Review: Pepe Bradock's recent album "What A Mess!" might have been a cut-and-paste collage of weirdo track fragments, occasional rhythms and spaced-out ambient aesthetics, but the veteran Parisian producer is still capable of crafting killer dancefloor cuts when he feels like it. This weirdo deep house two-tracker proves as much, with A-side "Peeped Booths" offering a near perfect fusion of hypnotic bass, locked-in grooves, ultra-deep riffs, angular electronic noises and strange vocal samples that have been manipulated within an inch of their lives. It's more than a bit good. "Klezmorim Telepathique" sees Bradock raise the tempo and intensity via a bumpin' fusion of panicked electronic motifs, paranoid bass and fizzing synthesizer flashes.
Review: Pepe Bradock is back! Some ten months on from the release of his inspired Le Fada EP, the veteran Parisian beat-maker delivers another sublime, six-track assault on the senses. The mood is set by opener "Yazuke", a pitch-black fusion of fizzing jazz drums, macabre electronics and razor sharp acid lines, before he struts off on a more positive, wide-eyed tip on the bumpy "Grodno". Elsewhere, you'll find some exotic and intoxicating ambience in the shape of "Sainte-Maure", a glitchy, cut-up take on U.S house (the brilliantly bonkers "Underground Monogahela"), an everything-but-the-kitchen-sink rinse out ("Boom Boom Crash", which sounds like Basement Jaxx's "Fly Life" on acid), and a beat-less, late night trip ("1755").
Review: Some two decades after delivering his first release, Pepe Bradock continues to make some of the most inventive - if occasionally overly challenging - house records around. This bizarrely titled 12" is the Parisian producer's first for almost a year and contains two typically eccentric cuts. A-side "Tresors" is underpinned by a loose but locked-in groove, but it's the smorgasbord of weird samples and effects - jazz synths, trippy noises, dubbed-out horns, buried acid lines, and so on - that really catches the ear. Flipside "Tsundonku" is arguably even more trippy thanks to Bradock's use of backwards percussion hits, grandiose filtered double bass, more weird noises and a rock solid, techno style kick-drum groove.