SPECTOR - INFRASOUND E. P. (ROUGE INDUSTRIES)
Reviewed by: MATTY O (DATA TRANSMISSION)
The sound of worn out brake pads, the robot dance in need of a good oiling, and square metal pegs trying to burrow into round metal holes. A thunderously crunchy stomper that’s not quite breaks – you can’t imagine Just Hiss taking tight racing bends too easily - but a skip-happy number of ball bearing-busting BPMs as John-Paul Denton introduces Rogue Industries as the label for all your programmable dance move needs. Heavy on the treble as it chows down on steel girders, it’s a funky monster of a machine doing its best not to leave a trail of destruction, which by rights it’s entitled to such are the ungainly pivots it performs.
The metal gets twisted tighter on Madonna Freak, a turbo-rusted crunch with a pop slashing p-funk ambition (that would be the freaky bit) and a fetish for crash and burn situations. Denton looks up to the Freestylers’ Push Up, only mangling, crushing and cubing it: funk as performed by crash test dummies. Backed by rock star guitar solos getting off on the smoke coming out of the amps, the hair-sprayed falsetto vocals are possibly the result of stray shrapnel finishing in the groin.
Denton’s funkiness can’t be rebuffed, despite the previous two tracks sounding like Transformers getting jammed in mid-conversion. Near the Mark begins to smooth out the EPs creases with slap bass that’s very Jacques LuCont, and hence ideal for Spector’s robot troupe to fully extend into star jumps and doing the splits. Ultimately, it’s what you always suspected Spector was aiming for. Scorching techno synths don’t take away from the feelgood bob and weave, helped out by party rap snippets. It’s open to question whether Spector can maintain a manifesto that’s so the opposite of being light on its feet it hurts, but look no further for some rattling gyration.
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SPECTOR - NARCOTIC FUEL (NASCENT)
"..insane electro foundation which really gets into your head.."
Both sides are true club stormers, and are surrounded by a very lively aura. The Original Mix is fuelled by an insane electro foundation which really gets into your head and wraps itself around. I´ve always been a fan of Elliott´s vocal, and again here it works perfectly to complement the mood. Some heavily filtered funk-styled guitar riffs play out in the upper ranges and build up a tight groove. The track really explodes after the midway breakdown, and if your crowds don´t go wild to this then there is something very wrong. A simply amazing tune for a massive night out!
Household name Stel provides the remix, and he gets stuck into the groove and brings it to the forefront. The electro hook is pushed back, but we have a much housier take on the Original, which provides interesting contrast. The vocal is heavily distorted, and used as more of an effect, so if it didn´t work for you then here is your solution! The sexy guitar riffs are used extensively, as they provide for a great focal point. The filtered vocal flows on the underbelly of the track, and again works itself in perfectly. An excellent spin on the Original whilst still remaining faithful to it.
JASON CALVERT - PROGRESSIVE SOUNDS
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SPECTOR - LAWLESS (APACHE)
The Mini Me Dub is a stripped back 4/4 interpretation of the track. Focussing less on vocals, and twisting the melodies and effects around so that they are the key players who create the mood over the vocals. Elliott´s vocals do still however serve as a nice compliment to the propelling bassline and deep melody. A very strong track, and for those who aren´t into breaks, then this will offer the perfect alternative to the flipside.
The Original Mix is a darker breakbeat excursion, shifting the main focus to the vocal, which is backed up by a tight bassline and well positioned mid ranged effects. Elliott´s smooth lyrics drift in and out with razor sharp precision, as he tells the world "I don´t give a fuck"! The melody swells in intensity and upon exploding, heightens the atmosphere greatly. The production quality is on par with most Trafik work, but with a distinctively different flavour which can only be described as Spector.
JASON CALVERT - PROGRESSIVE SOUNDS
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AVATAR - DRIFT AWAY (Sog)
SOG Records returns with it´s 14th release and this time we have a two seperate 12"s, each with a different collection of mixes for our listening pleasure. I dont have much info about the artist behind this release, so let´s just talk abotu Avatar´s Drifting Away in the musical sense, and with that in mind, lets move on..
The first mix comes from Minilogue. This outfit is fast becoming no stranger to the review section on this site due to many top quality original productions and remixes. Here they bring in their trademark synth sounds, coupling it with driving percussion and a phat bassline, forming a wicked nucleus from which to work within, as the track works it´s way forward thinks get slightly uplifting without going too far into cheddar territory. Another fine mix from the Swedes.
Over on the flip we have the Original, an atmospheric breakbeat-esque workout that utilised distorted vox amongst a sea of synths and strings, all thrown around in the mix by a nice chilled by persistent groove which grabs you and locks you in nicely. Easy does it.
With Minilogue delivering yet another great remix and a nice sublime original on the flip, this disc eases us in nicely and more that whets the appetite to check out the seperate remix disc. Be sure to check both and see which mixes suit you best.
SIMON JONES - PROGRESSIVE SOUNDS
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