Review: Portuguese artist Violet and her Naive label presents this 17-track No Justice No Peace compilation in support of Black Live Matter while expression recognition of "the immeasurable debt we owe to the consistently brilliant black artists, black music, black arts and traditions." With 100% of proceeds from this compilation donated to anti-racist funds, No Justice No Peace presents a vast array of genres and styles that embrace house, techno, and breakbeats to more leftfield and ambient productions from Odete, Millia Rage & Purelink, and Luar Domatrix. Further highlights include Overland's "Nova Scotia", Russell E. L. Butler's "The Streets Aren't Empty, Their Hearts Full Of Heat" and Violet's own "Never L8". Full support.
Review: Glasgow-based label Avoidant deserves kudos for bringing together some of the most respected names in electro for this compilation. Annie Hall and Versalife represent deeper ends of the spectrum, with Hall's bubbling "Meido Estetico" in particular standing out. Carl Finlow drops a lean, industrial funk workout in the form of "Syncopated Automated", while on the compilation's title track, The Advent teams up with Zein Ferreira on a bleak trip through discordant synths and popping rhythms. Sharing space on the compilation are label regulars like CYRK, who drop the epic melodies and gurgling bass of "Block" and Kronos Device, a project from Bass Junkie / Dexorcist, which sees concrete weight bass drums connected to wild electronic stabs on "Crisis Point".
Review: Fear-E aka Scott McKay teams up with The Wasp to follow last year's "Posh End Sponk" release on Dixon Avenue Basement Jams. "The Shining" is a tough stomper that resounds to eerie organ riffs and busy vocal samples, while on "Pax", the collaborators head in a different, darker direction, with eerie stabs and ghetto shout outs underpinned by a steely, shuffling rhythm. "Chucky B" is more abrasive and visceral as they throw down a banging groove that underpins a busy call and shout sample, while "Kokamen" sees them explore the kind of bugged out techno you would expect Green Velvet to deliver.
Review: Fear-E's fourth outing for Dixon Avenue Basement Jams sees him deliver his biggest track so far. Inspired in equal measure by jacking Chicago house and the low-end menace of Detroit artists like Suburban Knight, the vocal-led "Jump On The House Train" is a superb, slightly menacing slice of house music. "A New Day" and "Skuddy Deflektor" follow in a similar vein, albeit without vocals, with Fear-E laying down dark sub-bass tones and rolling kettle drums to devastating effect. Closing track "Green Eyed Monster" sees him edge closer to techno, with a frazzled bass, acrid acid and waves of abrasive percussion making for a powerful peak time track.
Review: This is the second full Fear-E release on Dixon Avenue Basement Jams and brilliantly recalls the glory days of Detroit techno and Chicago house. "Back to Basics" revolves around a jacking rhythm and a predatory bass that support a sweaty vocal. It's a classy basement track. On "What Ya Gonna", the tempo moves up a few notches as steely percussion and minimal beats accompany a lo-fi bleep sequence and eerie rave stabs, while "Band of Rubber" is a noisy, muddy groove. None of them can compare to "Sunrize in Avalon" however, which sees Fear-E appropriate the kind of liquid acid-soaked deep techno that Nu Era used to specialise in.
Review: Following the success of their first all-star EP, Dixon Avenue Basement Jams has once again assembled the crew for a second throw-down. Dennis Sutra goes for the jugular on opener "TIME 4 PRAYER", where ghetto-house style cut-up vocal snippets ride a thumping, 128 BPM groove, while "Fear E" reaches for the classic house vocal samples on the low-slung warehouse jack of "Candi's Quadra". Speaking of jack-tracks, you'll struggle to find more muscular thrills than the fuzzy electronics, stomping beats and hedonistic intent of CT Trax's "Walk For Me". The same outfit's surging acid jam, "Toxic", pulls down the curtain on another killer DABJ release.