Christoph El Truento
'A Series of Oopsie Daisies'
There’s a real homespun kind of cutesiness present in the first release on Nutriot, that seeps through to the music from the cover art. Pitched as short sketches, mistakes and half-baked ideas, the full collection clocks in at 17 tracks long which actually isn’t as daunting as you’d expect. ‘We Fly With the Moon As Our Guide’ evokes Flying Lotus and elsewhere there are shades of Prefuse on ‘One Day Your Heroes Will Fall Over’.
Gerry Read & Kevin McPhee
Honestly, you do get exactly what you expect from a collaboration between the fractured house and techno producers Gerry Read and Kevin McPhee on ‘FRUMMPP;’ but I’m not mad at that. I’m the only one in control of my deservedly high expectations after all and the remixed version, with its added open hi hats and super inventive (if slightly maddening) use of oddball sampling, definitely pushes the track in a totally new direction. Need more.
I’ve always wondered what it was that Steve Braiden would pick to properly represent and invest in releasing on his own label, that wasn’t his own productions. I never felt that knowing his taste through his radio show was really enough to go on, and Slewis’ two-tracker proves me right, the sort of industrial-heavy stomper I only half had him pegged for. Insistent pounding kick-drums jaggedly set off with grainy chord pulsations.
'Melting the Earth Onto the Body Without Organs'
For a good while there I totally forgot just how much I’m into what Sagat does, musically. His concise new four-tracker for the Belgian VLEK label inhabits that bittersweet almost region — a place where the music is neither brutal nor comforting, it’s just extra hypnotic and full of all the right kind of textures and progressions. I could truly listen to ‘Body’ just go on clip clopping forever. A very important return.
Peeking up over the precipice waving a gem of a record in their hands after a period of radio silence seems to be the preferred method of operation for Ramp Recordings of late. But in Kinlaw they’ve enlisted a producer who proves over the five tracks that he’s prepared to do weird properly. Titan strong basslines dominate brittle percussion and field recordings that sound like they’ve been fed through a dial-up modem and slowed down x48.
'Swingin' (Facta Remix)'
The more I hear Facta’s music, the more impressed I become with his command of dry clapping snares and skippy drum programming. On his remix of Wen’s ‘Swingin'’ he channels that golden period, when UK funky sauntered and swaggered onto dancefloors and merged with the production styles of off-the-wall people like Scratcha and Mickey Pearce. Facta stunts and clumps his way through a hugely impressive revision of what was, admittedly, already a pretty solid tune.
Gobstopper’s recent run of releases seems to be following a pattern of not following a pattern. I say that knowing full well how stupid a sentence that might read, but every new drop is a tricksy thing. They’re all built from a similar palette of hollow synthesizers and minimal yet tonk drum work with one eye closed, deep in a dream state, but Iglew’s 'Urban Myth EP' sounds nothing like his labelmates. His awkward grasp on rhythm sticks out by a country mile.
Mate, Cosmin’s defintely not pissing around with the second release on his Fizic label. ‘Uzura’ comes rollicking out of the traps a fiercely overdriven and wantonly possessed thing. It barely lets up the stomp over its six-and-a-half minutes though it's neat how he manages to make a constant throb retain your interest. I’d say ‘Vitriol’ is the calmer cut, but then those feedback pulses start seething around the 90-second mark and that argument dies a static-soaked death.
There’s no guff necessary, this recent bloom in colourful and plump instrumental grime has felt like the perfect playing field for a producer like Deadboy to compete in. His tracks have always touted a playfulness alongside his mournful sense of sorrow and if you were to extrapolate that approach specifically to grime, you’ll find a lot of dudes still can’t test him. 'White Magick' has mood, melody and poise alongside that eerie sense of masterful minimalism.