REVIEWS KILLERS
THE CUTTING-EDGE RELEASES YOU NEED IN YOUR LIFE
2000F & J Kamata Glimpse
‘You Don’t Know What ‘Drifting
Love Is’ (Carl Craig remix)’
Hyperdub Planet E
hyperdub.net myspace.com/glimpserecordings
Danish newcomers 2000F and For a while now, Londoner
J Kamata serve up a robotic Glimpse has been resonating
G-funk escapade as Kode 9’s in house and techno circles
mould-breaking Hyperdub thanks to his original, genre-
continues to push the digi- straddling productions and
dub boundaries. Wreathed in
fl ipside ‘Digidesign’ — a
here he steps up to the plate
Craig’s re-spray takes the vibe
vocodered bump ‘n’ grind vox,
synesthesia head-trip through
and delivers a heavyweight
of the original but adds a dose
slick Soul Glo synths and subtly
warping, new skool bass
number on Carl Craig’s long-
of Motor City funk, with an
shifting dubstep rhythms, ‘You
acrobatics, double time drum
standing imprint.
undulating b-line, stabbing,
Don’t Know What Love Is’ is a
skitters and tags of emotive,
In its original incarnation,
insistent keys which follow
deadly pile up of Eazy E, Faze-O
neon synth soul graffi ti.
‘Drifting’ employs sonorous,
the beat, and cyclical synth
and early Timbaland – groov-
Both tracks exhibit a funkier,
melodic Detroit atmospher-
signatures which increase in
ing like a bumping drop-top
more expansive dubstep vision.
ics and frosted, jazz-speckled
potency with the addition of
Chevrolet Impala.
Crucial music.
techno touches for a cut that
several sick snares. You need
Even better, though, is Joker’s truly stands out. Meanwhile,
both versions in your life.
Crazy Cousinz feat Architeq
Kyla ‘Birds of Prey Versions’
‘Do You Mind?’
Tirk
Northern Line Records
tirk-recordings.com
myspace.com/crazycousinz
Funky — a twist on the original Wonky beat sculptor Architeq,
soulful house formula inter- whose previous release on
preted by producers from the the excellent Tirk redrew the
grime and dubstep scenes, is wobbly electronic hip-hop
bass-heavy, Afro-beat infl ect- blueprint, lands again on
ed, polyrhythmic and sexy, but
expertly deployed, bittersweet
the label, with an original
like Emperor Machine mixed
with a dark edge which refl ects
piano and a hint of a dancehall
track and a host of deliciously
with Flying Lotus, while
its genesis in those harder
rhythm, all to stunningly infec-
skewed remixes. ‘Birds of Prey’
electrofunk man James Pants
music forms.
tious effect.
is a swooping predatory dose
transforms ‘Sleeping Bear
Like another funky fl oorfi ller,
Though there’s a stack of
of dub, all reverbed drums and
Lament’ into a weird clip clop
Geeneus’s ‘Emotions’, ‘Do You
mixes, the original is the pick
huge bass, while Kelpe weighs
Back To The Future bumper.
Mind?’ packs a sweet R&B
of the bunch. Crazy Cousinz
in with a ten-tons heavy ga-
Hitch a ride and laugh as you
styled song, courtesy of Kyla’s
will be making giant strides in
lactic disco cut, mangled and
watch the imitators attempt to
vocal tones, but rides a sub-
the oh nine — believe!
blissed out.
keep up. Futuristically fresh.
low speaker-blasting bassline, Fulgeance, meanwhile, makes
VITAL LABEL
SOMA BETA
archs Slam and their right hand mechanical tech missives. Soma
men Glen Gibbons, Chris Lamb Beta also broadens the remit into
myspace.com/somabeta and Don McVinnie. more leftfi eld electronica from
acts like Lets Go Outside. The fi rst
Who’s behind it? What does it sound like? 12” teamed the nagging bass
A breeding ground for untapped Soma-esque deep, melody sirens of Jean Ramesse’s ‘You
talent, Soma’s new label is also swathed techno, groove layered Make Me Struggle’ remix with
lead by Glasgow techno patri- tech-house and more stripped the sensuous minimal grooves of
068
www.djmag.com
DJ470.killers.indd 68 16/1/09 16:45:07
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132