From The Depths
Maybe it’s a symptom of having been born in the mid '80s and knowing all too well the pain and ugh, the fucking drag of having Windows ‘98 crash and burn on you that warms me to E-Unity’s ‘Tallarita’ — which uses the clatter of computer sounds I associate with a pixelating cursor as its main melody. On ‘3.6’, there’s an extremely welcome sparseness that seems to suction the brittle Amen-chopped drums down into the void of pseudo melody. Lovely weirdo stuff.
KOROstyle & Gutcha
'Back To Briz'
Harbouring a couple of unexpected, brutal grime instrumentals, KOROstyle & Gutcha’s new EP for Section 8 Bass battled its way into my already, waaaaay too oversaturated consciousness. Ok, so yes they are a bit tropey. Uh huh, yep, it's all big booming bass stabs and skittish drum work, but that's a sound that I adore: the void that the drum work creates, the space that's filled with the sub. Allow the two VIP versions and spin ‘Back In Briz’ and ‘Output 1 2’.
Jelly Bean Farm
I had to keep on coming back to this one, because we’ve been in a period of amplified summer lately and, unfortunately, a heatwave is no real place for a tense collection of guttural, growling basslines and surgery sharp percussion. Even though it’s bordering on straight breakbeat, ‘Technical’ is one of the picks of the six cuts on offer — it has the most space and the most poise — and ‘Industrial’ does the jagged, drunk riff impact thing very well indeed.
'Passed For Transmission Vol 1'
For a relatively new label, releasing a sampler from your crew of producers will forever be a good idea. Giving the world a peek into the workings of the machine and illustrating the kind of environment you’re trying to cultivate is healthy. That shit helps, B! So kudos to Par Avion, who assemble tracks from Agrippa, Henry Greenleaf and Meta and sketch out their universe of “swung and fucked” rhythms, bleak, creepy soundworlds, grime impact and heavy technoid leanings.
The prelude to an album’s worth of material on R&S, ‘Sex’ is a wide and broad ravine that's filled with pointedly precise riffs, periods where there are hardly any snare drums and enticingly splashy open hats. Of course it wouldn’t be a Djrum cut if it didn't morph it something else entirely; something that's wholly tribal and yet very tropical at the same time. The ending is like going all out at a luau while listening to nothing but a Swamp81 Rinse FM show.
'Shouts feat Prince Buju'
On The Corner
‘Shouts’ is a particularly bolshy, bass-heavy cut taken from Khalab’s new album, 'Black Noise 2084'. It’s pretty indicative of the project in a couple of ways, because it uses that thick, low-end bass work and jazzed up ethnic instrumentation to particularly wild effect. He does that a lot. ‘Shouts’ would also sound bananas on a big system, but elsewhere on the LP project, a cut such as ‘Dense’ which features both Shabaka Hutchings and Tomasso Cappellato, is more an earworm for the garden.
'Still D.R.E (Ed West Remix)'
Honestly, I still don’t know how I feel about this remix, and I’ve listened to it like 12 times in a row while I’ve been trying to decide. It’s not the first time someone’s re-tooled one of the defining cuts from Dre’s landmark 2001 album, but this actually stems from an orchestral tribute to the big man himself. I guess this means maybe we can get a West Coast Prom at the Royal Albert Hall in the future? Dave Gamble, bro, make it happen.
State of Joy
Question: does the releasing of two records in as many months count as a flurry? What if one had two tracks on and the other has four? I’m asking for a friend. He told me he’d been super impressed with the spate of new Guido music, that the Bristol-based producer’s been putting out on his State Of Joy label lately. I told him I was very into the sparsity of ‘Babu Lamu’ and then he tried awkwardly to spud me.