Bass Music . Future Beats . Grime


Genre pick of the week Cover of Blend - Inc. Dorylus / Capracara Remixes by Orson Wells.

Orson Wells

Blend - Inc. Dorylus / Capracara Remixes

You could never accuse Bokhari of resting on their laurels, and the label keep moving forward with a ruffneck riddem from Frankfurt's finest. Showing maximum respect to a 90s hardcore, Orson Wells drops the kind of track that would've taken the doors off your XR2. Riding a supercharged loop of that whoop-ing NWA 'Express Yourself' break, "Blend" bypasses the club and heads straight to the carpark. Utilising wonky jungle keys, swollen bass and the occasional loon bird, Wells works us into a rave frenzy - massive! Next up, label favourite Dorylus goes deep and bleepy with a heads down house mix infected with odd funk. Clicking percussion artefacts, subtle bass and a seemingly endless cycle of texture and melody lend this variation a hint of the Braddocks - never a bad thing in my book. Laying claim to the whole of the B-side is the revived Capracara, who necks a dizzying cocktail of GHB, Steroids and Spice to transform "Blend" into a no holds barred banger of 2006 proportions. Throbbing bass, punishing percussion and electrified synthlines thunder into the peaktime, pulling so much power from the national grid that the whole rig teeters on the edge of malfunction. Presented in a pristine white sleeve with hand applied stickers (Spencer Fenton, ladies and gentlemen) this is a winner all round.

The Diabolical Libertes

The Diabolical Libertes

The Diabolical Liberties turned down nobody to put out a limited run of vinyl EPs. They remain at large planning how to scrape the off cuts of lost ideas and misplaced rants, from a dance floor where nobody can hear you no matter how loud you scream.

In the old industrial warehouses , down there bellow the sub bass. Down in Phorcy’s kingdom of misshapen beats swimming in their own echo. The new future has already started. A darkness disturbed by the occasional flash from someone thumbing a device. It’s then you see who’s been dancing next to you for the last 2 hours.

Now you notice there’s ‘something in their motion’, they been looking for the ‘dance floors of England’ . The ‘sons of the bass bin’ try shouting, ‘hey you lets dance’, but that doesn’t disturb them. They just keep on with that ‘get it off me’ face, knowing ‘this will change it‘, but feeling to ‘wind up saint peter’ on the way in.

Rizla birds feeding in the speaker stack echo code met you in the passing – i’m only dancing bleach another night we bleach another night vanquished and claimed on the dance floors of England promises promises our dirty little promises dancing all together on our own money in the meter put your money in the meter i lost me in the mirrors on the dance floors of England flooded toilet expectations every box n sound i’ll dance you in the morning dance me full of fire stumble like an old man i’ll stumble like an old man drop and fall to the dance floors of England club upon pub out of my constriction heroes and ghosts lost and still looking for the dance floors of England."

Grimes / D'eon

Darkbloom - Arbutus Records Edition

A joint release by LA's Hippos In Tanks and Montreal's Arbutus Records, the 'Darkbloom EP' is a thrilling split LP by d'Eon and Grimes. Harnessing the dark energy of her sophomore album 'Halfaxa', along with the shimmering dream pop of her debut 'Geidi Primes', Grimes’ side represents a synthesis of her two sonic personalities. Displaying a level of clarity and craftsmanship heretofore unseen in her releases, Boucher presents a stunning new collection of ethereal dreamscapes that expand her creative palette without compromising the spectral presence she is known for. Following the Middle-Eastern-tinged R&B of 2010’s 'Palinopsia', d’Eon broadens his stylistic breadth through reference to a number of electronic genres - for example, he simultaneously incorporates elements of Chicago footwork and new jack swing, but surprises the listener with strange forays into bygone genres such as UK drum & bass and trip hop.

Split EP between Grimes and d'Eon, originally released in 2011.


Includes MP3 Download Code.

Jessy Lanza's second album 'Oh No' is addressed to her own constant nervousness. The pressure of music making, which used to calm her nerves, has led to a whole new world of contingencies that stoke the anxiety mill. The exclamation 'Oh No', for Jessy, marks yet another incident of randomness interrupting her tranquillity. All of which seems at odds with the confidence and spontaneity of this second album.

Made in her hometown of Hamilton, Ontario, with production partner Jeremy Greenspan from Junior Boys, the plaintive, reverb drizzled mood of the first album has all but given away to a more direct, self-assured and joyful set. As with many artists whose hometown lie off the usual network of cultural hotspots, 'Oh No' is driven positively by the idea of making music that isn't inspired by where she lives. Instead, the album resonates more with the philosophy of experimental pop of Japanese 80s electro outfit Yellow Magic Orchestra and Jessy's breathless, pitched vocals are reminiscent of YMO collaborator Miharu Koshi. Playfully laced with cascading arpeggios, crispy drum machines and breezy songs, 'Oh No' has an infectious energy that has been brewing in her live shows since her first album. As Jessy says ‘I want to make people feel good and I want to make myself feel good’.

The album oscillates between the languid, coiled, arpeggiated slow jams of ‘New Ogi’, 'Going Somewhere', 'Begins', 'Could Be U', 'I Talk BB' and the low slung 808 groove of 'Vivica', where Jessy’s vocal gymnastics run wild over minimal drums and synths, and the catchy upbeat boogie of ‘VV Violence’, ‘Never Enough’, 'Oh No' and the high point of 'It Means I Love You’ which has a sparse addictive bounce with a pitched up vocal refrain and a nod to Shangaan electro. The trials of dealing with nervousness are also encrypted into the artwork, such as the plants that recur in the sleeve and videos. As Jessy remarked, "I became obsessed with surrounding myself with tropical plants. I've been convinced that the air quality in our house is slowly killing us. It might sound crazy but the plants have made a huge difference." Anxiety and botanical remedies or not, 'Oh No' is a bold second album from Jessy and a marked step forward for her sound.

"Groove Curse" is Rakei’s long-awaited follow up to highly-acclaimed debut EP "Franklin’s Room", his modern take on reggae-infused soul music. "Groove Curse" takes an evolved turn, with a sound Rakei describes as 'raw, vocal-driven, groove'. With the first single off the EP, "Street Light" featuring Gwen Bunn (vocalist and Grammy nominated producer of Schoolboy Q’s Collard Greens feat. Kendrick Lamar), the release celebrates the skills of upcoming young musicians who are writing, self-producing and taking full advantage of their vocal and multi-instrumentalist talents. It reminds us here at Piccadilly of that first time we heard Andrew Ashong, Fatima or Jesse Solomun. There's bits of Erykah Badu in there too. Yes it's that good!

'Jordan Rakei is one of those few and far between up and coming artists that is making music from a truly authentic place. I liked what I heard from the get go and couldn’t wait to play it on my 6Music show. It seems like he is consistently evolving and producing very impressive innovative music. I’m excited by where he is at, but even more so by the potential places he can go.' – Gilles Peterson (BBC 6 Music)

'…a bad ass artist, not to be slept on!' – Osunlade, Yoruba Records 


Matt says: Jordan Rakei gives us here at Piccadilly the feeling of that first time we heard Andrew Ashong, Fatima or Jesse Solomun. There's bits of Erykah Badu in there too. Yes it's that good!

Padre Himalaya's first release sees Renato step up to the plate: a young producer from Lisboa gracing us with his debut EP. The "Alo Alo" Ep contains 3 organic, groovy tracks with a slightly sense of humour which marks the identity of the Renato project. Super fresh sounds from Portuguese underground that comes HIGHLY RECOMMENDED! Portugal seems to be enjoying some of the dance music spotlight at present. Label Principe has become a highly sought after, cult project and this new label has the same feel and aura about it. These tracks don't instantly jump atop of the table announcing their arrival with a fanfare and a mini-skirt; rather, they grow on you slowly, never overstepping the mark and being conscious not to deflate too quickly either. "Alo Alo" has lots of intriguing, unique elements contained within its dancefloor friendly 4/4 swagger; rambunctious drums, space jazz effects, rich chords and tantalizing horns. "Marceneiro" is a sonically weighty, Portuguese percussion track but with some head-turning nuances, delays and reverbs. Finally "Ze Do Telhado" keeps us hooked from its mystical beginnings, exotic flute patterns accentuating the oddball house beat as plenty of shamanic, rainforest elements converge on the track. Frenzied, wild but with a cheeky smile on its face, this is Renato with all inhibitions removed; pure freebased spirit. Highly recommended first EP from this fledging label, sure to be as lauded as its predecessor, Principe records.

After the success of his ‘Backwards Light’ EP Slackk returns to R&S with another 6 tracker of instrumental grime mutations.

A figurehead of the UK scene through the influential Boxed night he runs alongside Mr. Mitch, Logos and Oil Gang, Slackk aka Paul Lynch distils the Boxed sound into his own inimitable, richly melodic style.

The six tracks on offer on this EP continue to blur the lines between genres as RA described in their glowing review of the Backwards Light EP. ‘A producer whose music is moving beyond its origins in grime to something undiscovered.”

The tracks range from the opening moody club styles of ‘Swan Filters’ and twisted bass of Mumdance and Logos favourite ‘Skeleton Crew’ to the more reserved and delicate headphone moments of ‘Replenish’ and ‘Pigeons’. ‘Hundred Flute’ returns a common Slackk inspiration source into the sampler, but the results on this one could be the best yet. ‘Returning Geese’ finishes the EP in what could be one of the producers last examples of the Japanese styles for a while.

Monster Beats, Exclusive Scratches, Crazy Metaloop… NOT ONLY FOR DJ!

Ok so the award for the most off-it label of the year goes to Prr! Prr!
After leaving us scratching our heads following some mind-mangling twelves and cassette releases we get possibly the maddest release on the label to date! A quarter battle weapon (with some truly unique samples), quarter loop record (with some damn fine trax) , quarter sample scratches record (again, with some sounds and fx never used before) and one quarter.... 'What the fuck is this record!?'. We get manic laughter overriding slowed down gabba beats, some old school c64 computer game speech, foreign gibberish, lots of Jamal Moss-friendly distortion and frequency abuse and, well all the above x 10.

Prr! Prr! could well be one of those labels we all wish we'd have collected 10 years ago, we just didn't realize it at the time. It's that.... uncompromising. Are they aliens predicting the future of night club sound abuse? Or just a bunch of acid-damaged Europeans toying with our fragile minds? I'll let you decide. I'm off to smoke a sherm stick and loose my shit to two copies of this record.

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