Yaroze Dream Suite
Yaroze Dream Suite
Making good on an earlier promise made in the heat of a packed Vinyl Pimp one Record Store Day gone by, two of instrumental grime’s most emotive producers, Yameneko and Mr Mitch, join forces for a four-track EP of real distinction on Local Action. As you’d expect from following each of them it’s hyper melodic, super-colourful and burgeoning-ly weird, but in testing each other’s limits they’ve made some gorgeous and brittle slices of synth play.
'Aloha Ice Jam'
With this new O’Flynn shit, Blip Discs feels waaaay more confident. I mean, had they come out with a sideways party jam like ‘Aloha Ice Jam’ in the very first place, they probably could’ve skipped any kind of nerves altogether. It’s so self-assured, vibesy and it feels like the perfect thing to play at a block party. And by that I mean a proper late ‘80s NYC block party, not some sloppy street party in Lewisham.
The French producer CLUBKELLY debuts on Bristol outfit Crazylegs with four slices of unashamed house. Utilising a few different methods (the heavy sample-chopping on ‘TOOL’ is perfectly executed, as are the stabs that tease the Kenny G-style melody on ‘UDDS’), it’s music that feels really creative and dare I say it... fun. ‘UDDS’ is the absolute tip though, thanks to the rolling trap snares, heavy-handed EQing/reverb and that nagging piano line.
'Data Bass EP'
Hi, yes, I am very late to the party on this one — even though he slid into my DMs and dropped it off in a very timely and professional manner. Filter Dread’s always been a very interesting prospect and — much like Sully — he’s hit a real fruitful stride at the minute, bastardizing his way through a whole heap of styles from d&b, clipped almost-garage and grime. ‘Panic Attacks’ is my bruised pick of the bunch here.
From personal interactions, I know that Spatial’s a dude who likes experiments — be it choral drones, sound installations, interactive graphics or what-not. And I say this only because it really feels like he’s embraced all sorts of different production approaches on the sprawling ‘Rainbow Table’, a track that verbs and stutters its way into life before it goes all bombastic synth. ‘Black Sand’ is more rugged garage, but it’s no less of a successful experiment.
As soon as it gets to August time, I seem to want to label everything upbeat as ‘carnival ready’ because, like a lot of music journalists, I’m sardonic and more than a little bit lazy. What it is, though, is the energy of something… take Tarquin’s cartoon-etched bassline house, for instance. A track like 'Lollipops' has a very direct and wide appeal, plus there’s oodles of tempo there that make it perfect for a catch-all situation.
The music directly influenced by dubstep has every right to be dark, it has every right to be brooding, and it has every right to be completely different to what the next guy is making. TSVI is one cat making tracks that manage to be all three. Highlights: when his almost soca drum-lines on ‘The Healer’ pitter out into very Club Constructions-like hi-hat washes and ‘Assam’s Children’, an exercise in tropicalia percussion.
Deep Medi signings Kaiju’s latest long form EP/mini album is inspired by the seven deadly sins, so it — surprise surprise — has seven tracks on it. The slower tracks like ‘Greed’ and ‘Sloth’ are where the duo really shine, filling the space in between the beats with that familiar dread-heavy atmosphere that epitomized some of the best early dubstep. The collaboration with Gantz on ‘Gluttony’ is very noteworthy too, it’s got a real buoyant, hovering underbelly.
Bruce seems like a guy who properly understands and rationalises the techno-influenced music he’s making and putting out there. On the strength of the latest two machinic cuts to be released on Batu’s Timedance label, it’s obvious that he knows a lot about layering and deploying those little unique drum edits that deal in massive effects, but he excels at the building and releasing of tension — the wind-up and the let-go. Beautiful stuff.