CD Album Recommendations September 2010

Review: The techno deity that is Anthony Child, aka Surgeon, compiles the 53rd instalment of the vaulted fabric mix series and my, isn't it something. Fusing tough, raw techno and dubstep, Child takes us on a relentless journey that unites the work of Scuba, Ital Tek and Instra:mental with Mark Broom, James Ruskin and a healthy slew of his own productions. The pounding, bone shattering drop into the Al Tourettes & Appleblim remix of Planetary Assault Systems "X Speaks To X" sums up what Surgeon is all about on this mix - the interbreeding of two genres into one serious workout. Indeed, his chosen moniker has never appeared so apt, cutting and slicing seemingly disparate beats into one flowing narrative. This mix is easily as essential as any of its predecessors, and that's saying something.

Review: One of Ostgut Ton's most interesting characters, Shed returns with his second album The Traveller. Our impression is that Shed had lots of fun making this album - his love for everything from UK hardcore and jungle to techno and dubstep seeps through the tracks and resonates with the listener. "M R Class" for example is proper Berghain tackle - a seriously thumping dub techno bomb. Elsewhere "Final Experiment" sounds like Shed has been listening to Werk Discs chief Actress, all bleeps and sonic squiggles submerged deep beneath layers of compression, while "Hello Bleep" has a cheeky "Spastik"-esque drum roll. Much like his debut opus Shedding The Past, this album successfully flows as a continuous body of music, despite (or perhaps because of) the sketch like quality of many of the songs. Undoubtedly one of the most important albums of 2010.

Review: The past 18 months have seen Leo Zero's name become synonymous with the phrase "good remix that" as artists disparate as the Modfather, Florence & the Machine and Metronomy have called on him for typically unique reimaginations. Couple this with the veteran producer's prodigious output of illicit edits which have impressed on the dancefloor and the internet in equal measures and it's not hard to conceive why his forthcoming album Acid Life is so eagerly awaited. Ahead of that impending release Leo rounds up some of his most highly sought after edits across two CDs here. On the first, Mr Zero showcases his respected skills as a DJ weaving between twelve edits which sometimes bridge the gap between old and new with aplomb (Stevie Wonder vs Empire Of The Sun for example) and keeps the groove consistent throughout. Budding mutant disco DJs will be more interested in the second CD which is unmixed and gathers nine of the aforementioned rarities in newly remastered form. Starting off with the midnight sax shuffle of his re work of The Police you get the killer Prefab Sprout edit (An end of night standard at Disco Bloodbath) interspersed the low slung psychedelic chug of his Rat Salad "Clapping Song" and perhaps the piece de resistance that is "Message Of Love" featuring the distinct tones of one Freddie Mercury. A strictly limited one off pressing which comes housed in the distinctive artwork of Leo Zero himself makes this a worthy purchase.

Review: The selection process for the Live At Robert Johnson mix series has been flawless so far - with the renowned venue in Offenbach, Germany enlisting Prins Thomas to mix up some delectable disco, Roman "Alter Ego" Flugel presenting his uniquely bleepy new school techno vision and Parisian Chloe selecting refined house cuts on the inaugural volume. The choice of Arto Mwambe for the sixth volume seems a perfect fit; Christian Beisswenger & Phillip Lauer have made some serious remixes in recent times which have keenly blurred the lines between house and disco. The Frankfurt duo provide one of the best mixes in the series to date, eschewing the chance to show off their record collections in favour of staying true to the album title and recording a one hour live set of existing and unreleased Arto Mwambe tracks. The distinctive clap of the Roland drum beating out over hypnotic chords on the intro track "M.T.A.I." sets the mood for what follows - vintage house sounds that veer between classic 90s percussion, deep melodies that draw you in, warm basslines that sit in your cranium and rhythms that set you off. What strikes you as the last kicks of closing track "BTWO" sound out is how well the eleven tracks flow, the mixing is perfectly judged and you are left with nothing but a craving to witness them repeat it in a club setting. Mission accomplished.

Review: We've been swimming in Luke Abbott's debut album since it landed on our desks this week. As one would expect from a member of the vaulted Border Community family, it's a record steeped in melody, gentle yet strong, perfect for at-home headphone escapism. Abbott is a master of kosmische, and on Holkham Drones he creates a lush soundscape that is psychedelic and richly textured, with similarities to be found in the work of modern contemporaries James Holden, Allez Allez and Four Tet. "Whitebox" is an intense swirling track that showcases the Norfolk producer's love of analogue equipment, while "Trans Forest Alignment" starts like a moodier version of LCD Soundsystem's "Losing My Edge" before submerging itself beneath a sea of melodic keys and atmospheric synth washes. Everything here is assembled using the most delicate of sounds, from the moody vibe of "Sirens For The Colour" through to "Brazil", which shines like a beacon of hope, while the ambient fuzz of "Dumb" offers one of the album's most moving moments. One of the finest releases of 2010 without a doubt.

Review: A superb sophomore outing from ex-Bad Company member, Breakbeat Kaos co-owner and all round D&B superstar, DJ Fresh. Touching on a range of styles, from "Talkbox" with it's crazy vocodered vox and electro-tinged energy, through sugar sweet rave anthem "Gold Dust" to Peruvian dubstepping "Chacruna" and the discordant, high pitched screeching of "Fight", it's a rollercoaster ride of dancefloor driven emotions. Featuring previous 12 releases, such as the hands-in-the-air "Hypercaine", alongside other standouts like "Lassitude" and the album's title track, it's a must-have release, make no mistake.

Review: Despite a production moniker that might raise a chortle or two, Dan Electro has delivered one of 2010's most surprising and unconventional albums in Bite The Hand That Feeds You. Drawing inspiration from everyone from Farley Jackmaster Funk to Louis Jordan, Eddie Kirk and The Five Royales, this caped crusader uses gospel samples and layers them over killer instrumentation that flits between the deeper end of house and disco. "The Side I'm On" has a shuffling percussion and soothing vocal that wouldn't seem out of place in the Moodymann back catalogue, while "Lead Me On" utilises the classic gospel hymn "Take My Hand Precious Lord" to wonderfully moving effect. "I've Got That Feeling" meanwhile borrows the same vocal sample that Anthony "Shake" Shakir once employed to some acclaim. Dan's tunes are a mainstay in the record bags of Gilles Peterson, Joey Negro and the Unabombers; judging on this offering, it's not hard to see why.