V/A – Libertine 005 (Libertine Records)
Libertine’s slim catalogue of releases has been a little hit and miss so far, I think, although they certainly have their hearts in the right place. With a little bit more certainty when it comes to knowing exactly what sort of thing they want to be doing they could be a very strong label indeed. Already they have my undying admiration for bringing back the mighty Spesimen for their first outing since God knows when, and if they can move a bit away from some of the relatively nondescript minimal techno we might have something special going on.
Their 6th release goes down the now time-honoured route of getting a bunch of electro artists together for a sampler, and it’s certainly a boost away from the label’s more techno focussed material, even if it does swing wildly from one extreme to the other. Mind you, samplers like this wouldn’t be quite the same if they all sang from the same hymn sheet. Where Gosub keeps it focused with the light hearted, moonlit electro of Black Sequence II, Corp and Octogen bring in the Detroit feels with both Cosmic Velocity and Scionide revelling in strong, early, Model 500 influences. Both are great tunes, with Octogen’s Scionide in particular really invoking Juan Atkins’ machine soul. Space Travel’s From The Sea locks everything into a compressed 4/4 trip of dense, bleepy, and regimented mayhem to close things off. A nice sampler from a label who seem to know what it’s about even if it hasn’t entirely come together yet.
Nothus and Deliwke – RedWalls (XCPT)
Perhaps it has something to do with both the recognition that the UK’s strand of wide-influenced music is getting just now, and the current vogue for – again largely UK based – hardcore, but there is a definite trend emerging in-house and techno that brings a little of that gleefull, breakbeat based mayhem to the floor, even if a lot of the tunes don’t quite get what made that stuff so good originally. XCPT label heads Nothus and Deliwke haven’t entirely gone whole hog for some full on bass madness here, but have attempted to coax something of the attitude into the music.
Does it work? Yes, to an extent, although neither of the two original tracks here – Redwalls and Requiem – really allow themselves to fly off towards some manky, early nineties warehouse, both are capable bangers, suggesting more than a passing kinship with what’s been coming out of Bristol over the last few years. Redwalls itself feels a little harsh, and leans more towards what you could describe as a Semantica style translation of the vibe. The shuffling breaks are hard, and most of what should be the soul of this style, the crazy perc, is stiffly sampled instead of destructively wild. Even so, it’s a nice tune – and deeper than it probably has any right to be. It unfolds nicely, getting in there with some blissfull, bleeped out melodies and squirts of 303. Requiem is even better, jacking into a strongly IDM-ish mood and allowing itself a little more leeway with getting its head down.
It’s left to Mgun and DJ Plant Texture to bring some much needed craziness to the proceedings. Mgun’s take on Redwalls smashes the original apart and uses the pieces to build a trippy, oddly haunting rocker which glimmers with a strong Detroit light. Plant Texture just goes proper mental on his take, rendering Requiem into a snarling, multi-limbed hardcore monster which terrifies and consoles in equal measure.
M.A.P Vs DJ Haus – X-Mod EP (Dixon Avenue Basement Jams)
Dixon Avenue are now one of a vanishingly small band of labels who are still willing to bring a form of house to the floor that has little truck with the deeper varieties currently clogging up the nations ears. And while there is still space in their release schedules for family members like Jared Wilson, the last year or so has seen them expanding outwards towards an even messier, warped and rave fuelled take on the genre.
It’s entirely fitting that they should have brought Unknown To The Unknown head DJ Haus onboard. Haus’ own projects have long had more than a passing similarity with DABJ’s, and this EP, alongside Mak and Pasteman, seals those shared interests nicely. X-Mod is an EP rich with sonic mayhen, drawing heavily on a rough bumping take on Dance Mania and ghetto-house’s weaponized stomp. Both Drive MF and Bang It – the second one in particular – Bring a bruising, jacking energy to the tunes, reminiscent of DJ Funk but with a surly, day-glo charm replacing Funk’s fecund lyricism. Both are straight to the feet and straight to the point, with Drive MF especially bright with its high-speed, shuffling grooves.
Even better is X-Mod itself. Even though it draws from the same well as the other two, it injects the music with a slobberingly dirty blast of late night rave which tightens the tune and dims the light until you just don’t feel safe. We’ve waited a long time for house to start bruising ankles again. Long may it continue.