Inertia — a middle-of-the-last-decade John O’Callaghan/Neal Scarborough project — put out a few very commendable tracks. Here, Indecent Noise and Liam Wilson set about a nip, tuck & re-release work-over on ‘The Chamber’. Less tough than you might expect, Indecent Noise's version does pay plenty of ear service to the zeal-laden riff. Even closer to the bull's-eye, the currently extremely busy Mr. Wilson’s remix is beefier about the drums, with a pleasing sideline in squiggly, squally acid.
Berlin's Max Graef and Fantastic Man — aka Mic Newman — got together last year, and thank goodness they did, because this is a stunning two-tracker for east London's excellent Love Fever imprint. 'Soothe Me' busts out that wonky Detroit style, its jazzual synths somehow abstract but still locked in over the panel-beating loop. Over, there's 'At the Flip', all crackling 808/909 percussion, with a sliced and diced old school piano. While the classic house revival becomes more and more wearisome, it's the real quality that starts to stick out, sore thumb-like.
Judge… book… cover… it's a tired old truism, but if you were to look at the happy, smiling face of Lauren Holt on the cover of her latest EP you’d have little idea of exactly what darkness and oddity lies within. Follow-up to the equally quirky, interesting and complex debut ‘Haters and Gangsters’ EP, this bold, forthright and strident collection of songs once again marks LAW out as an unusual, prodigious talent.
Ahhh Rockwell, why can’t they all be as innovative as you? Well because that would be pretty boring too! This one’s a lively blob of Marmite, and I love it! ‘INeedU’ sounds like it's continually stopping and starting, with its broken vocal and its weird undertones which mix the noise you get when you eat a mushroom in Mario with bouncy house riffs and a trip round the bubble works at Chessington.