Hessle Audio 黑胶唱片和CD

Review: Watch your bass bins, cause ANZ is here to test them out with this blistering new bass drop on Hessle Audio. Continuing in the fine tradition of the UK hardcore continuum, Manchester-based producer ANZ's tracks here all chew up and spit out elements of rave, hardcore, jungle and breaks. "Loos In Twos (NRG)" is the big opening salvo, with rave sirens and tight as you like kick drums. "Gary Mission" then stacks up the jittery drum rhythms and runs through them with tripped out synths that percolate over and over. "Stepper" is just that, with heathy vocal sounds peppering a tough riddim.

Review: Hessle Audio's emergence from hibernation in 2012 really has seen the label release some of the most extraordinary music of its life, and this EP from Bandshell might top the lot. Tapping into the grainy, murky sound world of the like of STL, Shed and Actress, this record explores strange rhythms constantly on the verge of breaking out into a frenzy. The title track is comprised of little more than rattling percussion and dense, fizzy bass, while "Rise 'Em" places a jungle breakbeat atop a mucky hum. On the flip, "Metzger" takes the vibe of classic dubstep and fills it with subtle melodies and clipped snares, but "Dog Sweater" is the real killer - a homage to soundsystem culture whose threadbare rhythms are the only thing to stop you being dragged into the track's viscous centre. Make no mistake, this is a serious new talent.

Review: Hot on the heels of his Cold outing earlier this month, Bristol bewitcher Batu makes his debut on Hessle and marks their first release of their 10th year of business. Timing is everything... "Marius" ripples with an insistent broken drum pattern that's coded with latent funk and dubspace while "Of Court" creates even more room between the drums while maintaining the techno pressure. "Noseme" flips for a more subaquatic session where the beats adopt a more relentless rolling formation while the groove develops more of a dubby sensation. Finally "Don't" brings us back up the surface with a soft beatless thrust. Play safely.

Review: ** REPRESS **Hessle Audio drop two tracks from the mysterious Blawan. Rumours are hinting that this could be a moniker for another producer but for the time being, but for now we'll have to settle for playing the guessing game. We wouldn't be surprised if this was a big name producer, with the title track wonderfully twisting cold, post-garage drums into jungalist syncopations. "Iddy" on the b-side, throws up an entirely different style of percussion - pointed metal on hollow toms gives the track a disjointed but totally danceable feel.

Review: After a stellar debut on Livity Sound's Dnuos Ytivil sub label, man like Bruce adds Hessle Audio to his prospering profile with the Not Stochastic 12". Representing the crucial UK label's first release of 2014, the standard of productions on show from Bruce demonstrates Hessle Audio's quality over quantity approach continues to pay dividends. The triplet also demonstrate Bruce has quite a few strings to his production bow, with the general vibe differing from the weighty swung techno of that excellent Dnuos Ytivil record. From the off, Bruce exudes a trippy style of sonics that bring to mind the work of Dynamo Dreesen or SVN.

Review: First surfacing in impressive fashion with two heavyweight records for Hessle Audio and Livity Sound offshoot Dnuos Ytivil in 2014, Bruce has been carefully considered in his output since then with just the odd remix here and there. It is Hessle Audio that signals his return, issuing the highly sought after "Steals" which has been burning a hole of expectation in the internet for the past six month. Naturally, "Steals" hogs the A-side, peppering a moody post-bruk, tribal-minded groove with distorted electronics for the pleasingly percussive opener. He explores deeper pastures on "Relevant Again", fusing fevered electronics and exotic sound effects with a dub-wise, hip-hop tempo groove. A fine EP concludes with "Petal Pluck", an ambient/IDM excursion that puts a contemporary spin on mid 1990s Aphex Twin.

Review: Throughout his four year recording career, Larry "Bruce" McCarthy has managed to carve out a sonic space all of his own - one that mangles dystopian analogue techno, post-dubstep grooves, Young Echo style soundscapes, trippy electro and dub-wise sounds into thrilling new audio shapes. This unique musical mixture is the key to the success of debut album "Sonder Somatic", which cannily emphasizes the intoxicating, otherworldly side of McCarthy's output. Although there are a few dancefloor-focussed workouts on show - see the deep creep of "Baychimo", percussively punchy "What" and rugged "Cacao" - the majority of the album is more atmospheric and unusual, with clear nods towards fellow Bristol residents Young Echo, vintage IDM and the dub-fired electronica of Jay Glass Dubs.

Review: Ah yes, it was about time that Beatrice Dillon and Call Super got into the studio together and, quite frankly, there would be no better place to house the results that London's game-defining Hessle Audio. Both artists have been close associates of the label for some time, and this collaboration feels exactly where the imprint should be at the moment - meandering effortlessly between the more experimental side of techno, and molecular shade of bass music. "Inkjet", the A-side swelter, oozes spewing beats from all corners of its glitchy, almost minimalistic framework of grey-scaled melodies and fiery, FX-laden atmposherics. On the fip, "Fluo" is a different form of construction altogether, laying the groundwork for what could become a fruitful relationship between free jazz and UK bass, where a steady 4/4 groove is brought to life by curious harmonic blends and sporadic changes of tempo. Yes to the Hessle crew!

Review: In the wake of The Knife, Olof Dreijer has been plenty busy behind the scenes and scattering hints of his incredible production for those paying attention. Now it feels like he's building to a wider profile breakthrough as he lands a knockout blow with this release on Hessle Audio. It's a maverick release, which is its pass into the curious sound world shaped out by Ben UFO, Pearson Sound and Pangaea, but equally it brings something new to the label. The joyous, colourful melodic daubs across the EP alone are something to make a dance collectively look up in wonder, with 'Camelia' being an especially beautiful, uplifting track to bring hope and positivity when so much club music tips towards the darkness.

Review: Hessle Audio continued their excellent form this year and introduced us to the new talents of Bandshell along with dropping that too-good-to-be-played, Objekt 12". Their long-time favourite, Elgato returned to Hessle Road with this stunning 2-tracker and its opener, "Zone" is a pleasingly odd bass rhythm, placing its deranged vocal firmly on top of the detached percussion elements swaying alongside the shimmering injections of lower frequencies. On the flip we have "Luv Zombie", another gorgeously far-out experimentation by our man Elgato, where his fast-paced drum shuffles meet distant waves of harmonics. This comes with a highly recommended stamp as per usual!

Review: All has been quiet on the release front at Hessle HQ since the outstanding WMD that was Raw Code by Pev & Kowton was issued earlier this year. Such was the magnificence of "Raw Code", Hessle Audio could feasibly not release another record this year and you'd say it was a triumphant 12 months. However, Ben UFO, Pangaea and Pearson Sound clearly have other plans with the overdue return of Joe the first of two releases from Hessle in the next few months. The publicity shy producer's prior material for Hessle and Hemlock remain some of the multi-faceted bass scene's most distinctive music to date, taking influence from jazz and broken beat as much as it does from the grime and jungle being recomposed by his Hessle pals. Two tracks deep, HES025 features the emotive yet abstract house of "Slope" and "Maximum Busy Muscle", which combines ramshackle drums held together with stray horn samples and masking tape.

Review: One could argue that Joe, the enigmatic producer from London (we think!), has been partly responsible for Hessle Audio's continues success but, most importantly, for the label's off-kilter approach. This latter point has meant that Hessle Audio has never stuck too closely to one genre and, instead, appealed to the wider electronic gamut, from the bass-heads to the house-jockies. He's back with an impenetrable two-tracker coloured in lime green; "Tail Lift" dominates the A-side with a strong, full-bodied house groove that's been filtered with all sorts of jungle sounds and tribal influences while, on the flipside, "MPH" is Joe focussing on our pure experimentation - broken jungle breaks, oddball synth bleeps and classic piano house keys merge to create something truly unexpected. It's Joe. On Hessle.

Review: Although he's now resident in London, Laksa will forever be associated with his former home city of Bristol - in part because his bass music mutations draw more influence from the hybrid sounds of that city than anything else. He's at it again here too, delivering a high quality Hessle Audio label debut. Lead cut 'Fire Kit' sets the tone, wrapping mind-mangling electronic noises and tribal style hand percussion around a warped bassline and beats that sit somewhere between post-dubstep and the polyrhythmic techno of the Livity Sound crew. He ups the tempo on the brilliant 'Belly Brocka', adding exotic vocal snippets and transcendental motifs to another loose-limbed, off-kilter rhythm, before repeating the trick on the trippy, hard-to-pigeonhole paranoia of 'T's Tent'.

Review: Having wowed the world with his first two records, Objekt's arrival on Hessle Audio is a logical and welcome move. The wobbling bassline of "Cactus", premiered on Ben UFO's Rinse:16 mix, recalls Mala's savage productions, tweaking the oscillators just enough to make the bass scream whilst keeping things tasteful, despite its crazed metamorphosis into a raygun at the halfway point. Flipside "Porcupine" meanwhile is militant techno with all the purity and focus of Jeff Mills' best productions, a maelstrom of pummelling beats and swimming chords with a diamond-like beauty despite its pneumatic ferocity. In a word: essential.

Review: After the sell-out success of their first release (TRG's 'Put You Down'), the Hessle Audio crew return with a three track 12" by
newcomer Pangaea, with each track exploring different facets of the dubstep sound. A-side, 'Coiled' has received airplay from Mary
Anne Hobbs on BBC Radio 1 Experimental, as well as Distance on Rinse.fm, and it's not difficult to hear why. Subtle pads
alongside clipped and rhythmically busy drums eventually give way to a sound system-testing bassline. Drawing influences from dark
garage and warm electronica, it's a deceptively devastating tune that weaves its way into the listener's brain. The b-side sees
Pangaea exploring his sound further. Ignoring the current trend towards throwaway dancefloor material, 'Nest' is a texturally dense
slice of meditative dubstep. Its warped bassline underpins dusty atmospherics and melancholy strings. 'Deviant' rounds off the
proceedings in spectacular fashion, sounding like the South London equivalent of mid-90s Berlin. Listening to this tune, it's easy to
understand why this release has drawn praise from techno luminaries such as T++ (Monolake), and drum and bass producers Martyn
and Breakage. With a busy schedule of releases confirmed, Hessle Audio is definitely a label to follow in 2008 and beyond.

Review: Following the highly acclaimed and anthemic "Memories", expectations have risen around Pangaea. Following a short interim period, Kevin McAuley's return lives up to these heightened expectations and proves that the 24 year old has positioned himself nicely as the pioneer an emerging dubstep soul sound.

The Pangaea EP showcases McAuley's refined approach to production as he parades a somewhat more high-brow sense of musicality than many of his dubstep counterparts. Throughout the six tracks, the EP maintains a fine gloss of quality through a meticulous and scientific-like fusion of his modern dub beats and his music heritage. Drawing on influences across D n' B, Garage, and house Pangaea's sound is sensitive and often stripped but still keeps the raw asthetic that lays inbedded in dubstep.

From the rolling drums and ascending organ coupled with the female vocal hook of 'Why' we move into McAuley's aforementioned more sensitive side. 'Sunset Yellow' is a more minimal, softer effort with hushed percussion and organs. '5-HPT' is the centre of the EP, where deep subbass and tough breaks emerge from a twisted and sinister intro. Grumbling synths, drums and an eerie vocal all collide to manifest in the rave infested 'Neurons' before the pitch shifting 'Because Of You' closes the EP in beautiful style.

Despite its dancefloor moments, it's the subtle undertones and intricate musicality that make this such an interesting EP. Much like his approach to his Hessel Audio label as a whole, Pangaea's EP evolves gradually, never forcing itself on the listener but totally engaging them nonetheless.

Review: Pangaea's bruising take on bass music has always enchanted us here at Juno, and we're pleased to see the producer return to the Hessle Audio imprint he runs with David Kennedy for the label's 17th release. A Side cut "Inna Daze" is the big one here, with freaky vocal snippets expertly arranged amongst the crisp metallic drums which form a quick paced rhythmic backbone. No wonder Kennedy (aka Pearson Sound, Ramadanman and Maurice Donovan) picked it up for his upcoming Fabriclive mix. Flip over for "Won't Hurt", an uncompromising encounter marked by demented mechanical strings and frenetic shuffling percussion.

Review: As one third of the Hessle Audio triumvirate, Kevin McAuley - better known as Pangaea - has been responsible for some of the label's best releases. The eight track Release represents his most potent statement to date; continuing the rolling pirate radio techno direction he started with last year's Hex and Inna Daze EPs. Beginning with the Missy Elliot sampling "Game", he sets out the stall for the rest of the EP, a combination of tough, steeled-up steppers rhythms and dub techno textures. Whether listening to the abstract melodies of the title track, the blistering pace of the searing "Majestic 12" or the broken garage of Middleman, its clear that Pangaea is still light years ahead of the competition.

Review: As Hessle Audio toast 15 years of outstanding contributions to the mutation of modern club music, the label's rough and ready boy wonder Pangaea comes through with a record that beautifully sums up why they continue to do such damage to soundsystems the world over. 'Fuzzy Logic' is a hulking beast of advanced techno pressure, with a psychedelic swirl of bleeps to keep the head tripping even as the drums pound you senseless. It's a mighty demonstration of brains and brawn in equal measure, and a stern reminder of why Hessle remain so vital after all this time.

Review: Since its release back in 2018, Pangaea's Bone Sucka EP has gone on to become an in-demand UK bass classic - hence this timely repress. If you missed out first time around, it's well worth picking up a copy of this edition. The star of the show remains breakbeat-driven A-side 'Bone Sucka', a shuffling and funky affair rich in rave style cut-up samples, creepy electronics, sharp riffs and deep but unfussy bass. Flipside 'Proxy' has a more straightforward feel, with twinkling piano lines, starry chords and bleeping lead lines rising and falling atop a dense but swinging beat. These will likely sell quickly, so act now if you want to secure a copy.

Review: Kevin McAuley is certainly affiliated with a generation of pioneering UK Bass producers who have since moved into the techno realm. With previous releases on Hemlock, Hessle Audio and Hotflush, his origins have definitely remained a strong aspect of his style ever since. On the In Drum Play LP, he can be heard dabbling in obtuse and disjointed low end theories such as on "Bulb In Zinc" or "Let It In" while there are some inventive takes on techno; such as on the dynamic opener "Rotor Soap" or the adrenalised stomper "More Is More To Burn". For us, the highlights were "One By One" (where his take on breakbeat techno would make the likes Shed or Stenny stand up and notice) and the oddball body basher "Skips Desk".

Review: It's been a long time since we heard from Pangaea, one of the three famous faces who made up the original Leeds label come ubiquitous DJ's DJ's DJ imprint - Hessle Audio. Though perhaps less appreciated than his contemporaries Ben UFO and Pearson Sound, now's his time to shine again: Changing Channels is his second ever album, following up 2016's In Drum Play (which for all its quality, rough, juddering techno experiments, will always line the shelves of many a budding selector). Like its predecessor, oddball bassy techno is here Pangaea's preferred mode, whether reflected in the sassy femme vocal cutups of 'Installation' or the spitting basses of 'Squid'. This is one of two vinyl 12"s over which the album is spread; an effort to enhance its playability for DJs.

Review: Pangaea's latest album Changing Channels comes a notable seven years after his debut, In Drum Play, and again hears the Hessle brain lay down a whopping demo in dance histrionics. Made in a period of oscillation - between international DJ sets and holidays of downtime and r&r - we get the impression of a remarkably clear-headed album, with the production crisp, and the choice and placement of samples neat. On this 12", we hear the LP's first part, with the no-fuss garagey 'Hole Away' and the stabby 'Changing Channels' piquing particular interest.

Review: As one third of the Hessle Audio triumvirate, Kevin McAuley - better known as Pangaea - has been responsible for some of the label's best releases. The eight track Release represents his most potent statement to date; continuing the rolling pirate radio techno direction he started with last year's Hex and Inna Daze EPs. Beginning with the Missy Elliot sampling "Game", he sets out the stall for the rest of the EP, a combination of tough, steeled-up steppers rhythms and dub techno textures. Whether listening to the abstract melodies of the title track, the blistering pace of the searing "Majestic 12" or the broken garage of Middleman, its clear that Pangaea is still light years ahead of the competition.

Review: ** REPRESS ** Ramadanman dons his Pearson Sound alias for two heavy steppers on his own Hessle Audio imprint. The combination of sporadic bass stabs, expertly chopped vocal fragments and scattergun snare hits that build towards a mega drop in the track's mid section make "Blanked" a guaranteed pubstep anthem circa 2011 and beyond. "Blue Eyes" features the kind of frenetic percussion usually associated with Chicago juke, with squelchy bass farts and heavenly vocal snippets combining to present a track that is as wonderfully unpredictable as the intermittent sparkle of sunlight through a clouded sky.

Review: After six years spent teasing and titillating with a steady stream of high value singles, David Kennedy is finally ready to release his debut full-length under the now familiar Pearson Sound alias. The first artist album to appear on the Hessle Audio imprint he co-founded with Pangaea and Ben UFO, Pearson Sound is a surprisingly sparse and otherworldly affair. Intriguingly, Kennedy's usual twisted, dubbed-out analogue rhythms largely take a back seat, with moments of tough dancefloor abandon (see "Rubber Tree" and the tipsy "Headless") playing second fiddle to stripped-back synth-scapes and otherworldly ambience. It's striking on first listen, and only gets more impressive with repeat listens.

Review: After six years spent teasing and titillating with a steady stream of high value singles, David Kennedy is finally ready to release his debut full-length under the now familiar Pearson Sound alias. The first artist album to appear on the Hessle Audio imprint he co-founded with Pangaea and Ben UFO, Pearson Sound is a surprisingly sparse and otherworldly affair. Intriguingly, Kennedy's usual twisted, dubbed-out analogue rhythms largely take a back seat, with moments of tough dancefloor abandon (see "Rubber Tree" and the tipsy "Headless") playing second fiddle to stripped-back synth-scapes and otherworldly ambience. It's striking on first listen, and only gets more impressive with repeat listens

Review: The recent self titled debut from Pearson Sound was of course a most interesting listen but the decision to release it as a single slab of vinyl was a bit strange. Luckily Hessle Audio have elected to release a pair of supplementary 12"s that features some of the albums highlights in extended form for the selectors out there. This first volume sees the alien sounding jack attack of "Crank Call" up top with the subtle hypnosis of "Glass Eye" manning the B side. Cut at 45rpm by the master Matt Colton!

Review: As promised, Hessle Audio issue the second and final 12" accompaniment to Pearson Sound's slow burning debut album which grips two more cuts extended out for optimum dancefloor deployment. It's the two toughest moments from the album too! "Headless" really highlights David Kennedy's mastery of mutant productions - the sparse drum programming and drunken alien tones that get twisted into strange new shapes sound all the more potent here cut at 45rpm. On the flip is an extended take on "Rubber Tree", the track from the LP that has got the most repeat plays in the Juno office - superb stuff!

Review: It's quite typical of the quality that runs through the Hessle Audio label that a year where they've been at their quietest release-wise, the three 12"s issued still remain some of their most memorable yet. After an early year gun shot in the shape of Pev & Kowton's all conquering Raw Code, the more recent knockout from Hessle secret weapon Joe is now complemented by the return of Pearson Sound. Typically on point, HES026 features three outlandish grime and techno-inspired rhythm tracks that are stamped indelibly with Pearson Sound's sonic DNA. The deliciously lopsided "Power Drumsss" is a real highlight, sounding throughout like it's on the point of all out malfunction as it descends the 808 scales, whilst a press release that reveals "Lola" was inspired by Kennedy adopting a cat he found in "an abandoned Rimowa suitcase" suggests Ben UFO is not the only feline fanatic at Hessle HQ.

Review: This was Pearson Sound's long-awaited return to Hessle Audio this year, and his first material for the label since his contribution to last year's 116 & Rising compilation. Although his recent self released missive "Untitled" proved a welcome distraction it's clear that this release marks the next stage in whichever the producer may be heading. Eschewing the housier tones of the past few years of productions, Kennedy takes things back to basics, exploring the stripped back sounds of early instrumental grime. "Clutch" is as mechanical as its name suggests, combining thumping kicks and sharp-focus percussion with a sensibility not a million miles away from A Made Up Sound's right-angled techno. On the flip, "Underdog" is a cavernous stop-start DJ tool filled with glassy textures and high-voltage bass, while "Piston" is a schizophrenic battery of stuttering snares and contrasting melodic textures that have been frankly difficult to wrap your head around!

Review: New music from Pearson Sound is always an event. These days it doesn't come along often but when it does, such as during the pandemic with 2020's epic Alien Mode EP, the world takes note. Here he lands on the pioneering Hessle label co-founded 15 years ago with a belting techno four-tracker. As you would expect it is anything other than straightforward - these are meticulously crafted rhythms with delicate layers of dexterous synth, fizzing atmospheres and inspiration taken from years of UK underground greatness such as hardcore, breakbeat and bass. Welcome back!

Review: ** Raw Code Repress ** The first release of the year for Hessle Audio sees the long-awaited release of "Raw Code", a live favourite of the sets Peverelist and Kowton perform with fellow Bristolian Asusu as part of Livity Sound. It's been high on the request line for some time, having featured in acetate form on mixes dating as far back as the label showcase for Benji B's Radio 1 show from February of last year, securing it a place on Ben UFO's recent Fabriclive mix. The lead track sports the kind of instantly recognisable string bursts that have characterised Kowton's recent crop of grime influenced techno productions, together with a bouncy yet mechanical groove dominated by weighty sub bass. It comes backed with "Junked", a slower, decidedly more broken production reminiscent of the experimental rhythm tracks present on Pearson Sound's Clutch EP released last year. Essential.

Review: The mighty Hessle Audio delivers its' first 12" of 2016, and it's not from one of their established names. Instead, it marks the debut of previously unknown newcomer Ploy. The mystery artist begins with "Sala One Five", a heady, intoxicating brew seasoned with fluctuating bass, whizzing electronic stabs, steam-hammer textures and throbbing, floor-friendly percussion. Flip for the deeper, bongo-laden trip that is "Move Yourself" - all swirling, psychedelic noises, sampled tribal rhythms and deep space chords - and the Actress style, experimental electronic mechanics of "Helix". It's this track, with its' hard-to-fathom construction, befuddled textures and dream world chords, that shows the most promise.

Review: The latest release from Hessle Audio comes in the form of a six-track, double vinyl pack from Ramadanman. Kicking off with "I Beg You", with its ominous sounding groaning and sampled French vocals, the Hessle co-founder goes in deep, with trademark glockenspiel like percussion and a grouchy b-line. Next is "No Swing", with its gently taut, echoing soundscape and gloopy SFX adding deeper dimension to the slow burning piece. "Tumble" showcases squeaky, grating synths which come in and out of focus until it falls into the most minimal of drops, heralded by live drum rolls, rather reminiscent of fellow Hessler, James Blake. On the second vinyl, "A Couple More Years" gets things going nicely, whilst the stabbing detached rhythms of "Bleeper", with sampled city noises, refined bleeps, quirky, panting atmospherics and all manner of oddities. Finishing up with "Don't Change For Me", the EP closes with this hissing percussive, synth-drenched piece, with chiming gong-like sounds and strained vocal snatches, plus distinct echoes of Joy Orbison creeping in here and there. A finely crafted EP.

Review: Hessle Audio's recent moves have resulted in a new release from longtime DJ, Peach Discs founder and regular festival staple - Shanti Celeste. 'Cutie' is as kitsch as they come, blending snappy kicks and claps with synco-rhythmic straightness. Even Celeste's own gated vocals appear on the track, and it's clear by now that the producer and DJ's sonic identity revolves around the cute, the blushing, the doe-eyed. And for a label so mired in connotations to opaque, headsy chinstrokiness, it's a breath of fresh air for Hessle Audio to feature a peach-pink inner label on one of their physicals for once. Of course, UK techno fans literally measure their own sense of time by Hessle Audio releases. We can only hope they keep up the diversifying trend.

Review: The Hessle Audio label celebrated a big birthday in style recently and rightly so. It has long been a pioneering outlet for always cutting-edge electronic sounds loosely couched in bass music but often involving so much more. This latest comes from Toumba who made a fine outing at the end of last year and starts 2023 on just as solid a footing. 'Istibtan' is stripped-back body music with a smattering of tin-pot percussion and dark bass. There is more broken beat work and off-grid percussive inflection to 'Petals' then 'Hazzeh' layers up tropical synth sounds into a humid club cut before closer 'Identity Crisis' offers an introspective melody and funky broken beat patterns.