Got a big order in a week ago and have only just got round to unpacking and listening to it...
- Inigo Kennedy - On The Move EP (Expire)
Hard as nails EP in the style of Surgeon's Magneze or Mills' Life Cycle. The kick drum on the A side cut in particular is seismic. I don't often buy records as hard as this any more but it's good from time to time to get your head blown off when you drop the needle on a new purchase.
- Baby Pop - Tranzik (Relief)
Nice solid mid-1990s Chicago fare. The first track's a straightforward DJ tool but the rest of them remind me a bit of Glenn Underground's "Unborn" EP on DJAX - SH-101 basslines, understated strings, but hefty kicks and claps. At the moment I really go for this sort of thing, Chicago tracks with a flavour of Detroit to them. Not fluffy but more than just raw percussion.
- Slick Homies - Explicit Lyrics Traxx EP (Dance Mania)
Excellent artist name for an EP produced by Paris Mitchell among others. And with track titles such as "Whose Pussy's This", "We Don't Love Them Hoes" and the heartwarming "F*ck That Motherf*cking B*tch" it doesn't take a Dance Mania expert to guess what sort of thing's on offer here. My favourite is "Masturbation", an onanistic ditty which samples both "Can You Feel It" and (appropriately?) "Washing Machine". "The Claps" at the start of the B side is wicked too, but less rude.
- Louis Bell - Can You Feel What I Feel Vol 1 (Relief)
More solid stuff from the windy city. Crowd-pleasing EP mixed by Paul Johnson, with a couple of energetic claps-on-kicks workouts and the occasional cut-up gospel sample. It goes into a locked groove at the end of each side, which is always fun as you start thinking "how long *is* this track??", then look at the turntable and realise you've been listening to the same bar for the last five minutes. Like a div.
- Liaisons Dangereuses / DJ Rush - Dias Cortas / Untitled (D.I.R.T.Y.)
Bootleg release that I've been after for ages, containing an ultra stripped down acid-tinged edit of the Liaisons Dangereuses track which has a lot of understated energy to it. The DJ Rush track is the highlight, though. I think it's a really early one of his on Dance Mania - really tracky, lo-fi and polyrhythmic in that "was the kick really supposed to go there??" kind of way. Glad I managed to track this one down.
- Studio 1 - Gold (Studio 1)
Anyone who knows the Studio 1 releases will probably have a good idea of what's on here. Mike Ink's series of mid-90s stripped down bassline-driven minimal releases didn't have a lot of variety but they sound great to me, and this one's no exception. At 10 minutes a side, though, even the shittest DJ will have more than enough time to mix out of these two tracks.
- Greyhouse - All The Fly Skinnies Feel The Beat (Stealth)
Got this for the instrumental of the title track, which makes an appearance on 'All Cylinders'. The main riff is unmistakeable. "To The Body" on the B side is a decent piece of ravey European acid - a bit cheesy, but it's from 1991 after all!
- Sterac / Percy X - Asphyx / RD600 (Rewind The Classics)
"Asphyx" is a well known Steve Rachmad track which came out on 100% Pure originally. That release is extremely expensive, though, so I picked up this reissue instead. It's a bit of a classic, an example of that early 1990s style where dancefloor tracks also featured clean, atmospheric sorts of sounds without going too far into bland territory. The Percy X track on the flip side isn't too bad, but definitely a bit pedestrian. And, weirdly enough, it has a chord sequence almost identical to a track I made a couple of years before it came out.
- Sulphuric - Better Come Together (Infonet)
I used to own this record and then either lost it or sold it - I can't really remember. Produced by one of the era's major c*nts, Kris Needs, but it's still good. The main thrust of the EP is acid, and while the acid cuts are OK, the track to check is "Slow Burn". It's one of those slow, distant, bleepy, post-rave early 1990s tunes, a style I really like.
- Cusp - Drone Um Futurisma (Probe)
Trance/techno/acid stuff from Mark Gage circa 1992. It lacks the 'bad' elements of trance but like a lot of music from that time there are bits of it that could possibly alienate a modern audience. Still, modern audiences are notoriously snotty I suppose.