Review: First released in 2006, 'Ceerial Port' is the ultimate wildcard in the electro profligate Ceephax's towering discography. The seven-or-eight track album does things with the electro form that few of Mr. Jenkinson's contemporaries would dare ever indulge, were it not for this initial fatherly stamp of approval. lead reissue cut 'Acid Whorl' is the foremost case in point, hard-limiting and soft-clipping a cyclonic 'whorlwind' of pitch-whacked acid effluence. Further 8-bit playtimes come in the form of 'Acid Highway' and 'Acid Causeway', recalling the feeling of scouring the outer edges of an Atari Kart game and encountering nothing but rolling, pixelated skies; 'Tough Grugoy Acid' and 'Woodlice Acid' make up the longer wavelengths on the spectrum, stomping and echo-rimshotting to ever-weighty, yet jolly ends.
Review: Ceephax Acid Crew's Exidy Tours album was first put out on Firstcask Records in 2003. More than 20 years on, it has only grown in stature among lovers of eccentric electro. Says the artists, who has plenty in common with peers like Squarepusher, Aphex Twin and DMX Crew, the album was "a selection of my styles and ideas at the time, ranging from drum n bass, ambient to acid." The tracks are mostly short but all make a massive impact in that brief time, with acid driving from most synths as the thrilling drum programming sweeps you off your feet.
Review: Legendary Belgian record label WeMe has long been a pioneering force in the drum & bass underworld. It is Lord of the D who makes a devastating return here with all consuming sounds towering over you and do as they please with your brain and body. 'Dunstable' is all fizzing synths and hammering drum breaks then 'O Ixed Mpo' absolutely cuts loose with sonics in meltdown, reversed stabs and drum carnage that never resolves. 'DBLE' is another fucked up drum track that will leave you bedraggled and bewildered.
Review: The accompanying notes with this say "don't call it a comeback" for NOT_MDK (aka Martin Wood-Mitrovski), even though it is an album that finds him exploring an all-new style. It is a meeting of steady 70/140 bpm grime drums and beats with IDM synth details and evocative breaks that soundtrack an all new type of late night urban conurbation. It's menacing and fresh, perfect for both body and head and is a long way from the jungle this artist made in the late 90s, or the cid and breakbeats he made in the years after that. It's a brilliant reinvention.
Review: Joey Kendrick is perhaps better known for the braindance gear he's put out under his own name for Rephlex and the like, but he's also played around with plenty of aliases over the years too. His work as +10 actually predates his breakthrough years on Rephlex, having been released on the classy Canadian label Napalm Enema. Grace came out in 2007 and it sounds a little rowdier than later Kendrick works, but that's also part of its charm. Hence stalwart Belgian braindance believers WeMe have opted to reissue the CDr-only album as a double vinyl for your twitch, glitchy, acidic pleasure. It's a feast for the cerebellum, no doubt about it.
Review: Braindance bastion WeMe welcomes RTR back for another round following the standout XOR album and a string of ear-snagging singles. The Hague-based producer rests on the electro end of braindance but you can absolutely hear the influence of Aphex and the like in particular synth lines. 'Nrevenge' is a cool and deadly machine funk monster with plush leads which sound like boogie given some poky uppers, while 'ERA' comes on like EBM if it was less sullen and more cheeky. There's clattering drum funk, boxy freak outs and heaps more to feast on from this razor-sharp addition to RTR's canon of mind-tickling workouts.
Review: RTR returns to WeMe with more arresting weaponry and this time the producer puts a jungle slant on things, much like he did with the Xor album. It's an uncompromising approach that soon takes effect with 'Exelec' which marries brutal breaks with bright synth twitches and unrelenting percussion. 'Rtyp' ups the pace and goes into overdrive with manic snares and drum loops all run through with prickly acid madness. 'Line II' strips things back to a more skeletal but no less kinetic set of drums which explode and implode with scratchy textures and warp synth abstraction. 'Norm Code' offers a more soulful sound that journeys into deepest space.
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