Where have Kenton Slash Demon been hiding? Since stumbling across these guys I've been hooked, 'locked in' as some might say. Kenton Slash Demo are nonetheless a Danish house duo comprised of Jonas Kenton and Silas Moldenhawer, two young gents who also form half of the Indietronic pop band 'When Saints Go Machine'. 

Their 'Sun EP', the first of a series of three, will raise the bar for most of us, and will make us rethink what music is all about. 'Sun' is undoubtedly one of the best songs I've heard for a while. It's has so much energy in it, no matter what the situation is, 'Sun' picks you up and gets you flexing those moves...if that's what your into? It will intoxicate you lovingly, making that rewind button ever more so tempting to hit.

The second track to the EP is a rework of Sun by Bodycode aka Portable who's had releases on both Ghostly International's Spectral imprint and Perlon. His take on Sun remove that house kick to it, whilst picking out the best elements of the original to create a deep rhythm emphasised by the vocals. It's very much a great companion for the original.

Lined up next for Kenton Slash Demon are two more EPs, ‘Matter’ and ‘Daemon’, set for release in October and January 2011 on  Tartelet Records and a debut album for later in the year, as for what label, K7 are in talks. If Tartelet Records are new to you, I strongly recommend you check out the Berlin trio Brandt Brauer Frick also on the label.

The Kenton Slash Demon sound sidesteps the classic house formula as it combines the organic with the futuristic. Their remarkable talent carry compositions and production much further than the classic 4/4 beat. With bubbling sound narratives, catchy basslines and interesting breaks they manage to create an intelligent structural take on electronic music that reaches far beyond the confines of the dance floor. Don't miss this one out, check out their exclusive Sun website out and stream Kenton Slash Demon's Sun and download Bodycode's version of Sun exclusively from IA now.

‘Sun’ is released on the 26th of July on Tartelet records.

STREAM: 'Sun' - Kenton Slash Demon

DOWNLOAD: 'Sun' - Portable (AKA. Bodycode) Remix

Tracklist:

A Digital Mystikz LP, triple pack or whatever you want to call it has been a long time in the making. Search Discogs at your peril, as the DMZ back catalogue will set you back a fair penny! The label restricts most 12”s to a one-time limited run. DMZ heads flock to Mala and Coki sets to hear their arsenal of dubplates, nearly all of which remain unreleased, and gather on message boards to speculate which will see the light of day first.

In this age where music is digitalised and the consumer can get their hands on mp3's whenever they want, restricting their releases to only a few a year makes DMZ releases even more so cherished. Digital Mystikz music is fetishised almost as much as a physical object as it is a piece of sound. Endless two-minute samples ripped from radio sets and placed on YouTube at a low quality have never been enough for DMZ fans, and this makes perfect sense for music so obviously physical - listening to Mystikz tracks is an incredibly physical experience as they are so reliant on bass pressure.

This physicality goes arm in arm with the format the music is presented in – the only time Mala placed mp3s online to buy he instantly regretted it and they were duly removed. Therefore the limited nature of DMZ records and dubplates have created a huge expectation for more physical releases, which DMZ have consistently resisted over the past few years, which results in their music becoming a kind of treasure. It is into this climate that this LP, vinyl only, is released.

Opener 'Unexpected' is driving and dark, the drums harking back to DMZ classic Anti War Dub, but with a less aggressive, more pensive mood. The LP continues with 'Pop Pop Epic', in which a vintage analogue synth and decapitated ‘soul jah’ vocals brood away whilst reverb-soaked halfstep drums provide the vast sense of space that is present throughout the record. 'Eyez' is both tense and sparse, yet arguably provides the most obvious dancefloor moment of the record.

My personal highlight, 'Mountain Dread March' accurately matches its title. The longest track on the record, it ebbs and flows, constantly building through its drops, the low end demanding that the body sways and the feet move like, well, a march. 'Living Different' is almost cosmic and continues the record in typically sparse style. The title track is the most intense and dense and concludes the LP like the end of some kind of inter-planetary lay-line before ending abruptly.

It is hard to resist the feeling that it has all ended too soon, that for an LP this collection of dubplates interspersed with newer tracks might be too brief after such anticipation. But then this was clearly not how this record was intended to be enjoyed. Return II Space exists as a positively haunting document of DMZ for the many who have demanded it, manifested in fine form on three pieces of heavyweight virgin vinyl. This is evidently in the way it was meant to be enjoyed: in high quality, physical fashion and it will be incredibly satisfying to fans, at least until the next batch of dubs.

BUY: Digital Mystikz 'Return II Space'

Formats: 12"

Tracklist:

A. Unexpected
B. Pop Pop Epic
C. Mountain Dread March
D. Eyez
E. Livin’ Different
F. Return II Space

Digital Mystikz MySpace DMZ MySpace

Mount Kimbie have been receiving a lot of much deserved praise recently - and it's fair to say this album has been hyped on some kind of Olympics 2012 level. Expectations are much the same as what was in the air on the eve of Cosmogramma's release - and my initial reaction was much the same upon hearing it. "Where's the life changing productions at? Why haven't I felt a shift in my spirituality? I'm three tracks in, and the only sense being pleased is my hearing, oh and the cover is really funny - I simply must update my tumblr!" Nothing could have lived up to the expectations I had - they were unjust, and I had mistaken the release of an album for the coming of a new messiah, only this time he's atheist and is using his spiritual gifts to treat everyone to holidays in Berlin and offers to pay their council tax. All that aside though, this is a fantastic album. Make sure you hear it, it's important that you do.

These guys have an ear for lovely stuff like almost nobody else. I feel like an idiot talking about textures and stuff, so I will only do so briefly. But they got their freaky textures down; we knew that from their initial, essential EPs. Where they showed off their knack for filling tracks with those warm, intense hums you find in dark broody techno. Their trademark formula of combining hazy field recordings with sweet melodies, or 'caramelodies' as I like to call them. It works, it's affecting music, and I find myself becoming immersed in it (I know, I know - pass the wheatgrass juice).

The first tracks I heard from Mount Kimbie planted the idea that a long player would work. Something about the music they produced, it's richness perhaps, or it's awkwardness in finding an angle for the dancefloor was something which felt odd as an EP. They've created an album that works as an album. An album with moments leaning towards a dancefloor though. Much like Burial's debut, it's a creature with endless possibilities. Right I’m going in to hiding now, because comparing anything to Burial is a bold move and I’m expecting boulders to come tearing through my window any second now.

It's a pretty spot on album in which they represent everything we've come to know them for over their past two EP's. Whether it's the stumbling, beautiful mess of 'Maybes' or the 'Hey you could totally get away with playing this in a club', bouncy, crunking flavaz of Sketch On Glass' they've totally widened their boundaries even further. I reckon this will be a favorite at least until a new messiah comes along.

Released: 19.07.2010

Formats: 12" & CD

Tracklist:

1.  Tunnelvision
2.  Would Know
3.  Before I Move Off
4.  Bling Night Errand
5.  Adriatic
6.  Carbonated
7.  Ruby
8.  Ode To Bear
9.  Field [Click to stream]
10. Mayor
11. Between Time

Glass Table is the new sub label from Brighton based Hypercolour records. Their aim is to focus on the more seedy side of dance music, the kind of beats you put on when you get back home from a club with your friends and refuse to sleep and counter the effects of 'sleep', by focusing all their efforts by carefully spreading substances across that 'glass table'. Yeah you get the picture, Glass Table is all about listening to all sorts of weird and wonderful sounds. Glass Table records launches with the 'Hush EP' featuring two of Detroits most respected mavericks Jimmy Edgar and Kyle Hall, on remix duty.

If you haven't noticed the artwork yet for the EP, have a good look, because it's actually quite hilarious and I can't even imagine where this was taken or even found? Guess thats thanks to Google! A miniature man stands bemused alongside his trophy, yeah that bare naked sex 'cougar', grrr. There's no doubt the artwork instantly conjures up seedy thoughts and can only mean it's a reflection of the music. Rip open the vinyl's film casing and slide out the actual 12" and you'll be in for another surprise, good old KFC's Colonel Sanders cheeky face grinning at ya, both of the A side in red and on the flip side in blue!

Both of Edgars tracks 'Hush' and 'BThere' are deeply lo-tempo, measuring in at about 106 BPM. The tracks have different elements in them from electro, broken beat to house. It gives them this sexy future disco sound to them. It might sound confusing but this is exactly the kind of subtlety that Jimmy Edgar does so well when producing tracks. Kyle Hall's moulds 'Hush' into a rhythmic deep house motown cut, injecting an uptempo groove akin to Carl Craig or Shed. Overall the 'Hush EP' delivers superbly original Detroit influenced music from both producers and are a give a great indication on Edgars new album 'XXX'. Stream 'Hush' now on our homepage.

We've been working with Glass Table closely over the past couple of months to help promote the 'Hush EP'. Our promotions team IA | PR have built a micro-site for the 'Hush EP' where you can watch the highly controversial music video for 'Hush' and leave your feedback. Be warned it contains explicit images and may offend some of you. This is what Jimmy Edgar has to say about the video:

"I actually think the video is dirty as fuck but brilliant. you can see the despair in the girls eyes and the blonde in the beginning is gorgeous and so sad. the end when the man goes "you like? is it ok? nooo?" and then the girl looks disgusted and moves away...This is modern art film, exposing the sick tragedies that women endure to make money or create fame."

BUY 12": Jimmy Edgar 'Hush EP' [Glass Table]

BUY Digital

Formats: 12" & Digital

12" Tracklist:

A1 Hush (Original Mix) [Click to Stream]
A2 BThere (Original Mix)
B1 Hush (Kyle Hall Remix)

Digital Tracklist:

1. Hush (Original Mix)
2. BThere (Original Mix)
3. Hush (Kyle Hall Remix)
4. Vrndaktor Hell
5. Jns-2000

Hush EP Micro-Site | Jimmy Edgar | Kyle Hall | Glass Table

Tim Xavier knows a thing or two about making a dancefloor move. Over a decade of releases for the likes of Clink and LTD400 plus an enormous list of engineering credits for Wagon Repair, Ghostly & others have made Xavier very much part of the European house / techno establishment. How, then, will this audio purist approach his debut artist full length? Well, thankfully, he's stuck to what he’s best at.

After the fuzzy, noisy ambience of opener ‘Ambient Duality’, we’re straight into the uncompromising tech-house fray, and no mistake. Let me be clear: I in no way regard that as a pejorative genre term - as many others seem to, putatively because its not aligned with the contemporary headwind. Indeed, the 10 dance cuts on offer here fly directly in the face of recent trends: the closest we get to the tropes of Mannheim are the subtle chords on the electro-drenched, multi-layered ‘Sequence Madness’; the nearest proxy for the cavernous drones of Berghain are the blunt, gristly churnings on the superb titular offering, or the subtle deployment of filtered white noise throughout.

Otherwise, Xavier serves up an exquisite collection of Cocoon-friendly, intricately propulsive, bass-heavy grooves designed for big systems and messy mainroom floors. Witness the heavy kick and drugged-out vox of ‘Urban Survival’, the insistent bleep and darkly Villalobos-redolent incantations on ‘Incarnation’, and my personal standout, closing track ‘Ambiguity’, which in one fell swoop demonstrates the technical prowess so called upon by his contemporaries, all bottomless low end, skittering percs and slashing hats.

Although the refusal to bow to contemporary pressure might leave Xavier open to accusations of outmodishness, I for one found the selection refreshing, with plenty to get my party moving: torpid, faux-soulful, conga-heavy house be damned.

Release Date: 28th June 2010

Tracklisting:

01. Ambient Duality 
02. Sonic Duality 
03. Into the Light 
04. Eleven Eleven 
05. Sequence Madness 
06. Viper Fish
07. Urban Survival 
08. Incarnation 
09. Uplift the Ghetto 
10. Ambiguity [Click to Stream]

Clink Records | Tim Xavier MySpace

Recently i've been dreaming up a trip to Berlin, and this mix has often been the cause for long periods searching for flights, hostels and stuff to check. Having never been to Berlin, I imagine every bar, café, restaurant, square, plaza, public toilet, car park, bus stop, supermarket and, well just about everywhere to be infused with techno. In my head it's one giant techno organism with Berghain as it's heart and hardwax as it's senses. In my head, there are dudes in big white vests partying their ways to work (where they will then party some more) to the rolling, sweeping, 4x4 that fills the city. 

Of course, it isn't anything like this in reality, but I guess it's one of those things you don't realise until you've been there. This mix however, makes it far too easy to dream up a place - it's sublime.

Ben Klock seems at the very centre of the current climate in techno, which seems to be shifting to something a little darker and stripped back and has been for a while. Perfect Berghain business essentially. A brutality to the music is softened by a prominent melody - and a definite groove to everything. Ostgut Ton's output seems to be maintaining the seriously high levels in their output - and this mix demonstrates that perfectly.

Watch out for the 12"s which will follow the release, Martyn's offering with the astounding 'Miniluv' in particular is worth your time.

Tracklisting:

1.   154 - Apricot

2.   DVS1 – Pressure previously unreleased

3.   Junior Boys - Work(Marcel Dettmann Remix) previously unreleased

4.   Martyn – Miniluv exclusive

5.   STL - Loop 04

6.   Levon Vincent - The Long Life 

7.   Jonas Kopp - Michigan Lake exclusive

8.   ACT – RoHd previously unreleased

9.   Mikhail Breen – Veracity previously unreleased

10. DVS1 – Confused previously unreleased

11. Rolando - De Cago previously unreleased

12. Kevin Gorman - 7am Stepper exclusive

13. Ben Klock - Compression Session 1

14. Roman Lindau – Keppra exclusive

15. Tyree - Nuthin Wrong

16. The Echologist - Dirt (Ben Klock Edit) exclusive

17. James Ruskin – Graphic exclusive

18. Ben Klock feat. Elif Biçer - Elfin Flight previously unreleased

19. Rolando – Junie previously unreleased

12"s

14.06.2010 Martyn/Roman Lindau – Berghain 04 Pt. I (o-ton 37, 12”)

28.06.2010 James Ruskin/Kevin Gorman – Berghain 04 Pt. II (o-ton 38, 12”)

19.07.2010 Jonas Kopp/The Echologist (Ben Klock Edit) – Berghain 04 Pt. III (o-ton digital 02, digital only)

Ostgut Ton Records | Ben Klock Myspace

Hotflush have released a fair amount of utterly mind blowing music in their time, from the techno explorations of Sigha and Scuba, to the anthemic bliss of Joy Orbison’s Hyph Mngo (whatever that means) and on to the funky claustrophobia of Roska’s remix of Untold’s Just For You.

Continuing this tradition, New York’s Sepalcure are set to mark the label’s 25th  release with their Love Pressure EP. Rather than the Brazilian metal I expected when I first saw their name (Sepulture anyone?) their sound has a garage-like, yet frequently halfstep aesthetic, with sugary, buzzing synths and vocals cut from bliss-drenched house acapellas.

The title track has a loved-up, deep vibe, with all signals pointing towards complete immersion. The vocals are the key here, the manipulation of which hints at the haunting of early 90s Hardcore raves. The other track on this side, Down, continues in the same vein, but is slightly more geared towards the dancefloor. It builds with a dominating synth, which seems to do battle with the vocal samples throughout.

The second side is even stronger than the first: 2-step stormer Ever Day of My Life is hypnotic and understated in equal measure and benefits from a heavy dose of bass; and we have the final track from the EP for you to listen to here. It’s undeniably one of the most instantly astounding tracks of the year so far. The kind of tune that makes you feel like you’re experiencing some kind of meditative-zen-enlightenment just by listening to it, before you inevitably rewind it again, and again, and again…

Release Date: 7th June 2010

Format: 12" / Digital

12" Tracklist:

A1  Love Pressure [Click to Stream]
A2  Down
B1  Every Day Of My Life
B2  The Warning

Hotflush Records | Sepalcure MySpace

Whether you' download their amazing podcasts, attend their ever more vital events or avidly follow their releases - you'll definitely understand how consistently on-point these Wolf + Lamb guys are.

I don't think anything quite demonstrates this better than this Love Someone LP. Like the very best of Detroit long players, it goes absolutely everywhere house music should go. From the 808, acid infused stronghold of their Mock & Toof remix, to the flippant equalizing and arms aloft disco joy of 'Love Someone'.

For a collection of tracks and remix work, the release sure holds together as an album. Not truly in the conventional sense, as dance music often doesn't - but there is definitely enough here to maintain a listeners interest. I'm not going to lie though; this stuff is for playing out, or enjoying on mixes.

Anyone who was in attendance at last week's Wolf + Lamb presents party in London recognises just how cool these guys are. Their names are Gadi Mizrahi and Zev Eisenberg. Those aren't the names you find amongst people like us. Those are the names of people ball around in tailored suits, and actually use speed dial. I know the word 'cool' and 'guys' would probably make you switch of quicker than the appearance of Eamon Holmes' smug, chin-heavy face - but if you're still with me, trust me on this one. They just know how to get everything right. In terms of parties, it's that they realise all you need is a basement, a speaker stack and rolling tracks for several hours. And in terms of releases, well all you have to do is put out the hottest tracks, and some really nice design to go along with it goes a long way. This one is essential.

Tracklist:

1. Just For Now
2. Mock & Toof - Shoeshine Boogie (Wolf + Lamb Remix)
3. Love Someone
4. Want Your Money (Dyed Soundroom Wants Your Love Remix)
5. I Know You're Leaving
6. Monster Love
7. Want Your Money

Wolf + Lamb | Facebook

For the past eight years Kompakt Extra, a sub label of Kompakt,  have been releasing the eagle emblazoned Speicher series. If you have no idea what this series is or even stands for, I suggest you head over to Discogs and check out the roster of producers that have released a Speicher EP. If you can't be bothered to do that here are a few names that I'm sure you would have noticed before, DJ Koze, Superpitcher, Wighnomy Brothers, Michael Mayer, Steve Bug, Oxia and Gui Boratto, not a bad selection at all.

2010 welcomes Maxime Dangles and Steve Moore to the first Speicher EP of 2010. Frenchman Maxime Dangles flexes his techno wings with 'Bras De Zil', which is 100% classic Speicher techno from the very start. 'Bras De Zil' begins with an absolutely banging rumbling bass line, that isn't far off from being attributed to some kind of Berghain sound building up pressure throughout untill it sends you beserk with an almighty drop.

Steve Moore known to many as part of the progressive rock act 'Zombi' and others as 'Titan' and Lovelock, offers up “Bayern Kurve”, a mid-tempo roller that recalls the classic crawl of EBM that has come to the techno intersection - destination: future unknown. This tune is what the disco kids will certainly scream for as they now start to yearn for darkness in their dance.

Speicher 67 is as always a fine example of how techno should be done, go grab a copy, turn up the volume and piss off your neighbours.

BUY / Listen

Kompkat.fm | Maxine Dangles MySpace | Steve Moore MySpace

Rinse compilations more often than not serve as notable landmarks in the constant shape shifting of London's bass music. Whether that's the foresight of funky's rapid introduction and continual growth with the Supa D and Marcus Nasty volumes; or the mixing pot sets that are now a staple from Alexander Nut's, and now Oneman's, offerings.

Oneman gained his name by single-handedly re-introducing garage to a new generation, bringing it back to the UK’s underground dancefloors. Eliminating the premise of it being a dirty word, or even a laughable selection. Certainly for myself, growing up outside of it's London home and being far too young to have been exposed to much more than Craig David or 'Flowers', a whole new world of crate digging was exposed.

This comp is a statement though, Oneman has become known for this, but if you listen to his recent shows he's about looking forward more than ever. The current sound of London is represented, and if anything it stands up far more than a mix of 'classics' could - and will probably serve as something far more memorable. I would term stuff like Kode9's '2 Far Gone' and Zomby’s ‘Rumours And Revelations’ modern classics, even though I'm probably being far too premature on this and may live to regret it. Too make a mix of purely current sounds was a bold move, but I think he pulls it off. Documenting the now is important and it certainly makes this release more necessary.

I swear Oneman's name is misleading though; his abilities with mixing are testing my trust in him. Surely only one man can't mix this quickly, this precisely. It must take a team of people, spending hours in a boardroom fully zoned into a mantra of 'blue sky thinking' t pull something like this off. I hope that statement stinks of hyperbole, but that you kind of get the pint. Obviously with any pre-recorded mix, you can never really tell somebody's skill, but if you've ever seen him out, or even just caught his radio show - the man isn't natural. The blend from Martyn's Bittersweet mix of Acid Bells into Geeneus and Dynamite's 'Get Low' is testament to his ever-challenging selection. Mans got foresight!

Tracklist:

1. Double Helix (LHF) – 96 Flavas (No More Games)
2. Ramadanman – Mir
3. Martin Kemp – After The Night
4. The Detatchments – Circles [Martyn's Round & Round Mix]
5. Jazzanova – I Can See [Doc Daneeka Dub-Bump Mix]
6. Kode 9 – 2 Far Gone
7. Martyn – Mega Drive Generation
8. Bassjackers & Apster – Klambu
9. Deadboy – U Cheated
10. Zomby – Rumours and Revolutions
11. Efdemin – Acid Bells [Martyn's Bittersweet Mix]
12. Geeneus & Ms Dynamite – Get Low
13. Smoove Kriminal – Represent
14. Sticky – Jack It Up feat. Marvin Brown
15. R1 Ryders – Rubberband VIP
16. SouLTonic Sound System – The Flying Saucer
17. Bok Bok – Citizens Dub feat. Bubbz
18. Hem feat. Terrible Shock – On a Mission [Shortstuff Remix]
19. A4C – Untitled Mambo [Boogaloo Crew Remix]
20. Joy Orbison – Hyph Mngo
21. Breakage feat. Newham Generals & David Rodigan – Hard
22. Desto – Disappearing, Reappearing ink
23. Joker – Digidesign
24. 2000F & J Kamata – You Don’t Know What Love Is
25. Starkey – Rain City
26. Headhunter – Prototype [Modeselektor's Broken Handbrake Remix]
27. Crystal Fighters – I Love London [Brackles Remix]

Oneman Myspace | Rinse FM | BUY HERE

"There was a time when I would lose my temper regularly, when I felt that I had to stand up and say something about the things that made me angry. I used to take a stand and rage against injustice all the time. Now I know how things will turn out and that has taken the fun out of losing my temper. There was a time when I could derive a certain pleasure from trying to work out what to say and do next. But not anymore..."

DJ DREDi is a 'beat broker' from Northampton, England. He started playing around with music in 2006, but only recently has he truly found his feet in his music. He produces sumptuous lo-fi hip hop beats and ever since stumbling accross his music I can't stop listening to his banging 90's gangster influenced beats.

'Escape from LoFly City' is his latest album on Sassbolgna Records. You may recall this Sassbolgna from our feature on S.Maharba's 'Organs' back in January 2010. If you liked that, you're going to love DREDi. 

'Escape from LoFly City' is essentially an instrumental cinematic comicbook journey. Each song features classic quotes from films such as 'Lock, Stop and Two Smoking Barrels' [1998] and 'Chopper' [2000]. The third track 'Nullifidian' features that favourite line "We grow copious amounts of ganja jaaaaah". This sounds cheesey, but when the beat drops in 'Method' you know this is straight up British gangster music.

In true traditional Sassbolgna form, 'Escape from LoFly City' has been released on cassette, as well as digital. No doubt the cassette adds layers of graininess to this already lo-fi beatmakers sound. A CD version will be available soon so go check out Sassbolgna Records and grab a copy.

What grabs me about this album is DREDi's ability to edit such old sounding samples such as the violins in 'Nullifidian' and lay them on top of such a great beat. Classical music and beats, perfect Sunday morning music.

Download 'Nullifidian' from IA now for free, and check these beats out. If you like what you hear head over to his Bandcamp page and listen to the whole album before buying it. I'll leave you with a few words from beat maker himself on his forthcoming album.

"The new album is going to be a comicbook beat tape, kind of developing the idea of "escape from LoFly city" where the beats are telling a story in their style and sequence along with the clips of dialogue, but this one is going to be based on the occult, mysticism and symbolism around the people that associate themselves with the eye of providence, all seeing eye, eye of Horus whatever you want to call it. But it isn't a conspiracy theory thing, its going to be a story told in sound, numbers, words, and images the beats will be the soundtrack to all of it."

DOWNLOAD 'Nullifidian'

MySpace | Facebook | Bandcamp | Sassbolgna Records

How the hell is this stuff going to get documented and referred back to in years to come? It's something I often wonder about. Everything I write about this stuff turns into a debate over genre titles, who or what is influencing it, where is it going? To the point where it seems as if every producer is just doing whatever they want, unwilling to work within my preconceptions of what might come next. It's damn right rude - and James Blake is a key protagonist.

Of course this is healthy, this is why I love this music. Who wouldn't want to gawp confusedly at every dance they attend, be moved to some speechless state every time they put on some headphones. It's a wonderful thing, even if half your friends and family think you're some kind of simpleton for it.

So, James Blake. Hessle Audio. Of course it's huge. 'The Bells Sketch' is some real bug-out stuff. This tune has so much prowess it's unreal. A truly formidable track. I don't think I managed to get all the way through it until about 2 weeks of listening to it. Usually only managing to get a minute in before wheeling back - then repeating this two or three times before stopping it and walking away. Or perhaps just sticking on some soca to lighten the mood. It's another fine example of James' work though. For all the darkness, there's a definite groove to everything he makes. It has everything, insane space in the track creating a sense of pressure. Incredible amounts of funk dotted throughout tracks via synths that squeal like some great sense of relief. All the signs of a man with direction.

Buzzard & Kestrel is some serious face palm material. Tumbling keys build until an outburst is reached which sounds like James Brown unleashing his full sexual power. Interviewing him last year gave me a little insight into how he goes about making music. By which I mean, a very little idea. After being sent this I just didn't know what to do with it. It's too much for a Christmas Eve bar crowd, that's for sure.

'Give A Man A Rod' is just as enthralling. Instead of reading me attempt to use clichéd metaphors and failing massively, just feel free to imagine me singing "It's too sick, it's so sick, go out and buy the damn record already..." over and over again.

All this after a couple of fine releases already this year. A 10" on Brainmath, with old friend Airhead was equally ace stuff. 'Pembroke' had been on my want list since the pair’s Mary Anne Hobbs mix, and the flip 'Lock In The Lion' has to be one of the biggest growers of all time. Then there was the Harmonimix 12", which I thought would be one of those "This is amazing..." for two weeks kind of records - but I definitely still love the 'Bill Bill Bills' remix. Even if the Lil Wayne one has been tainted by some other recent on goings in my life leaving me a little over exposed to little weezy. Slowly but surely James Blake is stealing all of my money, but for the minute I'm cool with that. Especially until I get my hands on that R&S release.

Keep your eyes peeled on your RSS feed for a little interview with the man in the coming weeks.

LISTEN / BUY

Tracklist:

A1. The Bells Sketch
B1. Buzzard & Kestrel
B2. Give A Man A Rod

MySpace | Hessle Audio | Hessle Audio Facebook

2010 marks the tenth instalment of the Pop Ambient series and before I get stuck into this review, this edition is by far one of the best I’ve heard from the series.

Since the series began 10 years ago it's been responsible for introducing me to compositions of sound that are unlike anything else. You can describe it however you like but for me I don't care about the genres it congregates, personally ambient techno just sounds rediculous. Nonetheless year after year each Pop Ambient compilation presents some of the finest ambient music out there, and there's no doubt that Pop Ambient has become a cornerstone annual release for Kompakt.

The whole ideology of Pop Ambient was conceived by co-owner of Kompakt Records and producer Wolfgang Voigt otherwise known as Love Inc, M:I:5, Mint and Gas. If you want to find out his other aliases head over to his Discogs page. Year after year Voigt personally selects tracks for the compilation, no doubt to pay homage to his own sound projects, most notably his early 90's project Gas.

The musical context often characterizes densely layered ambient soundscapes that are not concerned with beats, percussion or bass lines. Throughout Pop Ambient’s editions, the music has evolved ever so naturally, almost characterizing the blossoming of the floral arrangements that have graced the series covers year after year.

Over the years the series has been host to Kompakt’s keystone producers, Dettinger, DJ Koze, Wolfgang Voigt, Jurgen Paape, The Orb, Markus Guentner and Triola, the list is endless. This year’s track list is by no doubt a disappointment, most notably the presence of Dettinger. Olaf Dettinger hasn't released new material on Kompakt since his stunning 'Oasis' album in 2000. God knows what he's been up for the past 10 years, but this year he's back with a shimmering song 'Therefore'. According to Kompakt Dettinger will return so stay tuned.

For me there's an incredible quality to each song on Pop Ambient, something extremely vast and wholesome to them. Jürgen Paape's '864 M' and Brock Van Wey 'l You Know Where to Find Me' are two utterly breathtaking songs. They've both become key tracks in my morning commute on London's deafening Underground network. Trust me; 'l You Know Where to Find Me' is the perfect antidote in drowning out those screeches.

2010 also welcomes Brock Wan Wey to the Pop Ambient series. This man has become one of the most important ambient artists over the past few years. His ability to harmonize celestial vocals in 'l You Know Where to Find Me' has one of the most profound effects on any listener, instantly triggering emotions from any listener. As a result that primary concern that 17 minutes in length is just plain silly, in fact becomes totally obsolete.

DJ Koze flexes his Swahimi style production once again and as usual provides us with another weird and deranged track 'Bodenweich'. It begins with a two-part bass stab and a voice manipulated to sound like a passing car before dissolving into quiet piano samples and violin. It's easily one of my favourite tracks on the entire compilation and is another primary example of DJ Koze's incredible production capabilities.

The tenth instalment of Pop Ambient is a great addition to anyone's music library and musical knowledge. It's extremely private music that you don't really want to share with anyone else, it's for you to enjoy during the coldest days of the year. Others may not appreciate it, but what do they know, it's up to you. Download “In The Wind” by Thomas Fehlmann.

BUY

DOWNLOAD - “In The Wind” Thomas Fehlmann

DOWNLOAD - Popnoname 'Momente' Pop Ambient Mix

Tracklist:

1.   “The Sound Of One Lip Kissing” Marsen Jules
2.   “Lest You Forget” Brock Van Wey/BVDUB
3.   “Shildergasse” Triola
4.   “Zither Und Horn” Wolfgang Voigt
5.   “Clouds Across Face” Andrew Thomas
6.   “Glen Coe” The Orb
7.   “Blue Items” Mikkel Metal
8.   “Bodenweich” DJ Koze
9.   “864M” Jürgen Paape
10. “Therefore” Dettinger
11. “In The Wind” Thomas Fehlmann
12. “Deutz Air” Popnoname
13. “Will You Know Where To Find Me” Brock Van Wey/BV

Kompakt | Popnoname Mix

TRG has always been a bit of a favourite of mine. Partly because of my infatuation with Hessle Audio, whereby anyone who releases on their label is automatically raised to a status of demi-god. In terms of drum arrangements there aren't many who can contest. Just give his remix of Al-Haca 'Kryptonite' a listen. Perhaps one of the best examples of Burial-esque 2-step groove that was created by Burial - and it never even saw a release! 

Now however we come to where TRG is at now, somewhere an awful lot nearer to offshoots of house than his 2-step past. Like a more linear approach to funky, though his production heritage shines through. Personal highlights come with tracks like 'Siberian Poker' and 'Discotek', although the real standout track that has me freaking out on every listen is 'Tribal Flex' It has literally everything. Rave stabs that should be used by the government to warn kids away from knife crime, enough bongos to disband a conga line and that syncopated shuffle that always makes my ears prick.

A notable release well worth checking, unfortunately though 'Tribal Flex' is a digital exclusive only available from Beatport. Whether it sees wax remains to be seen.

BUY

Tracklist:

1. Twilight Riddim
2. Discotek
3. Siberian Poker
4. Purple Lights
5. Since Last Night
6. Strobe Lick
7. Tribal Flex

MySpace | Tempa Records

BUY

The problem for a dance music producer used to churning out a steady stream of stacatto releases is how to make an LP that feels more than just a compilation. In many cases, erstwhile dancefloor-focussed artists get round the problem by eschewing the functionalism of their established work almost completely: for two disparate, successful examples, witness prog pioneer Sasha's celestial introspection on Airdrawndagger, or the schizoid, mutated brilliance of James Holden's The Idiots Are Winning. Not so here: pre-eminent promulgator of "post-minimal" techno and Ostgut/Berghain doyen Marcel Dettmann's first LP is - categorically - a techno album.

Whether it succeeds as such is another question. The filmic panorama and deep marine depth charges on ambient opener "Quasi" are promising, exactly the kind of introduction that suggest a story is set to be unfurled. Similarly, following track "Argon" continues to point towards some overarching narrative with 3 minutes of irregularly percussive, compelling experimentalism, but from there, Dettmann promptly reverts to his (prolific and successful) oeuvre.

Problem is, tracks such as "Screen", "Motive", "Reticie" and "Silex" all clock in around the 6 minute mark and share a fundamental sonic signature with most of Dettman's output since 2007: swathes of claustrophobic static; sinister reverberant synth textures; chewy filtered percussion; and that low frequency subduction zone melding sub bass and drum into one monstrously subsonic whole. Similarly, the maximal reliance on repetition and careful modulation of constituent parts remain the modus operandi, but within the format of a long player, the mind starts to wander. "Captivate" is better, getting much closer to the energy and insistence of high grade late-90s Tresor - clearly a major inspiration to Dettman et al - with it's memorable, hollow stabbed-synth hook and jittery, jutting, unforgiving percussion.

As is often the way, the album's best moments come when Dettmann reminds us of his full tonal range; significantly wider, as it turns out, than just the last two years' output on Hardwax-affiliated techno labels. "Drawing" lures and deceives with mournful, chiming piano chords and tape reel noise, "Home" offers a dubstepping 808 beneath the swirling radioactive textures of a Roswell '47 field recording, while "Viscous" throws up gloopy & chorussed synth guitar, a crunchy rock kick drum and and, as usual, more wide-angled static than a battery of broken radios in an echo chamber.

How to sum Dettmann up, then? On the one hand, the unwillingness to deviate from his sonic template - or to make this a Pyrrhic exercise in somehow proving his musical erudition - should be heartily commended. And of course, despite the format , this is still a collection of tracks designed for Berghain's hedonistic dancefloor as much as any other listening environment. Nevertheless, it is here today, offered as a coherent artistic statement, so must be judged accordingly.

Part of the singular reverence held towards Ricardo Villalobos stems from the reputation of both his long players - 2004's Thé Au Harem d'Archimède, and 2007's Alcachofa. Both are so unfathomly brilliant because, quite simply, they prove that Villalobos' deeply musical, non-programmatic approach to dance music is cruelly restricted and truncated by the single/EP format; whereas, for lesser producers, it is both the ceiling above, and safety net below, their creative scope. Perhaps, then, the album format separates the man from the boy: or rather, the musical artist  from the merely expert and prolific producer.

Tracklist:

"Organic" is among the most overused adjectives applied to electronic music, but Cobblestone Jazz’s seminal 2006 tracks “Dumptruck” and “India In Me” are as apt a target for that word as probably any other dancefloor record from the noughties. 2007’s stunning LP, “23 Seconds”, duly added extra dimensions of propulsive, jittery abstraction to the improvisational brew, further cementing the Canadian group – and the Wagon Repair label – as amongst our finest purveyors of dancefloor-friendly experimentalism.

This new E.P., ahead of a forthcoming new album, instead pursues a more introspective line. ‘A’ side “Chance Dub” definitely preponderates upon the latter, built as it is around a looping plucked riff, throbbing kick and phasing static ala any number of dub techno records, before overlaying a typically acoustic-sounding drum beat, bumping sub bass and gently lilting pads. Things progress in a rather uncharacteristically linear and repetitive fashion, leaving us with something that, whilst not unsatisfying, lacks the track development or the hook needed for our extended emotional investment.

‘B’ side “Chance” is better, spawning a locomotive relationship between the layered percussion and rolling bassline, a sparingly-deployed harmonized vocal hook and some full-blooded Rhodes piano virtuosity swimming in well-judged hall reverb. Where previous Cobblestone releases playfully alluded to or simply made emblematic the “jazz” component of their moniker, this is an out-and-out freeform, improvisational trip, while retaining a genuinely propulsive 4/4 force.

While these tracks undoubtedly continue to shine Wagon Repair's beacon for experimental-yet-functional dance music, they will still be judged against the abovementioned high points; and on that score, fail to deliver the floor-slaying, epic grandeur of “Dump Truck” or the unhinged, febrile, tech-edged darkness characterising much of “23 Seconds”. Having said that, there can surely be nothing more dispiriting as an artist to be continually judged against an older creative iteration, so perhaps that last comparison should be struck out, and this latest offering enjoyed for what it is: high quality organic dance music.

Tracklist:

A - Chance Dub 
B - Chance

MySpace | Wagon Repair

On first listen one track stands out from this EP. Pangaea's 'Why' is the most obvious follow on from previous monsters Router and Memories. I say obvious. It's nothing like obvious. This is some out-there, sped up funky track with so much atmosphere it sounds like Alan Rickman created it by splicing together sections of the VHS from the board game Atmosphere. Only that I don't like Alan Rickman, but I absolutely - to a worrying degree in fact, love this.

'Sunset Yellow' is the one though that will really do over a dancefloor. It builds until a plateau is reached with the most frantic, uncertain yet epic synths which continue to wind through the track.

The EP goes somewhere exciting though. Somewhere I’ve heard very little of recently. There is some dubstep on there, actual dubstep. I reckon 'Because Of You' and 'Dead Living' could actually, maybe even definitely be termed as the stuff. It might even get aired at some kind of silent disco for students, although obviously it won't. Oh nuts I said obvious again. I really don't mean to. This release is amazing. These two tracks aren't in fact 'obvious' or 'dubstep', they're hyper-dark spliced garage/ funk.

I think I was right to mention dubstep though. It shouldn't be an awful term. Dubstep was the most exciting genre out there, and still is in many respects. Pangaea's just made tracks that showcase how good it can be. The space and bounce of the drums, the fear mongering sub-bass. That constant feeling that nobody has ever relly made anything you could mistake this for. If anything it just makes me wish there was a FWD>> some time soon so I could go and submerge myself in it.

It's a release on Hessle, and for those who know that's enough to warrant your time. If you haven't heard their recent last ever show on subFM then go check it. Yessle!

Tracklist:

A   -  Why
B1 - Sunset Yellow
B2 - 5-HTP
 
C   - Neurons
D1 - Dead Living
D2 - Because of You

MySpace | Hessle Audio

Peter Van Hoesen had a pretty amazing 2009, but on the evidence of ‘Entropic Minus Six’, 2010 is going to be his annus mirabilis. Not only is there a Sendai project to look forward to, but also his next album ‘Entropic City’, of which the four tracks on offer here provide a tantalising glimpse.

‘Terminal’ bangs right from the get-go, and never lets up. Taking cues from the sci-fi aesthetic Redshape touched on in his ‘Dance Paradox’ LP, Van Hoesen ups the ante, delivering a genuine stomper that sounds like aliens conversing with each other in Berghain. ‘Strip It, Boost It’ is also trippy as sin, and shows its creator raising his production game. There is almost (but not quite) too much going on as the track revels in a clinical mash of frequencies. On the flip, ‘Quartz #1’ is the sonic equivalent of a car hitting a brick wall at full speed: twisted metal crumple zoning into nothing. The 12” closes with ‘Defense Against the Self’, a slightly less frenetic workout that nonetheless encapsulates Van Hoesen’s reductionist instincts, a wallop of disencumbered four-to-the-floor techno. If you’re still dusting off the cobwebs from last year, this should be just the tonic to bring you up to speed.

12" set for Release on February 8th on Time To Express (Distributed by Clone Distribution).

Tracklist:

a1 Terminal
a2 Strip It, Boost It
 
b1 Quart #1
b2 Defense Against The Self 

MySpace | Entropic City | Time To Express |

As the label copy states, it has been 10 years since Scott Monteith quietly launched his Deadbeat music project, and since that time his contribution to the dub techno genre has been impressive and consistent in equal measure, bringing his variations on the theme to labels as diverse as Wagon Repair and ~scape.

With this compilation he hasn’t attempted – wisely – to provide a comprehensive review of 17 years of Berlin’s legacy. Although a number of Basic Channel/Chain Reaction affiliated tracks appear, such as the genre high watermarks of Basic Channel's "Quadrant Dub," Maurizio's inexplicably driving "M6" and the impossibly deep bassline of Rhythm and Sound's beautiful "Mango Walk", the emphasis is very much on documenting the recent renaissance - or what could even be the second “golden period” of - dub techno.  As such, most of the selections are taken from the last two years.

Indeed, the biggest strength of "Radio Rothko" lies in the fact that, for a genre that can so often feel mired in nostalgia, Deadbeat hasn’t shied from contemporary innovations on the classic forms. After an opening third that focuses on the more ambient hues of the genre (where DeepChord, predictably, appear) Monteith uses the middle section of the selection to extract more upfront techno sounds (such as Deadbeat’s own “Port of Rix” and Marco Fürstenberg’s “Site 312”) out of the smoke-filled caverns, placing them seamlessly alongside the critically-beloved subterranean dubstep of 2562’s “Redux” and the digital abstractions of Monolake’s “Static”. These departures from the “template” are not only refreshing, I’d argue they’re essential for this compilation to work as a coherent and listenable whole.

The final third of the compilation returns us to more familiar territory, but with arguably the strongest cuts of all; and, given the fact I was unable to pick a weak track in the entire lot, that is hopefully saying something. Intrusion’s sublime “Tswana Dub”, Substance & Vainqueur’s bottomless “Reverberation “ and Mikkel Metal’s “Stephan” all ably prove how good the genre can be - and how relevant in 2010's Ostgut/Hardwax-dominated dancefloor techno landscape - when it’s proponents remember to enshrine rhythmic propulsion as well as ambience, power as well as width, hi-end percussion as well as static: to move feet as much as minds.

Deadbeat - "Radio Rothko" is released on 1st March 2010.

MySpace

Mike Shannon and his Cynosure label have been around for a while now, and although they’ve yet to register a full-blown hit, they consistently deliver difficult but deeply rewarding avant-techno fare. Shannon worked with vocalist Fadilla Demirtas on the excellent 'Sweets', a haunting, esoteric workout, that confounded and pleased in equal measure, and she returns on ‘Under the Radar’, a title that could well encapsulate the Canadian’s long presence in electronic music.

Shannon’s original cut adopts a more techy beat than previous outings, and he once again puts Demirtas to good use, coming across as a house diva for the Arab world. Villalobos too, provides a neat fit with Cynosure, and his remix is a welcome, if underwhelming addition. Harking back to the not-quite-walking, not-quite jogging pace of Alcachofa, he shows there’s still life to his micro-house aesthetic. The highlight though, is Deadbeat’s slowburner (with which Shannon began his FACT mix), a sultry beast that couples a steppas growl with twinkley chimes for over four minutes before relapsing into a crunchy, ritualistic release. Rozzo plums Motorcity Drum Ensemble territory for his take, all conveyor belt chords, cymbals, and a hint of handclaps.

The great revelation of the EP however, is not the beats, all competent as you please, but the way in which each artist makes Demirtas sound so different. Part Muezzin, part diva, with just a hint of Dancehall chanteuse, Shannon has found a more than suitable accomplice for his musical skulduggery. Under the radar? Probably not for long.

Cynosure / Mike Shannon MySpace