The other day I wrote Dom & Roland, trying to inquire if there was a way to buy his (fabulous) Definition EP of the early Renaissance period both legally and digitally (and in good quality). There has not come an answer yet, but then again who am I to overcome the Dominican spam folder? So in all probability left with YouTube’s doubtful audio material, I’d still like to use this incident and swing -for once- the moral axe a little (just a little): for it is a well-known fact, that those actually paying for their music are by far a minority. Yet I -an outsider- merely like to ask to just consider one thing: It doesn’t really hurt to spare a few coins, especially not if one eventually receives something for it. But these few coins -on the artist’s bank account- may be decisive: if the artist spends his time earning his livelihood or making music. And just imagine, there was for instance no Galactica, because Maztek was selling ice cream to tourists at the Piazza Navona, instead of tweaking basses in the studio. And no ice cream costs more than a few coins…
Dom & Roland – Definition EP (1995, Saigon) – http://www.discogs.com/Dom-Roland-Definition-EP/master/9440
We’re also gonna start this week’s musical revue with this fortunamente indisposed gelatore, for it is his collaboration with NC-17 and KC that opens the new Cold’n’Meltin’ EP of Austrian label Mainframe Recordings – an EP that (apart from one exemption) perfectly continues the label’s tradition of E-Schlager, that we are literally forced to leave the four other tracks aside. But Earworm is by all means an indigenous work of art, and with its straight drums and even straighter bass the likes of Ed Rush, it would likewise make a proper piece of our viral father figure. So everyone with a taste for techy Rock’n’Roll should definitely get their dose of this aural testosterone.
NC-17, Maztek – Earworm ft. KC (Mainframe Recordings) – http://soundcloud.com/mainframerecordings/nc-17-maztek-earworm-ft-kc
Of a same kind is at least the a-side of the last citrus fruit, Zero Method’s remix of Disphonia’s Collapsed: repetitive, rocking, with driving riffs of fuzzy bass on almost retrograde twostep patterns, and all that mixed with a delicately sinister marimba-melody. The b-side of this EP does also contain a remix, for NickBee has taken on Teddy Killerz and Malk’s Pulsar, and much to my acclaim. The man from Dneprodzerzhynsk (Ukraine) builds up a to his standards almost dangerous level of energy, genuinely composed of tempo, depth and quality of the material, and -after his promising yet not fully convincing past releases- pinpoints a most welcome direction. So now it is up to us to support the Hungarian-Ukrainian upswing in the economy of neurofunk!
Disphonia – Collapsed (Zero Method Remix; Citrus Recordings) – http://soundcloud.com/zeromethod/collapsed-zeromethod-remix
Teddy Killerz, Malk – Pulsar (NickBee Remix; Citrus Recordings) – http://soundcloud.com/nickbee/place2b-paimon-malk-pulsar
Our next feature is from the generally most trustworthy and honorable house of Dispatch, and unites three tracks (including bonus track) of Steve Kielty’s bassy appearance Survival on one fine EP. Its two core songs are almost equal in terms of deepness and groove, but where the -porn-free- collaboration with Break, Stano, captivates with creaky and fat basses upon typical break-style goose-step, the flipside Going Over satisfies with its engulfing field of sub bass and subtle melodies. The digital bonus track, The Year 2133 VIP, is rather a variation in mastering than production really. But freely as it comes, one gladly embraces the slight enhancements of its uncompromising rhythm and basses, freshly strained through the tube. So if you wish to contribute a little to the former studio managers Survival’s survival, or are simply looking for good music – have a listen to this record.
Survival – Stano (ft. Break) / Going Down + The Year 2133 VIP (Dispatch Recordings) – http://soundcloud.com/anttc1/sets/break-survival-dispatch-62-out/
The second Austrian label-contribution of today’s revue is the debut release of London based producer and DJ Disarae, who recently manufactured a balanced blend of noise-fetishism, old school, thick, fringy bass and groove: The Hybrid EP starts off rather enthralling with Caps Lock, positively showing Disarae’s craftsmanship, even though the overall composition could use a trifle more tweaking (apart from that sound of coffee boiling up, that drives me out of my mind… – cheers to your addiction). The upcoming title track impressively shows the Englishman’s talent and understanding in terms of rhythmical sophistication, and the obvious yet loose cohesion between Hybrid and Hybris suddenly becomes apparently tight. Subsequently, the third track, Freeze, is a testimony of Disarae’s understanding in buildup and structure, as the song continually thickens throughout great part of the composition. The concluding Moody Grooves unfortunately is a rather trivial piece of music, not bad, but not special either – likely because there just wasn’t anything left to prove. The remaining three tracks, however, more than justify the endeavor to try and save this petty soul too from an art-destructive 9-to-5 with just a humble donation.
Disarae – Hybrid EP (Syncopathic Records) – http://soundcloud.com/sub/sets/disarae-hybrid-ep-out-now/
Rob Dawson, 21, and Chris Murray, 22, share this aversion to the most hostile of artist’s fates, and got together in their own aural support group Fearful, which presents their progress so far in the new Tampered Cipher EP, a remarkable piece of homeostasis: From the opening chord onwards they drown every potential doubt in rolling waves of subbass, gently laid under a tight fabric of crisp drums and fresh sounds, strongly reminding of the higher energetic output of Alix Perez. The EP’s highlight is undoubtedly its middle track, Prime Directive, that not only brazenly adepts an Enterprise dialogue in its intro -stylishly culminating with Picard’s firm and timeless ‘Engage’-, but does so quite well. In delicate space-fashion, Fearful plough through the frequencies, and when oscillating between bass-pressure and mid-synths they truly harvest the best of both worlds: Prime Directive is probably the best track in that particular space manner since Mefjus’ masterful Distantia. The final track, an iM 3 remix of The Pinch, remains a likable, melancholic tune, with a bass that gives some comfort. Maybe we too should give something to this aspiring duo…
Fearful, iM 3 – Tampered Cipher EP (Darktide Recordings) – http://soundcloud.com/fearful/sets/dtrep-003/
Finally I’d like to suggest the Upbeats’ new Undertaker-freebie, released by the mighty Noisia on their mighty Vision Recordings, and entirely for free. The track itself is quite outstanding, and the way they grant the sub space to sound as well as their dealing with midfield-basses is exemplary (not to mention the drums). Like I said, the track is for free, so there is neither need for contemplation nor for any of my monetary laments this time. This time…
The Upbeats – Undertaker (Vision) http://soundcloud.com/theupbeats/the-upbeats-undertaker-free
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