Pulse Radio - Latest Reviews

Detroit Swindle - The Wrap Around

http://pulseradio.net — Fri, 25 May 2012 17:50:17 +1000

Detroit Swindle
The Wrap Around EP
SAINTS & SONNETS

Following on from the unanimous success of debut EP 3 Feet High, London based label Saints & Sonnets return to the foray amidst an air of high expectation. Stepping up to the plate are Detroit Swindle, a production duo hailing not, as one would presume, from the Motor City, but instead from Amsterdam, some six thousand miles away. Whether these potential fraudsters could cut it at the mixing desk remained therefore, very much in the balance.

Title track The Wrap Around is nothing more than a potent, current slice of deep house. Part dance-floor pleaser, part ethereal roller, it glistens with versatility, as likely to be found in Switch's box as in Scuba's. Intense, rising synths run effortlessly alongside one of the catchiest, most penetrating bass-lines you'll hear this year, punctuated regularly by excerpts from Marvin Gaye's dulcet repertoire (Stubborn Kind of Fellow). Fusion being house music's 'dish of the day', this is a winning recipe, an example of crisp, intelligent production values triumphing above all else.

B-side Pain Tomorrow conveys a similarly confident stylistic approach. Again, deep, undulating synths frame the track, this time providing the support for a much weightier, more chugging b-line. The introduction of another Gaye sample (What's Going On) and a subtle, lead synth-line give the record a funky edge, cementing it as The Wrap Around's less intrusive, but similarly trendy, little brother. The Pattern Select remix unfortunately pales in comparison, bringing very little of any exciting worth to the table.

Whatever their heritage, this deceptive duo clearly harbour a profound understanding of, and passion for, Detroit house. With EPs on Dirt Crew and murmur forthcoming, their stock is likely to rise considerably within underground electronic circles. As for Saints & Sonnets: two releases down and still very much going strong. Keep one eye open around these guys, they're up to something.

Purchase Detroit Swindle - The Wrap Around on WhatPeoplePlay.

Listen to Detroit Swindle on Pulse Radio

Infiniti - The Remixes Part 2

http://pulseradio.net — Wed, 23 May 2012 22:58:45 +1000

Infiniti
The Remixes Part 2
Tresor

Part 2 of Tresor’s special 250th release pairs Juan Atkins, one of techno’s originators, with Function and Redshape, two of the sound’s contemporary ambassadors, re-releasing the classic original versions of Flash Flood and Skyway along with remixes of each track.

The original of Flash Flood, with its chunky drums, deep bassline, sparkly chords and bell chimes, not only still stands up against more modern techno releases, it blows a lot of them out of the water. The thought and love that clearly went into this deep, melodic gem is still readily noticeable, and the lush melodies are a welcome beacon of warmth in amongst the wave after wave of cold, lifeless, clickity-clacks, bleeps and squeaks that have come to dominate techno these last few years.

Function’s take on Flash Flood is surprisingly melodic, but still retains that signature dark, brooding feeling he can create so well. Taking the pads and chord stabs from the original and running them through loads of reverb to create a fuller, less stabby sound, he contrasts this with a grinding, off-beat bassline, and shuffly TR-909 drum patterns. A nice change of pace for Function that is likely to win him some new fans.

Skyway has aged a little more obviously than Flash Flood, sounding very much like a product of its time. That’s not to say it isn’t still a dope tune, it’s just a bit easier to tell it’s roughly twenty years old thanks to the pitched-up beats, breathy synths that just scream “90s Detroit techno” and the funky analogue bassline. Still, it is worth playing if only to teach the kids how it was done “back in the day”.

Redshape turns in a chunky, somewhat menacing dancefloor burner for his remix. The only element from the original that is even recognisable is a brief cameo from the breathy synths, and even then these are hidden in amongst driving kicks, rugged percussion, a grinding bassline and creepy pads. But despite all these changes, it feels like an Infiniti track. A great example of how far from the original a remix can turn out to be, while still respecting the original artist’s vision.

Listen to Juan Atkins on Pulse Radio

Retrofit 8

http://pulseradio.net — Tue, 22 May 2012 03:14:26 +1000

Catz N Dogz, Iron Curtis
Retrofit 8
Retrofit

The word "Retrofit" has its origins in the 1950s, as the rapidly industrializing world needed a convenient way to combine the concepts of "retroactive" (focused in the past) and "refit" (modernized with an eye to the present and future). The word conjures up images of powerful machinery, smoky factories, and the willpower of many sweat-drenched men and women laboring to push civilization forward. Jay Shepheard, main-man of the label with this hefty moniker, embraces this ethos, and his latest release, "Retrofit 8," is a wonderfully designed journey through past and future dancefloor sounds.

First up is a remix of Shepheard's "Add Arp." Shepheard's original was the first release on Retrofit back in 2010, and quickly garnered praise both for him and his label. A deliciously evocative and daring groover, it combined the best elements of house's softer chords and pads with techno's relentless synth stabs and percussion. Retro-fitting this piece of music for the modern dance music landscape is a task expertly performed by Catz N Dogz, who deliver a dark and emotional track that stays true to the original. From the start, the track builds with a Moog-esque bassline, with a low pad rumbling the subwoofers and providing the foundation for quirkier synths and triangle hits. When the claps kick in at 1:30, the track is already in full gear, with a brilliant shuffle and tom loop propelling all the dancefloor-minded. After another minute of intense build, the bassline shows its true colors with a simple but powerful progression that drops into a breakdown. Out of the echoing, murky soup emerges a single trumpet, blaring a melody that could bring a floor to its knees. With the sun in our eyes, hands in the air, and bodies in motion, we get plunged back into the meat of the tune as the kick and bass return to take the track into the home stretch. This is a winner on many fronts, as Catz N Dogz deliver a sublime slice of peak-time house.

Next up is a remix of Shepheard's "String Theory" from swiftly rising Iron Curtis. Curtis maintains a notoriously low profile, letting his music speak for itself, and this track does not disappoint. This outing could be summed up as follows: Iron Curtis takes Jay Shepheard to Detroit. The sounds of the Motor City (and Curtis' own Berlin) resonate in the muffled kick drum and vague stabs as the track slowly unfolds. The louder synthy bass of the original is passed up in favor of a chugging drive, with raw percussive elements. The drum programming and choice of sounds is so authentic that the track feels as though it's floating in time. It could have been made two decades ago on analog equipment or this year with samples...we'll never know. The strings for which the track is named drive it to a frenzy, collapsing into a breakdown around the four-minute mark. Textures abound and short samples of violins bubble to the surface before being quickly sucked back in. Warm pads issuing minor chords push the song forward as it drops into the last couple of minutes of detroit techno/house bliss (or as Iron Curtis might label it, "house not house").

This EP is a brilliant listen in the studio, and a sublime experience on the dancefloor (or warehouse, as the case may be). Jay Shepheard's pioneering influence on earlier outings is indeed "retrofit" with the techy minds of Catz N Dogz and the Detroit-influenced flavor of Iron Curtis. Get this on vinyl right now.

Listen to Jay Shepheard on Pulse Radio.

Cobblestone Jazz - Who's Future

http://pulseradio.net — Mon, 21 May 2012 23:16:17 +1000

Cobblestone Jazz
Who’s Future?
Wagon Repair Ltd.

Finally, some new Cobblestone Jazz material! Mathew Jonson’s side project returns to Wagon Repair Ltd. with two snappy cuts of futuristic booty-moving music made entirely from analogue sounds.

Who’s Future? takes elements of proper electro, disco, house and live improvisation and blends them all into an irresistible groove. 808 drums give the track just enough oomph without overpowering the mix, leaving the multiple 303 lines (I think I counted one bassline, two high-pass filtered background loops, and the occasional random acid squelch throughout the track), subtle vocal samples and classy Rhodes chords to really keep the groove rolling along nicely. Oh, and did I mention that it has a cowbell? Hell yeah.

Across The Nation would be just at home on Underground Resistance as it is on Wagon Repair Ltd. Futuristic electro-funk that clocks in at just under thirteen minutes, this one rewards the patient listener. The crisp, snappy breaks and rugged sub bass will get rear ends gyrating uncontrollably, but it’s the gated pads, robotic vocal and quirky synth stabs which change keys at exactly the right moment that really give the tune its character.

Listen to Cobblestone Jazz on Pulse Radio

HNQO & Rolldabeetz - About Us

http://pulseradio.net — Fri, 18 May 2012 07:01:08 +1000

HNQO & Rolldabeetz
About Us
Playperview

When Jamie Jones hammers one of your tracks at Timewarp festival, it's a proud moment, whether you're a seasoned producer or a rising star. It's even more special when you're only 22, and your music landed on Russ Yallop's lap only a few months before. That's precisely the story of HNQO, who, along with friends Fabo and Pako, are primed to make a splash on the international house music scene. Their label, Playperview, run from hometown Curitiba, Brazil, released its latest installment, "About Us," on May 15th. Featuring bouncy bass lines, ruggedly processed vocals, and a heavy slice of hip-hop groove, the EP shines a spotlight on these talented new faces.

"About Me" is a blend of classic house, hip-hop, and modern techy synths. It comes with a message from singer Lostcause: "You better get to know." The most hard-hitting, four-to-the-floor track of the EP, its singular aim is to set the dancefloor alight. A heavily processed vocal sample cuts in and out of an organ riding up and down some classic house chords. The percussion is simple and effective, sitting expertly besides a heavy, hooking bassline. This is the kind of track that, appropriately, makes heads turn in the club.

"It Doesn't Really Matter," from Rolldabeetz (aka Fabo and Paco) is a daring adventure through dark, deep house and something else altogether. While the track builds on a simple house shuffle and minimal bass line, strange techy elements (one sounding like a muffled scream) appear and then fade away into the groove. The haunted nature of the track maintains its dancefloor-friendly rhythm, leading into a breakdown at 2:40 where everything cuts out, save for a blaring lazer-lead line and gong. As the track plunges back into the kick drum and expertly syncopated percussion, you can't help but admire it's cheekiness. After all, it's hard to pull off a tune that sounds like a ride through a haunted house, but makes you want to dance at the same time.

If every track on this EP were a person, HNQO's "I Saw Your Face," would be the quieter, more seductive relative of "About Me." Featuring the trademark pumping bass sounds of the latter, along with an arsenal of shakers and hi hats, the track is restrained and deep instead of explosive. Carroll's vocals recall the off-kilter, slightly off-key sound popularized by Art Department, and they are used to solid effect as she croons the title lyrics over the breakdown. The maturity showcased on this track highlights HNQO's breadth as a producer, and is surely a promise of things to come.

Finally, the EP is rounded off by a homage to hip-house (or the newly dubbed hip-hop/house genre "G House"), with Fabo's "Club" featuring Nate Monoxide. The bassline again sits front and center, serving as both the groove-maker and lead line, with filter variations throughout the song to keep it fresh. Synths wash over and under the beats while the vocals add some classic club energy. Various drum fills permeate the track, with cymbals and crashes galore. Like "I Saw Your Face," "Club" favors restrain, and manages a moody, sexy vibe while keeping heads nodding.

It has already received support from the likes of Dyed Soundorom, Kolombo, Popof, Amine Edge and Fur Coat. Overall, HNQO, Fabo, and Rolldabeatz manage to create an eminently dance-able EP with "About Us," while at the same time exploring sonic ground by incorporating less common percussive and synth elements. Look out for much more to come from these fresh Brazilian talents.

Purchase the new EP exclusively on Beatport here.

Listen to HNQO on Pulse Radio.

Jack Dixon - You Won't Let Me

http://pulseradio.net — Thu, 17 May 2012 18:51:34 +1000

Jack Dixon
You Won’t Let Me
APOLLO

Jack Dixon is just about to blow up, you can feel it. For the past year or so he has been releasing amazing originals and remixes, wowing anyone who is lucky enough to hear his work and building a reputation thanks to the number of people saying “man, have you heard of this Jack Dixon guy?”. His latest work, You Won’t Let Me, further cements his reputation as an artist capable of bringing many styles together into a coherent whole.

Title track You Won’t Let Me is a smooth deep house ride with just the right amount of UK garage’s swing and shuffle. Simple, unobtrusive percussion leaves plenty of room for the phat, melodic bassline to push through the mix, perfectly complemented by filtered washes of white noise, delightful chords and reverbed chimes. The pitched-down vocal, although now becoming a staple for Dixon, still works a treat and he is one of the few producers who know how to edit vocals so they fit into the mix, rather than feel tacked on top of it.

Saviour is a slightly funkier, more playful affair. Shuffly drums and a punchy bassline made from reverbed tom-toms give the track a UK funky vibe. However, Dixon’s trademark knack for injecting melody and warmth into his tracks is still on display here, with hollow, arpeggiated synths floating over the bottom-heavy rhythms, occasionally joined by haunting vocal samples.
Returning to the deep house vibes, Everytime combines R&B’s soul with house’s driving, no-nonsense rhythms. The four-to-the-floor kicks and thick, analogue bassline contrast nicely with the bouncy rim shots and cut-up breaks, creating a groove that sits somewhere between driving and sexual. An incessant, rapid-fire bell chime drenched in reverb makes up the majority of the melodic aspect of the tune, occasionally joined by filtered pads and a forlorn female vocal.

The EP is rounded out with Black Paint, a slow-burning, low BPM ride that is deceptively heavy. The minimalistic, clean percussion and echoed vocal stabs give the impression this is going to be a headphones-only kind of affair (not that there’s anything wrong with that), but once the bassline kicks in, Black Paint turns into an afterhours bomb. Both ballsy and beautiful, the low end contains plenty of sub bass to rattle any speaker stack, but a higher frequency, melodic lead is laid over the top, creating something that will make you want to close your eyes just as much as it will make you want to dance your face off.

Jack Dixon - You Won't Let Me is out now on Apollo Records

Listen to Jack Dixon on Pulse Radio

Sebastien Tellier - Cochon Ville

http://pulseradio.net — Tue, 15 May 2012 20:46:16 +1000

Sebastien Tellier
Cochon Ville
RECORD MAKERS

One thing that you’re never short of, when peering into Sébastien Tellier’s idiosyncratic and often detached mind, is an adjective. ‘Eccentric’, ‘ostentatious’ and ‘ridiculous’ immediately spring to mind, yet merely scratch the surface of the Frenchman’s boundless character. Another would be ‘odd’, which also describes France’s decision to project Tellier to the Eurovison masses back in 2008, as much as him acquiescing to it. However, you can’t help but think that this is all part of a spectacular act, the parody if you like, of a musician who is as unpredictably strange as he is richly talented.

The arrival of new Tellier material is never subtle or fatigued, and with My God Is Blue detonating last month, Cochon Ville is his first single and slice of imagination to be meddled with. This would be ill advised for unqualified folk, but Tellier seemingly chooses not to surround himself with these kind of people. Instead, as he nonchalantly flicks through his little black book, while feeding moon dust to his pet unicorn, presumably, he rounds up his most worthy, artistic friends – friends with immeasurable benefits.

Cochon Ville - the term referring to someone who’s into kinky sex (just watch the video for definition) - is again indicative of Tellier’s recent tone, dispensing some indulgent electrofunk and celestial synth-pop against his trademark wispy vocals. Dimitri From Paris pumps even more disco into its veins, somehow, but avoids an overdose with some lovely bass slaps. The Magician, who just had to be on the roster, pulls extra synth and bass licks out of the hat, while Brodinski steps forward with his fleshy tech-house interpretation, evoking images of Tellier nodding with wide-eyed approval.

Chicago-based Hey Champ completes the impressive formation by maintaining their love for infectious synth-funk that both Trevor Horn and Mr Oizo would acknowledge. But above all, Tellier has provided us with yet another reason why we should not only accept his quirky and avant-garde ways, but also embrace them with open arms.

Listen to Sebastien Tellier on Pulse Radio

Ethyl & Huxley - Three Feet High

http://pulseradio.net — Mon, 14 May 2012 21:12:40 +1000

Ethyl & Huxley
Three Feet High
SAINTS & SONNETS

Saints & Sonnets is the fresh new label by two of UK house music’s rising stars – the prolific Huxley and Pulse’s very own Jimmy Posters. The inaugural release is a trio of throbbing four to the floor rhythms by Huxley and longtime collaborator Ethyl, with Roman Flugel on remix duties.

Three Feet High is a wondrous epic of modern day progressive house, its prologue unraveling tentatively in anticipation of its seductive bassline and rustic kick drums which transform the track into a discordant groove. Subtle, almost subliminal backing synths flirt with drowned-out vocal samples, adding an eerie air of mystery to this languid jam. As if emerging from the abyss, a fleeting Motown vocal ushers in a ripening, warm pad and subdued Rhodes chords gently ease us into the lush breakdown. With the melodies and percussion to-ing and fro-ing erratically throughout, the track reveals a scatty character that feels not unlike a Moodymann number.

Enduring stalwart of German house, Roman Flugel then takes to the duo’s original with a pair of tasty interpretations. Stripping back the melancholic synths of the original, Version 1 is a much more upbeat slice of deep house that bounces along with barely a moment’s respite. Version 2 is more in keeping with the original; a less boisterous and more mystical piece that demonstrates how deep house producers like Flugel and Hamburg’s Solomun and Stimming are challenging Berghain-esque techno for the dominant sound of German house.

Overall, this is a debut release of the highest caliber that makes a real statement about Huxley and Posters’ ambition by covering a range of in-vogue styles. With release 02 also gaining much support, expect a big things to come for Saints & Sonnets.

Saints & Sonnets on Beatport

Listen to Saints & Sonnets on Pulse Radio

DJ Marky & S.P.Y. Last Night / Love Affair

http://pulseradio.net — Thu, 26 Apr 2012 21:57:25 +1000

DJ Marky & S.P.Y.
Last Night / Love Affair
INNERGROUND

For the best part of a decade now, Sao Paolo-based DJ Marky has been at the forefront of the liquid funk scene, creating polyphonic, funk-infused rollers the likes of which have made an indispensable contribution to the sustained popularity of drum & bass. This might be machine music, but we all love a bit of melody and after all, you’ve got to keep the girls dancing.

As the first man to incorporate the sounds of such Brasilian staples as samba and bossa nova, Marky was almost single-handedly responsible for the creation of a sexy new subgenre - Drum & Bossa. With the wealth of musical diversity in Brasil at his fingertips, Marky has gone on to create an entire oeuvre of wonderfully upbeat breakbeat music that has inspired countless producers and allured the minds and souls of many more. Fellow Sao Paolo resident and producer extraordinaire, S.P.Y. was one of those to be influenced by the path that Marky had begun to pave back in ’96 and ever since, the two have frequently collaborated to triumphant effect.

Their latest offering on Marky’s own Innerground Records imprint continues with this tried and tested modus operandi with two sun-kissed slices of summery seduction that’ll have you scrambling for cheap flights out of this supposedly ‘drought-ridden’ country.

Last Night is typical Marky; the kind of non-descript liquid you can listen to in just about any setting, and that makes you question why you ever despaired for the decline of the genre. There’ll be no death of this music so long as Marky’s concerned. The more discerning of crate-diggers might also recognise the inclusion of a particular conga pattern that featured in TC’s King of Africa and harks back to that wonderful time when TC was actually any good.

On the flip, Love Affair is a stunning re-working of a track by the immortal queen of New York jazz, Billie Holiday. Looping the blissfully cheerful strings from The End of a Love Affair and deftly slotting in a beguiling sample from the peerlessly captivating voice of this timeless songstress, Marky and S.P.Y. once again strike gold with their simplistic approach. A luscious and languid jam with no pretention, Love Affair proves they can still blow most liquid producers out of the water, even after over ten years in the game. There’s no doubt this will be opening and closing sets around the world for a long time to come, so keep an ear out for that unmistakeable hook.

Listen to DJ Marky on Pulse Radio

John Daly - Sunburst

http://pulseradio.net — Wed, 25 Apr 2012 21:41:41 +1000

John Daly
Sunburst
Drumpoet

John Daly is a product of the vibrant, obsessive and wild house scene localised in Cork during the 90s. Linking up with those of a parallel heritage in Switzerland a few years back, he continues his association with Drumpoet Community, the Zurich label that revolves around the city’s notorious Zukunft club. Many have commented on Daly’s music as being highly in tune with nature. Based on the remote Atlantic coastal city of Galway, the frayed, earthy textures and lapping tones of the Sunburst LP do seem to spring directly from his wilderness refuge. When listening through and taking in titles like Moon Pool, who knows where Daly went and what he was reaching out to whilst working on this long player. While Daly’s output is clearly within the limitations of the genre, it pulls from disparate musical influences to produce results that propel it beyond your standard listening template. From expansive, earthy grooves to spaced out melodies, this vibrant, organic album puts the Irishman in a class of his own.

Title track Sunburst is a busy number with a cheeky Thriller-esque bass line tucked into a fuzzy low end, bright synths and an ascending melody. Daly’s live jamming method of making music is in full flow, with riffs, samples and drum machines in a constantly progressing, wholly cohesive dialogue. The analogue chatter spreads from bar to bar, track to track, adding more and more with each cycle.

Release is on a similar synthy bent, tempering the triumphant first track and adding heavy doses of expansive reverb to usher in the lush pads of Cruise Control. Pass The Swing finds the bass line at its lowest frequencies, allowing it to spread generously between the layers of melancholic synths that gather themselves to wash over it. Taking up the march, Promenade is a shuffling number. While sending several casual glances towards the floor, it has an enchanting, purple hypnotism. Moon Pool has a bubbling low end with plucked, harp like shimmers. Throughout the album but most notably here bold and often otherworldly synths pick and pull at expertly blended arrangements, where liquid rhythms ebb and flow, seemingly charged with their own accordance.

Sunburst’s opener and the track that brings the opus to its conclusion are probably the most functional in house terms. Daybreak’s highly emotive washes of synth strewn over insistent toms and Chicago influenced drums are about as referential as Sunburst gets. Nothing sounds forced. Due to Daly’s wide range of influences, the tones and textures that link the first and last tracks will be immediately familiar to electronic music fans across the board. His assured individualism as an artist allow him to present them in an LP that really tugs at the limits of house music.

Listen to John Daly on Pulse Radio

Deniz Kurtel & The Marcy All-Stars - The Way We Live

http://pulseradio.net — Tue, 24 Apr 2012 19:53:33 +1000

Deniz Kurtel & The Marcy All-Stars
The Way We Live
Wolf + Lamb

She may have the conspicuous title ‘Queen of House’ still lingering over her from last year, but deservedly so, following the widespread recognition of the debut ‘Music Watching Over Me’ LP, yet rather than inhibiting Deniz Kurtel’s appetite for success and experimentation, it has very much amplified it.

You could also say that it was only a matter of time before Wolf + Lamb projected Kurtel’s creative ethos to the educated masses too. Zev Eisenberg and Gadi Mizrahi have long been supporters of her artistic application, with the Turk’s animated LED displays and sculptures providing the backdrop for countless W+L parties in Brooklyn - a loyal working relationship and friendship that has finally produced one of the most anticipated albums of 2012.

However, before the arrival of The Way We Live LP later in June, The Marcy All-Stars collaborative, which also includes Thugfucker and Mizrahi himself, has been momentarily reduced to a party of three: Pillow Talk, Tanner Ross and Voices of Black to represent the Singles EP.

Tanner Ross, who as a producer currently in the ascendency, adds his usual dosage of grit and steel to The Beat Drops, which also features Jules Born from Voices of Black, to some rather lovely resonating sax notes. Fortunately all the jazz and none of the hands.

Penned by Kurtel and Tanner Ross, I Knew This Would Happen features Pillow Talk, the popular trio who hang out in the renowned Lower Haight District in San Francisco, and the consequences are stunning. If ever a track could create a sensual and soothing mood without the aid of candles, selective lighting and a massage, then this is surely it.

When you turn to Voices of Black for input, you are always ensured a heavy bass line and plenty of 80’s nostalgia, and throughout the five groove-fuelled minutes of ‘Thunder Clap’ you aren’t left short. And it’s at this point you fully grasp W+L and Kurtel’s distinct aim of the project: to create music that is both an audio and visual treat – possibly warranting its very own exhibition one day.

Listen to Deniz Kurtel on Pulse Radio

Lee Foss - Masta Blasta

http://pulseradio.net — Sat, 21 Apr 2012 03:06:50 +1000

Lee Foss
Masta Blasta EP
MEXA RECORDS

Burgeoning label, MEXA Records, hails from the border city of Mexicali, Baja California, Mexico, where founders Louie Fresco and Jay Blakk (Climbers) call home. Despite its lack of notoriety, Mexicali has, over recent years, developed into a spawning ground for up-and-coming producers and ambitious young labels. MEXA is the product of a deep and genuine desire to put Mexico and its artists on the international dance community’s radar. So far, Louie Fresco and Climbers have already made impressive impacts on the scene, signing tracks with labels like No. 19 Music and Culprit respectively. However, the time has come for their label to soak up the spotlight as they release their first EP, Masta Blasta, featuring one of their strongest influences, Lee Foss.

For the title track, “Masta Blasta,” Lee Foss utilizes panning vocal play along with an interesting sample from a YouTube video (after which the release was named) to fill space around the main focus of the track, the bassline. Hints of golden-era RnB vocal snippets start things off and are scattered throughout, adorning the track with the true Lee Foss signature sound.

Hot Creations’ cohort Richy Ahmed is on remix duty and deepens the groove by injecting an alternative bassline and arrangement. By employing a slight reduction in tempo and a more sparse use of Foss’ original sample work, Ahmed delivers a perfect compliment to the original. The result would nearly feel like an entirely new track were Ahmed to have not hung on to Foss’ central sample stem.

For the B-side “Brooklyn in the House,” Foss introduces a more disco-tinged flavor to the mix, generating something that rivals the title track as the standout of the release. From the string sample to the hypnotizing bassline, this track gives the EP a strong, impressionable finish, ensuring that MEXA’s debut release will not go unnoticed.

The Masta Blasta EP will be available April 23 on Beatport.

Listen to Lee Foss on Pulse Radio.

Tom Trago - Use Me Again

http://pulseradio.net — Fri, 20 Apr 2012 23:14:41 +1000

There are only so many times you can listen to a re-edited track (on this occasion, eight) before you comprehensively accept, almost tinged with defeat, that it doesn’t really differ from the original whatsoever.

Tom Trago’s Use Me Again has been permeating dance floors for a while now, as well as ranking highly on many dj’s wish lists, so even with the arrival of Carl Craig’s prosaic interpretation of a solid original production, that demand will probably remain strong. Why? Well, because if you were approached to take part in the audio equivalent of the Pepsi Challenge, regardless of indulging in mind-altering substances or not, only the acutest of ears could tell the difference.

However there are two discernible, if not minor, shifts 1:30 and 4:30 minutes in, but nothing to really get excited about. Naturally this version will do nothing to tarnish Carl Craig’s credentials and Tom Trago’s craft, and rightly so, but that doesn’t elevate the feeling of overwhelming disappointment.

Tom Trago - Use Me Again on WhatPeoplePlay

Listen to Tom Trago & Carl Craig on Pulse Radio

Hot Since 82 - Hurt You EP

http://pulseradio.net — Tue, 17 Apr 2012 00:43:30 +1000

Hot Since 82
Hurt You EP
Moda Black

Hot Since 82 (aka Daley Padley of Leeds, UK) made a massive splash in 2011 with his debut single, “Let it Ride.” The whimsical, bassline-driven house/disco anthem, released on Noir Music, gained heavy rotation from the likes of Jamie Jones and DJ T. His follow-up EP, “Hurt You,” is out today on Moda Black, the new offshoot of Moda Music. The production quality remains top notch, but Padley sheds the light-hearted approach of his first tune to deliver a much more serious and dark affair.

The double A side release features “Hurt You” and “Soundown.” The former is a delicious slice of evocative deep house. Echoing mallets dance around minimal and repetitive vocal samples, while pads fill out the mid-range. The melodies glide smoothly on top of very simple percussion, and another of Mr. Padley’s well designed bass lines. There is a very ethereal feeling to the entire song, which, in the right hands, could drive a crowd powerfully into the deeper realms of a late-night set.

“Sundown” is overall a brighter and more laid back track than the former. Intriguing vocal samples guide the listener into various short breakdowns, with simple, unfiltered melodies. Percussion is more lively than on “Hurt You,” and the bassline sits front and center. The song is a curious journey through some calm and more menacing territories, with enough twists and turns to stay interesting.

This EP is a strong showing from Hot Since 82, demonstrating his range as an artist after a very successful dancefloor debut. We’re looking forward to more from this talented producer and from Moda Black.

Learn more about reviewer Prab Kumar here.

Listen to Hot Since 82 on Pulse Radio.

Untold - Change In A Dynamic EP1

http://pulseradio.net — Mon, 16 Apr 2012 21:19:24 +1000

Untold
Change In A Dynamic EP1
Hemlock

Untold has said that this latest 12" has been heavily influenced by the late 90s drum & bass of producers like Ed Rush & Optical and labels like No U-Turn. It's fitting then that one of the new-breed of producers, at the cusp of the dubstep movement, and it's subsequent merging into house and techno, cites these tracks as being a big influence on him just as producers like Marcus Intalex and Photek are now throwing themselves into making music with renewed musical vigour thanks to producers like Untold.

The first track, Motion The Dance, is a real departure from the classic syncopated beats that Untold's earlier records were notable for. A stern 4x4 rhythm pounds with distant percussion punctuating the techno beat. This track clocks in at 7 minutes long, and you definitely get your money's worth. Airy and strobing synths eventually make way for a growling bassline that sounds like it could've been lifted from a Renegade Hardware record. This track is very much in the minimal vein in the way that it builds and you're rewarded for listening over the course of the whole track, such is the shifting and textured nature of the tune.

The flip continues the broody industrial aesthetic of the a-side. Luminous weighs in at a hefty 8 minutes long - epic in length when you consider tracks like Anaconda were a mere three minutes. Again it feels like you're in a long dark tunnel, again the track stomps along apace for three minutes before the most filthy synth line comes in taking you deeper into this sci-fi wormhole that Untold has created.

This release sees Untold setting the agenda again. Never one to follow others, he's thrown himself into a dark techno style and taken the Hemlock sound in a different direction yet again. Clearly not one who cares too much for resting on laurels I look forward to hearing what comes next from Untold and the Hemlock camp.

Listen to Untold on Pulse Radio

Joe Morris -Velocity Heights/Whut

http://pulseradio.net — Fri, 30 Mar 2012 15:13:06 +1100

Joe Morris
Velocity Heights/ Whut
SOCIAL PROBLEM

Known and respected as one of the top promoters in the heart of the Leeds music scene, Joe Morris has been extending his talent to production, creating what might be his best work yet for Mat Playford’s imprint, Social Problem. The new offering from the label, “Velocity Heights/ Whut” features two house tracks that exemplify Joe Morris’ nearly two-decade experience with DJing. His music is often described as pooling from a longstanding history of influences and his notable affinity for Chicago house, which is manifested clearly in this release.

‘Velocity Heights’, A1 for the release, intros with a solid minute and half of building synth and percussive lines that unsuspectingly emerge directly into the lead groove. Sultry female vocal samples supplement melodic keys, airy pads and heavy snare/cymbal work to create the textured atmosphere that composes the heart of the track.

‘Whut’, the B1, represents the more stripped-down side of the release, but still maintains a signature Chicago-influenced sound. From the start, ‘Whut’ sets itself apart from the A-side by developing gradually and slowly introducing new elements through to climax. However, similarly to ‘Velocity Heights’, an airy atmosphere and heavy percussive play set the perfect backdrop for the evolving keys and arpeggiated synth lines. These common elements of the A and B-sides serve well in tying the release together, further defining Joe Morris’ sound.

All in all, “Velocity Heights/ Whut” is some of the finer composition from Joe Morris, and shows the maturation of his production work while staying true to his original influences.

Listen to Mat Playford on Pulse Radio.

Shonky - The Minneapolis Touch EP

http://pulseradio.net — Fri, 23 Mar 2012 02:40:35 +1100

Shonky
The Minneapolis Touch EP
Apollonia

Dan Ghenacia, Shonky and Dyed Soundorom. Three Frenchmen who know a thing or two about partying. Kicking off their new label they drop an EP of straight ahead, high octane tech house.

The trio, who now boast a Visionquest style tag team act, are pin up boys for the French electronic scene currently enjoying a renaissance in Paris. This uprising and harking back to old ideas owes in no small way to the influence of Ghenacia and the energy of the remaining pair.
When not buying opportune ice creams for journos in his home city of Paris, Ghenacia has a canny nack of reinvention. Disbanding Freak N Chic was a bold move but with a catalogue drenched in unfashionable mid 00s minimal it was certainly a wise one. Apollonia looks to the past for inspiration taking influence from 90 house rather than the K’d out leanings of its predecessor.

Together the three take a straight ahead approach to the genre and push some of its strongest modern examples. They hit hard with a populist appeal yet a grounded approach. Tech house leaves little to the imagination at the best of times. Where the German’s attack the genre with rigid precision and the Brits with a hammer, the French approach is a little more playful, forgiving almost. Rolling bass lines and narcotic stabs are all present and correct on this release but the finesse is certainly there to help raise this effort above most of their contemporaries.

Columbia is unmistakably Shonky. Half his remix of Rob Hood and half the all conquering Le Velour, it’s a swelling piece of polished tracky house. On The Minneapolis Touch he brings congas into play, still with the polished sheen of a producer who nailed his sound down long, long ago. The clue to the origins of the bassline is in the title, can tech house get as sexy as the Purple One? No, but the pulsing fullness will certainly see crowds writhing in euphoria across the summer. Third offering, Kotero Mi Amor, while solid, the track fails to live up to it's empassioned title, and this adds little to the package.

All in all, no surprises but a strong start to a venture that will no doubt pick up where Freak N Chic left off. Under the guidance of Ghenacia and with Shonky and Dyed Soundorom’s profiles growing day by day it would be hard to argue against Apollina surpassing its predecessor.

Listen Shonky on Pulse Radio

Adeline - Love Handles You

http://pulseradio.net — Tue, 06 Mar 2012 00:22:53 +1100

Adeline
Love Handles EP
Kindish

Following on from the lusciously deep Pepe Acebal release, Kindisch Records welcome to their label's fold Adeline. This Stockholm born DJ & Producer has recently relocated to London to focus on her production and there's no doubt that was a clever move with what she has on show with this two track EP. Following on from her BluFin release at the tail end of last year, Adeline finds her feet on Get Physical's sister label, one of the finest purveyors in underground deep house.

The lead track Love Handles You is a slow burning groover cleverly crafted to get dance floors bubbling nicely. It steadily builds in a myriad of high hats before a sweet, 80's infused bass line creeps in beside a sexy, sultry vocal. As all these elements come together and the highs drift apart, Adeline places a pitch perfect epic synth chord that neatly navigates amongst the vocal snippets before all the highs and that funky b-line kick back in to great effect. At which point I assume, the dance floor goes mental.

Following on from such a killer A-Side is no mean feet yet one would assume that a label of such a calibre would ensure the B-Side packs as much a punch; and indeed it does. Taking Me Over builds very much int he same manner as it's counterpart yet Adeline this time gives more emphasis to a popping drum pattern that takes one back to the golden era days of Trax Records. It's Chi-town flavours are very much present as it touches on the borders of Acid whilst very much remaining on the Deep side of House.

This is a very promising release from a future starlet of the Deep House world, it's also a release which is showcasing Kindisch's increasing momentum. No wonder that Mixmag recently named her as one of their "One's to Watch 2012", I await with baited breath to see what she will come up next. Keep an eye on this one as she prepares to cement herself in the foreground of the scene.

Purchase Love Handles You EP here

Listen to Adeline on Pulse Radio

Sigha - Abstractions I-IV

http://pulseradio.net — Mon, 05 Mar 2012 21:49:17 +1100

Sigha
Abstractions I-IV
Hotflush Recordings

Sigha’s sixth release on Hotflush is perhaps his most experimental and cerebral to date. A four-track EP that takes in elements of ambient, techno, minimal and electronica, Abstractions I-IV feels more like a cohesive story than a collection of singles.

The EP opens with Something In Between Us, a beautiful two minute ambient piece that rivals the work of masters like Final and Hecq. Uplifting pads wash over a single repeating bass note and barely audible machine sounds, all filled out with a heavy blanket of reverb.

Where I Come To Forget, featured on Scuba’s recent DJ-Kicks compilation, is cold, calculated minimal techno. Syncopated kicks and the occasional click are about the only percussive elements present in the entire track, with the rest of the groove created by massive sub bass, squelches and metallic clangs and reverb, lots of reverb. This would be brilliant as an opening track in a techno set.

How To Disappear is more reminiscent of Sigha’s previous output. Devoid of any emotion, this is the sort of hypnotic, no-faith-for-mankind-in-the-war-against-the-machines music that needs to be played loud, and preferably in a nearly pitch black room. Focused around a stripped-back but heavy rhythm, the track slowly brings in and morphs layers of robotic blips and crackles, grabbing your attention and never letting go.

Finally we come to Drown, which sits somewhere in the middle of the three previous tunes in terms of vibe. It’s sinister but oddly soothing, restrained but twisted. The kick is barely audible, almost drowned out by a demonic bassline that rapidly repeats the same few notes over and over, clicky percussion and ominous waves of drones. 21st Century horror music.

Listen To Sigha On Pulse

Matthew Burton & Kate Rathod - The Flip Side EP

http://pulseradio.net — Fri, 02 Mar 2012 00:34:49 +1100

Matthew Burton & Kate Rathod
Warehouse Fool
VisionQuest

One word: deep. Matthew Burton and Kate Rathod’s contribution to the Visionquest catalogue, The Flip Side EP, is a trip through low-slung, quirky and hypnotic deep house with a touch of leftfield experimentalism.

Kicking things off, Warehouse Fool steadily builds atmosphere throughout, creating a warm and inviting groove with a touch of melancholy. Steppy beats and a dark, gritty bassline are paired with lush, spacious pads and distant sound effects, laying down the foundations of the track, which are accompanied by forlorn vocal samples. Introspective yet danceable: a great combination.

New Funk is similarly subtle and minimal, but more accessible and upbeat. All the staple ingredients of a dark groove are here: rugged sub bass, sci-fi style sound effects, slowly evolving pads, bouncy synth stabs and an almost progressive trance-esque lead. It’s nothing that particularly stands out from the pack, but it’s a solid track that will work well in an opening set.

The EP is rounded out with Flip Reverse Girl, a chunky slice of sexual, booty grinding deep house. The syncopated beats, metallic echoes and wobbly bassline work together to produce a suggestive, almost pornographic vibe, while cheeky synth stabs give the track a playful feel. The vocal is going to either make or the break the tune for each listener: while it definitely sounds sleazy, if you actually pay attention to the lyrics, they are rather tame.

Overall, The Flip Side EP is a clever blend of sounds and styles that will appeal to lovers of music that needs to be paid attention to, even when on the dancefloor.

Listen to Matthew Burton & Kate Rathod on Pulse Radio

Scuba - The Hope

http://pulseradio.net — Wed, 29 Feb 2012 21:38:17 +1100

Scuba
The Hope
Hotflush Recordings

Scuba continues his quest to explore a variety of genres and combine their seemingly disparate characteristics into a melting pot with his latest EP (which is also the first single from his forthcoming album) The Hope.

Coming in two identical (except for their length) forms, a radio edit and an album version, The Hope combines heavyweight bass pressure with crunchy, rolling beats, aggressive rave synths, a menacing vocal, and euphoric chords. The end result is a track which prides itself on having no discernible identity and keeps a dancefloor thoroughly on their toes. Some may find the chop-and-change style of The Hope unpalatable, but approach the track with an open mind and feet that are ready to move and you’ll find it hard not to love it.

Flash Addict, a non-album exclusive, is Scuba in techno mode. His penchant for analogue gear and old school sounds is clearly displayed in the track, with rough TR-909 rhythms driving the track along, and syncopated tom-toms filling out the low end. Sinister, hypnotic bells chime throughout, occasionally accompanied by raw, Detroit-esque synths and squelchy effects, creating another track that refuses to be pigeon-holed.

Listen to Scuba on Pulse Radio

Sonarpilot vs Johnny Miller- Freefall

http://pulseradio.net — Fri, 17 Feb 2012 23:08:53 +1100

Sonarpilot vs Jonny Miller
Freefall/LTM Remixes
Sonarpilot Audio

When a press release mentions two fresh productions from Sonarpilot (alongside Jonny Miller) and a couple of remixes thrown in for good measure, there’s a reason to get excited: because Sonarpilot is awesome.

Sonarpilot offers up a deep, melodic tech house reinterpretation of Freefall to start the EP. Reminiscent of the sort of subtle, progressive house sounds Sasha and Digweed were championing in the early parts of their sets when the world went “big room prog” crazy, Sonarpilot’s remix of Freefall is perfectly paced. Slowly adding layer upon layer of arpeggiated synths, dub chords and subtle pads to a basic four-to-the-floor percussive groove consisting only of a kick, some hats and a clap, and a dark, throbbing bassline, this remix is the definition of “hypnotic”.

Aybee’s remix of Freefall takes the track in an entirely different direction, combining choppy breakbeats with improvised Rhodes keys, haunting synths and a gorgeous, subtle bassline into a floaty, ethereal electronica trip. The arpeggiated synth from the original plays a heavy part throughout as well, giving the remix a slightly left-of-centre edge, which contrasts nicely with the lush atmosphere created by the other sounds.
LTM sees Sonarpilot and Jonny Miller mixing ambient and electronica sounds with dub production techniques. The result won’t appeal to everyone, but open your mind far enough and you’ll have a hard time not liking this cerebral journey through jumpy percussive rhythms, big bass growls, haunting vocals, sparkly melodies and tape delay, lots and lots of tape delay. Lay-Far straightens LTM into a more dancefloor ready, skippy house cut. Shuffly kicks and snares and a phat, analogue bassline drive the tune while countless layers of melodies float in and out of the track, and some field recording style hiss and vocals unobtrusively pop up here and there. Add in a half-time freeform jazz breakdown, and you’ve got a winner.

Sonarpilot vs Johnny Miller- Freefall is out now on Sonarpilot Audio

Listen to Sonarpilot on Pulse Radio

Break & Xtrah- They're Wrong/Cyrax

http://pulseradio.net — Wed, 15 Feb 2012 23:09:06 +1100

Break/Xtrah
They’re Wrong/Cyrax
Symmetry Recordings

Break’s Symmetry label is now ten releases deep, and for this special occasion the label head turns in one of his most unique, challenging productions to date, while Xtrah takes care of the dancefloor destroying duties on the flip.
They’re Wrong is a massive change of pace and style for Break, who has built a reputation on dark, grinding beats and heavy basslines, but certainly not an unwelcome one. If anything, it’s evidence that he’s just outright talented: not just a master of no-holds-barred neuro and tech-step, he is also able to craft intricate, warm, and soulful deep vibes, too. The bassline is a sweet, jazzy rhythm played on an actual bass guitar, and this is beautifully accompanied by echoed electric guitar chords, lush atmospherics and crooning vocal samples. His trademark drum programming is of course present, with They’re Wrong taking edits, breaks and rolls to a new level, combining the raw, edgy sounds of jazz drums with meticulous sequencing.

Newcomer Xtrah makes an emphatic statement with Cyrax: brock out or fuck off. With ridiculously high production skills for a newcomer (some of the scene’s stalwarts could take a lesson from this kid), he carefully crafts a chunky cut of minimal, but heavy and dancefloor-ready filth. The beats are tight, steppy, stripped-back and clean, but with a slightly rolling feel, and this feel is augmented by the low-end comprised of three different bass sounds – long, descending saw waves, wide, rounded sub bass growls and rugged Reese stabs.
A great tenth release that showcases two very different sides of the Symmetry sound and no doubt just a taste of what’s to come from the label.

Break/Xtrah- They're Wrong/Cyrax is out now on Symmetry

Samann - Let's Do It Again

http://pulseradio.net — Mon, 13 Feb 2012 20:59:03 +1100

Samann
Let's Do It Again
Tsuba Limited

In an age where producers and DJ’s constantly push beats and sounds to the next level (with sometimes catastrophic results) it’s a real treat to hear a producer who has both ears so closely locked onto the grooves of the past.

Having already landed a collab with the one and only Chez Damier, it’s fair to say Samann is one of Italy’s most hotly tipped producers. His solo debut release, Let’s Do it Again is out now on the ever on-point Tsuba Records, and sets out perfectly what will no doubt prove to be very busy year for the young Italian.
As the title track develops, the influence of Chez along with 80’s and 90’s Chicago music becomes evident; shuffling hi-hats coupled with a stomping bass provide the foundation to which many early house classics in fact relied upon. Samann seems so at home here, creating a raw sound that channels flawlessly and seamlessly with house music produced several decades ago. With a melody up there with the best MK dubs, this one is a club banger to boot.

On the flip we have an offering from Vakula, a Ukrainian producer who has proved he is not afraid to go deep and trippy. Hot off an excellent remix for Cottam’s recent EP out on AUS music, Vakula takes us below sea-level with this reverb soaked, minimal bass rework; using bleeps and echoes with dramatic effect.
Finally, I Need It pursues very much the same vibe as the title track; with simple bass sounds and jacking house hi-hats, yet goes harder with a more upfront four-to-the-floor beat.

All in all, a solid debut release for the Italian; one that manages to sound fresh yet strongly rooted in classic Chicago house. Be sure to keep both ears on his ongoing project, Room104, with Chez Damier as well as other forthcoming releases on his soundcloud.

Locked Groove - Drowning

http://pulseradio.net — Mon, 06 Feb 2012 22:46:44 +1100

Locked Groove
Rooted
Hotflush Recordings

Belgian newcomer Locked Groove is already off to a flying start: Rooted is his debut 12” and it’s on none other than Hotflush Recordings, a label that is already approaching “legendary” status despite its relative youth. Three tracks of genre-bending vibes that grab the listener from start to finish, Rooted is a must-buy for fans of house and techno.

The title track starts off with warm, delightful pads that are gradually accompanied by rough, old-school percussion, a bouncy analogue bassline, and choppy vocals, creating an up-beat yet at the same time restrained mood. When the track breaks out though, it really breaks out. A brash, ravey acid line replaces the chords from earlier in the track and Rooted turns into a smashing acid house cut. But the evolution isn’t over yet: the pads from the beginning of the track slowly filter back into the mix (along with some added chord stabs), and the track finishes sounding like something that came out of Detroit during the 90s. A masterful example of progression.

Drowning merges grinding, industrial techno rhythms in the low-end with up-tempo, ravey fun in the mids and highs. The stomping kick is heavily reverbed at the very lowest frequencies, creating a rolling bassline that fills in the space between each kick, a classic “Berghain techno” production trick. Drum rolls and edits taken from field recordings occasionally pepper the mix, giving the track some swing and a certain organic feeling, while two harsh, synths intertwine to create a simple rhythm which is extremely effective.

The EP is rounded out with Change, a melodic deep house number which is smooth in vibe but rough in production, making it feel right at home alongside tunes from Theo Parrish, Omar S and the like. A hypnotic chord perpetually hums throughout the entire track, slowly rising and falling in volume and changing key. This forms a harmonic basis around which crunchy, slightly distorted percussion is built, and this is later accompanied by some light chord stabs and vocal loops. The spoken word during the breakdown feels somewhat unnecessary, but it’s not enough to bring the tune down when everything else in it is just so right.

Listen to Locked Groove on Pulse Radio

Cozzy D- The Mythical Mystery EP

http://pulseradio.net — Mon, 06 Feb 2012 22:24:53 +1100

Cozzy D
The Mythical Mystery EP
Lower East

Having grown in stature throughout 2011, London based label Lower East now turn to one of its three owners for their next release. Cozzy D, who runs the imprint alongside Lee Brinx and Dexter Kane, drops a four tracker of new productions entitled the ‘Mythical Mystery’ EP. With more eyes on the label than ever before, the inside man lives up to the now lofty reputation with a diverse EP that hints at Cozzy’s growing maturity in the studio in addition to giving a nod towards his far-reaching influences.

Last year saw the amiable producer put his hand to a number of collaborations on the likes of Real Tone, Four:Twenty,1Trax; and of course Lower East. Flying solo for his first release of 2012, Cozzy displays a deft ability for exploring various influences and musical styles within a concise package focused on the dancefloor. Shades of classic house, garage, techno and electronica all enter the blend here, an approach that is often evident in the producer’s highly acclaimed DJ sets.
‘Aphrodite’ is the pick of the bunch, allowing an eerie kind of soundscape to interplay with delicate melodies. Slightly tripped out but underpinned by deep, rolling bass, the track has a laidback aesthetic but is still a dancefloor tool at the same time. The chopped up female vocal provides the perfect hook for the tune. ‘Medusa’ fires up the kick that bit more, creating a dense bottom end alongside a rumbling bassline. Piano chords give the track a classic edge which is then furthered with jangling synth parts.

‘Labyrinth’ takes us into deeper, sinister territory. A hushed vocal permeates a lush groove and crisp beats as a simple melody plays over the top. The track retains a powerful sense of purpose but does have moments of real sensitivity. When the two combine it finds Cozzy at his experimental best. ‘Cupid’ is a wonky house track that comes with plenty of warmth and tribal-like beats built around a wobbling basslines. Pure party madness from Cozzy D this time, it showcases the producer’s versatility that has helped Lower East reach their position today. 2012 looks set to be another year for the London label and its ever growing, impressive roster of artists.

Cozzy D- The Mythical Mystery EP is available now on Lower East

Jordan Peak - Mean Streets

http://pulseradio.net — Fri, 03 Feb 2012 22:00:25 +1100

Jordan Peak
Mean Streets
One Records

With all the low-slung, sub-124bpm disco-house coming out lately, it’s nice to hear an up-beat, jackin’, proper house ride for a change. Jordan Peak delivers just that with the Mean Streets, featuring two originals and remixes.
The original of Mean Streets is the sort of thing DJ Sneak would be proud of making, and definitely the sort of thing he would play. Demonstrating that simplicity often is the best approach, Peak doesn’t need much more than some ghetto vocals, a basic, stabby five note bassline, and dope open hi-hat rides to create an irresistible groove. So simple and so effective.

Done Did is a bit cheekier and more accessible than the title track. Stripping back the percussive elements to just a chunky kick, snare and clap rhythm, Peak fills out the space left in the track with some 90’s styled synths and keys and a bouncy 303 bassline. Catchy and easily recognisable, this will grab even the most disinterested wallflower’s attention.

Chris Carrier turns Mean Streets into a dark, rolling tech house workout but with liberal splashes of funk. The low, filtered bassline, heavy effects on the vocal loop, washes of white noise and high-pitched pad give the track a decidedly twisted feel, but the percussion (complete with occasional tom-tom rolls) and 303 stab which pops its head up every now and then lighten the mood and make Carrier’s remix an enjoyable dose of “freaky funk”.

Rounding things off, Sisi Rosch’s remix takes the freakiness factor and turns it up to ten. Removing a lot of the percussion from the original jackin’ groove (except for the most important part: the hi-hat rides), replacing the funky bassline with a growling, warping monster, adding in some quirky synth patterns and messing around with the vocals, Rosch manages to retain the funk of the original while presenting it in an entirely new light.

Listen to Jordan Peak on Pulse Radio

Vince Watson - Interference EP

http://pulseradio.net — Wed, 01 Feb 2012 23:57:33 +1100

Vince Watson
Interference EP
Tresor

Following on from the brilliant Atom EP, Vince Watson returns to Tresor with two fantastic tracks that demonstrate very different sides of this techno powerhouse’s musical spectrum, one of which is a huge surprise (but a pleasant one).

The title track Interference is far-and-away the darkest, most aggressive, sinister, nasty (insert more synonyms for “evil” here) piece of work that Watson has ever released. In fact, if you hear this for the first time on a dancefloor and your mate tells you it’s a Vince Watson track, you’d be forgiven for replying “bullshit”. But listen carefully and you’ll notice that while the sound palette may be totally out of his normal range (think twisted, grinding synths, booming square-wave acid bassline, and detuned washes), the way the track is produced, it is undeniably Vince Watson. There aren’t any obvious, unnecessary breakdowns and buildups, with the tune instead slowly morphing as it continues; everything is balanced in the mix perfectly; and there is so much subtlety in the way the various layers are crafted and swirl around one another. Peak time madness with intelligent, classy production? Yes please.

The Secret sees Watson in more familiar territory: melodic goodness, and again, it’s Watson styles all the way when it comes to the production. Multiple layers of intricately crafted and occasionally improvised melodies that harmonise perfectly, punchy kicks, rhythmically complex percussive grooves, an amazing sense of progression and movement and thick and heavy, yet spacey and enchanting bass to get lost in.

As a bonus just the melody from The Secret is featured on the EP as well for those who want to use it as a DJ tool (or give the track a bit of a re-edit). Yet another brilliant release from Vince and Tresor.

Listen to Vince Watson on Pulse Radio

Claro Intelecto - Second Blood

http://pulseradio.net — Tue, 31 Jan 2012 23:55:03 +1100

Claro Intelecto
Second Blood
Delsin

Mark Stewart's Claro Intelecto moniker has been a cornerstone of the Modern Love family since his first release on the label back in 2005. Since then he has carved a distinct identity through his sound and developed a back catalogue admired and respected far beyond his Manchester roots. Though he released consistently, and exclusively, on Modern Love throughout the latter half of the 2000’s, his recent output has been considerably more muted. He’s lent his hand to a few remixes, for the likes of The Black Dog, OCH and Svreca, but this is his first new production since ‘New Life’ emerged in March 2010. Not an eternity, but it’s been long enough to see friends and label collaborators, Andy Stott and Miles Whittaker, emerge with new sounds and projects that have seen them pushed into the limelight. If dark, haunting electronic music has a limelight.

So, when Claro Intelecto does reappear, it is not quite where we would expect to find him. Both ‘Second Blood’ and his new album (due out in March) appear on the consistently excellent Dutch imprint, Delsin. Whilst not wholly illogical, and there could be any number of reasons for the move without trying to suggest trouble at mill, it does come as something of a surprise.

It is a move that fits well though. A less dense sound, a rounding off of the square bass punctuation he has explored previously and a deeper, Detroit influence all make Delsin a natural home away from home. Less menacing and less forceful than ‘New Life’, it is not a wild departure, more a reflective refinement. Whereas tracks such as ‘Back In The Day’ rattled along, demanding peak time attention, ‘Second Blood’ is considerably more subdued.

The title track is stunning. A static wash and gliding synths are collected by a deep, reverberating bass line that ambles lazily onwards, deviating occasionally as you lurch from beat to beat. Warm pads and peaking strings add a lamentful edge and massage you with a soothing, blissful touch.

‘Heart’ is just as beautiful with a light, contemplative feel that builds gently around a submerged bass and singular sonic bleeps. The lush melody and synths coax you along, cushioned on soft pads and a flickering snare that promotes a tranquil, Detroit house sensibility.

Both tracks drift along with a barely perceptible force, yet still captivate and hypnotise with every movement. After a hushed introduction, ‘Voyeurism’ is more propulsive, bouncing along at 114bpm with a sterner kick, and claps that incite rather than entice, before more acidic notes and hats emerge to deliver a more familiar warehouse session.
Adopting a slower tempo than any of his previous work, it would be easy to draw comparisons with Andy Stott’s recent output but I think that would be doing Claro Intelecto a disservice. ‘Second Blood’ is far less abrasive or heavy than ‘We Stay Together’ and is much closer to Workshop material in temperament, with a calm, humble sound that engages you in an honest, simple way.

This is an excellent and very welcome return from a producer with proven pedigree and tremendous talent.

Listen to Claro Intelecto on Pulse Radio

Cessa - Nameless / The Flow

http://pulseradio.net — Tue, 31 Jan 2012 00:19:58 +1100

Cessa
Nameless/ The Flow
Missing Link Sounds

The formerly anonymous London duo Cessa (now known to be Jean-Claude of Amalgamation of Soundz and Ollie) return with a great future garage two-tracker on Missing Link Sounds.

Nameless is built upon a foundation of a solid, incessant 2-step rhythm made up of actual drum sounds (you’ve got to love a natural sounding snare) and early 2000s style UKG sub bass grooves, which carries the track as it adds and removes harmonic layers throughout. Melodically, there’s everything from cheeky rave style stabs to chopped-up, filtered electric guitar screeches, catchy digital blips and blops, dub chords and Detroit-esque synths. The only down side is that it’s over all too quickly.

On the flip, The Flow demonstrates decidedly dubstep and jungle influences. The beats are made up of chopped-up, resampled breaks and one-shot hits, giving a nod to the strong influence jungle has had on current bass music sounds. The bassline is deep, dubby and wobbly, much like the early dark garage/dubstep sounds pushed by the likes of Mala and Hatcha. Though, far from being a standard sub-slayer, the track is filled out with a haunting harp loop, transformed vocal hits, creepy synths, dub chords and gloomy pads.

Nameless/The Flow is an excellent example of the future garage sound and a great place to start if you want to look into the genre: it demonstrates the breadth of the style and is a true underground representation of it, but has enough catchy elements to make it accessible to people who are new to the genre.

Listen to Cessa on Pulse Radio

Tessela - D Jane / Channel

http://pulseradio.net — Fri, 27 Jan 2012 22:39:16 +1100

Tessela
D Jane / Channel
Punch Drunk

Punch Drunk records has been releasing quality dubstep (and the subsequent UK bass sounds) from their base in Bristol since 2006. Bristol itself obviously has a long and illustrious history in UK dance music. Since it's 90s heyday with Roni Size, the Full Cycle crew, Portishead, Tricky and Massive Attack all putting Bristol back on the map, this south-west city has been keen to stake a claim to Manchester's crown as the UK's second city of music for a while. This is new producer Tessela's maiden release on the label, and he has previously released music on Dublin's All City (another label with a real ear for cutting edge music.)

The A side (D Jane) of this track comes in with the pounding and wonky tribal percussion that has become the signature of Blawan et al as the new wave of dubstep producers making house music try and mark out their take on the sound. The track drops into thumping sub-bass sprinkled with pitched vocal snippets which builds and builds into a second drop with hands-in-the-air stabs that take the track up a notch into full skanking mode. This part of the record makes the tune for me, it's fleeting appearance leaves you wanting more which makes it all the better as the tune drops back in to the lowdown 4x4 rhythm before the stabs reappear towards the end of the track to satisfy those hungry for drops.

On the flipside Channel delves back into the more classic UKG sound of the 90s. Think of tunes like Little Man or Red and add a bit of bottom end and some more freaky drum programming and you're halfway there. This track plays a lot more like a homage to that emerging grime and garage sound as the genres broke apart at the turn of the century to take their own separate paths. Fans of Untold's DJ sets from a couple of years ago will eat this up.

The flip is a good track but the grandstand moment of this 12" is definitely the A side. This kicks off 2012 in a very strong fashion for Punch Drunk as they look to carry on from a solid 2011 into the new year."

Listen to Tessela on Pulse Radio

Amirali - Beautiful World

http://pulseradio.net — Thu, 26 Jan 2012 16:26:12 +1100

Amirali
Beautiful World
CROSSTOWN REBELS 090

A BIG tune at BPM this year, Amirali's Beautiful World is already getting strong support from some of the industry's biggest names and with good reason. Creating a warm feel from an arrangement of sounds that might otherwise feel cold is an impressive feat and Amirali does it in style. On top of a well crafted atmosphere of reverb, he nestles his expertly executed vocals and places them perfectly within the mix, finishing things off by infusing it all with a slightly rock feel. The baseline is chugging and is built from an amalgamation of different synths. The track's signature rise sound will become a classic "tell" for trainspotters to see DJs dropping this banger from a mile away.

Both Deniz Kurtel and Hrdvision take more broken beat approaches to their interpretations while also each featuring Amirali's impressive vocals in their near original forms. They begin on subdued notes relative to their back halves and are both studies in the slow build. Deniz showcases her ability to craft a straight 80's breakbeat that feels more now than ever, while Hrdvision chugs along and keeps things percolating with stuttered claps and big leads.

Daniel Bortz offers perhaps the most original reworking of the track. Pitching things down to his obvious comfort zone and providing us with a percussive slow groover permeated with dubby, reverb ridden sounds.

Overall, if this release doesn't feature something that suits your fancy I'd suggest confirming you still have a soul.

Listen to Amirali on Pulse Radio.

Magnum - All Over Me

http://pulseradio.net — Mon, 23 Jan 2012 23:50:19 +1100

Magnum
All Over Me EP
92 POINTS

Following the huge viral success of Boiler Room anthem, Mr.67, burgeoning Brixton-based imprint 92 Points deliver a barrage of beastly 808 flavours from Puerto Rican newcomer Magnum, with French Fries on remix duty.

Title track All Over Me unfolds with a mesmerising array of off-key synth stabs and discordant arpeggiators, coupled with the vocal samples of a severely anguished woman. All at once, those synths drop away to reveal a tough snare-heavy drum pattern and dancehall-esque swing - one that’s made this a true club favourite in recent weeks. The second drop’s brutal growling bassline show Magnum’s ability to create militant tracks that are both emotive and destructive.

Dense takes much the same approach, kicking off with a pitched-down amen break and hauntingly beautiful pads made up of layered and harmonised incantations, before stealthily mutating into a weighty jungle-tinged roller. But it’s the return of the spellbinding melody that makes this track the pick of the lot and one that’s guaranteed to stick in your head. Parisian hybrid-house favourite French Fries maintains most of the original’s brooding spirit in his remix, stripping it down to a half-step grime instrumental, complete with sirens and a bassline straight outta Pulse X.

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With distinct sounds of ‘90s d&b and jungle euphoria, Magnum has managed to fuse an interesting combination of influences together, with a distinctive touch of his own, into a strong collection of futuristic bass-heavy music. Another top release for the promising South London label.

4/5

Listen to Magnum on Pulse Radio

Jack Dixon & Rick Grant - Running Man/Muted

http://pulseradio.net — Sat, 21 Jan 2012 00:00:11 +1100

Jack Dixon & Rick Grant
Running Man/Muted 
ManMakeMusic  

Having already made names for themselves with excellent solo releases, Jack Dixon and Rick Grant team up for an EP of beautiful, melodic vibes that continue the ManMakeMusic ethos of combining house, techno, garage, dubstep and soul into a big melting pot of smiley good times.

Running Man is driven by thick, punchy kicks laid out in an almost four-to-the-floor rhythm, but with just the right amount of swing and syncopation to make this accessible to both house music and garage fans. The percussion is crisp and snappy and complements the rhythmic structuring of the kicks, snaking its way around them to create a shuffly, stuttered groove. The real winners here however are the melodic elements. The uplifting Juno chords, arpeggiated blips and soulful vocal samples tug at the heart strings, while the bassline fills out the mix and growls along like nobody’s business. Definitely one to play when you’ve got the dancefloor by the balls.

Muted is a more understated affair. The beats are choppier than in Running Man, with soft kicks, hats and snares coming together to produce a quirky take on a standard two-step rhythm. The bassline, Juno chords, melodic bleeps and vocals are tuned further down and more heavily filtered than in Running Man, making this one a more introspective, even slightly melancholy piece. New age garage at its best.

Kevin McPhee’s remix of Running Man is barely even vaguely reminiscent of the original, but it’s a great take on the track, turning the dancefloor burning original into a slow-mo, lush, broken house jam. The vocal samples are about the only element that McPhee has used, and even these are warped, skewed and effected heavily. Loose, freeform percussion contrasts starkly with the straight kick pattern, and the slightly off-kilter chimes and piano rolls add to the non-conformist vibe.

ManMakeMusic - Jack Dixon & Rick Grant - Running Man / Muted on Whatpeopleplay

Listen to Jack Dixon on Pulse Radio

George FitzGerald- Shackled EP

http://pulseradio.net — Thu, 19 Jan 2012 23:28:16 +1100

George Fitzgerald
Shackled EP
Hotflush Recordings

George Fitzgerald releasing a solo EP on Hotflush Recordings...AWESOME! Arguably the producer of 2011, Fitzgerald delivers yet again with the Shackled EP, demonstrating he is adept with a variety of sound palettes, but keeping within the house/techno/garage hybrid framework he has helped pioneer. (Download Pulse.057 - George FitzGerald)

The title track blends the kinds of emotive chords, vocal hits and sub bass drops one readily finds in UK Garage, with trademark acid squeaks, raw drum sounds and rugged atmospherics of underground techno. Keeping the two groups of sonics separate in the first half of the track, the second half combines them beautifully, giving Shackled a sense of development and movement that progressive house producers would be envious of.

Feel Like is a delightful combination of lush, blissful synths and girly vocals, contrasted with booty/ghetto tech style drum programming and low end chunkiness. Unlike most of his other work, which is readily lapped up by house/techno dancefloors, this is probably too challenging and cut-up for those outside of the bass music scene. It will however cause serious damage at any bass music party, guaranteed.

Fitzgerald then goes sparse and slightly experimental with Friends in High Places. There’s loads of space between the kicks in this one, giving the big sub bass hits plenty of room to do their thing, as well as allowing the percussion, washed-out pads and hypnotic synth loop to become the focus of the track. Together, this creates a warm soundscape which tempts and teases the listener, but never quite breaks out: the perfect tune to play right before a banger.

Listen to George FitzGerald on Pulse Radio

Lee Jones - The Moose Mingles

http://pulseradio.net — Mon, 16 Jan 2012 23:17:35 +1100

Lee Jones
The Moose Mingles
Aus Music

It’s quite clear when you listen to Lee Jones’ music that he has been producing for well over a decade. Always relevant and current, but never one to jump on the bandwagon, Jones is able to take the sounds of now and inject his own individual style, making him one of the most consistently on-form producers of our time. This eight track (four digi-only) EP is no exception.

Moment is a mixture of two vibes in one: jazzy, fun and dripping with funk, but also quirky and full of tension and atmosphere. The driving, up-tempo kick and hats rhythm, bouncy analogue bass stabs and funky guitar licks give the track a playful feel, but the bizarre vocals, off-kilter bleeps and squeaks, slightly sinister chords and old school breaks make it feel decidedly freaky at exactly the right moments.

George Fitzgerald’s remix is possibly the straightest, most linear piece of work he has ever released, and it demonstrates that he is just a great producer all-round, rather than only exceptionally good at the house/techno/garage hybrid niche he helped create. Fitzgerald takes the vocals from the original and places them atop of a meticulously constructed structure of 909 kicks, claps, hats and rim shots, subtle bass stabs, enveloping pads and chords, and Detroit techno inspired synths.

Hot Natured-esque house vibes are the order of the day on Duvel, and while this particular reviewer is not a fan of said style, Lee injects just the right amount of interest and individuality into the cut to elevate it above the rest of the output from the Hot Natured clones. Cut-up vocals, aggressive bass hits and detuned trumpet samples stutter along above low-slung percussive rhythms, and there’s enough variety in the way the various sounds come in and out of the mix to keep it interesting the whole way. Midland turns Duvel into a peak-time slammer, stretching out the vocals into eerie chants, swapping the percussion for phat kicks, distorted hats and claps, filtering the bassline right down and adding in a big-room synth loop.

The digi-only parts of the EP range from a more melodic, stripped-down version of Moment which turns it into a smooth deep house track, to more quirky vibes with Splange which is carried by a high-pitched acid line, as well as some dark room goodness courtesy of Uhrsome and Westworld, two chunky rollers packed with organic percussion and instrumentation. If its value for money you’re after, you won’t do much better than this.

Listen on Lee Jones on Pulse Radio

Dirtybird - Hatched Vol 1

http://pulseradio.net — Fri, 13 Jan 2012 23:19:24 +1100

Various Artists
Hatched Vol.1
Dirtybird

While the slow disco trendsters and 'stylish' new hipster-hunting brands of underground music continue to sashay their ways atop the popularity polls; it's refreshing to know that some labels have been mostly unaffected by these influences. In the streets of San Francisco, they call this 'stayin' true to the game", and that's precisely what Claud von Stroke 's Dirtybird imprint is doing these days. Sticking to what they know: filthy bass, ghetto beats and flippin' birds at their adversaries. Now seven years in; the 'Birds distinct thirst for bass-driven house, techno and everything in between has never been more prominent than on their latest collaboration; Hatched: a various artist album focused on showcasing the next 'wave' of the ever-evolving DB sound saga.

The compilation leads off with Dirtybird's big boss man at the helm (no pun, for you 80's WWF fans out there.); fittingly. Lead cut "Ignorance is Bliss" is the product of the debut collaboration between Claude Von Stroke and the sizzling hot, Eats Everything. For most, this pairing of wits should be immensely intriguing; knowing outright that both have a serious penchant for dirty bass and addictive hooks. Yet many will listen to the first few minutes of 'Ignorance if Bliss' scratching their heads, wondering what all the fuss is about. A quirky lead hook gives subtle nods back to the ol' days; -- when nobody was afraid of D-town -- while the groove begins to simmer slowly. The pair brings the tension to a slow boil for nearly five minutes before dropping the filthy sub-heavy bassline that we all know we're waiting for. Clearly intended for party situations, Ignorance is Bliss surely succeeds in it's mission as a functional DJ tool. But for those expecting this to be the next Who's Afraid of Detroit meets Entrance Song anthem of the decade: you're setting yourself up for a disappointing ride.

Hatched does serve up it's share of potential anthems, however. Breach's remix of DJ Cra$y's "That Amen Track" provides the biggest "Amen" moment, on the back of it's hybrid 'house meets breakbeats' arrangement; this one is a bonafide dancefloor weapon. The surprise standout of the compilation comes from Klasse Recordings main man, Sacha Robotti. In fact, "The Major" could arguably be one of the label's biggest tunes in recent time (that is, if you're gauging them by their efficacy on the dancefloor) One can only imagine the fun that could be had while dropping The Major at DC-10; toying with the crowd and watching them stand up, and sit back down...repeatedly, as the addictive vocal so adamantly instructs you to do throughout the track.

Hatched also provides additional highlights from Dirtybird's cast of usual suspects. Worthy, Christian Martin, Catz n Dogz and A1 Bassline all supply tracks boasting the trademark Dirtybird sound; each sharing one common goal: to blow as many speaker systems around the world as possible. And after listening to this compilation on repeat for a week myself, I'm firmly reminded of this unspoken Dirtybird mission statement. (I'm also seriously considering sending my woofer repair bill to their office.)

As a whole, Hatched is as down 'n dirty as anything the 'Birds have ever put out; but those reading the fine print may struggle while trying to pinpoint exactly which 'next wave' we're supposed to be catching here. As the years drag on, so do the bass lines at times (as gloriously gratifying as they may be). While it's always the admiral thing to do, and speaks volumes about the label's passion for their craft; staying "true to the game" can sometimes lead to predictability; something that every record label should avoid at all costs.

Review Rating: 7.5/10

Tracklisting: Hatched Vol.1

dirtybird HATCHED (part 1) - Exclusive on Beatport
1. Claude VonStroke & Eats Everything - Ignorance Is Bliss
2. Sacha Robotti - The Major
3. Kingdom - SFX
4. A1 Bassline - Why Do You

dirtybird HATCHED (part2)
1. Kill Frenzy - Booty Clap
2. Worthy - Shy Look
3. Christian Martin - Waiting
4. DJ Cra$y (Breach rmx) - that Amen Track

dirtybird HATCHED (part 3)
1. Catz n Dogz - Bring Me That Water
2. Samuel Dan - Bitch
3. Tom Flynn - Jerry's Liquor Store
4. Nick Monaco - Long kiss Goodnight (Soul Clap Edit)

Listen to Dirtybird on Pulse Radio

Matthas Vogt

http://pulseradio.net — Fri, 13 Jan 2012 23:17:37 +1100

Duffstep - Together

http://pulseradio.net — Thu, 12 Jan 2012 23:09:47 +1100

Duffstep
Together
Join The Dots

Future Garage, Future Bass, Experimental-Ambient-Dubno…whatever you want to call it, there’s a fine line between pushing boundaries and just sounding downright messy. Duffstep knows exactly where that line is, and he treads it with ease with his newest release on Join The Dots.

Together is certainly more up-tempo and aimed more squarely at the dancefloor than some of Duffstep’s other material, but it retains his unmistakable penchant for proper dub production techniques/tricks, thick, full bass, vocal wizardry and sunny, pleasant harmonics. Skippy beats are mashed together with multiple layers of breaks and rolls which are deliberately placed slightly off the grid to create a loose, chaotic rhythm. This is offset by clean, heavy sub bass, rising synth stabs and heavily reverbed vocals, all of which are made as linear as possible, creating a charmingly confusing vibe.

Youandewan’s take on Together is a classy slice of dark, introspective dub, which fuses the summery, upbeat bass and vocals of the original with sparse, spacey beats, lots of tape hiss and reverb, and washy, grainy synths. Think Lee “Scratch” Perry if he was really depressed. Background Sound makes their remix even darker, weirder and more uncomfortable harmonically than Youandewan. It takes a special kind of talent to make disharmonic music actually listenable, and Background Sound has that in spades. The choppy, chaotic beats of the original are left pretty much intact, albeit stripped back somewhat, but the bassline is tuned down several octaves, the vocals are intentionally warped into haunting, detuned wails, and multiple layers of metallic clangs and echoes, warbled pads and filtered synths fade in and out of the mix.

Tracklisting: Duffstep - Together (Available on Whatpeopleplay here)
1. Original
2. Youandewan
3. Background Sound

Listen to Duffstep on Pulse Radio

Soy Mustafa - Return Of The Annunaki

http://pulseradio.net — Fri, 06 Jan 2012 23:05:55 +1100

Soy Mustafa
Return of the Annunaki
Cinematic Recordings

Ten releases deep, and Soy Mustafa's Cinematic Recordings have firmly established themselves as one of the go-to labels for quality house and techno. Soy does the honours for their tenth release, with Chymera and John Tejada jumping on for remix duties.

Return of the Annunaki is the perfect example of a slow-burner. There are no unnecessary breakdowns and build ups drenched in white-noise, just a crunchy, driving groove that gets built upon subtly as the track progresses. The punchy, slightly syncopated drums and dark, grinding bassline are joined first by a James Holden inspired digital melody which slowly changes pitch as the track progresses. This is before sharp, descending chords and a raw, growling bass pad filter in and out of the mix at exactly the right moments. Watch the crowd explode without even realising why when you drop this one.

John Tejada turns the dark, gritty original into a warm, dreamy house cut. Retaining the digital melody from the original, Tejada builds an entirely new track around this key element, re-recording the bassline into a bouncier, more uplifting pattern, as well as adding some of his trademark floaty chords and synth patterns, which are occasionally joined by a filtered version of the original’s descending pads.

This is should come as no surprise: Chymera’s remix is excellent. The Irish don of melodic techno takes an even larger step away from the original than Tejada, turning in what may as well be an entirely new track, save for the very brief moment that the digital melody from the original makes an appearance during the intro. The drums are heavier, more shuffly and a more important element of the track’s energy than in the original, and the bassline is changed into a wobbly analogue hit at the start of each bar. The thumping low end is complemented by synths, pads and chords that are recorded to follow the same basic note sequences as in the original, but using completely different sounds, resulting in a remix, that, like Tejada’s version, is more uplifting and warm than the original, but just as banging.

Listen to Soy Mustafa on Pulse Radio

Moodtrap: Body To Body EP

http://pulseradio.net — Tue, 03 Jan 2012 23:36:53 +1100

Moodtrap
Body to Body EP
Tsuba.

Tsuba’s tenth instalment on its digital-only sub-label sees anonymous production duo Moodtrap unleash a collection of unseasonably upbeat underground house to help us through the bleak midwinter.

What starts off sounding like a slice of guttural techno quickly transforms into a silky Chicago garage house number in ‘Body to Body’, thanks to the arrival of a cheerful chord sequence, filtered vox samples and shuffling maracas that make this track an immediate stand-out effort. ‘Let You Go’ takes a harder stance from the off, with an overpowering zoom bass (not the technical term) that lies beneath the layers of similarly optimistic keys and weighty kick drums. The chord progressions and interlocking melodies here are so superbly placed and pitch-perfect that one would expect Moodtrap to be a pair of classically trained musicians. The plot thickens.

Progression is the key word in this 4-track release, and by the third tune – ‘Movement’ – the production formula is well and truly in place and we know what to expect. Seemingly aware that this recipe has begun to produce replications that risk becoming stale, the duo knows exactly where to drop a new element into the mix to revitalize the track’s energy. In this case, it’s the “Everything!” vocal snippet, which transforms the track into a refreshingly new entity by providing a brief moment of relief from the relentless progression. Finally, the bouncy and vivacious ‘Route 66’ closes the EP, undertaking much the same template as the others; its whispering hi-hats the hi-light. All in all, a hugely recommendable release that adds a little sunshine to the wintry doom and gloom.

Tracklisting
1. Body To Body
2. Let You Go
3. Movement
4. Route 66

Listen to Moodtrap on Pulse Radio

Art Department - Touch You Gently

http://pulseradio.net — Sat, 24 Dec 2011 07:59:17 +1100

Art Department
Touch You Gently
Crosstown Rebels

A simple beat punctuated by a verbed-out clap sets the stage for an intoxicating bass line to creep in and begin to “Touch You Gently.” The real magic starts to happen when the rhodes and leads wash through the track as Kenny Glasgow’s vocals begin. Beyond the bare, and truly free expression contained within the lyrics of the song, lies a layer of genius that many won’t be able to truly appreciate upon a first listen. The way in which a man’s voice can be spatially layered and treated with varying degrees of reverb in order to harmoniously compliment what began as a simple and, at times, dissonant melody is singularly impressive. Well done. The 10:35 runtime feels touch longer than necessary, but, as indicated by their decision to kick off their essential mix with it in it’s near complete entirety, the Toronto duo don’t see it as a problem.

The B-side of the release, Brennan Green’s interpretation of Art Dept’s proven original “Tell Me Why” at times feels like a step back in time. And in no way is that a bad thing. Cascading pads, frisky pianos and arpeggios set the tone for whispers of the original vocal to creep through and if you close your eyes and retract a couple thousand days and nights from your jaded soul, you might just find yourself listening to something vaguely akin to progressive house. The shuffle-y hats and 90’s-centric drum programming remind us though, that it’s the second decade of the 2000’s and it’s cool to enjoy any kind of music we want to; as long as it makes you feel good.

CRM089 ART DEPARTMENT - TOUCH YOU GENTLY by Crosstown Rebels

Listen to Art Department on Pulse Radio.

Mathew Jonson - Dayz

http://pulseradio.net — Wed, 14 Dec 2011 22:51:53 +1100

Mathew Jonson
Dayz
Crosstown Rebels

In this reviewer’s opinion, Crosstown Rebels have their moments of brilliance, but they also have just as many moments of “er…okay then”. This is one of the former, for sure. Mathew Jonson provides us with two very different cuts on this EP, demonstrating his versatility, and allowing dBridge to turn one of the tunes upside down like only he knows how.

Dayz is a slow-building, melodic tech house ride that is perfect for shifting the night up a gear. Things start sparse and quirky with some very minimal percussion and a bouncy synth line that jumps up and down several notes each bar. The track slowly gets filled out with some light hats and shakers, but more importantly, additional melodic elements in the form of filtered keys and wistful, emotional pads and strings. Building on this simple foundation as it progresses, Dayz morphs from a clicky, unassuming minimal track into a beautiful melodic tech house soundscape.

Cold Blooded is more aggressive and twisted. Relying primarily on a big, resonated bassline and electro-esque stabs to do its damage on the dancefloor, it really doesn’t need much else. However, the addition of creepy synths, robotic effects and lots of clever edits to the bassline certainly don’t do any harm. dBridge’s remix is a wicked slice of half-time d&b, a sound that he has been at the forefront of for quite some time now. The bassline is completely overhauled into a menacing growl which accompanies the spaced out kicks and snares, and the freaky synths and effects from the original are heavily time stretched, making them sound even more bizarre.

Crosstown Rebels is a label that prides itself on releasing innovative, different music, and in this instance, they’ve lived up to that promise. More like this please.

Tracklisting: Mathew Jonson Dayz
1. Dayz
2. Cold Blooded
3. Cold Blooded (dBridge Rmx)

Listen to Mathew Jonson on Pulse Radio

Milano - The Fall

http://pulseradio.net — Wed, 14 Dec 2011 22:22:34 +1100

Milano
The Fall
Turbo Recordings

Milano's debut release sums up where Turbo is heading, signing forward thinking starlets releasing 'real techno'. With their new roster continuing to build with Sei A and Gessaflelstein, before the first listen you get the feeling this is going to be yet another fool proof dj record for techno enthusiasts.

The Fall is a dose of real deap acid. Starting with a deceptively simple kick, things are brought to life with a grubby bassline while squelchy synths waver hurriedly over the top. The bass patiently carries the track whilst more squeaks, bleeps and spacious synths are splattered throughout. Things climax with harrowing chords and a drawn out shriek just in time for the bass and kick to carry proceedings home. All in all some top notch warm up fodder from the Canadian.

Likewise, Untold starts things off pretty bare-bones, but things soon get much more interesting as the analogue synths open up and the chords are allowed space to experiment. The remix is more imaptinet, abrasive even, as Untold opts for harsh percussion, layered synths and eery bleeps. It's clearly a remix of the Canadian, but as ever the UK sound of Untold is ever present - there's real authority here. Having been associated with a 'bass' sound until recent times, on The Fall, he's now taking up duties with a more four to the floor approach; he's taken the acid dipped original and overheated it to total delirium. Finishing off it's synthapella, Milano himself strips back all the shrieking, acidic basslines and leaves you in a world without percussion and what a place it is. all tracks on this debut are solid enough to ensure Milano's future on Turbo might just become a healthy relationship, with The Fall sitting quite comfortably next to the rest of Tiga's roster, - Untolds remix might raise eyebrows initially but it's Milano that deserves all the props.

Turbo 114 — Milano — The Fall by Turbo Recordings

Listen to Milano on Pulse Radio

DJ Cra$y- Breach Remixes

http://pulseradio.net — Tue, 13 Dec 2011 22:44:25 +1100

DJ Cra$y
Breach Remixes
Dity Bird

For those of you interested in UK dance music history, there is a theory called the 'Hardcore Continuum'. If you weren’t already aware of it, basically it states that you can trace all UK dance music, from dubstep, back through UK garage to jungle, all the way back to hardcore in the early 90s.

Why am I mentioning this? Well, for those of you wondering who DJ Cra$y is, allow me to fill you in. Basically DJ Cra$y was a mate of Breach (AKA UK soul boy Ben Westbeech's) dad in the 90s. Cra$y was DJing and making tunes around Hertford at the same time as British dance music pioneers like 2 Bad Mice and Omni Trio as the hardcore and jungle sound was coming to the fore. Unfortunately after over-indulging in some of the chemical excesses of the time, Cra$y's stage-name became an unfortunate self-fulfilling prophecy and he was taken into mental care. As a favour, Breach's dad was asked to look after some of the music that Cra$y had been working on.

Fast forward 20 years and Breach/Ben Westbeech comes across an old box of DAT tapes in his dad's garage. A moment of inspiration ensued and Breach set about remixing some of the tracks he found… and thus the circle is complete. A perfect loop from the hardcore sound of the 90s to the latest incarnation of UK flavoured dance music. Add to this a chance meeting with Claude Von Stroke in London and the tracks wind up being signed and put out as the latest Dirty Bird release.

I Need You has the stepping 4x4 drums that have become de rigueur with the current crop of UK producers pushing the tribal UK Funky sound. The track builds with percussion interspersed with sirens and vocal stabs before dropping into a bashy house workout almost reminiscent of the Dubsided/Crookers sound that exploded a few years ago. The low end packs a punch is likely to get even the most self-conscious of head nodders moving their feet. The whispery female vocal sample are a nice touch as well and contrast nicely against the general stomping bassline and subs.

On the flip Just-E comes a little less like a punch to the gut, spraying percussion amidst subtle strings however it drops into a plodding banger with a tribal melody over the top. Fans of Fatherless (Breach’s biggest track to date) will not be disappointed with this release as it’s more of the same; guaranteed dancefloor material. However this is not to say that Breach is a one trick pony at all (for further evidence check out his remix on Crazy P’s new single where he moves into deeper, more soulful territory.)

This is another solid addition to Dirty Bird’s already substantial catalogue, bringing the UK house sound to fans of the American label. Despite my best efforts to find the original tracks I cannot for the life of me get hold of anything, so I can’t contrast with how these re-rubs sound compared to Cra$y’s original DATs. All it leaves me to say is that DJ Cra$y, wherever you are now, we salute you, and these remixes are a fitting legacy.

DJ Cra$y- Breach Remixes (Dirtybird)

Tracklisting-
1.) I Need You
2.) Just-E

Listen to Breach on Pulse Radio

Milano

http://pulseradio.net — Mon, 12 Dec 2011 22:30:16 +1100

Milano

Milano's debut release sums up where Turbo is heading, signing starlets releasing 'real techno'. With their new roster building (Sei A, Gessaflelstein & now with Milano) before the first listen you get the feeling this is going to be yet another fool proof dj record for techno enthusiasts.

The Fall is a dose of real deap acid. Starting with a deceptively simple kick its brought to life with a grubby bassline while squelchy synths waver hurriedly over the top. The bass patiently carries the track whilst more squeaks, bleeps and spacious synths are splattered throughout. The Fall climaxes with harrowing chords and a drawn out shriek just in time for the bass and kick to carry proceedings home. All n all some top notch warm up fodder from the canadian.

Likewise, Untold starts off pretty bare-bones, but gets much more interesting as the analogue synths open up and the chords are allowed space to experiment. THe remix is more imaptinet, abrasive even as Untold opts for harsh percussion, layered synths & eery bleeps . It's clearly a remix of the Canadian, but as ever the UK sound of Untold is ever present - there's real authority here, Having been associated with a 'bass' sound until recent times, on 'the fall' he's now taking up duties with a more four to the floor approach; he's taken the acid dipped original and overheated it to total delirium. Finishing off it's 'synthapella', Milano himself strips back all the shrieking, acidic basslines and leaves you in a world without percussion and what a place it is. all tracks on this debut are solid enough to ensure Milano's future on Turbo might just become a healthy relationship, with The Fall sitting quite comfortably next to the rest of Tiga's roster, - Untolds remix might raise eyebrows initially but it's Milano that deserves all the props.

Sepalcure - Pencil Pimp

http://pulseradio.net — Mon, 12 Dec 2011 22:14:53 +1100

Sepalcure
Pencil Pimp
Hotflush Recordings

Sepalcure may well turn out to be one of Hotflush’s best finds (I can certainly think of a few labels that probably wish they had gotten onto them first). The first single from their just-released debut album is Pencil Pimp, with an exclusive track entitled I’m Alright included.

Pencil Pimp is high-energy bass music with just the right amount of soul. Children’s chants and downtuned diva wails fill out a melancholy, yet upbeat, tapestry of scattered percussive rhythms and stuttered beats, big sub bass growls, almost ravey synth stabs and lush, sparkly chimes and chords. The sort of tune that makes you want to dance, but also makes you want to just stop and listen to grasp its full complexity.

I’m Alright is hard to describe. Really hard. Imagine an ever-mutating mass of aural energy comprised of soulful keys, snappy beats, chopped-up girly vocals, and quirky synth warbles that starts out sparse and experimental and ends up sounding like up tempo R&B. Then, imagine it being more like a vortex which sucks in every bit of positive energy in the world around it to create a giant ball of smiley happiness. Or something. That’s about the best I can do. Listen to it, you’ll like it.

Tracklisting (Purchase on Whatpeopleplay)
1. Pencil Pimp
2. I'm Alright

Listen to Sepalcure on Pulse Radio

Neosignal - Energy EPs

http://pulseradio.net — Mon, 05 Dec 2011 22:14:01 +1100

Rockwell, Noisia, Misanthrop, Phace, Spor
Energy EPs
NEOSIGNAL

Neuro and tech-funk giant Neosignal have really stepped it up a notch with their latest project, a series of three EPs collectively titled Energy, featuring collaborations between label owners Misanthrop and Phace and Rockwell, Noisia and Spor. Large!

The first EP begins with Energie, a massive dancefoor flattener from Misanthrop & Phace. Starting off with a downright evil atmospheric intro comprised of distorted harmonic dissonance and half-time drums, the tune only gets nastier. The drop is absolutely outrageous, with huge, overdriven kicks and snares pounding away underneath a phat, cut up, techy bassline. On the flip, Noisia and Phace strip things down to the bare essentials with a glitchy minimal d&b cut entitled Micro Organism. All the trademark Noisia and Phace elements are there: tight, ultra-clean production, intelligent effects and sonics, and most of all, heavy sub bass. The choppy drum patterns and sparse kicks give the low end plenty of room to move, and the slow addition of extra layers of percussion, blips and atmospherics make this one a well-paced grower.

EP number two again features Misanthrop, this time working alone to come up with Amboss. Another aggressive stormer, Amboss has straighter, bouncier beats than Energie, but is most definitely still chockers with absurd bassline action and some additional devastating rave synths for good measure. Phace & Rockwell’s NO! is the winner on this EP however (and of the whole release, in fact). It’s the best bits of Rockwell combined with the best bits of Phace; so essentially it’s the best bits of D&B in one tune. The intro gives the impression it will be a party track, but once it drops it drops it’s just all dark grooves. The beats are simple and unobtrusive, allowing the lower reaches of the track to shine through, propelling it along with deep, growling sub bass and a stabby, more midrange-filled bassline.

The final EP sees Misanthrop & Phace teaming up once again on What’s Wrong? Judging by the sheer absurdity of the bassline, I’d say there’s a few things wrong with whatever goes on in those boys’ heads. Rugged, raw and ravetastic, the bassline jumps up a few notes at the start of each bar before stepping back down the scale with a strong LFO cutting it in and out of the mix. The second drop adds a few more hoover-esque bass sounds and clever breaks and edits although it starts to feel a little dragged out and monotonous by then. Out of Focus from Phace & Spor finishes off the series in fine style, returning to the clean, glitchy, techy vibes. It really does a lot with very little. The percussive layers consist pretty much solely of tight kicks, hollowed-out snares and closed hats, and aside from a few metallic clangs and melodic interludes, this jam is pretty much all bass. But the beauty of it is the way the bassline is tweaked throughout the track. It’s subtle, but it’s there, and it keeps the tune interesting throughout, which doesn’t often happen with tech rinse outs.

Energy EP Tracklisting:
E. Phace&Misanthrop - Energie
N. Phace&Noisia – Micro Organism

E. Misanthrop - Amboss
R. Phace&Rockwell – NO!

G. Phace&Misanthrop – What’s Wrong
Y. Phace&Spor – Out of Focus

Download on Whatpeopleplay

Garry Todd - The Life & Times of the California Hat EP

http://pulseradio.net — Fri, 02 Dec 2011 02:45:18 +1100

Garry Todd
The Life & Times of the California Hat EP
ILLUSION RECORDS

One of Sydney’s main representatives in Ibiza, Garry Todd has finally started to take steps in the studio, and they’re already steadier than most experienced producers’. Leaning heavily towards early 90s house and rave vibes, The Life & Time of the California Hat EP is a welcome throwback to simpler times.

24 Hour Party Sausage is chock full of recognisable samples and sounds, making it a chinstroker’s wet dream, a nostalgic party goer’s eight minutes of wistful flashbacks, and a dancefloor staple for the summer. From the looped break to the round kicks, chopped-up diva vocals, bouncy bassline and lush synths, this is everything that was great about dance music in the 90s.

The Mole’s remix may as well be a completely different track. It takes repeated, careful listens to even recognise any of the original elements, with the synths heavily detuned and dropped several octaves, the bassline completely overhauled and the samples turned into freaky, deformed sonics. That, combined with a simple, stripped-back, dark groove with lots of reverb on the percussion makes this a late-night jam for small rooms with low ceilings and not much lighting.

Vacation in Sunderland is raw, pumped-up funk tailored specifically for sunny afternoons and sound systems that have good bass response. The beats are loose and choppy, with layers upon layers of acoustic drums, taking the listener on a train ride all stops to boogieville. The bassline is rough, deep and most importantly bursting at the seams with funk, and the track only gets bumpier with the addition of soulful R&B style vocal samples, uplifting synth stabs, strings and organ chords.

Death on the Balcony turn in an enjoyable, if not overly memorable, remix. The beats are stripped-back and straightened out and the bassline made to sound cleaner and tighter, while the synths and vocal samples are kept pretty much untouched. It’s a nice house tune, but it sounds too clean and well-produced, and given the rawness of the original is a large part of its charm, the remix seems to fall short of reaching the same heights.

Listen to Garry Todd on Pulse Radio

Kondens - Second Coming

http://pulseradio.net — Fri, 02 Dec 2011 00:28:24 +1100

Kondens 
Second Coming 
Kontra

It can be hard to remember that Sweden isn’t just main room house music sometimes, what with the worldwide domination of Steve Angello et al. But scratch even just a little under the surface and you’ll find a collective of producers writing interesting, fresh dance music. Kondens are one such example, and their release Second Coming is an excellent example of music that chooses to defy convention and just has the sole of aim of “sounding good”.

Flamingo is a challenging combination of minimal techno, garage and early dub techno. The bassline is reminiscent of early Swedish techno works from the likes of Joel Mull and Cari Lekebusch, while the filtered, reverbed chords are clearly influenced by dub techno pioneers such as Basic Channel. The beats are choppy and fall just short of confusing once all the percussive layers are in the mix (intentionally out of time layers are indeed clever, but there’s a line between clever and unnecessarily tricky -- Flamingo treads this line with ease). Throw in some aggressive stabs and ambient reverb and you’ve got yourself a classy peak-time brain-bender.

On the flip, Substance turns the high-energy, synapse-melting original into a heady journey through the deepest recesses of bass music. The chords from the original are heavily echoed, strangely cut up and scraped through a grainy filter to create a disturbing, yet somehow “right” harmonic dissonance, the bassline is filtered right down into “oomph” territory, while the beats consist of nothing more than a tight kick at the start of each bar and a metallic hit on every second count. “Journey” is a word I hate using when writing, but this is definitely a track that deserves that description.

Tropic Star is a more linear affair than Flamingo, but the shuffle factor is still high enough to set it apart from the recent veritable flood of deep techno tunes which can at times feel flat, under produced and lacking in movement. A deep, rumbling bassline snakes around shuffly, snappy kicks and claps, while a collection of harmonic layers fill out the tune with everything from washed-out pads to rugged synth stabs and acid.

Tracklist:

A1. Flamingo
B1. Valvet (Substance Remix)
B2. Tropic Star