A1 Just Getting Started
B1 Tilikum
True to the usual bullshit-averse attitude of his Livity Sound imprint, Peverelist is keeping background details on the producer behind this EP to a minimum. We know that this outing, for Livity Sound's sister label Dnuos Ytivil, is Bruce's debut, and that he has another coming up on Hessle Audio. Aside from that, there's an obvious desire to let the tunes do the talking here. That's fine though, because, as is generally the case with Livity and Livity-associated releases, the tunes are excellent.
"Just Getting Started" has a slightly less manic but similarly intense percussive spine as Hodge used on Dnuos Ytivil's last release, the excellent Amor Fati. A riotous hail of bass drums, toms and splintering snares, it adds various industrial wheezes and distorted screams along the way to produce a slice of rough, grainy techno. "Tilikum" has a slightly more stretched-out but no less vital feel. A bleak and restless beast, it only occasionally breaks its central emphasis on slowly thumping bass with freakout synth digressions and dense, foggy howls... www.residentadvisor.net
01 Where
02 Composer
03 Fire Woman
04 Excluding Natalia
05 S.A.C.
06 Each Other
07 Oez
08 At The Mirror
09 0 To 1
Jéremy Guindo-Zegiestowski has been a bit of a Renaissance man figure in Paris's ever-bustling dance music scene. His early work signalled an allegiance to the more UK-style, bass-heavy side of things—which earned him a regular spot in the 50WEAPONS roster starting in 2012. More recently, however, he's been moving towards house, especially with his growing role in the ClekClekBoom crew.
50 Weapons will issue Centrum just as it handled the release of his debut album, Orbiting. Where that one was based around an idea of future life beyond earth, Centrum takes the focus back to our home planet, with a dystopian vision the press release describes as "a future where everything is in order and where no one can get out of the system." The label also states that the album takes more of a page from "ambient and techno" than the "bass and footwork influences" of the first LP... www.residentadvisor.net
1 Black Towers
2 Sliced Africa
3 Spiritual Enhancer
The venerated German producer appropriates African musics in a long-standing Teutonic tradition on his latest for Hamburg's Dial. 'Black Towers' stretches out for nearly 12 minutes of effortless, subtly shifting groove repetition and awning, earthly synth pads; 'Sliced Africa' locks down to a percolated bounce with natty keyboard melodies reminding of recent Fiedel and MMM styles, 'Spiritual Enhancer' gets off on a sort of slow-mo mix of Roedelius and old skool electro. www.boomkat.com
1 Time Away
2 Violence
3 On Oath
4 Science and Industry
5 No Surrender
6 How it Was
7 Damage
8 Faith in Strangers
9 Missing
'Faith In Strangers’ was written and produced between January 2013 and June 2014, and was edited and sequenced in late July this year. Making use of on an array of instruments, field recordings, found sounds and vocal treatments, it’s a largely analogue variant of hi-tech production styles arcing from the dissonant to the sublime. The first two tracks recorded during these early sessions bookend the release, the opener ‘Time Away’ featuring Euphonium played by Kim Holly Thorpe and last track ‘Missing’ a contribution by Stott’s occasional vocal collaborator Alison Skidmore who also appeared on 2012’s ‘Luxury Problems’. Between these two points ‘Faith In Strangers’ heads off from the sparse and infected ‘Violence’ to the broken, downcast pop of ‘On Oath’ and the motorik, driving melancholy of ‘Science & Industry’ - three vocal tracks built around that angular production style that imbues proceedings with both a pioneering spirit and a resonating sense of familiarity. Things take a sharp turn with ‘No Surrender’- a sparkling analogue jam making way for a tough, smudged rhythmic assault, while ‘How It Was’ refracts sweaty Warehouse signatures and ‘Damage’ finds the sweet spot between RZA’s classic ‘Ghost Dog’ and Terror Danjah at his most brutal. ‘Faith in Strangers’ is next and offers perhaps the most beautiful and open track here, its vocal hook and chiming melody bound to the rest of the album via the almost inaudible hum of Stott’s mixing desk. It provides a haze of warmth and nostalgia that ties the nine loose joints that make up the LP into the most memorable and oddly cohesive of Stott’s career to date, built and rendered in the spirit of those rare albums that straddle innovation and tradition through darkness and light. www.boomkat.com
