Review: Ste Roberts is a key part of the Hypercolour operation. After a succession of records on his own Set imprint, he now makes a debut on the renowned UK label. The title track opens his account in mesmerising fashion, as frazzled tones unravel over a shuffling, swung rhythm. On "Victor's Mezcal", Roberts goes deeper, with a pulsating, throbbing groove and dense bass underpinning blips, tones and metallic groans. It sounds like a modern, slightly more menacing version of Eddie Richards' late 90s/early 00s vision for tech-house. Roberts then proceeds to bring the house down with the hoover sirens and rolling drums of "The Hiding Spot".
Review: Ste Roberts builds on the stellar run of form on his own STE label with a new drop on Burnski's Infiltrate electro outpost. In keeping with the gritty, inventive sound he's been exploring lately, these machine funk cuts ooze vibe and flair to match their absolute workability in the dance. From the sparse cityscape's of "Optical Illusion" to the tightly wound thrust of "Tom Was In The Diner", this is high-grade electro done the right way. There's a lot of the style around at the moment, but Roberts' tracks are a cut above.
Review: Ste Roberts of acclaimed underground house label Initials steps up to the plate with a solo tune to mark their sixth release. "Pig In The City" is a real warehouse thumper with campy hi-hats and indecipherable looped vocals. Will Azada also contributes the even harder "It's, Uh, Like This" which builds up layers of scratchy percussion and droney sounds. However it's the pair's collaboration, "Ann Summers", with both themselves and Dick Darling that's really on fire. It's a throbbing retro houser with perky, kitsch synth stabs and a vocal sample craftily manipulated to repeatedly exclaim 'suck on dick". Racy stuff!