Review: Analogue hardware enthusiasts London Modular Alliance return to Kirk Degiorgio's storied Applied Rhythmic Technology label following a string of fine outings on Private Persons and Dimensions Recordings. Interesting, LMA believe that the EP boasts their strongest collection of cuts to date and we tend to agree. Opener "Peach Heat" sets the tone via rubbery but rock solid electro beats, wild electronics and echoing deep space sounds, before they pitch down the tempo on the sparse, spaced-out heaviness of "Harnessed Black Holes". Further body-rocking dancefloor explorations are provided on the flip, first by the Dexter style heavy electro throb of "Lavendah" and then via the booming bass, foreboding tribal drums and razor-sharp TB-303 pulses of "Precious Materials".
Review: You couldn't accuse Applied Rhythmic Technology boss Kirk Degiorgio of jumping on the London Modular Alliance bandwagon; his Suffolk-based label was one of the first to release material by the hardware-obsessed trio back in 2016. It's fitting, then, that they should return to the label with arguably their strongest EP to date. Check first the sub-heavy thrills of opener "Turn Off The Light", a track whose weighty bottom-end, dub-wise rhythm and minimalist construction recalls the early days of UK "bleep and bass", before turning your attention to the mid-tempo, Drexciya-inspired thrills of "Round The House". Elsewhere, we've also been enjoying the Rod Modell style enveloping ambient of "Cherenkov Light" and the angular, acid-electro hum of "Nebulous Thoughts".
Review: Electro pushers Koova, Yes Effect and Pip Williams are back with their London Modular Alliance project, a consortium of sounds that clearly don't need much of an explanation. Their one rule is that this is all improv business, no mucking about with needless arrangements on tacky DAWs. This is the first Dimensions Recordings EP that's not a VA, so it's a tiny landmark for both them and the artists; the title tune "Hands & Brains" kicks off with a squelching acid stomper with an abrasive stomp of melodies, and "False Prophecy" is the point at which things take a turn for the electro nuttiness, all sombre and grey-scaled. On the flip, "Forbidden" takes the path down more tranquil waters with a peaceful balearic sway, and "I Settled For Her Leftovers" bumps out the bass good and proper, bruising us with its heavy-loaded sub-bass. Heavy gear!