Review: Gramaphone crew member and Smart Bar resident Garrett David is proudly extending his city's musical dynasty. The Chicago wiz-kid lands on the Residual imprint with four killer house-techno hybrids, each one of them unafraid to unleash some proper jackin' business. "Rhythm Box" is your prototypical slice of raw house, catapulted into insanity by some raucous EBM-style vocal samples, whereas "FRXS Medley" reminds us of DJ Funk's more minimal material for Dance Mania. The B-side kicks off with "Don't Fuck With Shmoo", an utterly deranged piece of gnarly analogue house funk, and ties this magnetic EP up with the much smoother, jazzy vibes of "Wassup".
Review: Titonton Duvante's Residual imprint operated out of Columbus, Ohio from the late eighties to the mid-nineties as mainly a vehicle for his own works, but also other legends of the US such as John Tejada, Boo Williams and Todd Sines. He's kickstarted the label again and he's doing it in style with a new track on the A side "Concupiscent": a darkly emotive serving of broken beat high tech soul. Hamburg's Smallville affiliated pursuer of modern deepness Christopher Rau gives us the sublime minimal groove of "Russian Cartoons" too. On the flip, another legend of US techno; Seattle's Jeff Samuel makes a comeback, on the uplifting and funky feelgood groove "WT Fader". Finally Chicago's Garrett David, resident at Smart Bar and buyer at Gramaphone Records gives us the Jeff Mill's tribute "Stasis"
Review: There are four heavyweight names on this next one from Residual: Dutchman and Red Light Radio man Nachtbraker goes first with the dark and loopy "Ojo Rojos" which keeps you on edge. German deep houser Christopher Rau layers up and elastic bassline with some warm acid. Cult American house man and Residual boss then steps up with "Pursuit Of Ma'at" which is one of his famously smooth minimal rollers. Last of all, another pivotal German artist in S-Max closes things out with "Lil' Lightyear Wants To Ride" a bubbly number with a drilling bassline and sci-fi motifs. Very useful stuff.
Review: Jeff Samuel's been delivering consistently excellent levels of tech-tinged house music over the past fifteen years, and the man has been an integral part of the development of labels like Trapez, among others. He's up on another big imprint this week, Ohio's Residual, a label that is home to artists like Boo Williams, Purveyors Of Fine Funk, John Tejada, and a whole list of legendary personalities. "Nevermore" is a track for the house and techno masses, banging its heavy kick away amid a cascade of placid melodies that offer an easy way onto the dancefloor. The flipside contains the more electrifying, broken tool house of "Po Go", followed frantically by the buzzing, vibrating rhythms of "Who's Gonna Do It", a delightfully playful house banger.
Review: In recent years, Todd SInes 1998 debut album Hi8us has become something of a sought-after item, with many considering it something of an overlooked techno classic. Certainly, it remains as potent as it did when it first dropped all those years back, with Sines using the opportunity to showcase numerous sides to his musical personality. After opening with the sci-fi techno thrust of "Chip Talk", the double vinyl set various touches on Dancemania style ghetto-house ("Can't Keep Up"), deep and spacey electro ("Svon"), melodious and intergalactic tech-jazz (the brilliant "Martian Jazz"), hard-wired jack-tracks ("Spicket"), and the alien funk ("Pholan (Garble Mix)", "Line Spike").
Review: Titonton Duvante is not mentioned often enough when the sounds of the Motorcity are cited across the underground music landscape. The Detroit talent has been making beats since the early 90s, and he's touched several important labels like Planet E, 7th City and Multiplex in his time, along with his own excellent Residual Recordings. He's back on our charts after a lengthy hiatus with a HOT reissue of his 1998 classic, The Arousal, which kicks off with the utterly twisted, cybernetic groove of "Fetish", a deranged analog techno lick, which quickly dissolves into the bubbly synth attack called "Uhephna". On the B-side, "Lick" launches some devastating kick drums over a minimalistic bleep rhythm, and "Skin On Skin" goes for a comparatively more laid back and jazzy approach. All in all, a magnificently effective bunch of dance bruisers.