Subatomic ‘s latest shot across the horizon sees multi-instrumentalist Micko Roche tease the airwaves with perfect harmonies and beyond. And what’s particularly wonderful here is the diverse nature of the sounds as the play fast and sometimes loose with identities and atmospheres. From the low-slung kick drums that drive the delicious opening title track forward to the liquid funk of the proceeding Slow Train the album proves to be much more than just the sum of its parts. Listening to this feels like a celebration of life, albeit without the darker moments, but by absorbing all of those gorgeously breathy vocals will prove to be as good a lesson in existence as any. Numbers like Coumshingaum then simply surpass themselves with the kind of excessively blissful guitars that wouldn’t be out of place on Crosby, Stills and Nash’s debut album, and from me that’s a compliment. The wash of stereo eventually finds its logical conclusion with the suitably pulsating beats plus harmonious words of The Sea, though not before Afterlife performs magic upon both Baltimore and Slow Train on two bonus versions. Choice.
This killer track launches Cari Golden’s brand new label in a blaze of fevered excitement. Combining talents with both Kiki and Smash TV this tense, evolving production teases you into submission by the time you hit the first invigorating breakdown. By the time the second strikes you’re already treated to a simmering funk of pulsating percussive elements along with rushes of energised synthesized noise, all of which are neatly capped off by Cari Golden’s inspired vocal lines.
Release: June 9
Drenched in rich atmosphere, perhaps the title doesn’t quite do this thought provocative production much, if any, justice. However this creative, smouldering blend of electronic notation really gets under your skin. Driven by machine drums, heavily treated voices and splashes of cutting synthesizers, Terrible is well worth your attention. Remixes come from a stripped back Dani Rivas who works the drums and deep bass into intensity, plus from Victor Polo conversely adding juicier basslines and strident piano hits to the equation on his first-rate version. Vozmozhnost, then sees a return to unnerving sequences with whirring synth lines colouring the background to the sound of further effected voices and insistent percussion. Best enjoyed LOUD.
You can tell when the sunshine has arrived because you get killer nuggets like this appearing on the horizon. Close up this merits close inspection. Take one nagging, infectious fizzy synth line, work it into distraction over punchy drums, then add a jump up and down breakdown. And the world is yours. Happy days.
Funny. Just for a second I thought I was listening to music. You know, as in proper music with chords and vocals and all of the things I grew up with. But of course it’s not just that, is it. It’s the production too which sounds just as fabulous loud, or quite. An album of hot Dub versions also casts your mind back – yes to the early eighties. And it was sometimes that that’s where a lot of the magic lay waiting to be fully revelled. Depending on how much you relished the songs on the critically acclaimed (everywhere it seemed) Ft. may determine your thoughts on these sometimes weird, generally wonderful re-imaginings. But take it from me each new track sends excitement shivering through your veins until you end up at the Jackie House ‘Bullets Workout’ of A Kiss Before Dying featuring the missed Alan Vega. Not to forget the blissful dub of Monday Morning Sunshine which introduces the experience, or Yoko Ono’s super funky charged rework by Yam Who. Or for that matter any of the other future sounding Music contained on here.
Released: Mat 26
Breathing like an old-time soul classic the beginning of Mitchel Kelly and Thijs Bastiaans aka Paris Green’s emotionally resonating You Got To Try feels every bit like a great record, right down to its relatively short life-span of 4:20. Time is inconsequential here as the smoky, downbeat vibes gather their own pace amid unfussy drums, low-end bass and David Stolk’s yearning vocal delivery. Ghost, then lifts the mood a touch with suggestive keys hinting towards a climactic sense of occasion inside shuffling machine drums and wobbly synth lines plus voices. But back to the title track and Steve Bug’s two equally striking remixes with the warm exhilaration of his Sunset version sounding particularly wonderful, while the Club Dub does just that via stripped down beats acquainted with fizzy synthesiser sequences.
Release: May 19
An excellent and richly atmospheric production in the shape of the title track greats you with an open imagination, fizzy (sometimes dark) synthesized tones pitched notably alongside emotionally sonorous swathes of background sound. A great piece of music that pushes at the edges of high and low intensity this compelling arrangement of bass tearing cuts and heightened senses is quite something. The remix is care of Ran Salman who expands any melodic possibilities while retaining the tracks brooding essence. And finally, Clockwork steps back into moodier climbs with unnerving sounds teasing out your expectations across smoky electronics.
Mobilee once again delivers hot and heavy music this time round care of the excellent Re. You who equally pulls few punches with this electronically, sonically charged stereo assault. The blistering Acid informed lines of Dreams set movement in motion with tense, intense rhythms that both inform and invigorate the airwaves. Contrasting perfectly are the deeper, more soothing tones of The Feeling as bubbling bass notes drift over uncomplicated drums to help ease the previous tension.
Killer production from Vincenzo who cleverly fuses timely Detroit styled basslines together with haunting synthesisers and an Acid attitude which is telling complimented by Cari Golden’s resonating vocal input. The tension gets resolved by a rush of emotive chords later on but the subtleties and creative nuances in this arrangement are excitedly rewarding throughout. Also coming with an Instrumental version, plus with an electro fuelled Smash TV feeling suitably charged and excellent, you can’t go wrong either way. Next, That’s The Way retraces more familiar territory with probing keys working their way into your consciousness over five minutes of compelling engagement.
Brimming with intent this production from Neverdogs kicks into gear with the splashing hi-hats and pointed bass of the aptly titled Music Make The People. Then the snares hit with flagrant disregard alongside commanding drum rolls accompanying treated voices to further ignite the atmosphere. The nervous appeal of State Of Blind follows with melodic sensibilities informing the taught rhythms, once again aided with their flair of creative input.