Review: Seven years on from the release of his critically acclaimed debut album, Kevin McAuley has finally delivered a follow-up. Pleasingly, there's no grandiose conceptual theme or attempt to shoehorn in weaker tracks in a bid to showcase versatility; instead, McAuley has just done what he does best, namely delivering fearsome dancefloor workouts that blur the boundaries between techno, UK bass and the more warped and intense end of analogue house. Highlights come thick and fast throughout, from the wobble bass-propelled, warehouse-ready heat of 'Instillation' and the sub-heavy, post-UKG shuffle of 'Hole Away', to the heavy-stepping, R&B vocal-sampling breathlessness of 'If' and the big room-ready techno hypnotism of 'Changing Channels'. He even provides his own twisted take on uplifting trance via the brilliantly hectic and rushing 'Bad Lines'.
Review: As one of the most anticipated reunions in dance music, underground legend Pangaea makes a long awaited return to the goliath Hessle Audio imprint for a top draw come back two tracker. On the A-side we hear the nostalgic throws of 'Bone Sucka' which is a homage to early breakbeat creation. Through a combination of mysterious atmospheric drones and smoothly sliced break patterns we are treated to something truly special. On the flip we are back in classic Pangaea territory, as beautifully crafted techy vibes return on 'Proxy'. This one is a rise and fall journey from start to finish, bringing together off the cuff piano riffs, pounding drum arrangements and subtle subs perfectly.
Review: Kevin McAuley is certainly affiliated with a generation of pioneering UK Bass producers who have since moved into the techno realm. With previous releases on Hemlock, Hessle Audio and Hotflush, his origins have definitely remained a strong aspect of his style ever since. On the In Drum Play LP, he can be heard dabbling in obtuse and disjointed low end theories such as on "Bulb In Zinc" or "Let It In" while there are some inventive takes on techno; such as on the dynamic opener "Rotor Soap" or the adrenalised stomper "More Is More To Burn". For us, the highlights were "One By One" (where his take on breakbeat techno would make the likes Shed or Stenny stand up and notice) and the oddball body basher "Skips Desk".
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