http://www.spannered.org/music/search/date/down/0/albums/1/ Music, art, film and literature from outside the mainstream bubble, a platform for writers. Spread a little mp3 love. en-gb Copyright 2007 Spannered. All Rights Reserved. Thu, 9 Feb 2012 00:00:00 GMT 240 http://www.spannered.org/images/skins/spannered/RSS.jpg http://www.spannered.org/ http://www.spannered.org/music/1762/ http://www.spannered.org/music/1762/ The idea of an album co-produced by UK techno dons James Ruskin and Mark Broom for the former's Blueprint label was one which appealed strongly to me when I heard it was in the pipeline. I'll admit to having concerns though. Since the label's relaunch it's turned out a consistently high-quality minimal aesthetic on a number of 12”-singles, with productions from the likes of Robert Hood, Marcel Dettmann and Sigha. But would these two techno stalwarts take the opportunity to push the boundaries a little further on the often-tricky full-length format? Lingering largely around the 70/140bpm mark, it's certainly not typical of Blueprint's output. Instead these producers show off the depth of the sound palette at their disposal to create one of the finest albums you'll hear this year. From the opening kick of Guv 1 the agenda is clear — here are works with the lowest bass frequencies and highest production values. The crisp glitch of Bronik sidles craftily between half and double speed tempos in a manner reminiscent of Phoenicia or Richard Devine, whilst the resolute Pinhead turns a similar trick. Antiarc however, almost threatens to explode into breakcore. Given the reputation of these two beatsmiths for functional and floor-centric loop-based tracks, it's a surprisingly tuneful affair. Melodically there are a number of motifs which are reminiscent of the more experimental flashes shown on Ruskin's own previous full-length The Dash (released on Tresor), although the themes here are more intricately processed and drawn out. Mas turns in the only recognisably 'techno' moment of straight-up 4/4 stomp, a full-on fist-pumper which breaks the album up quite effectively, although it does feel slightly uncomfortable with its more esoteric bedfellows. The Quick And The Dead would fit snugly into a Plaid DJ set (it wouldn't be entirely out of place on one of their records either) — indeed, if you're looking for a name with which to compare the overall vibe of this record, theirs would be a good call. No surprise then that they've been brought in for remix duties on one of the bonus tracks on the CD, syncopating the beat from Morning Blues into a lurching swing pattern which will cause serious head scratching, but layering it with the sort of lush new age textures that graced their recent full-length Scintilli. I'm being slightly unfair with the comparisons here — yes, there are many recognisable touchstones littered through Lightbox, but it's no mere paean to the days of classic Warp electronica; it sounds thoroughly contemporary and succeeds in displaying skills in Ruskin and Broom which you always suspected they had, but never quite found the opportunity to fully show off (something they do with aplomb on Guv Three and on another bonus track where they switch monikers to remix themselves, this time as Deadhand). Not the album a techno purist would expect then, but one I have little doubt they will find deeply rewarding, as I daresay the artists themselves found the experience of writing it. Tue, 22 Nov 2011 00:00:00 GMT http://www.spannered.org/music/1763/ http://www.spannered.org/music/1763/ It's rare to hear an album of any genre which exudes perfection, but on Escapism Boris Bunnik (aka Conforce) possibly comes as close as any released this year. It's characteristic of his music — warm but frozen, focussed yet smudged — that it's almost impossible to put your finger on exactly what it is that makes this album so outstanding. Certainly the attention to detail is undeniable. Every sound seems to have been polished to a shimmering gleam, right down to the smallest hi-hat, and the sheer space he's allowed in the mix gives the whole work a living, breathing quality — you almost expect it to slip from your grasp each time you think you've got a handle on it. From the opening snare hit of Revolt Dx we're in the realm of extremely crisp sound. Put aside notions of extreme sidechain compression and punchy bass drops however — Conforce's game is subtlety and dynamics, something which much modern dance music seems to have forgotten. Whilst I'm certain every one of these tracks would sound weighty on a good rig, the emotions that the record instils are not exactly the sort to make most people shake their tailfeather, at least not until about half way through, when Shadows Of The Invisible injects a little raw energy. For the most part the melodic elements are glacial, hypnotic — the archetypal 5am zone-out vibe. And that's a large part of the attraction — it's rare for a good techno album to be quite so consistently listenable, no matter the circumstances. Escapism is truly immersive, and well named in this regard; pick any track and the coldest regions of outer space seem within reach after just a few seconds (check Aquinas Control, and be sure to marvel at the resonating sub-bass of the cosmos whilst you're there). Escapism has a womb-like quality, enveloping the listener with warmth and supplying nutrients directly to the brain. Despite weighing in at an hour in length, it all seems to be over far too soon. Album closer Diversion brings us back to the roots of this music, however, wearing it's Chicago influence proudly — think Steven Tang and Tevo Howard jamming with their boxes in broad sunshine. Escapism is an album of the purest textures — a point reinforced by the visually arresting design of the cover (again, Bunnik's own work). His debut album Machine Conspiracy (for Meanwhile) was assured, but this follow-up takes Conforce to the next level. It's going to be fascinating to hear where his journey will take us next. Tue, 22 Nov 2011 00:00:00 GMT http://www.spannered.org/music/1729/ http://www.spannered.org/music/1729/ Lester Whimpers ruminates on drone, Fahey, The Pentangle and the Tantras Of Gyütö as he explores Dylan Carlson and co's latest journey to rich and strange regions of the musical cosmos. Fri, 04 Mar 2011 00:00:00 GMT http://www.spannered.org/music/1727/ http://www.spannered.org/music/1727/ Greg Scruggs reports on the socio-economic parallels and maximal house beats of 2011's Creamfields Brasil, held on the island paradise of Florianópolis. Tue, 22 Feb 2011 00:00:00 GMT http://www.spannered.org/music/1723/ http://www.spannered.org/music/1723/ In which Gerald Donald/Heinrich Mueller (he of a million aliases, all of them legendary in their own right), returns under yet another new moniker, this time aided by three female associates — Susana Correia, Penelope Lopez and Beta Evers — with whom he has apparently collaborated across the web to complete this particular opus. Evers brings a sparse vocal presence to the album that makes it sound like an XX chromosome-fronted version of Arpanet's Inertial Frame or Wireless Internet — and it really works.   Erring mostly on the side of the minimal, spooky vibe that he explored on some of his previous Rephlex outings (notably the Dopplereffekt long-player Calabi Yau Space), the vibe is intentional as this is an album with a strong theme — the paranormal. Evers intones over some disquieting stuff on the opening three tracks Apparition, Clairvoyant and Cryptic Dimension, which set the stall out early. Donald intends, as always to explore the darkest and most hidden areas of our universe, but whereas many of his previous efforts have been predisposed towards science, this time he goes beyond the realm of the empirical.   The album strays into more instrumental territory towards its middle section — a shame in some ways as I'd like to hear more from Evers, but these tracks perhaps don't lend themselves as much to vocals. She returns though towards the end — most notably on the strongest track here, Telekinesis, which describes the interesting case of one Nina Kulagina, a Russian woman said by many to possess some rather disturbing psychic powers. When Evers chants 'Kulagina.... she makes hearts stop beating' the effect is positively spine chilling. But whilst Kulagina herself may have been an elaborate fraudster, there's certainly nothing shoddy about the psychic powers emanating from the tracks on show here. Thu, 20 Jan 2011 00:00:00 GMT http://www.spannered.org/music/1724/ http://www.spannered.org/music/1724/ EPM is a company that has been steadily supporting quality electronic music for the past 10 years. From their bases in Maastricht and London, they have specialised in digital distribution, PR, legal services, artist management and plenty more. In order to mark this significant milestone in an industry in which few survive so long, they've decided it's time to make use of their bulging contacts book and put together a compilation — and for a first effort it's an absolute stormer, packed with hot exclusives for the connoisseur. Kicking off with the crispest of modern italo bangers from Alexander Robotnick before ploughing into the uptempo synth action of Detroit Grand Pubahs' Civil War 2013 (a track which should really have made the cut of their last album), it's clear from the outset that this album means serious business. And it doesn't let up — Robert Hood (under his Floorplan guise) drops an exclusive dose of M-Plant pressure, and Marco Passarani (as Analogue Fingerprints) gets into a serious acid groove. By the time Norwegian newcomer Marius Våreid gets in on the action, you're glad of a bit of a let up — finely delivered in the form of an anthemic piano-led Balearic banger. But the danger hasn't passed — Regis and Function, recorded under their Sandwell District moniker live on stage in Berlin, turn up the techno heat once again, and if you've heard the recent live 12" (presumably recorded on the same tour) you'll know what to expect. Mark Broom & James Ruskin turn in a strangely lolloping affair and Orlando Voorn gets funkily tribal on Wiggle. It's difficult to reconcile the hoover electro of RadioNasty (yes, a collaboration between Keith Tenniswood and Billy Nasty) with everything going on around it, but what the hell — it's a party and everyone's invited. With celebrations lined up at some of the world's top nighteries during 2011, let's raise a glass to the next 10 years of these mysterious movers and shakers. Thu, 20 Jan 2011 00:00:00 GMT http://www.spannered.org/music/1703/ http://www.spannered.org/music/1703/ A temporary desert city with 50,000 citizens and ubiquitous sound systems. Greg Scruggs reflects on the sun, sand and sensory overload of Burning Man 2010. Sun, 24 Oct 2010 00:00:00 GMT http://www.spannered.org/music/1700/ http://www.spannered.org/music/1700/ The word 'prolific' is oft-used to describe artists of less colossal output than Ed Upton, but his is certainly a case where it's justified. To try to summarise his huge discography would be a thankless task, so I'm going to cut to the chase and say that since first hearing his 1996 debut on Rephlex (Sound Of The Street) I've often found his material somewhat patchy. A forgivable crime? To be honest, he has turned out a large wedge of fantastic tracks spanning his trademark genre base of straight-up party electro to vocal-led synthpop. In the past few years, however, the crime of not-quite-always-getting-it-right has been further redeemed by the appearance of a more cerebral, considered side to his productions that was perhaps not so evident before. Mr DMX suddenly started to sound like someone who was finding the form of his life — several records under the 'Collapse of the Wave Function' moniker as well as some absolutely banging disco, electro and hardcore on his own Breakin' label — it was like I was suddenly hearing him properly, some ten years after I had started listening. I don't know what brought on these new elements, but they look set to stay. New album Wave Funk is by far his best to date. Packing in a none-too-shabby seventeen fresh numbers (the CD is also bundled with a bonus disc of Wave Function cuts, all previously vinyl only), what Ed manages to achieve here is an album of perfect future funk. Whether it's the laid-back groove of Mr Blue, the hyped electro of I'm Back, the italo leanings of Zero Gravity Aerobics or the spoked-out vibe of Jupiter Mission, this is an album with many subtle flavours but a very strong — and unique — sense of identity. Gorf Man wouldn't have sounded out of place among AFX's Analord series, whilst Metro 1990 sounds like the lo-fi soundtrack to an old computer game in which your character walks the mean streets of Detroit, but it still fits the overall scheme perfectly. The heavy switch half way through Gravity Boots is a killer, but the greatest achievement of Wave Funk has to be the sublime I Can't Control The Feeling. For me this is almost certainly the single best tune of 2010. In the three minutes or so of its brief existence, the track conjures up all sorts of impressions, many of them contrary even to each other — sure it's funky and downtempo, but it's also squealing synths and stripped bare drums. The vocoded vocal (one of the few instances where Ed uses lyrics on the album) is smooth and sexual, but at the same time twisted and mysterious. "Is it for real...?" he implores. It certainly sounds like it. So all evidence suggests that what we now have, in Ed's one-man Krew, is not the slightly ridiculous '80s throwback, or the relentless high-speed electro freak, but an artist of surprising maturity and depth, possessing solid programming and production skills, but most importantly brimming with great ideas and truly riding the wave of funk. Tue, 12 Oct 2010 00:00:00 GMT http://www.spannered.org/music/1693/ http://www.spannered.org/music/1693/ It's been a long and varied journey for the Posthuman pairing of cousins Richard Bevan and Joshu Doherty. Since debuting in 2001 with releases for the likes of Skam's ultra-collectable Smak sub-label and putting on a range of cutting edge parties in London, they have covered a lot of (under)ground. Initially occupying a space somewhere between abstract electronica and off-kilter electro, their last effort The Peoples Republic was something of an introspective downtempo epic, employing guest artists of wide renown to create a richly emotional palette of sound. It takes only the opening seconds of Syn Emergence to realise this is far from being more of the same. Opener Brickhead is a brassy, ballsy number straight from the off, espousing a fighty dancefloor attitude that permeates much of the album — distant memories of acoustic instruments are instantly crushed underfoot. Why the sudden change? The early 90s-sampled stabs and sub-basses of Eruder and Crone offer big clues. I don't know about Bevan, but Doherty has certainly taken something from his time as the man behind pop-rave mashup merchants AGT Rave Cru and decided to instill it within Posthuman. But this album is not a hardcore throwback, indeed there's barely a breakbeat to mention. Instead it seems focused on a slightly different time and place, somewhere rather moodier where relentlessly hard 4/4 kicks pummelled sweaty stompers into submission. There's very little uplifting about the album — perhaps not surprising when two of the eight tracks contain the sampled mantra 'assisted suicide'... The only criticism I have of Syn Emergence is that unlike previous Posthuman full-lengths, this one doesn't really feel cohesive, partly because it's too relentless to offer itself up for serious home listening time. If it weren't for the ridiculously extravagant package (double picture disc vinyl in a gatefold UV varnished picture sleeve with an embedded cd anyone...? Yep, thought so!) this would have probably worked much better as a pair of twelves aimed at the DJ fraternity. Having said that, Stockholm Syndrome (Part 1) fuses dubstep with rave powered Brit-tech of the highest calibre and the closer Se Ces One (a good 15bpm slower than the rest of the tracks here), shows the kind of smacked-out deep groove the cousins are capable of when they put the hammer down and pick up a subtler tool — it is also by far the albums' finest moment. With the super lush packaging and artwork (Bevan's intricate graphics are a thing of true beauty), as a physical item it is downright irresistable. You owe it to your record collection to check it out. Fri, 06 Aug 2010 00:00:00 GMT http://www.spannered.org/music/1694/ http://www.spannered.org/music/1694/ Anyone remember when drill & bass was coined as a subgenre of electronic music back in the 90s? It was basically an attempt to pigeonhole anything over 150bpm that wasn't quite the sort of thing you might catch Grooverider et al playing in the raves, usually because it was just too damn complicated for the average dancing feet. It was reserved for the sort of lunacy that was coming primarily from some of the UK's electronica field leaders and what they were doing at that time: Richard James, Luke Vibert, Mike Paradinas. All of them could be found placing their own unique spin on that seemingly unassailable sound of the British suburbs — drum & bass. Not surprisingly for such a ridiculous moniker, it fell by the wayside in a way that didn't befall the talents of its progenitors. If Some Shit Saaink (album title of the year, right there) had been released at that time it would no doubt have been lumped into said category — because it's drum & bass, Jim, but not as we know it. Robert 'Macc' Macciochi and Jon 'dgoHn' Cunnane are a pair of East London lads who, after several years releasing on a string of labels, have honed their art down to a tee. Make no mistake, there are drums (lots of) and there is bass (of the 'large drop' variety) but that's where the similarity ends. Pendulum this is not. The breakbeats are super-complex, providing constant curveballs as though a modern Art Blakey were rinsing them directly from the source. For this is future jazz — but don't think Full Cycle or Reprazent, this is real jazz, music that retains a truly experimental and boundary-pushing edge. And just like all the best drum & bass, It's dark. Right from the off 7C 1020 sets the template as the fractured and frenetic rhythms are underpinned by moody atmospherics and punctuated by abstract voices — there's no diva vocal or faux sax to be heard here. The production too is spot on. Eschewing the current trend among d&b producers to use large amounts of compression to try and make everything sound AS LOUD AS POSSIBLE, Macc & dgoHn employ a careful balance that always ensures crispness and space in the mix. The album has apparently been licensed by Rephlex from Subtle Audio — a five track EP (confusingly sharing the same title but with totally different tracks) has been available in a digital format from the Rephlex website since its relaunch at the start of the year, but only now are they dropping the full album. With a slew of new 'braindance' on the horizon from the label, Some Shit Saaink not only reassures the public that messrs James and Wilson-Claridge are still very much on the money with their ears, it also proves that it is possible to take an aging canine and have it exhibit some pretty fresh shit. Fri, 06 Aug 2010 00:00:00 GMT http://www.spannered.org/music/1683/ http://www.spannered.org/music/1683/ Ever since seeing Gerald perform a live set a year or so ago I've been waiting to hear what he'd do next on record. He's never one to shy away from a tangent, but his dalliances with the likes of drum & bass down the years have left me sorely disappointed. I was desperate to hear the kind of smooth and soulful techno that he played from his pair of laptops that night in west London — and here it is.   It's all first rate, the sort of standard you'd expect from a producer of Gerald's standing but never quite dared to hope for. Right from the off, the beats are rolling and funky; every track would do damage on the more discerning dancefloor — one populated with the type of punter who can appreciate the space and atmosphere that exists in all of these works (just check out Indi Vibe for an example). As a home listener it is also varied enough to sit through from end-to-end. The sound palette is extremely clean and the production never cluttered; the arrangements move from subtle menace (Flutter) to melancholic (Just Soul) to uplifting (Pacific Samba, in which Gerald does a first class job of bringing an 808 State classic bang up to date). The album closer Merfed takes a vintage pad reminiscent of the old Blake's 7 theme tune and a very cute melodic flourish, laying both over a tough but wide swingbeat.   Definitely the best techno album I've heard so far this year, and let's not forget that in spite of the title and the artists' current place of residence, this Guy is UK born and bred. Let's have some other countrymen stepping up to the plate in 2010. Thu, 27 May 2010 23:00:00 GMT http://www.spannered.org/music/1662/ http://www.spannered.org/music/1662/ Erik XVI was a new name to me but on the strength of this remix package from Highpoint Lowlife he's about to be brought to the attention of a much wider audience. Dropping on 12" vinyl and an extended digital selection, the source material is warped and melded into various new shapes and textures by some of the hottest producers currently plying their trade. The selection opens with a fine version of Unionens Sista Dagar from Ruaridh Law, currently turning many heads under his TVO moniker with his esoteric brand of techno. As usual he submits a sprawling epic, constantly evolving with impressive subtlety as jittery percussion underpins the delicate pads. Among the other versions of this track, Brassica offers up high-tension italo synths, guaranteed to engage the floor of the disco, a technique also employed (perhaps unsurprisingly) by Ali Renault — best known for his work as producer of the uber-hip Heartbreak. Renault also throws a darker edge into his mix, with elements of EBM alongside vocoded germanic vocals, combining to make one of the best tracks I've heard so far this year. Finally Hot City gets to work, throwing down a skippy, almost UK garage workout that retains the synth pattern to an altogether different effect. Of the remaining tracks, Spatial applies a minimal and dubby method to Kalabaliken i Bender, which also offers a nod to the UK urban sound, while Gravious gets properly moody with Gravitationskraftens Stilla Vrede — it's quite heavy on the wonk angle and features a frankly blood-curdling robotic voice; definitely one for the depth of night. Finally, Bill Ambrose tops off the dark end of things with a crisp and clinical electro reworking, the like of which isn't too common these days — more's the pity. Overall it's another great package from a UK label which has been pioneering some of the hottest electronic sounds from across the spectrum over the past few years. Assembling a cast of remixers this strong is no mean feat but it's a testament to the work being carried out by label manager Thorsten Sideboard. If you've not encountered Highpoint Lowlife before, don't you think it's time you did something about that? Mon, 01 Feb 2010 00:00:00 GMT http://www.spannered.org/music/1655/ http://www.spannered.org/music/1655/ Apparently Richard Wigglesworth, the 303-meister behind this oddball collection of acid ditties, was driven to create it having grown up near Henry VIII's country house. I can't really connect the rave with the Tudors as a concept and I'd imagine any king of olde England would have been rather perplexed by the idea as well, but I'm not going to argue. Anyway... being a traditional sort of chap, I generally grumble at 20+ tracks on a single disc. Whilst there may be a lot of ideas on show, not enough of them are explored substantially. This is certainly about the only criticism I can find to level at Merri Portland though, as the ideas are generally well executed. Opener Base Introder is a rhythmically confusing affair with bass of considerable depth and a woozy carousel melody, perhaps not the most engaging way to kick things off but it sets the stall out early — the most obvious influences here are actually from a far more recent history, that of classic UK IDM, braindance and acid techno. From here on in, Wigglesworth mixes up the tempos and moods in such a frenetic way that it's difficult to detect a linear plot to the whole affair, but there are gems here — College Chronic builds palpable acid tension that threatens to explode into serious violence, the drunkenly euphoric vibe of Raynor Lounge and the pseudo-Aphex warblings of Pastoral being the main highlights. However, it's in the shorter tracks where the disappointments lie — being that they should be longer. The joyful piano of Ethereal and the album's most spatial moments Epiece and Twilight are all first rate electronica, but sadly, like some of Henry's many wives they are cut short in their prime, heads chopped off at the neck. We can only hope that if there is to be a new King Richard at the throne of UK electronica, he will be a little more forgiving of his charges next time round. Sun, 03 Jan 2010 00:00:00 GMT http://www.spannered.org/music/1618/ http://www.spannered.org/music/1618/ It feels like an age since I reviewed the first two volumes of this hugely anticipated (by me, at least) reissue series from one of the great British techno labels, and whilst it has at times felt almost like being a little too swamped, with the conclusion of the series upon us it's time to look back at the remaining volumes in some detail. Is there such a thing as too much emotive techno? If there were, this series would have pushed me to it. It didn't. Volume 3 contains the original B1205 and B1206 catalogue numbered twelve inchers from 1992 (all tracks originally appearing under the Redcell alias) along with the ubiquitous smattering of previously unreleased tracks — although I'd take issue with Ecliptic being described as such as it definitely appears on B1215... one hell of a tune though so we'll excuse that. Paradroid is the other highlight of disc one, with its smooth rolling groove, but it's undoubtedly disc two that will prick the ears of hardened B12 listeners, the remastered versions of Hall Of Mirrors and what is probably my favourite Rutter/Golding composition Mondrin, both of which were later picked up by Warp for the seminal Artificial Intelligence series, sound as fresh as ever. Go With The Hiss and Somewhere Now close this volume with yet more examples from the cutting room floor that make you feel overjoyed they've seen the light of day. Volume 4 covers the years between the two Warp albums Electro Soma and Time Tourist, containing three further EP's and introducing the darker alias of Cmetric, the tracks under which moniker overshadow the Redcell efforts from disc 1, DB5 being the most memorable of what is possibly the weakest volume in the collection, although the unreleased U12 and Prowess are definitely worth a look. The duo themselves admit this to have been a darker period, musically, and this is very apparent, rare smatterings of the soulful edge shrouded by rather more angular rhythms and effects than in earlier times. Just as I thought the series was maybe not going to have the legs to last the full seven volumes, number 5 delivered a firm smack to the face. B1208 was one of the first of the original pressings from the label that I picked up back in the day (in the long since closed Pyramid Records in Guildford, as I recall) and it features the Redcell alias at its peak. Quite simply Interim is genius. Some of the deepest chords you're likely to hear, punctuated by sharp percussion and then — whack! — the mighty bass drop. Faultless. Interestingly this first disc is also permeated with tracks from a very rare Redcell CD to which I must confess total ignorance, but with tracks like One Thing In Mind on show, it's one I'd very much like to have experienced sooner. Bonus tracks U13 and Freeflow again hit the spot to complete a disc of extremely high quality throughout. By an odd coincidence the label have paired it up with a disc containing another of my Pyramid purchases from the same year — Stasis' Point Of No Return. Steve Pickton is one of the few UK artists to have a musical vision and talent to compare to the Golding/Rutter partnership and it's no surprise that he's one of the few people to have recorded for the label besides the duo themselves. Again, quite simply a classic set of tracks that have not aged a day and seem unlikely to ever do so — the title track and Questions For Vanmannan melding soul and funk with electronics in a way which is almost impossible to surpass. 'Not the usual type of record you find in the record stores' — a pertinent quote which can be heard during the opening seconds of Volume 6... And this one is rather different — structurally it's interspersed with clips of the duo being interviewed on a Belgian radio station, talking about the early days of the label. It's a nice touch and adds to the feeling of something historically important being contained in this particular set of archives. This is juxtaposed against some of the rarest finds from the vaults and catalogue, and there are many gems including alternate mixes of several tracks from both the Warp albums, including a magnificent 'lost mix' of Scriptures, which fades out far too soon, and the stunning Pulsar. Treasure trove stuff. And so to the final volume, tying up loose ends by compiling the excellent comeback/long-lost 15th EP and selected compilation appearances, many of which are very good indeed. Seven months down the line since volume 1 and getting on for 20 years since they started messing about with some synths, it has to be admitted that both are significant feats. I wondered for a while why no other label had seen fit to exploit this history in a similar way and then I realised that probably no other label would have considered doing it in such a lavish and complete manner — for a small indie which has been largely out of action for over ten years (until its recent revival), it seems almost madness to attempt it, but it's a singular vision on which this sound and label was built, even if it has left them (to quote them directly) 'not very rich and not very famous' (a response they give whilst laughing in 1992 to the interviewer on volume 6). That may well be the case, and they've returned to a radically different set of circumstances in the music industry to when they previously left it, but the vision is still the same as ever, as they describe it — 'techno music (that) can be creative, powerful, emotional...' I sincerely hope by laying bare their whole history in such a concise way that it opens up this music to a new generation of fans and that Rutter and Golding continue to add new appendices to their encyclopedia of man-versus-machine techno soul.   ^ You can read Kone-R's review of the first two B12 Archive volumes here. Tue, 16 Jun 2009 23:00:00 GMT http://www.spannered.org/music/1601/ http://www.spannered.org/music/1601/ If 2008 belonged to Flying Lotus then 2009 may well be Nosaj Thing’s year when it comes to the meeting point between hip hop and electronic music pioneered by the likes of Dabrye, Prefuse 73 and Machinedrum. As a debut album, Drift is a great showcase of Nosaj’s ability to blend the coldness of electronic music with the warm swing and ambience of instrumental hip hop. It’s as if the spirit of producers such as Dilla or Madlib was animating Nosaj’s toys in the lab. The album is kept short, with none of 12 tracks exceeding four mins and each blending into the next seamlessly, making the album a cohesive whole that is best enjoyed from beginning to end. That doesn’t mean there aren’t standout moments: most notably the previously released Coat of Arms and 1685/Bach, two slices of futuristic dancefloor action with driving synths melodies and energetic drums, Fog, a haunting number led by beautiful melodies and ghostly hi hat sounds, and IOIO and Caves, which both hover between headphone music and dancefloor appeal. My only gripe with the album is the lack of vocals, though this is more a personal wish as the album stands up strongly as it is: a hypnotic blend of instrumental hip hop and electronic music, the perfect continuation of the work laid by those before him. As a young producer, Nosaj has delivered an album which truly represents his sound, one he has undeniably spent a lot of time honing and perfecting. Fri, 05 Jun 2009 23:00:00 GMT http://www.spannered.org/music/1602/ http://www.spannered.org/music/1602/ The first single since Starkey’s debut album for the Planet Mu label, Miracles is possibly one of the biggest releases so far this year courtesy of a Jamie Vex’d remix which has all the impact of a mammoth trampling through a porcelain shop. Jamie flexes more of the production styles already hinted at on his Hotflush remix and Planet Mu EP, taking the original into hip hop-meets-dubstep territory complete with a bassline sure to shatter some eardrums and rattle a few ribcages. It’s not all brash sonic violence though, with subtle touches sprinkled throughout in the melodies and drums. And while the remix makes this an essential purchase alone, the b-side also has plenty to interest fans of the more hectic dubstep styles, with Starkey throwing a wobbler in the shape of Creature, all distorted synths struggling along on the back of a fairly ridiculous riddim that will no doubt make you think ‘hold on, what?’ Once more Planet Mu shows its knack for fostering the most cutting-edge electronic producers out there. Fri, 05 Jun 2009 23:00:00 GMT http://www.spannered.org/music/1603/ http://www.spannered.org/music/1603/ With his own productions rightfully garnering considerable attention and praise, young Bristol-based producer Joker teams up with fellow Bristolian Ginz for this new release on his own Kapsize, continuing his recent stint of 21st-century gfunk-inspired dubstep/grime hybrids. Purple City is simple and to the point, with a catchy synth melody carried by hard-hitting drums and a hefty dose of sub bass, while Reup on the flip opts for a more in-your-face approach with a wobbly but nonetheless catchy bassline and some memorable switches. The success of Joker’s most recent releases will no doubt detract from this latest 12”, which ends up suffering from a certain déjà vu despite its strong overall finish and quality. Fri, 05 Jun 2009 23:00:00 GMT http://www.spannered.org/music/1604/ http://www.spannered.org/music/1604/ Montreal’s finest purveyor of party music returns with the first in a series of EPs focusing on the various musical genres and styles he has been incorporating in his DJ sets and work over the last few years. This first release, as the name gives away, is Ghislain’s take on the Soca sound. Filtering the music’s infectious sun-tinged rhythms and vocals through his own musical lens, Ghislain delivers four tracks of pure party music, the kind that will make you reach for the whistle and horn before dancing down the street. Previous collaborators MC Zulu and Face T both lay down vocals as does Soca legend Mr Slaughter, whose invocations to ‘get crazy, get mad’ are the perfect way to sum up what this EP will do to you. Not for the faint hearted or those who’d rather stroke their chins than get on the floor. Fri, 05 Jun 2009 23:00:00 GMT http://www.spannered.org/music/1605/ http://www.spannered.org/music/1605/ As LA continues to lead hip hop’s production revival with Flying Lotus at the helm, the Warp signee and ever-smiling producer has set up his own Brainfeeder label to help showcase new talent as well as people he’s been working with or around over recent years. Ras G is one of the latter, having been steadily releasing sought after 10”s on the Poobah label and making his name known with dubbed out productions that owe as much to Madlib’s blunted boom bap as it does the intergalactic jazz of Sun Ra. Brotha From Anotha Planet is Ras’s second album in about six months and it doesn’t stray far from his previous work, with short tracks, sketches and straight up beats. One downside to this focus on the producer and instrumental work is that it can leave you wishing for more vocals, though in Ras’s case his beats have always had a quality that makes them work just fine on their own. Brotha… is a personal and intimate listening experience, the sort of album you put on as you walk the streets at night and lose yourself in its universal appeal. Fri, 05 Jun 2009 23:00:00 GMT http://www.spannered.org/music/1606/ http://www.spannered.org/music/1606/ One of the most anticipated musical returns of the year goes to DOOM, ex-MF but still a mask-wearing, full-time-rhyming supervillain. Patience has most definitely been a virtue for fans who have had to wait nearly five years for an album that didn’t involve DOOM collaborating with someone else (see Dangerdoom and Madvillain for more on those if you haven’t already). Was the wait worth it? Or, as he croons himself on That’s That towards the end of the album, ‘Could it be I stayed away too long’? The answer is a yes on both counts. Born Like This is a polished album, one that rarely leaves you wanting to skip ahead. The late Dilla, Madlib, Mr Chop, Jake One and DOOM himself all provide some solid production and the perfect backdrop for DOOM’s trademark tongue twisting lyrics, metaphors and, on Costume Foolery, some downright surreal storytelling. Jake One produces the album’s best track, the short but intensely sweet Ballskin, and Ghostface makes a welcome appearance on Angelz. Raekwon, Kurious and Slug also appear, as well as female MC Empress Stahhr, though her cameo is best quickly forgotten. DOOM did stay away too long and has returned to a different rap landscape since the one he left behind in '04. Ultimately though, that just makes Born Like This all the more pleasurable and needed. Fri, 05 Jun 2009 23:00:00 GMT http://www.spannered.org/music/1585/ http://www.spannered.org/music/1585/ While Flying Lotus grabbed the headlines and attention in 2008, other LA producers have been busy, including Ras G whose dubwise and smoky productions have been championed by Fly Lo and others. On Ghetto Sci-Fi Ras delivers a short but intense musical ride, with 12 instrumental beats that owe as much to Madlib’s blunted excursions as they do Sun Ra or Jamaican dub pioneers. Comparisons don’t quite do this justice though, as Ras manages to make his own sound and style come through despite the fairly apparent sonic references: Beyond The Sky is an irresistible headnodder with its simple drum pattern and hypnotic samples, while Yesterday slings a heavy bass over a disjointed riddim. It’s not necessarily for everyone but if you’re looking for something fresh in hip hop right now then Ras G’s space program is a good place to start. Tue, 24 Mar 2009 00:00:00 GMT http://www.spannered.org/music/1586/ http://www.spannered.org/music/1586/ Taking its cue from the sounds of Detroit (313 being Detroit’s dialing code), Mark Pritchard uses the Harmonic 313 moniker to release his own blend of futuristic hip hop, weaving the Motor City’s techno heritage with its hip hop present while splicing in dub elements and science fiction samples. This mix worked a treat for the debut EP in 2008, yet on the album it seems to take a few listens before it all gels and ticks the right boxes in your mind. It could be because the EP, and the single that followed it, already did well what most of the album does (some of the stand-out tracks are collected here on the CD version). At first the album comes across as a bit cold and overkill, though on further listens some very worthy additions to what Pritchard hinted at in the EPs shine through — mainly the vocal collaborations Battlestar, a stomping dancefloor monster featuring Phat Kat and Elzhi, and Falling Away featuring Steve Spacek, a dreamy track that blends Spacek’s warm voice with the colder electronics of the looped melody. For those already fans of the 313 extension, expectations might well dim down the final product, however there’s no doubt that Pritchard is a masterful producer and that this is the kind of open-minded and forward-looking approach to hip hop we need more of. Tue, 24 Mar 2009 00:00:00 GMT http://www.spannered.org/music/1589/ http://www.spannered.org/music/1589/ Further proving that the rebirth of hip hop’s boom bap isn’t limited to a singular axis, New Worlds brings together some of the most interesting producers from around the world for a 14-tracks compilation of fresh and soulful productions. Jay Scarlett is based in Munich while Circulations is a Tokyo-based label, and artists on the album include Paul White (London), SA-RA (New York), Ras G and Take (LA), Super Smoky Soul (Tokyo), Big Payback (Paris), Hud Mo (Glasgow) and more. The result is a really fascinating and captivating snapshot of the current state of hip hop, proving that the dismissal of boundaries and set templates can be a good thing, as long as it doesn’t become a template of its own. SA-RA throw down some sultry soul on Talk Sex, Take bridges dancefloor appeal and headnod bounce on the aptly titled Bouncing Cherries, Mono/Poly does a jazzy number on For Progressive Minds and the vocals of Reggie B, Leon King and Guilty Simpson all make welcome appearances. An excellent showcase of what is bubbling beneath the mainstream of hip hop right now. Tue, 24 Mar 2009 00:00:00 GMT http://www.spannered.org/music/1584/ http://www.spannered.org/music/1584/ Ever since the name Syntheme started to appear on internet message boards, debate has raged about the identity of the person behind the now sizable number of acid-infused bangers appearing under the name. Initial rumours that it was a new Aphex Twin pseudonym were apparently quashed when Syntheme began doing live performances — the operator on stage was a short blonde girl called Lou. And yet the rumours persisted — she was not, it was alleged, really the writer of the tracks. While the debut album on Planet Mu that follows three storming EPs for the label doesn’t offer up any further clues, I know who my money is on (reference Global Goon’s Saint Aime EP to see where I’m coming from). Controversy aside, pretty much every track released under this moniker is first-rate acid house music. LP opener Mimtro is like A Guy Called Gerald’s classic Voodoo Ray brought bang up to date, with its catchy female vocal samples — and it’s a catchiness that doesn’t abate. Although some of the fayre on offer here is nothing short of the highest strength lysergic potency, the 303 tweakery is infused with such a monstrous dose of wigged out funk that even its hardest moments are likely to result in mass booty shaking. It’s possible to see where the initial Aphex comparisons may have come from — detuned Analord style synths make their mark on Csiris and elsewhere — but the drum programming lacks the subtlety of the Cornishman. Indeed, Lasers ‘n’ Shit is occasionally so brash with its kick drums that moments border on the acid techno and goa trance clonk of the late 90s, but don’t let that put you off. Just check Mexicone for an example of the sort of hands-up rave anthem that everyone needs in their life. The CD version of the album runs to a generous twenty tracks — possibly a little too much for one sitting. Instead, if like me you favour the black wax approach, pick up the double vinyl edition and the three accompanying EP’s for complete coverage of the mystery man/woman's output on Mu and the chance to digest it in slightly smaller chunks in wonderful warm analogue sound. Mon, 23 Mar 2009 00:00:00 GMT http://www.spannered.org/music/1580/ http://www.spannered.org/music/1580/ Filastine delivers his second album, a fresh and uncompromising musical bombardment. Tue, 10 Mar 2009 00:00:00 GMT http://www.spannered.org/music/1314/ http://www.spannered.org/music/1314/ The latest mix from Fabric is with us and star of the show is the elusive Motor City resident, Omar S. Probably now part of the fourth or fifth wave in the lineage of Detroit techno artists, he is still proudly flying the flag originally raised by Mad Mike and Underground Resistance. Releasing only Detroit artists, and predominantly his own productions, his FXHE label has exploded emphatically worldwide with no conscious publicity, apart from a lack of it. The music does the talking. To take you back, around 2004, in the true Detroit ethos originated by UR, strange, anonymous handwritten white labels emerged out of the city — no artwork, no credits, steadfastly underground. No clues apart from a catalogue number. Bridging the netherworld between house and techno the tracks were always minimal, percussive and with that highly individual and distinctive analogue feel to the production. Omar S had arrived and was to become one of the hottest and most innovative production talents around. So on to this mix — although credited to Various Artists, it is actually solely made up of his own material. There are some juicy unreleased tracks and different edits included though — openers Polycopters and Flying Gorgars are new material, plus there’s a longer mix of his massive Day track, naggingly simple house music that really introduced his talents to a whole new set of fans. Psychotic Photosynthesis, a future Detroit techno classic which truly cemented his standing, is also included here. The fact that this is essentially a long Omar S medley is the strength and weakness of this mix. It gives the whole a unity of sound and purpose, but also leaves it open to the accusation of occasional blandness. There are also a few tracks that to me don’t reach his usual high standard, such as the new 1 Out Of 853 Beats. In summary, this is a brave mix for the Fabric series. Omar S’s sound isn’t for everyone — he is certainly eccentric and enigmatic and the music reflects this; sometimes strangely produced, often deep and soulful, it is always provocative and unpredictable. For me as a fan, this is a collection of his tunes, segued by simple and smooth mixing, but it never really catches alight like a true mix of records. And there are no real surprises — although he claims to not be interested in anyone’s music these days apart from his own, I would love to hear a mix of records that have influenced him. It's a worthy addition to the Fabric series but probably less important to the aficionado than to the fan who is just discovering his music. Mon, 09 Mar 2009 00:00:00 GMT http://www.spannered.org/music/1549/ http://www.spannered.org/music/1549/ The gibbon-limbed protagonist of the self-mocking rock'n'roller canon continues to defecate on the carcass of stadium rock from the lofty heights of his stepladder. Wed, 26 Nov 2008 00:00:00 GMT http://www.spannered.org/music/1543/ http://www.spannered.org/music/1543/ The rumours of a B12 Records CD release of all those rare-as-hens-teeth 12”s from back in ‘the golden era of British techno’ has long been mooted — finally the time has arrived. Seven double-CD packages compiling no less than 98 tracks (!!), including every track originally committed to wax and a rather healthy 27 which have never previously seen the light of day in any format. Last Days of Silence, the recent ‘comeback’ album released after more than a decade away, was something of a patchy effort that never quite recaptured those halcyon days of the early 90s, but the moment you put on disc one, volume one of this archive series, opening tracks Metropolis and Obsessed (both plucked from the label's first EP for the duo's debut album for Warp, the seminal Electro Soma, with Rutter and Golding recording under the name Musicology), immediately remind you why the production duo attained such legendary status. Whilst Fear of Expression has dated slightly with it’s sci-fi samples, Telefone 529 (again, later to appear on Warp) is sounding as fresh and downright funky as it did the first time I heard it. So, what of the first two unreleased archive finds? Weighing in at only a couple of minutes, Ming sounds like little more than a studio outtake; you can see how it ended up on the cutting room floor. The same can’t be said of Eiyla however — with its trademark emotive pads and sparse drums this is vintage stuff and it’s criminal that this has lain dormant for so long. Disc two (B1202 – Rutter and Golding this time masquerading as ‘2001’) doesn’t contain the same stuff of legend as disc one but is still a fascinating document. Space Age, with its naggingly insistent synths and tribal rhythm, and the slightly clumsy sounding drums of Rings of Saturn, are totally upstaged by the sheer tech-funk blast that is Future Bass Seven, whilst the original EP closer Weightless Condition drops the tempo and vibe right down. Another two unreleased tracks follow: Don’t Always Look At The Rain, an ambient march as good as any on the later Warp albums, and Colloid, recorded later than the other tracks here. Volume two features the label's third and fourth releases, the first disc introducing some of the other artists who graced the label along with Rutter and Golding themselves. Incredibly, B1203 comprised Kirk Degiorgio’s first ever release on vinyl (presenting tracks under two of his aliases that would come to be equated with quality techno in later years, Future/Past and As One), as well as a track by Lee Purkis (InSync) and Matt Cogger (Neuropolitique), who both also recorded for seminal UK electronic label Irdial (incidentally, Purkis himself recently ended an extended period of silence by launching the excellent Fortune8 label). These tracks all sound rather raw compared to the material on volume one, and while all these artists would go on to produce some great works of UK techno, these efforts occasionally sound like young producers finding their feet with limited resources, although As One’s Harmony Park drops major hints as to the jazzy direction Degiorgio would later take. B1204 saw the label back in the hands of the labels founders, once again in their Musicology guise. Opener Preminition (sic) was featured on Warp’s first Artifical Intelligence compilation, an album that arguably changed the face of music while spawning a million internet arguments about the term ‘IDM’; strange then, that this track is almost the antithesis of what Warp were about to spawn — biig, brash ravey stabs and female vocal samples, this was far from your archetypal home-listening music. Bubbles is also a high-tempo number at odds with the abstract electronica moniker, but let’s not forget that this is techno music first and foremost. Two more unreleased tracks complete the package — Kaxaia-80 and Interlopa are both high quality cuts that add serious value. But let’s face it, the number of people who buy individual volumes of this series will be few and far between — it’s aimed squarely at the collector, the completist who wants to be the proud owner of a historical document of a unique period of musical innovation. And this archive series is nothing if not that — the aural equivalent of a lush, futuristic, soulful techno time machine. Fri, 14 Nov 2008 00:00:00 GMT http://www.spannered.org/music/1542/ http://www.spannered.org/music/1542/ Having been an admirer of the work of Edinburgh’s Neil Landstrumm since his early recordings for Peacefrog in 1995, I had high hopes when it transpired that, after a number of excellent albums for Tresor, he was signing to Planet Mu. The resulting long-player, Restaurant of Assassins, took him in a rather different direction though — gone were the wonky techno wobbles of such classic albums as Brown By August and Understanding Disinformation, Landstrumm was now immersing himself heavily with the various UK bass scenes: dubstep, grime and breaks. Whilst his production sounded more accomplished than ever (he has always maintained a healthy range of shiny boxes to play about with, even on stage), that album didn’t quite strike the chord with me that he had always managed with earlier efforts, so when on first listen Lord For £39 seemed to smack of rather more of the same, I was disappointed. Some quality time later though and it’s clear that this album is a rather different proposition. As on Restaurant of Assassins, Landstrumm has drafted in a few guests to help out, this time enlisting the likes of UK bass master Si Begg, long-time collaborator Tobias Schmidt (Ah, Sugar Experiment Station! Now THAT’S what I’m talking about!), Ebola, and the mysterious but thoroughly amusing Carlton ‘Killawatt’ Valley — and as a result this album feels a bit more diverse. There are standout bass tracks (Old Rabbits, £20 to Get Home and The Dose particularly worry my bassbins), but it’s the moments in between that really grab me — Shit Daddy Bass puts a smile ‘pon my face and Little Help From Rustie is just insanely funky hip hop. But the big winner is The King of Malta, with its ethereal melody, soulful keys and understated rolling breakbeat; it’s totally at odds with the rest of the album, and is a perfect foil for it. Like all true innovators of electronic music, Landstrumm has decided well in advance where he’s going to move next and is steadily perfecting the transition. While he’s carrying it off to a large degree and can in no way be accused of jumping a bandwagon (the sound is still pretty unique, if no longer instantly identifiable as Landstrumm), I still can’t help but pine for the days of Praline Horse and Swing/Jerk — perhaps if he combined some of that early immediacy with the more technically advanced work of recent years, that could make for a record of legendary proportion. Apparently this album is ‘about being a baron on the cheap’ — maybe he needs to dig just a little deeper into those pockets to truly Lord it over the electronic music fraternity. Thu, 13 Nov 2008 00:00:00 GMT http://www.spannered.org/music/1541/ http://www.spannered.org/music/1541/ Glasgow’s Stuffrecords has been quietly releasing some outstanding records over the past couple of years, but with this new 12” from Ruaridh Law, one third of The Marcia Blaine School for Girls, appearing here under his confusing solo moniker The Village Orchestra, they have seriously raised the bar. Opener Dwyer effortlessly fuses melodic electronica, mashed up breakbeats and a relentless 4/4 kick with a classic sample from early 90s hardcore (the bassline from DJs Unite Vol. 1). On paper it shouldn't really work, but the result is perfectly balanced — sufficiently banging for the most demanding floor whilst emotive enough to raise the hairs of the nape. This will be a solid fixture in my record bag, a strong contender for my tune of the year. Dwyer Bonus Beats strips things back down with a rolling electro bump, again plundering the archives for some classic whistle posse breaks. On the flip however, Tectonic’s 2562 eschews the rave influences in favour of a dubstep-meets-Detroit infusion; his remix of Afanc is pacey but retains a smooth intimacy throughout. Rounding off the package is another TVO original: Tober blends shimmering percussion with some dark atmospheres — the only problem being that, unlike his track from the excellent Highpoint Lowlife compilation LP from earlier this year, Magnetism, That Electricity (of which Tober is reminiscent), it’s not nearly as long as it’s aural spaciousness should allow for (although it should be noted that there's also an 11-minute digital-only version). Apparently the 12” is going to be followed by a digital-only album from Law, and on this form we can expect yet more good Stuff from this label that's merging all that’s good and great in UK electronic music at the moment. Wed, 12 Nov 2008 00:00:00 GMT