Review: Barcelona's Cardopusher has released on a wide variety of imprints ever since his production debuts for the likes of Damage and London's mighty Hyperdub, so much so that it even allowed him to release an album in 2015 for Boysnoize Records. This week, he's up on Super Rhythm Trax - home to a vast array of jacking house beats - and his starter for ten is the 303-laden beast in the name of "End Local", a monster that is quickly followed by the heavy-bottomed, Trax-fuelled "Variant". On the flip, "Inequality" sticks to the acid, but the mood is lighter, less murky and full o' jack, whereas "Phase 1" slithers and winds its bass bot through slicing darts of percussion. For the DJ's...
Review: Chrissy is a hugely diverse producer who makes everything from booty to acid and whose catalogue boasts appearances on Planet Mu and Classic. For his debut on Jerome Hill's label, he dons his Chicago house hat; "Truth Bomb" is a stomping 303 workout featuring a soulful vocal sample and tough drums, like Chrissy's own take on "I'm Strong" by Fingers Inc. "Stumble" is more down tempo and teased out, while "We're Movin" sees Chrissy combine uplifting vocals with a pulsating electronic bass.The only divergence of sorts from this acid / Chicago theme is "24 Hour Puppy People", where a driving New Beat rhythm track hammers away, but it took is cloaked in wired, warbling acid.
Review: DJ Arg aka Arthur Gaerdes is reportedly the author of hundreds of 303 tracks, but despite this, Argonic is one of his first releases. It's no surprise then that acid fans will find much to love here: "Trend Cnuts" is a low-slung affair with vocal whoops and snatches woven into the insistent acid line. "Pervers" is a leaner and more direct affair, with the 303 bleeding and squelching its way to an intense climax. "Kimmi" is more stripped back again, with tropical bird warbles mixed in with basic acid tones, while closing track "Strobo Acid" sees Arg deliver a pile-driving acid meltdown.
Review: Jerome Hill's imprint welcomes DMX Krew back to Super Rhythm Trax with another EP crammed full of future classics. Following up some great releases of late on Hypercolour, Shipwrec and Abstract Forms, the UK electro legend delivers a few jams in his renowned style, plus goes old school techno here and there. "Grand Tour" modelling his style on 'Magic 'Juan Atkins' exploits as Model 500 in the late '80s, while the booming smack techno of "Death Blip" sounds like an old Djax Up Beats record on -8. "The Wiggly Worm" gives us a taste of the acid life, complete with wobbly arpeggios and jacking vocals until it all comes to a fine close with the classic, neon-lit, hi-tech soul/funk of "Old Groove".
Review: G 23 has kept this calm and discrete when it comes to his releasing output, having only release a handful of EP's since his debut on Infinite Machine two years ago, but he's back on Super Rhythm Trax with a deadly three-pronged techno attack for the piste. "Kidding Kids" is a banging acid squelcher filled with short breaks and percussive shots, while "Mountain's Acid" is a no nonsense, kick-fuelled bruiser accompanied by subtler swarms of 303 action and scientific bleeps. On the tail-end, we have a remix of "Mountain's Acid" by Jerome Hill, who exposed the Roland tricks and comes out the other end with a wacky techno killer for peak time servings.
Review: Although he's probably travelled beneath most house and techno enthusiasts' radars, Germany's Andreas Gehm has released music on some of the most respected and coveted independent labels in the game. First and foremost, he debuted back in 2009 with an appearance alongside Steve Poindexter for Jamal Moss' mythical Mathematics imprint - having subsequently released a string of EP's for the dread-haired techno outsider - and then he landed on everything from Chiwax to Solar One Music alongside Helena Hauff. This week he's out on the ever-impressive Super Rhythm Trax and he's brought four jacking cuts with him. The flavour is steeped in the finest of Chicago flavours, boldly manifested by the 303-driven opener that is "I Don't Dance", but it's also one that verges onto the Berlin sound via "Control Your Mind". Check em', they're a squadron of killers!
Review: After a brief flirtation with Dixon Avenue Basement Jams, Jared Wilson is back on Jerome Hill's Super Rhythm Trax imprint. Predictably, he's in a retro-futurist kind of mood, delivering tracks that tip a wink to a variety of vintage house and techno productions. He begins with the Larry Heard style warmth, Chez Damier percussion and Detroit techno cymbal lines of "Getting That Feelin", before diving headfirst into the world of classic Chicago jazz on heavyweight acid wriggler "It's The Message". He tehn carries on with the ghostly chords, intelligent techno electronics and mind-altering acid lines of "Midnight On Ecorse Creek", before Wilson caps a fine EP via the Mr Fingers style deep house-jack of "Acid Feeling".
Review: Few labels have quite as successfully channeled the original spirit of Chicagoan acid house and early British techno than Super Rhythm Trax. They're at it again here, serving up a trio of 1990 style, rave-era British acid house/techno tributes from former Skudge Presents and Dixon Avenue Basement Jams man Jared Wilson. The three tracks could be considered riffs on a theme, as each - in different ways - reminded us of Orbital's early work. Choose between the bold acid lines and jack-track beats of "How Deep", the acid melodies and "Belfast" style chords of "Plate Mining", and the pleasingly alien acid-funk of "Idea of A Deep State".
Review: Super Rhythm Trax brings you the freshest acid, house and techno with a hefty nod to the mid to late 80's originators. They're back with head honcho Jerome Hill, who serves up three old-school bangers for the 'nu-school' on "Cley Hill Transmissions". The dark and tunnelling warehouse techno of "Back & Forth" features some soaring and euphoric 303 acid that will make you feel like you're at one of Hawtin's Plastik parties at The Packard circa '94. "Weird Language" features a screwed up vocal hook above an overdriven/broken kick and 'percolator' style claps - which once again will truly appeal to '90s techno nostalgists. Finally, we have the bleepy UK rave of "Close Encounters" which is sure to create some added drama on the dancefloor when the strobe light comes on! 2017 has seen the label serve up releases by other like minded introverts in the form of John Heckle, Jared Wilson and the legendary Ed DMX.
Review: London techno legend Jerome Hill is back on his home turf for the 13th edition of Super Rhythm Trax. With a name like "It's Time For The" it hardly left anything to the imagination did it? But this crafty edit of the Cajmere classic. Other highlights include the Windy City hard house of "Lollypop Lady" which pays tribute to the notorious Relief Records imprint and the Dancemania dedicated jackathon that is "Def Jamming". One for the heads!
Review: Perhaps before he was swanning about running Klasse Recordings and all, Luca Lozano worked in customer services vowing one day to serve musical revenge on all the insufferable souls one serves in that world. Whatever the inspiration, we now have a killer new four trackers from the man. Echoes of early Warp abound as always - "Super Rhythm Track" features mocking bleeps over a techno pulse, "The Path Of Most Resistance" is angrier, drawing on late 80s hardcore for vibes. Elsewhere "The Faith" is deep, sparse and bleepy whilst "No Team In Lozano" is moody Chicago house at its best.
Review: In the space of just a few years, Luca Lozano has made a busy schedule for himself. Managing Klasse Records and Grafiti Tapes, he has released a load of music both form himself and a number of artists, such as Kris Wadsworth and DJ Fett Burger, among many others. This time he's up on the excellent Super Rhythm Trax with a little vintage flavor; "Outer Space" makes up the A-side and it's a gorgeous, break-ridden dance stepper in the same vein as stuff from the likes of Horsepower Productions, back in their day. On the flipside, "End Of Line" is a certified UK swinger, a grimey beast of a tune with a heavy percussion march and that inimitable London feel. Recommended.
Review: This is a killer cross-generational collaboration. It sees Altern8 and Nexus 21 veteran Mark Archer join forces with Food Music and Unknown to the Unknown regular Shadow Child (AKA noughties survivor Simon Neale). They predictably hit the ground running via the razor-sharp TB-303 acid riffs and sweaty machine percussion of "It's Good", before enveloping a jacking TR-909 drum track in restless handclap fills and alien electronics on title track "Non-Stop". Super Rhythm Trax label boss Jerome Hill delivers a booming, bass-heavy acid house rub of the same track, while "Eye Feel" captures some of the restless energy and stab-heavy madness of Archer's legendary, rave-era history.
Review: The retroverts at Super Rhythm Trax return with yet more acid madness courtesy of Matt Whitehead; he of Rebel Intelligence and Model Citizens fame. It's a pretty straight up affair on the Bombing EP, where opening cut "Crosstalk" batters you with 909 snare attacks and the hypnotic funk of 303 acid squelch. "Seeing Red" is a much more tunnelling affair where that little silver Roland box again does most of the talking. The title track is one of the real highlights; this sleazy and bombastic electro-funk number is reminiscent of Jimmy Edgar's finer moments until "Birdland" hammers the message home in style with yet more vintage flair and those early rave style steel drum presets in full effect.
Review: Jerome Hill's label has been one of the best outlets for modern iterations on the Chicago house sound and Temple Of Set is no exception. Working together as Manor House Boys the veteran DJ Matt Whitehead hooks up with the newer producer No Data Available for an unforgettable release. "Full Resonance" may draws on acid tracks for inspiration, but the arrangement is more spacious, while 'Panic In Flat 13' is a more conventional 303, albeit peppered with vocal samples. Most impressively though are "Sahara" and the title track, where the pair draw on other, less likely sources such as ebm and horror soundtracks to create two of the most distinctive tracks of 2019.
Review: After almost two years of hiatus under his own name, Britain's Mike Ash makes his comeback on Super Rhythm Trax with four lively and utterly dangerous slices of house psychedelia. "Unfrocking" is deeply old-school, and Ash manages to mix up plenty of summer-of-love-acid together with those vintage hardcore sort of breaks, and "The Fuzz" follows suit with another sludgy heap of 303 bottom-end. The flip moves one year ahead and onto "89's The Year", a flangered-out acid nugget all in rough and delicious analogue taste, leaving "Bad Chorus" to send us head-first into the swimming pool with its heart-pound of a beat and inimitable bassline. You know how they say that they don't make them like they used to? Forget that, this is the shit.
Review: Originally released in ultra-limited vinyl format to mark Record Store Day, the latest release from Mike Ash is now available to digital DJs. Like the rest of the output on Super Rhythm Trax, Buggin is based around jacking rhythms. That takes shape in the form of lo-fi tones and a low-slung bass on "Huh", while on "Stop The Beat", Ash draws on the eerie synths of hardcore, wrapping them around a snaking groove. Meanwhile, "Watch Your Mouth" is a more primal workout that resounds to gurgling 303s and a heads down jack track, while on "Blue Light", he visits the bleep techno period for an evocative workout.
Review: When it comes to serving up all-analogue box jams, few labels can compete with Jerome Hill's Super Rhythm Trax imprint. The latest hardware fiend to join Hill's retro-futurist revolution is debutant Pendle Watkins. Naturally, there's barely a duffer in sight. Watkins begins with the intergalactic, Motor City electronics and sweaty drum machine hits of "Deal With It", before sauntering into deeper territory via the Larry Heard-esque "Emerge". You'll then find the raging acid heaviness of "Domination" - all psychedelic TB-303 lines, dystopian vocal samples and redlined percussion - and the fuzzy alien bliss of undulating jack-track "Yah Boobay". In other words, it's a fine collection of club-ready analogue workouts.