Review: Texas club music icon Lotic continues Bjork's makeover on One Little Indian with another beautiful 12", cropped and packaged in a gorgeous silk-screened bag. Bjork's "Notget" had already been retuned by Lotic, but this time he returns to the turn with his Fromdeath version, jumping from solitary drones to broken shreds of power electronics, tribal drums and gun shots. It's a jagged, wayward affair for the more adventurous disc jockey, and one that will please both the floor shakers and the brain melters - this tune is only a shadow of its original self, and it comes as this week's top of the tips..!
Review: With a passion for bleak, post-industrial landscapes, drawn-out experimental compositions and mind-altering modular electronics, Craven Faults may well be the 21st century's answer to early Cabaret Voltaire. Certainly, we could imagine Richard H. Kirk, Stephen Mallinder and Chris Watson being impressed by "Intakes", the foreboding, paranoid and slowly shifting A-side to the self-consciously mysterious outfit's second vinyl outing. It ebbs and flows impressively over the course of 14 minutes, offering a dusk-to-dawn journey that evokes mental images of shuttered factories and boarded up housing estates. Flipside "Ings" is arguably even better, with pulsating, Tangerine Dream style arpeggio synthesizer melodies bobbing and weaving for 17 mesmerizing minutes.
Review: There's always been something rather special about King Britt's ability to effortlessly switch musical focus between projects and aliases. Contrast, for example, the retro-soul giddiness of Sylk 130, the electronic polyrhythms and heavy bruk of Oba Funke, and the trippy electronic darkness of his work under the baffling Fhloston Paradigm pseudonym. This debut album under that alias - on the back of a handful of singles a few years back - is predictably magical, mixing spaced-out textures and stargazing synths with off-kilter rhythms, loose jazz beats and Detroit-inspired grooves. Dark and atmospheric, with a touch of the Jeff Mills about it (certainly conceptually, if not aesthetically), The Phoenix makes for mesmerizing listening from start to finish.
Review: Although you're probably into the current wave of ambient that is being released today, one must pay homage to the original innovators of the genre. Jon Hopkins is one such producer; an integral part of the British downtempo wave of the late 90s and early 2000s which has featured other ground-breaking artists like Squarepusher, The Orbital and many more. Opalescent is his debut album from 2001, and this reissue is pressed up by the original Just Music imprint from back in the day. Hopkins' music on here is the sort of stuff to be enjoyed by a any sort of listener; bittersweet electronic soul that touches many different aspects of electronica and IDM. From the placid waves of "Elegaic", to the break-driven balearica of "Private Universe", through to the spectral "Opalescent" itself, and the more industrial tones of "Fading Glow", Jon Hopkins takes the listener through the full cycle, and gives us many different reasons to find this album still as compelling as it was back fifteen years ago.
Review: Steven Porter: easily the funniest alias we've heard in a long time. No, people; this ain't the American, early noughties progressive house legend who once famously described his style of music as 'Porterhouse'. In all seriousness: this is the collaborative project of Japanese artists Yuji Kondo and Katsunori Sawa who have appeared previously with their extreme noise terror for the likes of DJ Nobu's Bitta and Berlin's Weevil Neighbourhood. On the Superbad EP they give us the bleak body bashing industrial textures of "Dwell In Hell" and the Sunn O))) sounding black metal guitar drone of "Wild Pitch". Elsewhere, the brutal futurist extremism of "Ignorance Reins" calls to mind classic British Murder Boys.