Matt Karmil’s music has been infecting my thought processes for a while now. On the one hand, he actually doesn’t do that much — technically speaking — but what he does do is the perfect mark of a producer embracing his restraint. Karmil's tracks are wonderfully long and waywardly loopy, and these latest tunes for Idle Hands are the optimal example of his appeal: three brutally bare, crumbling constructs held together with tumbling bass notes.
Mumdance & Novelist
'1 Sec (FABRICLIVE VIP)'
Lifted from Mumdance’s 'FABRICLIVE 80' CD, the ‘1 Sec (FABRICLIVE VIP)’ does exactly what the title suggests, with Novelist, the young Lewisham emcee, rescoring the beat for the duo’s breakthrough XL collaboration to talk about the Farringdon-based club. Yes… essentially it’s the same song reworded with a lot of name checks for the club but it showcases Nov’s command of the microphone wonderfully. Released on limited edition 10” so you’ll have to be quick.
After some rather emphatic 12” dalliances and an underappreciated album on Hyperdub under his belt, Walton hits out with a four-tracker for Pinch’s rock solid Tectonic. The tunes run a little bit darker, with that steppah’s dread pressure Pinch favours apparent all across the EP. Honestly though it’s the prospect of Walton’s clattering UK funky snares and minimalist melody lines on ‘Flute Riddim’ and his balmy almost slow-mo juke on ‘L.E.A.N’ that win out.
Hitting out with a fully glorious slice of Clap! Clap!’s whole modus operandi, ‘Camo’ and ‘Fever’ both serve to unite a bunch of persuasions. Dovetailing found sounds, organic percussion and real musical ingenuity with his driving footwork template, the sounds and chords he picks out for his piano stabs — on ‘Camo’ in particular — are absolutely glorious. Radiating the sort of humanized warmth that often gets overlooked, this is percussive heat in triplicate.
‘Chromed' is a pretty great adjective to describe the sort of jagged, metallised vibe of the four tracks released as the second 12” on BNJMN’s BRACK label. A crew of no nonsense hardware littered jams, the producer cuts to the point very early and then riffs on that theme muffling the kicks a touch and riding the low-end on the A-side before exploring a temporal shift in frequency with his high-end on the flip.
After struggling for a better way to say the phrase ‘bugged out house music’ I decided that anything I could come up with didn’t really do the fantastically named Jimmy Winkles’ ‘Infiniti’ justice. This shit sounds like three weird-as-hell tracks being played at the same time by someone who's got little-to-no attention span. The hats and occasional snares are in time and the acid bubbles work, but it’s hung together so loosely that it’s oddly captivating.
'Party Zute/Learning To Love'
Discordant to a tee, LA PRIEST’s latest single before his album drops later this year is oh so gregariously freaky. And I’m not just saying this because my girlfriend adores the guy; it’s the kind of celebrated oddball jam you wish you could just listen to without trying to properly dissect exactly how it is that it’s so infectious. In simple terms, it’s super fun — shaking the sweat off its skin in the centre of a Venn diagram where boogie and detuned house meet.
'Raw Metal Earth'
Ten Thousand Yen
Sticking fast to their hankering for ingenuity as much as dancefloor presence, Ten Thousand Yen enlist four tracks from Mister Saturday Night affiliate, General Ludd for his 'Raw Metal Earth EP'; and dude, it’s fantastic. These bizarre layers of trippy drum passages dissolve themselves into the very shuffle of the percussion on ‘Wigu Hill’ and ‘Molycorp Mountain Pass’, and even when ‘Prisoner’s Dilemma’ starts to sound like a drum machine’s just been left on loop forever, it’s mesmerising.
Facta and K-LONE’s blossoming Wisdom Teeth imprint returns with another double A side release, this time from the Keysound, breakbeat obsessive, Etch and K-LONE himself. Eschewing the faster drum & bass tinged styles he’s dropped on labels like Soundman Chronicles, Etch slows his roll a bit, punching out the flaws in your speakers with a mammoth kick drum, some bastardized 808s and a few stabs on ‘Toxin’ while K-LONE works with similar tools on ‘Broke’ but ups the swing considerably.