This new slew of gnarled, hard compressed, gun toting, post-grime, world-influenced dubstep from Walton manages to rewire any preconceptions you might have had about the producer. I mean, sure, it’s serving hot dogs in the same ballpark as his other stuff, but this feels like more of a purposeful exploration of a certain sound palette. And you guys already know how I feel about self-imposed creative restrictions, right? I love them. I need them. I can’t finish anything without...
Being forever drawn to the weirder cuts, of course I’m gonna go on record and say that the most interesting and inspiring part of ELLLL’s three-tracker for Glacial Industries is the oddball closer, ‘Jawbreaker’. Though its simplicity could very well be perceived as naivety, it manages to unsettle and morph itself into some brutal shapes. The other two cuts are cool too. Even though they’re a bit more techno, they still have a playful, pitch-drunk personality.
'Dance Of The Vampires'
Proving himself to be a dab hand at both restraint and cracking open the nuclei of multiple genre styles, K-Lone debuts on the Idle Hands label with a duo of tracks that properly channel the cool detachment of dub techno. Minimal flutters of percussion pepper the suitably named ‘Sleepwalker’, but it’s on ‘Dance Of The Vampires’, when K-LONE starts stuttering the groove with shy snare hits and dub delays, that the space and nuance of his style properly click into place.
'I Got Shit To Do'
Still one of the only producers who, in my mid-thirties soaked, cynical air of world-weary pedantry, I will happily fork out money for instantly upon receipt of those Bandcamp release alert emails, Samiyam’s back with a 10-track beat tape called 'I Got Shit To Do'. With its ‘straight-from-the-sampler’ ruggedness, it’s safe to say this is a quick-fire and pure expression of where Sam’s at now, which is evidently (go listen to ‘Waterslide’) drunk on weird samples and nutty drum experiments.
House of Pastilles
Delivering another trio of Megadrive era, game soundtrack-influenced rolling house music, the Infamous Zol pushes past the innocence of youth and more into the world of club constructions on his label’s second release. And it works; or rather, there’s something about the accessibility of his sounds that makes it work. Rather than contemporary, hyper glossy, overly slick synth design, he’s using gear that appears well… rather primitive. Use what you’ve got. That's the kind of mantra you HAVE to live by.
Track two, ‘Salt And Pepper’: them's the drums I do like. Those clipped, slightly tinny snare drums that season the mixdown, swinging through the panning of whatever kind of a bastardised vocal sample that is, with very little concern for anything else other than creating a drive…. they’re my new jam. What Plead manages to do again and again on this six-track EP for Nervous Horizon is distill his tracks down to their necessary elements, which is essentially just drums.
Friends Of Friends
Announcing his new album with a track called ‘The End’ was always going to find Shlohmo in a rather pensive mood, but there are a bunch of cool things layered up within the emotive hallmarks of his music. Firstly, the general thrall of his guitar work’s introspection lifts the main ascending/descending xylophone refrain into something way more powerful. Then there’s the very fact that he’s rocking a xylophone head on, as he stares down the barrel of his own personal apocalypse. That’s admirable.
The Version label returns with a duo of cuts from the Italian producer Piezo, that regular followers of this page will remember from last month's chart. Piezo has delivered two rather nonchalant club cuts, and by that I mean that they do their own thing with a confidence and a seeming pleasure in being so different, both from each other, and from the wider crowd. ‘The Mandrake’ is a wall of hard ball, slowed up soca, while ‘Tinned’ is more of a technical, thickened-up stomper.