Review: Dekmantel 2017

Main Stage | Photo: Bart Heemskerk

Dekmantel is in a league of its own.  Having long been a mecca for dance music lovers, it is heralded as one of the best festivals of its genre in the world.  40 minutes out of Amsterdam, the festival itself sits modestly in a tree-encircled area, and a half hour walk through a fairy-lit forest following the river takes you to the campsite. A large proportion of the crowd come in for the day from the city, and those who do camp do so in a fully kitted out, clean campsite with the option of cabins with beds (for a slightly higher price).

The simplicity and practicality of Dekmantel is a reflection of its overall attitude. There are none of the frills, or decorative extras that have come to characterise a lot of other festivals; it really is just about the music. This is not to belittle the aesthetic of the festival; the design of the stages is central to the weekend’s appeal and success. Repeat attendees become fiercely attached to particular stages, and this is down to their distinct and unique personalities. The style of each DJ’s set is tailored to the stage that they are on, which is testament to their thoughtful and special creation, and a reason why so many of the acts played more than once over the weekend, with varying sets over different stages.

Selectors is centred upon a willow tree which drapes down into the dancefloor, and which braver members of the crowd clamber up. On the main stage the DJ is elevated, and silhouetted against a wall of records behind them. Sets at selectors are more about individual tracks than the overall set, and take on a feeling of the DJs sharing their influences and personal favourites which makes for delightfully surprising listening, a highlight, for me, being Marcel Dettman’s afternoon session there on Saturday. The UFO stage is deliberately disorientating, a huge tent, totally dark inside except for streams of sunlight creeping in between the cracks. This is where the likes of Matrixxman and Donato Dozzy found their stride, playing thundering techno from open to close.

The Greenhouse, a huge metal structure filled with plants, was a glorious, tropical suntrap and played host to the likes of Byron the Aquarius, Jeff Mills and one of Helena Hauff’s sets (the other being at Boiler Room). Red Light Radio, the stage in the centre of the food and drink arena, at many festivals relegated to the status of background music whilst people eat and buy cigarettes, boasted as stellar a lineup as the rest, crowned by a stunning dusk set by Legowelt. The Boiler Room stage, a cult location for many, is understated and unpredictable, hosting a stellar lineup including a surprise appearance form Nina Kraviz (her second set of the weekend), and my favourite set of the weekend- Blawan on Sunday. All the stages felt incredibly intimate, even though all have pretty big capacities- the main stage, by far the grandest, still felt friendly and unimposing. The narrow, semi-circular screen behind the elevated stage, whilst bursting with colourful and hypnotizing visuals throughout the weekend, did not overshadow the artists behind the decks.

Main Stage | Photo: Bart Heemskerk

Dekmantel does not mess about with its lineup, the ending time of the festival being 11, there is no time wasted with filler or warm-up DJs. Nina Kraviz opened the festival at 1pm on Saturday and Motor City Drum Ensemble at the same time on Sunday. The result of this, or perhaps the reason, is that everyone there is truly passionate and knowledgeable about the music, and there isn’t really anything there for people who aren’t. This both raises Dekmantel’s game, driving it to present an infallible line-up, and contributes to the down-to-earth, unpretentious nature of the people there. Dekmantel, overall, feels like a more mature, wiser version of every other similar festival I have been to- it doesn’t hide behind gimmicks or scale, it simply delivers fantastic music in a beautiful setting.

 

Words by Dora T

RECORD OF THE WEEK: Money Morning ‎– Corporate Karma [Acting Press]

After a stint of relative quietness, Berlin’s Acting Press have since treated us with a flurry of 12”s over the last couple of months. First was PLO Man’s much anticipated follow-up to the revered ‘Stations of the Elevated’, followed now by releases from Money Morning and Accelera, the former of which comprising newbie Scott W. and All Rest No People, one part of both CC Not and Attitudes in Error. In keeping with the label’s ethos, a shroud of mystery pervades, but rest assured there’s certainly no trade-off with quality.

The record treads the line somewhere between the proto-IDM of Warp’s Artificial Intelligence compilations and the ambient-leaning end of Aphex Twin’s output. In any case, it undoubtedly harks back to that movement of electronic music that was born as a counteract to early 90’s rave. The opener ‘Haze’ is an outstanding, expansive epic that’s reminiscent of the ambient works on labels Northern Electrics and Auxiliary and, although somewhat disparate, I can’t help but draw parallels with the feeling I first felt on hearing Lemon Sol’s ‘Polymorph’. The EP should really be treated as a single entity and listened to in its entirety. However, if a highlight were to be picked it would be ‘Remnants of Joy’, a bliss 11-minute wave of swirling ambient electronica that’s crafted by some exceptional drum programming. This futuristic track falls nicely into the deep night-time zone and provides the perfect after-hours soundtrack.

However, the record, as is the case with many releases that garner such hype, will undoubtedly be masked by inordinate pricing on the second-hand market. So do, if you’re lucky enough to find one, cherish and preserve it purely on merit of the quality it beholds. 

4.5/5

Listen to the full release
Buy: Vinyl

 

Words by Tom G

Old 'n' Gold: Jan Jelinek - Loop-Finding-Jazz-Records [Faitiche]

After sixteen years of quiescence, Jan Jelinek’s Loop Finding Jazz Records receives a well overdue repress on his own imprint, Faitiche.  The record was originally released in 2001 and was the seventh release on Stefan Betke’s iconic but unfortunately obsolete label, ~scape.  During the record’s repress hiatus, the prices for this masterful piece of production soared to outrages heights.  Now not only can vinyl collectors buy this record without breaking the bank, we can also metaphorically raise our middle finger to all the Discogs wolves that originally inflated the price of this much loved release.

Jelinek is a multi-talented musician and producer.  He is somewhat of a mysterious character due to his numerous aliases.  Farben is one of his best-known pseudonyms.  He uses Farben when he performs live sets.  Gamm is another name he produces under, where he treats us to electrifying minimal electronica.  

Jelinek creates sounds with utmost care and sensuality.  This LP is a beautifully crafted cerebral dream that leaves you blown away by its intricate splendour.  The way in which Jelinek invests his attention to the formation of textures is truly impressive, from his smooth hazy loops to the sharp static sounds.  Unsurprisingly due to its ambient house feel the album still sounds fresh today.  The third track on the record, “They, Them”, has a soothing xylophone and a weird yet satisfying brittle layer that leaves you in blissful tranquillity.  “Tendency” follows a similar house rhythm to “They, Them”.  The droning and complimentary rippling effect he introduces demonstrates the relevance and inspiration his style has had on today’s minimal house producers.  What ties the ribbon on this iconic record is “Drift”.  This track reveals the abstract side of Jelinek.  It’s one of the stranger tracks on the album, with its hauntingly absorbing rhythm and squelchy synth work.  The individuality and sheer ingenuity of the album shows why Loop Finding Jazz Records has been an significant influence to many artists. 

This LP is perfect for home listening on a slow Sunday after a heavy weekend and a must have for any vinyl collector. 

Buy: Vinyl

Words by Max J

RECORD OF THE WEEK: Lone – Minds Eye Melody [R&S Records]

Matt Cutler aka Lone, is back with his second instalment of his ‘Ambivert Tools’ series under a label that needs no introduction, R&S Records. A prolific producer on legendary R&S and other labels such as Magic Wire and Werkdiscs, Lone has also gained notoriety as a supreme selector playing some of the biggest shows around this year.

It is a decade since Lone’s debut release. His love for the game is still apparent and he proves that he is prosperous in his fruitful surroundings with his new series on R&S. Following on from the rugged beats on the acclaimed ‘Vol. 1’, Cutler continues the vibrancy with flourishing synths dominating the hypnotic deep-house sounds on the opening track of the ‘Ambivert Tools’ second instalment.

After a solid start and a dream-like start to the second ‘Ambivert Tools’ EP, we are very much looking forward to hearing the next instalment in the coming months. Ears at the ready.

4.0/5

Pre-order: Vinyl / Digital

 

Words by Tom M

MIX OF THE MOMENT: Bullion - All Abawd

It’s ironic that the adjective interesting is actually quite an uninteresting way to describe something, despite this, for Bullion’s (Nathan Jenkins) All Abawd mixtape it’s a useful place to start. Released on 26th April in a small batch on cassette by The Trilogy Tapes it sold out quickly. Indeed, it’s easy to miss these kind of endeavours and it was only Bullion’s TTT follow up, the excellently intriguing Blue Pedro EP, and a little research that led me to buy the digital 27 minutes 31 second mix. Despite it’s springtime release the mixtape is perfect for this moment- high summer- when much of the music that has/will characterise the previous/upcoming months has already been rinsed, repeated and enjoyed. Comfortable with what is there and safe in the knowledge it’s not going anywhere, it’s always worth trying something a little bit different and this mixtape serves this purpose perfectly.

In a relatively short space of time Bullion’s All Abawd covers significant musical ground. Tracks ebb, flow, leave, return and are put unexpectedly married, ignoring tempo or genre the tape is eclectic without sacrificing any sense of coherency. All Abawd opens with slow-mo atmospheric, euphoric and world influenced sounds and alters between this and the slamming percussion and energetic synth lines that the more recent Blue Pedro EP is home to. The mixtape is characterized by ear-catching, rapid movement between these two styles.

 A mixtape can be a space for experimentation, an oft forgotten fact which Jenkins takes full advantage of. Indeed, it’s an all too predictable formula when a mixtape from a DJ sounds indistinguishable from the dancefloor. A mixtape can showcase musicality without worrying about danceability. In this sense selecting music can be as interesting or uninteresting as you choose to make it and Jenkins’ awareness of this is a large part of what makes All Abawd such a refreshing listen. In addition to this it showcases his talents as a producer as a lot of the material looks forward to his Blue Pedro EP.

The beginning of what could become a nautical themed musical love affair for Bullion and TTT, All Abawd serves as a wonderful introduction. An aquatic adventure, providing welcome relief from sweaty summertime saturation, the mixtape can still be downloaded in digital form from Bandcamp.

 

Words by Hugo B

RECORD OF THE WEEK: Laurence Guy - Saw You For The First Time LP [Church]

We love Laurence Guy and we’ve been waiting for this week for a while. Landing with classy understatedness on Seb Wildblood’s charming Church, comes Saw You For the First Time – after teasing us with a string of EP’s, Laurence Guy’s debut album. It’s also the South London label’s most recent LP since Ishmael’s sumptuous Sometime In Space of last year.

For fans of the label, this LP truly encapsulates the sound and ethos of everything Church is about. It speaks of the collectiveness and friendship within their work that Ishmael lays down the melody with his usual sax-aplomb on arguably the album’s stand out track ‘Anchor.’ Steve Spacek’s ethereal vocals take centre stage in ‘Drum Is A Woman,’ but really the strength of Laurence’s work is that taken individually or collectively, each track is a story in itself, somehow seamlessly weaving into the next. It’s a winding journey but, one that is about so much more than blissed out house music.

The whispering synths of ‘Orchard Road’ have now solved the conundrum of anyone desperately clamouring to find an opener for their set; ‘Wichita Falls’ ushers in dulcet euphoria and is already becoming a hyper-chill staple; there really are too many highlights (including the artwork).

It’s been a journey and it could not have culminated at a better time. The album is made for these long summer nights and I have nothing but respect for the continued way that Church goes about its business. From laying on the most killer line-up of a long overdue Boiler Room session in October of last year, to the faultless curation of their stage providing the major memories at this year’s Peckham Rye Music Festival – Seb and his band of merry men are just doing what they love, and it’s a pleasure to be on the receiving end of some of that.

As a fellow Guildford reveller – hats off fully to Laurence. All those ventures to Ben’s Collectors Records have borne some serious fruit – I just hope there’s something left in that Surrey water for all of us. And you can catch the man himself back to back with his old mucker Mr Wildblood down our good friends Labyrinth’s day session on September 2nd. As long as someone provides the weather – they’re sure to provide the perfect soundtrack.

4.4/5

Buy: Vinyl / Digital

Words by Marcus P

 

Label heat: Atomnation

Atomnation has been producing unique and moody electronic music since its inception in 2012 by Pascal Terstappen and Guido Hollaers, but has recently upped the ante with the frequency of releases being increased, and the launch of a monthly podcast series. The Dutch label specialises in sultry and surreal music, spanning the gritty, the energetic and the ethereal. Founder Applescal produces punchy dance tracks, Portable Sunsets create beautifully emotional, dubby tunes with hints of classical beauty, and David Douglas makes indie, vocal driven electronica.

This month sees the vinyl release of Nordic duo Gidge’s ‘For Seoul’, a 2-track hymn to the South-Korean capital city that they visited and fell in love with. This follows some deep and lovely records from earlier in the year such as Tunnelvisions’ ‘Tanami’ and David Douglas’s ‘Spectators of the Universe’. Most notable, however, is Deltawerk’s ‘Passages’, which was released in conjunction with their live show, a 270 degree visual experience that guides the audience through unearthly landscapes as the album progresses.

Atomnation is unconventional in its intimacy. The habit of releases being accompanied by backstories and context around the artists’ inspiration, the origin and creator of the label artwork, and the relationship between artists follows the label’s tendency to present its records as an entire emotional and sensory experience, rather than just something to listen to. Many of the artists on its roster are known for their impressive live shows, and a number have backgrounds in art, film and poetry. There is also a distinctive theme of music that expresses the mood of certain places, and a strong connection to nature runs throughout the sounds, titles and artwork released by the label.

All in all, Atomnation is an eccentric and exceptional label that produces emotive, complex and three-dimensional music - definitely set to keep on making unpretentious and unpredictable magic.

 

 

 

Words by Dora T

WHERE TO GO: Whities @ The Yard, Hackney Wick

Whities have not just solidified but have certainly elevated their status within the underground scene with an impressive but calculated first half of the calendar year. In keeping with the modus operandi of ‘less is more’, the label, under the careful guidance of Nic Tasker, has released just a handful of records in 2017 but has continued to be one of the commanding forces coming out of London with their highly diverse and interesting takes on electronic music. In addition, the label has organised semi-regular nights throughout the year, the most imminent of which coming this Friday at The Yard in Hackney Wick. The night plays host to one of the regulars off their roster, Minor Science, as well as being joined by Hyperdub’s Okzharp and NTS regular TTB. An exciting addition also includes an installation from recent label debutant Calum MacRae, aka Lanark Artefax, which will take place for the first few hours of the event, so make sure you get down early!

Tickets

Words by Tom G

Premiere

The Planty Herbs returns to our favourite Brooklyn based label, Razor-N-Tape. Introducing the A2, 'Errbodydisco'.

Some might remember The Planty Herbs from his earlier 7” outing on Razor-N-Tape, and now the dynamic Dutchman brings his dusty vibes to a four-track EP of crafty edit selections. 'Famyly' kicks off the pack with a bouncy funk groove, followed by 'Errybodydisco', a low-slung house party affair. On the flip we have the flute solo and sample-heavy Soundstream-esque stomper 'Today', while 'What’s Inside' takes us back to the soul side with a boom-bappity cover of a 70s R&B classic.

RECORD OF THE WEEK: Fede Lng, Jesse Bru, Deejay Astral, Nostalgia - PNP 001 [PNP]

Soulful disco vocals meet dusty house grooves as PNP drop a piece of summer dance floor fire to kick start their catalogue.

PNP is the fresh sub-label sibling of established London imprint Axe on Wax. Having previously put out records from a range of global heavyweights including Boo Williams (Chicago), Mall Grab (Australia), Chaos in the CBD (New Zealand) and Glenn Underground (Chicago) to name a few, label boss Fede Lng now brings it back to his hometown with a debut release of seductive re-edits from a selection of rising producers.

On the B-side are two summer house anthems. Fellow Londoner Deejay Astral’s interpretation of Floetry’s 2003 R’n’B hit ‘Say Yes’ delivers a track with upfront kicks and tight hi-hats, blissfully offset by a downtempo breakdown that gives space to the silky vocal, before building back up to a solid deep house groover.

Nostalgia follows suit with a light hearted, sample heavy arrangement. This funk fuelled rework of an eighties gem is paired with skippy kick drum beats and a vocal that floats us away to a distant sun drenched party on the Adriatic coastline.

The A-side is more club focused as Fede Lng shrewdly cuts the vocals of Leon Ware’s 1979 hit into a raw track with powerful kicks and sandy hi-hats, whilst the stand out track on this EP would have to be Jessie Bru’s 'Don’t You Know' (909 Edit). As the title suggests, newcomer Bru’s contribution is a firing TR-909 stomper layered with disco shrieks and catchy loops forging a high energy peak time track that’s sure to have hands up high at festivals and open air dance floors across the board this summer.

Also released on digital however the 180 gram vinyl with hand stamped pineapple is surely the only way to go for this powerful summer slammer. Keep watch!

3.9/5

Buy: Vinyl / Digital

Words by Henry C

Label heat: Shall Not Fade

Last month was a busy month for the young Bristol based outfit, Shall Not Fade, gathering together a fine selection of releases. Since the vinyl only label started in 2015 it has been reaching out limbs in all directions, but that has been even more evident recently.

At the beginning of the last month SNF gave us some snippets of the first EP by Viers (LK) set to be released in July on their new sub-label, Dream of Dystopia. The EP entitled, ’A Moment In The Machine’, certainly takes its inspiration from the industrial paradises that have swamped the world. Driving bass, mechanical sounds and clicking hi’s will have you crawling for the Evian. A haunting ambience floats through the EP and the noises used hold clarity that could swing you into an other worldly state. A stroke of minimal genius!

Shall Not Fade’s original sub-label, Paradise Palms, is also busy releasing the hot wax of Anthony Fade’s new EP, ’What I Need’. Premiered last month, it’s a showcase of lo-fi raw beats, with well cut grainy samples and babe wailing vocals, atmospheric chords stab ‘bak nd forf’ throughout that muddy bass, creating a lovely sense of mood within each track, for something so underproduced the sensuality from it is very clear indeed. This will be available on vinyl later this week.

I’m not sure if LK has seen the face of light recently but to show forth his true versatility in production his ‘Think About It First’ EP shows a new sound that are unlike his previous releases. Listening through it shows a much more expressive approach, firing in some well oiled baselines and jaunty chords that flow free through a background of auroral sounds. Sneaky hints of that playful acid sound seem well contained and are peppered around the space. The percussion through is well balanced and clear cut and really lends to your senses. Again, keep your ear on standby and picking fingers at the ready for I'm sure this will be a hot seller this month.         

To finish off this outstanding array of instalments we are greeted by the third release of their white label series, ‘SNFW003’. A1 - LK giving our ears a taste of some delicious soulful house cut together with warm baseline grooves and that all too familiar hi-hat. The finger licking guitar to go will have your legs in a tangle as you keep singing back those vocals. A2 - DJ Boring stripping back to a more hard hitting 4/4 stomp, with breaks and cuts of haunting vocals throughout and sharp lo-fi percussion, lets hope there’s no lego on the floor as your feet will be hitting down hard. Flipping over to the B-side of this compilation Adryiano returns to the boil after having his thirteenth record released in May which showed forth some pretty magic cuts and jazz fuelled breaks. This also shows in this B1 track, a real dance mover which won't fail to get your head nod on, taking you through a journey of classic filtered disco breaks and signature claps. B2 - rounding off the release is Deejay Astral, my personal favourite, ambient sounds and dulled percussion progress through into raw hats and soft vocals. Let your eyes have a rest as you sway into your dance procedure. 

This compilation sums up this well in tune label and their ability to accompany these raw and yet fragrant sounds together on a regular basis, a real taste into how well the label has settled down and allowed the artists to work in harmony.

 

Words by Freddie T

WHERE TO GO: Noisily Festival 2017

Noisily is just around the corner, which means a weekend packed with psychedelic delights, glitchy treats, thumping bass levels and a beautifully produced set up.

Nestled in the Leicestershire countryside, the range of music offered up is staggering: the main stage (Noisily Stage) hosts deep techno, house and progressive grooves: the legendary Michael Mayer thumps alongside, Acid Pauli, Nanoplex and Yeti plus many others. The Tree House stage serves up all things bass driven with Glitch Hop, D'n'B, Neuro and Breakbeats represented: Congo Natty, Beardyman(!) JFB, Nimbus to name a few. Last stage but certainly not least is the hefty Liquid Stage, hosting Liquid Psychedelic wonders from the likes of Hopi, Laughing Buddha, Zen Mechanics and so many more. Sounds are brought to the people via the hefty Funktion-One system adding the icing to that sonic bonanza cake. Also on offer are a wide range of interactive and stimulating workshops, with sound meditation, drum circles, stargazing, sacred signing and shamanic shenanigans! Delicious food will be available throughout, with understandably a fair few vegan options awaiting your pallets. 

Tickets

Words by Giles O

RECORD OF THE WEEK: Batu - Marius EP [Hessle Audio]

On the hugely successful Hessle Audio, comes a meaty release from Batu, head of Bristol techno label Timedance. Hessle Audio’s sound is distinctive- bass- heavy, dubby dance music exemplified in releases from Pearson Sound, Pangaea and Kowton, and the label has a huge following as a result of its bold and weird character. Batu has earned himself and his label a well-deserved reputation as creator of some of the most thoughtful, original and slickly produced dance music of the moment, and at an impressively young age.

This EP, 'Marius', takes on the distinctive Hessle Audio sound in a big way, whilst retaining the ethereal ingenuity that has brought Batu so much acclaim. Primarily rooted in techno, the record nods heavily towards dubstep, trap and footwork in the chunky, drilling bass lines, syncopated drums and reverbed overlays.

The whole release is characterised by creative use of playful and weird percussion, layered over unashamedly punchy low ends. These tracks have a sense of humour and intelligence in their dialogue-like composition. In every track, distinct phrases play off each other, reacting and interacting as if in conversation, and then merging to reveal an overarching harmonic climax.

The four tunes carry a similar cheeky personality, but differ enough to make it an interesting and surprising listen. The title track of Marius is deliciously satisfying with muted, mechanical drums and a sparkly high end, which together form a warrior-like work of art.

'Nosema' is a quick descent into dark, quirky madness with syncopated percussion and warm bongos. 'Don’t' has a slow, melodic build which becomes progressively grittier and more distorted throughout.

My personal favourite is 'Off Court', a driving, dubby track, with asymetrical drums and atonal, tumbling chords. A spacey, bouncy high end contrasted with the moody bass kick makes it humourous and terrifying at the same time.

The whole record is overall a little bit wicked. Bold, clever and strange, 'Marius' treads the lines between genres and mood indefinably. Batu has created a devil of a release with real substance, guaranteed to inspire a grin and get you marching.

4.3/5

Buy: Vinyl / Digital

 

Words by Dora T

Old 'n' Gold: Instinct - Mindsearch [Sound Metaphors Records]

Continuing on from the success of the DJ Dove reissue, Berlin’s Sound Metaphors again shines light on another sought-after record, this time in the form of Instinct’s seminal 'Mindsearch' EP. Originally released in 1990, the record marked the first in a string of only five EP's on the now defunct Decisive Records, a label run by Joseph C. Smith II and solely employed for his own musical explorations. With limited pressings and an almost unparalleled quality across all the releases, the label has since gained a cult following and certainly helped to inspire a lot of techno coming out of Detroit in the subsequent years. Upon listening, said origins are clear; a sound so unique and one which is often imitated but rarely emulated these days. 

All three tracks stand equally on their own and share the same futuristic and metallic sound that helps to create an immensely raw and melancholic feel, a form of electronic music almost impossible to replicate with modern software. ‘A Groove’ is the pick off the EP for me, a dreamy and emotive track that’s carried by signature Detroit cowbells and some uplifting strings which are reminiscent of some of Derricks May’s finest works.

In the years that followed the demise of Decisive Records, I’ve been informed that Joseph has since plied his trade in the world of real estate, but as is the case of many greats, his music lives on and it’s credit to the work of Sound Metaphors that future generations will be able to cherish and enjoy his works. A futuristic record for the ages!

Listen to the full release

Buy: Vinyl

Words by Tom G

RECORD OF THE WEEK: Aroop Roy - Tembandumba (Vocal Mix) [Sol Power Sound]

This weeks record comes from the much-celebrated label Sol Power Sound. This is Sol Power All-Star’s fifth instalment on their label. Deep Sang, Meistro and DJ stylus head the culturally diverse label. The incredibly gifted trio have been grafting and making serious movements in the underground hip-hop, Latin and house scene. Their passion for everything Afro was the clincher to their innovative relationship. The heterogeneous sounds the guys perform ranges from samba, afro-beat all the way to electronic. The real enchantment is their capability to merge these cultured sounds with a modern groove. In 2015 the label was launched which was accompanied by their first release, ‘Plaza Bolivar’. The year after saw them achieve more success, releasing Tom of Brooklyn’s ‘Theme Song' and their best work to date ‘Djidjo Vide’. The best way to describe the label is by citing their own explanation to their approach to music. The trio denote that their way is “A sweaty, exhilarating party experience that connects beats from Cuban roots to the beaches of Rio to the discos of Lagos. Three obsessive crate diggers and veteran party rockers team up with a master percussionist to destroy dance floors and release music that moves them”. This citation is most certainly prevalent with Aroop Roy’s 'Tembandumba (vocal mix)'.

Aroop Roy is a London based producer and is the latest member of the Sol-Power family. Roy has produced many records since his debut in 2007 on Freestyle Records. He has worked with many illustrious labels such as GAMM, Basic Fingers and House Of Disco Records, which demonstrates that he is no novice when it comes to production. 'Rising Tides’ is truly a masterful release but it’s the vocal mix of ‘Tembandumba’ which enthuses the eardrums.   The track starts off with a beautifully epic vocal by Totó la Momposina an eminent singer from Columbia, who in 2006 was presented with the WOMEX lifetime achievement award and in 2013 was awarded the Latin Grammy Lifetime Achievement Award. The track then seamlessly progresses into a suspenseful drum pattern and then climaxes into an effervescent bass line. However it’s the talented synth work, fluctuating rhythms and mouth-watering filters exhibited by Roy that makes the vocal mix the exemplary track on this record . 

The whole EP is truly a delight to experience. Definitely a selection for the cultured foot stompers! 

4.5/5

Buy: Vinyl

Words by Max J

RECORD OF THE WEEK: Gacha Bakradze - I Can Still See You [Transfigured Time]

In the midst of the continually growing hype over the clubbing scene in Georgia’s capital, Tibilisi, ounce allusive talents are now being unearthed to the wider electronic music community. Native Gacha Bakradze returns to the Tibilsi-based label, Transfigured Time for his second EP, ‘I Can Still See You’, after having appeared on their first two Various Artist compilations. Starting out his career being signed to R&S and Apollo Records, the former’s ambient sub-label which is home to artists Cloud Boat and Synkro, since 2012 Gacha has released on a wide array of labels including the sonically progressive and dubstep pioneering label, 2nd Drop Records, and more recently Berlin-based Best Works Records and Fort Romeau’s Cin Cin Records. 

‘I Can Still Hear You’ is a blissful loungey house EP which portrays some of the best work yet from a master of experimental, genre bending ambience.  ‘River’ sets the toned of the EP as a hush, cerebral break-beat track built on lulling keys. To begin with it seems to be on the edge of being overly sentimental, but the magic of the composition keeps an authenticity that can capture the emotions of even the most resolute character. ‘Saysea’ is a more provocative break-beat track with sharper percussion, yet still emphasises romantic hushed chords.  The standout track of the EP is undoubtedly the ambient house epic, ‘Reflection’ again built on soft synths and euphoric pulse, but has several well-crafted switch-ups and evokes an undeniable New-age influence. ‘Through the Glass’ has a different punctuation, being a droney directionless cut made up of ferocious percussion, yet stands in as a fantastic instrumental tool or perhaps even a transition track for DJs.  Finally, ‘Advice’ is a lethargic free-flowing house track incorporating a faint inspirational vocal sample, dropped in over serene paddy percussion. 

4.2/5

Buy: Vinyl

Words by Fred D

WHERE TO GO: Junction 2 @ Boston Manor Park

This Saturday the industry’s finest techno and house DJs congregate for one of the UK’s most jaw-dropping dance music events, Junction 2. Set amongst the harsh industrial overpass of the M4 motorway and the rolling wonders of Boston Manor Park, this one-dayer’s location is something to behold in itself. On site, LWE have gone all guns blazing to create five stages offering the most complete and diverse raving experience out there. An oppressive hangar-style warehouse hosts the likes of Chris Liebing, Alan Fitzpatrick, and Rodhad for an epic afternoon/evening of ominous and dark techno. There’s then two more tents put on by The Hydra (Daphni, DJ Koze…) and Sonus Festival (Joseph Capriati, Maceo Plex…), plus an additional wooded area. Then it’s the showstopper: the Drumcode Stage, set beneath the overhanging M4, with Adam Beyer, Ben Klock, and Tale of Us at the helm – in terms of stage design and production, it honestly doesn’t get any better. The list of names go on and on…

Personally, this was undoubtedly the highlight of last year’s music calendar. If you’re in town, then you know the drill!

Tickets

Words by Hugo P