nurturing Detroit talent, putting out music by producers like Kyle Hall, Marcellus Pittmann, Luke Hess, Big Strick and OB Ignitt during the early stages of their artistic development.

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A Thunder Orchestra – Shall I Do It? (Mick Wills Reconstructions)

by on at 09:34am

A mixture of serendipity and surprise defines this release. Bio Rhythm, usually a label associated with owner Paul Du Lac’s Chicago-inspired sound, has commissioned new school edit king Mick Wills to provide new versions of A Thunder Orchestra’s “Shall I Do It?”. The project is one of New Beat artist Dirk De Saever’s and this release comes around the same time another notable practitioner of that ’80s form, Ro Maron, has unleashed a retrospective of his work.

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Gonno – Obscurant

by on at 09:14am

It’s been some four years since Gonno last appeared on International Feel, though the Japanese producer has hardly been idling. Following that EP – a typically enjoyable EP that touched on both melancholic, analogue-heavy acid house and drifting, guitar-laden ambience – he’s plied his wares on Niteless, Endless Flight, and most notably, Beats In Space. His 2013 The Noughties EP for Tim Sweeney’s label offered a neat summary of his career to date, layering rough, often melodious analogue synthesizer lines on top of raw deep house grooves, throbbing dub techno textures and sensual ambient chords. This return to International Feel features some of his regular tropes – analogue-sounding electronics, picturesque tunefulness and a fearless commitment to mood-enhancement through music – even if they are packaged in a far more glassy-eyed, Balearic way.

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T. Esselle – Garibaldi EP

by on at 09:36am

Emerging from the buoyant scene of labels and events orbiting around Peckham at this particular moment in time, Wholemeal Music has been an active force in London for the past few years putting on parties featuring the likes of Simbad, Floating Points, West Norwood Cassette Library and Leif amongst many others. Now the team responsible make the leap to vinyl with one of their own at the helm, and it comes on like a refreshing breeze in the deluge of grubby house and decrepit techno. T. Esselle has no previous discography to draw on, but one could easily wager that a strong diet of UK-centric broken beat has informed the style he employs here.

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FIT Siegel – Carmine

by on at 09:16am

When this writer looked at the state of Detroit house music last year on Juno Plus, there was no mention of Aaron ‘ FIT’ Siegel and his FIT Sound operation. In retrospect, it was a glaring omission; not content with releasing and distributing the city’s finest house and techno, Aaron is also becoming a respected producer in his own right. Having debuted on Omar-S’ FXHE label and his own FIT Sound back in 2012, Siegel then released the excellent Cocomo last year. A thing of wonderful beauty, it married wispy, new age melodies with raw house beats and rattling drums – and sounded like Kyle Hall getting cosy with Vangelis.

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Broken English Club – Scars

by on at 09:21am

Oliver Ho has followed a curious musical trajectory, from tough tribal techno through the experimental and house sounds of Raudive and now the post-punk and industrial-influenced Broken English Club. Unlike many of the UK techno producers who came up during the ‘90s however, Ho has always been interested in experimenting and looking beyond the dance floor – witness the Light & Dark series also released during the late 90s to mid-00s at the same time as his dense techno was gaining traction.

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