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Various Artists

Diggin In The Carts : A Collection Of Pioneering Japanese Video Game Music

    This release builds on the critically acclaimed Red Bull Music Academy radio documentary series of the same name that chronicles the history and global influence of this exciting early strain of electronic music. Researched and curated by Diggin In The Carts writer / co-director Nick Dwyer and Hyperdub label head Kode9, the collection plunges deep into the rare archives of the chip era of Japanese video game music. Available on CD and digital, with a vinyl run to follow early in 2018, the collection features artwork by renowned Japanese anime artist Koji Morimoto, whose distinctive style has featured in films like Memories and The Animatrix.

    The music in this collection was made for globally renowned systems, from Famicom, Super Famicom and the PC-Engine through to popular Japanese home computer platforms like the MSX, MSXturboR and the PC-8801. Diggin In The Carts showcases these works not just as ‘music for video games,’ but as incredible pieces of electronically produced Japanese music that stand on their own. Some of the greatest art is created within limitations, and often the most pioneering and influential periods in electronic music have resulted from artists pushing existing technology to its limits. The 8-bit and 16-bit era of video game music in the 1980s and early 1990s saw composers squeezing the most technicolour array of sounds, tones and melodies from the limited chips and channels they had at their disposal. With every new system came a new sound chip, and every chip brought its own personality, with Japanese games companies adopting all kinds of methods to give their games the sonic edge, from customizing their chips to boost the console's capabilities to composers developing bespoke computer programs to generate their own unique sound palette. From Soshi Hosoi’s Steve Reich inspired minimalist masterpiece ‘Mister Diviner’ from The Mahjong Touhaiden, to the dazzling high-tech chip soul of Toshiharu Yamanishi’s ‘Shooting Stars’ from legendary Mega Drive shooter Thunder Force IV, and not forgetting the saw tooth heavy darkness of the Konami Kukeiha Club on titles like ‘Mouryou Senki Madara’ and ‘Esper Dream II’, Diggin In The Carts aims to bring the pleasure and depth of this music to an audience inside and outside the gaming world. The release of the compilation coincides with Red Bull Music Academy’s Diggin In The Carts event series, which brings Japan's leading composers of video game music together with a new generation of artists in London, Los Angeles, Tokyo and beyond, starting in October. 

    New EP on Kode9's omnipresent bass imprint Hyperdub from Doon Kanda - an artist, animator and musician based in London. He was born and raised in both Japan and Canada and his rich cultural diversity is displayed across myriad production nuances and styles. Glassy and ethereal like much of Hyperdub's modern output, the album plays across it's one side with grace and poise; lost icy melodies and haunted love songs playing into a blizzard of well constructed drums and rapid fire rhythms.

    As usual, and innovative and fresh release from the Hyperdub camp but as tends to be the case of late, there's a delicate air of pop music's accessibility and stylishness present that takes it beyond the confines of the nightclub. Top marks. 


    FORMAT INFORMATION

    12" Info: One-sided 12"

    Producer Okzharp and vocalist//artist-cum-dancer Manthe Ribane both hail from South Africa, where Manthe still resides, while Okzharp lives in London where he is a DJ and producer, initially cutting his teeth in LV, who in 2007 were one of the very first acts signed to Hyperdub. Manthe has been at the forefront of South Africa's cutting edge fashion, art and dance worlds for over a decade. After leaving LV, Okzharp and Manthe started collaborating, going on to release two well-received EPs on Hyperdub, "Dumella 113" and "Tell Your Vision", recorded in Joburg and London respectively.

    The recording of "Closer Apart" reflects the title. Okzharp says 'Most of the music came out of headphone moments in hotel rooms, planes and airports in the brief periods of time that we spent together.’ Describing Manthe as a co -producer, he continues ‘She selected instrumental sketches and we developed them together, sometimes just keeping the bare bones or a melody or rhythm, or trying different elements or sounds.’ Even though the album was built long distance, the short periods they spent together were the ground zero for creativity. Okzharp recalls 'One particular moment in Milan last year, we had a whole free day before our flight so we visited the Salone di Mobile design show. We were so inspired by an installation there just walking around, listening to the amazing soundtrack. That evening our flight was delayed, so we sat on the floor of the airport terminal putting musical ideas down for "Time Machine" on the laptop speakers and writing the lyrics. 'Tic Toc time, we'll be fine / Airport queues, cerulean blues / Viper trails cross the skies / Lights reflect in your eyes...' "Closer Apart" has a softness and openness that contrasts the tougher sound of the EPs. Manthe explains, 'The new music is a 360 turn, an expression of my Lady(like) side. I grew up listening to Jazz, Classic and Gospel, I am a very soft spoken person, and it resonates with being confident with that. It's been crazy finding balance and finding a smart way to strengthen my weaknesses, I had to trust the process.’ 


    STAFF COMMENTS

    Matt says: Painfully fresh and emotional album here on Hyperdub. Evocative and heartfelt lyrics combine with cutting edge production and a skeletal, atmospheric and gaseous aesthetic. Well good!

    A generation younger than the founders of the Teklife crew, DJ Rashad and DJ Spinn, DJ Taye was originally a rapper and beat maker before hooking up with the collective and jumping into the world of footwork production and DJing. However, it was Rashad’s untimely passing in 2014 that was the unlikely catalyst for developing the sounds and ideas for this album. He says, "When Rashad passed away I felt inspired to continue evolving the music that I loved so much coming up in this world. So, I had to do something…make something brand new." 100% committed to pushing further the potential of the footwork template, Still Trippin’ is ambitious in its range and scope.

    Taking two years to formulate, the record broadens the possibilities of the sound, forcing it to adapt to songwriting, and also revives Taye’s talent for MCing and producing beats to which he can rap and sing. Furthermore Taye definitely ups the ante with his complex and precise drum programming, never losing sight of footwork’s ability to confound. The album features a range of guests that span contemporary music; the eccentric, instructive rapping of Chuck Inglish of Detroit duo the Cool Kids is featured on ‘Get It Jukin’, Odile Myrtil, a young vocalist from Montreal, lends her smokey soul to ‘Same Sound’, Fabi Reyna, the editor of the celebrated women’s guitar magazine She Shreds, sings and plays bass and rhythm guitar on ‘I Don’t Know’ and Jersey club queen UNIIQU3 offers production and rapping on ‘Gimme Some Mo’.Also, Teklife members DJ PayPal and DJ Manny assist on production, and DJ Lucky is a guest MC on ‘Smokeout’. Taye is ambitious in his hopes for the album; "I took this as an opportunity to not have boundaries with footwork. Different approaches to our ‘underground’ sound to make it broader. It’s only underground until it crosses that visible threshold.” This album brings all of this to the forefront. 

    "The Underdogg" is DJ Tre's debut EP for Hyperdub. He contributed two brilliant tracks to the DJ Rashad tribute set "Next Life", but compared to other long term members of the Teklife footwork crew, he hasn’t released much. Tre has been about since the early days, born and raised on the south side of Chicago. Encouraged by Rashad and his partner DJ Spinn, he has been making tracks since 1999, over a decade before footwork's ascent to global popularity. On this EP his sound, for the most part, is rooted in the speedy 4/4 of juke. It features a sparse and minimalist take on footwork but he's got a knack of adding in tight little switches and details that keep the tracks moving as essential dancefloor weapons. The EP starts with "It’s House Hybrid", which has its musical roots in Chip E's "It's House", one of the very earliest house tracks. It’s a tried and tested dancefloor devastator on dubplate, built on a crackling and hiccuping juke 4/4 which grows in intensity, until a ferocious amen break cracks it open and joins in the onslaught. "A Hammond Jam" matches a moody organ with typical sub rumbles and ghetto-tek drum programming. "Get Dat Ass Up!" bounces against a twitching melody that'salmost purist Detroit techno in its executed, save for the stuttered footwork rhythm that underpins it all. "Tha Rhodez Jam!" micro-edits a delicate Rhodes sample into flickering shapes against switching 8 bar patterns of drums that go from rolling to soca-like pulses with whistles. Essential tools for DJs on the hyperplane.

    “Mnestic Pressure” is Lee Gamble’s first album since 2014 and his first with Hyperdub, a reset that sees a noticeable change in his sound and the concepts that feed into his music. Lee says ‘From “Diversions 1994-1996” (2012) through to “Koch” (2014) - my music felt like I was dealing with signals from elsewhere - signals from the unconscious, sub-aqua, hallucinated, dreamt. “Mnestic Pressure” feels like their decoded offspring, a terra interpretation.’ The title “Mnestic Pressure” comes from Lee’s thinking about how our contemporary memory is pressured, individually, but also collectively.

    ‘We live in these strobing, visual times, like a constant subliminal advertisement but, also over the last few years the world seems to have become more and more dreamlike, alien, and parodic itself and there was this part of me that wanted to drag my music back from this Shangri-La, but fully drenched and infected by its ghosts.’ “Mnestic Pressure” as a whole is a simulation of this experience; a flow of targeted information, through contrasting and quickly changing terrain, from one track to another you’re dragged into a new space. The pressure to move is intrinsic to the flow of the album, one thing morphologically transforms into another, zooming in and out from wide angle to detail, reshaping into new forms at a speed Lee’s music hasn’t before.

    The music on “Mnestic Pressure” has a hardness, with a structure and melody that was sublimated in Lee’s previous LPs. It builds on his more recent experiments with more functional dancefloor forms. Here his hypermodern production and crunchy, dissembled beats feel like they could be malfunctioning holograms projected onto the hallucinated memories of his early work.

    STAFF COMMENTS

    Barry says: Fractured urban percussion, MSP-generated synth hits and claustrophobic, bunker ambience. It's a visceral and bracing ride this one, but it's completely worth it. Top stuff.

    Fatima Al Qadiri

    Shaneera EP

    Shaneera is the English mispronunciation of the Arabic word shanee’a, literally meaning "outrageous, nefarious, hideous, major and foul.” In one iteration of the word, as queer slang used in Kuwait and some Arab countries, a positive and desirable light is shed on these attributes. Shaneera refers to a gender-defying persona, of being an evil queen. You know a Shaneera when you behold one. Over five energetic club tracks, Al Qadiri explores this dark-sided character with friends Bobo Secret (the leading vocalist on the record), Lama3an, Chaltham, and Naygow, in their debut recorded appearance.

    The lyrics are suggestive, imploring, shady and loving, some original and some re-recorded material from Grindr chats, online drag and femme comedy skits. The language is a mixture of Kuwaiti and Egyptian Arabic, and one Iraqi proverb, Sonically, the record combines Khaleeji (Arab Gulf), Western drum kits and Arabesque melodies. On the cover, Al Qadiri appears as Shaneera, her evil extreme femme alter ego, the design inspired by stale pop diva record cover imagery from the Arab world. Conceptually, the EP follows Al Qadiri’s long term exploration of gender identity and performance in the Gulf. Her natural look, at odds with the conventional presentation and performance of femininity in the region, is transformed on the cover into a maximum femme look inspired by a mid 2000s Kuwaiti trend of extreme makeup. What would pass at a cursory glance as femme drag was actually the norm at a specific time in Kuwaiti women’s fashion. ‘Shaneera’ the record lands somewhere in an undisclosed setting and is a love letter to evil and benevolent queens around the world.

    It's always an exciting time when Burial drops a new single, and this one features his long term friend, cohort and, really, if you think about it, the person responsible for bringing the skills of this enigmatic Londoner to our ears: Kode 9. If it wasn't for Steve Goodman's inspired A&R work way back in 2005 then who knows if this self-confessed recluse's body of work would have ever seen the light of day. A symbiotic relationship between label and artist, pretty much all Burial's solo work has been reserved for Hyperdub, with just a few mixes and collabs sneaking onto other outlets. Correct me if I'm wrong, but I think this is the first time since 2009 that the label head (not to mention author of Sonic Warfare) has remixed one of the most cultishly adored people in bass music - making this new 10" one hell of a coup! Burial's side continues to push the depths of deep UKG, rolling out one of his idiosyncratic shuffles to a fiery angelic mellodyne'd vox - classic Burial if you will then, but fresh and brand new and guaranteed to please. Kode 9 opts to set a new gold standard for the footwork / 150BPM genre, displaying a rhythmic prowess and beat construction that rivals anything from the trap genre with some of the most advanced synthesis (I'd you'd expect) passages to boot. As essential as it gets then. 

    Laurel Halo returns to Hyperdub for her third LP with a fresh approach and a new sound. Routed out of the electronic abstraction of 2015’s In Situ - but with clear reference to 2012's sleeper-hit Quarantine - Dust is an album revolving around loose and languid songs; warped, sun-filled, melted and at times, heavy-hearted and obscure. Recorded over a period of two years, the writing process began at EMPAC in upstate New York in January 2015. With access to microphones, percussion, keys and a wide range of routings, Laurel spent days alone in the cavernous space, later inviting musicians Eli Keszler and Lafawndah to join her there. Those sessions would eventually become this album: a collection of breezy, broken songs, based on woody instrumentation, sub bass and restless, intricate electronics.

    Earnest songwriting meets with modal cut-up strategies, improvisational playing with higrade digital dust. Tactile and fibrous throughout the record, the vocals and percussion coalesce and breathe life into each other. Swung grooves eddy and collapse; acoustic drums are warped into sensual, febrile melodies. The lyrics are themselves bricolage, without a specific narrator or place in time. They slip in and out of view, something that is visualised in the album’s inner panel. Extending the influence, the album opener ‘Sun To Solar’ is an adaptation of 'Servidão de Passagem' by Brazilian concrete poet Haroldo de Campos. In line with the album’s sound, Dust is 'Laurel Halo' as a flexible cast of characters. Filled with dialogue, the album helms an interchangeable ensemble of vocalists and musicians, featuring vocals from Klein, Lafawndah, and Michael Salu, as well as musicians such as Eli Keszler, Craig Clouse ($hit and $hine), Julia Holter, Max D, Michael Beharie and Diamond Terrifier. Laurel’s omnivorous influences play out in mutated fashion - coalesced, unfettered and inclusive - a broad musical palette free from entrenched modes, catalysed by digital production that could only happen in 2017

    STAFF COMMENTS

    Barry says: Since her work on 2012's 'Quarantine', Laurel halo has been one of the masters of leftfield dubby electronics. Comprising of pitched samples, sturdy percussive backlines and luxy keys, 'Dust' continues her mastery of the craft with a gripping and varied foray through house, techno and leftfield with effortless grace and undeniable panache. Brilliant.

    Ikonika drops her third album to date and the first original material for a sometime after a busy remix and performance schedule. Like so many artists in 2017, Ikonika loads the full spectrum of new musics into her cannon - R&B and hip-hop rhythms fused with techno's modern sheen and the soundsystem rattling power of UK bass. She combines boogie synth licks with grime's urgency on "Noblest", enlisting the wonderfully talented Andrea Galaxy in the process. She collaborates with rising stars throughout the album, notably with MC Jammz on "Sacrifice" a grime slow jam with wickedly devilish intentions and one of the strongest raps I've heard all year. There's an air of futuristic mysticism throughout, depicted perfectly in the album's artwork which takes its inspiration from West London’s Golden Mile, a stretch of the Great West Road where the A4 meets the M4, and the road takes on the character of the arcade game Poll Position, with art deco factories and illuminated, hi-tech signage selling lifestyle products. It’s this kind of mix of futuristic and industrious with a touch of gentle glamour that the album exudes. As always, the future is now.

    Burial

    Young Death / Nightmarket

    Finally, time for a brand new solo effort from the shadowy producer, Burial.  'Young Death' sees a warped vocal cut smeared atop atmospheric drones before launching skyward into an airy and euphoric arpeggiated synth riff. Swirling chimes and sliced loops melt into a warm bath of celestial drones and crackling faded polaroid memories. 

    'Nightmarket' takes the arpeggio route, but in a more instantly noticeable way. Opening with an uncompromised broken-chord rise and then abstracting that into darkened corners. Faded covertly into juddering drone and grown organically into slowed-down chordal bliss. Ambient passages intersperse with assured but physically fragile solar-flare lights before launching into a bout of retro-futuristic dusty hardware jet-stream shimmers. 

    As stylistically contrary as you would ever expect from Burial, but without losing any of the post-everything charm.  A classic. 



    STAFF COMMENTS

    Barry says: The master of woozy forward-facing bass steps out once again. Starry-eyed melodic tilts and crackling sample-led ambience meet with vocal shards and circuit-bent arps. Intense, shadowy and exciting. Burial, everybody.

    DVA [Hi:Emotions]

    NOTU_URONLINEU

    DVA’s new album ‘NOTU_URONLINEU’ marks a strong and brave turning point for his music. Made with the [Hi:Emotions] moniker that DVA has used for a number of remixes in the past, ‘NOTU_URONLINEU’ is very different from what you might know him for, both in its darkness and its abstract ambitions, but the detail and quality of the music is primed to win over new fans. The rhythmic brilliance and use of space that have given his dance floor recordings their distinct character have mutated and undergone re-assembly into deeper and darker shades. A more pronounced ‘off grid’, improvised character has seeped in, lending the record a looser feel to previous work, as if intuition guides it rather than club practicalities.The album was made under some new self-imposed conditions; of the recording process. 

    DVA says ‘I realised before making this album I was most happy when listening to music in the dark like I did when I was at school. So I decided to record the whole album in the dark too’. Along with this, the album hints at themes of online alienation, confusion, control and domination, and is peppered with hints of faux-therapeutic advertising and psychotic jingles - a reflection of the stress of online life. Of the themes, DVA says ‘The album project comes from a short visual story set in a time where a mega corporation named H:E / Hi:Emotions is slowly taking control of everything, and planning to eventually make all people live life under one brand in virtual reality. ‘NOTU_URONLINEU’ puts you at the start of that journey. 

    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.

    Kode9

    Nothing

    "Nothing" is Kode9's first solo album, and is about...nothing. The album throws horror soundtracks, sampled library and J-pop records into a no man’s land between grime, early dubstep and Chicago footwork. Mostly instrumental, it zigzags between hypnotic, downcast loops, growling drones, and jagged cut-ups of androids gone haywire, threaded through twitchy, transatlantic rhythms and sub-bass inaudible through your laptop speakers. Building slowly, but more upbeat than previous albums, many of these tracks have more in common with Kode9's recent singles from the last few years than they do with his two previous albums with collaborator The Spaceape, "Memories of the Future" (2006) and "Black Sun" (2012). Yet "Nothing" is haunted both by The Spaceape's presence (he died in 2014 after a prolonged battle with cancer), on "Third Ear Transmission", a communiqué from a zone of digital immortality, and his absence, on "Void", whose spaces were originally intended for the vocalist, and "Nothing Lasts Forever", which closes the album with a 9 minute silence.

    Various Artists

    Next Life - Silver Vinyl Edition

      THIS IS A RECORD STORE DAY 2015 EXCLUSIVE, LIMITED TO ONE PER PERSON.

      ‘Next Life' is a compilation of new material from Chicago's primary footwork crew, Teklife, carrying the torch for the late, great DJ Rashad, who passed away earlier in 2014. Packed to the limit with hyper-kinetic rhythms and manically chopped samples, there is nothing quite like this disc of pure energy currently in circulation. Not only does this album feature some of footwork's originators such as RP Boo, Traxman, DJ Spinn, Gantman, Manny and DJ Rashad himself, but it's also loaded with the elite of Teklife's second wave, DJ Earl, Taye, Boylan, Phil, Taso, Sirr Tmo, Tre and Heavee, plus extended members of the Teklife family from around the USA (Durban, Tripletrain, DJ Chap) and Europe (DJ Paypal, Jackie Dagger & Feloneezy), who were welcomed in by DJ Rashad & DJ Spinn while on their extensive travels spreading the footwork gospel.

      Frantic tracks such as Spinn & Taso's 'Burn That Kush', DJ Taye & DJ Manny’s dazzling 'The Matrixx', DJ Earl & DJ Taye's thumping 'Workin Da Bass' and 'Do this Again', DJ Phil's 'Godz House' and DJ Tre's 'DNB Spaceout' sit alongside warped hi-energy rave cuts such as DJ Paypal's 'FM Blast', Feloneezy, Jackie Dagger and Paypal's 'U Should No', DJ Chap's 'Glacier Bae', Tripletrain's 'Never Could Be 2' and Taso's 'Get Down Low' and more laid back, stoned affairs such as DJ Manny's 'Harvey Ratchet' and Durban's 'I'm So', moving into patches of melancholy introspection with Traxman's 'Sit Yourself Down' and Sirr Tmo's 'Live in Chicago Subways', or the hypnotic vocal science of RP Boo's 'That's It 4 Lil Ma', the chip-tunes footwork of Heavee's '8bit Shit' and DJ Rashad's totally wired 'OTS'. The CD bears out the full spectrum of moods at which DJ Rashad excelled. 'Next Life' is a fitting tribute from his musical family to a true hero of electronic music who will be sorely missed for years to come.

      Kode9 & The Spaceape

      Memories Of The Future - Yellow Vinyl Edition

        THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

        First ever vinyl pressing of Kode9 & The Spaceape’s 2006 debut album, including previously unreleased extra track ‘Stalker (alt edit)’.

        Limited edition of 1000 copies exclusively for Record Store Day, pressed on translucent yellow vinyl, in gatefold sleeve.


        Almost a year on from his much-hyped "Street Halo" EP, Burial is back with another slab of wax that's had the blogosphere going into overdrive. Featuring three new tracks pressed on high grade 180g vinyl for optimum sound reproduction, and running beyond 30 minutes, the ‘Kindred EP’ is an ambitious work that pushes further into the unique musical territory Burial occupies.

        Title track "Kindred" traces its lineage back through Burial's own "Untrue" LP to early, minimal 2-step vibes. More meths than Cristal, Burial's take on the skipping, 90s UKG sound involves layers of interference, angelic soulful vocals, grinding bass and blissful synth washes. "Loner" goes for a 4/4 funky house groove, but with all sounds submerged into a dense fog. Lastly, "Ashtray Wasp" goes for the bassline sound - although I doubt you'll be hearing this on a Niche Pack (Google it) anytime soon. With a triple 'A' rating for atmosphere, all three tracks are a must for Burial fans.

        STAFF COMMENTS

        Philippa says: Over 30 minutes on Burial music on a 180g 12". 2-step garage reimagined by the original post-dubstep producer.

        Hot on the heels of his collaboration with Four Tet and Thom Yorke, Burial drops this solo 12" - his first in four years! Title track "Street Halo" sounds like 1990s speed garage (the bass-heavy, 4/4 end of UKG), but filtered through Burial's unique sound vision. Intricate, crackly (fear not, it's a deliberate atmospheric rather than any kind of pressing fault) and dream like, the track's rhythm moves along at a fair pace, while the melody and frail vocal seem to drift along on the ether. A beauty. "NYC" is even more fragile, with a sepia-tinted 2-step rhythm underpinning more retro crackle and a sped-up vocal - it's like Autotuned R&B for the 22nd Century. Lastly we have "Stolen Dog", possibly the most melodic of all three tracks, utilising a rolling broken house to tie down a subtle vocal and simple keyboard refrain.


        The fourth and final EP taken from Terror Danjah’s "Undeniable" CD opens with the amazing "Leave Me Alone" featuring Terror’s old vocal spar Bruza. This time it’s different though - instead of his usual cockney mateyness, Bruza’s reflecting on his bad mood. "All I Wanna Do" is the album’s densest track, featuring East End singer / songwriter Lauren Mason, who complements Terror’s moody music with a forlorn and angry vocal about a break-up, Terror editing her lines into strange rhythmic shapes which rub against the subtle trap-doors and fills of his accompaniment. "Time To Let Go" is light and breezy in comparison. With light Rhodes keys and a vocal from Terror himself , this is a house track in disguise, as the constant shifting patterns of the drums work against the flow of the melodic elements to produce something that is simultaneously recognisable as a both genre track and a Terror Danjah trademark tune. Number Four in a series of four limited-edition EPs bringing "Undeniable" to life on vinyl. Limited pressing on phat wax.



        The third EP taken from Terror Danjah’s "Undeniable" CD kicks off with one of the big surprises of the album, the inimitable genre-traversing "SOS", with a simple melodic riff played out over drum patterns that shift up in down in rhythm and tempo, grinding to a halt in the middle of the track before starting up again. "Sonar (Selassi Mix)" is a beatless mix of Terror’s classic grime riddim ‘Sonar’, where the originals rhythmic fx and melody pulse in and out of the mix creating strange smeared textures as sounds rub against each other. The album’s title track "Undeniable" features D Double E of Newham Generals, doing something you’d not expect of him – being romantic over Terror’s warm, colourful chords and melodies. Number Three in a series of four limited-edition EPs bringing "Undeniable" to life on vinyl. Limited pressing on phat wax.

        Burial returns with "Untrue", a new record of weird soul music, which lovingly processes spectral female voices into vaporised R&B and smudged 2step garage. Vocal lines are blurred, smeared, pitched up, pitched down and pitch bent until their content is cast adrift from their original context and they whisper their saccharin sweet nothings into the void. The album continues with crackle-drenched yearning and bustling syncopations, haunted by the ghosts of rave, but also reveals some new Burial treats with a more glowing, upbeat energy. Where "Burial" first was humid, suffocating and unrelentingly sad, "Untrue" is less sunless. Many of the tracks are so sweet, they become toxic, underscored by the almost geological rumbles of growling basslines. Unlike the overpoweringly melancholic prevailing mood of before, Burial's sound is now better defined as a downcast euphoria. Forget central heating, the radioactivity of this album is all that you'll need to keep you warm this winter.

        FORMAT INFORMATION

        2xLP Info: Now pressed on 180g vinyl, updated to add the beatless atmospheric tracks that have always been integral parts of the complete CD versions, and also including unique codes for free download. Not re-issues, no new music, nothing remastered - just revised, improved and back in print.

        London's Burial issues this belated overview of his career to date on Hyperdub, including the definitive "Spaceape" and other formative dubstep and grime highlights. It encompasses the myriad of styles which have followed and continue to manifest themselves after UK garages's implosion. Universally acclaimed as one of the best, most ground-breaking releases of 2006.

        FORMAT INFORMATION

        2xLP Info: Now pressed on 180g vinyl, updated to add the beatless atmospheric tracks that have always been integral parts of the complete CD versions, and also including unique codes for free download. Not re-issues, no new music, nothing remastered - just revised, improved and back in print.


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        Sonic Insomniac, Basement Beehive, @idlesband and @menace_beach soundtracking our Wednesday. Labels - @numerogrouphttps://t.co/XCzR3seL0k
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