Best Of The Represses – October

I thought this month was looking a little bit slim in terms of decent represses, but October seems to have bucked up its ideas a bit towards the end, which is great because I would have probably have had to talk about Mike Dunn records yet again. The fact is that although things were a bit slow in getting going, there have been some pretty interesting represses slipping into the schedules, and the even better news is that there should be some excellent bits and pieces appearing over the next few months as various labels begin to really get mucky in pursuit of some genuine buried treasure. Anyway, here are my picks for the last few weeks.

Dan Curtin – 3rd From The Sun (Detroit Dancer)

As one of the seemingly small handful of early movers still doing it today it’s always seemed a bit strange that Dan Curtin doesn’t seem to have quite the same level of adulation as some of his peers. Perhaps that has something to do with his own wonderfully unique vision of what techno was and is setting him a little away from the rest of the pack. No matter, because we have this repress of 1992’s 3rd From The Sun to remind us just how brilliantly individual his music could be. Occasionally feeling very much of its time, and often sounding like a mad collision of almost too many ideas, 3rd From… is a record that tears great big chunks of inspiration from Detroit techno, house, breakbeat, rave, acid, and jungle, and moulds it into a brand new whole that just about makes perfect sense even as the different tracks often seem to bugger off on a totally different tangent from what you had expected. It’s never content to do one thing when it might as well do six. Every tune is a cracker, but the title track is probably the real stand out for the way it fuses its smooth, gliding, techno leanings with something altogether more bonkers. Reborn’s crazed acid rave up on the A side gives it a run for its money and adds an extra dose of insanity just to make sure.

Fade II Black – In Synch (Technorama Classic Series)

Detroit second waver Jay Denham originally released In Synch under his occasional Fade II Black project on Transmat sub label Fragile way back in 1990. Where a lot of tunes from back then seem to have grown more primitive over the intervening years, In Synch retains its sleek, deep energy. House infused, the tune unfurls over a fat bass line that owes Chicago a debt. Even now, 25 years on, it rolls with a determined funk that’s part Blake Baxter but rich with Denham’s usual slightly psychedelic panache. B side is Playground, a low stomper under Denham’s own name that might not be the equal to In Synch’s classiness but carries enough in its unfussy groove to keep you on your toes. I’m told that the original full release is available digitally, for anyone after the other tunes but not willing to go to Discogs. Best of both worlds.

Paranoid London Featuring Mulato Pintado – Eating Glue (Paranoid London Records)

A repress that must have made many, many people who were slow coming to Paranoid London’s nasty, authentically darkside acid house very happy, this re-release of the act’s 2012 debut is the real deal. Featuring some of the most grimy acid lines around today, some hot toms action and full on attitude courtesy of Mulato Pintado’s cold, dispassionate and slightly sneering vocals, this is some of the most deadly acid released in years. Keeping the 303s down in the gutter where they belong, it struts its way along dirty streets looking for any opportunity to get inside your heard whilst mainlining the ghosts of the Chicago greats. In fact, with Pintado’s drawled, threatening vocals in place it sounds like Suicide being remixed by Bam Bam. Absolutely top drawer stuff. Pick this up before it vanishes again, and get the album as well – it’s one of the belters of the year. Acid house nihilism. Yes.