More Time Records
Launched in 2017, Ahadadream and SNØW’s More Time imprint has emerged as one of the most crucial label’s on the UK club scene. Championing sounds influenced by UK funky, gqom, grime and more, the imprint has stepped up a gear once again this year, providing a home for everything from British-Congolese outfit Bala Bala Boyz’s ‘Linglish’ rap to South African Mxshi Mo’s percussive stompers. The latest edition comes from Leila Samir, who’s been making a name for herself via NTS and Worldwide FM shows. The Saudi Arabian upstart’s ‘No Music’ EP — a title which nods to what she was told throughout her childhood growing up in a religious environment — matches intense, rhythmic workouts with disturbing piano notes (‘Bridal’), intricate percussion (‘Beginnings’), claustrophobic chimes (‘Anxiety’) and gruff synthetic stabs (‘Ends’). It’s club music through and through, yet thought-provoking; a set a dark cuts that go off on the dancefloor and provide powerful headphone listening, marking an incredible debut for an artist destined to be as key a part of the electronic music landscape as the label she’s releasing on.
Long Island Sound
Signs Of Space
The Dublin-born, Berlin-based duo follow up their 12” on Bobby Analogue's Body Fusion (released earlier this year) with an EP made for their very own Signs Of Space imprint. ‘I Still Love You’ feels warmly familiar with it's classic deep house grooves, and ‘Broken Signals’ encompasses the eerie and dreamy in equal measure — pulsing soundscapes reach into eternity with intermittent breaks over electro beats. ‘Lifecycles’ returns to four-four while keeping the essence of the ethereal, bell-ringing melodies lifting the atmospherics throughout.
Louisahhh’s ‘Feral Rhythm’ offers just what its title suggests. Described as “a modern anthem, a call to action, a loving upsetter”, the track is a ferocious industrial EBM cut with rousing vocal incantations and a noisy backbone. The track also comes accompanied by some suitably riotous remixes from Manni Dee, RAAR co-founder Maelstrom and Curses. With the reworks spanning styles from full-throttle warehouse techno to wavey body music, it all makes for a formidable collection of rave-ready cuts with a necessary punk edge.
‘Hard To Say’/’Tournesol’
Djrum’s first new music since his 2018 opus ‘Portrait With Firewood’ finds him on typically monumental form. Returning to R&S once again with double A-side, ‘Hard To Say’/’Tournesol’, he delivers two sprawling explorations into techno’s outer dimensions. The high-paced ‘Hard To Say’ elevates its swirling ambient textures with delirious kicks and percussion. Meanwhile, the near 11-minute ‘Tournesol’ is an immensely colourful, melodic trip with marimba-like motifs and movements that veer from frenzied jungle rhythms to galactic gabber.
Decisions’ third release of 2019 sees NYC-based polymath Isomov take the controls only three months after label-boss Air Max ‘97 dropped his sub-rupturing four-tracker, ‘Falling Not Walking’. The ‘In Theory’ EP pairs heavy soundsystem music with immersive material more fitting for cerebral listening. ‘Hoping Mechanisms’ and ‘Wavelet’ are made for the dancefloor: chaotic club music built from undulating kicks and charred basslines. The rest of the EP combines frictious dancehall percussion, choral washes, grounding sub-bass and arpeggiated chords to dizzying effect. Tip!
Verdicchio Music Publishing
The Canadian producer consistently flaunts new shades of production and this EP is colourful, touching on various moods. ‘Sofware’ is warm and intricate, with talking synth lines that harmonise with each other. ‘Dead Channel’ is pensive and low-slung, with mind-bending melodies that soar across emotive soundscapes. ‘Boingo Myth’ veers into what some might call 'power ambient', and ‘Scroll Up’ marries vocals with a subtle Korg M1 bassline, with pads keeping it respectfully in vein with the rest of the EP.
Lossless Music offshoot Exkursions drops its fourth release — rising Lithuanian talent Hathor stepping up this time. On the title track and ‘Autonomous Parasite’ he teams up with mysterious producer Sotus; the former is a militant, hoods-up, heads-down sci-fi roller, and the latter a mix of eerie bass growls and agitated percussion that sounds like it’s playing in reverse. ‘Primer’ sees Hathor go solo with a whirring low-end and playful drum edits, and digi buyers get a bonus collab of laid-back dusty future dub in ‘Entitlement’.