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TUSK WAX

Cyclonix (Whatever/Whatever Remix)

Tusk Wax Twenty Four

500, 12" 180g, hand stamped, individually numbered records, single press only.

Tusk's old pal Cyclonix follows up his Horn Wax record with a full release on the flagship label. "Telemachus" kicks off proceedings with angelic synth presets and cinematic arps, underpinned by a somewhat slamming rhythm section. "Synth Run" is an angular & muscular, cosmic techno track that'll work as well at -8%.There's a moment of future-exotic in the form of interlude "Haku Ten-O" before Justin Strauss & Bryan Mette provide a Whatever/Whatever remix which skirts around house and cosmic territories with its long, drawn out, druggy approach to proceedings. Laced with big guitar shimmers and weaving drones, it should transport the listener to a tropical disco paradise at night; starry skies and a twilight hue coating everything in a magical patina. It's another winner from team Tusk. 


Tusk Wax, the long standing UK base for nightclub militia and neo-Balearic warriors enlist two stalwarts of the scene for their latest attack. MCR's no.1 tropical cyberpunk Ruf Dug is joined by German born but 'Dam-based musical Casanova Marcel Vogel for a double header of exuberance that should transport you a million miles from the gloomy North West chill. "You Are The One" swamps a steady beat in wavy, Carl Craig-esque synthlines, fattening out the perc with some interesting panning and rock solid hits before layering up a tantalizing male vox. It's beautifully constructed and very evocative and sure to sound mega playing under star-lit skies in heady climbs. "Young Narcos" sees the pair turn their hand to tropical funk, but given a futuristic, hi-fi sheen; the iconic sound of one of Yamaha's digital keyboards (DX7...?) running a glistening, enchanted solo through the track - very good! Flip and nu-cosmic monoliths Mugwump and DC Salas transform "You Are The One" into a wild, flailing acid biter; retaining the visionary vox and adding lashing leads and buzzing arps until the whole thing throbs and crackles with DC current throughout. Finally we get THAT vocal part stripped back as an acapella but with some disconcerting oomps and aahs placed over the top... mental!

500, 12" 180g hand stamped, individually numbered records, single press only. You need!


STAFF COMMENTS

Matt says: Rufs and Voges put two fingers up to the Brexit vote by uniting some paneuropean vibes for the latest Tusk Wax.

Sofatalk

Tusk Wax 22 - Inc. AD Bourke / Posthuman Remixes

Machine madness on Tusk. It feels like a while since the last Tusk - infact, this is the first one of 2017! Luckily it makes up for a half-year absence by dropping some certified heat from one Sofatalk. "Disquiet" recalls one Floating Points with its advance synth work and jarred drum programming, and has a similarly bright-eyed, futuristic outlook whilst being undeniably funky. AD Bourke remixes the track, beefing up the beats into a chunky 4/4 whilst a solid, woody synth section charges through; switching the vibe completely from the original. Previous guest, Posthuman (also of brokntoys & Balkan Vinyl) gets jiggy with second track, "Elastic", deploying his wigged-out acid lines to some retroist drum boxes complete with wide 909 hats. Sofatalk's OG of said track is a more late night house affair, crisp and detailed whilst being delightfully understated and dreamy. Top stuff as always from the Tusk firm and associates. You know the score by now too - limited run, no repress.

FORMAT INFORMATION

12" Info: 500, 12" 180g, hand stamped, individually numbered records, single press only.

Lord Tusk takes it back to the start for the twentieth edition of the Tusk catalogue, treating us to a tense and terse various artists 12" completely in keeping with the label's signature sound - darkly danceable, aggresive and synthetic, out of its mind on acid. Label favourite Heretic opens hostilities with the mechanised assault of "Afflication", a brooding club creature armed with writhing 303 lines, creeping sequences and a hard as nails beat - turn the volume up and the lights down. Taking a sip from the same batch, TX Connect picks up the lysergic gauntlet and slowly but surely bludgeons you senseless with corrosive 303 lines and pummelling 808s. Don't fuck with this guy! Over on the flip, things take a turn for the funky with Antoni Maiovvi's "Brutus", a mind altering hit of tribal magic which combines tumbling African drumming with the producer's usual horror-core synths. Sound the alarm - we've got a B2 secret weapon on our hands. The mysterious Future Unit make their Tusk Wax debut with a mid tempo masterpeice which pulls together frisky breakbeats, phat ass acid, funk guitar and searing pace synth. Is it acid house, is it cosmic disco, is it a bass-laden ALFOS chugger? Who cares - Baldelli would play it, I'd play it and so would you!

Modern Giallo disco master Antoni Maiovvi makes his Tusk Wax debut with this four tracker of neon tinged sci-fi soundscapes made for high speed chases, robot showdowns and replicant love scenes. "Moor Teeth" opens the EP with its clipped mechanical rhythm and unsettling synth melodies, ushering us through the metallic towers of Metropolis into the dimly lit underground of decaying hardware. "Ministry Of Death" emerges from the shadow with a percussive intensity, driven forward by rattling drum tracks to deliver its plaintive melody and tug at the heartstrings. Rather than the damage and danger the title suggests, this track actually offers an acceptance at the fate that awaits us all. On the flip, Man Power offers his interpretation of the track, slowing the tempo and weighing in with a plethora of live drums and soft synth lines, soundtracking that moment when our robot protagonists finally find love. Maiovvi brings his EP to a dark conclusion with the precision engineered chug of "Mother Tongue", a brooding bit of ALFOS house which is one with the machine. Tusk Wax show no signs of slowing down as the label approaches another milestone. 

Despite what Google may want you to believe, the latest man to captain the Tusk spaceship is not in fact South Africa's specialist fielder, and is instead a UK producer with a penchant for malevolent synth led house. Jonty Rose (no google, not Rhodes), kicks off this latest instalment of the Tusk saga with a metronomic pulse of acid laced chug, which brings the heat all the way from the burbling bassline to the intricate sequences and high end feedback. Next up, "Horizon" sees Jonty strip his sound back to a dislocated disco-not-disco/house hybrid complete with organic tom rolls, spiky guitar and exotic woodwind. On the flip, Red Laser favourite Starion loads the track into his DAT and reworks it as a neon tinged blast of mid tempo Italo, perfect for soundtracking a planning session in a mid 80s crime flick. "Maalem" sees Rose return to the diasporic influences of "Horizon", this time swapping the Middle East for North Africa, as he embarks upon an acid odyssey which pairs snaking 303 lines with desert percussion and Tuareg guitar parts.

Something a little different here from the big game hunters at Tusk Wax. This 12" features four remixes of Tusk favourites old and new from a who's who of chug masters. Up first, the North East's finest purveyors of cosmic wobble Last Waltz take on Scott Frazer's "Space & Tapes", upping the tempo and replacing the darkness of outerspace with the kaleidoscopic spectrum of a wormhole. The hypnotic groove sounds like a long lost collaboration between Brennan Green and the Norwegian contingent. Chamboche rewire Ejeca's brooding and building "Tetra" into a wonked out sci fi house cut with stuttering sequences and a hyperdriven bassline. As the track returns from orbit to rock a dancefloor near you, that looped up Mary J Blige sample emerges from the depths of the mix to raise the roof. Piccadilly favourite Ruf Dug drops by on the flip to give the set closer from Jock Talk's "No Cure" a red pink respray. The head nodding combination of boogie, proto house and over dramatic 80s soap soundtrack is perfectly befitting of a man obsessed with Miami Vice, and Ruffy's mastery of the marimba preset is second only to Jan Hammer. Throw a few cheeky references to "Your Love" and you're in Balearic dancefloor heaven, sharing a line with Tubbs and Crockett. And what better way to recover from a night's executive excesses than with a soothing bit of guided meditation thanks to Captain Sunshine & The Valley People (or Seahawks to you and me) and their "Wilderness Dub" of Tim Waine's "No Hats". A more blissful and esoteric variant on the Seahawks' mix on TW14, this sumptous journey into the land of the opium eaters will soundtrack summers for year's to come.

Tusk Wax return with debutant Tim Waine at the controls as we swap synthetic safari for aquatic audio. We hop aboard submersival TW14 off the coast of Arkhangelsk and head deep into the icy darkness of the White Sea. Our captain slips a scuffed old DAT into the control panel and bombards us with the industrial gloom of "No Hats", a malevolent chugger rippling with pressure changes and sonar sweeps, only punctured by the echoed messages from the marine base on shore. As we sink to 20,000 leagues under the sea, a new world begins to emerge around our craft. Cystalline formations, enlightened species and ethereal beauty warp and glisten as the healing sounds of Seahawks' 'Dive Deeper Mix' permeates the gloom and lights up the depths. On the Ocean floor, the temperature drops to the fringes of freezing point and all light is distinguished leaving us in complete isolation. The melancholic paranoia of "Maybe You're Awake" encapsulates the fear and loneliness of midnight dark perfectly in five minutes of soundscaped tension. And what lies beneath, you may ask? As our journey continues into the ancient unknown, the future primative sounds of "The Sun Came Out Last Night" fill the vessel with mystic beauty. Pulsating sequences and ritualistic percussion lay a foundation for fevered chants and wails. It's a brave new world out there.


Unlucky for some, but unlikely for Tusk, we reach number thirteen in the series thanks to this synthesized trip from Steve Cook. "Self Control" starts off life as simmering chugger with some sleazy female vox before morphing into a slo mo acid monster. "Still Hardcore" does what it says on the tin, taking the 'ardcore blueprint and slowing it right down into a weird and warped mogadon mover. On the flip "Juno How I Feel" (ooh, we do like a good synth related track title pun) is a meaty and beaty take on Chi-town's dancefloor heritage feature prominent use of, you guessed it, a Juno synth. Ripping sequences and jack track percussion with a whispered vocal cooing "D'You Know How I Feel" (double pun alert). EP closer "Hacid" takes us right back to the old school of the Haccie with rave stabs, acid squiggles, the vocal sample from "Hallelujah" and plenty of bang for your buck. A few more tracks like this and the Criminal Justice Act 1994 will magically disappear.  

Following appearances on World Unknown and Magic Feet, Kalidasa joins the Tusk stable to light up the Balearic dancefloor. The four cuts on offer here are the kind of sprawling, psychedelic chuggers that we've become accustomed to hear from the likes of Prins Thomas. Kicking us off, "Induction" sets its stall out with slinky bongos and a one note bass throb, before introducing a subtle marimba melody, twinkling electronics and the rest of the drum kit. Glassy synth lines top the chugging kosmiche groove creating a hypnotic pool you'll get lost in. On "Cosmic Dance", Kalidasa takes a more direct approach, coupling heavier percussion and an insistent octave bassline to give the track real drive, before unleashing all manner of sci fi synths and expansive guitars to turn this into a full on ALFOS monster. Top marks. On "Ipotane", the live kit gets wheeled out and the sequencer gets knocked onto 1/32 for a classic arpeggiating bassline. Metallic synths, popcorn sequences and drum machine claps all have their time in the sun to create something perfect for zero gravity dancing. "Molly Cues" closes the set in fine form. Machines whine and drone away over the metronomic drums and the bassline is infectiously groovy. Chirping synths and a rolling sequence pack a real mid frequency punch and Kalidasa's arrangement is perfect for a packed dancefloor at peaktime. Prepare to be swept away into real euphoria when the stunning piano solo is unleashed. Do not underestimate the power of the tusk!

FORMAT INFORMATION

12" Info: Limited hand-numbered & hand-stamped 180 gram vinyl 12"

North east trio Last Waltz mark their Tusk Wax debut in illustrious fashion with the first of two releases for the label; hand stamped, individually numbered and weighty 180g vinyl only release this may be, but there's still room in the sleeve for the concluding chapter. Tusk Wax 11a is opened by "Glamour Thing" which pairs motorboat arpeggios and interlocking kick-hat manoeuvre with playful synth fades. Sharing the A-side is "Tipping the Gulf", which sounds like a detuned version of music from Nintendo's arcade classic Cruis'n USA, while Jamie Blanco's remix makes use of the original's sustained leads, edging up them up in octaves to create extra tension. The final track ""Beholden (Part 1)" is the record's ambient piece, with Last Waltz sampling, reversing and effecting the high pitched guitar plucking of UK indie band Foals.

With previous releases on Eskimo Recordings and Is It Balearic, José Manuel now joins the burgeoning Tusk Wax roster.

With its middle eastern strings and vocals and pattering bongs, opening track "Guitar Love" wouldn't sound out of place on Is It Balearic, and neither would the Turkish-tinted, balalaika-fuelled "Revelacion" that goes globe-trotting by adding Mariachi trumpets to the mix. Aegean cosmic disco grooviness. "Obsession" arrives remixed by Last Waltz and is an electrodisco bomb. The original "Obsession" track floats Bondesque strings and Radiophonic electronics over a stuttering, live-sounding drum pattern. 

Four great tracks on one LIMITED 12" - grab one quick.



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