Review: Brawther's Negentropy label has already carried gold star material from Ron Obvious and the man himself, and now it's the turn of debutant producer Zweizig to show off his wares. This assured 12" leads in with the ambient intro "Gewissen" before the crisp minimal funk of "Rhythm Tension" kicks in with its shimmering and shuddering sound design pinging around the dexterous beat. "Zephyr" is a smoky affair with a snappy broken beat and lots of subtle organic matter writhing in the middle distance. "Rehash Repeat" takes things deep and dubby to complete the set, all mellow hiccupping rhythm accents and hazy melodic phrases.
Review: Sleazy McQueen's always reliable Whiskey Disco is back with its 61st edition, featuring Ukrainian editor Alex Zuiev. The man from Mariupol first appeared on the label back in 2017 and he's become a staple of sorts - as this will be his fourth for the Florida based imprint, in addition to appearances on Editorial, FKR and Spare Change. The Flying Objects EP features the rowdy late night disco of "Trenitalia" which is sure to get the crowd dancing on the ceiling, while on the flip prepare to get deep down and dirty on the lo-slung oddity of "Soul Fire" - which is perfect for late hours.
Introspective - "When The Rain Comes Down" (feat Jenifa Mayanja - Michael Zucker Finale mix)
Review: Finale Sessions founder Michael Zucker steps into the limelight with his first full EP for the label in the five years it has been running. Zucker has of course featured on a handful of split releases from Finale but he doesn't waste any of the space afforded here with a quartet of superb and varied productions. Leading the way, techno track "His Spirit" bristles with life and percussive energy whilst "Inner City Peace" will likely raise some interested eyebrows in West London thanks to its killer broken beat programming. Face down, Zucker dips into his personal archives for an unreleased and rather crisp remix of Introspective and Jenifa Mayanja hookup "When The Rain Comes Down" whilst the wonderfully named "Spiritual Graffiti" ends the release on a high note.
Review: Zru Vogue is a two man post punk avant-pop group from Palo Alto, California, combining the talents of Andrew Finkle and Rick Cuevas. The band began in 1980 as a four member group: Rick, Andy, Tom Sanders and Nancy Miller. Tom and Nancy left the group shortly after the first single, "Nakweda Dream", was released by independent San Francisco label Adolescent Records in February 1981. Inspired by rave reviews and heavy airplay on alternative radio stations, Andy and Rick went back into the studio, now as a duo, to record some new ZRU tracks. The self-tilted LP was released on the band's Zero Risk Records in 1982. It contains eight compositions blending African tribal and Middle Eastern rhythms, avant-garde rock, minimal electronics, and funk-rock guitars. The duo's sound is inspired by the art and anti-art movements of Dada and Surrealism. All songs have been remastered by George Horn at Fantasy Studios. Each copy is housed in a replica of the original jacket, which features artwork by the group members, and includes the original 2-sided lyric sheet.
Review: Woof! Hyperdub bring together two of the most recognisable and enigmatic artists of recent times on this 10", as Zomby and Burial square down ahead of the former's new album for the label. Zomby's Ultra LP is undoubtedly one of this year's most anticipated albums and "Sweetz" suggests it may be a very moody affair indeed. Whilst rooted in UK dance, Zomby and Burial do look elsewhere for inspiration too. Just under seven minutes long, "Sweetz" veers through various sub-heavy soundscapes with intermittent rhythmic patters and a distinctive looped vocal sample whose pitch changes with dramatic effect.
Review: The original enfant terrible of the bass music world marks his second long player for 4AD with a sprawling opus of more than 30 skits and skirmishes daubed in his trademark colourful sonic scrawl. There is plenty here that reminds you of the early days of the producer's emergence when dubstep was a younger beast, from the spacious "Horrid" to the measured arpeggios of "Pray For Me", but you'll also find more intricate musings such as the dynamic and dramatic "Memories". Hype abounds on the creepy Funky of "VI-XI", while "Overdose" launches enthusiastically into a jungle tear out. At any given turn, you'll find yourself surprised, lurched from a serene mood into a manic one, only to be tempered again. There's a staggering range of ideas and styles to comprehend here, but would you want it any other way from one of electronic music's most outspoken upstarts?
Review: Zomby returns to Hyperdub with his first album in three years, trailed in high profile fashion by that Burial collaboration "Sweetz." That particular tune is one of Ultra's headline attractions, alongside eyebrow-raising collaborations with Darkstar, Banshee and Rezzett. What really impresses, though, is the skewed, left-of-centre nature of the mask-wearing producer's heavy, post-grime rhythms, sparse but sparkling synth work, and the breathlessly cut-up R&B vocals dotted throughout the set. Interestingly, there are subtle nods towards new wave synth-pop, ghetto-tech, spacey ambient and alien IDM, making Ultra Zomby's most intriguing and consistently on-point album to date.
Review: Zomby returns to Hyperdub with his first album in three years, trailed in high profile fashion by the Burial collaboration "Sweetz." That particular tune is one of Ultra's headline attractions, alongside eyebrow-raising collaborations with Darkstar, Banshee and Rezzett. What really impresses, though, is the skewed, left-of-centre nature of the mask-wearing producer's heavy, post-grime rhythms, sparse but sparkling synth work, and the breathlessly cut-up R&B vocals dotted throughout the set. Interestingly, there are subtle nods towards new wave synth-pop, ghetto-tech, spacey ambient and alien IDM, making Ultra Zomby's most intriguing and consistently on-point album to date.
Review: Since making his debut six years ago, Seb Zito has made quite an impression. Here, he christens new label Seven Dials following acclaimed outings on Fuse London, Rawax and, most recently, Hund Records. As the title suggests, much of the EP is inspired by dancefloor styles of the 1990s, though thankfully not the extensively mined hardcore and jungle sounds that have inspired rather a lot of producers of late. "95-96" is a swinging and bass-heavy affair, seemingly inspired by the darker end of U.S garage (think Tenaglia and David Morales' Red Zone dubs), while "Bubbling" offers a lighter and snappier take on the same core sound. Also worth a listen is Chris Greschwinder's re-make of "95-96", which adds a little two-step swing and suitably bombastic sub-bass.
Review: Two killer tracks licensed from Oriki Music and taken from the recent Akwaba Abidjan compilation. These two monsters from De Frank Jr are straight up deep and funky afrobeat from 1970's Ivory Coast. More essential dancefloor delights from Mukatsuku - strictly vinyl only & singles only...
Review: It's may seem that deviant disco champs par excellence Bahnsteig 23 are already toasting to their 50th release, but in truth their catalogue started at 23 so don't be fooled. Instead, just feast on another salvo of seedy body music from Ziggy, which leads in with the synth-soaked pump and thrust of "Trance Gigolo" before switching to the sassy 80s funk of "Yo Let Her". Things are just as cool and deadly on the flip as the slap bass electro meanderings of "Amfobia" brew up a post-punk disco delight with a schlocky horror twist, and "Freaky Leaches" leaves things on an ominous note via a swampy trip through the mangroves with only a steady ticking rhythm section for company.
Review: Hot on the heels of Phil:osophy's latest treasure trove comes another bounty of bliss from Artificial Intelligence's Integral. This time with old friends Zero T and longstanding vocalist Steo. "Can't Hide" is pure soul heaven; delicate layers of Steo's harmonies arranged softly over a spacious beat and lilting pianos, it's T and Steo at their most evocative and feel-heavy. "Make Time" kicks with more urgency as techno-like synths stab hypnotically, balanced by Steo's falsettos and gently rising instrumentation. Elsewhere the unstoppable Monty gives their evergreen 2016 soul-out "Too Close To See" a bittersweet twist. There's no hiding from this one.