Review: Since smashing her way onto the 140 scene a couple of years back, Eva808 has been kicking up a storm with her unique production style, and this EP courtesy of Innamind Recordings is the perfect example of why. We kick off with 'Pink Uzi Gang', one of 140's most prized gems of recent times, laced with bubbling subs and aquatic percussion. Next up, 'Shakti'. This one takes eastern samples and sends them to a whole new dimension, with some incredibly clean snare processing in partnership with rolling hats luscious sub bass textures. And incredible release from an incredible producer!
Review: Stockholm's Eva808 returns to the ever-juicy White Peace with her first full EP for the label. Following the damage and soul exploding sounds of her Encrypted EP last year, once again it's a woozy unpredictable affair: "Oyuki" is a seasick damager with its warped textured and slurring momentum while the string-snapping "Empress" is straight out of Hitchcock's playbook. "Ro$e Gold" and "You Don't" play perfect counterpoint as hazier soft-focus antidotes to her peaktime venom. The former is like being in a church under the sea while "You Don't" is like having honey poured in your ears. TIP.
Review: It's another all-out wide-armed creative assault from the dedicated beat crafters at White Peach. Uniting old friends and new, each cut reminds us why the label is top of grime's fruit bowl. Eva808 polishes up the strings for a moment of subversive cinematica, Gundam's "Swordplay" takes us deep into Samurai territory, and longstanding Peacher Zha gets his paws on a sitar and snaps the instrument into pieces while Nakes's "Axe Riddim" juxtaposes eastern strings with a collection of precision tuned wood blocks. Innovative and forward-thinking... These peaches will never go mouldy.
Review: In case Gaslamp Killer's album wasn't quite enough excitement for one season, along comes this crazy conceptual work by My Dry Wet Mess. He describes the album as being written in the same way a writer would create a story, but with sounds. Created in four different houses between Barcelona and Berlin, it's an intriguing concept. And you'll be pleased to hear it works. At points wonderfully embracing (the spliced and diced harmonies and tempo flex on "When We Were Wrong"), at others headscratchingly madcap (the mangled garage vibes of "A Wrong Number") like all the best albums, this will take a long time to settle in your collection, offering something new on every listen.