Feather Fight EP by Justin Martin & Eats Everything ? Hypercolour
Justin Martin and Eats Everything seem sensible bedfellows. The Dirtybird regular and Bristolian tunesmith have had stellar 2012s, so when they were booked in to play the West Country town?s Motion night last year it seemed fitting that a collaboration was on the cards. Borne from a seven day period ahead of their gig, the Feather Fight EP are a pair of no-nonsense housers that reach back to the garage era and flood the dancefloor with unapologetic big-room sounds. The third point of the triangle is Hypercolour, the UK label that seems to discard pigeonholes with gusto, and this release seems a comfortable companion to the ravey work that Groove Armada so noisily arrived with last summer.
The title track?s entry point is vanilla enough: shuffling snare, finger-click hits, and a slowly climbing note that only slightly challenges any lead-in template. But it?s the elongation of this note, to almost ear-splitting heights, that begins to point the way, dropping into a rasping lead pattern and wobbling bass note, before the female vocal arrives and its true nature is revealed. Despite the pump, it?s actually a fairly sparse arrangement, but when the elements are as raucous as these, no embellishment is needed. Partner ?Harpy? also begins relatively unthreateningly, its echoing vocal and strings hovering over kick-free filtered percs, but once the low end arrives, you can almost smell the dry ice. The drop is fierce; a monstrous, muscular bass bubbles under a regular foghorn announce, all 90s Friday-night lasers and wet-look gel, but just as it threatens to become a one-shot deal, the harp and vocal float back in and release the pressure, and the glorious cycle begins again.
www.hypercolour.co.uk
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Strenf EP ? Pittsburgh Track Authority ? Work Them Records
Spencer Parker?s Work Them Records reflects his uncluttered attitude to electronic music. Regular vinyl shopping to unearth and delight in non-digital gems, energetic tracks from the deepest house to the most ardent techno, all focussed on one thing: the dancefloor. For its fifth release, he?s captured one of his current favourites to bring their wide-ranging and organic sounds to the table: Pittsburgh Track Authority. The trio?s first and brilliant EP in 2013 follows twelves on Argot and Uzuri, and is a neat representation of the expansive borders of Parker?s own record box, taking in the spectrum from driving, bleepy techno to nervous, shuffling bass-driven house.
?Strenf? opens to dense kicks, sparse hats and distorted, coiled chords, before analogue stabs and a repeating note punctuate the foreground, like the centre stripes on an endless road at night, ever-present and pointing the way. There?s energy brimming from all sides, as chattering fx and organ-like leads enter the fray, and elements emerge and dissipate, but the pace never slackens. ?The Standard? trades in bright chords and off-centre drums to joust with the baseline?s steadfast groove, a study in barely-contained force arguably more sparse than ?Strenf?. Its throbbing mood is offset by ?Missile 1??s tension-releasing electro-tinged workout. Containing a centred sinuous medley of rasping b-line and rich stabs, with shakers and echoed rim shots adding colour, the contrast is measured and welcomed. Closing out is ?It?s Time?, a stuttering, nervy weave of angry low-end rasps, murmured, chopped vox, and competing mids, punching through and retreating as if in competing formations. Heavy.
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