Suchergebnisse: Dance Music

Review: ***B-STOCK: Vinyl has very light surface marks, but otherwise in perfect working condition***


Bloody Mary's Dame Music imprint has long been a reliable source of forthright peak-time fare. There's naturally more to be found on The Melting Point Volume 2, a belated follow-up to a mini-compilation released at the tail end of 2017. Remarkably, the A-side boasts cuts from two heavy-hitters of the 1990s. Hardfloor kick things off with a typically boisterous, mind-altering acid workout in their inimitable style ("Thisishowwedo"), while Josh Wink wraps undulating TB-303 lines around beautiful melodies and dreamy pads on the luscious "Dame Deep". Over on the flipside Alien Rain slams down a ridiculously heavy chunk of foreboding acid techno ("Contact"), before Bloody Mary fittingly rounds things off via the classic Chicago acid-jack of "Mono".

Review: Bloody Mary's Dame Music imprint has long been a reliable source of forthright peak-time fare. There's naturally more to be found on The Melting Point Volume 2, a belated follow-up to a mini-compilation released at the tail end of 2017. Remarkably, the A-side boasts cuts from two heavy-hitters of the 1990s. Hardfloor kick things off with a typically boisterous, mind-altering acid workout in their inimitable style ("Thisishowwedo"), while Josh Wink wraps undulating TB-303 lines around beautiful melodies and dreamy pads on the luscious "Dame Deep". Over on the flipside Alien Rain slams down a ridiculously heavy chunk of foreboding acid techno ("Contact"), before Bloody Mary fittingly rounds things off via the classic Chicago acid-jack of "Mono".

Review: Man of many aliases Patrick Radomski has saved some of his best material for the Alien Rain series, which has been delivering bombastic blasts of acid-fired techno hedonism since 2012. "Alienopolis", the track that kicks off this sixth EP, is a suitably no-holds-barred romp through intense club techno territory, with genuinely mind-altering TB-303 motifs weaving in and out of a no-holds-barred rhythm track. Over on the B-side, he opts for a slightly deeper, darker and more intoxicating feel on psychedelic creep-out "XOX 31", before sharpening his acid lines further on the otherworldly hypnotism of "Illusion", where sampled vocal snippets help enhance the druggy mood.

Review: Oh yes, Milton Bradley puts his spacesuit back on and launches the fifth instalment of the Alien Rain series, the man's 303-fuelled project. Compared to his output on the Do Not Resist The Beat series, Alien Rain is more immediate, less contained and built exclusively with the dancefloor in mind - we like! "Alienated 5 A" is a body-jacking clusterbomb with a fine, acidic sequenced bassline and plenty of drum machine action, while "Alienated 5 B" is more similar to the previous Alien Rain gear, where hypnotic shots of 303 push and pull into a deep wormhole of hi-hats, snares and kick drums. Cop it, they usually don't last very long!

Review: Launched earlier this year, Milton Bradley's Alien Rain project presented a master class in the kind of expertly sculpted acid techno that emerged in the mid 90s. Released in limited quantities back in May, Alien Rain 1 swiftly sold out at which ever shops were smart enough to stock it and now The Do Not Resist The Beat! boss delivers a second edition. As you would expect, the winning Alien Rain formula has not been messed with here, with both "Alienated 2A" and its alphabetical partner are excellent dancefloor tools, with Bradley deftly working through various emotive and rhythmic peaks over the duration of the track. The B Side track in particular is an immensely intense exercise in acid techno.

Review: Following a recent (and rare) outing away from his Do Not Resist The Beat!, K209 and Alien Rain labels for the new Deep Sound imprint, Milton Bradley lands his extra-terrestrial alias back on home soil. This fourth Alien Rain 12" is arguably the best release of the series so far, with "Alienated 4A" tumbling through a wormhole of fluctuating acid pulses and a sturdy 4/4 kicks, while "Alienated 4B" shares a similar make up, the acid is coarser and the drums harder. "Alienated 4C" then sees Bradley in deeper techno mode, as ambient textures float around two voices of acid - one high the other low - making for a moody workout similar to his 303-driven productions on Prologue.