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fluid synths, undulating disco basslines and cheery grooves remain in place, the intoxicating depth of the original has been replaced by a cheekiness more readily associated with Vibert's Wagon Christ pseudonym.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: Luke Vibert donned the Kerrier District moniker last year on the tremendous Kerrier District 4 album on Hypercolour, and here are the remixes. He's done alright; look at who he's got on board. First there's the Ricardo Villalobos & Max Loderbauer remix of "Sexspurt", which is long and as liquid and tripped out as you'd imagine. Bulgarian hardware maverick delivers the goods always on his funky, fierce and soulful rendition of "Techno Disco", it's quite brilliant actually. Finally the now legendary Rene Pavlowitz dons the Head High alter ego for a slamming warehouse rave makeover of "Come On Kerrier".
Review: Holger Zilske, a veteran of the German electronic music scene, returns to Hypercolour with a triplet of lascivious and flirtatious tracks on the 'AI Sex' single. The three track release showcases Zilske's skill for crafting raw and deep electro beats with psychedelic and trippy elements. "AI Sex" Part 1 features a familiar vocal hook that adds a pop sensibility to the dark and driving groove, while the second part is a more esoteric and experimental affair with bubbling acid and machine-made vocal refrains. Zilske's latest offering is a refreshing and captivating release for electro fans
Review: Since making his debut back in 2015, J. Albert (real name Jiovanni Nadal) has gleefully drifted between labels, making appearances on 1080p, Cult Trip and Black Opal along the way. Given this track record, it's perhaps unsurprising that Hypercolour have snapped up this on-point three-tracker. There's much to admire throughout, from the punchy, broken house rhythms, lilting deep house chords, hardcore style breakbeat fills and eyes-closed vocal samples of "Don't Hide It", to the Derrick Carter-goes-bleep analogue funk of closer "Vista". Sandwiched in between you'll find the superb "Xtra Sauce", an early Basement Jaxx style fusion of crunchy, U.S garage-influenced beats, fizzing chords and warehouse-friendly late night aesthetics.
Review: With releases on labels like Hotflush and Drumcode to their credit, Dense & Pika bring it back home with Amber: after all, Hypercolour was set up by Alex Jones, one half of the act. The title track focuses on dreamy hooks and blissed out vocal samples, before the pair's insistent, stepping beats kick in. It's atmospheric, but also tailor made for the dance floor. On "Hard Light", they opt for a somewhat different approach: here, the tempo is faster and the rhythm more percussive, but the pair leave enough room in the arrangement for cosmic laser stabs that sound like they were taken straight from a sci-fi thriller.
Review: Sarah Story, a multifaceted talent known for her role as a broadcaster, DJ, producer, and songwriter, takes center stage with her latest single on Hypercolour. Through her influential Radio 1 'Future Dance' show, Story has been a key advocate for emerging talent and increased visibility for female and non-binary artists in the dance music scene. With this release, she delivers a dynamic showcase of her own skills, presenting a pair of pulsating and hypnotic club anthems that bang with classic warehouse force - a powerful contribution to the longstanding legacy of the UK label Hypercolour.
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.
Review: Having spent the best part of a decade producing and releasing music at a furious rate, Tom Demac took a step back in 2015. Two years on, he returned earlier this year with Sink Or Swim, a two-track missive on regular home Hypercolour. Six months later, he's decided to repeat the exercise with Bark Or Bite. The title track, a typically Germanic chunk of loose late night techno that layers a hushed and hypnotic groove with spacey synthesizer motifs and effects-laden vocal hits, is particularly strong. That said, we're particularly enjoying the bustling, intergalactic electro vibes of "205 GTI", where fizzing electronics and yearning synth lines cluster around punchy drum machine hits and an elastic analogue bassline.
Review: Stellar vocal cut here from Alphonse Rozel, who has had previous releases for Klasse Wrecks, Emotional Especial and Black Orpheus. Described by Hypercolour as 'spacey and dusty deepness' and that's pretty on point. Vocals are provided by one Rev Be, which Rozel utilises across these three versions. The deep bleep techno of "Better Weather" in its original version calls to mind the sounds of northern UK sounds from the early '90s, the trippy dub version - or Phazed version - is vaguely reminiscent of Derrick May's studio expriements around the same time with its funked up, flanged out and reversed elements galore. Finally is the more straight ahead and dancefloor friendly bounce of the Abyss version.
Review: Famously, Guy Evans has been producing music since the early '90s, though it's only in the last few years that most of it has seen the light of day. Like his previous full-length, Unearthed Trax, sophomore album Concentric Rhythms is also made up of vintage tracks rescued from the archives. There's naturally much to enjoy, from the fuzzy, full-force Detroit techno assault of "Concentric Rhythm", and the glistening, intelligent techno melodiousness of "Through The Galaxy 93", to the balls-out acid onslaught of "Fresh Horizons" and intergalactic D&B madness of "Banzappa Dub". Happily, Hypercolour has also squeezed in "20 96", a 16-minute trip into the furthest parts of the techno galaxy.
Review: Following acclaimed releases on Dekmantel, Aus Music and Ninja Tune, Jack Hamill aka Space Dimension Controller is back this week with a fantastic new release of London's Hypercolour. The Cro2ma EP is a three-tracker featuring Detroit elements and bleepy bass that you've come to know and love from the Irish producer. From the contemplative electro of the title track, to the minimal hi-tech funk of "IG00158" and the deep, acid-tinged techno of "Highborne" which closes it out on an emotive tip - it's altogether highly accessible yet intricate in design.
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.