![]() ![]() There’s been talk of a jungle revival for the better most of this year, with names like Peverelist, Tessela, Special Request, Lee Gamble and Demdike Stare all reinterpreting the amen and atmospherics into distorted figures of their past. The fact that the means to produce has been democratised means that there will always be some secret talent like Burial or James Blake around the corner but the danger lies in not having the confidence to find your own voice, something the above two managed to do almost instantly and something Shed has been constantly doing and re-evaluating for years.Īlso, how could anyone not like something made my someone with a grin like that. This is what’s essential in a music scene wherein the ability to produce and consume music is readily available. Fluid 67 sounds like the middle ground between his second album The Traveller, with its heavy drums and his latest The Killer with the transcended synth line, yet you can tell he’s still managed to push his own boundaries and that people will still be trying to keep up with him years from now. Even more notable is that as producer’s age their sound tends to stagnate, in Shed’s case they constantly evolve. Although Techno is apparently in good health all we’ve really had so far is bleak electronics influenced by Power Electronics and Drone, this is the first release I’ve heard that’s truly taken the framework and adapted it to something inspired. The flipside Fluid 67 is even harder to pin down, sounding like Shed’s take on B-Boy era hip hop, with a propulsive and weighty kick drum unleashing itself underneath a fat break which wouldn’t have sounded out of place in late 80’s New York. The intensity is fuelled by the almost out of time rhythm, as the kick pounds at a steady pace we’re left trying to catch the wondering percussion as it gets drowned by the synth. The melody on this however is full of emotion and intensity, as if Shed is longing for days gone by. It’s rare for Techno producers to get melodies so spot on, often coming across as lame attempts at the early days of Detroit, a poor after thought or aimless meanderings. The Dirt is in the name as everything about this track sounds slightly wrong, the nostalgic melody reminiscent of an old tape skipping whilst blunted hi hats scrape and rattle like a pole against a chain link fence. Throughout this year there’s been a theme of nostalgia through everyone’s music and Shed has always been vocal about the influence of Breaks and Rave on his music, besides his dirtily melodic album The Killer last year this may be the one to have reconciled his love of that music with Techno. With this release it sounds as if he’s found his voice. His work for 50Weapons providing his most fruitful and innovative since he began producing. It’s no secret that Shed is a poster boy of Techno, his give a fuck attitude to production, disregard for any rules other than his own and work rate make him essential listening for any fan of electronic music. There are only a few tickets left and you can grab them here. Regis & 20 Years Of Downwards Electronic Explorations Mix Below we’ve dug through some of the best listening material.-īlackest Ever Black - NTS Radio Show 09-10-13 We are especially looking forward to catching Regis’ Necklace of Bites retrospective set, the abstract drum and bass and Hidden Hawaii label owner Felix K and Prurient’s coarse noise assault. ![]() Jacques, Chris Farrell, Luke Younger, Brian Not Brian. ![]() If last year’s line-up seemed impressive then this year’s will surpass that in every aspect with these acts playing, Tropic Of Cancer, Prurient, Regis presents Necklace Of Bites, Shampoo Boy (UK debut), Raime (DJ), Dalhous, Source Direct, Horsepower Productions, Felix K, Helena Hauff, Dva Damas, Russell Haswell, A.D. Last year they attempted to bring together the likes of grime veteran Slimzee (who sadly never showed), with noise and avant-garde pioneer and owner of one Resident Advisors top labels of 2012, Bill Kouligas alongside a wealth of others. For a label whose output could be seen as keeping towards a strict theme, their nights are surprisingly eclectic. Every year they’ve sought to showcase artists from their roster and in keeping with their ethos for finding music, bringing artists that have long gone into hiding like Source Direct and British Murder Boys as well relatively unknown acts such as A.D Jacques. As the autumn months roll through and the nights get longer its fitting then, that Blackest Ever Black is back in town for one night at Corsica Studios, the kvlt label known for its austere electronics and uncovering obscure relics from the musical archives.
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