Ames Henry & Paul Kav - "Business In Hasenheide" (5:57)
Ames Henry - "Tribute" (6:28)
Fanu - "Dubia" (6:48)
Octo Octa - "For My Girls" (3:29)
Review: It's been two years since Kellam Matthews launched his retro-futurist, breakbeat-driven Frendzone label via a fine split EP featuring cuts from Ames Henry and Octo Octa. This follow-up is therefore arguably long overdue. Fittingly, it's Henry that gets things going in stellar fashion via Paul Kav collaboration "Business in Hasenheide", an urgent fusion of two-step drums, thrusting acid bass and jumpy synth stabs. Ames then goes solo on the breezy bounce of "Tribute", before Fanu successfully roughs things up via the mutant sub-bass, dystopian noises and distorted breakbeats of "Dubia". The undisputed highlight, though, is Octo Octa's "For My Girls", a wonderfully spooky and hectic jungle roller that's guaranteed to set pulses racing out on the dancefloor.
Space Afrika - "After They Entered It Was Only Evident" (3:59)
Review: "Shared Meanings" has been one of Mumdance's most ambitious and explorative projects to date; pulling together the four corners of the hardcore continuum and tying them in a tight bow, his mix has drawn elements and parallels between all genres and laced them in a narrative that mirrors and reflects throughout. Now, for limited time only, we have five of the 32 tracks he included in the mix ranging from his and Logos' totem track "Teachers" which pays homage to the UK's forefathers, to the pulverising thumpy bumpy techno of Nkisi's "Kinenga" via stasis sensation ambience from Space Afrika in the form of "After They Entered It Was Only Evident". Coordinates don't come much broader or deeper, "Shared Meanings" is Mumdance in full on explorer mode. Long may his meaningful trips continue.
Review: t's been a rapid rise for Paleman, conquering Swamp 81 in a short space of time and getting snapped up for remixes by all manner of respected entities, and here Calum Lee kicks up the dust on 81 with the anthemic parp of "Beezeldub". With those plastic horn blasts calling out, any dance worth its salt is going to lose its proverbials, and that's before the stripped and weighty core of the track kicks in. It's a cut perfectly toned and buffed for maximum club response, and it sits in a neat contrast to the more esoteric fare of "Newun". Where the lead track demands attention from the off, this second jam snakes in with a tricky rhythm and plenty of oddball, dubby effects for a more subtle and largely percussive effect.
Review: Callum "Paleman" Lee is one of Swamp 81's most decorated artists, having released a string of well-regarded 12" singles for the hyped, bass-obsessed imprint. Yrs Ago is his third EP for the label's 81 offshoot, and sees him joining the dots between techno, post-dubstep bass music, and angular electronica. The title track sets the tone, with robotic voices, creepy electronics and smooth sub-bass riding a metallic, broken techno groove. Flipside "Animus" is a marginally more melodic affair, with spacey chords and bubbling arpeggio lines riding a punchy electro rhythm. Both tracks are naturally rather heavy, and undoubtedly amongst the producer's strongest work to date.
South East Of The Mountain (Sam Kidel remix) (4:37)
Skeletal (Osvmvsm remix) (3:25)
Bloom (Helm remix) (6:38)
Review: Berceuse Heroique's Ancient Monarchy adds to the Parris story with three beautiful remixes that add and enhance the mysterious London artist's unique vibe all the more. Sam Kidel condenses the vast spacious valleys on "South Side Of The Mountain" with more of a rolling, hardened feel to the drums. Osvmvsm, meanwhile, pays respect to the kick-free "Skeletal" but turbo charges the glock melody with much more of a militant focus and energy. Finally Helm strips "Bloom" right back to its key atmosphere then rebuilds with an ambient, heavily textured and sensory experience.
122 Eden Beach (Top Shotta x Danny Scrilla remix) (5:13)
Street Lights (5:22)
Street Lights (SCNTST remix) (5:43)
Review: The Danish doing UK bass on a brand new Munich label Ruffhouse: every direction you check this, it sounds and feels legit. "122 Eden Beach" busses up traces and trails of Baltimore, UK funky and post garage with caverns of dubspace between each militant and technoid element. "Street Lights" dips the lamps for a lower, slower ambient jam that's loosely laced with classical motifs and instrumentation. Remix-wise label founder Top Shotta and Danny Scrilla razz out on the edits with much more of a ghetto feel to the groove on "122 Eden Beach" while SCNTST adds a classic jungle break to "Street Lights". What an absolute dream of a debut release. Sleeping is not advised.
Review: We all know that the cry of the mandrake is fatal to anyone who hears it... But when its cries are being conducted by Italian bass fusioneer Piezo, we are safe from harm. In fact we're safer; Piezo's jams have been building up serious tension since his Artikal releases a few years back, and these are his most inventive yet. "The Mandrake" carries ghosts of his signature percussion but kick with a much heavier techno sensibility. "Tinned" then takes those mandrake cries, packages them in cans and rolls them from the nearest high hill. Watch them bounce, clatter and cause total chaos.
Review: Raised in Lisbon by Angolan parents but now residing in Manchester, P Adrix is not your average maker of bass music. Take a listen to this debut album and you'll find a breathless range of African, European and British influences brilliantly melded into intoxicating new shapes. Most of the tracks could be considered Kudoro, though his take on the style - peppered with grime-style eight-bit melodies, traditional Angolan percussion, chopped-up samples and the big, ballsy sub-bass of British dubstep - is not like any Kuduro record you will have heard before. As a result, Album Desconhecido is that rarest of beasts: a full-length release that's as exciting and entertaining as it is revolutionary.
Review: The Horo label wouldn't be complete without the mischievous industrial patterns of Pact Infernal, a mysterious artist who specialises in all things on the grey end of the scale. Infernality is the artist's second LP for the imprint and, compared to his debut CD album, this dwells on much vaster, more cinematic landscapes that remind us of Prurient's top material. The A-side, a cavernous stretch of earth that goes from "Purification" to "Meditations", has been constructed with the notion of tribalism very much front of mind, and this builds at a constant rate to reach the climax of the B-side. "Principles" heads back to the nether zone with its eerie swarms of bass, while "Infernality" drops the listener into a thick swamp of loose beats and mind-bending background effects. The second vinyl follows the same steady path to all-out doom, dipping and rising at every turn with the help of powerful bass recipes floating in mid-air. It's an album of gloom, passion, dread and euphoria, all at the same time. Excellent stuff.
With Love/Sweet Darling Pain (Gilles Peterson & Simbad remix)
Sweet Darling Pain (Chassol remix)
I'm Gonna Leave You (Clap! Clap! remix)
With All My Love (Jonwayne remix)
I'm Gonna Leave You (The Cinematic Orchestra remix)
Review: PIAS call on the respected close talker Gilles Peterson to curate No Deal Remixed, a self-explanatory addendum to last year's well received album from Belgian jazz artist Melanie De Biasio. Given the Brownswood boss's profile, it's little surprise to find an illustrious cast of musicians and producers involved here. Peterson's cachet is clear from the off with Mark Everett of Eels coaxed into contributing his first ever remix, which stays quite reverential to De Biasio's original, but reinterpretations from Seven Davis Jnr, Clap! Clap! And Johnwayne take the Belgian in pleasingly different directions. Gilles gets in on the act too with a lovely broken Latin refix alongside man like Simbad!
Review: Stop the press! Peverelist is back in the game. This is a special announcement for various reasons; first and foremost, the mythical Bristolian hasn't been all too active on out charts as of late, and he most certainly hasn't turned in an album for quite some time. Back on his own Livity Sound stable, the artist's new album, Tessellations, sees the man take a different route to his previous excursions, one that's much more focused on deep tribalism and percussion. The first four segments, from "Burning Sea" to "Sheer Chance Matters" all approach the equation through slightly different lenses; the first two being grounded in ambience of polyrhythmic movement, while the following two mould into a subtle 4/4 flow, but the same ambience is present throughout. This is the same for "Wireframes" all the way to "Plateau", where Peverelist has shaped a new sort of minimalism into his rolling punch of tech-minded bass. Could this be the start of something new? We definitely think so...
Review: Given the length of his career, it's rather surprising to find that Under The Sun is Mark Pritchard's first under his given name. As critics have pointed out, it's an overwhelmingly beautiful and poignant set, built around an intoxicating fusion of ambient electronics, soft touch instrumentation, bubbling beats, grandiose chords, and on-point collaborations (check the vocal contributions of Beans, Thom Yorke, and Linda Perhacs). In some ways, it recalls Pritchard's pioneering work with Tom Middleton as Global Communication, while feeling altogether more grown up and musically complex. Regardless, it's an undeniably brilliant album.