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Dutch vinyl institution Rush Hour continue their sleight of hand with the latest in their suspicious No 'Label' series, a gorgeous EP from the mighty Suzanne Kraft. Following on from the excellent "U KNO" LP, Diego delivers a trio of unexpected electronic rollers, sub-cortal grooves and and new age dancers, including a collaboration with Montreal outliers Ramzi.
"Shopbeat" provides a shot in the arm on the A-side, pairing up a wild percussion program (think Max D if the D stood for dancehall) with gated FM vamps and serotonin-soaked idents. Ramzi swings by for the slower, slankier "Founded", a THC laced burner which emerges from the weed fug with hints of Moon B boogie and entheogenic intent. Lastly, "Accelerate Me Wildly" takes a detour through gallery friendly sound design to arrive at new age pads, skitterish beats and a generally rushy vibe - deep breaths everyone.


Matt says: Spectal, highly rhythmic and unfathomably technical dance machine workouts for nocturnal arenas. Reminds me of being sat around the White Hotel's trapdoor bar come 'Witching Hour'. Mega.

Crotocosm (Willie Burns & Jordan GCZ)

Setting The Scene For An Island Battle

The latest instalment of Rush Hour's spectacular 'No 'Label'' series comes from the brilliantly named Crotocosm, who you may remember from their 12" on Second Circle. The occasional live jamming collaboration from renowned hardware mentalists Jordan GCZ and Willie Burns, Crotocosm don't make it onto wax that often, so when they do, you know it's an event. Here we get the wonderfully named "Setting The Scene For An Island Battle", a title which suggests we're in the realm of the shamanic, where waterfalls flow upwards, neon smoke drifts across the plain and froglicking is an every day activity. The evocative and experimental "Krazy Kalimba" introduces the EP with distant timpani, sweeping bleeps and a string of circular mallet patterns, all working their disorienting magic. Things move a little further into the light on the A2 as "Island Life" uses synth vox, soft focus sequences and off kilter bass pulses to find a slightly opiated cross section of Laurie Anderson and Visible Cloaks. "Pitter Patter" goes deeper and darker, all crepuscular movements and stalagmite drippings, a perfect precursor to the foreboding pads and scuzzy rhythm of "Incoming Fire". "Survey The Scene For Survivors" closes the set in ambiguous fashion, never really choosing either hope or despair, as the sprawling synths and subdued rhythms echo into the distance. 

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