Review: Given that acid revivalists Paranoid London have yet to put a foot wrong, it's no surprise to find that "(Vi-Vi) Vicious Games" is another absolute belter. It's taken from the duo's forthcoming album and features sometime Posthuman collaborator Josh Caffe channeling his inner Robert Owens and Jamie Principle over a retro-futurist backing track. In its full length, the track brilliantly combines Paranoid London's jacking drums and thrusting acid bass with dreamy chords and just the right amount of glassy-eyed melodic flourishes. It sounds like a classic TRAX release given the Paranoid London treatment, which I'm sure we all agree is a very good thing indeed. If you're in the mood for something even sleazier and more driving, the Bam Bam-inspired Dub has it covered.
Cult Hero (Do You Wanna Touch Me) (album edit) (6:45)
Cult Hero (Do You Wanna Touch Me) (club mix) (5:47)
Cult Hero (Do You Wanna Touch Me) (Slow) (7:29)
Review: House and techno badboys Paranoid London are proceeding the release of their second album with a bunch of singles from it. First up is "Cult Hero" featuring Simon Topping - one of many guest vocalists on the full length. It's a bristling acid house cut with tight, corrugated drums and relentless 303 mania ripping up the groove. Topping's deadpan vocals are layered over the top and bring to mind the more anthemic work of Depeche Mode. "Club Mix" is even more caustic and kinetic, while closer "Slow Mix" strips back everything but for the lunching drums and demonic vocals of Topping.
Review: Resurgent Welsh techno wizard DJ Guy launches his own label with a fresh batch of deep diving jams that put the soul back in the machine. From the twinkling, starry-eyed delights of "Music Is Life" to the horizontal meditation of "Interplanetary," this is immaculately executed electronica in the fine tradition of UK trailblazers like B12 that sounds as fresh as it did in the 90s. "Warmth In Rhythm" sports a nagging house groove to suck you in with ease, while "Propulsion State" fires off a dazzling arpeggio that heads skywards with a twitchy electro backbone for company. Top shelf tackle from a seriously talented cat.
Review: Transparent Sound label boss Orson Bramley steps up to his long-standing imprint with a new guise, Empty Orchestra, which showcases yet more of his crafty, delicately executed take on electro. "Nervouse Smile" is an impeccable study of the style, loaded with intricate machine funk elements from twitchy drum programming to ethereal pads, and of course a healthy dose of funk for good measure. As well as the original version, there are additional remixes courtesy of rising stars Acidulant and Alero May, the latter of which has an especially infectious bassline ripple and some smart key change moments for a dynamic end result.
Review: Russian label Mosaique has thus far carried some serious heat from artists like JASSS, Caron and Savage Grounds, and now they're shifting their nightmarish electro tendencies back to the various artists format of their Universe series. Umwelt leads the charge on this second installment with the eerie machine snarl of "Fallen Empire", followed up by two versions of the devilish "Sleep When You Die" by Moralez & The Horrorist. Alessandro Adriani is first up on the B side with the driving, noirish techno pulse of "Cosmic Transmissions," and then Morah rounds things off with the squelchy, spiky workout "Track 5".
Review: Silas & Snare continue the heat on Madam X's Kaizen with their second single on the label this year. As always there's no letting up in terms of aesthetic, melting pot and energy. All sitting somewhere in the techno/hardcore/dub axis, "Pressure" lives up to its name with a rolling break, and warped grime basses, "Dreamscape" creates intensity with a loopy vocal hook and densely coded sense of tension while "Whistle Blower" brings us home on a deeper, more broken tip where noises aren't all what they seem. Feeling the pressure yet?