Review: Ed Upton has long been one of British dance music's most prolific producers, with his latest album on Hypercolour - the typically vibrant Spiral Dance - marking his 24th full-length excursion as DMX Krew since 1996. Its' 13 tracks are typically vivid, inventive and entertaining, with the Bedford-born producer rushing between intergalactic electro ('Always Hats'), sub-heavy UK techno futurism (the bleep-influenced 'Bathtime Bobby'), house-tempo dancefloor IDM ('Spiral Dance'), Spacetime Continuum style ambient techno (the chill-out room friendly 'Back To '92'), synth-laden analogue cheeriness ('Is This Normal'), heady beat-free soundscapes ('Hammer Slowly Forming'), early Autechre style electronica ('Ankle Grinder') and sweaty acid house ('FM Assembly').
Review: In celebration of Hypercolour's 100th release, the highly sought-after KiNK (Strahil Velchev) turned in a milestone For The People EP - delivering four genre-blending bangers. As part of a series of EP remixes, Perc and Bailey Ibbs step up for this edition with a rendition each of the EP's standout track: "Vacation". Perc unleashes a relentless storm of industrial techno like Ali Wells knows how, with Bailey Ibbs delivering a high-end, tech house, funk-infused banger for that perfect offset - and with more to come!
Review: It's all kicking off with this latest Hypercolour outing, as we see Carlton Doom land in top quality form with a truly fiery display, unloading three dizzying originals, exploring a wide spectrum of dancefloor ideas. We begin with the earth-shattering drumlines and sub sweeps of 'I'll Be Fine', a mind-boggling twist up through explosive subs and subtle background glitches. Next, 'Cesspool' delivers an either deeper exploration of modern breaksy themes with just as much potency, before the icy synthesiser lines and warm bass bulges of 'I Miss You' gives the EP a truly emotive round off to close.
Review: Hypercolour reaches its one hundredth release. To celebrate this milestone, Jamie Russell and Alex Jones' label enlists the services of KiNK. The title track is a high-paced banger, featuring a dramatic vocal loop and rousing rave synth lines. It sounds like KiNK has distilled the energy of early 90s dance music into "People". "Ta" isn't as dramatic, but still hits hard, thanks to the interplay between a rough bass and airy melodies. In contrast, "Kazan" sees the storied artist go down a more considered route, with glitchy percussion melded with a dubby groove. Rounding off this 100th release is another dance floor banger, in the form of the heavy stabs and dense kicks of "Vacation"
Review: A confirmed presence within the landscape of UK dance music for the best part of 15 years, Hypercolour has cultivated its own constellation of artists while becoming a port of call for those hitting their peak within pseudo-mainstream house music. It's Patterns compilation series has always offered rare cuts and remixes from its roster of artists and from the get go here a lesser known Zodiac impresses out of the blocks with a banging dub techno joint "GhostNet". Sebastian Mullaert & Boelja go hardcore Swedish bleeptronic in "Who Are You Really?" with FRAK also included with an old school and lo-fi 909 workout "Berga Magic". Roman Flugel hits a sweetspot as usual next to some lowly jackin tracks by London Modular Alliance, a vocal breakbeat number of classical drum and bass refrain by Mathew Herbert to some tongue cheek rave by Luke Vibert and much much more! Approved.
Review: Spawning the 96 Back project with a surge of EPs for Central Processing Unit, Evan Majumdar-Swift's emerging talents make the leap to Hypercolour! Keeping hope alive with cuts like "Fe Symbolic" and "Party Animal" - going great lengths in perpetuating the legacy of Aphex Twin, Warp and other bleep-era sounds - the EP also touches on elements of deeper dubstep and minimalism in "Cosied By" to other melodic club tracks in "TBQFH". It sees the 96-name added to a fresh cast of labelmates including HVL, Gary Gritness, Asquith and Carlton Doom. Believe the Hypercolour!
Review: Gary Gritness returns to his regular haunt, Hypercolour, for this highly conceptual long player. In essence, The Legend is a soundtrack to a 'cyber-funk' tale of street hustling, and unsurprisingly, Gritness has found a way to respires this through the medium of electro funk on "Back with a Vengeance" and "Bent Cop Hustle". On "Big Marcus Knows the Score", he shows hitherto unimagined levels of depth with a mournful, synth-laden piece that's not radically dissimilar from Carl Craig around the time of Landcruising. "Laser-Sighted Smoke" reveals another string to his repertoire as he drops a subtle, Drexciyan workout, while the delectable "Fishnets and a Nine" sees him end up in an electro-tinged easy listening world.
Review: Following up a couple of great releases for Matthew Herbert's Accidental Jnr, Sydney producer Cassius Select debuts on Hypercolour with a fresh batch of crooked beats and twisted rave experiments. From the jagged and angular dub of "They Shook", the moody knackered house jam "Loose Pursuit" or the brooding grey area groove of "Yut" which calls to mind the crossover experiments of London's Autonomic crew nearly a decade ago. This collection bass heavy and highly urbanised jams all feature a truly UK influence and make a welcome addition to the Hypercolour catalogue.
Review: Israeli tech house heroine Mor Elian continues on with her winning streak with another killer on Hypercolour, her second release for them since 2016's wicked Drum Vortex EP. The Fever A.M. co-head launches a terrific new missive in the form of Persona Non Grata: four servings of killer grooves for any occasion. From the dirty electro funk of the title track and "Xeric Zula" to the tunnelling acid express of "Dysmorphia" and the basic trance induction of "Feral Chime". These sonic weapons truly compliment the Los Angeles/Berlin based producer's great old-school influenced releases of late, on Radio Matrix and Delft.
Review: Yaleesa Hall teams with Oscillat Music owner Malin for an EP that draws heavily on classic techno tropes. "Artin" is a dense, chugging groove that draws on the cavernous dub chords of Basic Channel and Fachwerk's tight rhythms to create a dark track. On "Cahen", the pair opt for a more reflective sound; although the rhythm track is percussive, the chords are sub-aquatic and deeper. The Zenker Brothers do a fine job turning "Artin" into a tough, lean roller, but as the pared back, tracky rhythm and outer space sounds of "Brown" so eloquently demonstrates, this release is all about Hall and Malin's combined skills.
When We All Break Down (feat Joni) - (8:04) 135 BPM
Review: Since first bursting onto the scene back in 2011, The Cyclist (AKA Derry producer Andrew Morrison) has gone from making dusty, dystopian techno to delivering intriguing albums that defy easy categorization. He's at it again on Sapa Inca Delirium, his fourth full-length in total and first since 2014. Beginning with the dark, feverish ambience of "Go Back" and spiraling, acid-fired, tribal-tinged throb of "Inhale/Exhale", Morrison saunters between impressively atmospheric cuts that variously touch on drowsy early Krautrock ("Inti"), braindance style insanity ("Forest Surge"), Balearic broken beat ("Skateboarding in the Jungle", "When We All Break Down"), lo-fi soundscape jazz-house ("Sapa Inca Delirium") and drowsy downtempo beats ("Antiexist"). It's a gently trippy and imaginative fusion of sounds and styles that's not only expertly executed, but also extremely impressive.
Review: Since first pitching up on Hypercolour late last year, hardware fetishists London Modular Alliance has continued to deliver some of the most exciting electro around. Famously, the trio construct their cuts entirely using modular synthesizers, jamming live until they settle on a groove or riff to explore further. That guarantees that their machine funk sits somewhere between the pulsating hypnotism of classic Kraftwerk, the intergalactic moodiness of Drexciya and the harder-edged fodder popular in places like Rotterdam and the Hague. It goes without saying that this EP is packed with killer cuts from start to finish, something that makes picking highlights truly tricky. Really, all you need to know is that it's a must-have.
Review: London/Bristol based tech house institution celebrates a decade in the business. They've seen a few faces and phases, tech-wise or otherwise but at the end of the day remained consistent in their pursuit of quality grooves. Alex Jones and Jamie Russell present some great music here and there are many highlights. From electronica legends such as Warp's Luke Vibert, minimal house pioneer Matthew Herbert (with the deep and dusty microhouse of "Downgraded") as well as techno's one time enfant terrible Neil Landstrumm through to new favourites such as Swedish hypnotic techno hero Sebastian Mullaert (the tunnelling "Shadowed By I"), Italian hardware mavericks The Analogue Cops plus up and comers Yaleesa Hall x Malin Genie with the banging' "Buchan Trap". We applaud the label for their ability to keep on the pulse of the ever changing electronic music landscape and heres to another ten years.
Review: Irish tape throb enthusiast The Cyclist adds Bristol house bastions Hypercolour to his discography with this fine four-track 12", Pressing Matters, which features a remix from Pampa and Kompakt legend Robag Wruhme! The title track is a fine example of The Cyclist's warped charm, conjuring bendy bass lines, faltering breakbeats and wavy synth lines over seven delightfully heat-treated minutes. The Robag Wruhme is just as epic, sounding like a lost breakbeat artefact dug up for gleeful 21st century consumption. "Born In '92" adds plenty of pirate radio chatter into it's deep and spectral house bump, whilst Tanaya Harper's vocals lend a palpable edge to the brittle garage swing of closer "Push."
Review: At times, it really does feel as if DMX Krew must make tune sin his sleep; wherever we look, we find a new EP or album form the man, and all of the highest calibre, too! This time, the long-haired UK techno soldier lands on the ever-excellent Hypercolour with a hefty nine-tracker made up of eerie, slithering techno and cinematic electro. The opener "Spiritual Encounter" is almost enough in term of quality - check those Drexciyan waves - and the res of this beauty develops in similar fashion, from the gorgeous strings od "Bombay Mix", to the grizzly synth-led beats of "Daylight Saving", and the heavy, Detroit style of "Computational Paradigm Shift". Class, through and through.
Review: After releasing Luke Vibert's acid-heavy Ridmik set, Hypercolour boss Jamie Russell asked the Cornishman if he had any disco-flavoured Kerrier District material knocking about. He answered in the affirmative, and 4, Vibert's first full-length under the alias for a decade, was born. Although the project was initially inspired by Black Devil Disco Club's warped electronic disco (and, presumably, the smoother grooves of Metro Area), a decade on Vibert's approach is noticeably different. While the fluid synths, undulating disco basslines and cheery grooves remain in place, the intoxicating depth of the original has been replaced by a cheekiness more readily associated with Vibert's Wagon Christ pseudonym. It is, then, a different beast than previous Kerrier District outings, but no less entertaining.
Review: As the title of his latest release suggests, mystery man (or woman) A Sagittariun has been around for a while. It's no surprise then that this release, like the rest of his catalogue, draws on older sources for inspiration. "3--4-3" is constructed from clipped drums, a shuffling rhythm and features the kind of wide-eyed, jazz-tinged keys that you'd associate with classic Prescription releases. Rolando's version of the track features this melodic element, albeit underpinned by a tough, linear rhythm and splintered percussion, while label boss Alex Jones' version is all about a splurging, noisy bass and a low-slung rhythm. The best track on the release however is "Delta House", a slower groove full of demented jazz squalls and a woman moaning ecstatically.
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