Kerrie
We Continue Part 1
Cultivated Electronics Records
Out: 19th July


This Cultivated Electronics debut for Manchester's Kerrie sees the sound technician produce a run of four smashing originals that mix up dizzying electro, deep-reaching bass-lines, and thrilling acid tones. Originally from Ireland, and now working in the UK, Kerrie has become an established figure on the local and international DJ circuit. With a host of shows behind her, including in New York and Berlin, it's a rare treat for this artist to get enough time to make fresh tracks in between shows. If that's not enough, Kerrie also started DMF Records, which have big plans lined up for the future.


The music begins with Heptapod K. It hits us straight away with a huge twangy bass and rhythm propped up by snare, kick, lots of effects. Cymbals rise with their friend, keyboards, to bring out a massive chunky groove that's simple to dance to yet cleverly sprinkled with salt and pepperings of percussion. Layers of rhythmic tone rumble and shake through the neat compressions and lattices of flow.


Next, a deeper and darker synth bass crawls out from the shadows. It stands up, snare greets it with a hard and snappy fire. The rhythm chokes, new synthesiser begins to garble something quietly as the bass keeps rising with power. A full-on rhythm thrusts itself into our space defined by huge bass and industrial drums. Droid Nation works like a machine and holds a magic quality of drama that can be likened to human colonies.


A strange spectral synth joins a jilted snare rhythm as bass and kick thunder through. Digital plucks form a bubbly edge that simmers on the heat of intense background sounds. The synthesisers increase in strangeness and glistening of dripping wet sound shimmer and shake on naked trees. The atmosphere thickens, a buzzing melody rampages into the soft middle like a chainsaw. Swarm fills the air with vibration and energy as a bludgeoning intensity brings out alien and odd dimensions to a choppy rhythm.


Vibrant bass with a metallic sheen breaks over hard and carefree beats that crack the glass with each pounding strike. New layers of self-similar tone roll forward, the pitch is reduced which leaves an opening for a new thread of high end interjection. Velocity holds back as thundering beats repeat over the flattened ground tampered by the marching feet of generations. They Can't Stop Us is a relentless surge through thick and restricting surroundings with strong and powerful treads.


You can catch up with Kerrie on Soundcloud


Also dig into Cultivated Electronics on Soundcloud

Sarmism
Wander Lands
Bricolage Records
TBR: 13th August


A year since the previous offering from Manchester's Sarmism on Glasgow's Bricolage label, the lockdown has ended and we're free to roam and visit once more. This latest album sheds the restraints of yesterday and adapts to the wide world once again. Designed to be a soundtrack to escapism, a score to freedom, and an exploration of modular sonics, this eclectic and prolific label once more retains its crown thanks to this new Sarmism album.


It begins with Elixir. An enchanting massage of sound wafts from the speakers as it gathers sonic detritus and flyers on the way. Soon a torrent of fluttering tones list into the hillside and snake through the trees. Amplitude rises on the synthesiser tones that sparkle and shift like fluid sunlight. Then, a bass hammers in with deep and meaningful strides. The long-distance holds on the notes bring a sense of dub-step without the aggro as heavenly arpeggios drift and fly through the cracks in the ceiling.


A gust of air and a change of scene brings an ethereal and fixated gaze inward. Voice samples roll over pebbles of distortion as drums punch and pound with melodious percussion. Synthesiser breaks the eggshell and throws down a smothering of bass which soon takes hold into the piece. New sounds swerve and decorate the rhythmic pace while whistles and strings reach into the abyss. New bass floats down and grafts itself in, mechanical edges now revolve and pinch as the groove is exhaled gently. Oroshi is sudden and invoking as the music changes gear into new dimensions.


Ever been to a Silent Disco? That's the next title and it begins with effervescent synthesiser that builds with gradual ballast. Stability rises through spectral openings and dream-like formations of tone. Harmonies push the feelings of expansive surroundings into new avenues of thought. The culmination of repeating phrase and organic melody paints a delicious picture of winding intentions and symbiosis.


Piano and string follow with dreamy trip-hop inspired grooves. Vocals chant lo-bit vibes as rhythm and bell tinkers with an orchestral pulse. Drums smash through like a presenter walking on stage. The music erupts with vibe and light as the rhythm surges into the missing space. Dramatised and cinematic melody hangs like clouds in low valley skies as a snaking bass starts to explore the contoured terrain. Melody encapsulates Dunes (Reds) with an other-worldly majesty that tingles with snippets of intuition that flicker in the ruminations.


Huge synthesiser horn and wind tones tremble and quaver in the sudden purpose of being as Trig Points begins. Sunken drums begin to tumble down staircases of sonic semblance. Distinctive additions form pockets of sound in the matrix of repeating chime and drum. A gradual progression sees the drums mutate into a glitched and electronically inventive simmer. A broth of percussion bounces on the sizzling oil as it's spoon-fed into the pan.


Vibrant metallic bass reaches out into darkness with hopeful fingers, willing there to be something to hold onto. Drums pounce like nerve endings that shatter the fright with realisation of substance. Twangy motifs resonate on wood and wet stone as steady progress sees the approach of luminous skies. A persistent and metered delve through mysterious sounds and oddly harmonious reflections takes us to Elysium.


An enchanting and illusion invoking mirage of tones rise from vaporous beginnings. Keys strike apt tones as creaking wet wood rumbles within. Day is breaking, scattered blips begin to shine down on the forlorn landscape described with lush and evocative sounds. Bass and drum then thump through as the main element of the track blooms. Waverings of synthesiser streak across the sky and thundering surges of energy rattle through the temporary haze.


With glistening surfaces and warm radiance a melody grows gracefully through a boundary. Lost in its own imagination the tune reveals a passionate envelope of humdrum and what-ifs that marble through self-awareness. Affirm is a short number yet carries us through perfectly.


Next, a river of sound gushes from the open valve and covers the scene in warm crystal layers. Bubbles of bass begin to burst, releasing their buoyant sounds as they go. The flow settles to tranquillity and synthesiser describes the smooth and static surfaces submerged with gently moving water. Codename WL throws ambience to the fan and lets hyperactive mental function make a meal of the shapes and textures offered.


Vocal and plucked string begin the next number. More ruminations evaporate into the ether as new thoughts replace them and build on their foundations. A rumble of drums with a dirty edge scuffs the shiny shoe before taking a cool swagger through the arcade. Avatar is another choppy number, it changes and shifts like a rolling dice with different faces. The basic design is the same, however, and familiar patterns continue to reveal themselves in numerous costumes.


Completing this astonishing journey with Heroes, a distance reveals distorted choruses and heavenly songs that draw us to the light. Like a moth we're drawn to the next world that leaps at us over bar and composer led burst of emphasis. A mix of sounds join in harmonious chaos which ripples with tingling freedom and a gut-instinct for appropriateness.


Find out more about Bricolage Records and artists like Sarmism online


When it's out the album will be on Bandcamp


Find Sarmism on Soundcloud
​

EMIT
Life Time EP
Jujuka Records
TBR: 16th August


Iranian-American culture meets electronic music as Kamran Sadeghi returns under the familiar EMIT. Having just returned from promoting his Loss Less visual audio experience at the Musée de Louvre’s virtual event and the Fridman Gallery in New York City, EMIT once again arranged and crafted exquisite sound sculptures for us to explore. This new project does not disappoint, four beautifully produced experiences are hitting streaming sites and airwaves in just a few weeks. EMIT had the vision of reinventing nuance in communication, something we feel passionately about too. By giving us a product that requires deep empathic connection through music, it's bound to pop some corks.


The first track is Lonely Owns Me. It grinds into our presence on mysterious mechanics that ripple into rhythm. Extra synthesiser patterns stroke colours through the tapestry and bring segments to life. Gradual progress lifts the tempo on stilts of sunny radiance and evocative sonics. Layers of drum meet each other in dreamy conjunctions as twists of silken thread pin the waves to unique angles.


A quick splashy rhythm takes hold. Deep bass and raindrop like percussion rattle with snare and cymbal in tow. A frantic barrage of adjusted and neatly aligned beats spiral into the air as Data Love begins. A cut brings deep and resonant sounds that ride on a wave of mechanical industry that pounds in pulsations of kinetic energy. Rhythmic and non-melodious, the combination of unique and interesting beats flow in spacial unity as layers work to lift and breath life into the piece. A synthesiser rises with scale repeats that suddenly brings tune to the dance.


Quick runs of plucked notes span outwards in a funnel of sonic sparks. Strange and warped drums then collide with the layer, overpowering many of the notes with energetic and loud crashes and zaps. The mix balances out as bass penetrates with equalising power before the music expands into a mix of frantic rhythm and melodics. Wake Transition builds with gradual clarity, from excited and minimal introductions to spectral and multi-dimensional facias of music.


The final number begins with chimes like a church ringing in the morning. Peeling tones roll down a major scale as ethereal glitches scatter subtle focus behind. Effects and loops begin to repeat and overlay the tones while digital fills add spongy intrigue through tone and nostalgia. A harmony builds on the repeating synthetic bells that hum like violins. Layer upon layer rises in packages that form a growing sonic pressure. Inverse Theme pushes the feeling to its pinnacle with bursts of static and delicately positioned abstract compositions.


You can find the music on Bandcamp

YOKOCHO
Everyday Diamonds EP
Insult To Injury Records
TBR: 30th July


This reputable branch of the Ransom Note Records tree, backed up by Timothy Clerkin, is ready to release the next YOKOCHO record. The Insult To Injury roster is growing month by month, demonstrating the best in lo-fi and nostalgic cuts. This latest number is produced by Antwerp based YOKOCHO who aptly wears the New Beat crown with more style than most.


Synthesiser and samples open in euphoric phrases of melody and drum. Uplifting tunes merge with dreamy drum-fills and a slow meander of progression unravels. Bass hits at the right moment as the drums rise in power. The synthesiser chords bring out a bedrock for whistle and chimed melody. Landscapes of backdrop run past in the flow of the rhythm and new elements of music present as lodestars in the journey. Everyday Diamonds lifts up the emotions and fuels a passion for movement that suits the club.


Data follows, and it's got a more sinister introduction. Choppy bass oscillates and peers through intense beats. Forms of scale jostle into place through the fulcrum of rhythm created by snare, bass, and snappy hats. Synthesiser rolls by with twinkling and distant melodics that serve to lift the energy through ambient shadows. Industrial beats and a powerful mysterious atmosphere shift through subtle dimensions of theatrical delivery.


Deep tribal style drums bash out with tom-toms and bells as a twanged bass begins to pluck a steady progression. The moving melodies repeat in short circular movements and extra synthesiser fills it out. A bass-line plunges in like a diver which splashes into the river of sound. New manoeuvres lift the flow into a new level as choppy and rhythmic bass tones smash down on the drum. Sonic effects glisten and swirl like wisps on hilltop lookouts as the chunky and sudden impulse of bass continues to pounce. Other Side Of The Mirror breaks into spectral melody and warped sounds as a tasty surprise in between the throbbing bass.


Next is See You There. It beings quietly, and a graceful current of swirling flow rises with birdsong and ethereal tones. A smooth sensation of gladness dreams with clarity and abstract intention as the tones lift and grow like greenhouse tomatoes. The glistening sonics merge with subtle distortions that fold the music into tiny concertinas that ripple and glide through the imaginary sounds. The EP finishes with a remix of its title number, Everyday Diamonds, by Timothy Clerkin. It brings the heavenly atmosphere to a new dimension with frantic drumming and throbbing party bass. A drum and bass tonic is thrown down the hatch and the music easily adapts to the new direction. Fast and uplifting rhythms mingle with evocative and dramatised dynamic compositions.


Get into YOKOCHO on Facebook


Instagram


and Soundcloud


Insult To Injury Records are on Soundcloud


Instagram


Facebook


and Bandcamp

SCDD Hazmat Team
RBT EP
Steel City Dance Discs
TBR: Soon


Newcastle, Australian style, and the fantastic crew at Steel City Dance Discs are ready with their latest escapade. This EP features the team under a familiar moniker and two fresh cuts of exquisitely defined electro house fusion. Being the flagship group for a whole platform of talent stretching back for years, the Hazmat Team are preparing a host of brilliant shows in the UK for our enjoyment. Dates at the end of the review! Already a regular feature on Rinse FM, the SCDD Hazmat Team are no strangers to melding beats and sounds while the world pays attention.


Huge rhythmic bass and kick drum open the first instalment, Hume Highway Hakke. A heavy tempo beats a path through the undergrowth as massive steps run along the way. Vocal inflections raise the rhythm on the bar as cymbals are added to fill even more space. Pulsations of groove splash into the room as the bass thunders into neat portions. Gradual progressiveness sneaks through until a keyboard layer overpowers the delicate notions with a frantic and loud melody line. New drums and thumping bass join the curve as a dancing magic rains down from all directions.


The second track unpacks yet another heavy bass-line. This one has a kick break on the end of each bar that becomes the gravity point for other layers. Oscillating synthesiser and a mash of cymbals carry the energy through piercing and foot-stamping bass. The kick keeps all together, as multiple layers of frantic kinetic enchantment pound at the walls and the ceiling with vibrant and punchy impetus. Lost In Tha Cross shifts across various synth motifs and melodies as the rampaging rhythm persistently smashes a dancing sensation into the swirling centre.


You can find SCDD Hazmat Team on Spotify


and Apple Music


Find Steel City Dance Discs on Bandcamp


and visit online: https://www.steelcitydancediscs.com/


UPCOMING DATES:


July 24th - XOYO - S.C.D.D. Hazmat Team + DJ Boring


September 24th - Village Underground - S.C.D.D. Hazmat Team + KETTAMA


Oct 23 - The Mill, Birmingham - S.C.D.D. Hazmat Team + Yazzus + Mall Grab


Oct 29 & Oct 30 - World HQ, Newcastle - S.C.D.D. Hazmat Team + Mall Grab + Ape-X


Oct 31 - Rock City, Nottingham - S.C.D.D. Hazmat Team + Yazzus + Mall Grab


Nov 13 - Patterns, Brighton - S.C.D.D. Hazmat Team + Mall Grab


Nov 23 - Foundry, Sheffield - S.C.D.D. Hazmat Team + Yazzus + Mall Grab
​

Lil Mz 313
Black Rose
Data Bass Records
TBR: 16th July


Explicit Language


Ghettotech royalty and creator of music used in Starz on Power TV, Lil Mz 313 releases fresh remixes and originals on this new record. This EP marks the beginning of the next chapter for this artist. We know she's going the whole journey and it's a great send off if we've ever heard one. Based in Detroit and fortified with the sounds of Miami Bass, it was when she met DJ Godfather that connections were made. A record soon emerged that was made in collaboration with Will Simpson aka DJ Omega. She's also produced music with DJ Rashad, who sadly succumbed to drugs in 2014. Part of Lil Mz will surely be flying a flag for this great name in the years to come.


The first track is called Porno Sex. It begins with a quick short arpeggio loop that takes us up and down. A snapping rhythm with claps and snare works with a throbbing bass. The synth fades and Lil Mz begins her vocals. Rhymes almost rapped verses cast conjure over the flow. Melody rises in fast and choppy bursts as breaking drum riffs rise with the tide. Retro sounds and modern rhythm choices work with cut and dubbed loops and layers that surf the deep and multi-textured ocean. The second number is the instrumental version. The rhythms and selections are laid bare for us to explore. We love the sound of her vocals, but I guess there are times when Porno Sex isn't something you want on loudspeaker. This track gives us something clean to enjoy when the family is round.


A scattering of various beats unfurls for Fuck Me With His Eyes. A bass begins to throb as quick lyrics merge with snare and hat. Be warned, this track has some explicit lyrics. Lots of groove layers in as repeating beats and drum fills ramp up the energy with continual variation. The lyrics repeat as a poem with emotional and dramatic content. The continual use of inventive drums with evocative rhythms brings out a true sense of spontaneity.


This fiery and audacious EP ends on the remix of Super Swag. The famous tune from the silver screen is reinvented as a choppy and disco fused entry. Upbeat and catchy beats smash out the groove as lyrics continue the ghetto diva frontage. We need to pay attention to this one, she's got nerve, talent, and class. This makes a lethal combination.


You can listen to Lil Mz 313 on Spotify


Follow Lil Mz 313 on Instagram

YouTube


and Soundcloud

Lunar Orbit Rendezvous
Faith/Reason
Ransom Note Records
TBR: 16th July


What once was LOR is now Lunar Orbit Rendezvous as Belfast based electro-smith Gregory Ferguson joins the Ransom Note party. This new LP of textured and ambient sonic exploration provides an atmospheric and cinematic backdrop to the mental adventures that arrive during relaxation. These ten tracks of dynamic and layered soundscapes reveal an oceanic sky of eternal wanderings and flight.


The first track is A Dawn. It grows on wholesome and full-bodied tones that rumble and rise in graceful motions. New tones dance and twinkle from the reflectivity like moonlight in moving deep water. As the dawn breaks, textures and shade grow and move as the illumination gradually falls into place. Next, a string ensemble breaks the silence with tuning and resonance checks, a deep and primordial energy breathes in the background. This rises into human choral tones that harmonise with the subtle melodics of Music For Spaceports. Powerful progression rises through the effortless manoeuvres as orchestral builds push through the layers.


Surges of sound ride in on tidal forces as plunges of bass tone lift and invigorate the flow. Sonic clarity holds its shape in gusty areas forlorn and touched by brief eternity. Wave Ruins sing with ancient imagination and call out to unified architecture throughout the cosmic landscape. Rushes of power and pained persistence continue into the night. On wisps of ghostly congealment the next mix shimmers into the system. A relaxing movement of pretty cords mirage into the air. Then, huge chunky synths begin to follow a simple transition of melody. Novel harmonies reflect the perspectives of tone through mirrors of journeying sound. Faith/Reason builds and grows on sunlit skies that clasp all that they hold with planetary pressures.


Watch out, it's Trouble In The Neighbourhood. This creepy title has a matching intro as spectral and ghostly atmospheres curdle into tangible holds. Tonal harmony whispers and breathes with various pressures and forms. A meandering flux of intertwining sensations river together in twisting and layered imaginaria. Next, a smooth and delicate waveform resonates into reason as brief percussive strikes frame the trajectory. Lowered eyes look forward as ribbons of charm and magic flutter through abstract patterns. Aspen Trees holds its shape through season and storm like the tree-lines that frame our home perspectives.


Luminous tones shake and shimmer through abstractive layers. A shrill and strong ray of power forms a sonic spire across the vast open space. Lights shine from the towering presence in patterns of communicative dance. Ethereal manifestations of energy soar and coalesce as Dead Experiment. Last Program Run follows, it begins quietly. A gripping run of vinyl and mechanical noises open the drama as runs of bell chime and harp echo through the corridors of dream. Gradual energy builds with synthesiser harmonies that quiver in resonant bursts. Laid-back rhythm drives forward an engineered progression through ruminative suggestions.


A transitional piece fills the penultimate position in the production. Spirals or repeating tones mirror in organic spectra briefly for This Willow. Next, euphoric and heavenly tones radiate through thick warmth and atmosphere. Gentle yet strong tones plunge their voices in with a soulful melodic phrase. High levels of reverberation sink into thickness and form as harmony caresses the joins and rhythmic nature of the music. Karesuando completes the album with grace and a composition of enchantments.


Get involved with Lunar Orbit Rendezvous on Instagram


Twitter


Facebook


Soundcloud


and Bandcamp

Univers III
Octogone
Yoyodyne Records
Out: 19th June


France talent Univers III presents Octogone. MicHell has been instrumental in projects such as Les Fragments de la Nuit, Revok, and Lolito. This new solo work explores a deep and dark sense of atmosphere in which no god or master is respected. Matching the natural frequencies found to be coming from the constellation of Orion, this album defines a passage between the earth and sky. With an album cover designed by Uruguay's Alexandro Nelson Garcia, this astonishing work is set to escape velocity.


A sleek and polysonic tone grows out and up like a huge pipe-organ musing on lost memories. Dismembered curdles with deep resonance and thoughtful drones which mutually hold each other tight as the dreary mood manifests. Quicker arpeggio like motifs then spring from the undergrowth which penetrate with an edgy direction. Waves of strange amplitude join in the middle of the sky as spectral illumination manifests as sound and sweeping searchlights that peer across the land like giant vibratory eyes. Octogone sinks us deep into a state of hypnotic relaxation with the shadows slowly gathering around us.


Particules follows. This features work by Steph G. A silken rise of twinkling tones sparkle in the darkness as a build of piano summons deep and powerful forces. A woodwind calls out through the shaded landscapes with a message of awaiting wonderment. As the composition expands and progresses, subtle energy is used to elevate steps in the story. Next, a humming ambience rises from the nothingness. As it grows, a piercing sense of energy grasps the note and holds it in place. New sonics rumble and manifest within and beyond as suction and flow create rivers of frequency that split into various harmonies. Black Hole is fuelled by abstract and broken synthesiser tones that twirl and sink.


Rounded and shrill tones roll like vibrating cymbals covered in webs and dust. Piano strikes a solitary melody through the haze while awkward and sinister harmonies rise through the film of opaque sound. Where I Landed looks around and absorbs the devastating emptiness that expands in all directions. Organic musings form over digital in a minute tapestry of imaginary sounds. N= -1 perhaps, or maybe it's just the convex nature of existence. Whatever happens in the fundamental realms, the results on the outside are a continually shifting and changing amalgamation of inspiration. Micro Elements builds with orchestral and composed clarity as various tones and sound-effects build a fantastic picture.


Huge and deep piano notes cast devastating magic across the stave. A higher tone begins to pulse in an odd scale which shifts and bends as extra sounds disperse from the body. A distorted guitar plays harmonics into a fizzing cacophony as choral voices rise like hot fog from the night—time tarmac. Somewhere Between Nowhere and Goodbye jostles for space in tight places. It continues with After Moon. Haunting piano splashes over the silence in subtle melodious progression. Minor keys merge with a flow of motion as the composition breaks into outcrops and roots.


Church Of The Latter Day Synths is next. It waltzes into our ears on a slow moving tempo. Harpsichord like notes breeze and blow as if played over pipes, a combination of sounds meet and divulge with each other before dispersing into various room positions. Slow and meaningful melodies work with strange dream-like swirls and gusts that invigorate the flow of feelings. Target is after. A fast and upbeat keyboard melody pulses with rhythmic velocity. Digital beats pulse and strike notes on aspects of progress while stop-start bass rumbles and roils with a degree of intense destination. An updraught of melody begins to cover the pieces with blankets of kinetic sound.
Next is Lost Episode. Cinematic scores of piano strike characterful melodies across a harmony of minor strings which quaver in the tension. Strange and shadow-lined notes step up into amplitude as the next number begins. Progressive steps climb upward as harmonies and chorded melodies chant in repeating lines. The build-up reaches new heights as extra synths cusp the sky with streaks of sound. Exit takes us up and away as drumming punches in the time-code and powers everything up.


Follow Univers III on Soundcloud


Facebook


and Instagram
​

Itay Dailes
Are We There Yet?
Science Cult Records
Out 11th June


Tel-Aviv based 303 magician Itay Davies is making his mark on America's Science Cult imprint. This new EP takes the style and works the rhythm into a frenzy of mixes that aim to please. Including a remix from Orlando Voorn, we get 2 originals and 2 perspective bending remasters that bring Israeli music to the forefront.


It opens with a fun and bouncy rhythm that pops and booms with an elasticated bass-line. Snares jostle with metal-work as the kick provides a steady thrust. Extra layers of synthesiser meld into one another as percussive melody entangles with the rhythm. Harmonies rumble through as the persistent beats continue to bash down their stylised perspective.


The End Of Voyage Mix of Are We There Yet comes next. It has a deeper, more wholesome bass tone that lifts the music straight away. Jungle drums chant melodious messages in timed tunes as percussive sounds scratch and jingle on all the beats. A gradual progression builds as the drumming infuses like strong tea into the swirling currents of synthesiser. New layers of harmony unravel like thread and stitch themselves neatly into the ever growing flow. Around the half-way mark, the music breaks down to eerie synthesiser orchestrations that rise into being as the rhythm re-emerges.


Next up is the Orlando Voorm remix. It starts with thumping bass and pounding tom-toms that resonate with rattles and cymbals. Synth bursts colour the atmosphere with firework like explosives before a deep bass thump bell begins to tell its story. The shuddering bass continues to grow and mutate under the weight of the towering drums. Sparkles of ambience drift through the heaviness like shoals of fishes swimming against the flow.


The final number is another original. Euphoric synthesiser rings out to the dig of a thumping bass and clap rhythm. Hats begin and throw the tempo into the next gear before a new layer of bass twangs and fizzes with composed flux. The drumming grows with a gradual progression as extra layers of subtle melody illuminate nooks within the structure. In Front Of Control evolves with each section, layers of synthesiser reverberate and amplify around the continuation of bass and snare.


You can follow Itay Dailes on Soundcloud


and Spotify


Find Itay Dailes on Apple Music

Oliver Koletzki
Made Of Cashmere
Stil Vor Talent Records
Out 4th June


Taken from the forthcoming LP release “Made Of Wood”, this single issue offers two blasters from the organic house textbook. Berlin's Oliver Koletzki is preparing to release album number nine and Made Of Cashmere has already hit the desks and decks of everyone that matters. That is as of now, since you've been reading this.


It begins with warm distortive hiss that moulds into a sleek drum and bass rhythm. Bell like chimes resonate on the kick drum as hedonistic cymbals and snare rattle and roll on the top layer. Brush strokes and air bursts fill ambient spaces as echoed percussion ruminates in the void. Jilted synthesiser pushes through, rhythmic swings on tonal progressions build with a flux of drums. Melody builds and an exciting edge is sent upward as the energy progresses.


Next is Serpiente Del Ritmo. Thumping, deep bass opens the track and it digs a dense groove into the dance-floor. Fizzy bass jingles along to the rhythm and it builds with amplitude over an ice bundle of vocal. Spoken word voice chants into the microphone as electronic beats gather and build under a bass and kick-drum sky.


Find Oliver Koletzki on Soundcloud


Facebook


and Instagram
​