Tune of the month
Amato 'Le Desordre Et La Nuit EP' (Cititrax)
With a sound that’s unmistakably his own, The Hacker is one of our favourite electro producers. For his latest release he’s adopted the Amato alias, and it’s another stamp of electro excellence: these four tracks of savage electronica all bear the classic Hacker sound. ‘The Warehouse’ is our pick for DJs and with its cosmic, mechanical builds and razor-sharp 4/4 groove, it’s got everything needed to keep that floor moving. The robotic rhythm of ‘The Labyrinth’ should also please fans of the long-serving Frenchman.
Public Service Broadcasting 'Tomorrow (Copy Paste Soul remix)' (Test Card Recordings)
Copy Paste Soul has dance music’s full backing. The list of artists dropping his music is a pretty impressive read, with DJs like Modeselektor, Pan Pot and Skream reaching for his tracks. The daddy Laurent Garnier is a vocal fan, too, and CPS recently played b2b2b with him and Jackmaster at Nuits Sonores festival. Although we weren’t there to witness the delights of that spectacle, we’re pretty sure that his remix of ‘Tomorrow’ by Public Service Broadcasting will have been dropped. Why? Because it’s the latest in a long string of rippers that the DJ is responsible for. ‘Tomorrow’ starts off soft and atmospheric before a weaponised riff blasts its way into the frame and sets the tone for the rest of the track. We had the privilege of premiering this one, so head to www.mixmag.net for the full play. You won’t regret it.
Cliff Lothar 'All It Takes' (Turbo Recordings)
Over the last few years, Cliff Lothar has released some fucking great EPs. Skudge White, Midlight Records and Riverette have all showcased trippy, thought-provoking tracks from the producer, but his most prominent release came via Danny Daze’s Omnidisc label. The ‘Soul Plonk’ EP brought forward some slo-mo, robotic grooves that oozed menace, and his latest will only further his reputation for the dark and chugging. Arriving via Turbo Recordings, ‘All It Takes’ is a another fantastic addition to his discography. All four tracks bang hard, with ‘100 Dollars’ bringing weirdo synths and gangster slurrings while ‘Big Brother’ is just as wonky but uses police sirens to make it slightly more claustrophobic. ‘Devotion’ is more upbeat but still very odd, and that’s why we like it. All the tracks here should be filed under Twilight Zone, and that’s no bad thing.
Jimmy Edgar 'Dreamz Come True EP' (Ultramajic)
Another month and another blinder from Ultramajic. Jimmy Edgar’s label is consistently wowing us, and it’s a spell we’re quite happy to be put under. For the ‘Dreamz Come True’ EP, the boss steps up and confirms why he’s such talent. His sound is so unique and his tracks can be heard being introduced from a mile off. This record actually shows off Edgar’s more serene side, with the title track switching from 4/4 to half-time with ease. The woozy, washed-out chords glide like clouds and the main riff harks back to 80s electro. The emphasis here is on the melodies and rhythm rather than dancefloor aesthetics, and opener ‘4Fourth Dimension’ fuses stabby drums alongside delicate notes and twinkling tones. ‘iPhone’, though, is aimed at the 4am crew and it’s the closest thing to what we’ve come to expect from Edgar. Those vocals are quintessentially his, and the ferocity is welcomed. Jimmy’s firing up different styles with every release, and he’s evolving at a rapid rate.
Kris Wadsworth 'Gearbox' (Ultramajic)
We’ve been fans of Kris Wadsworth ever since ‘Uranus’ and ‘Breed’ blew up any rave they were played in. Now, he’s turned to long-time friend Jimmy Edgar for a place to release his latest LP. Let’s get this straight from the start: as an album, ‘Infiltrator’ is one of the best electro releases we’ve heard this year. It’s eight tracks of sheer savagery and, while not for those with a nervous disposition, it’s Wadsworth on his best form. Here we concentrate on ‘Gearbox’, which sits nicely at the start of the LP. Does this mean it’s light and airy to ease you into the album? No it fucking doesn’t – quite the opposite. The grainy, jagged track rips along with fizzing synths and broken percussion. It’s cosmic only in the sense that it sounds otherworldly; it’s certainly not easy listening. For the unfamiiliar, It’s an inventive intro to Wadsworth, as Edgar keeps his label topped up with gold-standard dance music.
Molécule 'Rockall (Torb rework)' (Mille Feuilles)
Now that Mille Feuilles are on our radar, they’re not going anywhere. Last month, we covered Chloé’s remix of ‘Hébrides’, released by the label as part of a limited edition Record Store Day vinyl. Now comes the B-side, with Torb’s re-imagining of ‘Rockall’ doing a similar amount of damage. A sufficient amount of dread is created early on, which is something we’ve come to expect and look for in a Mille Feuilles release. Factor in the sharp, dense pierces and devilish screeches towards the climax of the cut, and it’s a worthy partner-in-crime to Chloé’s A-side. Expect remix albums, artist LPs and a whole lot of sizzlers from Molécule’s label this year, and you can bet you’ll read about them all here.