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PRB007
PRB 007
26 Aug 14
Deep House
BUY
Alex Falk - "Mitsuda" - (5:55) 125 BPM Biggest-selling track on this release
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Hank Jackson - "Mongoos" - (7:08) 126 BPM
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Jackson Lee - "Sumba Togola" - (7:35) 119 BPM
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Independence Ave Orchestra - "Independence Ave Orchestra" - (8:41) 116 BPM
from $1.91
Played by: Joseph Terruel
Review: A seventh release on Proibito arrives and it finds label boss Anthony Naples switching things up as the full artist approach is cast aside in favour of some posse gathering tactics. Label regulars Hank Jackson and Huerco S both feature (the latter under his newly helmed Independence Ave. Orchestra pseudonym) and they are joined by Proibito debutants Alex Falk and Jackson Lee - both of whom have priors for Proper Trax and Mystical Disco respectively. "Mitsuda" by Falk is a strange, ghostly slab of techno characterised by odd phasing and the occasional gurgle of stretched tape, whilst "Mongoos" from Hank Jackson keeps it weird but turns the mood towards something a lot frostier. "Sumba Togola" from Jackson Lee mangles up all manner of vocal samples amidst a twisting groove of manipulated bass lines and unpredictable drum programming whilst the glistening "Welfare" suggests Huerco S is using the Independence Ave. Orchestra name to show a different aspect of his productions skills.
HJ/AN Split
PRB 015
05 Apr 16
Techno
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Chicken Fried Shrimp - (7:39) 121 BPM
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Anthony Naples - "Pinuelas" - (6:33) 117 BPM Biggest-selling track on this release
from $1.91
Review: Anthony Naples follows last year's debut album with a split release on his Proibito label. Delivering the A side is Hank Jackson, who released a full EP on the label back in 2013, and who, like Naples, also debuted on Mr Saturday Night. In any event, Jackson's "Chicken Fried Shrimp" is quite different to Naples' approach. Lo-fi and dense, its fuzzy rhythm contains elements of noise and acid. The label owner's "Pinuelas" is far more reflective. While its mid-tempo rhythm is robust, it's the doleful, looped melody riff played on repeat that will really appeal to fans of the US producer's left field techno.
Untitled
ANNO 001
18 Nov 17
Techno
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Gacx - (8:57) 126 BPM
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Snake Pit - (4:50) 122 BPM
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Oebbbbbbb - (3:51) 88 BPM
from $1.91
Deposit EP
MSN 006
01 Jul 13
Techno
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Deposit - (6:06) 126 BPM Biggest-selling track on this release
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Cole's Lullaby - (3:56) 124 BPM
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Shave - (4:34) 126 BPM
from $1.91
Review: Brooklyn's Mister Saturday Night has been in operation for little over a year, and in that time that confounded all expectations with their varied roster and ability to uncover fresh new talent. Locally sourced Hank Jackson is the latest such producer, arriving with a rough and ready sound which sounds ever rawer than Anthony Naples' Moscato offering, referencing the kinds of sounds coming from L.I.E.S. and Opal Tapes. Lead track "Deposit" sees mucky acid-style synths buried under a built-up layer of grit, held together with little more than an insistent cowbell, while "Cole's Lullaby" is even more left of centre, consisting of little more than experimental synth tones forced through cheap distortion. "Shave" offers possibly the straightest track here, but it's still got the kind of kick drum driving its combination of thrift store percussion and rabid synths that Delroy Edwards would be jealous of.
Palee Hit
PRB 004
26 Aug 14
Techno
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Palee Hit - (5:47) 125 BPM
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Track 3 - (5:10) 126 BPM
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Sizzler - (5:04) 121 BPM Biggest-selling track on this release
from $1.91
Played by: Paul Mac
Review: The hitherto unknown Hank Jackson came to the fore earlier this summer with Deposit, the sixth release on Eamon Harkin and Justin Carter's Mr Saturday Night label, a three-track EP that marked him out as an exponent of gritty, mechanical weirdness that wouldn't sound out of place on an Opal Tapes release - "Cole's Lullaby" in particular. With little subsequent information on the Southern Californian out there, the focus remains on Hank Jackson's productions and this new release for Proibito proves to be every bit as distinctive. The stodgy concrete seriousness of the title track's opening moments are offset by the most playful of percussive rhythms, whilst "Sizzler" retains the frazzled distortion that marked Jackson's debut release. It's "Track 3" that stands out for us however; the playful and distorted elements of the other two tracks are present, yet it's distinguished by what might be the sound of garbled duck whistles ripped in several direction simultaneously, lending it a bizarre charm reminiscent of Mr. Oizo at his weirdest.
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