Review: As one of Bristol's brightest dubwise sparks, it's always exciting to see Drone return to action, this time around unloading a full length album project, courtesy of the legendary 1985 imprint. In short, it's a masterful display of sonic development, from the slower, more grungy introductory squelches of 'Cyclone' through to the face-melting synth swipes of 'Burnt Lungs' and grime drum-skips of 'The Swamp'. From start to finish, this project showcases Drone's innate ability to to deliver high energy originals, both solo and in collaboration with the likes of Alix Perez, Deft, Snowy, Emz & Nah Eerto. Our highlights have to include the juke-driven carnage of 'Jugtown' alongside Hyroglifics, which packs an energetic slap, next to the euphoric embrace of 'Always' which sees Notion join the party for a lively link up. Overall, pure awesomeness!
Review: Now it's been a brief minute since we last took in a brand new drop from Drone, one of the finest 140 and grime producers to emerge out of Bristol in recent times. This brand new drop on 1985 music however sees him return to that fantastic form of old, kicking off firstly with the title track 'Evil Sky', a demonic, slightly slowed roller, jam packed with grizzly bass energy from start to finish. Next, the minimal yet potent sub-splashes of 'Back & Forth' are chased up by the dungeon-ready percussive twangs of 'M416' and system-busting bass growls of 'Disturbed' for good measure. Finally, the eerie, bitcrushed landscapes of 'Reptar's Revenge' sees the EP round off with an evil twist, putting the finishing touches on an exceptional body of work.
Review: The enigmatic Drone touches base on Project Allout with a hot, ripping new single accompanied by a handsome remix package. The original "Skengman Mode" is a high-tech grime hybrid backed by a fierce percussion flex; among the remixes, you got Spooky's wobbled-out version, Mr Dubz's broken beat reinterpretation and a whole load of other low-end goodness by the likes of Moony, Notion and other label regulars.
Review: Over the years we have seen Drone move into numerous different electronic areas, with this latest reuniting with Sector 7 Sounds being the most experimental yet. We open up with 'Malevolent', an 808-driven sweep through intense synth lines and almost horrorcore style melodies, before 'Kaleidoscope' gives us a much more classic sounding Drone arrangement, focussing on smooth drum processing and digital-flute-like melodies. The title track 'Polar Opposite' then rides into view, utilizing a dizzying display of electronic percussion for a serious vibrant slap, before everything is stripped back for the eerie soundscapes of 'No Future', which through dissonant yet pleasing harmonies, rounding out the project with more unique textures.
Review: U Wot Blud seriously have to be contenders for having the best label name ever. Their music ain't bad either and here they present who they feel are some dead cert "Rising Stars". All elements of bassland are covered over these four tracks, often many in just one song - highlights include the Robin S-getting stretched into linear garage house of Forbid's "Lost", the ADHD wobble attack of Pavv's "Out Here" and the doomy shuffle of "Givin In" by Albzzy.
Review: We have been waiting on a full Drone EP for quite a while, now with serious impressive support growing day to day. He touches down here on the futuristic giants at Coyote for four tracks of pure grimey weight, starting off with the stuttered moogy bass stabs and airy atmospherics of 'Narroways'. Next we dip into the lethal reese leads and percussive prowess of the title track 'Light Speed', followed by 'Probiscus' which stacks otherworldly atmospherics and pulsating sub rolls by the plenty. Finally we finish this one up on 'Fangz', an unpredictable yet mechanical sounding stepper, focussing on its trapstyle arrangement for energy.
Back To The Station (feat Mark Van Hoen & Mike Harding) - (18:39) 78 BPM
Cutting The Screen (feat Mark Van Hoen & Mike Harding) - (18:53) 159 BPM
Review: This is the second album by Mark Van Hoen and Mike Harding for Pomperipossa Records, Anna von Hausswolff's label. Featuring Oleg belyaev (baroque cello), Charlie Campagna (cello), Paul Haslinger (piano), Philip Jeck (Pulse), Bethan Kellough (violin/viola) Marie Takahashi (baroque viola) and of course Anna von Hausswolff herself on vocals/baritone guitar/cymbals dulcimer and field recordings in addition to Lorenz cipher machine, the 1877 Henry Willis organ (union chapel) short wave.
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