Review: Juju and Jordash are rather good at making albums. Their last full-length excursion, 2012's brilliant Techno Primitivism, was a gloriously maudlin and evocative affair, as influenced by drowsy ambient and experimental electronica as house and techno. While there are some similarly dark tracks lurking in the shadows of third album Clean Cut (see the creepy "Swamp Things"), for the most part it's a pleasingly dancefloor-centric concoction. That's not to say that they've packed it with jolly moments - the tipsy, melodious "Anywhere" and dub disco-meets-deep house wonk-out "SP Shakes" aside - but rather their leftfield blends of house and techno have a more club-friendly feel. The results are, for the most part, extremely good, with the rave-era revivalism of "Whippersnapper" (a kind of darkroom, Detroit-influenced take on T-Coy's "Carino") standing out.
Review: There must be something in the water near Juju & Jordash's studio, because they have never made a bad or even average record. Sis-boom-bah! is their fourth studio album and serves to reinforce how consistent they are. Irrespective of whether they are laying down noodle jazz workouts like the wonderful "Herkie" or off centre house grooves - check the vocal sampling, funk bass of "Rah Rah" - the pair's jams are delivered with effortless brilliance. There are dance floor tracks of sorts included here as well, particularly the lean groove of "Back Tuck Basket Toss" and the dubbed out drums of "Deadman", but like all their best work, this album's strength lies in its sprawling, freeform approach to electronic music.
Review: Israeli duo in Amsterdam Juju & Jordash really are unstoppable at present. When not focusing on solo projects or collaborating with German deep house don Move D as Magic Mountain High, they're up to their usual shenanigans in tandem and this new one for hometown heroes Dekmantel is a fine example of how they excel in what they do. The deep hypnotic house of "Monday Mellow" floats gently above soaring, ethereal pads, a bouncy bassline and soothing bell tones while "Wednesday Something" is more uplifting and and positive; swirling in layers of rich vintage synth flair and rushy arpeggios. "Thursday Heavy" is much harder hitting, but rest assured: it is still deep, with its booming Juno bassline and reverberated drums creating some basic trance induction that works a treat.
Review: Given their frequent habit of charging off in different musical directions, predicting the contents of a new Juju & Jordash record is getting increasingly difficult. Down To The Roach, their latest release for regular home Dekmantel, is typically wide-ranging, variously exploring bouncy fusions of techno futurism and whimsical deep house (the title track and its' accompanying dub), new age-influenced dream house (the bizarrely titled "Bean Bag Motel"), and spiraling, synthesizer-heavy house/electronic disco hybrids (the stargazing goodness of "Lights at Night"). It goes without saying that all four tracks are imaginative, immaculately produced, and hugely enjoyable. Excellent work all round.
Deep Blue Meanies (Robert Hood Sci-Fi mix) - (8:40) 128 BPM
Deep Blue Meanies (Robert Hood Monobox remix) - (8:03) 126 BPM
Review: Dekmantel unleash Detroit legend Robert Hood on Juju and Jordash's "Deep Blue Meanies" from last year's self titled album. The virulent pulse that ran through the track marked "Deep Blue Meanies" as the most impressive moment, and Hood does the track justice with two differing but equally astounding treatments. The Sci Fi Mix is akin to a full on sensory assault, flipping the track into a relentless thumping future techno groove replete with throbbing bass that absorbs brain matter and multi layered percussion that demands to be bounced off cavernous warehouse walls. Then Hood's "Monobox Remix" tones down the percussion to focus on crafting hypnotic patterns of scratched melodies and singular drones atop a minimalist groove. The growing acid tension that characterises the closing stages of this remix make it hard to choose a favourite.