Review: The Super Rhythm Trax label launches and who better to inaugurate proceedings than veteran UK producer Mike Ash, whose production collar stretches back to the early '90s under a variety of aliases and projects. Apparently founded with the intention of keeping the original acid house spirit in mind, Super Rhythm Trax get it just right first time around on this three track release which is very much in line with Ash's recent focus on acid and electro. There may be nothing particularly innovative here in terms of execution but Ash definitely knows how to bang his boxes with devastating results, with "Return To Acid" a particularly effective production.
Review: After almost two years of hiatus under his own name, Britain's Mike Ash makes his comeback on Super Rhythm Trax with four lively and utterly dangerous slices of house psychedelia. "Unfrocking" is deeply old-school, and Ash manages to mix up plenty of summer-of-love-acid together with those vintage hardcore sort of breaks, and "The Fuzz" follows suit with another sludgy heap of 303 bottom-end. The flip moves one year ahead and onto "89's The Year", a flangered-out acid nugget all in rough and delicious analogue taste, leaving "Bad Chorus" to send us head-first into the swimming pool with its heart-pound of a beat and inimitable bassline. You know how they say that they don't make them like they used to? Forget that, this is the shit.
Review: Barcelona's Cardopusher has released on a wide variety of imprints ever since his production debuts for the likes of Damage and London's mighty Hyperdub, so much so that it even allowed him to release an album in 2015 for Boysnoize Records. This week, he's up on Super Rhythm Trax - home to a vast array of jacking house beats - and his starter for ten is the 303-laden beast in the name of "End Local", a monster that is quickly followed by the heavy-bottomed, Trax-fuelled "Variant". On the flip, "Inequality" sticks to the acid, but the mood is lighter, less murky and full o' jack, whereas "Phase 1" slithers and winds its bass bot through slicing darts of percussion. For the DJ's...
Review: Barcelona-based artist Cardopusher continues on his high-pressure acid explorations for Jerome Hill's Super Rhythm Trax. The Venezuelan artist has had releases previously on top labels such as Tigerbeat6, Hyperdub and even Boysnoize, in addition to running his Classicworks inprint. The Mental Jobs EP features the gritty and hyperware acid house of "Trust Your TV" and the the electric boogaloo of "Never Fade Away" which had us similarly reminiscing on S'Express and the Beverly Hills Cop soundtrack. On the flip, more retro flavours await you: from the strobe-lit, Trax Records inspired adrenaline of "Microbes" to the classic Stateside bounce of the title track on its "NYC mix"- it's all killer and no filler on here, trust us!
Cha-Os vs Bassing Guild - "Party People (You Must Follow Us)" (5:21)
Cha-Os vs Bassing Guild - "Party People (You Must Follow Us)" (Scratch edit) (5:24)
Review: Oh yes, it's another Super Rhythm Trax affair and you know that means hybrid technoidism for all y'all! It's Cha Os and Bassing Guild who appear this time around, the former coming through with the rappy hardcore vibes of "This Is Too Much Bass (UK Edit)", the similarly frantic "Party People (You Must Follow Us)" and its Scratch edit, while Bassing Guild goes for the straighter approach on "B-Boyonik", a bit of a head-banger, if you ask us!
Review: Mainz man (sorry) DJ Arg is undoubtedly one of Germany's foremost purveyors of full-throttle, mind-altering acid tracks - a kind of one-man, 21st century Hardfloor, minus the bombastic techno drums. Here he brings his titanium-plated take on jack-tracks to Super Rhythm Trax for the very first time. He fires a volley of warped TB-303 lines and clanking Phuture drums towards hipster DJs on opener "Trend Cnuts", before offering a deeper, wonkier and even more trippy assault on the senses via the drum machine handclap heavy hypnotism of "Pervers". Side B opens with the ghostly bounce of thrillingly loose mind-melter "Kimmi", while EP closer "Strobo-Acid" does exactly what it says on the tin.
Review: Boom! Super Rhythm Trax deliver the absolute freshness and quality thanks to a rare appearance from one of Chicago's fathers of house music, the legendary "Fast" Eddie Smith, who was spinning early WAREhouse cuts on radio stations like WBMX while most of us here were but a twinkle in our parents' eyes. "My Melody" is a super smooth, super soothing house cut with both piano keys and subtle bubbles of acid, whereas "Keep On Dancing" is a heavy drum machine cut complete with sirens and bursts of 303, of course. "Clap Your Hands" is another floor killer, an energetic house missile with organic DJ spin-back samples, followed by the naughtier, hip-hop driven "Hip House". Absolutely unmissable!
Review: DMX Krew aka Edward Upton requires no introduction given his impressive record which spans over twenty years and includes releases on the likes of AFX's Rephlex imprint...releases which have been responsible for creating the blueprint of UK techno. This latest EP comes courtesy of the young Super Rhythm Trax - now on its fourth release - and it's comprised of five classic DMX acid cuts. Never shy of experimenting with electronics, "Bleepology" verges on what could be considered 'cheesy' but Mr. Upton manages to steer well clear of that and comes out the other end with a bleepy, discombobulated mass of drums and bass for the big room rave. Flip the plate and you got more 303 frills with "Up N Down", molecular bleep techno on "Txing Control" and new age digi banger in "Ragga Clash". Powerful blasts of rave music for all.
Review: G 23 has kept this calm and discrete when it comes to his releasing output, having only release a handful of EP's since his debut on Infinite Machine two years ago, but he's back on Super Rhythm Trax with a deadly three-pronged techno attack for the piste. "Kidding Kids" is a banging acid squelcher filled with short breaks and percussive shots, while "Mountain's Acid" is a no nonsense, kick-fuelled bruiser accompanied by subtler swarms of 303 action and scientific bleeps. On the tail-end, we have a remix of "Mountain's Acid" by Jerome Hill, who exposed the Roland tricks and comes out the other end with a wacky techno killer for peak time servings.
Review: Although he's probably travelled beneath most house and techno enthusiasts' radars, Germany's Andreas Gehm has released music on some of the most respected and coveted independent labels in the game. First and foremost, he debuted back in 2009 with an appearance alongside Steve Poindexter for Jamal Moss' mythical Mathematics imprint - having subsequently released a string of EP's for the dread-haired techno outsider - and then he landed on everything from Chiwax to Solar One Music alongside Helena Hauff. This week he's out on the ever-impressive Super Rhythm Trax and he's brought four jacking cuts with him. The flavour is steeped in the finest of Chicago flavours, boldly manifested by the 303-driven opener that is "I Don't Dance", but it's also one that verges onto the Berlin sound via "Control Your Mind". Check em', they're a squadron of killers!!
Review: London techno legend Jerome Hill is back on his home turf for the 13th edition of Super Rhythm Trax. With a name like "It's Time For The" it hardly left anything to the imagination did it? But this crafty edit of the Cajmere classic. Other highlights include the Windy City hard house of "Lollypop Lady" which pays tribute to the notorious Relief Records imprint and the Dancemania dedicated jackathon that is "Def Jamming". One for the heads!
Review: Getting things back to basics and ramping up the ravey qualities in his productions, Jerome Hill is clearly having fun with these Super Rhythm Trax releases, letting go of anything too deep and focusing on loud and lairy bangers that make all the right moves in the biggest way possible. "Paper Bag Acid" positively masters delivery of 303 nastiness, ramping up the filter and firing off the drum fills with abandon and yet never sounding pastiche as opposed to straight up jacking. "Dustbin Acid" is a masterclass is working the drum machine for the ultimate energy rush in the time-honoured tradition, and then "Bully Beef" drops a much dirtier kind of sound full of guttural kicks and distorted vocals for the more deviant players in the acid game.
Review: Super Rhythm Trax brings you the freshest acid, house and techno with a hefty nod to the mid to late 80's originators. They're back with head honcho Jerome Hill, who serves up three old-school bangers for the 'nu-school' on "Cley Hill Transmissions". The dark and tunnelling warehouse techno of "Back & Forth" features some soaring and euphoric 303 acid that will make you feel like you're at one of Hawtin's Plastik parties at The Packard circa '94. "Weird Language" features a screwed up vocal hook above an overdriven/broken kick and 'percolator' style claps - which once again will truly appeal to '90s techno nostalgists. Finally on the flip, we have the bleepy UK rave of "Close Encounters" which is sure to create some added drama on the dancefloor when the strobe light comes on! 2017 has seen the label serve up releases by other like minded introverts in the form of John Heckle, Jared Wilson and the legendary Ed DMX.
Marshall Jefferson presents Hercules - "Lost In The Groove" (Jerome Hill remix)
Dancer - "Boom Boom" (Jerome Hill edit) (5:24)
Review: Jerome Hill's Super Rhythm Trax series operates under a simple manifesto: to re-release lost, forgotten and overlooked acid and techno jams, often with subtle re-edits and remixes from the label boss. This third installment contains a couple more re-interpreted classics. On the A, London acid house veteran Hill remixes Marshall Jefferson Presents Hercules' 1987 Trax classic "Lost In The Groove", giving it a tougher swing, bleep style bassline and an altogether sweatier, basement-friendly feel. On the flip, Hill takes his rusty scalpel to Dancer's eccentric - and largely forgotten - "Boom Boom", lacing the spine-tingling original vocals over a clanking, cymbal-heavy groove, freestyle stabs and ragged acid lines.
Review: In the space of just a few years, Luca Lozano has made a busy schedule for himself. Managing Klasse Records and Grafiti Tapes, he has released a load of music both form himself and a number of artists, such as Kris Wadsworth and DJ Fett Burger, among many others. This time he's up on the excellent Super Rhythm Trax with a little vintage flavor; "Outer Space" makes up the A-side and it's a gorgeous, break-ridden dance stepper in the same vein as stuff from the likes of Horsepower Productions, back in their day. On the flipside, "End Of Line" is a certified UK swinger, a grimey beast of a tune with a heavy percussion march and that inimitable London feel. Recommended.
Review: When it comes to serving up all-analogue box jams, few labels can compete with Jerome Hill's Super Rhythm Trax imprint. The latest hardware fiend to join Hill's retro-futurist revolution is debutant Pendle Watkins. Naturally, there's barely a duffer in sight. Watkins begins with the intergalactic, Motor City electronics and sweaty drum machine hits of "Deal With It", before sauntering into deeper territory via the Larry Heard-esque "Emerge". On the flip you'll find the raging acid heaviness of "Domination" - all psychedelic TB-303 lines, dystopian vocal samples and redlined percussion - and the fuzzy alien bliss of undulating jack-track "Yah Boobay". In other words, it's a fine collection of club-ready analogue workouts.
Review: Those well versed in ghetto house history should know all about Wax Master Maurice, a Chicago originator who released a string of on-point EPs on Dance Mania throughout the second half of the '90s. This surprise 12" for Super Rhythm Trax marks his first appearance on vinyl since 2008's footwork-inspired Waxmaster Make 'Em Juke EP. The material here is closer in tone to his now-classic releases, though there are some nods to B-more club (see "Otis Ghetto House") and, of course, the juke movement of recent years ("Keep On Jukin"). Naturally, all six tracks are formidably club-focused, brilliantly combining chopped-up samples (snaking sax lines, bits of old funk records, looped vocal snippets) with the kind of boundless, energetic rhythms that send Chicago dancers crazy.
Review: The retroverts at Super Rhythm Trax return with yet more acid madness courtesy of Matt Whitehead; he of Rebel Intelligence and Model Citizens fame. It's a pretty straight up affair on the Bombing EP, where opening cut "Crosstalk" batters you with 909 snare attacks and the hypnotic funk of 303 acid squelch. "Seeing Red" is a much more tunnelling affair where that little silver Roland box again does most of the talking. On the flip, the title track is one of the real highlights; this sleazy and bombastic electro-funk number is reminiscent of Jimmy Edgar's finer moments until "Birdland" hammers the message home in style with yet more vintage flair and those early rave style steel drum presets in full effect.
Review: Few labels have quite as successfully channeled the original spirit of Chicagoan acid house and early British techno than Super Rhythm Trax. They're at it again here, serving up a trio of 1990 style, rave-era British acid house/techno tributes from former Skudge Presents and Dixon Avenue Basement Jams man Jared Wilson. The three tracks could be considered riffs on a theme, as each - in different ways - reminded us of Orbital's early work. Choose between the bold acid lines and jack-track beats of "How Deep", the acid melodies and "Belfast" style chords of "Plate Mining", and the pleasingly alien acid-funk of "Idea of A Deep State".
Review: After a brief flirtation with Dixon Avenue Basement Jams, Jared Wilson is back on Jerome Hill's Super Rhythm Trax imprint. Predictably, he's in a retro-futurist kind of mood, delivering tracks that tip a wink to a variety of vintage house and techno productions. He begins with the Larry Heard style warmth, Chez Damier percussion and Detroit techno cymbal lines of "Getting That Feelin", before diving headfirst into the world of classic Chicago jazz on heavyweight acid wriggler "It's The Message". The B-side begins with the ghostly chords, intelligent techno electronics and mind-altering acid lines of "Midnight On Ecorse Creek", before Wilson caps a fine EP via the Mr Fingers style deep house-jack of "Acid Feeling".