BASS RECOMMENDATIONS JUNE 2016

Review: When they first emerged at the turn of the decade, Praveen Sharma and Travis 'Machinedrum' Stewart's Sepalcure outfit were responsible for the softer, more experimental side of the Hotflush Recordings discography. Some five years on from their eponymous debut album, the duo returns in a notably boisterous mood. While their dedication to melody and beauty remains, Folding Time is a much more upbeat and soulful affair, drawing more heavily on broken beat and UK garage, particularly the kind of jazzy "future garage" once promoted by the likes of Phuturistix and Landslide. The result is a sparkling, colourful and hugely entertaining set, notable for its' gleeful positivity, impeccable production and bass-heavy thrust.

Review: Following last year's sudden reappearance on Trusik, Tony Williams (most commonly known these days as Addison Groove) has clearly rekindled his love for 140 music in a major way. Not only with brand new originals, but the re-launch of his hugely respected Transistor imprint. It's a fittingly delicious release to relaunch with, too... "Atijo" is a rolling techno-influenced jam with gritty analogue edges to the relentless bass while "Ina" follows the similar energy but with very subtle African folk samples and lilting piano vapour trails. Welcome back Headhunter!

Review: It's an all-Australian takeover on Tempa for their 107th release, coming through in the shape of Cliques, Sydney's Hamish Dixon and George Nicholas. "Dotted", the title track, is a fistful of rolling kick drums and scattered percussion, all coated in a fine layer of minimalistic bleeping - a new and min-melting strain of UK-flavoured techno with a definite stutter; mastermind Dro Carey (TTT) remixes the track into a stompier, more cinematic bruiser with a vividly odd kind f flex in classic Carey style. "Untitled" goes for a steppers rhythm beneath solitary pads and aqueous melodies, while "8Th" ups the ante and delivers a nasty, menacing groove to get your head bouncing in pigeon-mode. Recommended!

Review: Mr Scratcha DVA gets deeper and more inventive with every release. And this limited 10" for Hyperdub is one of the broadest, most exciting releases he's put together to date. "Take It All" is a 23rd century ballad with barely any drum work in sight, just pensive bass and a purring alluring vocal. "Worst" takes a more tribal Afro-stomp with system rattling bass and dubby vocal call-outs. "Soundcheck" sits on the right side of weird with its weave of drums, studio FX, reverse twists and a classic soul sample breakdown. Finally Sinjin Hawke takes "Worst" back to halftempo arrangement with more space around the horns and added synth soul. Quite frankly a ridiculously good EP. Don't miss it.

Review: With the likes of Batu drawing so much attention for his new bend on techno, how about a little appreciation for what Parris is doing. For an idea of what Parris has done with a 808 bass drum check out his Idle Hands debut then revert back to this 12"s woofing "Skeletal". With some light percussion added over the top, this track demands a proper dub soundsystem. It's a similar situation on "Bloom" too, only the bass has been turned down to allow for something a little more subtle... a little. Meanwhile "South East Of The Mountain" provides an alternative rhythm track with atmospheric marimbas and other African percussion giving the production as much an exotic flavour as it does an urban touch.

Review: Having previously delivered two out of the three releases on Timedance himself, boss man Batu has decided to rope in old pal Lurka for 12" number four. The Bristol-based bass head predictably hits the spot. "Beater" is as rhythmically interesting and sparsely produced as previous outings, with a handful of elements - drum machine hits, rubbery bass and occasional whispers of melody - being worked hard throughout. The result is a typically raw and moody dancefloor jacker. Flipside "Density" is even heavier and arguably more impressive, with Lurka cleverly layering bleeping melody lines and Motor City chords over a loose-limbed rhythm and booming sub-bass line.

Review: Along with DJ Nigga Fox, DJ Marfox has been the emblem of Principe's rise to fame, the Lisbon label that has been causing a stir in the house and techno world thanks to its new and quirky take on the genres. More than anything, it has been the injection of African rhythms and all-round craziness that has earned these rhythms such fame, and thankfully this test EP by Marfox is just as bold and curious as the rest. "2685" is a flute-driven monster that has more in common with a tribal dance than a techno cut, and the same goes for the ear-shattering bullet percussion chops of "Unsound". "Tarraxo Everyday" slows the momentum down to a steady pace, "Kassumbula" oils the machines back up and gets the motors going for the heavy pounding that features on "Cobra Preta", while "B 18" takes us down the final hurdle, a broken groove with plenty of tribal fury and Marfox's inimitable pace. Unmissable.

Review: Quadrants main man and Merseyside's finest Mele is back with Queens Day: no doubt a tribute to Amsterdam's best party of the year and what a fitting soundtrack it is. A Latin-esque Carnival flavoured track that crosses over with bass music splendidly. Those whistles and steel drums are pretty sick, but just wait for that drop! Second track "Body Thing" continues on with the Latin festive vibes; those steel drums go even more ballistic with even more funk, this track could easily mix well with some summery big room tech house for monstrous effect.

Review: Mystic instrumentals from the south west area courtesy of Mr Mitch's irrepressible Gobstopper label. Odeko makes his EP debut with four future-focused adventures in the exciting fertile land between experimental grime and glistening, formula-free electronica. From the pulsating subs and wavy melodic twangs of "Setsuko" to the shimmering-but-mangled harp echoes of "Sugar Acid", very few parallels can be made bar, perhaps, Chinese grime aficionado Swimful. Far East by inspiration, far out by design, Odeko is on to something special here.

Review: Racer Productions came steam-rolling through the scene earlier this year with an excellent debut single from Emma De Seze, and now the label are back with another fresh name, the supremely talented newcomer Mischa Lively. "Pillow" sounds like it's come from the hands of highly experienced producer - someone like Joey Anderson - and its rickety, off-kilter percussion is full of swing and pleasure; "Blakeup" breaks down the rigid 4/4 groove in favour of a more twisted, kick-heavy hybrid cut. "A Posture For Thought" is considerably more stripped-down and carries more of a techno swag, while "Held Open" once again tears the house format down to a jittery, dub-infused vibe.