The best new singles this week
Our writers pluck their choice selections from the week’s singles
SINGLE OF THE WEEK
DJ K1 / DJ Maaco – Unidentifiable Beings (Puzzlebox)
Keith Tucker’s Puzzlebox Records has long been a beloved resource for in-the-know lovers of authentic electro/techno Detroit deepness. Originally set up alongside Anthony ‘Shake’ Shakir way back in 1996, the quality threshold is set so very high that it’s difficult to tally the memorable moments to have arrived under the banner. In recent years, Tucker has steered the ship himself, continuing to navigate the futurist waters that he knows so intimately by releasing fresh material alongside gratefully received re-issues of carefully chosen esoteric gems. Puzzlebox provided the home for a sizeable chunk of the Aux 88 work Tucker recorded alongside Tommy Hamilton and continues to serve as an outlet for his solo material recorded under various monikers. Here, he dons his familiar DJ K1 cap to present a suitably pleasing double-header with fellow Detroit heavyweight, Tameko ‘DJ Maaco’ Williams. A-side track ‘On My Computer’ sees K1 deliver a sinister slice of lo-fi electro that brims with neon-lit sleaze.
The robotic narrator delivers a subterranean soliloquy as grainy hats, piercing snares, icy synths and snarling bass permeate the foggy motor city backstreets. On the flip, DJ Maaco adds a touch more funk to the intergalactic rhythms, with loosely-spun analogue chords and bass arpeggios joined by subtly distorted vocals and live-sounding handclaps over mischievously swung drums. Both tracks are endowed with a delightfully timeless quality, something akin to a sci-fi film noir, they’re both rooted in analogue authenticity while manifested with deliciously space-age intent. There’s an awful lot of electro music floating around these days, but the intrinsic soul, funk, and swagger with which these tracks are endowed set them a few leagues apart from the bulk of the contemporary crop. A Puzzlebox schooling, if you will.
PC
Ashton “DJ Cassanova” Irons – The Texas Tapes 1992-1995 EP (Chopped Herring)
In one sweet and low-key swoop, the under-acclaimed DJ Cassanova (aka Ashton Irons) gets a good chunk of his mid-90s material released, none of it having ever before seen the light of day. While very few will know of Cassanova’s music – or that of his parent label Chopped Herring (so far) – you’ll be pleased to hear that some of these cuts are adjacent to some of the earliest hip-hop offerings the state of Texas had to offer.
Bear in mind that some of Irons’ tracks date as far back as 1992, when only a select few larger supergroups such as Geto Boys had carved out a sonic niche for themselves. Even DJ Spanish Fly, who was credited for the emergence of prominent, tape-centric dirty south microsound Memphis rap, didn’t make his debut self-released cassette until 1994. You’ll note, then, that the sound of Cassanova’s beats are weirdly ‘classic’ gangsta rap, oscillating between boom-bap and horrorcore notes.
Tunes from prominent rap co-conspirators including Necessary Roughness (“ah, shit I got my hands on the microphone / about to drop and turn this shit, you better guard your dome”) and Trilogy (“so I tiptoe through the windows of your mind, now who be rockin’ rhymes like a maniac? / I’m all up in yo ‘ass with the razzamatazzajazz”) soon document the scene’s straddling of lyrical cheese and mercilessness at the time.
But the real meat of the matter lies in this 12”’s recollection of the unique beatsmithing of the time, which naturally preceded the rap-Renaissance ingenuity of Timbaland, or 21st Century inventions like wonky. Teddy Lee’s ‘Bullseye’ mimics the drums-and-bass rhythms of Herbie Hancock’s ‘Chameleon’, while Trillogy’s anti-PC, word-of-warning anthem ‘Nothing Better Than’ is full of cut-up boxiness and scratchy record scratches. Closing on Felony’s ‘The Aftermath’, we hear a clear throughline out from Geto Boys; the song tells the grim story of a schoolkid drug dealer. It deals in a similar juxtaposition to the Boys; harrowing lyrics detailing the hard realism of life as a gangster, against an idyllic, emotive beat that mars together deep chords and guitar.
JIJ
Fantastic Man – Alltogethernow EP (Kalahari Oyster Cult)
It’s been fascinating to behold the evolving work emanating from Mic Newman’s studio since he first began making waves just over a decade ago. Best-known for his music released from behind the spandex mask of his Fantastic Man alter-ego, he emerged from the ever-giving Melbourne deep house cauldron in around 2011 with an infectious blend of sample-heavy and disco-leaning grooves that quickly won him a throng of admiring fans. Over the years, his sound has shifted through stylistic gears, and his sound signature currently dwells in the hallucinatory realms of space-age breaks, introspective ambient, and gently progressive deep house.
His debut album on Mule Musiq was breathtakingly refined – taking in all manner of divergent tones – while recent releases for Love International x Test Pressing, Superconscious, and 00:AM have gloriously echoed this advancing experimental intention. In what feels like an especially snug fit, ‘Alltogethernow’ arrives from the uncompromising Kalahari Oyster Cult camp, with the music presented entirely in keeping with the label’s kaleidoscopic catalogue.
Perhaps the most immediate of the set, the EP’s title track sees interwoven synth melodies floating over robust drums and growling acid bass, hypnotically driving, the music is both rooted in the dancefloor and astrally charged. The rave-infused thrust of ‘Bioxy’ is just as propulsive, with pounding kick and rolling snares powering minor stabs, sinister acid motifs, shimmering synth solos and sub-heavy bass over a sweat-inducing arrangement. On the flip, the nocturnal haze of ‘Alpha’ bubbles with sinister intent, with shadowy textures darting across the dimly-lit panorama as unnerving vocal chops rise in from the peripheries. Finally, the free-flowing groove of ‘Trojan Force’ continues the late-night allure, with evocative pads hovering above a dense bed of snarling bass and stirring four/four rhythms as delicate synth layers and wildlife samples enhance the transcendent sonic experience. Yet more majestic work from the one they call Fantastic Man, a producer whose artistic actualisation seemingly knows no bounds.
PC
Akio Nagasse – African Acid EP ((Emotional) Especial)
Akio Nagase returns to (Emotional) Especial with his latest adventures in global acid fusion, serving up four alluring cuts on the ‘African Acid EP’. The Osaka-based artist has been enjoying a bountiful resurgence over the last couple of years, with his (Emotional) Especial debut, ‘Global Acid EP’, joining the fascinating ‘Roots Magic EP’ on Singapore’s Darker Than Wax to mark the end of a ten-plus year release hiatus. Prior to this, his productions recorded under the Makedub moniker on Japanese imprints Jet Set and Rudiments were very much rooted in the bass-heavy realms of dub and reggae. With this in mind, his newfound affiliation with both the trusty TB-303 and the far-flung global grooves that provide the backbone of his recent work represents something of a stylistic shift from his formative material.
Continuing his scintillating recent form, Akio’s latest set of creations stay reassuringly true to the aptly chosen EP title, with four cuts expertly lacing Afro samples with irresistible acid licks, thoughtful overdubs and delicate sound design. First off, the stripped atmospherics of ‘Acid Maasai Collecthiv’ sees hypnotic tribal samples woven amidst an intoxicating framework of snarling acid and pounding four/four rhythms. Winding down the pace, the gentler tones of ‘Morisyen Acid’ present blissed-out Mauritian samples intertwining with softly pulsing drums and floating acid motifs for an evocative sundown meditation. Next, the tempo rises once again via the life-affirming positivity of ‘Serengeti Summer’, with throbbing Afro drums and 808 rhythms powering a glorious blend of rhythm guitar, bubbling synths and evolving 303 lines. Finally, the dream-inducing waves of ‘Jua’ feature a psychedelic brew of narcotic acid riffs, call and response vocals and emotionally charged marimbas spread across rolling machine drums for a mesmerising finale to a thoroughly enjoyable collection.
PC
Kyle Hall ‘Good Hado EP’ (Forget The Clock)
Such is the quality of his output, a gentle excitement prevails whenever new music from Kyle Hall appears on the imminent release schedule. The meteoric Detroit artist has time and again proven himself to be one of the most reliable machine funk proponents operating on the contemporary Motor City landscape, and, since minting the label in 2019, each release on his Forget The Clock imprint has more than lived up to the lofty standards he’s set himself. Though he’s released consistently since emerging in the late ‘00s, he’s not one to flood the market with a deluge of new music, ostensibly taking a quality over quantity approach to his compositional process. True to form, his first release in 2022 is entirely deserving of the enthusiasm with which its announcement was met.
The ‘Good Hado EP’, as with so much of the best of Detroit’s electronic canon, dwells somewhere in the wondrous realms that occur somewhere betwixt deep house and techno, with tracks that range in tone from heads-down smokiness to strobe-lit warehouse abandon. Opening track ‘Moveable’ struts along with a delicious deep house bump, with metallic chords and growling synth bass set alongside a joyously swinging groove. Maintaining the backroom flow, ‘In Ya Mind’ shuffles along over glassy chords, shimmering strings, seductive sax motifs and low-slung bass as spoken word vocals augment the hazy atmospherics.
Turning to the B-side, Kyle switches up the drums with the jagged rhythms of ‘Turquoise Wave’, where enigmatic pads and tension-building synth swells caress freeform bass over irresistibly broken beats. Finally, the altogether tougher ‘Weed Or Majik’ sees Hall surrender to the rhythm, as hard-edged drums and percussive synths cascade over a quick-fire tempo, with the full-bodied kick and crunching claps adding fuel to the fervour. Something to please a fair few palettes here, this is yet more stunning work from Kyle Hall.
PC
Speed – Gang Called Speed (Flatspot)
Newly founded Australian hardcore upstarts, Speed, have been making waves in the scene throughout 2022 due to their intense live shows and inclusive mission statement.
After going viral this past week thanks to their (soon to be) iconic performance at the Los Angeles punk festival, Sound & Fury, which even caught the attention of bible bashing right wingers as well as Basketball legend, Shaquille O’Neal , due to the sheer pandemonium caused by their gargantuan mosh pits; there couldn’t be a more ample time for their debut EP, ‘Gang Called Speed’, to arrive on wax.
Taking the genre back to its root forms of seething aggression, bruising breakdowns, gang chants, and two-step grooves; the Asian-Australian group of friends utilise these tried and tested motifs, to proverb a modern message of anti-racism and xenophobia, whilst imbuing their creed with earnest rage.
From the mammoth lead single and opening curbstomper, ‘Not That Nice’, the full ethos comes into play, with grooving riffage, slamming chugs and a threatening lesson to essentially treat others with love, compassion, empathy and understanding, or get jumped.
Across these six tracks and quarter of an hour runtime, Speed deliver on all of their promise, from the undeniable bounce of, ‘Move’, to the old school hardcore instrumental surge of, ‘Every Man For Themself’, it’s evident that while topical agendas are weighty and close to the bone, the gang are still in this to have fun, and espouse their beliefs to like minded individuals who pine for the catharsis of musical relatablility and connection, while jumping on some heads. Get involved.
ZB
Bianca ‘Tabu’ (Nunorthern Soul)
Now here’s one to get Balearic house fans more than a little hot under the collar, as the venerable Nunorthern boss Phat Phil Cooper goes above and beyond to lovingly re-issue a firm favourite from his sprawling collection. Whether or not you’re seasoned enough to remember Bianca’s 1990 released Amnesia anthem ‘Tabu’ the first time around, there’s a very good chance the seductive vocals, rousing pianos and sparkling drums will momentarily transport you to the naive hedonism of a golden age Ibicenco dancefloor.
Arriving a cool ten years after her equally alluring ‘Monigote’ debut, ‘Tabu’ marked the final chapter in Bianca Binky’s small but well-formed catalogue, and its carefree charm has helped the release maintain its appeal among in-the-know jocks and collectors. The 2022 release sees the remastered original and house versions joined by an all-new Ruf Dug edit of the highly-prized Caribbean mix. The original features Bianca’s sensual vocals embraced by an atmospheric bed of tropically charmed instrumentation, while the ‘House Remix’ places the throbbing rhythms front and centre as the lyrics echo across a stripped panorama of club-focused sonics. Sweetening an already tempting proposition, Ruf Dug takes out his scalpel and tape delays to serve an epic dub edit of the Caribbean version, working in captivating breakdowns as the primary parts are allowed free rein to evoke late-night dance abandon. You’d be best advised to grab this one while you can.
PC
Zara – Di Plastica (Salt Mines)
Zara Olsen’s brand of tactile, ambient dub-dance has a particular Australian identity to it. Her new EP ‘Di Plastica’ – despite titularly alluding to her sound as a kind of futuristic malleable plastic – also channels the free spirit of the bush, and the mood of the teenage walkabout, in equal proportion.
We glean an unpretentious, very cool young spirit from the fragments of Olsen’ personality found online. Her past, wondrous saunters across the coastline with friends are clear influences on the waterier moments on this new 12” for Salt Mines; ‘Breathe’ contains every sloshy sound from the tongue-flick of the spoken word “breathe” to the dribbling of water. What’s built is an unrushed, downtempo sonic fresco, using whatever the audio equivalent of watercolour paints are.
With Zara, emphasis lies more in the sound-Dasein than sound design. On the title track ‘Di Plastica’, nothing is overtly sculpted, or particularly aims to get our audio-dopaminergic pathways surging. Instead, most of the effort has been poured into the mix’s weight and balance, locking in pure basses, tabla hits, knocky drums and even the croaks of a cackling throat singer. Fellow Aussie and dance artist Maara, finally, stops by for a tribal trance treatise in the language of moonlight drums, firedancing acid and stepped vocals.
JIJ
Felipe Gordon ‘Natural Born Climber’ (Shall Not Fade)
Columbian producer Felipe Gordon continues his prolific work rate as he returns to Shall Not Fade with his latest deep house meditations, delivering four typically well-crafted cuts on the ‘Natural Born Climber’ EP. Since his music first started appearing in the racks a little more than five years ago, he’s maintained a truly impressive output – both in terms of quality and quantity – and has appeared on the likes of Toy Tonics, Quintessentials, Lovedancing and Razor ‘N’ Tape.
He’s become a regular feature on the Shall Not Fade roster, and his sixth offering for the label is right up there with the best of their ever-reliable output. The EP launches with the low-slung mistiness of ‘The Love’, where sparkling keys meander over atmospheric drones and shuffling drums before the opiate vocal adds focus to the groove. ‘Da Ghent Life’ is a degree or two bouncier, with solid sub-bass rhythms and swung snares powering dubbed-out horns, live bass slaps and propulsive chord stabs. Over on the other side, jazzy horn and piano samples are spliced over a fizzing house groove, ebbing across a floor-friendly arrangement as grainy synths and space echo delays swirl into the distance. Last but not least, the title track is perhaps the most pumped of the set, with chopped vocal stabs, biting bass and textured synth stabs blended over trademark smokey house drums.
PC
This week’s reviewers: Patrizio Cavaliere, Jude Iago James, Zach Buggy.