Review: Sometime Sons of Slough man Duncan Gray is one of the disco-chug scene's more reliable producers, with releases on Nein, Play Pal and The Exquisite Plain to his name. Predictably, this outing on his own Tici Taci imprint is chock full of mid-tempo, mind-altering treats. Check, for example, the foreboding riffs, lo-fi percussion and strobe-friendly late night electronics of "Tweak", the rave-inspired filth of "Streak", and the low-slung, post-punk inspired darkness of "Freak". Fellow chuggers The Hardway Brothers give their spin on "Tweak", combining Gray's woozy, unsettling electronics with their own breakbeat influenced rhythms and alien melodies.
Review: A serious helping of phat funk squelch here, served up in trio of mixes to suit a range of different times, moods and dancefloors. The Original Mix sits somewhere between contemporary funk, nu-disco and slo-mo house, as haunting sci-fi/horror synths and assorted bleeps n' squeaks weave their way in and out of the midtempo bass chug that forms the track's backbone. Mr BC's Tweakin' Acid Funk Remix injects a dose of 303 and could work as a warm-up cut on tech-house floors, while the Mijo Mix adds a treated, Germanic-sounding vocal and takes us into new beat/EBM-like territory.
Review: So far, Dublin's Future Bones (aka Leo Pearson & Stephen Mulhall) have sounded fairly electro-pop on their limited output. Here however they've worked a bigger, guitar-driven thrust into their sound and come across as either recent Arcade Fire or U2 attempting electro depending on your taste. We reckon it's somewhere in the middle. Elsewhere the Edge-like chiming guitar riff remains in both a punk-funky mix by Tici Taci and a cosmic Italo disco rework by Mr Cogs.
Knife In A Gunfight (original Demo version) - (7:57) 105 BPM
Knife In A Gunfight (Jack Butters remix) - (7:40) 105 BPM
Knife In A Gunfight (Kieran Holden remix) - (8:37) 111 BPM
Knife In A Gunfight (The Long Champs Monstrous Carbuncle remix) - (8:05) 105 BPM
Review: If I Were King is a band from Cornwall and this is their debut release. While heavy on club-ready revisions, the band's trademark sound - think chunky, atmospheric dub disco with glistening guitar flourishes and ethereal female vocals - takes centre stage on the EP opening "Original Demo Version". It's followed by Jack Butter's intensely druggy peak-time rework of "Knife in a Gunfight", which combines dark and aggressive synthesizer arpeggio lines with razor-sharp TB-303 acid riffs and a hypnotic, bongo-laden rhythm track. Elsewhere, the Long Champs Monstrous Carbunkle Mix is a swirling chunk of electro-fired, otherworldly indie dance, while Kieran Holden layers up the spacey electronics and macabre aural textures on his foreboding revision.
Review: For the label's latest release, the Tiki Taki crew welcomes Shunt Voltage, a debutant artist that clearly loves the more druggy, pitched-down and psychedelic end of the nu-disco spectrum. "Scapeism" is a slo-mo head-nodder that combines weighty, dub disco style bass and colourful, nu-disco style synthesizer motifs with restless (and near mind-altering) electronics, acid style psychedelic TB-303 lines and a variety of spaced-out spoken and sung vocal samples. The effect is undeniably trippy. Sons of Slough provides the first of two accompanying remixes, reaching for the tape delays and reverb in order to emphasize the original version's occasionally buried dub disco credentials, before Two Mamarrachos up the acid factor on a mix so trippy and intense it could create nightmarish hallucinations in unprepared listeners.
Good Girls & Bad Boys (Rich Lane dub) - (5:16) 100 BPM
Good Girls & Bad Boys (Duncan Gray remix) - (7:49) 100 BPM
Review: Remixers Rich Lane and Duncan Grey had a tough job on their hands here, because SNEM K's Original version of 'Good Girls & Bad Boys' is pretty hard to improve on, rocking as it does as full-phat, low-slung and sleazy a bass riff as you'll hear all month. It's a pretty sedate affair, and hence one more for warm-up or afternoon than peaktime play, but the combination of that bassline with chorused female vocal oohs, a camp male vocal line and shimmering synths is near impossible to resist. Still, the guys do their best, Lane taking us into even sparser, grindier territory and adding some fine fretwork while Gray tuffens up the beats and ups the pace slightly.
Review: Richard Somerville and Craig Wilson are regular collaborators, and have previously released well-regarded EPs on Funk Me Recordings and, more notably, Danny Was A Drag Queen. This outing on Tici Taci marks their first collaborative outing in nearly three years. They begin with the nine-minute shuffle of "Red Wasps", where undulating, surprisingly druggy synth lines mingle with New Order guitars and cosmic chord sweeps, over a chugging, mid-tempo rhythm. The vintage '90s indie-dance influences become even more apparent on the accompanying "Red Wasps" remix, which features vocals from Future Bones man Romin. Bonus cut "Slippery As Sin" sees the duo sprint towards darker territory, casually welding together new wave, EBM, acid house and Italo-disco influences.