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Killers - Issue 600

Joy Overmono

‘Bromley’/’Still Moving’

XL Recordings

The debut Joy Overmono release marks the first time Hinge Finger boss, Joy O, Truss and Tessela have joined forces. Landing on XL, A-side 'Bromley' is named after the London borough where the duo of Tessela and Truss, aka brothers Ed and Tom Russell — known as a duo as Overmono— own a studio. A big subject of diggers attempting to ID the track through summer, from sets including Ben UFO’s at Dekmantel, as well as his b2b with Joy O at Calibre's residency in August, it begins as a delicate percussive workout that signals something much larger beckons. When the stuttering vocals finally break the tension at the midpoint, it's game time, as the decade's last club anthem unfolds. Don't sleep on B-side 'Still Moving', though, a snarling monster of bass-driven madness that perfectly embodies the middle ground between three of the UK’s most respected electronic music producers. Built for late nights on big soundsystems. Massive, massive, tip.

Yoshinori Hayashi

Y

Smalltown Supersound

Japanese producer/DJ Yoshinori Hayashi returns to Smalltown Supersound after his album ‘Ambivalence’ dropped last year, and his latest work doesn’t disappoint. The weaving TR-808 drums, harmonic toms, and dynamic basslines on ‘U’ are followed by exuberant melodies on ‘Cs’. Haunting synths appear alongside pummeling snares on ‘I’ — perhaps the most full-throttle of the bunch — and the EP rounds off with ‘Sr’, a thumping nine-minute percussive tool designed for the DJ, with a bassline that doesn’t hit until the two-minute mark.

Cleaverhype

‘COTL’

SKOOP

The latest in a string of releases on Cleaverhype's SKOOP label, 'COTL' — an acronym of Children Of The Lie — presents three tracks that explore the darker side of 140 from the Edinburgh producer. 'COTL2' is the pick of the three, an ice-cold cut built on rolling amen breaks and venomous grime synth stabs. But don't sleep on the other tracks, which vary the arrangements while keeping the same savage palette. This really is all killer.

Pinch & Khan Feat. Killa’s Army

‘Crossing The Line'

Tectonic Recordings

Robert Ellis, aka Tectonic label boss Pinch, has teamed up with fellow Bristolian Can Oral, aka Khan, for a collaboration with three MCs (Killa P, Irah and Long Range), here known as Killa’s Army. True to the name the result nothing short of murderous. ‘Crossing The Line’ is a future grime anthem with dancehall influences, with heavy-hitting drums and superb lyrical flow, while ‘Send Out’ is reminiscent of early 2000s dubstep, with deep menacing subs and shuddering drums. Sterling work from UK stalwarts.

dgoHn

‘dgoHn’ EP

Astrophonica

Stepping away from his recent home of Love Love Records and toning down the bedlam somewhat in the process, dgoHN joins Fracture and Neptune’s gang. Drumfunk lead ‘Sporks’ is all lazy groove and twinkling bliss — even managing to make the somewhat sinister vocal sample (“Have you ever danced with a murderer?”) seem like a reasonable question. ‘Dolorous Dick’ead’ and ‘Lost and Found’ bring IDM glitch with a touch of ‘80s sci-fi melancholia, while ‘Acacia Road’ is contemplative, bleep-bloop jungle. Brilliant.

gayphextwin/Pépe

‘NAIVE009'/'JKTN070’

Naive/Jacktone

Masterminds meet as Darren Cutlip and Doc Sleep’s Jacktone and Violet’s Naive join forces for this split EP. San Francisco’s gayphextwin delivers scorching full-throttle electro, with plenty of gritty overdrive and polyrhythmic madness, while Pépe takes the house route, delivering beautiful atmospherics, chunky drum work and even a cheeky breakbeat number to close out proceedings. An abundance of choice for the dancefloor, if you’re not already familiar with these labels this will undoubtedly seal the deal.

Workforce

‘Your Moves’

Exit Records

When was the last time you heard a six-track EP where every tune was solid gold? Honestly? Not to be jaded but it just doesn’t happen. That is unless you’re Workforce (aka Jack of SpectraSoul) and that EP if your new Exit Records release. From the growling funk of opener ‘Your Moves’ through Calibre-esque liquid of ‘Doughy’ to the oppressive halftime bass of highlight ‘Make Me’, the only complaint could be too much variety, and that’s just nonsense when it all sounds this good.