Stunning entry in the essential Originals series. This is the missing Vol. 7, compiled by Ben Cook and Jason Drummond (DJ Spun) of Rong Music. Moreso than the legendary Originals discs compiled by Mark Seven and Sean P, the tracks here are firmly rooted in memory and place. Rong describes Aardvark's "The Return of Rasputin" as a quintessential SF rave track, credits the 1992 F.M. Inc version "Dub Me Anytime" as responsible for his desire to produce, and imparts the stoned wonder of hearing an Electro-Harmonic pedal demo record for the first time. Texas punk iconoclasts Big Boys and SF culture-jammers Negativland feature without interrupting the vibe.
The mysterious Brooklyn producer returns with his second 12-inch for L.I.E.S. Top-notch dub house. Tape hiss adds to the overall atmosphere and soul samples are given the hauntological treatment. Listen to "Amaze" for an apt summary of Terekke's appeal - a somewhat pedestrian Maze sample becomes an isolated voice on a tripping, analog bed.
Juan Atkins & Moritz Von Oswald
The second of three 12-inches culled from the Borderland collaboration album. The two legends meet up to tangle the classic Detroit sound of mid-period Metroplex and Atkins work on Tresor with MVO's varied dub pedigree. "Footprints" combines a simple sequenced bass line with cricketing, panned synths for over a minute before introducing a sharp hi-hat and clap pattern. Eventually an insistent chord adds to the motorik momentum. "Mars Garden" is an otherworldly take on a more modern dub house template, as the hypnotic song washes out, the duo provides a ghostly horn reverie.
Exciting new noise from the Pittsburgh producer who shares studio space with underground techno/gear legend Shawn Rudiman. A1 has a white-suited Brian Ferry operating under the alien logic that informed Luomo's remix of Black Dice. "342 Miles Away" is a study in calming delay - an echoing piano runs up against an insistent filtered snare before a pristine lead emerges for just a moment. The track feels like a lovely ambient take on Model 500's more pastoral material. On "It's Grim in (Mala Jaska)" Chase lays off the melodic chops and succeeds with an overdriven, banging drum machine workout.
Haunting second ep from the London producer. While there isn't anything as hollow-eyed as "Drugs" (off his debut on Actress' Werkdiscs imprint), Rolx is an exciting document of a restless club producer carving his own lane. The basic structure of "I Don't Get It" is well-worn. A 1-2-4 chord shift and monosyllabic vocal sample provide the house-influenced basis for the track, yet certain percussive elements are so absurdly loud, the atmosphere so unsettling, that by the time the r & b autotuned vocal fulcrum arrives, convention is totally subverted. The title track continues down this path, with an odd triplet stab filtering over lush pads. "Real Special" is the most floor-ready of the three songs here, yet the drifting organ pad and massive shifts in fidelity give it a charming, ramshackle feel.
The first in Chiwax's ambitious reissue program of the erstwhile Chicago master. The first of ten planned 12-inches compiles the amazing house tracks present on his rare 1995 Caujal 12-inch. From the delicate vocals and pizzicato groove of opener "If You've Got To Believe In Something", to the perfect sample house of "Joker", this record will serves as a welcome addition to any underground house dj's bag. Nearly perfect.
Highlights of the ambient house maestro's epic remix compilation, committed to vinyl. Terre Thaemlitz's rework of Oh Yoko's "Seashore" mixes placid piano/choral beds with plaintive acoustic guitar and a well-placed kick. The Parallax Beat Brothers mix is Sprinkles at his most optimistic, the cut-up vocal and balearic tones sounding like a disembodied Matias Aguayo. Vol. 2 showcases Sprinkles' vastly different remixes of June. The first is a heavenly ambient piece, while the second has Sprinkles creating a paradox between a pleasant, acid-influenced arrangement replete with string swells and piano trills and grief-struck vocal samples. In Sprinkles' house there is no euphoria without sadness, no togetherness without struggle.
Bold proposition by Philly techno noisers Metasplice. Opener "Prismatic Sway's" heavy mid-tempo beat is a mellow beginning of a journey the heart of darkness, but Metasplice aren't here to bludgeon with disregard. For it's harsh palatte, this is an intensely musical full-length statement. "Novaglide's" rhythm track sounds like Rob Hood going straight to four-track, yet the meandering synth lead could emanate from an early Legendary Pink Dots tape. Though "Concrode" has much in common with Slicer-era Wolf Eyes, the Metasplice boys employ their knack for subtle melody as the track spins out. Closer "Iv Phenol" buries a 4/4 throb in enveloping, industrial noise. Infratracts is a heavy record that continues Rabih Beaini's (Morphosis) mission to draw unexpected connections between European underground techno and the messy us noise techno scene. This is among the most subtle and punishing records in the expanding genre.
Peoples Potential Unlimited
Super cool live versions of tracks off Moon B's "Test Pressing" 12-inch and one original cut from PPU's master of chilled out analog house. These tracks were recorded at Moon B's appearance at Brooklyn's rising Mutual Dreaming party, and the hazy LFO drift of the tracks fits that party's psychedelic aesthetic. The title track (and only new production on the record) has various synths waiting their turn to shine over a boogie-influenced bass line.
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