Cult Hero (Do You Wanna Touch Me) (with Simon Topping
Sly Is Watching
(Vi-Vi) Vicious Games (with Josh Caffe
Review: When it comes to jackin' Chicago style acid house revivalism, few can hold a candle to Paranoid London. As this long-awaited second album proves, the duo is the undisputed masters of sweaty, TB-303 driven jack-tracks and - as recent single "(Vi-Vi) Vicious Games" and LP opener "Starting Fights" prove - classic-sounding vocal cuts that recall the glory years of Fingers, Inc in the mid-to-late 1980s. Interestingly, "PL" boasts far more collaborations than we've seen from Paranoid London before, including a string of ragged club cuts blessed with evocative spoken word vocals, a thrusting acid throb-job with lead vocals by Simon Topping and a suitably twisted, machine-driven hook up with Arthur Baker and Alan Vega (the raw and weighty "Angel Of Hell").
Review: Some years back, Aleksi Perala joined forces with Rephlex co-founder Grant Wilson-Claridge to invent a custom musical scale, The Colundi Sequence, which boasts 128 frequencies "chosen via experimentation and philosophy". Perala has been using this as the basis of his attractive electronic work for some time, self-releasing 15 EPs of tracks since 2014. This epic, triple-vinyl album gathers together highlights from the previously download-only series - all with deliberately obtuse titles, made up of letters and numbers - and accurately showcases the depth and diversity of Perala's work. Clone is calling it "spiritual techno", and that's an excellent catch-all description for a set that variously touches on Motor City futurism, IDM, electro, dub techno, ambient and Rephlex-esque "braindance".
Review: There are plenty of surprises dotted throughout Tesselations, Peverelist's third full-length (and first for Livity Sound, the label he jointly runs with frequent collaborator Kowton). For starters, it's a largely positive and melodious affair, with the Bristol producer's usual weighty bass and punchy machine drums - this time veering from clandestine Teutonic techno to sprightly IDM style electro, via a fair few nods to broken beats - being accompanied by ear-pleasing electronics, cascading melody lines, and even a few Head High style boisterous rave riffs. The pacing is superb, too; for every warts-and-all club jam there's another cut that's either contemplative, beat-less or softly spun. The result is a set that shines from start to finish.