A boundary-crossing selection of reconfigurations from Max’s recent works... Rafaël Frost packs punch-a-plenty on the mix of ‘So Caught Up’, while Max himself puts a celestial twist on the Gai Barone co-op ‘Dying To Survive’. ‘FYC 2013’ with Corti Organ is tons of rave-ily riffed fun, but just out in front is ReOrder’s jet-propelled redux of his and Maarten de Jong’s ‘Lekker’.
In upping the tempo, the pads and the lushness for their debut on Kelpe’s DRUT imprint, Bulgarian duo 1000 Names have created a whole new life for themselves that — if I’m brutal — trades more on palatability than it does the ingenuity of their earlier hip-hop leaning material that I was such a sucker for all those moons ago. It’s all very balanced, sun dappled and sweetly listenable but something about it just feels a little too… safe.
The man behind Sheffield's eminent Hope Works warehouse venue — where the likes of Theo Parrish, Carl Craig and Kyle Hall have turned it out — Lo Shea launches a gleaming new label, taking on the mantle from his now defunct Seaghdha imprint. 'Capacity Creep' is a mucky, slightly sinister warehouse anthem if ever there was one, its stark synths paying tribute to LFO. On the flip side, 'Black Plate', with its punishingly basseous (yes, that probably is a word) kick pulses relentlessly, and should ideally be accompanied by a single strobe light.
The female/male vocal dynamic rarely fails to excite, yet (production costs, we’re guessing) remains rare. That two-hander is the basis for Salbart’s latest, and aside from the title-alluding edgier lyrics and quality vocals, the production kicks plenty cool too.