Review: Left Hand Path is a record label based in San Francisco run by Surface Tension's Nihar Bhatt and Chris Zaldua, who put on some impressive line-ups at their parties and were even featured on one of fellow Californian label Jealous God's short run mix CDs which used to come with vinyl releases. The label is "dedicated to liminal sounds and dancefloor transgression" according to their Soundcloud profile. CUBE is the project of Adam Keith of Oakland, California. He draws from a variety of influences on the My Cube LP; there's the brutal textured noise of dynamic opener "First", the lo-fi industrial swagger of "Favorite" or "Emblem" (which are reminiscent of the likes of Profligate) or the brazen post-punk antics of "Bargain Water" which calls to mind early Tropic Of Cancer.
Review: It's not hard to admire the sheer bloody-mindedness that drives Tadd Mullinix's label venture, Bopside. In between the recent Charles Manier album and the upcoming JTC long-player - a contender for house album of the year - comes Skein. Produced under his birth name, it's a deeply experimental three-tracker. The title track is a succession of screeches, howls and white noise blasts, while "Hadopelagic Chime" sees the US producer map out a series of soundscapes against a low tempo backdrop. Closing track "Bridge Out" is a succession of abstract clatters, noisy interference and scattered dissected FX. God knows what demographic Mullinix is hoping to a appeal to - if any.
Tipping Point (AnD Tipped Over The Edge & Back Again remix)
Blood On The Controls (Whok mix #1)
Blood On The Controls (Whok mix #2)
Review: For those who don't know, Trensmat is not a rip-off of Detroit's Transmat, but rather, Ireland's answer to labels such as Blackest Ever Black and Hospital Productions. If you check their discography, there's plenty of hidden gems to uncover. On this record, the enigmatic Valved receives a furious remix treatment from two Juno HQ favourites. "Tipping Point" is downright disfigured by the incorrigible AnD duo - not once but twice: the first remix offers a cascade of fuzzy, distorted kicks and incessant drone loops, while the second removes all traces of a beat and delves deep into the cogs of the machines. On the flip, "Blood On The Controls" is rewired twice by Whirling House of Knives. The first is a chest-bursting monster from the depths of the drum machines, while the second is a slice sparse and experimental neo-funk with an otherworldly succession of popping kicks and crystal-like background atmospherics. TIP!