Review: OMEN Recordings's next release is a big one that unites Axkan and Duellist on the same slab of wax. They take care of one side each and we're told the inspiration for their sounds was making a "shared response to the turmoil of global conflicts." Duellist kicks off and suggests with his offerings that he is anxious, unsettled and in fight mode because 'Oxidative Stress' is front-foot techno with monstrous bass energy. 'Stains Of Time' is another one with brash drums and perc and plenty of tension, then Axkan offers the hypotonic loops of 'Warfare' and broken beat menace of 'Thermobaric.
Outside Looking In (Full radio edit version 2024) (4:58)
Review: Cash Money Experience are soul dons and if you need proof listen no further than this new 7". Darryl Howard is the vocalist and songwriter of Nu'rons and here he offers up the lead vocals while Emanuel Campbell, who is one of his co-members in Nu'rons, is responsible for the lyrics. On the extended version of 'Outside Looking In' the vocals convey plenty of pain on nice laidback drums and funky riffs. The Full Radio Edit distils things to a shorter play length but is just as effective.
Happy707 - "Where Does That Noise Come From" (4:28)
Review: Menacing EBM and dark synth billows from a Netherlands hinterland; our heralds speak of an esoteric encampment by the name of Espectro Oculto, said to be the remote incantators of an unstoppable curse in sound. Six shadowy emissaries have been sent to spread the pestilence; Trenton Chase, Martial Canterel, DJ Nephil, Exhausted Modern, Fragedis and Happy707. Clearly, the faction have recruited only the best, trusted and yet most nefarious of spies from as far-flung regions as Czechia and Argentina in the administering of such a sordid sonic plague. We're left most quivery at the centrifugal doom drones of Exhausted Modern's 'Fear Of Focus', across whose breakdown banshees are heard wailing and snarling, and Fragedis' 'Landing In Reality', a lo-fi techno freakout and sonochemical anomaly, channeling militant two-way radio samples and hellish FM synthesis.
Review: Japanese electronic disco producer and performer Fujisawa Hideki aka. Dance Man coined the term "mirrorballism" as the philosophy behind his ultra-tight brand of disco. Four albums of mirror-ballistic albums, New Generation Dance Classics Volumes 1-4, appeared before his fifth album, Funkoverlic, surfaced in 2004, from which this ingenious pair of trax, 'Bomber' and 'Hey Hey Ookini Maidoari', came. Translating roughly to "there is a lot of everything" from Japanese, the latter track brims with posse-backed instrumental disco-hop steeze, worthy of bombastic emceeing should any rap collective fancy it. 'Bomber' is comparatively funky, save for its devilish wax scratches, giving way to one of Dance Man's more glamorous vocal lines.
Stix & Stonz (feat Grandmaster Caz, Tito Of The Fearless Four, Whipper Whip, La Sunshine & Superstar)
Review: This long-lost De La Soul gem, originally a promo-only release from 1994, finally sees the light of day. Featuring four tracks from their acclaimed Buhloone Mindstate album, this 12" also boasts two exclusive cuts showcasing De La Soul's collaborative spirit. 'sh.Fe.Mc's' sees them trading verses with fellow Native Tongues posse members A Tribe Called Quest, while 'Stix & Stonz' unites them with hip-hop pioneers Grandmaster Caz, Tito of the Fearless Four and Prince Whipper Whip. The real magic of this release lies in its ability to transport listeners back to the golden age of alternative hip-hop, where Tracks like 'iN tHe WoOds' and 'i aM I bE' showcase the group's signature blend of jazz-infused beats, playful lyricism and socially conscious themes. The presence of Maceo Parker, Fred Wesley and Pee Wee Ellis adds a layer of soulful funk, further enriching the sonic tapestry. This limited edition release offers a glimpse into a pivotal moment in De La Soul's career, where their adventurous spirit and collaborative nature were in full effect.
Review: Incredibly, it is almost two full decades since Echospace and Rod Modell's legendary Deepchord project dropped the original version of this album. Happily, it has aged to perfection and gets reissued here with the first-ever remix from Gerard Hanson aka Convextio. Next to that are a series of dubs and mixes that result in widescreen dub landscapes, soft synth plumes, delicate melodic curlicues and some of the headiest electronic music you could possibly immersive yourself in.
Review: Named after the classic Czech sci-fi animated film of the same name, veteran producer DIN returns as the nextmost focus of the Coming From Returning To label, who offer up a fresh reissue of his 1992 techno classic. Then five good years into the alias (DIN was formed in 1987), producer Pupka Frey began making his distinct brand of electro-disko as a personal exploration of futuristic and analog dance textures. This EP is an 'artificial' alt soundtrack to the movie, which was otherwise histrionic and over-funky for the tastes of most techno enjoyers. Highlights here have got to be the glassy 'B-Minis' and the opening 'Travesty' (the tune's ironically anything but).
Review: The DJ Producer goes in hard here with a special one-sided 12" that uses all of its almost 11-minute lay time to pack in as many hardcore references, sounds and motifs as possible. It is a head-spinning, ear-tickling medley of legendary status that comes as a massive tribute to DJ Hellfish and the 100th release of his Deathchant label.
It's an absolute bomb of a tune, packed with energy and intensity, rave sirens, caustic pads, distorted bass and chopped-up shout-outs. Brilliantly mad.
Review: Mark Grusane presence on Disctechno brings with it a compilation of five unique house tracks from Chicago and Detroit-based producers, as you will probably have guessed from the title. The A-side features DJ Slush's synth-driven 'Memory Blank' and Deon Jamar's bass-heavy 'AYYYO' which offer different but both killer sounds. The B-side opens with Jordan Zawideh's reverb-drenched 'Axolotls' followed by Grusane's intense, atonal 'The Recoil' and concludes with Thomas Xu's groovy 'School Street.' All of these are the sort of off-kilter sounds you would expect of these revered and enduring electric hotbeds. Raw, stripped-down and authentic, this is the contemporary Midwest underground.
Review: Marking the 14th chapter in their Swinging Flavors series, Beat Machine Records call on Helsinki's DJ Sofa for a two-track offering that digs into the shadowy depths of drum & bass. A longtime purveyor of intricate, emotionally charged productions, DJ Sofa channels the breakbeat grit of late 90s UK rave culture with a distinctly modern twist. 'Drums For The Lost' is a tense, heads-down roller, its dense percussion and cavernous basslines creating a hypnotic sense of momentum. Paris-based Siu Mata reworks the track into a peak-time pressure cooker, adding a restless swing and rhythmic urgency that reshape the original's brooding energy into something more propulsive. Beat Machine Records reaffirms its ear for boundary-pushing club music.
Review: Solo Arabian nocturnes for oud return to haunt us on Tunisian-born musician Anouar Brahem's latest full-length project, backed by stellarly moving counterpoints for cello, piano and bass. Beginning with Arab traditional music as a start-point, Brahem has, over the course of his career, slowly verged into the domains of contemporary classical and jazz. Fusing tradition and modernity, his compositions have a chiffon feel, creaseless and impeccably recorded, yet they also stomach a certain chronicity and locale, indulging harmonic modes and inherited composition techniques.
Review: In the late summer of 2019, DJ Rocca and Chris Coco spent time together at the intimate La Casella festival in Umbria, Italy, where they chatted about Italo disco, the Rimini/Riccione riviera in the 90s and classic Italian clubs. Inspired by their conversations and imagined memories of scenes they weren't part of, they set out to make the music which over time, evolved into CocoRocca DiscoTeca, an imaginary retro-futuristic club blending past influences with future possibilities. It draws on dub, house and disco and is now resented on this wonderfully escapist full length which starts slow and dreamy, raises the pulse then slows down to a nice emotive finish. A fine reimagine of some classic sounds.
Review: Virginia-raised singer Lucy Dacus' profile has been overshadowed by the gargantuan success of Boygenius bandmate Phoebe Bridgers, but this sounds like the album that's going to change all that overnight. The single 'Ankle' is a case in point: the string-laden number is a hypnotic, emotionally charged epic full of temperature-raising double-entendres. Elsewhere, on the tender ballad 'Limerence', Dacus sounds timeless, like we're in the company of a songwriter who's going to be around doing this music making thing for the rest of her life. An extraordinary talent.
Review: Following on from 2021's Motorheart, Lowestoft 21st century hard rockers The Darkness return with their eighth full-length studio LP, the absurdly titled, very British - Dreams On Toast. While for the casual listener who remembers the band's explosive 2003 debut Permission To Land and the bevvy of major singles that record produced such as 'Growing On Me' and 'I Believe In A Thing Called Love', have likely long allowed the band to dissipate into the ether of their musical memory banks, those who still like their rock cheesy, camp and packed to the brim with Slade-style fret mangling solos, will find so much to crunch on here with bangers such as 'Rock and Roll Party Cowboy' and 'I Hate Myself' still delivering the "What year is it?!" retro-swagger that's becoming more difficult to replicate with each passing year. It also helps that frontman/primary songwriter Justin Hawkins has seemingly injected a booster shot into his own project thanks largely to his successful YouTube channel Justin Hawkins Rides Again, while for easter egg time, actor Stephen Dorff (known for is roles as the villain in the first Wesley Snipes Blade film as well as True Detective) makes a spoken-word appearance on the closer 'Weekend In Rome'.
Permission To Land is the debut album by glam rockers The Darkness, originally released in 2003. True to their name, The Darkness were dark horses indeed, having been sorely underestimated by the guffawing gatekeepers at Sony, who failed to see any promise in the band after being deemed "uncool", perhaps due to their bombastic rock & roll sound and high vocal drawl from Justin Hawkins. Sony were easily knocked off their high horse, however, when the band later signed with Atlantic, after which the album would top the US Albums Chart, peaking at number two. For the fans, this reissue harks back to their earliest hits, such as 'I Believe in a Thing Called Love', and 'Growing On Me'.
Review: The Darkness have made a name for themselves with unashamedly flamboyant rock anthems and often tongue-in-cheek lyrics and their latest album Dreams On Toast, their first for four years, further solidifies their status at the top of British rock. Fans can expect soaring guitar riffs and infectious hooks, blending nostalgia for the excesses of 80s New Wave of British Heavy Metal with a fresh perspective on the genre. Singer/guitarist and frontman Justin Hawkins hasd stated that they they crafted a dozen bangers with the help of divine inspiration, so prepare for religious experience and revelation. A memorable rock experience that will resonate with both new and longtime listeners alike.
Review: Darkside - the duo of visionary producer Nicolas Jaar and guitarist Dave Harrington - have brought their touring drummer Tlacael Esparza into the recording process for this third album of theirs and he's now a full-time member. The songs for this album, which were recorded in Los Angeles, the south of France and Paris, came out of a series of improvisational jam sessions and they transport you into their swaggering and inventive universe where anything goes. The sheer joy of 'S.N.C' brings to mind Jaco Pastorius in terms of taking the bass guitar to new heights and the funk keyboard is a throwback to the 80s Casio era. 'Graucha Max' is a lot darker and twisted, delving into psychedelic rock with distorted lines, but then splicing it with sub-heavy bass that would ignite any club dancefloor. Darkside are right up there with the best the Los Angeles scene has to offer right now.
Review: What is the crux of the connection between two of dance music's most beloved cities? Dave & Maurissa ask more questions than they answer on London/Detroit, their stellar new soulful deep house LP on Z Records. Formerly known as Joey Negro, Dave Lee is said to have spent the best part of a decade searching for another vocal talent to work with, where an encumbrance of applicants did not made the cut... until Maurissa Rose came along. Notably not by email or "next"-worthy panel judgment, the connection was made via Lee's chance encounter with Maurissa's voice on a Theo Parrish record, after which many an email exchange, .mp3 swap and transatlantic air-shuttling ensued. What emerged was a versatile LP, reflecting the encyclopaedic knowledge of soul and house gone into its making, and the fact that this was the first time that either artist had recorded an entire LP with another across a single dozen-track serving.
Review: Marie Davidson's sixth studio album finds her collaborating with Belgium bossmen Soulwax - previously responsible for the massive rework of her 'Work It' track - and Pierre Guerineau. It follows her fiery single 'Y.A.A.M. (Your Asses Are Mine)' and the intense club track 'Contrarian' and marks a return to the dance floor but reimagined with the artist's signature sense of evolution. Blending the techno punch and spoken-word edge of Working Class Woman with the melodic pop structures of Renegade Breakdown, City of Clowns delivers a striking sonic fusion that is inspired by her pre-pandemic roots yet shaped by fresh antagonism, all while Davidson confronts a new foe: Big Tech.
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