Review: It seems whenever you look at it we are always waiting for a Beatrice Dillon LP. Over the years she's built a discography around labels like Where To Know?, Boomkat Editions and Hessle Audio, with other intriguing works coming through Kassem Mosse's Ominira, The Trilogy Tapes and most recently, in album form (2016), a collaborative album with Rupert Clervaux for Paralaxe Editions. It somehow makes sense then that PAN are the ones to release the British artist's most singular and definitive work yet, pulling together her penchant for syncopated and disjointed drums to meet and fill the gaps between tensions and releases of sound and dynamic that reference all matter of contemporary and avant garde compositions and production techniques, with Dillon still treading that precarious line between abstract club music, experimental sound art and conceptual sound design.
Review: When he was asked to put together the fourth volume in Dekmantel's brilliant Selectors series, Joy Orbison decided to use the opportunity to pay tribute to the rich history of UK dance music. Predictably, his on-point selections join the dots between the past and the present, moving from the London beat poetry of James Messiah and hard-to-find 1991 UK hardcore of R Solution's surprisingly deep and melodious "Skinny Long Git", to the crunchy, mad-as-a-box-of-frogs IDM of JP Buckle's 1998, Rephlex-released oddity "One For Da Laydeez". Along the way, he finds space for the sparkling early D&B of "Lush" by Oblivion (AKA Source Direct), the low-slung, bass-heavy deep house/acid house fusion of L.E Bass and the analogue techyno idealism of Beatrice Dillon.
Various - "DJ-Kicks" (Continous mix) - (49:34) 133 BPM
Review: When they were asked to put together the latest volume in the "DJ Kicks" series, Mount Kimbie boys Dominic Maker and Kai Campos drew influence from a recent six-date run supporting Actress. As a result, the 22 tracks they have chosen - here presented in DJ friendly, unmixed form - tend towards the experimental and off-kilter, touching on a myriad of styles (ambient, industrial-era experimentalism, South American influenced tropical drum jams, spacey modular techno, raw-edged peak-time jams, mind-altering acid weirdness and intergalactic electro all feature) in the process. Highlights are naturally plentiful, from the hypnotic dancefloor intensity of Stanislav Tolkachev and bleeping body-jack of A Sagittariun, to the skewed warmth of Severed Heads and the dream-like weirdness of their own exclusive contribution, "Southgate".