Featuring JOEY ANDERSON

Hush House favourite Joey Anderson has steadily been making a name for himself over the past few years. His style of house verges into the realm of the avant-garde, and sometimes defies categorisation entirely. He's also done some exceptional mixes as a DJ, including a special one for us, which predates both his RA and XLR8R efforts.

HH MIX #041 - Joey Anderson [download]

It's with great pleasure that we get to introduce his first solo LP, entitled 'After Forever'. Upon full listening, some people may find that the album is less accessible than your typical dance LP, but that's what makes it standout in a market saturated with disposable releases.

For example, the ethereal synth washes and gurgling lines of the track 'Space Colors Ideas' sound as though they might have kinship with artists on labels like Editions Mego or Warp. The track is entirely beatless, and shows just how far the artist is willing to push his sound left of centre. Again, 'Maidens Response' combines the sonic aesthetic of experimental music, with that of traditional house music. Sparse use of snare drums accounts for an extremely murky and cerebral sound, breaking down the mould and solidifying Anderson's sound.

In all of Joey's work subtlety is key, but in this album in particular, he demonstrates that philosophy to great effect. 'Brass Chest Plate' begins life as little more than a fast kick drum, hats and a drony bassline. But soon the track builds piece-by-piece and unfurls into a dancing sonic array of delayed kit sounds and almost trance-like detuned synth arpeggios.

Be sure to give the album a few listens, as it will take time for some to adapt to Joey's idiosyncratic sound. But without a doubt, this will be an album remembered to have captured the zeitgeist of contemporary house music in 2014.

After Forever LP - Joey Anderson [Dekmantel]


Pre-order [DKMNTL017] at Rush Hour.

Words by: Ethan Becker

Featuring A MADE UP SOUND

Livity Sound is racing through 2014 in much the same way as last year, gaining a vast number of fans by releasing its very own distinctive brand of tribal, totemic house. The momentum doesn't cease, with the label's remix series presenting two remixes of Asusu's 'Velez' by none other than A Made Up Sound aka 2562.

The perfect candidate to rework 'Velez', in his first remix, the Dutchman applies the sort of growling, bassy manoeuvres we've become accustomed to, albeit smattered with an oddly-hypnotic, disconcerting chime, which dips in and out of the entire track. The whole thing's gritty and full of life, embodying the characteristic AMUS swing, but retaining the unique texture that typifies the Livity Sound vibe.

Remix number two is a darker, and more cavernous affair, which ups the tempo and intersplices reverberating tribal-drums with zippy synth stabs. The latter are turbo-charged with static energy and the whole track feels as if it's ready to leap from its source - a flurry of electrons imbued with the power of some seriously shady juju.

Velez (A Made Up Sound Remixes) - Asusu [Livity Sound]

Two stunning reworks of an excellent tune as Livity Sound moves from strength to strength. Do the right thing and support the crew at Idle Hands.

A Made Up Sound plays at Soup Kitchen in Manchester on 24th May.

Featuring AL GOBI

'Pueblo Grande' is the debut release from new UK-based label Constant State. This first 12" comes from label heads Al Gobi (Ian Blevins and Phil Moody). The pair had a pretty stellar 2013 with releases on Disco Bloodbath, Rothmans and Audio Parallax.

First up in this instance is 'Cup Of Tea', a fantastic example of imaginative track-naming if ever we saw one. A heady piano score rolls onerously through proceedings and a host of timpani back things up percussion-wise. Underneath it all is a subtle and wobbly bassline that ensures the groove remains firmly on track.

Cottam takes over the entire A-side of the record. Dismantling Gobi's efforts for his 'Ruff Treatment' remix, he chops that bassline and dips it into a healthy amount of acid, morphing it into something of a monster. Bigger and ballsier than in the original, the bass now gnaws its way through a thickly-padded kick drum. That same piano roll makes an appearance, in a seemingly more morose guise.

The second of Al Gobi's tunes to make it onto the release is title track, 'Pueblo Grande'. They've perhaps done a better job in naming this one - think sandy ruins and desert heat as stunted drum beats and stuttering bass weight play out across the landscape. Straightforward deepness with no frills, that now familiar piano makes an appearance again, except its use is sparser, lending itself to the track's barren and ritualistic feel.

Pueblo Grande EP - Al Gobi [Constant State]

[CSV001] is available soon via Juno.

Featuring LEGOWELT

Legendary Dutch producer Legowelt's latest LP adds a new chapter to the recent influx of nostalgia-driven albums, and pays homage to the tech-noir films of the 80s. Its title can be broken down to probe the three techniques that give the album its distinctive sound.

The “Crystal” is the compression Danny Wolfers employs - the director's signature in film terms - to make his music sound so unique. The record's sound palette creates the feeling of walking through a misty forest at midnight.

The “Cult” is fashioned through eerie vocal samples scattered throughout the LP, with phrases such as “you will be reborn” in ‘Excalibur R8MK2’ and a request to “explore Cyberspace” in ‘Cyberspace is Still Happenin’ For Real’. Instrumentally, the cult is exemplified through different elements of acid, techno, house and ambience, especially in the grittier cuts, such as ‘Psychotic Endurance’, and 'The Future of Myself', and the title track, 'Crystal Cult 2080'.

As for the “2080”, Wolfers has utilised a second-hand Roland JV2080. A legendary synthesiser he acquired in Tokyo to pioneer the atmosphere of the LP. A minute into the opening track Wolfers has already lured you to his neon electric dream world.

There are no stand-alone tracks per se, instead a series of ideas and stories, each with their own theme and journey. In order to get full satisfaction, I recommend listening to it in full. However, if you're after a 'trailer', ‘Fundamental Superstition’ hints at what to expect.

Crystal Cult 2080 - Legowelt [Crème Organization]


Pre-order [CRLP11] from Delsin.

Words by: Stephen Daniels

Interview: KESPER & SLIPSTONE RECORDS

Local record labels seem to be a dying breed of late. The financial costs too high, the returns too low. Fortunately, there are still some people wanting to make a go of it. Enter Slipstone Records. I caught up with founder Chris I'Anson and label debutant Kesper (aka Chris Pawlik) about Slipstone, the release and drunken house party agreements.

Good to talk to you guys. To start off, what was your inspiration behind starting the label?

CI: At the end of last year I was getting a bit sick of the same sounds being used and churned around. There wasn’t anything that I wanted to hear really - I was being sent promos that all sounded like each other. It all just got a bit old. I was bored of seeing the same names on the same labels. Don’t get me wrong, the tracks were good, but it wasn't anything groundbreaking. Then, I had a little trip abroad to Berlin, and I’d be lying if I said that didn’t influence me. When I was there I just heard a lot of really, really good stuff. When I came back I was hearing the same old house sounds, and I thought, I could do something new. Felt like the right sort of time too, university work was growing a bit stale, and I didn’t want to go into that straight away. So I thought, what do I love? Music, so I’m gonna do that.

Nowadays, a lot of people starting labels shy away from vinyl because of the expense and the perception of it being a dying art. How important was it that your label was going to revolve around vinyl?

CI: It’s very important. For me, playing vinyl is more fun than playing digital tunes, but it’s about the whole experience - the cover, the sleeve. Doing an arts degree, being able to do the creative side of the record, it can be my creative output; the vinyl, the cover, all the extras you’ll get with the record. I don’t know, digital is kind of throw away. I just love vinyl, and at the end of the day, you’ve got to do what you love.

Very true. I’ve been meaning to ask, what was the reasoning behind the name?

CI: I was having a lot of trouble coming up with the name really - I thought for ages. I’m an outdoorsy guy so I wanted to give it an outdoorsy feel, but the names I came up for that didn’t really work. Then I thought back to when I grew up, and near there, there’s a climbing crag called Slipstone rocks. I always loved going there and I loved the name. So I thought, let’s have that. I really like the name and so far the people I’ve talked to like it as well.

Yeah, I'm a fan. A question to both of you - Who approached who when it came to the first release?

K: I think I commented on one of Chris’ mixes on soundcloud.

CI: Yeah it was a bit weird really.

K: I don’t think we’d have found each other if I hadn’t…

CI: Yeah you commented on my mix, then I checked your tunes out. I messaged you - you had a profile picture that didn’t show who you were - but I assumed it was probably someone I knew from BPM or the Leeds scene. Turns out we hadn’t met. This was about six or seven months ago, and when I decided to start the label, I thought Chris would be right for it.

K: Yeah, you approached me at a house party.

CI: Is that where it was?

K: Yeah…I told you had I had some tunes for you.

CI: I can’t remember...

Where all the best relationships start….

CI: Haha yeah. We were just dancing in the main room, Chris was right next to me but I hadn’t realised. 

Kesper [photo credit: Bryony Eacott]

Kesper, have you always produced the same sort of music that's being put out on Slipstone?

K: Well, one of the first ever tracks I remixed - an Anton Lanski tune - kinda kicked things off for me, the structure of the track, the way it sounds. Ambience and atmosphere have always been a huge part of my productions so I wanted consistency, that floaty-ness and breath of fresh air you get with those sort of tunes. So I’ve just been sticking with that, and I feel this release is a result of the tunes I’ve made before - lots of different sub-genres, minimal techno but also the ambient side of things too. Yeah…we just did it, just happened.

I know you’re associated with the Bristol-based Banoffie Pies - how influential were they in your release?

K: Those guys have been massively inspirational. They just had this idea and they went for it, and you know, I’m kinda following on from that they’ve done, but up in Leeds. 

Are you thinking long term with Slipstone, Chris? Anything lined up, future releases?

CI: I’m kind of taking it easy at the moment. I’m not doing this to churn releases out, to get content out there. If I’m approached or I find some good stuff, I’ll get in touch and try and get something out, but at the moment I’m in no rush. I have got my eyes on a few people, but no solid plans at the moment. We want to focus on quality output, the pressing, the artwork, everything.

The artwork seems like an important part of the release - you’ve mentioned previously about getting local artists involved?

CI: Yeah, I want to get as many people involved as possible - if we can make it a community label, it’s more likely to succeed, and the easier it is for people to promote their sounds. It’s difficult in the music scene and I feel it’s important that people help each other out, so I want to do that as much as possible.

I noticed from the promo video that there seemed to be a space theme, was that deliberate? 

K: Yeah, we wanted the EP to have a concept. 

CI: A lot of people are starting labels but there isn’t a unique selling point. With this release, the sound, the image - it all works together. 

K: Yeah, we wanted to make it concrete with the first release, we felt it was important. It was in line with our own vision and other people’s feedback.

Have you got a date for release?

CI: May 4th and we’re doing the launch night on May 7th.

You must feel like it’s gone incredibly quickly. What is it...six months from conception to release?

CI: Yeah, it’s gone so fast. Rather than thinking a week in advance, at the moment I’m thinking months in advance.

K: It’s hard to stick to that plan as well. There’s always delays, issues…

Well, I commend you for it.

CI: Thanks. We’re trying to add as much value to the vinyl release as possible. Hand screen-printed artwork and a few more treats that are going to be in there…yeah. If you’re going to invest in a physical piece of media, you want to get your money’s worth. 

Appreciate you talking to me today guys. To finish, Kesper - favourite tune at the moment (and not your own)? 

K: It’s actually a free download, by these two amazing eastern european producers, Gorje Hewek & Izhevski.

And Chris, if you could sign anyone to your label, who would it be?

CI: I love the sounds and have been inspired a lot by Oliver Schories, a guy who's not got much of a rep round here compared to on the continent. He, and sounds similar, are a huge inspiration to me. But maybe not for the label, well not yet at least...

Moonwalk EP - Kesper [Slipstone]

[SLIPSTONE001] is out May 4th.

Featuring CLARO INTELECTO

Delsin represses Claro Intelecto’s stunning ‘Peace of Mind’ EP from 2003, after it was first released on now defunct British label Ai Records. The EP starts with Peace of Mind (Electrosoul), a frosty, futuristic piece that’s dripping in the melancholy of a not so distant future. Sparse keys sound out into an empty void for the first couple of minutes, before Intelecto gradually eases in some sharp synth stabs. Think Blade Runner-style cityscapes and you’ll conjure exactly the kind of sound Intelecto intends here. It’s less sci-fi and more sci-funk, with the awkward, staccato grooviness of the track being propelled through a strict, robotic sense of rhythm.

‘Tone’ starts with shuffling hats and off-beat, saturated kick drums. After the linearity of the first track, this one’s a dark and disorientating exploration of the underworld. If we’re still stuck with the Blade Runner analogy, we’re no longer floating high above the cityscape. We’ve descended deep into the murkiest corners of the dystopia, as the overdriven crunch of acid squirms and jolts its way through five minutes. The drums maintain their lack of orthodox patterning throughout and seem happy to roam free, grizzly snares and hi-hats wreak havoc throughout.

The third track, 'Contact', switches it up yet again. This time, bassline weight takes centre stage, wherein a booming, pulsing envelope of sound dominates. Icy drum work finds a sense of convention once more, kicking and clapping in uniformity, much like in the EP’s opener.

Finishing up is a more ambient, atmospheric cut, consistently mainly of swirling, eery pads and deep, throbbing synth lines, which pan and zone freely amongst an Aphex-style electric melody.

The decision from Dutch label Delsin to re-release an eleven-year-old British EP may initially seem strange, but on closer inspection it seems like a shrewd move. The record hasn’t dated one bit, far from it. Every tune sounds as chillingly futuristic as if it were produced only yesterday. Top notch production and a perfectly executed aesthetic makes this one timeless.

Peace of Mind EP - Claro Intelecto [Delsin]


There's still a few copies left at Redeye.

Featuring HIVER

The Italian duo Hiver, who recently contributed to our exclusive mix series, have delivered their third release, 'The Uncolored Truth'. It's their second on Vidab Records and a fine delivery of two beautiful pieces of electronica.

A-side 'Zefiro' is a restrained affair. Subdued percussion and ambient melodies marry together in a way that Hiver seem to have done so well previously. Nothing is contrived or too in your face and the atmosphere carries the listener along softly. The song breaks down to almost silence half way through, returning slowly with its kick, then its percussion, before delving back into the previous soundscape. Its uncertainty gives the track an air of melancholy, and is all the more a gem for it.

The Uncolored Truth EP – Hiver [Vidab]


On the flip is 'Right Place', which steps things up a little. Still with reams of atmosphere, the percussion is this time much more in the foreground, the drum programming and bassline working to create a solid groove without losing any of the feeling from the beginning. Soon, synth stabs phase slowly over the already laid foundations, bringing the track to a natural peak before ebbing away nicely to conclude.

HH MIX #047 - HIVER [download]


[VIDAB 10"02] is available now from Juno.

Featuring HOUNDSTOOTH

Houndstooth was something of a runaway success last year, storming out of the blocks with quick succession of releases. The aim of the game for Houndstooth is seemingly to push genuinely original music from a variety of (mostly new and up-and-coming) acts.

Saying that, one of the core reasons for the success of the label to date is not attributable to a fresh-faced newcomer - instead, it's down to an absolute veteran, Paul Woolford, who since late 2012 has found a new lease of life operating under the Special Request guise. But you already knew that, right? Woolford's foray into jungle-revivalism has been heavily documented, and rightly so.

Joining Special Request on this release is an act that we'd attribute much of Houndstooth's early success to - Akkord. With the hype Special Request's album, 'Soul Music', received, the debut self-titled LP from these Mancunians slipped under the radar slightly. The group recently produced a FACT mix and it's really worth your time if you're looking for boundary-bending electronic sounds that defy genre conventions. First time we heard the mix we were taken aback by its individuality. This latest Houndstooth release carries through with this notion, executed with a slick nonchalance I've not seen for some time.

The two tracks found here are taken from a larger seven-tracker, with the limited vinyl pressing looking to concentrate on the talents of Akkord and Special Request alone. The 'HTH vs HTH' concept pits the production processes of Houndstooth's artists against one another. Firstly, Woolford takes on Akkord's 'Destruction'; it's a grizzly, booming, fire-and-brimstone assault on the original, ice-cold amens and deadly bassline rhythms pulse and squirm their way through a drum track that's equally as heavy. What makes this effort so visceral and so potent is the way Woolford warps and bends the breakbeat framework Special Request tracks generally work within. The track isn't full-on jungle nostalgia, it's a subtle and simple nod to the era, with the result sounding both fresh and hard-hitting in equal measure.

The flipside is a role-reversal, as Akkord battle with the stems of Special Request's 'Lockjaw'. The group's razor-sharp approach to sound design is in full effect here. Clattering drums and stuttered pads are the primary elements for the first half of the track, before the entire thing opens up, making way for a more comprehensive percussionary attack that's all stainless steel and titanium. Sonic minimalism done right and done effectively, the simplistic power of Akkord's work is pretty tricky to define in words alone.

HTH vs HTH - Special Request & Akkord [Houndstooth]


Go take a listen for yourself and grab the 12" at Juno.

Featuring GALCHER LUSTWERK

Combining elements of hip-hop with atmospheric house is a very difficult task. Traditionally, for the most part at least, the two forms of music have been like oil and water. This is what makes Galcher Lustwerk's work so impressive. His sound follows in the vein of tracks like Matthias Meyer's 'Infinity' which subtly nods to 'From '93 'til Infinity' by use of a sample from early nineties hip-hop outfit Souls of Mischief. It's what could be regarded as "street sensible" house music.

As well as owing some of the aspects of his sound to hip-hop, Galcher also draws on the ethereal realms of deep house, as well as electronic outfits like Underworld. This is most evident in the track 'Outside the Club' from Galcher's lauded 100% Galcher mix from last year; a mix most consider to be an album in its own right.

Having only one EP to his name, released last year on Brooklyn's White Material label, this month sees the producer release the four track Nu Day EP on Tsuba.

'Fate' opens the EP with the trademark deepness we've come to expect from Galcher. An ethereal synth runs throughout the track, with some lo-fi synth bleepiness featured along the way. The slightly more upbeat, but equally deep 'Nu Day' follows with more emphasis on a solid kick drum to drive the track forward. '216' is the first track on the EP to feature Galcher's smooth raps as he proceeds to the mic with precision. On the last track, 'Chillin in the Booth', Galcher offers up his mic skills over a lo-fi crunchy house track that rounds out the EP to nice effect.

Nu Day EP - Galcher Lustwerk [Tsuba]

Look out for the pre-order at Juno.

Words by: Ethan Becker

Featuring TOM TRAGO & BOK BOK

Night Voyage, an offshoot of the Night Slugs label, resurfaced late last year to follow up 2011's excellent 'Night Voyage Toolkit EP'. Once again, Tom Trago and Bok Bok are on the buttons to showcase their unique blend of styles.

Using the label as a vehicle to release nothing but their own material, the pair have recently treated us to two releases in as many months. 'Get Me What You Want', the energetic title track from December's offering is backed with the excellent 'Hole Driller 3'; two tracks to really open the eyes of those who had perhaps forgotten what a deadly combination these producers can be.

Get Me What You Want / Hole Driller 3 [Night Voyage Tool Kit]

And dropping just last month was the label's third 12", 'Pussy Trak'. Both these cuts are as different from each other as they are from the preceding release. With the title track rooted deeply in classic Chicago house and built around a catchy vocal hook, the flip, 'Silent G Safari' is a stripped back techno joint, soaked in essence of Bok Bok's Night Slugs work but retaining enough of Tom Trago's style for it stand apart.

Pussy Trak / Silent G Safari [Night Voyage Tool Kit]

Pick up [NV002] and [NV003] from Juno.

Featuring MOVE D: FABRIC 74

David Moufang is one of those DJs who finds himself lauded with the most peculiar of titles - that infamous cliché of a 'DJ's DJ'. In truth though, you'd be hard pressed to knock his CV. Having been in the game since the early 80s, his position as a house heavyweight is undeniable, gaining a reputation for delivering no frills, hard-hitting sets, heavily-laden with wax.

So to Fabric 74, as Moufang is tasked with compiling a mix for the London superclub. The mix is exactly what you'd expect - fifteen tracks spread over eighty minutes, classy deep house selections with intelligent, patient transitions from scene to scene. There's no frenetic DJ wizardry, no effect-crazed tomfoolery, just an incredibly honest and, for want of a better word, simplistic mix that lets the tunes do the work.

Two tracks in, the dub mix of Liz Torres' 'Your Love is All I Need' warms things nicely before Moufang teases the Liberty City classic 'Some Lovin' for a good three or four minutes, allowing the soaring vocals to really hit home which kicks the mix off to a flying start.



What follows, is a series of peaks and troughs that characterise a peak time Move D set. There's the kaleidoscopic, disorientating acidity of Darkman's 'Annihilating Rhythmn' jostling with the shuffling retro-euphoria of K-Alexi's Dub mix of MD III's 'Shake That Body'. When the mix slows down slightly to create space for Dom 877's 'Do It Right' and collaborators JuJu & Jordash's 'Loosey Goosey', the quality remains. In fact, the 877 tune comes close to being the pick of the bunch - it feels like the perfectly choice cut, slotted in exactly the right place in the way only a DJ of Moufang's prestige knows how.

Things get seriously jackin' again as we move into the last quarter as Moufang draws for a tune that will sound familiar to anybody who's caught a Move D set in the past few years, the garage-tinged, sub bass roar of Last Magpie's 'Roots' mingles with David's own 'Luvbyrds' - the only of the artist's own productions to make an appearance. Just like the beginning of the mix, the final 10 minutes or so dwindles down the gears gradually, finishing up with the blissfully smokey, cosmos-wandering 'Unke' by Hush House favourites Smallpeople & Rau.

On this latest mix, Moufang shows just how comfortable he feels behind the decks - the formula is the same as always, so don't expect anything different - just genuine deep house with soul, treated with the respect it deserves.

Fabric 74 - Move D [fabric]

Available now from Juno.

Featuring LEON VYNEHALL

Leon Vynehall nods to his past and looks to the future with his debut LP on 3024, 'Music For The Uninvited'. Vynehall has ridden a wave of vinyl resurgence and musical nostalgia, so it's only fitting that, having recorded these tracks to cassette, he notes his journey to school in his mum’s car as the main inspiration for the record.

"I grew up with tapes. I was introduced to recorded music through that medium, listening to mixed hip hop, funk and electro tapes, Janet Jackson albums, Style Council and Stiff Little Fingers. It was quite varied."

Variation is what Leon specialises in, whether he's working solo or on darker collaborations with A1 Baseline as Laszlo Dancehall. These previous efforts have for the most part been club-orientated, but this extended piece of work sees Leon striving to move in another direction. The opening track, 'Inside the Deku Tree' acts as a prologue to the collection and features a bassless, string ensemble. The strings and background static from the cassette intertwine throughout the record and act as intervals for the different acts.



'Goodthing', a more typical Vynehall track, follows a similar structure to the likes of 'Brother' and 'Mauve', with harsh cymbals and a sharp vocal sample. Although elements from previous tracks return throughout the record, no two tracks are the same. It's almost as if each song is a different thought, idea or memory.

The reflective and more relaxed track 'Be Brave, Clench Fists', and in the second half, 'Christ Air' and 'St. Sinclair', all build on Leon's ability to create abundant warmth in his soundscape,s taking a step out of the club to experiment with more atmospheric production. Even so, our highlight of the record comes on the C-side, where 'It's Just (House Of Dupree)' really cements Leon as a solid house producer. All in all, a fantastic and innovative collection of music and a great addition to Vynehall's unblemished discography.

[3024-024] will land as a double 12" on 17th March 2014 via Juno.

Words by: Stephen Daniels

Featuring PENDER STREET STEPPERS

Since 2012, Mood Hut has been operating as a small independent label out of Vancouver, Canada, specialising in off-kilter, deep dance music. This release sees the Pender Street Steppers drop some seriously decent atmospheric and ambient house in the form of a three track EP.

While the bubble samples in the first track 'Bubble World' could be considered trite, the song provides an overall unpretentious vibe as it meanders along its own path. 'Love Theme' follows with its drum rolls and sharp synthy stabs, giving way to some sultry saxophone work at the end. The last track 'Temple Walk' provides an ethereal ending track that would provide great stuff for the afterhours heads.

Mood Hut should be a good label to keep an eye on in 2014. While not peak-time dance material, the label explores the more left-leaning and cerebral sides of house music.

Bubble World EP - Pender Street Steppers [Mood Hut]


Pick up the Pender Street Steppers EP from Juno when its released on February 14th.

Words by: Ethan Becker

Featuring UNTOLD

I must admit that this album came to me pretty much out of the blue. I wasn't aware that Jack Dunning (aka Untold) was even working on an LP, let alone ready to release it on his own label, Hemlock Recordings. Hemlock has made a name for itself by providing some of the strangest, most forward-thinking electronic music - primarily from the UK but occasionally from elsewhere around the globe. The label began in 2008 and has since developed the careers of some, by-now, household names, including James Blake, Pangaea and of course Dunning himself.

So we come to the work of Untold and the aforementioned album. Despite coming as something of a surprise, I read the PR for this one and got pretty excited. Over the years, Untold has dipped his toes into various waters, journeying his way through a curious and idiosyncratic take on dubstep, brooding techno (a theme explored further in another sub-label, Pennyroyal) and just down-right weird house. But the theme for this LP, entitled 'Black Light Spiral', was to be something new entirely, channelling Dunning's upbringing on "jungle and hardcore, without being token rave revivalism."



Okay, I thought to myself - all sounds well and good. I can't be alone in noticing the penchant for a certain group of producers to give a nod towards jungle in their music in recent years; a group spearheaded perhaps by Paul Woolford (under his Special Request guise) but including the likes of Tessela and Randomer, the latter having released extensively on Untold's very own Hemlock imprint. However, my gripe with this kind of reenactment is that often it feels forced and nostalgic merely for the sake of it. I was confident that given this framework, Dunning had the guile and craft to create something entirely fresh and new, without utilising the aforementioned sound in too much of a gimmicky a way. Again, the press release for the LP backed this up, telling me how Untold intends 'to push boundaries, to leave people gasping for air and wondering "what the fuck is this music I've just heard?"' I have to stress that this last point is the most prevalent thought that comes to mind upon first listen. I listened to the 40-minute piece from start to finish then in all honesty did my best to put it to the back of my mind. Though I was fully aware of Dunning's ability to defy genre, I genuinely wasn't ready for the onslaught that 'Black Light Spiral' provided. Even in my worst nightmares I'd struggle to conjure sounds so obscure, so frighteningly weird. The sound-design throughout is admittedly impressive, and reminiscent of the kind of clinical production skills provided by somebody like Objekt. Because of this aspect, I'm confident some publications will receive the record with critical acclaim. However, as impressive as these soundscapes are, overall I'm just left wondering - what's the point?

Black Light Spiral LP - Untold [Hemlock]

Make no mistake, the record features all of those typical tokens of raves-past - airhorns, sirens, reggae samples. But beyond this, there is nothing that hints towards Dunning's jungle and hardcore influences. The whole thing feels so lacking in cohesion or direction that in the end it's just a 40-minute collection of random experiments in sound and noise. Yes, they sound pretty cool in and of themselves. But do they work as an album? I'm really not so sure. I was going to give a run-through of the record track-by-track but realised rather quickly that this would be a fruitless endeavour. I'd recommend you pick it up and listen through yourself as it demonstrates, viscerally in places, Untold's ability to skew traditional appreciations of convention. Aside from that though, it offers not a lot. Perhaps I was a tad naive when expecting at least a couple of real gems, tracks like 'Change in a Dynamic Environment' but welded around the structure of Blue Note jungle. Unfortunately, there's none of that here. What's laid out is an 8-track document that charters the strange workings of Dunning's mind as he builds upon the reputation he's built for himself as a man who defiantly strikes-out against the norm. In 'Black Light Spiral', Untold burrows ever deeper down the rabbit hole, exploring avenues yet to be touched. Is the result wholly successful? I'm not convinced it is, but it makes for an interesting experience nonetheless.

The album is released on 24th Feb - grab it at Juno.

Featuring MAGIC MOUNTAIN HIGH

Fledgling Dutch imprint Off Minor Recordings bring in 2014 with a new release from the trio of Move D and Juju & Jordash, who are collaboratively known as Magic Mountain High.

The EP's aesthetic is closely aligned to MMH's previous material released through Workshop Records in the past year or two - rich analog sounds that straddle the line between house and techno, whilst rarely deviating from sub-aquatic deepness. The palette is often experimental, something clearly expressed in opening track 'Suub', where skittish percussion operates above a couple of distress-signal synth lines that loosen out across the track's four-minute length by their own free will.

Second track 'Riptide' takes a more conventional turn and the EP begins in earnest.  Here MMH put forward the kind of deep house that typifies their live performances as a warm bass groove is fleshed out patiently across almost ten minutes. Looping these grooves around far more traditional drum structures, 'Riptide' is as spaced-out and cosmic as you can get without straying from convention altogether.



The spacey vibe is continued on the flip, as 'Avalanche' picks up where the opener left off. Again, the rhythm here is volatile and unpredictable, bouncing sonically from place to place as a swirling wind rustles amongst it. In spite of the seemingly arbitrary nature of the track's percussion elements, there still exists beneath the bustle a definite sense of the kind of foot-tapping, head-nodding groove that you'd expect from Move D et al.

Finishing up is 'Don't Cry For Me Argentina (No Compromise Mix)'. MMH again take things down a notch. Gone are the clattering, tinny hats of 'Avalanche'. Instead, the group decide to end proceedings on a more serene tip. A bubbling, dubby bassline operates within the framework of iced-out, stalactitic drum notes that pierce through the kind of melancholic, whirr that featured on both 'Avalanche' and the EP's opening track.

Tiny Breadcrumbs EP - Magic Mountain High [Off Minor]

[OMR02] is available now via Juno, with 12" ar every bit as abstract as you'd expect from Mountain High.

Featuring MARCO BERNARDI & JOHANNES VOLK

 

Marco Bernardi and Johannes Volk have clubbed together to produce a rather nice EP for record label and club night Tief. 

‘Never on a Monday’ has sleaze written all over it. Chugging away at just over 100bpm, the synth bassline and melody work together to create a balearic italo-disco atmosphere. A moody one at that. The tight bassline and drums on 'Blue Mountains' contrast with the loose-sounding keys echoing over them. As the song progresses Bernardi adds layer upon layer of sound, with a speech sample barely audible in the background. Eery stuff. 

 Never on a Monday / Blue Mountains – Marco Bernardi [TIEF]

   

‘Glare’ drives itself along with complex and punchy drum programming, with a hammond organ supplying the hook. Volk builds it to a crescendo only to ebb it back down to its original snappy percussion. The hammond comes slowly back from its muted sound to build up again once more, delivering a subtly euphoric piece of music.

‘Humanoid Pilots’ isn’t so subtly euphoric. Although it starts off with all the sensibilities of a tribal techno roller, the tune gives way to warm synth stabs and a syncopated drum sequence that wouldn’t sound misplaced under the M25 in the early 90s (and that’s no bad thing). The song ends as it begins, making it perfect for a bit of a change during a set. Volk’s tunes are definitely the winners on this release. 

 Humanoid Pilots – Johannes Volk [TIEF]

[TIEF003] is available now from Juno.

Featuring RICK WADE

Chi-house legend and Harmonie Park founder Rick Wade makes his debut on Leeds’ very own Fina Records with the ‘Sweet Life’ EP. The EP brings Wade’s characteristically sunny, disco-tinged sound across three new cuts, backed with a Mr. Beatnick remix and a collaborative rework from Tom Taylor and Simon Morell.

The EP opens with ‘Sweet Life’, where sweeping violin melodies play out alongside acoustic guitar licks. Everything here is kept organic and natural and there’s a genuine sense of warmth to be discovered - a great way to open proceedings that Don’t Be Afraid contributor Mr. Beatnick contradicts slightly with his remix. In this treatment, ‘Sweet Life’ is primed more readily for the dance floor, with a heavier drum-track pushing through and echoes of a dubby synthline that creeps subtly to the surface.

Sweet Life (Mr. Beatnick Remix) - Rick Wade [FINA]


The flip side begins with another new and original Wade cut, ‘The Chateau’. The title of this particular track seems rather fitting; there’s a looping Afro-French vocal that carries its way over those by-now familiarly lazy drum patterns. This one’s got a massively summertime feel to it and it's easy to conjure up images of the hypothetical Chateau Wade makes mention of in the title, nestled somewhere on the Côte d'Azur, with the sun beating fiercely on its roof and the cool sea breeze blowing gently through its windows. Many elements of this track seem reminiscent of classic French house - think old Pepe Bradock, I:Cube or Trankilou.



Wade’s final offering on the EP is ‘Jazz Militia’, a track that switches the formula a little by brining a harder, more driven track that’s the most heavily dancefloor-centred tune on the record. Though the drums kick out with more ferocity and urgency than before, the tune isn’t without any of the analogue warmth and goodness found in both ‘Sweet Life’ and ‘The Chateau.’ It’s just that now Wade is determined to get feet shuffling, gently upping the tempo a notch.

Sweet Life EP - Rick Wade [FINA]


Finishing off the EP, and found only on the digital release, is a remix from label co-founder Simon Morell and Tom Taylor. The dubby twanging chords of the Mr Beatnick remix seem to make a return here; filters are put into good effect all over the place, whilst the percussion elements shuffle slightly more urgently around the track to give the version a more-uptempo feel.

'Sweet Life' EP is out very soon both digitally and on 12". You can grab the latter at Juno.

Featuring MIDLAND

If you were to ask me what I considered the most important record of 2013, it would be Midland's 'Trace'. If you were to ask me what song would be least likely to get a good remix, I would probably say the same thing. For the latter, I was gladly proved wrong. Almost a year after the original AUS Music is set to release the 'Trace Remixes EP', a timely reflection on how far the label has come in recent years.

Listening to these remixes, it's hard to imagine another way in which they could have been tackled. Using just the basic skeleton of 'Trace', Grain (aka Artwork) - known back in the day for his tribal techno - takes the most intricate elements that formed the original and proceeds to chop and twist them around a faster, yet subtle beat. The track follows a similar structure to the original, however this time Grain wishes only to tease the vocals. A departure from Midland's distinctive production, Grain chooses to have the instrumentation blend in and out from start to finish. The pay-off being a new build up of sliced synths resonating around a warehouse atmosphere.

De-constructing the original, Leon Vynehall's take on the B-side 'For (Yacht) Club Use Only' follows on from the rough and ready style seen on his previous AUS release. The rigid hi-hats from Midland's original have been shuffled around to create a loose and moody sound-scape and the warm synths have been manipulated to create a slight unease before melting back into the beat.

[AUS1456] will be released on 10th February 2014 via Juno.

Words by: Stephen Daniels

Featuring IKE YARD

The works of the early 1980s American post-punk/industrial outfit Ike Yard have become remix fodder for newer artists who create similarly harsh, post-punk influenced techno. The third instalment of remixes is a welcome addition to the genre, with previous entries from Regis, Monoton, Tropic Of Cancer and Arnaud Rebotini.

Powell's opening remix of Half A God takes apart the very straightforward original and reassembles it into something that sounds like it may fall apart at any minute. The drums are shuffled and gated, the synth stabs and guitar loops are fractured, the vocals are sparse. Bandshell's remix of NCR turns it into noise-techno, everything becomes distorted, with added radio scanner hiss panning around the mix. At one point everything else fades out leaving just the hiss, which fades out to almost silence before everything rushes back in, jolting the listener.

The original 1982 version of 'Cherish 8', from their debut on Factory America, is a throughly unnerving post-punk piece, with a military drum groove, out of tune synths and vocalist Stuart Argabright commandingly repeating his perverted intentions without passion ("I watch where you go, then I follow you home...you're so young, you're so chic"). The KVB's version retains much of the original vibe, with the drums now more restrained and distant, with the occasional firing-off of rapid 808 claps. The synths are more orchestral, the guitars looped quietly, more as part of a bed of sound and less highlighted in the mix. Vessel's remix however, takes the track to an even darker place. The vocals become growled and menacing through the flanger, the drums burst through with ferocity and retreat immediately into silence, and added feedback pierces through.

Cherish 8 (The KVB Remix) - Ike Yard [Desire]


[DSR100] is available from Desire and Juno. Limited to 300 copies.

Words by: Jason Rule

Featuring PRESK

After an almost nine month hiatus, Doc Daneeka's Ten Thousand Yen imprint returns with its first release of 2014 from Dutch producer Presk.

His first output since 2012, the Saluki EP pulls together an array of styles to create four very distinct and well produced tracks, which highlight Presk's love of techno, garage and even a little funk. The title track is getting all the love from the club circuit at the moment but the standout track for us is 'Rais', a late night gem reminiscent of early A Made Up Sound.

[TTY011] is out on the 27th January via Juno. And don't forget to check out his stellar contribution to our mix series.