Tuesday, 26 April 2011

Theo Parrish - 'Musical Metaphors' EP

Theo's first Signature Sound release has been thankfully been re-pressed, and copies won't be around much longer. The first in a line of faultless releases on one of Detroit's most influential labels, Parrish's 'Musical Metaphors' EP really is a wonderful 12". Slow moody house rhythms that will warp, leaving you to carelessly nod your head for the duration of the patient builders.

Although an EP comprising of three tracks, it's all about that A-side. 'Carpet People Don't Drink Steak Soda' is Theo at his best, bringing things downtempo with a raw rhythm and melodies that quite simply take you to another world. The track slowly builds over the lengthy 3/4 minute opening, with a looped vocal sample filtering through a retro disco groove, with characteristically rugged percussion sitting beneath the surface. Heavy kicks continually hammer away, forcing movement. But it's when the track reaches its watershed, with deep drones of chords slowly gaining a dominance of proceedings over the disco sounds. In full fruition piano synth chord melody is beautiful, the defining element of 'Carpet People'. Deep kicks and uplifting melodies, it's dance music to work the mind, body, and soul.

'Shadow Dancing' and 'JBs Edit (Wait A Minute)' are make up an excellentely B-side, particularly the wonderful former, but nothing can quite match the indelible 12 minute opener. Theo's best alongside 'Dance Sing' and 'Moonlight' for me, although his back catalogue is so extensive you could sit here for days discussing a list of Parrish's finest. 'Carpet People Don't Drink Steak Soda' is reason alone to purchase this 12". House music with real soul.

Tuesday, 19 April 2011

Addison Groove - 'This Is It/Make Um Bounce' (TEC049)

Addison Groove arrives on Pinch’s Tectonic imprint for his third release. ‘This Is It/Make Um Bounce’ represents both signature Addison production work as well as exploration of new sounds, which prove to be ever so effective on the indelible ‘Make Um Bounce’. Following the ‘Work It/Sexual’ 12” released on Swamp81 back in March, which marks his strongest work to date, his latest release goes someway to reproducing that sort of form. Addison is an extremely talented producer, and nobody can work an 808 like him, as evidenced on ‘This Is It/Make Um Bounce’.

‘This Is It’ is the heavy stepper on this two track affair. Opening with juke’s pounding 808 bass hits and flurry of alternating beep tones, the track shows closer ties to previous works such as ‘Footcrab’ and ‘Work It’, a trait further endowed by the repetitive female vocal sample stating “k y’all this is it, kk y’all”. The signature Addison break soon dawns, and it produces the real defining moment and turning point of the track. The frenzied opening is instantly turned on its head, with a mellow and introspective sound arising. A blissful synth chord melody plays alongside warm diva vocals, elements quickly adapted for the dancefloor by the pulsating 808 bass kicks.

The B-side entitled ‘Make Um Bounce’ is likely to be the track turning most heads on this release. It’s set at a tempo much slower than anything Addison has produced before (133bpm). The style is also different, with a sound that seems to combine elements of the electro and classic Chicago house. A rolling 808 pattern echoes Chi-town’s past, with energetic acid synths bubbling beneath the surface whilst the incessant resonance “y’all gonna make um bounce” hypnotises. The 808 rhythm continues to hammer away in a fashion comparable to the vocal sample, working up a formidable storm in the process.

As per usual a heavyweight release from Addison, going some way to confirming his status as one of the most talented producers around at the present. Give him his 808 and he will undoubtedly create sounds that delight. The 12” is out now, be sure to purchase. Also keep a keen eye out for his wonderful 12” forthcoming on Martyn’s 3024 imprint, due for release on May 2nd. Make Um Bounce.

Saturday, 16 April 2011

Boddika - '2727' EP (SWAMP011)

2011 is Swamp81's. Their 11th release comes in the form of a 4 track 2x12" from the prolific Boddika, who can claim an equal hold over the year's proceedings to date. Since the release of Addison Groove's 'Footcrab/Dumbshit' the imprint has been outstanding, delivering each and every time in terms of both the quality of music and the artwork in which the 180g vinyl is packaged in. Limited vinyl only releases provided in the finest sleeves curated by Ashes57, Swamp81 have set themselves apart. Boddika's strongest work to date on the '2727' EP further reinforces this ever developing reputation of quality control, proving to match the quality of Addison Groove's 'Work It/Sexual' (SWAMP009).

‘2727’ forms the EPs A-side, and it develops into a real electro stepper. The introduction is intricately programmed, with machine percussion delicately knocking away, whilst toms clash and the repetitive vocal sample sounds. The drop is quite something, with muscular kick drums and heavy subs drowning out the previous tentative percussion. Signature gritty acid synths arise during the break, with hi hats setting a rhythm of their own in the shadows. Bass kicks soon dominate once again, alongside the resounding vocal sample and sharp tom hits. ‘Sometimes’ on the B-side takes a different route, adopting a style close to jacking house. A steady 4/4 rhythm is immediately set, built upon by ever so slightly off beat claps. Acid chords soon loom whilst lofty synths ascend, set into a structure by the jacking beat, deep subs and precise claps.

‘Soul What’ is the track with real soul on this EP. Jarring bleeps and sharp percussion set things off, with female vocal murmurs replacing the latter. This leads up to pulsating bass kicks, installed with perfectly programmed 808 rhythms, intermittent claps repetitive vocal samples. The break is what makes this track special though. A beautiful synth chord melody is established alongside the infectious soulful cries of “oh yeah”. Delicate percussion is smoothly incorporated, preparing for the development of the track under heavy kicks and sub bass. ‘Rubba’ provides the highlight of the four here though, with a delightful synth chord melody progressing alongside 4/4 808 rhythms that transform over the minute long introduction. Heavy bass kicks and razor sharp toms battle away with the flowing synth melody working away on the surface. Coarse acid lines contrast the lighter melody, gaining real prominence in the second half of the track. Fully formed percussive arrangements batter away whilst the acid slowly decays, hesitantly replaced by the wonderful earlier melody.

Quite simply an essential 2x12". The double gatefold pack is beautiful, the perfect accompaniment to four killer tracks. Ahses57 adds the wonderful details and finishing touches once again. Swamp81 and Boddika on top form. You know what to do.

2727 EP
a - 2727
b - Sometimes
c - Soul What
d - Rubba

Thursday, 14 April 2011

Palace Promo

GANGBANGING AT GROUND ZERO from Slam City Skates on Vimeo.

VHS. Excellent tracklist (particularly the clip of Fat Joe and Keith Nut's freestyle). Brillaintly shot and edited. Ridiculous skating. I could watch this on loop for hours.

"I got you a Pepsi."


Paul Rose (aka Scuba/SCB) is at it once again, following his sublime release under the SCB alias with a mix of equal quality for XLR8R. The head of Hotflush, now based in Berlin, provides 1 hour and 8 minutes of pure house and techno. Tracks are wonderfully mixed, with seamless transitions and a tracklist full of exclusives and less obvious deep cuts that sit nicely in Rose's collection. The mix travels between deep house, jacking house, dubby techno and acid trips throughout, sounds which undoubtedly complement each other as evidenced here. The opening chord melody of Recondite's 'Yield' immediately draws you in, and new 12"s from Braille, John Spring, Instra:mental, Jon Convex, and of course SCB's recent effort 'Loss', retain your attention for the following hour. Three turntables and a mixer.

01 Recondite "Yield" (Plangent)
02 Sven Wiesemann "Emphasized" (Mojuba)
03 Terence Fixmer "Comedy of Menace" (Electric Deluxe)
04 Braille "Leavin Without You" (Rush Hour)
05 Obsolete Music Technology "Relapse" (Machining Dreams)
06 Unknown "Untitled"
07 John Spring "Drummachines" (Airdrop)
08 Shifted "Untitled" (AVN)
09 Sigha "HF029B1" (Hotflush)
10 Deadbeat "Vampire" (Echochord)
11 SCB "Down Moment" (Ostgut Ton)
12 SCB "Loss" (Aus)
13 Instra:mental "Pyramid" (3024)
14 2 AM FM "Desolate Cities" (Mos Deep)
15 Ness "Ancient Crackle" (Sonata)
16 Patrice Scott "2000 Black" (Sistrum)
17 Mike Denhert "Unknown" (Fachwerk)
18 Jon Convex "Order into Chaos" (3024)
19 Rod "Malmok One" (Klockworks)
20 Sigha "Politics of Dying" (Our Circula Sound)
21 SCB "Overlay" (SCB)
22 Portable "Inside Your Mind" (Karat)

Download by clicking here.

Thursday, 7 April 2011

Hessle Audio Presents '116 & Rising'

Hessle Audio will be releasing a label compilation titled '116 & Rising' on the 16th May. The release will feature 2xCD, 3x12" and a digital release, representing past and unreleased materials surrounding the reputable label. Hessle, the imprint co-founded by Ben UFO, Pangaea, and Ramadanman/Pearson Sound, has consistently been one of the strongest on the scene over the couple of years, with the label's 18th release unveiled last week in the form of Peverelist's 'Dance Til The Police Come/Fundamentals'.

The compilation is purely within keeping with the Hessle family, with every producer to release on the label featuring alongside a couple of exclusive guests. The first CD is dedicated to new releases, with 9 coming from artists with previous releases on the imprint. New efforts from Elgato, Pearson Sound, Blawan, and Joe's exquisite 'Twice' excite, and indicate the quality that is behind '116 & Rising'. This is further supported by exclusive releases from Randomer and Addison Groove, the latter whose 'Fuk Tha 101' has been proving a killer in the sets of Loefah and Kennedy.

CD 2 is firmly focused on revisiting the label's previously released 12", exploring the high standards of their ever growing back catalogue. Selecting tracks to construct the CD would have been one hell of a task in itself, but it looks as though Hessle have been well represented here. Ramadanman's 'Don't Change For Me', Martyn's beautiful remix of TRG's 'Broken Heart', and Blawan's 'Fram' provide the strongest, although I could have selected almost every tack to feature on the second CD here. Pure class.

The 3x12" edition of the compilation will be formed of the new releases, presented in artwork created by the excellent Will Bankhead (Trilogy Tapes), who has regularly produced work of an identical quality for Honest Jons and Doldrums. With a tracklist so strong, and artwork so aesthetically pleasing, why wouldn't you purchase the release? 16.05.11. Buy on site material from Hessle as per usual.

'116 & Rising' Tracklist:

01. Elgato – Music (Bodymix)
02. Untold – Cool Story Bro
03. Blawan – Potchla Vee
04. Pearson Sound – Stifle
05. Joe – Twice
06. Randomer – Brunk
07. Pangaea – Run Out
08. Cosmin TRG – Bijoux
09. D1 – Subzero
10. Addison Groove – Fuk Tha 101
11. James Blake – Give A Man A Rod (Second Version)
12. Peverelist – Sun Dance

01. Pangaea – You & I
02. Untold – Test Signal
03. Blawan – Fram
04. James Blake – Buzzard & Kestrel
05. Untold – I Can’t Stop This Feeling
06. Joe – Rut
07. Ramadanman – Blimey
08. TRG – Put You Down
09. Joe – Level Crossing
10. Pangaea – Why
11. TRG – Broken Heart (Martyn’s DCM Remix)
12. Ramadanman – Don’t Change For Me

The Drone Interview With Tyler, The Creator

Wednesday, 6 April 2011

Maurice Donovan - 'Babeh/Satisfied' (SSSSS002)

David Kennedy (aka Ramadanman/Pearson Sound) intimates his Chicago house alter ego with a 12” release for the Untold’s house imprint SSSSS. Kennedy is killing it at present, with this deep, swinging Chicago house release coming off the back of his excellent Fabriclive 57 mix. The release really looks back to 1980s Chicago house, with Donovan updating the sound and look of the past to the present and indeed the future. The sounds are as fresh as the sleeve, which is clearly a homage to the 80s ‘House Sound of Chicago’ covers. With ‘Babeh/Satisfied’, “you kitties bout to get sum cream in yow bowl” (Maurice Donovan's twitter).

‘Babeh’ gets things rolling on the A-side. Soulful cries of ‘babeh’ slowly rise with snare hits, soon ordered into a fixed rhythm by the stripped down beat. Heavy sub accompanies the claps and hi-hats, developing a deep and soulful, yet rugged and structured Chicago house rhythm. Lamenting synth lines soon arise from the ashes of the diminished beat during the break, providing a weight of emotion. However, this interlude is only brief, with the sub heavy rhythms quickly reintegrated, stirring up quite a storm with every hit.

‘Satisfied’ is downright killer; real house music. The straight house beat begins affairs, with rolling 808s building up a tempo as synth chords work their way into the foreground alongside the wonderful female vocal sample. Things are soon kicked into action here though, with the drop signalling its deep intentions. 808s relentlessly kick, robust toms hammer away, and subs reverberate.

Strong stripped house rhythms, with sub so heavy and soulful vocals so infectious you can’t help but be pulled in by Maurice Donovan’s magic. Outrageous Chicago vibes, essential 12". “MUTHAFUCKAS IMA BACK NOW!!!!!!!!!!!!!!”

Cosmin TRG - 'A Universal Crush' EP (RH-DC8)

Deep house/tech rhythms from Cosmin TRG. His third release on the Rush Hour imprint sees his development of a house flexed sound further encapsulated, producing his strongest work to date. The double 12" pack for the Rush Hour Direct Current series explores affectionate and harsher sides to house and techno, whilst Cosmin stamps his mark on proceedings. Rush Hour and the Romanian producer have really served up a strong 4 track EP here.

The title track begins affairs, with intergalactic strings sounding, soon given direction by the driving 4/4 beat, with claps tenderly on alternate hits. Glitch-infused synths work in tandem with the soaring strings, and unrecognisable vocal samples linger in the shadows, contributing to the other worldly feel the track evokes. ‘Negligee’ is similar in its sound and feel, although with a more composed and relaxed aura. With a rhythm indebted to Detroit, the track sides with house and builds around a soulful uplifting chord melody which directs the track’s progress, whilst frantic bleeps frantically hold on the surface.

‘Magnetic Bodies’ takes a slightly different direction, exploring deeper house sounds that please no end. A firm rhythm is fast established, progressively accompanied by claps that kick things into action. However, it’s estranged synths and beautiful chord melody which really impact, marking the track out as a highlight of this double pack. The exquisite melody really comes to its fore during the break, free to reign without the presence of the structured house rhythm.

The best left until last? I believe that is most certainly the case with ‘Sirop’. The track manages somehow to sound futuristic whilst looking back to older styles, in particular drawing from Chicago house and NYC garage. His talent for drum programming is displayed here, with a solid 4/4 rhythm providing the base for percussive complexities. An understated, smooth chord arrangement slowly arises with a cutting vocal clip and sharp synth lines. ‘Sirop’ constantly changes direction, building and in turn declining, taking you on a 6 minute journey through wonderfully constructed house music. Very strong release.

'A Universal Crush' EP:
1. A Universal Crush
2. Negligee
3. Magnetic Bodies
4. Sirop

Jackmaster Fabriclive 57

Fabriclive 57: Jackmaster (Due 18.05.11)

Jackmaster has been confirmed to produce the next installment of Fabriclive's mix series, and thankfully so. I've been meaning to write about Glaswegian Jack Revill (aka Jackmaster) for quite some time now. The young DJ is first and foremost exactly that, a DJ. It's a rarity these days to find a DJ who has purely built his flawless reputation on his technical excellence as a DJ, rather than relying on production work or numerous dubplates. He has the dubplates, but these exclusives are only a small fixture of his eclectic sets. Visiting a range of era and experimenting with varying styles, his sets never fail to amaze, and are unique to his own personal tastes. If you're yet to hear him DJ, I 'd recommend checking out his URB mix as well as his Sonar 2010 mix, the latter has become the stuff of legend.

The man behind the brilliant Glasgow based Numbers imprint (alongside Rob Mordue, Richard Chater, Calum Morton and Neil Morton) will follow up the recent Fabriclive mix from Ramadanman/Pearson Sound on #57. Beforehand, I would have asserted that nobody would be able to match the quality of Kennedy's mix, however, I'm confident Jackmaster will compose a mix of equal quality. The tracklist for Jackmaster's Fabriclive mix has just been unveiled, and it promotes an extensive list of wide-ranging genres and style, typical of his sets. House classics, techno, ghetto house, and unreleased dubs: due 18th May 2011.

Fabriclive 57 Tracklist:
01. The Fantastic Aleems – Release Yourself
02. Inner City – Big Fun (Magic Juan Remix)
03. Gregor Salto – Classic Beat Tool
04. Model 500 – Night Drive (Thru-Babylon)
05. Kim English – Nite Life (Retail Club Mix)
06. Anthony Shakir – Plugged In
07. Martyn – Alldayallnight
08. Geiom feat. Terrible Shock – 2 4 6
09. Doug Willis – Dougswana (Audiowhores Beats)
10. Jook 10 – Emotions
11. Larry Heard presents Mr. White – The Sun Can’t Compare
12. Addison Groove – Make Um Bounce
13. SBTRKT & Sinden – Seekwal
14. Splack Pack – Shake That Ass Bitch
15. Mad Mike featuring Davina – Don’t You Want It
16. Sia – Little Man (Wookie Remix)
17. CLS – Can You Feel It? (In House Dub)
18. DJ Deeon – The Freaks
19. The Outlander – Vamp
20. Splack Pack – Scrub Da Ground
21. Underground Resistance – Jupiter Jazz
22. Thomas Bangalter – What To Do
23. Fix – Flash
24. Hudson Mohawke – Fuse
25. Machinedrum – La Bomba
26. DJ Funk – Pussy Ride
27. AFX – VBS.Redlof.B
28. Skepta – Doin’ It Again
29. Radiohead – Idioteque

Tuesday, 5 April 2011

Scuba - 'Feel It' (HFLP005)

Scuba - 'Feel It'

Paul Rose (aka Scuba/Scb) provides a killer jacking house number with 'Feel It'. The Hotflush compilation, 'Back and 4th', released earlier in the week contains some excellent previously unreleased material, but 'Feel It' undoubtedly proves to be the highlight of those 10 tracks. The jacking style of the track is something of a new sound for Rose, whose previous work has been much more connected to dubstep and techno, as evidenced in the brilliant 'Triangulation' LP, released a little over a year ago on Hotflush.

'Feel It' makes its intentions clear from the outset, with the track's pounding four to the floor beat and deep acid chord melody immediately making their impact alongside the contagious vocal sample, repeating "feel it" throughout. The track progresses impressively, with an added synth chord layered on top of the grumbling acid melody, as well claps and hi hats adding further structure to the tracks percussive arrangements. The break functions wonderfully, with a soft synth chord melody and vox'd vocal murmurs resonating. The jacking rhythm and acid chords soon tentatively work their way back, until the track's euphoric drop, where the elements coalesce. The lofty synth chord gains prominence, whilst the gritty acid chords and repetitive vocal sample hammer away beneath the surface. Quality control from Scuba.

Rose evidently explores a new avenue with 'Feel It', and it's one which he pursues with great success. If the track is an indication of what is to come from his work under the Scuba alias, then more excellent material in unquestionably on its way. It's an essential purchase, along with the brilliant 'Back and 4th' compilation celebrating Hotflush Recordings recent work. Fans of Joy O and Braiden, enjoy. Feel It. Feel It. Feel It.

Joy O Debut US Dates

Joy Orbison will be heading stateside this month for a handful of exclusive debut US shows. He kicks of the mini tour with two shows in New York, then proceeding to the West Coast for nights in San Francisco and finally Los Angeles (where he shall appear with Ramadanman/Pearson Sound). If you're in and around these cities whilst O'Grady is appearing, attendance is a must. He is distinct as a DJ as he is a producer, refining a number of different sounds within his sets. I last saw him at Crazylegs in Bristol 3 weeks ago, and his headline set unduly delivered. Sporting his usual blend of the blissful and the bastard, he progressed from deeper house and Detroit sounds through garage, house, and techno bits at 130-140bpm, alongside dubplates of the highest quality as per usual. 'Ellipsis', 'Sicko Cell' and further unknown Joy Orbison material are just a few reasons to attend. NYC, San Fransisco and LA; you have been warned.

Joy O US Dates:
09.04.11, New York, NY, Mister Saturday Night (with Eamon Harkin & Justin Carter), 341 Scholes
11.04.11, New York, NY, Deep Space (with Francois K), Cielo
15.04.11, San Francisco, CA 1015 Folsom (with Kode9)
17.04.11, Coachella, CA, Coachella Music Festival
19.04.11, Los Angeles, CA, Roxy (with Ramadanman)

Monday, 4 April 2011

Julio Bashmore - 'Batty Knee Dance' EP (3024-011)

Julio Bashmore provides the goods once again. Martyn's 3024 imprint as really come into it's own in the past couple of months, and it's biggest 12" of the year has arrived in the form of Bashmore's 'Batty Knee Dance' EP, although it could potentially be surpassed by Addison Groove's upcoming release on the label in May. The EP is very good in its own right though, a sign of how far Matt Walker's (aka Bashmore) production has developed in the last few months. The 'Everyone Needs A Theme Tune' EP, released in January, was Bashmore's best to date, with the delightful house numbers 'Battle For Middle Ground' and 'Ask Yourself'. However, I can't help but feel the title track here eclipses the two previous efforts.

'Batty Knee Dance' is most definitely the highlight of the 12", marking Bashmore's most refined work. A track built on patience and repetition, its infectious sound resonates. Soft 808 pads set up a slick deep house rhythm, with claps aligned with every passing hit. Deep bass kicks give the track a darker side, one which is contrasted by the beautiful synth chord melody and recurring vocal sample. crying "oh yeah, we should get married". The latter two elements provide the tracks most soulful moments during the break, when the smooth beat and bass kicks are absent. These factors are soon reintroduced though, returning to the track its well constructed rhythm. Killer.

'Ribble To Amazon' functions in a similar way to 'Batty Knee Dance'. The house rhythm is brilliantly constructed once again, with cowbells neatly animating in spacious gaps. Synth pads create long periods of build-up alongside the chopped-up vox'd vocal sample. A strong b-side to the simple excellent 'Batty Knee Dance', which undoubtedly steals the show here, and rightly so. 12" available for purchase now, with brilliant artwork characteristic of 3024 releases. Buy. Buy. Buy.

Swamp81 x 502 Recordings at Cable

We Fear Silence presents Swamp81 at Cable on the 23rd April, and the night they have in store promises to match the quality of the label's recent releases. Loefah's Swamp81 imprint has gone from strength to strength over the past few months, with killer 12" releases from Pinch, Boddika, Addison Groove, and most recently FaltyDL. And, of course, there's the small matter of the signing of 'Sicko Cell/Knock Knock' for the label's 14th release. The night at Cable is a sign of the growing Swamp brand.

Swamp81 will head up the main room, with a line-up that will bring many to tears. Shortstuff and Reecha will warm the crowd, building for the arrival of Ben UFO, FaltyDL and Boddika. Joy O will then provide his wonderful blend of the blissful and the bastard, with an exclusive 2 hour mix from head honcho Loefah in the midst of this talent. Excellent.

If that wasn't enough, room two will be hosted by the increasingly reputable 502 Recordings. Oneman's imprint has two 12"s in it's back catalogue to date, from Fis-T and Jay Weed respectively, with a huge 12" from newcomer Teeth to be released very soon. 502 will be displaying it's array of talent, with the brilliant Visionist, Fis-T, Jay Weed and Teeth all playing in the second room. Oneman will also be contributing another of his revered sets with the help of everyones favourite MC Asbo.

23.04.11. 10pm-6am. £9 advance tickets/£12 OTD. Attendance is vital.

Friday, 1 April 2011

Scb - 'Loss/Future Unknown' (AUS1132)

Scb - 'Loss/Future Unknown'

Paul Rose (aka Scuba/Scb) brings the heat with a new 12" for the Aus Music imprint. The Hotflush head honcho adopts his techno alias for this 12", which delves deeper into house/tech territory. Rose particularly explores a house sound which breaks the tech mold of his previous efforts, falling in line with recent works by the likes of Joy O, whom released his latest 12" on Rose's imprint last month.

The highlight here is undoubtedly 'Loss', the more house flexed track of the two. Rolling at 125bpm, the track is a smooth emotional house number which indicates another dimension to Rose's talent in production. A solid four to the floor beat drives, with alternating handclaps incorporated after the track's opening. After the 1 minute introduction, cut vocal samples rise beautifully in tandem with a repetitive low slung chord arrangement and uplifting synth melodies. It's pure bliss during the break, as wailing vocal samples and wonderful synth chords come to the fore. The structured rhythm soon grounds the track once again, returning to the track it's dance floor sensibilities alongside a deep chord melody. Emotional deep house.

'Future Unknown' is more aligned to Scb's past work, a steady tech/house track which steadily works its way to fruition. A fast tempo structured 4x4 beat hits away, whilst a repetitive dub-chord melody which acts as the heart of the track, central to all its development. The 7 minute track is a patient builder, one slowly progresses and alters its percussive arrangements. A very solid b-side to the excellent 'Loss', one which finds its beauty in soft synths towards the track's end. Quality 12" from Rose.

Boddika & Joy O - 'Swims'

Boddika & Joy O - 'Swims'

As far as collaborations go, this may well be one of the most exciting I've come across. Boddika (aka Alex Green) is making his mark as with his solo material, flourishing under the guidance of Non+ Plus and Swamp81 with driving drum machine arrangements and crippling acid synths, a sound purely his own. As for Peter O'Grady (aka Joy Orbison), everything the man touches turns to gold. An impeccable back catalogue is met with numerous unreleased killers, and his recent turn to house infused production has proved particularly promising, with tracks 'Wade In' and 'Ellipsis' further cementing his growing reputation as one of the best producer's around. Work between the two can only provide good results.

Aired on Oneman and Loefah's Rinse FM cover show on Wednesday, 'Swims' is the product of Boddika and Joy O's collaboration. It is instantly recognisable as a sound that the two have refined. A driving 4x4 beat is firmly set, with hi-hats tentatively rising after every second pounding beat. The rhythm is soon accompanied by a wonderful acid chord arrangement that acts as Boddika's signature, with a quick fire vocal typical of both artists' sound, falling neatly alongside the dynamic beat and energetic chords. The result is a simply excellent collaboration, clearly evincing elements of Boddika and Joy O's more recognisable sounds.

Rumours are that a release on Swamp81 is almost certain. Considering each artists' connections to the brilliant Brixton based label, I wouldn't argue against it. With any luck we shall be seeing this on 12" soon, carefully provided in another impecablly produced sleeve by Ashes57. Don't sleep.