Review: Back to 93! Rave duo Hyper On Experience were absolutely dominating the sets of DJs like Seduction, Carl Cox, Slipmatt and Phantasy and anyone paying attention to the then-fledgling Moving Shadow imprint. Now part of a major remaster and reissue campaign from Kniteforce, their third EP enjoys a timely evaluation: "Disturbance" is the mischievous opener, all impish and no sense of direction (in the best way possible), "Monarch Of The Glen" takes us more into happier territories with some goosebumping pianos and cool halfbeats while "Lil Ruffion" nods heavily to a European drum, all techno and flighty. Reload.
Review: For those of a certain age, listening to this white label outing from debutants Millie may result in giddy flashbacks or serious pangs of nostalgia. You see, Millie's inspirations mainly revolve around jungle-era hardcore, a time when sped-up breakbeats, pitched-up chipmunk vocal samples and hammered out piano riffs were all the rage. There's a certainly a rushing "back to '94" feel about A-side "So High", where "Let Me Be Your Fantasy" style piano riffs, bonkers synth stabs and a variety of cheeky vocal samples ride a galloping, high-octane breakbeat. "Back II Reality" works with similar inspirations, peppering another bombastic breakbeat with razor-sharp rave samples, rumbling sub-bass and choice snippets from Soul II Soul's most celebrated tune. Dennis Sulta will love it.
Review: Nodding to the days of widespread dance anonymity, where the focus was firmly placed on the music rather than reputations and brand hype, Bring Back's fourth release is soaked in hardcore and jungle tones in keeping with both the mysterious artist tip and the label's name. Basically music to make you sweat. 'Night Selector' is perhaps the least rave-y of the lot, and that's saying something considering its stretched amens and mysterious, futurist ambience. 'Light In Ghetto' throws itself fully into the revivalist movement, beautiful female lyrics and pitched vocal cuts crying out over a rhythm section that's stripped enough to make room for choppy, distorted keys. 'Lobster', meanwhile, plays with time signatures, paying respect to the roots of these sounds- dub and soundystem culture- in between full-throttle nastiness.