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D.K. and Low Jack.
Four experiments in Pisan beat science — fleet and swirling at the limits of its dancefloor idioms, but faultlessly grooving with the hypnotic charge of classic techno, and flashing a precious combination of exquisite, confident melodicism and ruthless intensity.
Beautifully presented in stickered yellow sleeves with PVC covers, inserts and stamped inners.
Torsten Profrock’s occult homage to UK garage.
Two-step waylaid in the scuffed, churning, sub-heavy terrain running from his Chain Reaction days to Monolake, mysteriously entangled with the distressed tracks of old Ugandan 78s.
Ace dubwise techno.
The sublime 2001 swansong of James Stinson, of Drexciya. ‘By turns luminous and melancholic, low-key and sensuous, wry and soulful’ (Pitchfork).
Sam Kidel from Young Echo opens proceedings with a beautifully rolling, pastoral re-arrangement of the melodies of South East Of The Mountain, keeping a watchful eye on the original, dread b-line. Then some chilled ragga from O$VMV$M, versioning Skeletal. Finally Helm takes the helm, with a startling re-animation of Bloom, brilliantly tipping the registers of Music For Airports on their side.
The first Premature is by Thomas Boutwood, from South London. Veolia is hazy, nervously minimalist synth hypnosis; Droid is a knees-up, industrial-techno frightener.
Madteo mixes.
Something really special.
Juddering bangers and hypnotic body-rockers, dazed spells and rootical wig-outs spun from early Detroit techno, West African field recordings, soundboy dub and beatbox hip hop; rough as fuck and clatteringly percussive, but shot through with a gritty numinousness. Stokey worries.
Gorgeously sleeved in midnight-black art-paper, intricately printed in silver with the visionary photography of Katrin Koenning, folded by hand and packed into Japanese cellophane envelopes.
Very warmly recommended, unsurprisingly.