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Latest reviews

Don't let the "Coldwave" tag fool you: this EP from Dutch archival imprint Music From Memory is every bit as glassy-eyed and loved-up as the rest of their left-of-centre, Balearic-minded catalogue. German drummer and composer Curt Cress first released "Dschung Tek" in 1992, layering his own dense tribal drums across a tropical, ambient house and dream house influenced backing track on the brilliant "Long Version", before stripping it back to a loved-up, Ibiza-friendly house cut on the "No Live Drums" version. Both mixes can be found on this reissue, alongside a trio of similarly percussive, tropical-minded cuts from the artist's 1983 LP, "Avanti". All three are ace and almost as good as the more floor-focused title track.
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Massive reissue incoming! BBE have answered many of our prayers with this long awaited repress of Roy's 1983 disco funk excursion "Silver Vibrations". A record that's currently fetching triple figures, this is the first time it's been repressed since it was released. Opening with the iconic whispered message of "Chicago", Roy takes us on a trip through his funkiest of quarters; the salubrious slap bass of "Lots Of Love", the Afrobeat staccato vocals and glock rocking vibrancy of "Silver Vibrations" and the dreamy cosmic jazz trip of "DC City" are just some of the highlights, all shared across the 12"s with no more than two tracks per side. Vibes that can't be slept on.
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Post irony has no place in the music of Ex Hex, a three-piece duo bringing together leather jacket riffs of rockin' roll barn fightin' blues from down the highway. Guitars are huge and the glam modest but real. "It's Real", their second album, sees them on Merge Records once again after debuting with the label in 2014. That first album saw more of the Sex Pistols come out in the band than The New York dolls, but lashings of punk and re-amplified strings brought it where it needed to be, while this time the sophomore album pitches a roaring post punk sound with the subtle art of stadium rock.
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Communion artist Lucy Rose has no more words left. That being said, her album, of song and siren, manages an ode at least for the lost and crestfallen. With light jazz and choral motifs providing the LP with its eloquent interludes and moments of passage, mood swings in the album's climax hits notes that sets things off like the clapping thunder between clouds. A songwriter's call, no less, Lucy Rose delivers an album full of resilience and praise that's just that bit west of the bible belt.
Jayda G - Significant Changes
CD
$10.74
The rise of Jayda G in the last few years has been remarkable, though those who've heard her DJ sets will confirm that she's more than worthy of the accolades coming her way. Now firmly part of the Ninja Tune family, the Canadian has delivered a debut album that has set tongues wagging. With boisterous Alexa Dash collaboration "Leave Room 2 Breathe" and the skewed lo-fi disco warmth of "Move To The Front (Disco Mix)" being the lead singles -the set is packed full of top tracks that draw on a disparate range of complimentary influences (proto-house, Chicago house, deep house, dreamy breaks, disco, electrofunk etc). To be honest, we wouldn't expect anything less.
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The unveiling of an Apparat album is always cause for commotion with the artist influence enough to push radio stations to stream his music 24/7 upon release. Long passages of streaming synth-textures underline the loose and sparse percussive effects of Apparat's jazz and minimalism. The artist's signature bass pulses hit the sweet spot throughout the albums entirety, always inspiring a well of heavy feeling when they do. Touches of the artist's Bpitch Control days remain as does Apparat's always inspired approach when merging instrumentation with outboard gear and technology, beat making and sound design. A sound to cherish once more.
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Laurel Halo / Various - DJ Kicks
CD
$11.56
Although she's offered up plenty of high-grade DJ mixes in the past, this volume in the "DJ Kicks" series marks Laurel Halo's first commercially available mix-up. The sometime Hyperdub producer has dutifully delivered something rather special, somehow joining the dots between 29 diverse and disparate cuts in the manner of a true turntable maestro. Beginning with the melodious experimentalism of her own "Public Art", Halo giddily charges between mutant industrial funk (Stallone The Reducer, Final Cut), thrusting electronic disco (Red Axes), deep techno (Parris), mind-altering acid-style intensity (Rrose), stomping, sweat-soaked peak-time techno (Machinewoman, FIT Siegel), polyrhythmic bass music (Facta, one of her Livity Sound collabs with Hodge) and an impressive array of cuts that defy easy categorization. The resultant all-action mix is nothing less than stunning.
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Over the last few years, Henry Laufer's releases as Shlohmo have tended to be archival affairs such as anniversary editions of early albums and sets of unheard early works. It's for this reason that "The End", the American producer's first studio set for four years, is such a welcome sight. It's an intriguing excursion, too, with Laufer offering up crunchy, dusty, often lo-fi tracks that wrap arty, indie-rock guitars and bass around lopsided drum machine rhythms, weird electronic flourishes, mind-altering effects and ghostly synthesizer motifs more often found in straight-up IDM releases. It's an unusual formula, but one that results in a string of memorable tracks and one must-check album.
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