Mosca - Done Me Wrong/Bax (NMBRS016)

The Numbers collective welcome Mosca for the imprint’s 16th outing with two cuts primed especially to move your feet. The Glaswegian imprint has been working up quite a storm in 2011, with high profile releases from Deadboy and Jamie XX, as well as being awarded a bi-weekly (every other Tuesday) show on Rinse FM. When looking at the label’s young but colourful back catalogue it soon becomes evident that there is no trend or single mould that unifies their output, a trait NMBRS16 pays testament to. ‘Done Me Wrong’/’Bax’ is unashamedly grounded in older forms of 4×4 garage and bassline, with Mosca delivering potentially his strongest material since his debut Square One EP on Night Slugs. Both tracks are clearly formed with the intention of setting dancefloors on fire.

The less hyped ‘Done Me Wrong’ sets the tone for the single on the A-side. The 4×4 kicks pound, unfurling into a skittered jacking rhythm with the help of sporadically arranged hats and alternating claps. Classic female vocal clips wail “you’ve done me wrong”, ascending in progression alongside those beautifully warm and ever rising synth lines. Then comes the bass drop on the minute mark, which is soon complete with an automatic spin back included for your very own convenience. The swamping bassline combines brilliantly with the shuffling rhythm and emotive vocal snippets, presented at its infectious best once the ambiguously shimmering synths subtly reprise towards the track’s conclusion.

The B-side is no filler, and in most cases, will be the track which most people remember this release for. It’s rough and ready, a seemingly far more upfront effort in comparison to the record’s opener. Consistent driving kicks set things off, swiftly joined by intermittent claps and tentative hi-hats. Smooth melodies are produced by the spacious chord arrangement, complemented by the memorable cries of the disembodied diva. A series of nervy, intricate chord stabs arise, taking full control of proceedings. However, it’s the drop that really does the damage on ‘Bax.’ On the MCs’ shout of “my DJ is live in the place” the punishing bassline goes to work, powerful and uncompromising. It’s a feature which dominates the airwaves for the track’s continued duration, adding suitable balance to the wonderful key stabs and soulful calls.

Very highly recommended.

Written for Sonic Router

Mosca - Done Me Wrong / Bax (Out 19th September on Numbers) by Numbers

Blawan - What You Do With What You Have (Forthcoming RS1108)

Of the plethora of young producing talents currently operating, none excite as much Blawan. 2011 has been a vital year for the man whose debut on Hessle Audio back in May of 2010 instantly turned heads. Fast forward a year and Blawan is seemingly established and much in demand, with a less than prolific but no less crucial catalogue of work. His work is dark and unrelenting, characteristics which have become all the more apparent in his recent exploration of acid and techno. Intricate drum patterning is forever at the heart, forceful and coarse with unremitting power.

The producer’s forthcoming 12” on R&S is sounding like his most refined work to date, an indication that he’s really found his ground. The title track, ‘What You Do With What You Have’, promises to be a modern classic, a dark and rough affair that will have floors shaking. The pounding rhythm is persistent, whilst menacing synth stabs pierce on the surface. Complete with an ingenious vocal sample, lifted from Moodymann’s RBMA lecture and pitched up to sound as ominous as the aforementioned stabs. On the flip will sit a track entitled ‘Vibe Decorium’. I’m yet to hear what the B-side has to offer, but I expect a further practice in uncompromising acid-tinged techno. A full review will be made after the 12”s release on the 26th September.

It’s what you do with what you have, you understand?

Instra:mental/Boddika - Vicodin (Skudge Warehouse Mix)/Grand Prix (NL010)

The resurgence of acid tinged electro in 2011 undeniably stems from the work of Instra:mental. Al Green and Damon Kirkham have been prolific both in terms of their collaboration work as well as their flourishing solo projects which have inevitably taken great strides over the past few months. It’s fitting then that this split release on [nakedlunch] should be dedicated to a slice of both, with a Skudge reworking of Instra:mental’s brooding ‘Vicodin’ accompanying Boddika’s first effort since the outstanding 2727 EP on Swamp81.

Boddika’s inimitable sounds have drawn a number of deserved plaudits since his debut 12” on [nakedlunch] back in October 2010 (‘Boddika’s House’ b/w ’Syn Chron’), and ‘Grand Prix’ is testament to just how developed and refined Al Green’s production work has become. Quick fire drum machines align, generating a series of persistent kicks, rapid yet faint hats and powerful alternating toms. It’s the signature acid tinged bassline that sits upon the rigorous beat which really transforms the track. A flurry of dark corrosive lines build with severe energy, developing sounds not to dissimilar from engine’s revving on the start line of the grid. The red lights go down, and the harsh rhythm is reintroduced completed with 808 rim shots to complement the gruelling bassline; the race is underway. It’s relentless, carefully wearing you down and working you into an endless groove.

Skudge give Instra:mental’s ‘Vicodin’ the late night warehouse treatment on the 12”s B-side. The tempo is dropped to allow for the Swede’s to work their routinely monochrome magic. The rhythm patiently shuffles, defined by raw 4×4 kicks which are set against scraping hats and distant snares. ‘Vicodin’’s haunting hook is retained here, although it’s presented in a far more rasping and raw fashion compared to the original, matching the strict drum progressions as the track advances. It’s quite a contrast in style and tone to ‘Grand Prix’, but fits as an apt addition in terms of quality.

Written for Sonic Router

Boddika / Instra:mental - Grand Prix / Vicodin (Skudge Warehouse Mix) [NL010] Naked Lunch by Surus

Recondite - Plangent #002

Berlin-based producer Recondite impressed with his opening release in the aptly named Plangent imprint back in February. It was an affecting record, displaying a menacing brand of techno filled with melancholy and dejection. However, this isn’t to say the record wasn’t designed to be heard on dancefloors. In fact, quite the opposite was intended as it appears. The effectual use of drum machines allowed for precise and deep rhythms that provided tracks with an extra groove, endowing the tracks with undeniable dancefloor potential. As suitable to home listening as it is to dark clubs. The follow up to Plangent #001 has arrived, bestowing a similarly despondent and pensive tone in what is an arguably more refined release.

The A-side holds the far more joyful and upbeat ‘Haptic’, the sound of which is rare in the production work of Recondite. Deep kicks set the marker, soon united with off-kilter toms and astute hats. The filtered synth lines are warm and lofty and neatly align with burly rhythm, leaving the rolling subs to do real damage. It’s a competent track, not outstanding, at least not in comparison the truly brilliant B-side this 12” has to offer.

‘Backbone’ opens proceedings on the flip. An unbending 4/4 beat is immediately established, with a storming bassline filling empty gaps. Incisive snares and pointed hats add a sense of uncertainty in their somewhat timid appearance, especially due to their juxtaposition with the driving kicks and bass. Delicate and downhearted synth chords superbly convey bleak emotions, offset by a raw and insistent drum patterns. The best is left to last on this record, with ‘Yield’ constituting Recondite’s finest work to date. From the off, we are presented with the early base upon which the track measurably progresses. The kicks this time around are less intimidating, with lasting snares and cushioned claps granting a smooth groove. This is suitably in line with the tender, yearning chord melodies which develop and advance with aching beauty. The bassline beats away, simmering just on the surface whist the chords overwhelm.

Plangent #002 details more evidence of the talents Recondite holds within his armoury. The first two tracks are sound efforts, but it is ‘Yield’ that really stands out as the records outstanding track. It isn’t as complete as #001, but the quality of the two tracks on the B-side is speaks for itself and suggests the producer has plenty to offer in the future.

Scion A/V Presents: Omar-S - High School Graffiti EP

It’s safe to say that this week has been an improvement on most others for followers of Omar-S. On Monday we were treated to his new and free EP High School Graffiti curated in conjunction with the Scion A/V imprint, which was soon to be followed by news of Alexander “Omar” Smith’s forthcoming album It Can Be Done, But Only I Can Do It.

The union of Toyota’s Scion A/V project and Omar-S is especially fitting given the producer’s roots in the Motor City, a trait which has left a longstanding mark on his production work. His back catalogue work is extensive, and in many ways can be seen as a metaphor for the 313 itself. His work is characteristically rough and raw on the edges, constructing rigid and uncompromising rhythms, whilst yet retaining real beauty and soul at its very analogue heart, often evoked through expressive chords and poignant vocals.

High School Graffiti is just as inimitable as his previous work, delivering intricate beats which are drenched in 303 acid line excursions and well as those introspective key melodies that are so damn effective. The highlight perhaps comes from the collaboration with Theo Parrish, Who's In Key, which generates a wonderful keys motif against a backdrop of tough kicks and Omar’s nippy and slight hats. You can download the EP by clicking here; it's quality material.

The legendary Detroit house producer will also be unveiling his follow up to the 2005 album Just Ask The Lonely with It Can Be Done, But Only I Can Do It. It will be release via Smith’s very own FXHE label which is by consensus one of the strongest house labels operating at the minute. You can preview clips of each track and pre-order now over at Phonica.

High School Graffiti EP:
1. Got The Drop On Dem
2. Gunup Runup
3. My Naffew Randy
4. Unitarian
5. Who's In Key feat. Theo Parrish

It Can Be Done, But Only I Can Do It:
1. Solely Supported
2. Supported Solely
3. Look Hear Watch
4. I Come Over
5. Ganymeade
6. You Wish
7. Over You Too
8. It Can Be Done, But Only I Can Do It
9. Nite’s Over Compton
10. Here’s Your Trance, Now Dance
11. Skynet 2 B
12. Bobien Larkin

Cabin Fever Trax Vol. 18 (RKDS018)

The Rekids imprint has marked the 18th edition of its retro-house series of 12”s, Cabin Fever, by drafting in revered producer and label associate Mr. G for an outing. The Cabin Fever run has provided a number of class productions over the past three years since its conception in September 2008, staying true to its roots in straight house and techno experiments with each of its 17 previous releases. The latest addition doesn’t waver from this tradition, with label associate Mr. G delivering a record that is a perfect match for the sound Cabin Fever has carefully developed.

The record opens with ‘They Say They Play House’ on the A-side, immediately evoking a deep and soulful vibe. A firm four to the floor beat kicks away, uncompromising in its persistence. The tough rhythm is juxtaposed suitably by the alternating two key notes that tentatively gain ascendancy, timidly working beneath the pulsating rolling bassline. The rhythm contains subtle variations to keep things interesting, intermittently incorporating razor sharp hats and unremitting snares. It’s not so much the presence of these deviations that are so valuable, but their timing that renders them so effective. This is especially true in the case of the introduction of supple claps which delivers the track its full groove, timely in the moments leading up to the central vocal sample. The voice of an older African-American man resonates (as previously heard on Efdemin’s ‘Just A Track’), preaching the importance of the style he defines as “a feeling”. This is an altogether all too familiar component of many house records, but ‘They Say They Play House’ avoids such cliché in the manner it presents the voice, backed by an imposing rhythm and a stirring melody.

Whilst utilising a similar formula, the resulting sound on the flip is quite a contrast from the opener. ‘The Thin Blue Line’ is a more tense and upfront affair, closer to the analogue techno of The Analogue Cops at Restoration rather than the deep house induced on ‘They Say They Play House’. Raw 4/4 kicks are met by a determined bassline that continually wears away. Pointed hats contribute a sharper edge, a feature which is matched brilliantly by the nervous motif the incisive chord stabs generate. The track patiently develops in such fashion, building in anxiety with every clashing snare and the repetitive yet indecipherable vocal sample.

Cabin Fever Trax Vol. 18 represents what we’ve all come to love and expect from the Rekids series. Some may lament the distinct and unchanging direction; however, Mr. G delivers an impressive two track 12”, warming you up with deeper sounds on ‘They Say They Play House’ whilst making you restless with the edgy and raw B-side. Pressed on white marbled vinyl and completed with a thin blue line.

Chicago Damn - Let's Submerge (CHICAGODAMN001)

Anonymous producer Chicago Damn presents the Let’s Submerge EP on his newly formed imprint. The release follows his fine debut on Mark E’s MERC label, as well as his excellent contribution to Wolf EP 8 with ‘If I could’. Let’s Submerge is no slouch either, and displays the array of talents the artist in question has to offer. In terms of sound, its house music with soul and feeling, a pastiche to deep Detroit styles whilst retaining an original and sole edge to each record.

The title track opens up on the A-side. A firm 4/4 beat sets the tone almost instantly, laying the strict format upon which dark arching synth lines unfold. Tight hats align as the inimitable synths continue to tease, soon pressed into motion by irregular claps and an underlying bassline that will do the damage on dancefloors at peak time (in a similar fashion to Levon Vincent’s flawless ‘Man Or Mistress’). It’s an epic tense and patient builder that carefully crafts an indelible synth hook, one which leads the track throughout its 7/8 minute duration.

On the flip sits the slightly faster ‘I Cry’. As well as being quicker in tempo the track’s air and mood is of noticeable contrast, with the B-side carrying a far more pensive tone. A solid rhythm immediately hits, with 4/4 kicks matched on every second hit by crisp claps and completed by a flurry of gentle rim shots. The track swiftly develops into its full stride, marked no end by the beautiful melodies induced by undeniably effective key arrangements. The chords shimmer, coated by lofty synths that only help to evoke the soft yet contemplative sound. The ambiguity is wonderful, an element which really characterises the track. Deep subs add further complexity, enhanced by the repetitive and unequal whispers of ‘I’ from an indecipherable female. ‘I Cry’ is a brilliant effort. One listen and those melodies will forever play on your mind.

It’s an excellent house record, a 12” that will continue to be played for months and months to come. The A-side is upfront and enduring, whilst the serene ‘I Cry’ steals the show with the beauty it generates from its warm analogue construction. Killer 12” of late night house from the gifted upcoming producer.

Chicago Damn 001 - "Let's Submerge // I Cry // Let's Submerge (Max Essa Remix)" by Chicago Damn

Visionist/Lorca - W.M.I.D/Hold Back (LB002)

The recently formed Left_Blank imprint returns for its second outing in August, presenting two of the hottest prospects around at present. The promising label impressed on its debut with the ‘Nylon Sunset’ EP provided by newcomer Vessel, accompanied suitably by strong remix work from Bristol’s Peverelist. Stepping up for the follow up are Visionist and Lorca, young artists that have been growing in stature over the past few months. It’s a perfect fit for both artist and label, combining to produce a striking 12”.

Visionist (92Points, 502 Recordings, Diskotopia; his killer 'Mr 67' is now available for pre-order) opens things on the A-side in distinctive fashion. ‘W.M.I.D’ begins tentatively, with a carefully formed 808 rhythm gradually taking shape whilst downcast synth lines and vox’d sample (crying “what must I do”) craft a sound somewhat caught in the doldrums. This morose atmosphere changes almost instantaneously as the bass drop kicks in. The 808 rhythm takes dominant force, with deep kicks aligned by those inimitable cowbells, staggered claps and deft hats. Warm synth pads ascend with the increasingly prominent vocal loop, and surging subs work away beneath the surface. The rhythm is deadly efficient, and supplemented brilliantly by considered sampling.

On the flip Lorca takes full control with a track titled ‘Hold Back’. In contrast to Visionist’s opener which combines energetic 808’s with quick fire vocals, Lorca’s effort is far more relaxed, characterised by its spare rhythm and poignant chords. ‘Hold Back’ is a real stepper, built on spacious kicks which are balanced duly by supple claps and low-key hats. The open rhythms are complemented beautifully by soulful synth arrangements and a wailing vocal which tenderly rises and recedes throughout. Really strong work from Lorca on this one.

The two aforementioned tracks make up the 12” which will be released on 15/08/11. The digital release comes a week later, and will feature two additional tracks. The first is a remix of Lorca’s ‘Hold Back’ from fellow newcomer Valentin Stip. The French/Canadian producer offers a seductively warm refix, with glistened synths evoking dreamlike qualities alongside the filtered vocals and shuffling downtempo beat. Visionist and Lorca combine for the second addition, with the resulting work forming ‘Slapstickk’. The collaboration undoubtedly fits, combining frenetically shifting 808s with a shimmering synth key melody. It’s a very strong second EP from Left_Blank, one which demonstrates the talents of two fine producers.

LB002: Visonist / Lorca (Preview) - Forthcoming August 2011 by left_blank

Instra:mental/Trevino - Pyramid/Chip (3024-015)

3024 Recordings marks its 15th release with a split 12” featuring new material from incomparable duo Instra:mental and the lesser known Trevino. Martyn’s creative imprint has been invincible of late, releasing three original 12”s that suitably accompany the 3024 aesthetic Erosie has so distinctively established in conjunction with each sound. Addison Groove and Julio Bashmore offered the best of the West Country, whilst Damon Kirkham debuted his solo project under the alias Jon Convex last month.

Kirkham returns to 3024 once again, this time for a workout as Instra:mental alongside Al Green (Boddika). The duo curated the brilliant Resolution 653 LP back in April, and each has been carefully mapping their fledgling individual work over the past few months. The weight of this work is so great, and as displayed on the A-side of this release, it shows no sign of declining anytime soon.

‘Pyramid’ is a real electro stepper, relentless in the power of its analogue tools. Resounding kicks directly pave the way for subtle metallic hats, immediately forming a rigid and uncompromising rhythm. Quick fire toms intermittently feature, and Boddika’s corrosive 303 acid lines delicately warm beneath the surface, rising with every stab. The drop is forceful, a characteristic that undeniably defines this record. The driving kicks are met by hammering toms, whilst the abrasive acid synths carefully weave a succession of notes which construct a sound perfectly suited to the ruthless rhythm.

On the flip, Trevino marks his debut with ‘Chip’. Although the 12” may gain more attention due to its A-side, Trevino provides an impressive track for the split 12”. Syncopated bass kicks are interspersed with sharp claps, lending the track the swing and tuck of 2-step. However, the sound does not differ too greatly from the aforementioned ‘Pyramid’ with ‘Chip’ deftly building a surge of dark acid lines that ascend beside glistened synths.

3024 can do no wrong at present, consistently providing 12”s that are high on quality control as well as experimentation. It’s fast establishing a 3024 sound, one which is brilliantly matched by Erosie’s unique vision. Instra:mental have really delivered on this one, and Trevino aptly backs the brilliant opener.

3024-015 Instra:mental & Trevino by 3024world

Unknown - Sicko Cell/Knock Knock (SWAMP014)

Six months after what can only be described as a relentless domination of the circuit, this year’s most anticipated and discussed record arrives. Talk has abounded the much documented A-side ‘Sicko Cell', relating to various issues and establishing fractions in the track’s reception. The most persistent question has seemingly been the identity behind the producer of the track, a subject which in all honesty shouldn’t have much too much of a bearing on the interpretation of music. However, it always has and always will. Has the anonymity of the producer contributed to the hype surrounding 'Sicko Cell'? Undoubtedly so, but I strongly believe a similar height of attention would have been paid to the track had the producer in hand revealed himself, purely based on the draw of the record.

Discussion of the tracks themselves have somewhat been underplayed due to the prominence of the previous matter, unfairly so as well. There is undeniably something special about this 12”. It’s not the fact an ‘unknown’ producer is behind the work, or the fact that Ben UFO and Oneman have been spinning the dubs since late 2010; there’s a real distinctiveness to the release. These are two memorable yet minimal killers, a fact proven by their 6 month sticking power.

This is particularly true in the case of ‘Sicko Cell’. It’s seemingly contradictory, combining challenging rhythms with the popular awareness of its sampling. The track’s introduction alarms, with various bleeps and razor synths providing layers for the eminent hypnotic vox’d line “I’m the information. Cocaine powder”. The bass kicks hit home earlier than anticipated, soon joined by shuffling hats and the Page sample. The track finally forms its full intricate 808 rhythm, with deep kicks offset neatly by padded toms and soft rim shots. A cold chord arrangement forms a deadly Detroit-esque melody, whilst cries of “too much” resonate in frenetic repetition. This measured build up leads to the track’s climax, a wonderfully twisted breakdown which provides its pinnacle. The vox’d sample directly repeats the opening line, whilst poignantly yearning synthlines provide the perfect foil for Neyo’s bewail “I’m so addicted”. It’s a brilliantly constructed track, causing damage on dancefloors through subtle rhythms and superb samples.

The B-side has been criminally overlooked for me due to the attention directed to ‘Sicko Cell’. ‘Knock Knock’ is an altogether warmer track, whilst still incorporating an introspective element to its sound. Sharp toms immediately align and set the order, whilst the beautiful brooding synthlines tenderly assemble a melody characteristic of this artist’s talents. Pounding bass kicks provide depth to the 808 rhythm alongside quick fire hats, and carefully cut vocal snippets contribute a lamenting tone alongside the ever rising and receding synths. This may just be the stronger of the two tracks in my opinion, skilfully balancing the strong rhythm with emotional melodies.

It’s a very strong release, one which will no doubt be remembered for a quite a while. The A-side will be for crowd pleaser for months to come, and rightly so. I do hope the underplayed ‘Knock Knock’ is given the attention it deserves in the near future. As per usual full marks to Swamp81 who provide yet another outstanding release, finished with typically flawless artwork and pressed on 180g vinyl. Purchase.

Vakula - Mama Said Go Slow/Deaf World (Dub) (SHEV001)

Ukrainian Vakula may just be untouchable at present. The young producer has patiently been building an impressive discography over the past few years, crafting a hypnotic and affecting sound with releases for Quintessentials, Uzuri, 3rd Strike and Firecracker Recordings. His distinctive brand of deep house is delightful, and was demonstrated at its strongest on his latest effort for the promising Unthank label. The three track EP was of the highest quality, combining shuffling house templates with expanding and altering melodies that overwhelm. His most recent release for the newly formed Shevchenko label, one named after the great Ukrainian poet Taras Shevchenko (although I like to think it was rather named in honour of Andriy Shevchenko, my favourite football player of all time - I'm an AC Milan fan), follows in a similar vein, with a hand-stamped white label providing two tracks of equal measure.

The A-side of the Shevchenko release is the glowing highlight on this 12”. The track titled ‘Mama Said Go Slow’ opens with a driving 4/4 beat supplemented by a flurry of sustained hats and deft snare hits. Minor acid synths bubble gently beneath the surface, gently rising and receding before being outdone by the introduction of absorbed chords. The sensuous melody induced by the Detroit inspired keys leads the line, subtly altering throughout whilst a low key soul sample is left lying in its wake. It really is a beautiful endeavour.

‘Deaf World’ (Dub) on the flip is a decidedly downtempo effort, somewhat subdued and tentative. A slow mo driving beat centres events, intermittently joined by quick fire hi-hats, lingering snares and sporadic crashing toms. Arcing synthlines emerge to claim dominance in the first half of the track, only to be gradually displaced on the track’s journey. A light and perhaps smoother arrangement of soft keys grows in stature, thoughtfully matching the previous synthlines with equal intensity. It’s a carefully constructed beatdown track, one which characterises the unique sounds Vakula initiates.

‘Mama Said Go Slow/Deaf World (Dub)’ is a fine effort, and further evidence of this flourishing producer’s talents. The A-side is very special, finding a perfect balance between fine tuned rhythms and introspective melodies that lend the track a further groove. Limited hand printed 12”; don’t sleep on it.
Mama said go smoothly by Vakula

Jason Fine - Menage At Trois (FXHE)

FXHE continues build upon its impeccable reputation, one which will only be enhanced by the latest offering from Omar-S’ Detroit-based imprint. ‘Ménage At Trois/Jack Yo Bodda’ marks producer Jason Fine’s second outing on the label, and it’s an excursion in which he revisits the distinctive sounds of 90s US house/garage. It’s a sound to which he pays homage and yet updates, producing a 12” perfect for late nights and deep downtempo dancefloors.

The title track sits on the A-side and demonstrates the upbeat half of the release. A skittered pattern initially emerges, with incisive hats and pointed snares laying essential foundations for a seductive female vocal to softly arouse. The introduction of resonant kicks gets things moving nicely, assisted no end by the initiation of charming keys. The track builds nicely, with the booming kicks and on point hats forming a shuffling rhythm, whilst the smooth keys and whispered vocal sample contrast in their sensual sound. The track reaches its pinnacle once the vocal descends and the chord arrangements develop, incorporating further notes into the buoyant melody.

‘Jack Yo Bodda’ is an altogether moodier affair, a perfect fit for FXHE. Deep kicks are separated by light hats, underscoring the diva cries of “jack yo body all night long” over a wonderfully morose chord melody. Those signature jagged skittering hats mark a turning point, signalling the arrival of clashing snares, reserved claps and a grumbling bassline only Omar-S could produce. And don’t worry, that bassline takes full control. Jacking rhythms, soul drenched keys, and diva vocals emerge again, comprised to form a brilliant house record with a helping hand from Omar-S the best.

On the flip of the record you find the words “More Bang For Your Buck!!!”. A Statement couldn’t be more fitting for the quality etched on this 12”. Once again it’s another damn impressive record from the FHXE camp.

Funkbias - Last Forever/Heaven Sent (SWAMP012)

Swamp81 continue their exceptional run of releases with the debut release from Funkbias. The imprint's twelfth release presents the collaboration work between Zed Bias and Rinse FM’s Funk Butcher. The duo’s production work neatly fits the Swamp81 aesthetic, combining vibrant rhythms and neat chords with clipped vocal snippets. There’s something distinctive about the two tracks on display here, a sound quite unique and inimitable.

The A-side is the more identifiable, receiving regular play from Swamp head honcho Loefah, Boddika and Oneman over the past couple of months. ‘Last Forever’ is also most certainly the more upfront track of the release. A rugged rhythm pounds away, with bottom heavy kicks providing the base for precise layers of intricate percussion. Striking synthlines sporadically pierce the surface, whilst an unrecognisably frenetic vocal sample is scrupulously ordered. The elements combine with great efficiency, and the further additions of swelling basslines and sharp claps lend the track its full groove.

Switch to the flip and you’ll find ‘Heaven Sent’. There’s an infectious quality attached to this track which has led me to place the needle on the B-side more often than not. From the initial opening arises a series of soft piano chords that warm the high pitched vocal snippets and subtle toms. The drop takes things in a different direction, introducing the track’s shuffling polyrhythms against a backdrop of surging subbass. The tougher sounds of the multifaceted percussive arrangements take precedence, although it’s soon juxtaposed by the reintroduction of the uplifting chord melody. Crashing toms grow in power, and crisp claps fall on every fourth beat.

It’s an impressive debut from the duo; buy on sit material as per usual from Swamp81. Pressed on 180g vinyl with exceptional artwork from the gifted Will Bankhead (Trilogy Tapes, Honest Jons, Doldrums etc), it’s another essential Swamp 12”.

Addison Groove - Bad Things

Addison Groove is on fire. 2011 has marked an important year for Addison's production, prolific both in terms of quality and numbers. ‘Work It/Sexual’ set the tone, with Swamp81’s ninth release marking his strongest work to date. Shortly followed up by first-rate releases on Tectonic and 3024 (not to mention the white label remix of Photek’s ‘UFO’), the supply of Addison material has met its demand. The most recent signs indicate the Bristol-based producer has no intention of letting up on the works under his inventive moniker at present. Last month, Jackmaster included a new Addison dub in his mix for an audio/visual collaboration alongside Plomp&Clout, a track which demonstrates progression and experimentation with the ‘Addison sound’. Next up, a track entitled ‘Bad Things’ has begun to surface.

‘Bad Things’ is straight up killer, primed for the dancefloor. Rolling 808s weave with undeniable effect, deep bass kicks reverberating whilst rim shots sit somewhat closer to the surface. The rhythms progress and evolve throughout, proceeding to incorporate sharp hats and the legendary 808 cowbell. Strands of electro glistened synth stabs open every 8 bars, while invariable sub bass and quick fire Spank Rock vocal samples lend further weight to the precise beat. The sampling on this one cannot be underestimated, it’s a perfect fit.

Whether or not it will see a release remains to be seen. The only thing that is for certain is the fact that Addison’s stride will not be stopped.

ADDISON GROOVE - BAD THINGS by addisongroove

Martyn - Masks/Viper (BF024)

Martyn is back with a single and sophomore album forthcoming on Flying Lotus’ Brainfeeder imprint. Martijn Deykers is undoubtedly one of the most talented producers around, with a consistency of quality demonstrated throughout his multi faceted back catalogue. His debut album ‘Great Lengths’, released on his very own 3024 records, provided one of the highlights of 2009, with a sound much more ingrained in dubstep coming to the fore whilst simultaneously crossing over with garage and techno. ‘Vancouver’ and ‘Hear Me’ still sound as fresh as they did 2 years back, a trait which demonstrates their value. Since his debut LP, Martyn has carefully managed the release of following singles, maintaining the high standards that have gone before. ‘Miniluv’, included on Ben Klock’s Berghain 04 mix, may just mark his strongest work to date. The track is based around pounding kicks and skipping percussion, whilst dark basslines grind beneath the surface only to be overwhelmed by the beautiful melodic chords that develop in the latter stages.

The head of 3024 recordings will present his new material in October on an LP entitled ‘Ghost People’. On the subject of what direction the new material would take, Martyn commented, “People just like a certain sound and then they want more of that. But then when you give them more, they suddenly think you’re boring or one-dimensional. The best way to handle it is to not really listen to people, and just dictate what you want to do. Everyone has their angle, and puts on their mask forward. People use a shell to show who they want to be.” The earliest we’ll be able to perceive the new material will be in the form of a 3-track single, featuring ‘Masks’ as well as two variations of a track titled ‘Viper’. If ‘Masks’ is an indication of where Martyn has taken things with the forthcoming LP we could be presented with his finest work to date. A 4/4 beat thumps, the weight of which is balanced by crisp hats and timely claps. The pulsating percussion is suitably accompanied by a bassline that will delight dancefloors, whilst the progression of intricate key stabs generates an uplifting arrangement that places the track into full fruition.

‘Masks/Viper’ is will be available on 12” on 5th September with a digital release set for 1st August. Invariably, Martyn will deliver quality.

Tracklisting:

1. Masks
2. Viper (Ghost People Edit)
3. Viper (London’s Arches Edit)

Teeth - Shawty & CNT/Lowcut Champagne

Matti Pentikäinen is very much on top form at the minute. The Finnish producer who operates under the moniker Teeth is responsible for a couple of the strongest releases to see the light of day in May and June. His debut came last month on Oneman’s 502 Recordings, a release which has firmly placed Teeth on the map. The eminent ‘Shawty’ was a real statement from the Finn, presenting an inimitable sound that cannot be defined through placement in an umbrella genre grouping. His second 12” was released at the beginning of the month, with CNT/Lowcut Champagne forming his follow up to ‘Shawty’ on Noppa Records. Two tracks of real quality were on display once again, sharing similar characteristics which helped to endear his debut. The sounds are introspective and brooding, yet simultaneously retaining features which endow the tracks with dancefloor compatibility, a quality Addison Groove has mastered on his latest releases. However, there is undoubtedly something special about Teeth’s early sounds.

Oneman copped an absolute killer in ‘Shawty’, and the risk taken on signing the track has justifiably paid off. After first listening, you realise there’s something definitive about the track. Its sensuality absorbs you, whilst shifting percussion underlies a sense of difficulty and anxiousness. The seductive vocal sample (Beyonce’s whisper of “shawty what your name is”) and stunning synthlines bring the heat, supported by deep pads and frenetic hats which lie beneath throughout. The tough garage rhythm that occupies in stages and surging sub bass bestows the track club suitability, albeit an uncomfortable one. The track sits at 147 bpm, a fair distance from the plentiful 128-130 somethings that have risen to prominence over the past 12 months. It’s an unusual tempo, one which lends to the track’s brilliance. A bold move on paper, it undoubtedly facilitates success. Backed by a powerful Falty DL remix, one which gives the original a run for its money, and a genius VHS inspired video, the overall package is excellent.

‘CNT’ makes an immediate impact through its razor sharp percussion, vibing off jukes kicks whilst hard drum hits weave a syncopated rhythm alongside the uncertain snares. A quick fire vocal sample intermittently pierces, gaining more prominence as the track progresses, sitting wonderfully atop the supple kicks. It’s the breakdown that marks the significant element here though, with the mood changing in an instant. Warm, hazy synthlines ascend and take dominance, juxtaposing the harsher sounds of the sharp beats. On the flip, ‘Lowcut Champagne’ is the more appealing of the two, pensive and melancholic in tone. The percussion is buoyant, recalling the intricacies of Joe. A heavy off-beat garage rhythm takes centre stage in phases, reminding us of the strength of Teeth’s percussive arrangements. However, the vocal clips and synths are utilised once again to produce an ominous atmosphere. A yearning diva cries “feel it”, softening the blow of every drum hit. The break allows beautifully morose synthlines to construct a melody of wonderful proportions, providing the track’s finest moment.

Two excellent releases from Teeth, with the promise of more quality forthcoming on Ramp, 502 and Noppa.

502:003 Teeth - Shawty/Shawty [FaltyDL Remix] by 502 Records

Teeth 'CNT' / 'Lowcut Champagne' NOPPA008 by stholdings

Kyle Hall - Down!

Kyle Hall takes it deep down for the latest 12” release on his Wild Oats imprint. The young producer heralding from Detroit has made some of the most affecting house music of the past couple of years, and his sound shows sign of development and maturity over this period. From his remarkable debut on Omar S’s FXHE to soulful control of the “Sun Goddess” EP, his work exudes quality. “Down!” demonstrates no sign of letting up on the quality control, with the infectious A-side constituting one of Hall’s finest productions to date.

“Get Down” builds with a solid 4/4 rhythm kicking away at 126bpm, each hit accompanied by the spacious clash of a snare. A deadly effective chord melody is the main drive behind the track, complemented beautifully by the recurring female cries of “let’s get down”. These elements continually filter in and out, recalling the disco-edits of Moodymann. On the flip, “Xero” is constructed with percussion as its very heart. Hall adopts Latin styled percussion here, composing a rigid hypnotic beat which is drenched in soulful keys characteristic of Detroit house. Hand stamped 12” on a limited pressing. Fine effort from KMFH.

Endian - Two Chords Deep (EMINDS020)

Electric Minds have delivered a fine 12” with a debut from a new producer operating under the alias Endian. Two cuts of deep house/techno occupy each side, downtempo and emotive efforts that bring with them a distinctive sound, one which presents the talent this previously unfamiliar artist possesses. It’s an extremely impressive debut, a release which marks by refined and considered tracks. After initial listening it becomes apparent as to why NonPlus+ have signed Endian to a release in the coming months (one of which one of the tracks can be heard in Paul Woolford’s recent FACT mix).

‘Two Chords Deep’ is patient and progressive on the A-side. A supple 4x4 beat is set out from the off, reserving the static synth for the backdrop. Hats soon collide between every deep kick, and the efficient two note chord arrangement begins its enduring journey. The addition of claps on every second beat completes the sum, giving the track its full lease of life. The two chords persistently work their way into your memory, effectively working up a groove in union with the driving rhythm.

‘Doze’ on the flip is a much more downtempo affair, with closer ties to deep house. Once again it’s a track which retains the patience of house, tentatively building over the near 7 minute duration. A consistent beat pattern is immediately established, low slung and polished with rounded kick drums. However, it’s the warm gazing chords that really strike, sitting beautifully above the more structured rhythms. The introduction of claps adds a further dimension, as do the latter supplements of crisp hats and the timid snare hits. Throughout all of this percussive development, the soft chords remain constant, ensuring the serene atmosphere engrained in this measured track.

This is a really strong debut release from Endian, confident and assured. Next up for the producer is a 12” on the accomplished NonPlus+ imprint, a release which will undoubtedly, and deservedly, introduce Endian to a wider audience.
EMINDS020 - Endian "Two Chords Deep" by electricminds

Marcellus Pittman - Nyrobi Knight

Rough and ready Detroit house from none other than Marcellus. His first EP on Omar S' FXHE imprint is one I've been lucky enough to track down on 12" after its original release back in June 2005. Member of The Three Chairs, Marcellus is unquestionably one of the finest house producer’s around, and his impeccable record of astounding releases is testament to such an assertion. I was first introduced to his work with the Unirhythm Green #1 release, a 12” which instantly initiated my adoration for his production. Raw, stripped programmed beats against soulful melodic progressions. His most recent efforts have delivered just as devastating results, with The Eastside Story EP and ‘On A Beautiful/By Your Side’ providing two of 2011’s strongest records. All this is established before giving the slightest mentioning the magnificent Midwest Advocates EP, a 12” which has the small matter of ‘Chicago Nights’ on its A-side.

His first self titled EP for FXHE is no less impressive, and in particular one track really displays the quality Marcellus has to offer. ‘Nyrobi Knight’ may just be my favourite Pittman track, and that is an achievement that really takes some doing. A meticulously programmed beat hammers with padded kicks, complete with persistent hats matching each hit. The track takes off once the rich one note chord works a progressive captivating melody (work that recalls the sounds of Theo Parrish), one which defines the track and leads the way for the introduction of afro-rhythmic percussion in sporadic intervals. It’s a beautifully raw and soulful track, one which displays his innate quality to produce house music that works the soul, body and mind. First class material.

Ben UFO Interview - Intruders

The guys at Intruders recently held an eclusive interview with Hessle Audio co-founder Ben Thompson, discussing everything from the '116 & Rising' compilation to Ben's personal feelings towards giving tracklists and the importance of vinyl. Ben's a really interesting and well spoken young man, and the interview is more than worthy of 15 minutes of your time.