Review: Just when you thought the remixes on 'The Resonance 1' couldn't get any bigger, along comes the second part of this Noisia-flipping series with even more staggering remix combinations. Mat Zo giving 'Cleansing' a twisted 23rd century G-funk polish, Skeppy bringing the dinosaurs back to life with his almighty percussive flip of the the famous 'Diplodocus', pioneering Virus architect Matrix turning 'Sinkhole' into a grizzled and bruised late 90s roller, Audio hammering the heck out of 'Sunhammer'... The list of this headliner remix b2b goes on and on. For an act who haven't been remixed many times, Noisia are definitely making up for lost time.
Review: Trust Maurice Fulton to surprise us. Having seemingly abandoned his Syclops pseudonym following the critical and commercial success of the superb 2008 full-length, I've Got My Eye On You, he's resurrected it for a surprise sophomore album. Predictably, A Blink of An Eye is a bit good. Picking up where the previous album left off, it delivers a warped fusion of titanium-plated electronics, leftfield acid jack, freestyle jazz flourishes and intergalactic mutant disco. Formidably twisted but hugely enjoyable, it gleefully charges off in many different directions, mixing shirts-off anthems (see the brilliant "Sarah's E with Extra P"), with curious percussion jams (the afro-centric "Jump Bugs") and curiously blissful, Boof-ish excursions ("5 In"). Stellar stuff.
Review: Chris Coupe and Chris Watson's first album as FYI Chris, last year's Earth Scum, was a thrillingly imaginative, impossible to pigeonhole affair that effortlessly blended elements of ambient, hip-hop, bass music, jazz, post-punk, peak-time house, bleeping electro and much more besides. There's a similarly boundary-blurring feel to Unreal Naseau, a follow-up EP packed with high-grade musical treats. Opener 'Things To Do' is a dusty, jazzy and hypnotic twist on dubby deep house that keeps building in intensity throughout, while 'Hair of the Dog' sees the pair wrap ultra-dreamy chords, acid bass and star fall electronics around a sweaty, percussion-laden Latin beat. Elsewhere, 'Orange Wednesday' is a drum-heavy peak-time workout peppered with sharp bleeps and spaced-out samples, and 'Terrarium' blends ambient techno, dubby deep house and glassy-eyed electronica.
Review: Berlin electronica heroes Modeselektor and Apparat join forces again for their latest titled MORE D4TA, the holy trinity's fourth album is the first since 2016's III. Recorded during the pandemic period, the LP explores subjects such as lockdown and information overload, concocted in the outfit's idiosyncratic style of pop sensibilities with sublime electronic soundscapes. Gernot Bronsert and Sebastian Szary create the perfect backdrop for Sascha Ring's ethereal vocals throughout, creating a sound and aesthetic that are all their own, and showcases a group that is more reinvigorated than ever and passionate for their craft.
Review: Front Line Assembly member Rhys Fulber returns to deliver his third artist album for Sonic Groove. As before, his ability to take a wider view of industrial is audible from the get-go, with the punishing, bruising rhythm of "Concrete Cogitation" imbued with neo-classical strings and the dense rumble of "Collapsing Empires" breaking into wired electronic blips. Sandwiched in between heads-down numbers like "Glory to Labour", Fulber also impresses with his ventures into home listening soundscapes, and the atmospheric "Dead Reckon" the ominous swells of "Transfiguration". The dramatic, haunting tones of "Empire Collapse" also shows that Collapsing Empires was designed for the mind as much as the feet.
Review: Italian DJ/producer Budino is the latest addition to the Love International Recordings compilation series. The Bergamo native has made a name for herself in her adopted hometown of Berlin, and her enthusiasm for music and digging knows no boundaries. The Sound Of Love International #004 is an excursion through new wave balearic, experimental post-punk and industrial. Whether it's Bourbonese Qualk's hypnotic polyrhythms heard on "Ton Ton Macoute", the off-kilter island electro of Pyrolator's tongue twister "Ein Weihnachtsmann Kommt In Die Disc", the hypnotic dark disco of her collaboration with Berko "Transoceanic" or the addition of industrial legends Clock DVA with "Cypher" (Glyph) - Budino is impressive in her carefully programmed eclecticism throughout.
Review: Spun Out is a London-based artist booking agency which has been run by Caroline Hayes for over 20 years, that looked after the life and times of the late great Andrew Weatherall alongside his partnership with Sean Johnston under their A Love From Outer Space moniker. More of that Frightful Oompty Boompty Music is a tribute to the 'Guv'nor' which showcases artists from the agency's roster. Timothy J.Fairplay serves up the chugging dark disco of "Reality Rules", Paranoid London deliver some strobed-out and proper old-school techno on "Spinning Out", go deep into the exotic on Mehmet Aslan's hazy "Shizowaves" and feel the neon-lit jack of Fantastic Twins's "Kali's Tongue Was A Weapon".
Review: During the first COVID-19 lockdown in the spring of 2020, Matt 'Radio Slave' Edwards set himself a challenge: to produce a track a day. There was another caveat, too: each of these "lockdown tracks" would be at the same tempo, 99 BPM. Now released as a mini-album under his rarely used alternative alias, Rekid, the results of this creative experiment are predictably impressive. Drawing on raw electronic melodies, bleeping melodies, lo-fi synth chords and the kind of wonky aural textures more associated with his Quiet Village collaboration with Joel Martin, the set's 11 tracks frequently blur the boundaries between IDM, instrumental hip-hop, electro, ambient, weirdo dub and, on 'Day 4' and 'Day 5', pitched down and radically mutilated bleep techno.
Review: If you haven't caught up by now it's Dirtybird that's putting out the dopest in crossover club music at the moment, colliding the best in LA beat scene vibes with true UK rave ethics. Who else to represent such a sound as Ivy Lab, probably the best and most versatile in delivering a hybrid form to appease all ear; experimental and pop-minded. That's exactly the case here with a new school education of uptempo, acid and experimental breaks, with trippy beats to boot in "Press Play" and old school bass trips of "Dresden Codex". Get your anthemic UK liquid classics from "Options" while not forgetting to check ""BBQ" for your classic Flying Lotus looping gems.
Review: Catharsis is Sven Väth's first artist album since 2002's Fire. As the vocal on the acid-tinged opening track "What I Used to Play" outlines, it does indeed reflect his 'musical footprint from different decades'. "The Worm" is the kind of bass-heavy minimal track you'd expect to hear during one of Vath's epic sets, while "Mystic Voices" is an intense techno banger, powered by a grinding low end and chain mail percussion. At the other end of the spectrum, the album reveals less documented sides to the Cocoon owner's palette. "The Inner Voice" is a dreamy electro jam, "Being In Love" is a mellow break beat workout and the title track sees Sven indulge his predilection for Asian influences, resulting in a loose percussive jam.
Review: On her first outing of 2022, Hermoine Frank brings her rRoxymore project to Aus Music for the very first time. The sometime Don't Be Afraid regular eases us gently with EP opener 'Drunken Clouds', an effortlessly picturesque affair in which chiming, chocolate box melodies and sustained organ chords dance atop a drunken, analogue-sounding bassline and skewed hip-hop beats. She strides confidently back onto the dancefloor on title track 'I Wanted More', adding sweet R&B vocal snippets, hazy chords and marimba melodies to a rumbling bassline and breakbeat-driven deep house beats, before often for a decidedly intergalactic, off-kilter sound on the excellent 'Midnight Shift'. To round off a fine EP, Frank goes ultra-deep, poignant and melancholic on the impressively emotive 'Last Day I Dance'.
Review: On his first new album in three years, Kieron Hebden aka Four Tet proves why he is such a rare talent. Tracks like "School" and "Baby" see him merge ambient and electro-acoustic sounds together with vocal samples and tight dance floor rhythms, while on "Love Birds" he delivers tight drums and melancholic keys. What makes this so impressive is the fact that the dividing line between the organic and the electronic is imperceptible. Of course there is an accessible side to Hebden's style - the effortless warbles of "Teenage Birdsong" and the evocative "Harpsichord" being the stand out tracks - but in the same way that he blends the organic with the synthetic, Four Tet never lets this album dip into rampant commercialism.