Review: Claro Intelecto, Gerry Read and Unbroken Dub feature on the first EP in a series of five from Dutch label Delsin primed to celebrate reaching 100 releases. Founded back in 1996, Delsin have undoubtedly slipped past this number if you factor in all the reissues, one off releases and their rejuvenated Ann Aimee sub label, but everyone loves a special edition release so lets not nitpick. You can expect material from Sawlin, Conforce, Redshape, Mike Dehnert, Delta and Newworldaquarium on subsequent 100DSR/VAR drops and the series is inaugurated in fine style here. "Fighting The Blind Man" is classic scatterbrained Claro Intelecto, whilst "Granny Bag" demonstrates that Read's wild side has not been tamed by his swift rise in popularity over the past year or so. Siberian producer Unbroken Dub manages to sound both calming and slightly foreboding on the excellent final cut "Spacing".
Review: Given her current popularity, it's no surprise to see all-conquering house hero Maya Jane Coles mixing the latest instalment of !K7's long-running DJ Kicks series. The diminutive DJ/producer is in fine form, too, mixing up typically atmospheric house cuts and clandestine deepness with saucer-eyed late night faves and forgotten B-sides (see Bozzwell's surprisingly emotional "In My Cocoon"). As a mix it's as deep, melodic and groovy as you'd expect, with a strong vocal theme running throughout. As it progresses, it tiptoes further into bleary-eyed darkroom territory, via stand-out cuts from Marcel Dettmann, Caribou (his thrilling remix of Virgo Four), Gerry Read and T Williams. Available digitally as individual tracks or one continuous mix!
Review: On the intermittent and somewhat shadowy Hoss'd imprint, Gerry Read makes another appearance after last year's Been A Lot Of Places, Seen A Lot Of Faces 12". This time around, it's a short and sweet single track affair that of course ripples with the bizarre energy that Read always worms into his productions. It takes a very unusual intro section to pass on by before the actual beat comes through in a dusty, tumbling fashion in line with previous releases from the young producer. The distinctive hook however is a sun-kissed afrobeat horn break that sounds positively friendly and recognisable considering the sounds that often get thrown at you from this maverick producer, to the point where it could well become something of a summer banger in more adventurous places.
Review: British enfant terrible Gerry Read returns with more outsider house/techno derivatives on Ramp Recordings: and it's all rather compelling as always! Smoky, lo-fi and textured shenanigans are all rough around the edges in Read's signature style, but have an unusual charm. Take "Bounty Methods" for instance, that sounds like an old scuffed up record from a bargain bin; its mesmerising symphonic loops much in the vein of The Caretaker and sometimes even skipping out of time. But it's all in a hypnotic style and all the while accompanied by smacky, four to the floor groove. Elsewhere, the woozy swing fuelled bleep fest that is "Frankly" is worthy of you attention, not to mention the charmingly titled closer "Man From The Moon Came Down Too Soon" that works that pawnshop drumcomputer like a you know what.
Review: Having tumbled out of the stocks in a blur of drunken programming and maverick brushstrokes, it's safe to say that Gerry Read has successfully placed himself in a league of his own ahead of delivering an album to the world. Now that long-player arrives and it's as wild and ranging as you would expect. "Make A Move" is instantly a big hit with its stunning percussive rolls, mashed up scat singing and fractured piano stabs. There's an earthen soul at work in the samples Read is reaching for on the album, and while his style may be much more deliberately freaked out his intangible essence shares plenty with the likes of Theo Parrish and Moodymann. However where those artists are settled in a well-established groove, Read is still showing off and exploring just where his muse might take him.
Review: With over ten EPs in the past two years, the majority of them on 4th Wave, the frighteningly precocious Gerry Read has exploded onto the electronic music scene. Can he maintain the momentum? Going on the evidence of his latest release, it sounds like the lo-fi house producer is going from strength to strength. Available simply in a 'single edit' version, the track features a dubby, driving drum pattern and hissing percussion at its centre. But it's what Read does around the edges that really counts, and the dreamy disco filter and soulful vocal sets Evidence apart from the slew of drum-heavy releases.
Review: Having firmly found his groove with UK labels such as 2nd Drop and Fourth Wave, Gerry Read's latest EP sees that further notch in his ascendancy as he gets snapped up by Dutch institution Delsin to kick off their new house-orientated series. Stylistically, the four tracks on this new EP continue the mission statement Read has already laid out; there's a claustrophobic quality to lead track "Yeh Come Dance", that finds a cacophony of wooden percussion and angular vocal loops sweating all over each other while the hi-hats leer on drunkenly. As something of a contrast, the beat in "Crawlspace" is decidedly straight by these standards, letting the sequencing of the drum machine call more of the shots before too much wayward sample placing can send the rhythm askew. It doesn't take much to see the jazzy quality in Read's music, but "Bozza" perhaps marks the first instance where this quality has been capitalised on and fully realised. In that sense it marks something of a progression for the young beatsmith, as the complex arrangement of brushed drums, piano and other sonic debris aim for a place other than that usual seedy corner of the dancefloor. "Crooked" rounds off the EP with by distilling all these feelings into one track of strung out strangeness, where the groove is borrowed from garage and then robbed of its innocence, with an underlying bed of mean-spirited audio fragments. As with all the GR output it's evocative stuff, and reminds you that this EP marks not just consistency but also progress for the plucky producer.
Review: After time away cavorting with Delsin and rubbing up to 2nd Drop, Gerry Read brings it back home to his true stomping ground of Fourth Wave, and my how he's grown. "Crave" is a refined and focused deep house cut like we've never heard from the maverick producer, tempering his wilder instincts into a steady, dub-inflected groove revolving around a chord pulse. The beats still sport that raw, found-sound clang that has always populated Read's music, but this is a decidedly straight-up cut that makes it a far less terrifying prospect to try and mix with. As if setting the record straight, "Enjoy A Day Out" sees Read back in subversive mode by working a maddening looped snippet over and over and letting freeform acid squiggles dart around the mix until you're left feeling utterly delirious.
Review: The Trans-Atlantic production relationship between Gerry Read and Kevin McPhee strengthens a notch or two with the release of Demolition Man, perhaps the most incendiary melding of risque sampling and thumping rhythms since the excellent "A Tender Places" from Bakey USTL. Deviating through various stripped back and thumping moments with little recourse for warning, the moment where a rippling piano refrain lifted from some forgotten '90s rave anthem comes floating through before being rudely ripped from the groove typifies perfectly the unhinged joy that listening to this track brings.
Review: Many happy returns to Dutch techno stalwarts Delsin, who celebrate reaching a century of releases with 100 DSR, a collection of previously unreleased gems from the label's global army of artists. With such techno and electro talents as Gerry Read, Claro Intellecto, Redshape and A Made Up Sound involved, you'd expect it to be good. Pleasingly, it is, darting between shimmering IDM (CiM's brilliant "Way Station", Conforce's equally impressive "Wave Trance"), luscious Detroit futurism (Bleak's "Keep Me Close", John Beltran's brilliant "Return To Nightfall") and formidable heads-down pump (Sawlin, Mike Dehnert).