Hypercolour Vinyl & CDs

Review: Andrew Morrisson aka The Cyclist returns to Hypercolour with a brand new, full length album. It's his fourth, in fact, and is crammed full of intriguing atmospheres and soundscapes. Harper is also known for his work under the pseudonyms of Buz Ludzha, Gongue and Affinity Projects with Tanaya Harper: who lends her vocal talents to this very album. The Sapa Inca Delirium LP leans heavily on South American mysticism, not just musically, but in the visual imagery that these 11 tracks paint so well across its various tempos and rhythms. The aforementioned Harper lends her fine vocal talents to two of the album's most exciting moments - the funky/psychedelic disco joint "Inhale/Exhale" and the saturated lo-fi house of "Mirrors". Elsewhere, "Forest Surge" fires some breakneck vintage electro style at you and "When We All Break Down" features Joni's seductive vocals over a dramatic breakbeat driven arrangement.

Review: It was the combined efforts of Crisis Urbana Recordings and the All Caps label that brought Guy Evans aka DJ Guy into the limelight, back in 2014. The artist was marketed as having made a series of seminal cassette recordings back in the 90s, recordings that do inarguably sound incredibly contemporary in this day and age. While this new LP for Hypercolour is made up of new recordings, DJ Guy has that rare ability of making his tracks sound timeless; "Love" or "Untitled 3", for instance, are both tunes that could have been made back in the day thanks to their noticeable analogue charm, and yet they have something fresh and forward-thinking about them. "Concentric Rhythm" is a buzzing slice of distorted techno-house that we absolutely love, but the deeper, more 'intelligent' moments such as "Don't Hold Back 95" or "Through The Galaxy 93", are what we're particularly fond of because they recall the true mysticism of UK techno. There's also a full, sixteen-minute version of the marvellous "20 '96", and two more slices of Guy signature techno. You can't miss this one..!

Review: By now, long time veteran DMX Krew is very much one of the Hypercolour family. This is the studio magician's fourth album with the UK crew and is another fine feather in his already very resplendent bow. It features all his signature melodies, mechanical beats and expressive sound designs across two super slabs of wax. As usual it is a distinctly hardware heavy sound that results in rich analogue textures throughout. From the sci-fi fun of sludgy opener 'Unconnected' to the broken rhythms of 'Wetware' this is another classic.

Review: 23 years have passed since Edward Upton first donned the DMX Krew alias, but the prolific British producer shows no signs of slowing down. Astonishingly, Strange Directions is the electro stalwart's 21st full-length excursion. Predictably, it's rather good, with Upton delivering a set that effortlessly body-pops between vocoder-laced electro workouts, melodious IDM, bass-heavy intelligent techno, gnarled Drexciyan throbbers, Artificial Intelligence style home listening fare and even a dash of muscular, tongue-in-cheek Italo-disco (the deliciously sleazy "Soft Networks"). As usual, the distinctive, off-kilter swing of original analogue hardware is present throughout, as Upton showcases his full range of talents. Recommended.

Review: DMX Krew on Hypercolour? You bet! The UK electro don serves up his trademark style for the tech-house institution who seem to be broadening their horizons: can only be a good thing! Things start off in spectacular fashion with the cute and upbeat "Spiritual Encounter" before settling into some funky and mysterious electro with "Bombay Mix". Hard Copy is reminiscent of the early Hi NRG vibes of Bobby Orlando or Gino Soccio but "Woolly Hat" and "Parallel Universes" are funky, fun loving 4/4 electro grooves that are more typical of the DMX sound. He saves the best for last though, with some darker excursions such as the high octane, Telex sounding "Computational Paradigm Shift" and the smack electro closer "Black Poppy". With electro making an obvious comeback, thank goodness we've still got this legend to show us how it's done. An outstanding effort!

Review: A sprawling, typically irreverent effort from the ever-prolific DMX Krew. With each unfolding track, Edward Upton charts a new tributary in the Detroit-Berlin-Sheffield pipeline, from the grouchy technoid stomp of 'Bathtime Bobby', to the hazy chillout room introspection of 'Escape To 92', to the dazzled machine funk of aptly named elektro quest 'Desperate Measures'. Another thoroughly satisfying entry in the ever-growing DMX catalogue, Spiral Dance is a sizzling hotplate of timeless electro wizardry.

Review: Roman Flugel has stayed at the top of his game for nearly 20 years because he possesses the uncanny knack of reinvention. On this release for Hypercolor, he manages to stretch that diversity out over the course of six tracks. From the glorious melodies of "Teenage Engineering" through the rolling 808s of "Church of Dork", the gushing acid tones of "Make it Happen" into the sublime deep techno of "Picnic for Players", this release covers more ground than an Argentinean scrum-half. Monday Brain is one of the most well-rounded and stylistically assured records that the veteran German DJ has released to date - and that's really saying something.

Review: Since making his debut on Clone's Crown series back in 2015, keytar-sporting electrofunk revivalist Gary Gritness has released some of the most essential synthesizer-driven dance music of recent times. Hopes are therefore sky-high for "The Legend of Cherenkov Blue", a rare solo album that gleefully wraps the producer's usual snappy electro drums and funk-fuelled basslines in atmospheric chords, poignant melodies and a cinematic sense of developing drama. It's a formula that results in a thrilling number of highlights. These include, but aren't limited to, the spacey wiggle of "Laser-sighted Smoke", the bustling, Jan Hammer style '80s movie theme flex of "Enter Cherenkov Blue (LP2: The Killing)", the mind-altering electro wonkiness of "Snitch Huntin'" and the deep bliss of "Big Marcus Knows The Score".

Review: The UK's Hypercolour is a label we always enjoy hearing from. They have long served up whatever music they like without ever pandering to trends. This time out it is Jerome Hill who turns on his machines and cooks up a load of twisted techno full of playful lines and inventive rhythms. This is not chin sttoker tackle, but it will likely win over those sorts of people thanks to the robustness of the designs and the impactfulness of the tunes. There are broken beats, industrial-tinged bangers and plenty in between. Cheers.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


The UK's Hypercolour is a label we always enjoy hearing from. They have long served up whatever music they like without ever pandering to trends. This time out it is Jerome Hill who turns on his machines and cooks up a load of twisted techno full of playful lines and inventive rhythms. This is not chin sttoker tackle, but it will likely win over those sorts of people thanks to the robustness of the designs and the impactfulness of the tunes. There are broken beats, industrial-tinged bangers and plenty in between. Cheers.

Review: Luke Vibert has made many great records over the years, but few are quite as well crafted as his 2004 debut album under the now familiar Kerrier District alias. Inspired by a mixture of Metro Area, Black Devil Disco Club, cheap synthesizers, early New Jersey garage, Italian house and, of course, classic disco, it remains a touchstone in the development of nu-disco. This timely reissue features freshly re-mastered versions of all ten tracks from the original album, plus the six tracks which made up 2006's Kerrier District 2 12". These include the loved-up, late '80s loveliness of "Ce Porte", the 808 cowbell and vocoder laden "Disco Nasty", and a typically eccentric Ceephax remix of "Sho U Rite".

Review: After releasing Luke Vibert's acid-heavy Ridmik set, Hypercolour boss Jamie Russell asked the Cornishman if he had any disco-flavoured Kerrier District material knocking about. He answered in the affirmative, and 4, Vibert's first full-length under the alias for a decade, was born. Although the project was initially inspired by Black Devil Disco Club's warped electronic disco (and, presumably, the smoother grooves of Metro Area), a decade on Vibert's approach is noticeably different. While the fluid synths, undulating disco basslines and cheery grooves remain in place, the intoxicating depth of the original has been replaced by a cheekiness more readily associated with Vibert's Wagon Christ pseudonym. It is, then, a different beast than previous Kerrier District outings, but no less entertaining.

Review: Taking off where her debut album Spurn Point left us in 2014, musical innovator and serial boundary blurrer Shelley Parker returns with another long playing adventure. Her debut on Hypercolour, it's another immersive and very fluid experience that rattles through a whole range of flavours and forms. From the slower hardcore breakbeat style cuts like 'Glisten' and 'Cage' to more up tempo fires like the dubbed out 'Scrubs Lane' and the rampant sci-fi sizzler 'Coldstream' by way of raw, uncompromised experimentalism like 'Deluge' and 'The Faun', Wisteria is another exciting reflection of Shelley's wider work as an installation artist and sound performer. Highly recommended

Review: Astonishingly, GRIT is Luke Vibert's 18th album under his given name (he's released many more as under other aliases such as Wagon Christ, Kerrier District and Amen Andrews), though his first for a couple of years. It's a predictably fun, TB-303 heavy affair, with the prolific Cornishman giddily sprinting through rubbery acid-electro ('Surrounded By Neighbours'), deep acid wooziness ('Decay Hole'), thrillingly wayward machine funk ('Partron'), subdued, bass-heavy swingers (the vaguely Wagon Christ-ish 'Gas Legs'), surging jack tracks (the breathless title track), jaunty house retro-futurism ('Swingeing Cuts'), Kerrier District-goes-acid insanity ('Disco Derriere'), hard-to-pigeonhole madness ('Screwfix Typeface'), and much more besides. A must-check for lovers of trippy acid lines and sweaty, loose-limbed beats.

Review: Luke Vibert is an ever green sonic inventor who can do whatever he pleases with sound. The latest in a long line of projects with Hypercolour and its associated labels is another gem: Rave Hop mixes up downtempo beats, hip hop and r&b with twisted electronics, rave and techno. It's something that could go horribly wrong in the hands of a lesser producer, but here the fusions are amazingly seamless. "No Competition" is a classic era boom bap tune with lush piano chords, "Styles" sounds like a reworked Slick Rick tune with huge breakbeats and "All Night" is as smooth as silk thanks to a buttery vocals and long legged drums that sink you in deep.

Review: UK IDM stalwart Luke Vibert presents part two of a trilogy which sees him delve deep into his floppy disc collection for a glorious ride through familiar motifs. Much like its title would suggest. 'Modern Rave' is a mish-mash of early '90s dance music cliches, revisited and reinterpreted in delightfully infectious and entertaining fashion. He refernces classic Todd Terry style house, D-Mob and the glory days of early UK hardcore on tracks like "Beef" or "Feel One", while homages to Detroit and evident, particualry Underground Resistance who meets orbital under the M1 circa '92 on "Dream" while jungle meets ghettotech on the frantic "Ladies". Have fun guessing and joining the dots on this wonderful audio collage of electronic music's recent history by quite the historian.

Review: Congratulations to Hypercolour, a label more renowned for its deep and bass-heavy house output, for coaxing a new album out of eccentric veteran Luke Vibert. Happily, Ridmik - the Cornish producer's sixth solo album under his given name, and first since 2009 - is rather good. Sitting somewhere between the deep, Metro Area-inspired synth disco of Vibert's Kerrier District project and his rougher, acid-tinged work, Ridmik ebbs and flows with attractive looseness. At times woozy and melodic (see the starburst melodies and lazy rhythms of "Six Eight" and smooth title track), at others ragged and twisted (the alien 303 funk of Proper Gander), Ridmik is an impressive set of analogue workouts dripping with synthesized soul. Recommended.

Review: Under the West Norwood Cassette Library alias, Bob Bhamra has consistently show himself to be one of the UK's most unique producers, perfecting a blend of music that pulls from jungle, house, breakbeat, dubstep and techno that has managed to consistently steer clear of the prevailing trends of UK dance music. The majority of Bhamra's own productions have surfaced through his own label though he has been known to flirt with other operations - TEAL and New Kanada for example - and it's through another label that the most substantial West Norwood Cassette Library transmission arrives. Kudos to Hypercolour for getting a grip of a whole 8 tracks of WNCL goodness for the appropriately titled 8 Track Cartridge! Described as a "double pack of gems and nuggets," this collection of archival cuts is a must for Bhamra completists, running the full gamut of his production range with the classic breaks of "Acid Jazz" and UK garage style of "Innervisions" brushing up against the cut up jazz of "Time Loops."