Review: This tune on Jimmy Edgar and Travis Stewart's Ultramajic label has been making its way into plenty of DJ sets as of late, and for good reason too. It's got everything you could possibly want from a dance track: catchy hooks, techno sensibility, electronic oddities and a wholly seductive, bass-driven groove. Of course, our man Jimmy Edgar provides the finest retouch one could possibly ask for, bringing forth his inimitable and sexy flair to the equation. Top notch.
Review: Machinedrum's Aden alias has so far stayed strictly within the lurid realms of the Ultramajic label he operates alongside Jimmy Edgar, with this latest record representing one of the fullest explorations of this new sideline sound to date. "Tanz 1 - Lieb" swells into life with an unresolved tension, redolent with the misty-eyed romanticism of proggy electro as it grows to a false climax like a perfect intro track should. "Tanz 2 - Grau" is instantly more stark in its floor-wrecking intent, dropping a bass-loaded 4/4 thump and jagged percussion that should delight all crossover clubbers - and "Tanz 3 - Hass" is no less unabashed in its feisty party intentions. "Tanz 4 - Hell" lets in a little of that chopped up soul that bleeds out of the Machinedrum productions, albeit stitched to a peak-time tech belter for the biggest dances.
Review: Jimmy Edgar's Ultramajic label reaches only its second EP and goes conceptual with the first in a series of Metaphysix releases; in Edgar's own words, "reality is based upon thought systems and this is the core of music and vibration, each chapter of the series we will give these ideas to the artists for them to interpret in any way they choose". The debut Metaphysix transmission sees two contributions each from Aden and Creepy Autograph, with the former elusive producer calling shotgun and gracing the A-side with a pair of dubby numbers that have apparently caught the ears of Scuba and Boys Noize. The bleep-laden electro cut "Luft" is particularly ace. Down below Creepy Autograph resurface after a series of excellent releases on Valentine Connexion and show they've lost none of their class - the stripped back ghetto house of "Back Alley" is great!
Review: Andre Rost aka Chambray has released a series of releases for Jimmy Edgar's label, but Reliev is his most accomplished work to date. Drawing on a wide range of influences, it sees the Berlin artist move swiftly from the rickety minimalism of "Yousme" into the dramatic chords and soulful vocals of "Cerulean" before moving the tempo up a few gears with the rolling techno of "Livin". Despite taking all of these twists and turns, Rost's approach to production remains the same, and for the most part angular-sounding rhythms and metallic percussion prevails, but occasionally this veil slips and the listener is treated to a rougher alternative - audible on the ghetto house of "Qt Wit Da Bty".
Review: Andre Rost aka Chambray is a new producer - Work That is only his second release so far - but he delivers an impressive, idiosyncratic sound on Jimmy Edgar's label. Inspired by the ghetto techno of Chicago, "Anew" is underpinned by stomping, metallic beats and rickety percussion, while a series pre-orgasmic moans eventually come to a head - no pun intended - and precipitate a drum-roll climax. "Work That" and "In Effect" are rawer and more stripped back. The former features the kind of distorted rhythmic stomp you'd expect from DJ Rush, while the latter's high-octane jack is led by air raid sirens and thunder claps. "Those Jawns" offers some respite from Chambray's ghetto take with chords surging over the razor-sharp percussion
Review: After his successful turn on Maceo Plex's Ellum Audio Danny Daze scores further points with this signing to Jimmy Edgar's Ultramajic imprint, turning out a monstrous peak time club rocker that's equal parts heavy hitting and malicious restraint. The bassline stays firmly in place to keep the brain pinned down while all around it narcotic blasts of synth weirdness whirl in ever increasing displays of ostentatious production, and that's just the title track. "When The Freaks Come Out" is a more measured electro-tinged stalker, while "Beatdown" gets into a more techy 4/4 stomp sure to get fists shaking across the globe.
Review: Electro-deviant Jimmy Edgar has linked up once again with his JETS partner Machinedrum to launch the Ultramajic imprint, and he gets first stab at a release with this taut three tracker. "Hot Inside" is as unashamed a peak-time heater as Edgar has ever turned his hand to, sporting a riotous diva vocal hook and crisp house drums, but there's still a strong techno injection in the synth work and shifting phases of the track. "Strike" is a more abrasive affair with its metallic delay vibrations and relentlessly nagging jack, while "Shout" comes on all electro house in its fulsome bassline and shouty vocal snippets.
Review: Jimmy Edgar's Ultramajic label has really blossomed since launching in earnest in June last year, with the Detroit producer's own output complemented by contributions from the likes of Matrixxman, Danny Daze, Dance System (aka LVIS 1990) and Spatial. Saline is the third in Edgar's ongoing series of conceptual EPs themed around elements, with Saline representing Earth. How this is represented musically is open to interpretation, but Edgar is on fine fettle here, with the bleep-laden electro cut "Burn" the kind of DJ tool that can be used in all sorts of situations. "Walk Show" features the late, great DJ Rashad on vocals and is a few BPMs short of being a Night Slugs Club Constructions cut, whilst "Who's Watchin" is an exercise in how you should use cut up vocals.
Review: Dropping single number 3 for his Ultramajic imprint, Jimmy Edgar is bringing some no-nonsense electro heat to the boil across three tracks and then sprinkling all kinds of unusual spices to twist the proceedings up. "Ultraviolet" is the most straight-up affair, strutting on a rigid groove and gnarly synth lines that spit out a clear message that it's time to party. "Qlinda" is more curious with its insistent vocal snippets nagging away against the relatively austere deep house groove, but there's still room for some of the choppy edit trickery that Edgar made his name on. "Mercurio" meanwhile gets on a Dance Mania hype that keeps the mood raw and rough, mixing in a touch of footwork and darting into breakdowns and build ups erratically to keep the dancers on their toes.
Review: Jimmy Edgar's label has shone a spotlight on new, emerging talent before and does so again with Channel 18. The work of Reggie Johnson, this six-track release flirts with house and techno structures, but also throws clicks'n'cuts and IDM influences into the mix to create a heady, offbeat sound. "AJH" and "Fire Procedure" are the most dance floor-focused tracks here - the former is a stripped back, sample-heavy affair, while on the latter, an ominous vocal intones 'burn house' over a loopy groove. "Hutenzo" makes its approach to the listener via a different direction, and its chiming bells sound like a demented version of Efdemin. "QRTZ" meanwhile pushes the shredded, metallic sound started on Hutenzo" to its logical, noisy conclusion, while "That's A Sea Sick Cat" ends the release in a morass of white, seething noise.
Review: Keeno18 aka Reggie Johnson follows last year's acclaimed Hidden Temple album on Ultramajic with this tripped out EP. Bearing some resemblance to classic European minimal house is "Chlorophyll Intel", but its pointillist riffs and unflinching vision wouldn't sound out of place on a Terrence Dixon record. "Dances with Leaf" is more menacing as Johnson picks up the pace and brings the listener down a tunnelling techno rhythm that resounds to thinly contained discordance. "Inquiry" sees the project swing back towards minimalism, but on this occasion, Johnson sounds like a slowed down but still intense interpretation of Steve Stoll's Ausgang project. "Mist Of Renown" is more experimental and again the similarities to Terrence Dixon are striking, as insistent bleeps and gasping filters come together over an abstract rhythm.
Review: Reggie Johnson follows his debut Keeno 18 release on Ultramajic last year with this hard-hitting album. Focusing on pacey, distorted rhythms, Johnson draws influence from ghetto tech and the tougher iterations of Detroit techno. "Debois" and "Glah" with their cacophony of tonal bleeps, repetitive vocal samples and rough jacking, both sound like an up-tempo fusion of Shakir and Dan Bell, while "Unkintintin" is a detuned, slamming ghetto tech affair. There are some musical moments - check the swirling stings of "Ghana Gate" or the jazz chords intertwined with the relentless, rolling drums of "Swirling Pot" - but in the main, this is a collection of gritty, Motor City-inspired jams
Review: London bass pioneer and all around visionary, L Vis 1990, steps out of the Night Slugs catalogue and jumps onto Machinedrum and Jimmy Edgar's magnificently curated Ultramajic imprint - and you know what that means. The dance outsider comes presents his Dance System project, and the opener "Safe Mode" is a bumpy techno attack with plenty of warm house sensibility. "Dos 4" is where things turns odder, more minimalistic and shadowy, but it's "Turbulance" that gets all the attention from us, thanks to its jacking barrel of kick drums, and leftfield sonic cyclone. It's L Vis, alright!
Review: The mysterious Michael E arrived from Detroit with a bang last year, releasing two EPs on Starchild. Now Jimmy Edgar's label has tapped him for a so-called "retrospective". With no real information available on the producer's background, it is necessary to judge just the music itself: "Cake" is a grungy, grimy acid groove, while "Ponybit" sees the US producer drop a filtered, skeletal techno track, full of reverberated drops. However, the prevalent sound here is the 303, and this is articulated on the dank rhythm and militaristic claps of "Give Me (The Beat)" and the tripped out, layered "Basic Number". It's one of the most exhilarating collections of acid tracks you'll find this year or any other for that matter.
Review: Matt Spendlove aka Spatial pushes house music to its outer limits and back for this release on Jimmy Edgar's label. The title track is probably the most conventional arrangement, a stripped back groove that gradually builds to reveal kooky vocals and pulsing blips and bleeps. "Eloptic Energy" sounds like Spendlove has immersed himself in dub reggae. Leaning heavily on the reverb, the arrangement is full of plaintive vocals and underscored by solid beats and snappy percussion. "Sufani" veers towards dubstep, its stepping rhythm and horror stabs recalling a time before the bass-techno alliance. Finally, there's the oddball "Recover". Here, Spendlove deploys a stepping rhythm, but it's the backdrop to a compelling hook that sounds like Jeff Mills' "Changes of Life" on downers.
Review: Jimmy Edgar and Truncate sound like an unusual pairing, but on Submission they come together for an inspired collaboration. Over tight claps and a linear groove, a pitched-down robot vocal intones the track's title and the result is like a modern take on classic Dan Bell. Edgar's own version adds little more than an insistent tonal bleep, while Truncate's take is tougher and rougher, the bass drum pushed to the point of distortion and rolling snares crashing in mercilessly. Kris Wadsworth delivers the last remix and turns it into a dusty, deep house jam, led by dubbed out chords and an insistent rhythm.
Review: The third various artists release on Ultramajic delves once more into the sleek machine rhythms championed by Jimmy Edgar and Machinedrum, with a host of regular contributors to the label alongside some newer faces. French Fries and Bambounou sound like they're having a good old stripped down time of it on the primal jacker "What's Up Evan" with its sparse drum machine beat, punchy bassline and little else. Crystal Bandito has a more alien approach to back-to-basics box jams, and "EEEWalk" also struts with a whisper of old-skool rave heritage. Bobmo throws down a king size piano chord stab to inject some danger into his track, while Aden ups the ante with a more dynamic kind of dirty techno workout and Creepy Autograph signs off with a slender electro cut.