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Latest reviews

Henry Hyde is back for his fourth outing on his own NorthSouth label, but this time marks a shift as he holds court over the full run of the wax with a selection of refined floor tweakers draped in illustrious swathes of synths. Things kick off in dazzling style with the bright white chords and crafty fills of "I Heard You Like To Squelch" before the snappy electro flair of "My Function" keeps the uplifting vibe but swaps out the rhythm. "Slick Rick" is a freaky minimal cut with some wobbly bass wielded with deadly precision, and then the record rounds off on the shuffling micro funk of "Second Face".
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Kevin Parker is a real enigma of a musician. The brains behind the rightly celebrated and ever-surprising Tame Impala, he's never one for delivering quite what you expect, while still understanding that one of the most important things in music is striking a balance between the familiarity disciples need, and the expressive exploration that can prick the ears of the previously uninitiated. Album number four, "The Slow Rush", certainly adopts a different outlook to previous undertakings. It also more than lives up to its name. It's smooth, tripped out (perhaps not so surprising on the latter front) and strikingly void of those highs that seem to offer the aural equivalent to some opiate-amphetamine blend. But we don't miss out. Instead, we're given permutations of soul, prog rock and acid house, perhaps making for the most expansive record this guy has been responsible for.
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Previously performing as The Greatest Hoax, Washington, D.C.-based composer T.R. Jordan debuts a new album of contemporary classical and ambient music with Past Inside the Present. Entitled Just for You, Jordan presents an album focused on the evolution of personal relationships and the paths they take. Produced and mixed by Rafael Anton Irisarri (The Sight Below, Ghostly International) and mastered by Taylor Deupree (12K Mastering). Recollections Suite, the companion cassette, is a long form classical piece featuring a string quartet led by cellist Mark Bridges (High Planes/Loscil, Kranky Ltd).
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Self-styled "multi-disciplinary artist" Christopher Ledger was last seen joining the dots between techno, house and breakbeat via the Meander-released "Dark Moon EP". For his first release on Romanian label Amphia he's decided to explore a slightly wider palette of influences. Opener "Afterglow" sees him expertly join the dots between deep, melancholic electro and more forthright acid flavours, while "Not Formally" is an intergalactic trip into trance-inducing early morning techno territory. Over on side B you'll find him peppering a dirty, bass-heavy breakbeat with trippy electronic sounds on "Deceptive", before reaching for two-step influences beats and end-of-days sounds on late night workout "See Through".
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Secord time around for "wild west" funakteer Daytoner's "Apache Street" seven-inch, which has been in high demand since it first hit record stores in 2018. As the title suggests, both cut-and-paste workouts borrow heavily from the Incredible Bongo Band's "Apache", one of the foundation stones of hip-hop culture. The title track is a fine example of a mash-up that works, with Daytoner layering the horn stabs and vocals from Lou Rawls' "Dead End Street" over the famous "Apache" break. That break is prominent on side B, this time underpinning cheery horns, pianos, bass and guitars from the Skatalites' Ska classic "Beardman Ska". It's a simple idea expertly executed.
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Talk about narrative songwriting. Throughout this latest and arguably deepest effort from Deliluh we are introduced to myriad characters, each central to their individual chapter, transitions between artistically diverse songs made smooth through tape hisses, tense string refrains and similar apparatus. The overall themes centre on inner conflict and cross-generational disharmony. In order to bring those subjects to the fore we have atmospheric, cinematic instrumentals like "Falcon Scott Trail", commanding post punk ("Lickspittle: A Nut In The Paste", "Con Art Inc", "Incantessa") and soothing balladry ("Hangman's Keep"). Fans won't be too surprised to hear this - the outfit in question are renowned for their storytelling abilities and exploring multiple directions - while newcomers can rest assured they're being introduced to a troupe on top of their game. A worthy second act to "Oath of Intent", to say the least.
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Graed - Decibels Mix Vol 1
Cassette
$7.32
graed is a Glasgow-based horn player and composer whose work unpacks themes of labour, process, facilitation, counterculture and liturgy in the context of the contemporary dance scene. graed's compositions are created live and developed with the audience. His creation process employs horns, voice, percussion and the loop-based technology that facilitates grime, trap and trance music. "I see sculptures when I look at the audience" Done without the intention of capturing a rehearsed time signature but, instead, to force the music into the unknown by allowing the skeleton of the work to retain unpredictability. This side of the graed's work is grounded in a free jazz, with the idea that something unique is created between an audience and a performer, As such - a shared present. Feverish, pagan nights of percussion. A ticket to a psychoactive place at once familiar yet obscure.
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Just when you thought it was safe to trust that former Women member Cindy Lee/Patrick Flegel has come up with something truly romantic and suited to its Valentine's Day release, a sample gets thrown into the mix, wherein a female voice talks about feeling dejected by Jesus but simultaneously rejecting Satan, thus being cast into some nothingness where neither good nor evil is your friend. In truth there were smatterings of horror show blood all over this well before that point. It's a creeping menace hidden below 1960s blissful naivety, which makes the whole thing more effective. In certain moments it erupts from below, cacophonies of tortured noise and EBM bass, before the wind rushes through and replaces a storm with blue sky harmonies and innocent sunny days. It's electronic experimentation, with roots still traceable back to the old guitar band, and added sax. And eeriness. Exceptional stuff.
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