Review: There aren't many labels that can genuinely hold a candle to the electronic mastery that Hyperdub have been able to deliver over the last decade alone, seeing their catalogue now bulging at the seams with the most intuitive dance music innovation. This latest collection takes the title '10.4' and supplies us with a deep dive into the full spectrum of where Hyperdub are at, with legendary figures such as Ikonika, Cooly G, Scratch DVA, Martyn, Funkystepz and many more all making their return for a fabulous compilation display. From the high energy rave-inspired synth slinks of Ill Blu's 'Bellion' to the unorthodox percussive bubbles of 'Noyfb' from Laurel Halo & iconic glitchy melodies of Burial's 'Lambeth', this is a truly fabulous exploration into just how abstract electronic dance music can get. Another exceptional collection from a truly outstanding imprint!
Review: Following the artist's All The Time album (2020), her third on Hyperdub since 2013's breakout Pull My Hair Back, Hyperdub compiles a 'mixtape' of remixes from seven artists Lanza herself would love to rework her latest work. Two UK Hyperdub artists make the cut in Proc Fiskal's deconstructed breakdown of "Lick In Heaven" next to the finger clacks and stepping rhythms of Loraine James' version of "Face". Japan's Foodman arrives with a new age exotica remake of "Alexander" alongside the sweet '90s R&B references and themes of Kate NV's mix to "Baby Love". For the dancefloor, DJ Swisha delivers this EP its hit track with a set of well swung, banging hi hats in "All The Time" while something unique, futuristic and high definition comes from Invisible Cloaks. Rough and ready breakbeats from Martyn Bootyspoon too!
Review: This an altogether epic offering from Deetron; a vast collection of un-mixed tracks from his brilliant DJ Kicks mix (naturally included as a bonus cut) that is little less than a lesson in the evolution of techno over the last three decades. Amongst the 38 tracks you'll find fine representatives of a myriad of sub-genres (intelligent techno, dub techno, IDM, ambient techno, gospel techno, and so on), as well as past, present and future classics (Damier and Trent's "Morning Factory", Spacetime Continuum's "Swing Factory", Mark Ernestus's recent Equinoxx remix, the Motor City bliss of Rhythim is Rhythim AKA Derrick May's "Ka-o-tic Harmony", a brilliant old Black Dog Productions workout). In other words, it's a breathlessly brilliant collection of both well-known and obscure gems. It comes heartily recommended.
Review: And after a highly anticipated three-year wait, Canada's Jessy Lanza is back on London's mighty Hyperdub with a new album, the strangely apt Oh No. As we well know, Lanza's style cannot be compartmentalised into one genre, but similarly to her previous releases for the same label, Lanza offers a singular approach to electronics. With her voice riding high above the majority of these tunes, Lanza's style is one that flutters between synth-pop and ambient, with poppy party tunes like "Never Enough" falling ever so perfectly into the more sparse and experimental R&B of "I Talk BB". Put it this way, if you're into both soul and electronica, Lanza's solved all your problems, and she's here to charm you with ten sublime pieces of mood music.
Review: Jessy Lanza is perhaps the most surprising Hyperdub signing of recent times, a female solo artist extolling the virtues of 90s RnB. Although recent interviews with Lanza have suggested that it's more 80s soul that really floats her boat, fellow Canadian and Junior Boys member Jeremy Greenspan produced the record and they have always had a love for deep 90s RnB. The spectres of both Grimes and Jesse Ware haunt these nine tracks, but not enough to rob Lanza of her own originality. Highlights include spine-tingling "5785021" and the truly sublime "Against The Wall".
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