This Week At Juno
Pairs of records from the Acido, The Trilogy Tapes and Clan Destine labels were amongst this week’s highlights.
Two extremes of Will Bankhead’s curatorial work with The Trilogy Tapes were on display this week with the arrival of records from Rezzett and Eomac which both contained some truly exceptional moments. The former is unknown beyond a series of Youtube videos and a sparse facebook presence, leading to all manner of idle speculation as to Rezzett’s identity. Whoever Rezzett is, the beautiful nine minutes of crushing machine made music that is “Yayla”, is a highlight of the Firebomb EP that we keep returning to. With years of production experience behind him as part of Lakker, Eomac is a much more established name and initially somewhat of a surprising addition to TTT (but this is never a label to take the obvious route) and the music on Hither, Pappy suggests that McDonnell was inspired by the label’s willfully experimental nature – that final track!
Arriving from Berlin was the latest batch of Acido goodness with another Dresvn platter from label boss Dynamo Dreesen and SVN, complemented by a second edition of their conceptual Soundtracks For No Film series. Dresvn’s Acido 14 was as oddball as you’d expect (“Track 3” in particular) whilst 291out and Sequencias artist, Healing Force Project, took a side each to dabble in composing the imaginary soundtrack for what could be a modern day Kafka adaption. Spread across the entirety of the B-side, Healing Force Project’s dole track “Opium” is immense, consuming drone techno reminiscent of Morphosis.
Glasgow’s Clan Destine Records has been one of this year’s belated musical discoveries here at Juno Plus. Alerted to their endeavours by the Dark Acid series on their recently minted Clan Destine Trax offshoot, the main label issued a killler album this week in the shape of Glass Tears from West Coast musician Pod Blotz – “Die And Come Alive” has been scaring some of our colleagues at Juno Records all week. A third edition of the aforementioned Dark Acid series also arrived with a headline appearance from Jamal Moss under his lesser spotted Insane Black Man alias complemented by contributions from Tzu Sing, Twins and TRACT with the latter’s “Light In Extension” every bit as impressive as the Hieroglyphic one’s production.
Last night the Juno Plus crew descended on Plastic People to join in the celebrations for the newly released Livity Sound compilation having spent all week wearing down the stylus on our 1210s with the label’s new 12″ from Pev & Asusu. Naturally their selections proved to be just as on point as their productions! Master Peverelist was also involved in the latest release from Idle Hands, contributing a self-styled ‘Jerky’ remix to Strategy’s excellent Return From The Stars. And Speaking of returns, it was great to see firm Juno Plus favourite Joe resurface with a double dose of Hessle Audio dopeness – as usual with Joe, “Maximum Busy Muscle” sounds like very little out there.
If there’s one artist out there that matches the L.I.E.S. ‘Non-Stop’ ethos it’s Danny Wolfers, and amidst rumblings of a new album for Créme Organization, the man known to most as Legowelt made a superb return to Ron Morelli’s label with Teen Romance. Sporting some excellent cover art from Will Bankhead, the three track 12″ is proper D.I.Y. underground techno from the guts of Den Hague. If you like that record you will no doubt also enjoy Wildlyfe Genesis, the new Xosar double hitter for Créme which picks out two gems from the producer’s vat of unreleased material. TIP! as the guys at hard Wax like to say. The Lobster Theremin label locked into a similar groove with their debut release, presenting the youngster Palms Trax as a producer whose misty eyed, ’80s-influenced approach is reminiscent of the Future Times crew.
After last week’s Theo throwdown from Sound Signature, the man was at it again with a remix of “Como Como” from Mala’s Cuban excursions on Brownswood, which secured joint place in the Juno Plus remix of the week competition with the pair of Pepe Bradock efforts that featured on the Webster Wraight Ensemble 12″ from Heavenly Sweetness. Sweden is rightfully being lauded for it’s efforts in the realm of techno at the moment, but the Aniara crew have been ensuring the country gets it’s props in deep house circles too, and label mainstay Dorisburg stopped being a Genius Of Time in order to inaugurate the Stockholm label Boss Musik with two great productions.
John Heckle laid down a marker for Desolate Figures, his rather intense upcoming LP for Tabernacle, with a brilliantly named 12″ slab for the self-same label; in addition to the original version of “Back Alley Terminator” there were three remixes with the effort from Mick Willis filled with the kind of rolling arpeggios you can see going down well at a World Unknown party. Equally memorably named was How To Travel The Universe (Without A Flying Saucer), the second Dixon Avenue Basement Jams release from FreNch correspondent VernoN which nestled snugly in the interzone between deep and deranged. The latest 4th Wave transmission from Gerry Read was however, gleefully camped in the deranged end of things (as per usual) with B-side cut “Rubber Hands” incorporating some EQ fades that felt like a blunt response to what Sprinkles did on his acclaimed remix of The Mole recently.
Word has sneaked out that Clone are going to close proceedings on their Drexciya-themed Journey Of The Deep Sea Dweller series soon and they warmed up for it with a prescient reissue of some tracks from the Der Zyklus archives of Gerald Donald. First featuring on a long out of print EP for DJ Hell’s IDG label over a decade, both “Elektronisches Zeitecho” and “Mathematische Modelle” are examples of taut, simple yet emotionally satisfying electro at its finest.
Finally for something different, Gunnar Wendel’s Ominara label welcomed NTS Radio host Nabihah Iqbal, aka Throwing Shade, into the fold with a two-track 12″ of self-described ‘cosmic R n’B’ that was suitably served by the vividly colourful artwork. B-side track “Lights” is a notable highlight for us, sounding like the perfect mixtape opener, but it’s the usage and implementation of vocals on both of Throwing Shades productions that impresses most!