The cuTTing-edge releases you need in your life
Funkalicious James‘The Take Off EP’ Airdrop
soundcloud.com/funkaliciousjames
DESPITE his name sounding like a bad Blaxploitation hero, Funkalicious James has some previous form. As part of French house duo Childhood ‘87, he dropped the tasty edit of ‘Caught Up’ on Aux-Rec in 2010 (alongside Soul Clap’s massive ‘Baker Man’). ‘Broken Hips’ follows on from that, cutting up a sensual disco groove, teasing every last nuance from its looped grooves and
dispensing with any notions of deep in favour of crafting a main floor mover. Douze’s remix blisses it out into Balearic mid-tempo French touch. ‘Call On Groove’ is similarly chugging, built around a vocal sample-led infectious jackathon of old school drums, chords and cut-up piano sequences, but it’s John Spring’s remix that propels it into an infectious drum-heavy jacker.
Simon Weiss‘Wave EP’ Rush Hour
soundcloud.com/simon-weiss
WHEN it’s not unearthing lost classics, Rush Hour is introducing the freshest young talent, as is the case with home-grown Amsterdam producer Simon Weiss. Part classic Roland drum machine obsessive, part futuristic visionary, he casts a new angle on the kind of forward thinking retroism being hammered out by the likes of Blawan. ‘Cassette’ marries wonky arrangement with a
jaunty melody for the EP’s lightest ride, while ‘Amsterdam Wave’ revolves around a more straight-up drum pattern, with dark side reversed strings. ‘Return The Wave’ continues the sci-fi bleakness, coming on like an agitated Model 500, before the even more discombobulated ‘Wave II’ arrives, vocodered vocals ratcheting up the vintage mood.
Worthy‘Same Damm EP’ Anabatic
soundcloud.com/worthy
A fully paid-up member of the Dirtybird crew, Worthy’s Anabatic label has been shaking feathers of its own lately with a series of increasingly vital releases. Following Nick Monaco’s Miami bass- inspired ‘Bay$$ Feel’ single and the ‘New Bay$$’ EP, the label boss steps up to show his recent signings how it’s done. ‘Same Damm Thing’ is anything but the predictable ride its name suggests,
Marlow‘This Is It EP’ Room With A View
soundcloud.com/marlow
HE’S back. If you don’t know, get to. Marlow’s impossibly de-lush-ious deep house — seamless conflations of sampladelic soul, computer funk and club-oriented 4/4 thunk — has stood out a mile on Objektivity, Moon Harbour and Room With A View. The latter have seen fit to release his latest emission, and it’s another jewel. ‘Keep On’, littered with vocal cuts, spoken word
clips and swaddling layers of aquatic keys, comes on a little like Motor City Drum Ensemble, but built on a chassis of live-sounding percussion and whacking great house kicks. ‘Need U’ opts for squidging boogie-funk synth bass, disco claps and huge pounding pianos, while ‘This Is It’ uses a full male vocal, needling disco guitar and relentlessly grooving bass for a peak-time bomb.
drawn out atmospheric strings dropping into a speaker-wrecking industrial low-end groove powered by chopped vocals and plenty of bad ass attitude. Consistent’s remix heads into rolling house territory for less adventurous minds, but Nick Monaco adds another twist, with Bassbin Twins-style breakbeats, giving it a flavour that harks back to the West Coast’s zeitgeist.
Zoé Zoe‘Church EP’ Sneaker Social Club
sneakersocialclub.tumblr.com
The title track here, first heard on Maya Jane Coles’ ‘DJ Kicks’ recently, is the kind of thing which makes you stop in your tracks and say, ‘What the fuck is that?’ The product of a new Lithuanian producer, ‘Church’ is suitably celestial and lofty in its ambition, a strange, hard to pigeonhole breakbeat caper of slipping, sliding, chopping midtempo jungle breaks and stepping keys;
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Gang Colours ‘To Repel Ghosts (George Fitzgerald Remix)’ Brownswood
soundcloud.com/george-fitzgerald
THE debut album from rising electronica crooner Gang Colours was a low-key delight, cut from a similar cloth to James Blake, but perhaps possessed of stronger songs, all wrapped in diaphanous hazes of glittery machine melody. George Fitzgerald, known for his bass/garage tilted offerings on Hotflush, Aus and ManMakeMusic, uses the GC original as a springboard to further
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explore the techno climes he’s been gravitating towards lately. The result is a thing of true gorgeousness, a 4/4 rush of corrosive, metallic synth melody, snatches of melancholic vocal balancing the technoid squelches. Intense, Detroit-referencing synth soul, it’s the best thing George has done so far by a country mile.
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shafts of light through stained glass windows, diffuse motes of dust dancing in the rays; the weird backwards tones, emotive, alien, when they appear, evoking nothing less than bouncing from cloud to cloud. It’s a trip, a heady one, beautiful and otherworldly, with a zone of sub bass tones operating below. Oh yeah, the other tracks are excellent, too…
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