W3C: Event Horizon (Infinite Machine)

Sci-Fi computer game, flee and evade vibes with some breakbeat teasing, Grimey synth dirges and tribal cyberpunk flutter and bounce to his percussion – oil drum bashing on the post apocalypse scrap heap sorta thing. You know the score.

Ol’ Pinchos was rinsing out the stand out tune here ‘Year of the Blood Moon’, a lot on dub (a year or two ago it must be now?)

Unfortunately served up, by the label with (seemingly mandatory) pushed to wincing level, brick wall mastering. Totally unnecessary – I honestly thought those days were gone?

Oh and dis one, from Chilean producer Tomás Urquieta, off his album last year, is also big and badass. Metallic and clanky dark bass business. Is that a hammered to gold leaf thin Reese fog horning away? Brick walled as usual.

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The Maghreban: The Monster VIP (R&S)

Older headz may remember an old Jungle tune on Juice Records from 1995 called ‘The Bomb’ by Ayman? A fine piece of concept Amen darkage using Oppenheimer’s famous Bhagavad-Gita “Now I am become Death” quote…

Well whadda ya know? Turns out this is he, Ayman Rostom, back from a long hiatus and with a new moniker and new vibes, racking up releases since 2014.

This sounds like it could almost be a Jungle tune played on 33rpm? Heavy, syrupy, and psychedelic. “Rave navel-gazing back to his roots”  according to R&S heh.

Mutant Jazz Remix / No U Turn

A sweet find. Didn’t even know I had this in one of my archive boxes! An old December ’96 copy of DJ Magazine and a two page article on No U Turn and “tech-step”, describing the genesis of the defining Mutant Jazz Remix. I’d completely forgotten the Jimi Hendrix tidbit and Bless! Look at the fresh-faced Dom boy hehe…

TraceNicoP1

Don’t be afraid of the dark P1

Don’t be afraid of the dark P2

Clouds: HTID (Electric Deluxe)

Clouds - HTID

I’ve always thought there’s a touch of Just William (as opposed to Action’s ‘Kids Rule OK’ – showing my age here heh) about these Perth lads. Nothing particularly burly (as some have said) or threatening at all, but more like opening the back door and finding two scruffy urchins standing on your step covered in mud with big grins on their faces, looking like they’ve been dragged through a hedge backwards; they tell you they’ve made something for you and from behind their backs they bring out…a mud pie! (or a 12″ even!) Cheeky chappies, always getting up to mischief, that sort of thing.

Their output gets filed as techno, but a lot of it plainly isn’t by a long shot. With the amount of mucky breakbeats and broken beats they toss around on each release it’s almost, dare I say it, often more breakcore-ish (in its freestylishness) if not a nod even to the days of Jungle Tekno? (check out last year’s ‘An Outrageous Fate Type’ and ‘DJ Ultra Greatsword’ EPs and make up your own minds).

There’s also an almost couldn’t-care-less, smeared-out, bleary veneer to their productions which also feeds this particular image of mine, not entirely pleasantly sometimes either. A bit like the stale fart fug coming from a teenage playstation/wank pit den; you just want to open all the windows and let some fresh air in. It’s as if they have their outputs set permanently through some low-pass filter? or maybe they’re just up all night and bombed off their heads on strong weed?

But that’s their style I guess – bass murk and rumblings a plenty and a kind of artful, semi-chaotic, looseness rather than the crisp, often sterile, punch and sheen of other genres/producers – and it definitely sets them apart from the rest of the techno massive.

It’s a no brainer really but ‘Fallout’ is the obvious stand out banger for me with its old school break/rave hoover and air raid sirens.