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Killers - Issue 583

Charles Green

'Revenge Techniques 2'

Revenge Techniques

Hold tight and get ready for take-off as here we have an EP that transports you straight back into the world of mid-’80s/early-’90s Detroit. It wouldn't sound out of place amongst the classic Metroplex, Underground Resistance, or Planet E discographies but in fact this one comes on relatively new imprint Revenge Techniques (formerly Paling Trax) run by the ever-mysterious TAFKAMP. Charles Green has seriously mastered the art of live analogue production, weaving classic drum machines with 303 acid lines and pleasingly speedy tempos. Think Joey Beltram double-crossing Bjarki on a motorway. It's not just us that have had this one on repeat; current support comes from the likes of Ben Sims, Slam, Neville Watson and Or:la. A former DJ Mag Cheeky Bubbler and current Patterns Brighton resident, Charles is enjoying the jetset life right now with gigs in France, Romania, and Naples, so prepare to be hear this one blaring out of club soundsystems in all corners of the globe.


'At Night (Peggy Gou's Extended Acid Journey Remix)’


There's no denying that Peggy Gou fever has reached dizzying heights this year, and judging by her Instagram this could arguably be one of her most anticipated records yet. The sing-along Shakedown hit 'At Night' — originally released in 2001 — has now been scooped up by Defected for a series of new remixes. Peggy's version does exactly what it says on the tin; it's a pleasing acid trip that sounds just as delightful in the daytime as it does at night.

Dead Sound

'This Is Human’


Kirsti's label is back in full force with an EP that's doing the rounds in the record boxes of Radioactive Man, Sync 24 and Tasha. Manchester's Dead Sound have blurred the lines between classic techno, electro and breaks with superb results. Drawing the common ground is thumping low-end, unmissable groove and hypnotic FX for some seriously dark and sinister moods. Coming with the road-tested stamp of approval this is a weighty addition to the Null+Void catalogue.

Slick Brutus

‘Cahorra Bassa’


Slick Brutus, the production duo behind Brighton's popular Disco Tech nights, drop a varied, rewarding Afro-house EP here. Lead track 'Rolihlahla' — a tribute to South African hero Nelson Mandela — is pivoted around a dynamite EBM-influenced bass synth, which metronomically builds into a hypnotic dancefloor track that's offset by chanting that sounds like it was taken directly from the streets of Soweto. 'Silver Shoals' is more of a sunny disco-funk piece, and 'Zambezi Moonshine' is similarly Balearic. Seek it out.

Object Blue


Let’s Go Swimming

Following her formidable debut EP on Tobago Tracks in March this year, Object Blue continues on her rapid upward trajectory with ‘Rex’, out this month on Let’s Go Swimming. Capturing the incendiary and eclectic energy of both her live and DJ sets, this four-tracker swerves from tense, percussive IDM in ‘Princess Is No Longer At This Address’ and trippy 150bpm heat in ‘(Time To) Work’, to ferocious, avant-garde techno in ‘Chipping At The Kingdom’ and ‘Cordelia's Call To Arms’.

Forest Drive West

‘Set Free’

Rupture LDN

After delivering one of underground d&b’s most-played tracks (‘Jungle Crack’) for Rupture at the tail-end of 2016, FDW returns from his forays on Livity Sound and the like with five killer cuts. The beauty here comes in the combination of tension and release — see: the clever juxtaposition of space and percussive snippets in ‘Set Free’, ‘Prism’ and ‘Never For Tomorrow’, the false start in ‘Fiorina 161’, and the painfully long wait before the eventual coup de grâce in ‘Nothing Else’.



Black Acre

London’s Prayer is back with more of his rave-classical crossbreed productions; influenced by and triggering memories of Burial, but crucially without sounding pastiche, his tracks are hellbent on creating melancholic euphoria. Take 160 efforts ‘I’m Still Here’ — with its wistful refrain — and ‘Vital’, driven by a clattering Amen break, for example. His own more formal background comes correct too though on beatless piano number ‘Kind’ and scatter-brained, dystopian organ-heavy opener ‘Fear’. Original and nostalgic in equal measure.