Deubt full from the "London techno" producer after some trippy 12-inches. Moire's East London is somewhat similar to smoke filled vision proferred by Burial. This is all tension and atmosphere, yet the young producer is demonstrating a melodic talent we haven't previously seen. "Infinity Shadow" and other tracks take a classic KDJ/Theo Parrish approach to chords - keep it deep and bittersweet and they'll be hooked. His slightly off the beat bass hits are just enough to keep the listener reeling without knocking the tracks fully out of dance context. Still this is as good a record for driving as it is warming up a crowd.
Design A Wave
No Label (Rush Hour)
Design A Wave might be the best post-punk inflected improv dance band on Rush Hour's "No Label" imprint. That says a lot, considering Aaron Coyes, Suzanne Kraft, Willie Burns, Torn Hawk an Secret Circuit have all put out that type of music on the label. A great, varied release which pulls together hazy Durutti Column-esque midtempo Balaeria and the case of "Auto-Resonance Machine", a bit of The Pop Group's jittery paranoia.
New York Endless
You may not recognize the name Dan Selzer, but you've probably heard one of the artifacts of the '80s downtown scene he's unearthed. With his Acute imprint, he reissued Glenn Branca's "The Ascension", Metal Urbain and plenty more. Appropriately, this is analog music of a bygone era. "Scale Those Heights" is an italo charger, while the closer "Benefits Arrive" is on some Telex/Y.M.O. steez.
The Larry Heard appreciation society returns with a sunny two-tracker for Dj Spun's label. If Mr. Fingers is still the primary inspiration, they're drawing from his happier Dolphin Dream period. The a track sounds like the Beverly Hills Cop soundtrack over an accidentally or purposefully copped gangster rap bassline (the one from Dru Down's "Can You Feel Me".) I don't think these guys are from here, but they nailed the vibe.
Stripping releases of context by adorning them with a simple (if faked) Test Pressing notice seems to have further liberated the Demdike duo. They're going nuts. The first track is their clubbiest track to date, with some adroit drum programming under a slowed-down vocal loop which is eventually subsumed by ominous drone. The b is pure, rhythmic noise obliteration. A deleriously heavy slab.
Very cool LA-themed release from the label operated by one-half of Juju & Jordash (AKA Crybaby J). The title track is sweet like the orange sun against smoggy air, all electric piano and a Nintendo type of lead. The stunning musicality continues throughout, "D 23 Pallas" works in some beautiful, delayed out piano stabs. Check out Move D putting it to work here.
Nice example of the intriguing UK producer's depth. The ambient mastery he displayed on Diversions 1994-1996 exists here on "Girl's Drop", while the mutant dancefloor dynamic of Dutsch Tvashar Plumes on "Mimas Skank", a trippy dancefloor roller with a Workshop vibe. Whets the appetite for the next step.
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