Review: Fresh Young Turks sub label Whities follows up great releases by Terron and Minor Science with a new one by Reckonwrong from Amsterdam, who has previously released on Pinkman. It's an oddball house affair here, no doubt about that, but intriguing all the same. Take first track "Luscious Lips" for instance, with its broken beat that dances alongside a mental synth harpsichord solo, spiralling out of control, only to leave the rhythm to carry on but with a gnarly sub bass. "Magical Journey" gets on an eighties vibe, capturing drunken late night guitar and synth solos over a relentless and messy beat. On the flip "Radio Magic Tricks" gets more sensible; a dark and brooding groove with odd synth noodlings and tight rhythm section but finally "Tucked Away" is a beatless affair with synth horns sounding off all over the place over dark strings. Rather interesting stuff!
Review: Whities is the new offshoot label of Young Turks (itself connected to XL Recordings), which has been started as an outlet dedicated to 'forward-thinking club music' with NTS resident and Boiler Room host Nic Tasker at the helm. The label's first release comes from the unheralded duo Terron, who deliver two cuts of dark, idiosyncratic techno music. "No 17 Governing" is the kind of thing you'd get if you combined Shed with John Talabot, a percussive swung deep house track with a touch of dub techno influence. In its cavernous chords. "No 3 Proposition" is a much grittier beast, combining elements of contemporary techno with early Detroit minimal to create something genuinely fresh. A strong start for the imprint indeed.
Review: London based producer Jules Venturini is up next for Whities, following up great releases by Avalon Emerson and Lanark Artefax. On the label's 14th edition, Venturini follows up some sludgy lo-fi techno/house derivatives on Polish label Brutaz with some more similarly rusty and dust covered aesthetics. Beginning with the 12 minute epic "Flying Kites"which channells early '90s British bleep IDM, until that fast hitting groove hits at just the right time towards the end. Lush ambient piece "Keep Me Close" works as an effective intermission of sorts on this grainy and saturated dream state captured to VHS. Finally, Venturini displays a more aggressive side as seen on his previous release with the gnarly and slow burning industrial electronics of "Trace Of Smoke".
Review: Next up on Whities' new Blue series are a couple of terrific offerings. On the A side is SMX: a duo comprised of Max O'Brien and Sam Purcell, who serve up the hypnotic and emotive techno journey "Sleep". It's a reduced take on the early '90s bleep techno sound that is said to have been a recorded live jam (circa 2015) and 'explores themes of discordance and euphoria'. Berlin based Bristolian Daniel Koehler, who has previously displayed his contorted takes on techno via labels such as Die Orakel and Diagonal - serves up the frantic rave deconstruction of "Thief" which is jam packed full of breakneck rhythms, snarling sub bass exploitations and wonky synth stabs.
Review: London imprint Whities presents a brand new track, plus a rare to find gem from their back catalogue, finally available digitally. Bristolian producer Ed Russell aka Tessela delivers a rave deconstruction on "Glisten" via his raw, bass driven techno sound - that rolls with a restrained sense of fury. "Touch Absence" (Intimidating Stillness Mix) by Scottish wunderkind and label staple Calum MacRae aka Lanark Artefax was originally released as a limited edition of 20 copies sold at the South London Record Fair in 2016. An unholy mixture of IDM, electro and jungle - this fierce dystopian epic is yet another fine example of this talented producer's dynamic sound.
Review: Josh Quirke made his Whities debut back in 2016, providing the seventh release on the revered UK label. Now he is back for instalment 15 and doesn't disappoint. "Vatied City" is an unusual combination, featuring warbling, Warp-style early 90s melodies unfolding and unravelling over a dense, loopy rhythm that has a particularly heads-down approach. "Transport Craving" sees Quirke drop the tempo and intensity levels to deliver more sublime atmospheric hooks, this time realised against dubbed out drums and croaking percussion, while on "Hydraulic Deer", the UK producer delves into abstract territory, as haunting tones and noisy broken beats collide.
Review: Nathan Micay is best known for his work under the Bwana guise, which has yielded releases on Aus and Infinite Machine. For his Whities debut, he changes tact to work under his own name, with devastating results. "First Casualty" strikes a perfect balance between fragile melodies and jittery, complex rhythms. The whole thing is held together by waves of powerful bass that ebb and flow effortlessly. "Beginning Ballads" is more straightforward and sees Micay concentrate on the dance floor, thanks to a throbbing, acid-flecked bass and the kind of sleek but pumping groove that calls to mind vintage releases on Kanzleramt.
Review: Whities return here for their twenty fourth official drop, inviting in Anunaka for a drop of breaksy creativity, which he delivers in stunning form over these three new badboy originals. Let's begin with a look at 'Temples', a real workhorse of a tune, combining organic, nostalgic sounding breakbeat patterns with grizzly horn textures and minimal subs to give it a real industrial edge. Next, the party really sets alight as the incredible percussive work of 'Bronze Age' stomps into the centre of play with immediate impact, before rounding the project off with the funky drum slaps and fun melodies of 'Forgotten Tales'. If you're looking for a project to kick off the dance, look no further!
Review: Next up, we land on Whities for another helping of futuristic bassy goodness as Happa launches an incredibly vibrant two track selection, showcasing the very best of both his rhythmic ability and forward thinking production style. We kick this one off with 'Clip', a constantly evolving combination of punchy percussive designs and powerful bass arrangements, topped with emotional synthesizer relays above. On the flip side to this one, the party continues as we encounter 'One Three Five'. Now this one switches the vibe up quite heavily, drawing focus into the high ended shimmering arpeggiator patterns and plucky synth manoeuvres, allowing just enough space for more warm sub-frequencies to run riot below.