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MGUN Some Tracks

Label: Third Ear

A large part of the appeal of Manuel Gonzales' tracks is surely the Detroit producer's ample use of distortion. Much of his catalog as MGUN, which draws on his city's multifaceted dance-music tradition, has arrived caked in grit, the results sounding like warped relics found in the gutter, contorted by time and environment. Nevertheless, Gonzales' music retains an urgency that makes him a worthwhile contributor to the contemporary scene. Some Tracks, his latest EP, is not an exceptional entry, but it offers a decent overview of the artist's style. Read more » 

  • Filed under: review
  • 11/08/2013

Hubie Davison I Won't Be There

For his debut release, Hubie Davison has demonstrated a sense of artistic clarity and originality that most veteran musicians would be proud to call their own. I Won't Be There does borrow from some of the more obvious bits of the 2013 zeitgeist—twisted vocal hits, R&B and classic-house influences, for example—but perhaps due to his study of music composition in London, Davison sidesteps musical redundancy by creating a novel foundation for his aesthetic. Read more » 

  • Filed under: review
  • 11/08/2013

Doc Daneeka "Walk On In" b/w "Trife Pt. II"

Label: Numbers

With efforts for Ramp/PTN, Roska Kicks and Snares, 50Weapons (usually alongside Benjamin Damage), and his own Ten Thousand Yen label, Doc Daneeka has certainly built a solid reputation as a producer, but—with the exception of his and Damage's "Creeper," perhaps—has not exactly delivered a trademark "tune" since appearing on the scene a few years back. However, Daneeka's first turn for Glasgow's reputable Numbers imprint may remedy that predicament, as its a-side cut, "Walk On In," is a certified monster. Read more » 

  • Filed under: review
  • 11/07/2013

Hodge "Resolve" b/w "Prototype Fear"

Pick

As one third of the Livity Sound production crew and imprint, Pev has already supplied enough dancefloor heat in 2013 to power a midsize city for a few days. Livity's focus on raw, stripped machine funk has freed up Pev's own Punch Drunk label to pursue other dub-driven tangents. Most recently, the imprint played host to a varied EP from Bass Clef, offering several remixes of his "Stenaline Metranil Solar Flare." Earlier in the year, Pev linked up on Punch Drunk with fellow Bristolian, Hodge for yet another standout offering from the city's scene: the "Bells (System Mix)" b/w "Bells (Dream Sequence)" 12", which took the two producers down a decidedly dreamy and lush path. Now, Hodge has stepped out on his own with "Resolve" b/w "Prototype Fear," his first solo release for the label. The sonics are distinctly familiar at this point, but this 12" feels especially hungry. Read more » 

  • Filed under: review
  • 11/07/2013

Sapphire Slows Allegoria

Following a handful of releases over the past couple of years, Japanese experimental musician/producer Sapphire Slows (a.k.a. Kinuko Hiramatsu) has finally issued her debut full-length via Not Not Fun. Following on from her last release—the housey "Just Wanna Feel" 12" done in collaboration with 100% Silk affiliate Magic Touch—Allegoria is a textured, psychedelic, and meandering turn for the artist. Even compared to Sapphire Slows' relatively introspective Not Not Fun debut, the True Breath EP, Allegoria is a drifting, murky album, albeit one that manages to strike a balance between an overt dance influence on the one hand and more hypnogogic tendencies on the other. The LP largely leaves Sapphire Slows' sonic formula intact—slow house beats underpin Hiramatsu's languid, narcotic haze—but there's a restlessness to the record that can make it surprisingly difficult to pin down sonically. Alongside the plethora of other Not Not Fun and 100% Silk artists it's possible to draw constellations between when listening to Allegoria, dream-pop and shoegaze influences are also readily apparent, as is the push of house and techno. What ties it all together are Hiramatsu's reverb-laden vocals and her deft ear for rhythm. Read more » 

  • Filed under: review
  • 11/07/2013

Earth House Hold See Through You EP

Label: Peach

Operating as Earth House Hold, time-tested producer Brock Van Wey (more commonly known as Bvdub) applies his affinity for hypnotic, ambient-leaning productions to two extremely elongated, blissfully lethargic house constructions on the See Through You EP. Clocking in at almost 24 minutes, the second effort from NY label Peach uniquely interprets "deep house" into a softly glowing brand of lush dance music, complete with hushed soul references and slow-motion rhythms. Read more » 

  • Filed under: review
  • 11/06/2013

Noah Pred Third Culture

Having moved in his youth from the Bay Area to the isolated remoteness of Canada's West Coast and later spending time in Vancouver, Montreal, and Toronto before relocating to Berlin in 2011, Thoughtless Music boss Noah Pred is no stranger to packing up and forging a new path in an unfamiliar place. It's no secret that many of Canada's brightest electronic talents tend to head to Europe when their career reaches a tipping point, and Pred is no different. Four years have passed since Pred's last full-length, Blind Alignments, but his latest LP, Third Culture, is more of a refinement of his style than a total reinvention. Read more » 

  • Filed under: review
  • 11/06/2013

Pional Invisible/Amenaza

The name of Madrid-based producer Pional (a.k.a. Miguel Barros) is probably recognizable to even some casual listeners of house music, as his association with the critically acclaimed John Talabot has tangentially thrust him into the spotlight. However, while Pional has recorded and toured with Talabot, his own output has thus far been limited to a smattering of limited-edition 12" releases. That is set to change with Invisible/Amenaza, a four-track EP for the UK-based Young Turks label that finds Pional laying his wistful, pop vocals over amenable, disco-informed beats. Read more » 

  • Filed under: review
  • 11/06/2013

Nguzunguzu Skycell EP

Over the past few years, LA production duo Nguzunguzu (which comprises Daniel Pineda and Asma Maroof) has established itself as a leading proponent of the hybridized, polygenre tendencies that dominate a particular segment of today's bass-music underground. The pair keeps its release schedule sparse—the Skycell EP is the duo's first offering since last year's Warm Pulse EP—seeming instead to prefer to work on a diverse array of projects, most notably and recently producing two tracks on Kelela's stunning Cut 4 Me mixtape, and also collaborating with Fatima Al Qadiri and J-Cush as Future Brown. Still, Nguzunguzu's latest is a refreshing reminder of exactly what makes everything the duo touches so appealing—it's an intoxicating combination of agile, polyrhythmic beats, meandering, grime-indebted synths, and a specifically bass-minded headiness. Read more » 

  • Filed under: review
  • 11/05/2013

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