Review: The Basement Freaks have riddled our charts with all sorts of break-centric dance experiments, but this is their debut for the mighty Adapted label, home to some of the best breakbeat this side of 2010, and they've come through with a meaty LP to get your weekend off to a good start. "Freedom" opens with a mash up of blues and soul, masterfully reimagined through a breaks angle, and this is followed by a whole artillery of vast, playful, sample-heavy bangers of all shapes and sizes. It sounds as if the Freaks have really gone to town on this one, chopping and shifting at every turn, adding in little touches of quality here and there. It's an album for those who like to dream big and not feel restricted by traditional genre boundaries. Lovely stuff.
Review: Brighton's JFB is the reigning UK DMC champion. In fact, he's won it so many times now he's probably bored of it. When he's not utterly rinsing the decks with his flashy turntablism, he's rinsing it in the studio, lathering up jams like the Wobble Wash EP. Here we get two tracks, one for each deck so he can mix the bejaysus out of them, mash-up style. "FunkATone" is ferocious pop-dubstep - all funky breaks and fizzy melodic bass (with a blues-rock breakdown!), and "Skys Falling" meanwhile, brings trancey synths into play fusing nicely with the more mellow vibes on offer. Boom!
Review: South Africa's tallest electro-breaks duo, Enough Weapons, like their club tunes chunky, funky and tough as old boots. Here they rustle up four new floor fillers that seriously mean business. "Dodgy Lil Dingo" opens the EP with a Sharam Jay-style breaky swagger, "Represent" meanwhile, is a nasty half-time head nodder with an abrasive, angular bass line and "Diet Water" features an epic three-and-a-half-minute synth build before dropping into some filthy dirty beats. Lastly "Geddaymaite" sees the pair wrap things up with an unusual breaks/deep house hybrid. Ace!
Review: Aussie party label Adapted Records like to let the music do the talking, although the title of this here compilation, Glitch & Funk Vol 2, pretty much fills you in. Now what is inside is 11 tracks all crafted for the specific purpose of simply having fun. Mid paced opener "Smile" by Faux Fur, marries a steady breaky groove with hip flavours (plenty of scratching) and some vintage soul sounds and a smooth female vocal. Elsewhere we get electro swing with extra funk on "Bootleg Brass" by Stepcat and the blue-sky synthpop vibes of Bobby C Sound TV's "Europa".
Review: Colchester's Mat Tha Hat has teamed up with Re:Flex for this new collaborative EP, Flying Saucer Funk. It's a shame that they didn't release it in time for Halloween, as the title track, with its eerie Theremin, is pure B-movie horror married to a pop-step groove. "Time Traveler" is a much more serious beast - all dubstep growls and quirky samples. Finally "Science Fiction" is a chaotic riot of buzzsaw bass, demented dialogue and scorched beats.
Review: Belgian newcomer Faux Fur is all about stripped back, floor-rockin' beats. Here on the African themed Savannah EP we get two different sides of his production personality. "Edge Of The Night" is a lean, prowling breaks-panther with added brassy sass and a retro Go-Go vibe. The ethereal "When Eyes Meet" however, is the standout track - a slow and heartfelt neo-soul ballad that deserves wider recognition.
Review: Staunch are Aussie duo James Hayes (Shadow FX) and Algernon Renton (Positive Thought, Mustard Tiger) who dropped their first EP four years ago. Now, after a long wait, their debut LP, Dissecting The Groove, finally arrives. So the question on everyone's lips is obvious enough; is it worth the wait? Well, these nine slices of tough-guy grooves say yes and who are we to argue? Highlights include the mangled bassline funk of opener "Fight Milk", the brassy, p-funky "Shit Stiffy" and the brooding closing throb of "Switch Foot".
Review: Get up and run... Who knew Funkanomics killed it on the life coach scene as heavily as they do on the glitch funk circuit? With a groove as life-affirming as the EP title, "Get Up & Run" is instant party material with hook vocals, slinky bass and all the cheeky details we've come to expect from the German trio. Also included is the teeth-baring "Frida Funk". Imagine a monolithic robot casting shadows on your crib playing slaps on a fretless eight foot titanium bass guitar. Yeah, it's that big.
Review: Treacle-thick glitch business from Aussie funkster Cheshire. It's party pleasure from the off as we're sprinkled with guitars, tickled by pianos and slapped by bass on "Sunnyside Down" before unleashing our inner big band boogie lover "Make Your Move". Deeper into the affair we get gnarly on the bass-focused "Manta" and learn seventy new styles of strut on the EP title track. Neatly, we end full circle with a D&B twist on "Sunnyside Down" with "Sunnyside Up". Can you see what he's done there? What a champ.
Review: With glitch and funk being two crucial ingredients in Adapted's bass-baked cake, it's kind of surprising that they haven't curated a set like this before. 15 tracks, each one focusing on the more laidback, groove-heavy side of the dance, the title really does say it all. You want highlights? Of course you do... Check the shimmering, soaking wet guitar lines and Bootsy-busting P-funk of Beat Fatigue's "Funk Tube", the 80s synths and LA vision of Farfectch D's "The Fever" and the grizzly gurgles and short, sharp horn stabs of Spekrfreks' "Juke Joint". Job done.
Review: Time for a little Belgian badism. Faux Fur is a brand new act, yet he sounds so cosy and familiar that by the end of this EP you'll feel like you've known him since you were a pup. The whole EP seeps musicality and fun throughout as tracks like "Bounce" break into a saloon-style honky-tonk piano slap session and "Fatso" has slap bass that's so obese you want to shut down every sweet and pastry shop in Belgium just to extend his life for a few years. Dig deeper for the space-aged alien dance-off that is "Clip" and the more cosmic, reflective zoner-outer "The Fool". This is what a solid debut EP sounds like.
Review: Texan tearaway Gaddy gets busy with his first ever EP. And what an EP... At eight tracks, this is almost album level. With a unique obese bass sound, clipped organ meanders and a clear knack at raw, creative sample craft, each cut works well as a testament to his abilities. Notable highlights, though, are the tripped out reverse bass weirdness of "She Had That Latin Sway", the 8-bit saloon bar wild west soundtrack "Get Paid", the jaunty skank of "Stay Paid" and the swooning strings and breezy synths of "Cruise Control". Jumbo gumbo.
Review: Glitch hop cowboy Khurt kicks away the tumbleweeds with this swaggering, guitar-bending, gun-toting one-track. Brutally coded with obese levels of bass and hype-heaved solo slaying, it's the perfect soundtrack to the finest dancefloor shout out you've yet to have. It's been a long time since his last release, so relish this one... And relish it hard.
Review: Just in case you couldn't find the elusive funk setting on your household laser, Fillmore live funk fusionists Filibusta have provided detailed instructions... Seven tracks in total, each cut galvanizes their position at the top of the nu funk table alongside luminaries such as Gramatik, Pretty Lights and Griz. Highlights include the Hammond-smashing trills and bass guitar spills of "High Roller", the slinky Hendrixisms of the salubrious guitar leads on "No Handouts" and the epic bluesy final with Passio that is "Wild Wild West". Stunning.
Review: Already home to the likes of Khurt, Staunch and Au5 & Fractal, Australia's leading neuro hop, glitch and dubstep label Adapted have now welcomed Kosmo to the fold. Usually heard as one half of duo DonKong, bass fiend Kosmo has produced a seven track mini album that sees him fuse wobbly dubstep with all manner of their influences. Highlights include the hip-hop meets Ed Banger dub-cruncher "Mojo", the snarling filthy house of "Sirene" and the stadium dance-hop anthem "Money", which features the extra talents of SakeSake and Adam Tensta.
Review: Aussie instrumentalist-funk-fusionists Hutch and Rehan follow up their debut on Inna Riddim with this clinically obese trio of glitch jams. Constructing rich, moreish cake-like grooves, each cut will have you coming back for more. "Afro Punk" rolls with a silky disco sheen and reserved, clipped synths and a steady, unbudging guitar backbone. "Word" ups the tempo by 10BPM and injects the vibe with a commotion of slap bass and scratches. Finally the hilariously titled "Prolific Tit" takes us back to the nu funk root note with more salubrious bass, sweaty horns and occasional lazer-gazing bass sneers. A really tight balance of instrumentalism, floor-fire and unique creativity.
Review: Grinning like a cat... There's some deep deep funk under Cheshire's snapback. Long-standing Aussie glitch/bass contributor, here 13 of his cuts get the remix treatment from many of his party peers and low end comrades. Highlights include the sheet-metal bass and slappy twangs of Funkanomics' take on "My Style", Squelch's sense of swaggering gravitas on Cheshire's still-awesome bird-choker "Robins Rocket" and DJ Wood's honey-coated skank dynamic to "Crawling". Each one a quintessential example of remix perfection, this demands your attention.
Review: Dutch glitch vibes from one of Adapted's most prolific and consistent of contributors. "No More" comes with truly show-stopping guitar riff and a super-fine bluesy vocal sample, "Slashy Cricket" continues the raw, undiluted funk vibes with more of a Bootsy-style squidginess, while "Ain't That A Glitch" and "Walking All Cool" continue the guitar-motifs and bluesy feels. The former is on a slower, wonkier rhythm while the latter is on more of a peaktime, Featurecast-style full-flavoured swing. "Quarterbouncer" and "All That Muting" bring us to a jazzy climax as the guitars' blues distortion is swapped for a much crisper, wandering freeform approach. Super funky and impressively creative; if you're not playing air guitar while you're playing any of these tracks then something is seriously wrong.
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