Review: Pixelord's ferocious sequence of beats and bass bumps is showing no signs of withering onto the deeper end of the bass spectrum. In fact, this new release for the fledgling Heka Trax might just be his most poignant moment yet. That's because the opener "Heart Beat" resembles the sort of dubstep that evolved out of Bristol's Punch Drunk crew, a stuttering bric-a-brack of tribalism wrapped up in a techno coating, and this is similar for "Twisted Zone", except that here the groove resembles the Berlin 4/4 tradition even more. There are two remixes, the first is Otik's broken version of "Heart Beat", whereas FreshtillDef rewires "Twisted Zone" into a raw, disjointed, pseudo jungle lick for the next decade. Big tunes.
Review: Alexey Devyanin has given us all sorts of magnetism since his first productions began to appear in a distant and foggy 2010. He's lived the entire post-dubstep era from its early days through to its present state, and that journey has taken him across labels like Car Crash Set, Berlin's Leisure System, Infinite Machine, Tuff Wax, and his own Hyperboloid. His new album, Human.exe, lands on the latter and it's an extensive piece of work spanning all corners of the bass spectrum. There isn't a single tune on here that remains linear throughout and, instead, Pixelord uses a wide diversity of sonics and beat tactics to produce his mechanical strain of bass-heavy dance music. This is what 'bass' is all about at the end of the day; a vast and bottomless pit of sounds put together under one hybrid groove. For fans of Actress, Hessle, and anything on Hyperdub.
Review: It's dizzying trying to keep up with the output of Russian bass tester Pixelord, but here he is once more delivering some mind-bending business for all future-minded ravers to lose their mainframes to. There's a dizzying rush of information in every inch of Polygon Fane, not least on exemplary high-definition stomper "Videobar" with its frenetic sample mashing, plush chords, clattering percussion and infectious forward momentum. It's not all hyped-up business though, as the likes of "Tumblr Girl" let in plenty of reflective melodic content in amongst the slick production. With appropriately futuristic remixes from Seafloor, Curl Up, Druid Cloak and Thomas White, there's no shortage of limber, dynamic and rush-inducing modernism on this EP.
Review: The one like Pixelord comes through in full effect with a nasty, thumping VIP mix of his previously released ripper "Drinky". It's a slow-tempo, bass pile-driver with some delicious synth work and Gillespy's remix is even nuttier - rimshots, snares, the lot. Highly recommended.
Review: Experimental Muscovite Alexey Devyanin is better know for his recordings under his Gultskra Artikler persona - recently however he launched this new project that focuses on beats. "Been Lookin" is all digital riddims, urgent keys and bleepy 8 bit noises. "Freeze the Star" has a Q-Tip sample slowed down over industrial-hop beats. Starting slow with dizzyingly high-pitch vocals, "Paperball" soon accelerate to maniacal juke speeds and finally "Vibrate" rounds things up with glitch-hop weirdness coupled with hip-hop chants.
Review: Infinite Machine snap up the talents of two steadily emerging artists immersed in the tos and fros of contemporary bass music, resulting in the Moosebumps record and celebrating all things hybrid and indefinable. Russia's Pixelord looms large on the release with his canny use of RnB vocals in unusual contexts, not to mention his wielding of texture and sound design to create an interesting depth of field in his downtempo constructions. Zack Christ is more overtly avant-garde in his approach, not least on the gloriously crumbly "Tungo" which seems hell bent on squashing any whisper of groove into an experimental mess. Bringing fresh approaches to a sound that is widely represented at present, Pixelord and Zack Christ have proven their worth more than most with this EP.
Review: Pixelord and the mysterious Sangam combine for a final fantasia of sounds in this four-track City High Fantasy EP that pulls at the heartstrings of deepest anime themes to Blade Runner atmospheres of tears in the rain. Overtly in "Process Cold" and deeply embedded in the synths and field recordings of "Opacity", these two sit between the liquid industrialisms, chemical rhythms, glitch and cosmic Detroit electro of "Weathered Eternity" and the two-stepping, bleeps and breaks of "City High Fantasy". Believe the Hyperboloid.
Review: Well, the UK's Shifting Peaks have really gone and done it with this latest leviathan of a compilation, an anthology of their best and most wanted from 2010 until now. Inside, there's talent and plenty of club antics bouncing off the wall left, right and centre; with over fifty cuts there's enough to go around and satisfy a whole artillery of bass-heads. Some of the stand-outs for us are Tessela's "Yes You Can", Hackman's "Always", "Put You Down" by Odessa, and OM Unit's remix of "Reach Out" by Nphonix. What a belter,
go forth and indulge!
Review: It's time for Slit Jockey's annual Choice Cuts compendium. A lot has changed since their last collection: The US/UK neo-grime feedback loop has never been louder, and neither has Slit Jockey's relevance and influence. Highlights of this inherently futuristic bass exploration can be found on every track; from the sudden bliss twist of Starkey's "Trigger" to Shiftee's swampy, super-prang audio head-butt "Geek Flex" via the dungeonesque bubbles and blips of Korostyle's "Kalika" and TIMBS' emotional flute-snapping funeral trap vibe "Rivers", this is, without question, Slit Jockey's most exciting and all-encompassing curation to date. Not to be missed.
Review: It's the third instalment of the Nasty Rips compilations on Shifting Peaks and by hell have these guys got the right idea. Sweet house and garage shuffles from all corners, including some pretty special numbers by the likes of Marshall Jefferson, Hackman, Odessa, plus plenty more house bullets for you to twist your boots to. This one comes recommended for those infected with the house bug!