LONE
‘PINEAPPLE CRUSH’
(MAGIC WIRE 10”)

“Lone’s album was called Ecstasy & Friends. His new tracks are called ‘Pineapple Crush’ and ‘Angel Brain’. It sounds like he had a lot of fun making them. The former comes across like peak-era Chicago house, viewed through Lone’s distinctive hypnagogic lens, while ‘Angel Brain’ is a full-on peak-time party work out, all rave whoops, handclaps and fizzingly synthetic hi-hats. Both tracks are great, although I hope Lone’s feeling alright now. He could maybe do with some magnesium.” – full review

NITE JEWEL
‘WE WANT OUR THINGS’
(from AM I REAL EP, GLORIETTE 12″)

Nite Jewel has developed an uncanny ability to render quite clunky lo-fi sounds as steamy and graceful, filling quirky old drum machines and keyboards with something approaching glamour. Dreamy pop number ‘We Want Our Things’ – oddly redolent of Seventeen Seconds-era Cure – is a case in point. – full review

ONEOHTRIX POINT NEVER / ANTONY
‘RETURNAL’
(EDITIONS MEGO 7″)

“This reworking of the title track from Oneohtrix’s most recent LP finds him effortlessly swapping synthesizer for piano to show that he’s far from a one trick pony, and enlisting the vocal talents of Antony Hegarty to boot. While I still might not understand Hegarty’s references to the “internet as a self-atomising machine”, his poignant declaration that “you’ve never left, you’ve been here the whole time” reverberates in the air long after ‘Returnal”s last chord has dissipated into the ether.” - full review

PARIAH
‘PRISM’
(from SAFEHOUSES EP, R&S 12″)

“Percolating acid basslines flow like lava over stepping beats, before a widescreen femme vocal takes it into the ‘Hyph Mngo’ territory. Strong words? Many have tried and failed to emulate Joy Orbison’s mega-hit, after all. But this is something else: an evolution, taking inspiration from ‘Mngo’, sure, but also pushing things forward.” - full review

SHED
‘HELLO BLEEP!’
(from THE TRAVELLER, OSTGUT TON LP)

Shed’s new album is a more subtle work than his 2008 debut, Shedding The Past, rewarding patient and close listening – at times it bears a closer resemblance to the immersive 90s IDM of The Black Dog, Reload and Aphex than the stripped 4/4 brutalism of the producer’s Ostgut peers Ben Klock, Marcel Dettmann et al. That said, The Traveller is not without vigour: the helicoptering ‘Hello Bleep!’, for example, is as bad-ass and bass-drunk as any techno cut you’ll hear this year. – The Traveller review

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