Friday, August 11, 2017

Like 38s in Dalston: a singles round-up

Sorry, just realized we overlooked another modest pile of twelves on the basement floor – it was only really a few ‘techno’ platters (all things 128 bpm, give or take) that we got round to last time. And these aren’t singles that anyone should miss.

After last year's assuredly ace “Four Sides Of Truth” EP on Tresor, the ever-excellent Mønic resurfaces on his own Osiris Music with a different, more quixotic offering, “Deep Summer", which we’d herald as something of a landmark. It builds from gentle waves lapping engineered, beatless atmospherics through to Trembling Blue Stars recording an experimental ballad in an echo chamber before subsiding again to the sound of waters crashing onto the shoreline. 

The subtler textures and spectral female vocal sample swiftly put one in mind of Burial, so blow us down with a feather when none other than Burial himself rocks up with an ersatz (‘ersatz’ here meaning ‘bears virtually no resemblance to the original’) B-side remix, skewering the rare beauty of “Deep Summer” with stalkerish sampled speech, beatless spells and an avalanche of bells and xylophone; it's fascinating, but not in all honesty a banker for repeat listens.

(As an aside, it always gives us an involuntary grin when two artists that we’ve liked for ages eventually hook up, as if we were responsible for the matchmaking ourselves: like when Cappo finally recorded with Jazz T and Zygote, or when Carcass remixed Björk, or when Ice-T fronted Slayer, or when Shane Embury teamed up with Gunshot, or indeed when Shane Embury played with Mark E. Smith… next on our list, we’re hoping for Bracken to remix Coke Bust).

But what’s this? Issued just two weeks later - surely a record for a follow-up single, although we’re told that it’s really just to be treated as part 2 of an Osiris ‘deep summer’ salvo - comes that man Mønic again, with “Regret Was Never So Sure”, a very different beast from the sultry summer ballad of 14 days before. 

"Regret..." is a procession of spinning DnB-infused majesty - shot through with a monstrous wall of clambering bass - that doesn’t neglect the industrial influences that made “Lust Product” (Mønic’s last EP under his birth name, Simon Shreeve) such a cooker. And the B-side, which couples a blissed-out Regis remix of the title track with the slightly subtler reverb-drizzled ambience of “Forbidden Memories”, ensures that this is an all-round 12” of some calibre.

There are two more here from Osiris too: the Egyptian gods are spoiling us. The mysterious Icore (if you try googling her/him, you get the International Confederation of Revolver Enthusiasts, which seems wrong on several levels) delivers a debut 12” over five tracks called “Substance Over Shadow, which will be manna for label devotees. On brilliant, bright, Lalique-green vinyl, too.

The title track is perhaps the easiest to admire – peals of languid melody and glistening synth swathes oozing from a muggy swirl of dustbowl percussion – yet there’s much to be said for the multi-textured post-industrial lament, “Stasis Field” and the windblown moors of heaving bracken summoned to mind by the imperious “Claimed By Night”.

Meanwhile the artful Pessimist brings his ‘A’ game with the splendidly sinister “Pagans”, a sinewy slice of brittle and unnerving West country DnB-meets-darkstep that sounds like a ghost train shuddering over volcanic sleepers of bass. In the words of fellow Bristolian artists the Flatmates, it shimmers in the night / like a firefly, burning bright (shout outs to William Blake there, too). Thankfully, we managed to hit up “Pagans” on the re-press.

If anyone’s pining for further Burial remix thrills, he pops up again on (silver) 12" vinyl on the flip of Goldie’s “Inner City Life” 2017 redux, on Metalheadz of course. “ICL” remains a classic tune, and it’s not Goldie’s fault that if you don’t turn the volume up enough it can now seem redolent of the sound of a thousand (outer city) London coffee tables. But here the rebooted A-side feels right, starting deceptively commercially with Diane Charlemagne’s vocal flourishes before it moves on to an instrumental section that sparkles with some serious jaw-sliding drum and bass antics. 

As for the Burial version, it’s as intense as his “Sweetz” collabo on the last Zomby album, with all the energy, fire and fury that he has largely eliminated from his own recent run of singles. Unlike his take on “Deep Summer”, you can also recognise it as a remix, rather than purely an opportunity for free-form creative (com)posing.

But let’s end with this latest West Norwood Cassette Library 12” on Sneaker Social Club, “Hardcore Librarianism”. Ah, it’s a time capsule that transports us back to the turn of our century, when D’Alma and I used to roll around SW4 in a sports car gauchely blaring out DJ Cam, Junkie XL, Teenagers In Trouble Vs. Fat Paul and an absolute barrel-load of French hip-hop (er, we were young, and the new Shinkansen releases didn’t really sound right riding Clapham High Street with the Koni air-shocks). 

And I know we would have loved this EP to death, splicing “(Every Time You Touch Me) I Get Hype” with Dee-Jay Punk-Roc and “Theme To Street Knowledge” with Kid 606’s caustically lo-fi V/Vm take on its daddy, “Straight Outta Compton”. Now those days are gone, yet the cheek and joy of this record still hits the spot (see also: DMX Krew) and we’ve also discovered that it’s great music to clean out a paddling pool to, especially when the drum and bass elements get going on side B. Sample clearance, I hear you say? Mate, that's a young man's game.

Friday, July 28, 2017

Comrade Era: a singles round-up

Strictly vinyl this time around – if it’s not weighing down our shelves (in a slightly consterning fashion, truth be told) we don't want to know.

And as physical artefacts go, it's quite hard to top Aleja Sanchez's “Ether” 12”, courtesy of our friends in Tübingen, at Nachtstrom Schallplatten (currently hangin’ with Firestation Records and Nuclear Blast amongst our fave German labels). On gorgeous, mottled marbled vinyl that nicely frames a pseudo-classical portrait, this really looks the part - a real work of art - before you even get it anywhere near the turntable. 

There’s a slight false start when proceedings begin with Headless Horseman’s merely v. good remix, but once the original appears everything’s gravy, as the queen of Colombian techno now authors a cool 8:40 (they’d have loved this one at the Ace Café) of pure precision engineering that wouldn't be out of place flanking Ryuji Takeuchi ‘s “Vital” in your DJ set. Her recent “Consequences” EP on Kindcrime is arguably even better, but we're waiting in hope for a vinyl release on that.

A more conventional patented dancefloor-botherer comes courtesy of Stockholm monster Mikael Jonasson, with his new transglobal EP on invariably spot-on Sydney imprint Darknet. Lead-off cut “Dissonance” is peak-time ‘new wave of techno’ done well, menacing synths adding a layer of rage in the darkness (with Austrian wizard at the controls, Niereich, then chipping in a bracing ‘Repaint’ for good meassure). The B-side, for its sins, combines “Dissidents” (high velocity acid burn with brief trance drop outs, totally ace, and a sweet jinking sidestep at 5’01 that hits like an instant sherbet rush) with the more playful “Vibrant”. Play alongside DJ Hi-Shock.

We've kept a weather eye out for Ukrainian maestro Yan Cook ever since he guested on ON records’ 6th anniversary comp, and “Arrival”, a sort of blurrily translucent grey vinyl 12” on his own Cooked label, is his closest brush with greatness yet, a swiftly-pulsing willo the wisp of elastic, uptempo tech-yes that would make an audition shoe-in for either of Sven Wittekind’s current labels. Meanwhile another ON alumnus, the mighty Amsterdam producer Jeff Rushin, delivers a 12” artist EP on Arts Collective centred around the dancefloor ready, gently mesmeric, cut-glass sequencer mesh of “Wondering”.

In our last year-end top 10, we raved about Sweden-based producer Sev Dah and the two outstanding solo records with which he kicked off his own Proletarijat imprint last year. “Proletarijat 003”, you’ll be thoroughly unshocked to learn, is the third release on the label, and again it chooses to book-end two techno stompers with a more traditional/experimental piece, at the same time as telling us a piece of Yugoslav history (this time the pic sleeve features Pioneer boys and girls pledging to love their homeland, the self-managed socialist federal republic of Yugoslavia, and to “spread brotherhood and unity and the principles for which comrade Tito fought” - yaay).

Logically enough, "003" kicks off with “Pledge”, a tight, percussive 9-minute cling-to-the dancefloor groove; that then subsides in favour of pivot track “The Universal Mother”, which tangles mournful cello, piano and violin with vicious whipcracks of foundry-born percussion and sounds not unlike Hood or the Declining Winter to these ears (mind you, everything sounds a bit like Hood to us: Kate Bush’s “Cloudbusting”, anyone?)

The highlight of the 12", however, may be “Sloga” (Serbo-Croatian for ‘unity’, as you'll know) which musically charts a course midway between the sacred isles of Rushin and Moroder, making it almost as essential as Sev’s finest tune to date, the frenziedly acidic “Marija Bursać” which so deftly adorned 001. It’s guaranteed to throng any clubland dive worth its salt, and we don’t doubt for one minute that the Pioneers would thoroughly approve.

Friday, July 14, 2017

Caffs, not corporations: a singles round-up

[glamorous harrow, July 2017]

Welcome back to in love with these times, in spite of the times, the ever-grumpier fanzine from the country in which being allowed to change your mind is apparently undemocratic, however many people are up for it, however idiotic or tainted your original decision was, and however long ago it took place.

Ooh, anyway, a singles round-up… we haven’t had one of these for a while, have we? Back in the early 2000s, we’d fire out one a month, usually in excitable lower case, usually beginning with some extensive digression before, if you readers in your younger days were lucky, eventually getting to the 'substance'.

Anyway, we found ourselves up near Stonebridge Park the other day. Long story, involving somebody who feels the need to pilgrimage to literally every station on the London Underground. We’re increasingly realising as we accompany him how many tube stations really are in the middle of an unremarkable nowhere, all reminders of the flipside of the grand promises of Metroland. Anyway, some of you may know Stonebridge as the home of the Ace Café, the transport caff once the favoured haunt of the Rockers in the 1950s and 1960s; and as we mulled over its latest, somewhat self-conscious makeover, we remembered that tale of the café jukebox and the North Circular raceway.

The deal was this: one of the bikers would get ready, as his mates lined up a platter that mattered from the juke. As the vinyl flipped into place and the needle fell, biker boy would run out to his waiting steed and go for a spin around the block. He had to be back in the Ace by the time the single finished. If he was, he’d have officially become a Ton-Up Boy, because you couldn’t make it around the ‘raceway’ in 3 minutes without having hit 100mph on the straight. Presumably, you could cue up a 2 minute rock and roller to give your racer no chance, or try to sneak on a bluesier four-minute 45 and give him all the time in the world. In the days before radio dared play rock n’ roll, the café jukebox was the easiest place to get your fix of all the new releases, so it’s probably safe to say we’d have been the ones safely indoors, nursing a fry-up and a cuppa and trying to listen to every single record rather than risk our callow necks outside.

As we mulled over the options you might have in that scenario today (psyche out rival bikers by cueing up “Velocity Girl”, help out your mates by putting on the B-side of the 2nd Gentle Despite single), we realised that it was high time for our own high-speed singles round up, one which recognised that a decent 45 can feel like it is worth risking your life, and more importantly, your reputation for. And also one which recognised that we haven’t reviewed any singles for more than six months. (Though it’s worth emphasising that the tunes mentioned below are but the tip of an iceberg of absolutely amazing 45s in 2017 so far: next time we catch up in the street or in the pub or skulking at the back of a venue there’ll be plenty of time for us to bore you about all the others, we hope).

Inevitably, after all that build-up, the first single on our pile isn’t actually on vinyl at all, which would have confused the hell out of north London 1958. Aussie combo Last Leaves, apparently last seen shacked up in the Dandenongs, feature a few names you’ll know, and who have starred in bands that we’ve penned eager words on over past decades, but I think it’s probably sufficient to let their music do most of the talking. The LLs recently announced their presence via a terrific contribution to Matinée’s “Matinee Idols” v/a comp, a swashbuckling belter of an indie pop song called “Something Falls” whose urgency and plaintiveness reminded us a soupcon of Hate Week’s near-flawless single last year, even if it drew back from the latter’s charmingly unsculpted chaos. This second Last Leaves song to hit our ears is “The World We Had”, a single on Melbourne’s Lost & Lonesome Recording Co, and it proves their upcoming album is going to be well worth looking out for, being an aquaplaning jumble of jangling guitars and erudite musicianship that knows just how to balance the sadnesses of growing older with the joy and vitality of modern, unashamedly in-yer-face pop music.

Coming from a slightly different angle, Crayola Summer’s “I Know Who We Are” (on Emotional Response) is one of those random records that comes out of nowhere and instantly embeds itself as both an earworm and a mini-classic. Everything about it is just right: it’s a cherry-red flexi-disc in wraparound pic sleeve, whilst the music within basically captures 14 Iced Bears’ “chrysalis moment” when, around the time of their first s/t, they rapidly evolved from post-anorak jangletastic to sweetly psychedelic shambling semi-chaos. “I Know Who We Are” takes these reference points and runs with them, very fast: the zig-zagging post-Bears bassline is a particular treat. It could have been released any time in the last 30 years or so, in all honesty, but it was born to grace a flexi like this.

We think you all know about the Fireworks by now, one of the best new British bands of recent years. Now with new lead vocalist Beth Arzy on board, their latest 7” EP, a Shelflife / Opposite Number joint, continues to see them luxuriating in the finest indie-pop traditions: the lead tune “Dream About You” is the smoothest and most instant, if perhaps marginally less raw than their first 45s, and it’s accompanied by the pretty ace “We’ve Been Wasting Time”, a buzzing minute and a half of down-the-line pop noise that co-opts Mary Chain fuzz with early Primitives, and our own pick “Better Without You Now”, a sublime jangler that picks up where the Razorcuts-y “Back To You” or “The Ghost Of You” had left off. We’ve now worked out that Cherry Red will get up to doing the “C17” box set comp in about 2046, at which point it feels pretty clear that one of these will have to be on it.

Erm, we’ve had cause to rep for the Charlie Tipper Conspiracy (née Experiment) a few times over recent seasons, too. Their train-themed “Network” EP, the final instalment of a trilogy on their own Breaking Down label, sees them continue to flit between light and shade, powering into view with the driving, horn-bled toe-tapper “Cross Country”, but the clincher for us is the closing Ian Curtis tribute, a cover version of “Disorder” which takes the template Low used for “Transmission” (switch down the pace, ratchet up the tension) and does it absolutely beautifully, especially when one-man brass section “Iceman” Harry Furniss rolls up. It’s reminiscent of Tim R’s earlier work with underrated Bristol genii Kyoko, a slice of slo-fi heaven.

The Jasmine Minks leave a wealth of jewels in their mighty wake, a cavalcade of characterful music that we unaccountably slept on for a good couple of decades until “I Heard I Wish It Would Rain” finally convinced us to delve properly into their Creation and later back catalogue. The latest addition to their ouevre is “Ten Thousand Tears”, a 7” on Oatcake Records all proceeds of which go to Motor Neurone Disease Scotland, and it’s a solemn, wry look back at life (with a plea to make the most of it) that is really made, for us, by the combination of Tom Reid’s gorgeous vocal and its brace of beautiful guitar instrumentals.

Last of all though, we can’t let this opportunity go by without mentioning the recent Burial single. Cool as ever on 10” in regulation matt-black Hyperdub sleeve, “Subtemple” continues the man’s journey of confounding us all by somehow managing, year upon year, to make each new release even more fragmented and subliminal than the previous one, as he progresses towards the position where Burial’s journey from “dance music” to “not even music” will be perfect and complete. It’s also now that we realise the urgency for the human race to create a viable time machine. Not just to try and head off chumps like Trump and Farage, but because we would *love* to go back to the heyday of Ace Café armed with a copy of this, and to see the sheer confusion it would have unleashed.

Friday, June 23, 2017

But that's not dry land...

One year on, then.

Hate crime up, of course (figures vary, but recent police force figures suggest around 100%). Inflation up tenfold. Wages growth down, as prices continue to rise. Applications for the NHS from the EU nursing staff we need to keep it running: down 96%.

The Office for Budget Responsibility's estimate of the direct cost of leaving the EU (a mere £60bn) - and that's before you take into account all the longer term costs of a shrinking economy and lower immigration from the EU - now looks rather optimistic, as the economy continues to decline. That Eurozone economy we kept hearing about is now doing rather better than ours.

Meanwhile, the Prime Minister called an unnecessary General Election, whilst breastbeating about bleating EU bureaucrats. She asked us for a mandate for hard Brexit. She didn’t get it. She ploughs on with it anyway. Her opening offer to EU citizens: you can have less than what you have now. You can have less than the EU has already offered UK citizens abroad. This is pitiful. This affects people, friends and colleagues, who live and work here and have paid taxes here. For years. And weren't even given a vote in this. And now have to watch it all unfold, whilst telling their kids not to worry and that it will all be OK. This hurts our communities.

To hell with your "independence day". People are suffering already, and it looks like it will only get worse.

Thursday, June 22, 2017

The Popguns “Sugar Kisses” (Matinée Recordings)

Prodigy R.I.P. Another artist we’ve grown up with. So many stone cold classics.

* * * * *

Um, yes, we’re BACK. And you’d better believe we’re still angry about the UK’s downward spiral, the continued descent of both public discourse and the economic forecast since the collective madness of one year ago. And frankly find it hard to see past that, past a country that will ever-refuse to admit it just made a stupid mistake (oh could a joke ever go more wrong... and are you leaving just like that”), past a government of none-of-the-talents that’s about as 'strong and stable' as Ronan Point, and on top of that we find it so hard to grab the precious moments needed to appreciate the usual luscious panoply of absurdly ace records that 2017 has already delivered from every angle, what with work commitments and family and work and wanting to sleep too and work, and did we mention the nation being a total mess? But we expect you don’t need to hear about any of that. Sorry.

Luckily, it’s not just us who are BACK. For, re-emerging from the summery swells of the south coast, come those marvellous masters and mistresses of melody, the Popguns, purveyors of "Lovejunky" and "Still Waiting For The Winter", with their latest outing from their 21st century label home (ladies and gentlemen: now twenty years in showbusiness, the one, the only, the evergreen and ever-elegant Matinée Recordings of Santa Barbara). And that new 'guns long-player, “Sugar Kisses”, is ready to shack up with (sorry, 'snog') Eugenie & co in the Popguns section of your record collection (file between the Pop Group and Pop Threat, probably).

"Kisses" is a more muscular outing than the finely balanced textures of ‘proper’ LP number three, “Pop Fiction”: it boasts a sound more obviously rooted in the spirit of the Popguns' early records, but building on the momentum of “Pop Fiction” and the sonic diversity which that showcased. Yes, the rich tones of Wendy’s voice are still the icing on the cake: but the cake itself is made from toned and honed layers of *guitar* – fiery, vivacious, alive. It’s as if Simon and Wendy decided to get some of the ‘ballads’ out of the way on last year’s gorgeous Perfect English Weather album, so laying a trail for this return of the raw.

There are still a fair few flecks of light and shade, to be sure. There’s a pouting arrogance to the title track, a sassy and brazenly commercial number with ace backing coos and a serviceable bassline that’s lip-to-lip with the dancefloor, before the verses of the debonair “We Don’t Go Round There Anymore” mark the first appearance of the Blondie-via-Brighton American accent and phrasing that rears its head on a few tracks. Disconcerting as that is (since when was an offy a “liquor store”, this side of the Atlantic?) don’t let it distract you from the song, not least the killer chorus that eagerly trampolenes off the down-and-dirty verse.

Next come the brace of “So Long” – the preview single, albeit a single limited in physical form to a measly twenty copies – and “A Beaten Up Guitar”, and again these tunes are much more accelerator than brake, all heady swirls of thrilling fuzzfade POP. Only the gentle caress of “Out On The Highline” sees the pace drop; that reassuring lull in tempo you often get as half-time approaches.

On side two of the vinyl (that this should be on), and positively *launchingitself out of the blocks, is “A Dream Of Her Own”, one hell of a treat and a song which in a just universe would be the biggest of several hit singles on display. The cascading chorus really is a dream, and the guitars simply crackle with effervescent glee.

And then, after the brief respite of “The Outsider”, all seductive shimmer and slow waltz, come a rip-roaring trio of guitar-driven power pop janglers which provide as strong a finish as we’ve heard to any album in recent years: “Gene Machine”, “Fire Away” (perhaps the song which most faithfully mirrors their 80s/90s stompers, with bonus extra shouting in the background - well, it is set in a pub) and the knowing, somewhat triumphant playout “Finished With The Past”. MORE FIRE. There are fragments of these songs that could have come from the Wedding Present’s vast armoury, and I only hope that you lot have been reading this blog long enough to know that comparison, coming from us, is oceans away from damning with faint praise.

We did genuinely reckon that “Pop Fiction” was the best Popguns album yet, but we’re now having to revise that opinion: we now have a new ‘go to’ pop record, probably the best 'indie' album of 2017 so far. A winner by miles: Theresa, this is what a landslide looks like.

Saturday, December 31, 2016

Love Has Sharpened Our Claws: our top 10 singles of 2016

Prince Street Bridge, Bristol, December 2016

Welcome back to in love with these times, in spite of these times, the fanzine of the metropolitan liberal elite, apparently, and a citizen of nowhere to boot.

Yes, it’s been quite a year, one in which even the brutal murder of a pro-Remain, pro-refugee rights MP by a man basically shouting pro-Leave slogans, hours after the Leave camp unveiled an heart-sinkingly shameless anti-refugee poster, could not dent the UK’s collective enthusiasm to vote for them. That crime felt, deplorably, like the defining moment of the whole campaign, a campaign which would have been depressing enough, to be clear, whatever the outcome of the vote.

And a campaign effortlessly symbolised by the despicable Nigel Farage, a man who stoked things up, stirred things up and then just walked away as the hate crimes rose, as if butter wouldn’t melt. That... that piece of work must never think, any more than Gove, Johnson or their Labour lackey Gisela Stuart, that his role in this will be forgotten or forgiven. That’s even before we get to the people now overseeing this farrago, like disgraced ex-minister “Dr” Fox, a man so unpopular that fewer than 1 in 20 of his own parliamentary party could stomach voting for him in the Tory leadership election.

As we feared, essentially the referendum amounted to a coup, and we have a government not far short of a UKIP one. And the leaflets we all got through our doors that told us the NHS would be transformed, or that Turkey would join the EU, were admitted to be worthless pretty much instantly by those that authored them. (We love the way it’s now apparently “unsporting” even to mention the ‘£350m a week extra for the NHS’, or any of the other fabrications). We also had the wholly unedifying spectacle, in a campaign in which immigration became a key issue, of both Remain and Leave basically conceding that immigration was a negative thing, with nobody prepared to (competently) challenge that assumption.

Argh. We lamented the infelicities of language in our dispatches from the frontline during the last “twee wars” (many fell; knees were grazed). And now - post-referendum - we are officially through the bloody looking-glass, scrabbling around in a world decimated of common sense in which descriptors like 'competent' and 'coherent' are translated via alt-right Newspeak into cyphers of the ‘elite’, making incompetence and incoherence positive strategic assets: if your opponents dare to point out their existence, this is merely evidence of the establishment conspiracy that burns against you. Those leaders whose heads are uncluttered by the luxuries of critical thinking offer a fresh start, a new way: not for them the bourgeois restraints of evidence-based research or empiricism. Self-styled mavericks all, they revel in their rejection of all that is difficult or complex or nuanced, and glory in the binary narrative that follows one of the most divisive political events in British history, one of the most collectively irrational decisions ever made by a developed country in peacetime.

And so... we reap the harvest of years of undervaluing, even ridiculing, education, and creating a world in which expertise is now viewed even by leading Cabinet figures as proof of bias, an unwelcome attempt to undermine gut instinct, anecdote and rumour as they reverberate around the echo-chamber of “send now, think later” social media. A new, moneyed Right is emboldened: as we write, its press battalions target overseas aid and the right to strike. The rump Lib Dems, whose new leader’s first act was to vote to bomb Raqqa, are nowhere. The Labour Party, meanwhile, is fatally ruptured, caught between the poles of what working people want, and what Labour thinks - rightly or wrongly - that working people need.

I suspect that quoting the Financial Times is a first for this blog, but they were pretty much spot on back in June: “The country is going to be meaner and poorer… the UK has chosen a largely illusory autonomy over EU membership. That has consequences. It will have to accept this grim reality and move as quickly as it can to whatever the future holds.”

* * * * *

So with all this mendacious tosh going on, why does music still matter so much? It’s not just to soothe, nor to reflect our anger (though of course it can do both): it’s to INSPIRE. If you were in any doubt, watch the best documentary of the year, Rodney P’s 90-minute BBC4 tour through the history of hip-hop. And watch the moment when our Rodney, overcome by the emotion of standing in Chuck D’s old gaff, breaks down in tears of sheer happiness as he remembers how - when he was a young man - another young man, from across the Atlantic, helped to change his life forever. For the better. Just through the power of record-making. And we feel that way about so many artists, and labels, not just from our youth, but RIGHT NOW. Artists that make us smile, or dance, or sing along, and who collectively can change the shape of the present.

Ooh - actually, there were a couple of other things we liked about the documentary, albeit less profound than the lesson just, erm, endeth-ed.

One was when Rodney asked a few talking heads to name the greatest MC of all time. A couple of people proffered Jay-Z, a worryingly “post-truth” answer which caused me to panic a bit and begin to doubt the veracity of the whole enterprise, but just as I was about to give the off switch an uppercut in disgust, a whole sea of eminent punters popped up just in time and all made it satisfyingly clear that the correct answer is of course Rakim, a man whose shoelaces Jay-Z remains unfit to tie. Even Gang Starr's DJ Premier had no doubts about that one, and he’s worked with a few of the greats, hasn’t he?

Plus, the programme reminded us that a direct inspiration for many of hip-hop’s greatest DJs - and this came, unprompted, from the lips of Premo himself, but from others too - was one Malcolm McLaren, via “Buffalo Gals”. That’s a fact that probably is isn’t dwelt on enough.

Right. Enough reminiscence. Back into the motherjumbling singles fray. For the final time this year, you’ll be pleased to see. This one is going out to Gina Miller, frankly a British hero, for all the flak that she has unjustly attracted from - putting it more politely than we could have chosen to - fucking idiots. And to the memory of Colonel Abrams. Peace.

* * * * *

1. Jeff Rushin “Decline Into” EP (Wall Music)

Dutch master builds Wall (not dyke) to new heights with silky-smooth suite on twelve. He’s the sultan of subtle on “Decline Into Chaos”, which would be enough on its own with its echoes of the gossamer brilliance of Michael Schwarz’s “She Doesn’t Ask For”; but in fact the whole shebang is something of a masterclass, still perhaps peaking with the riches of “Decline Into Shadows”. More on that story here.

2. Hate Week “Nights By The Lake” / “Blunt Claws” (Where It’s At Is Where You Are)

There are few bands that ever made me feel as alive as the Faintest Ideas did, but their successors Hate Week have a damn good go here, with two of the most glitteringly essential tunes of the year (the third tune is merely very, very good). The fullness of our joy on first traversing this one should be readily apparent right here. NB - as it came up in a chucking-out time conversation - that the boys are probably not to be confused with Hatebeak, much as we have a certain weakness for that combo too.

3. Close Lobsters “Desire & Signs EP” (Shelflife)

Scottish Electric lightning strikes twice, as the fabulous five follow “Now Time” with this simply delicious tribute of sorts to London and its spirit of resistance, a song which also shines with their memories of walking the city’s streets in their 20s. I was in my 20s once, treading the same streets. I even still remember those times and feelings, and “desire and signs” is dead right. Nobody has ever made lyrics like “it was alright / it was all fine” sound as magical as Andrew Burnett does here.

4. DJ Cable featuring Ghostly “In ‘Ere” (Triangulum)

I know I’m getting old. The other day I overheard myself saying “thank you” to a pair of automatic doors. And I’ve started to thank the bus driver when I get off, too. But it’s not all new politenesses - don’t get me started on all the people who keep pressing the bell even when it’s beyond obvious that the bus is already stopping. Indeed, I’m amassing bêtes noires daily, such as recaps and trailers in TV series; people calling a TV series a “season”; and fixture boards outside pubs (or, indeed, posters in bookies’ windows) which put the AWAY TEAM FIRST.

And yet, despite all this, sometimes a song can squirrel the passing years away, and make me feel fresh and new with the sheer joy of not having to PRETEND I love this new song by a young person, but actually just realising that it’s the bomb, and that I am still capable of these moments of discovery that once seemed two a penny. “In’ Ere” (a bit more in 'ere) thrillingly harnesses the pure grime bounce of west Lon’s Ghostly as he and Cable deliver the top English single of 2016.

5. Hood “British Radars” (Acuarela)

BRITISH radars, OK? None of your foreign tat. TAKE BACK CONTROL. (Sorry, can't help it sometimes).

This feral, some-fi, absolute gem is the highest-placed time capsule this year: recorded in 1994 and released in 2016, thus taking even longer from recording to release than that second MC Tunes album. None of that stops it being a gorgeously chaotic slab of indieness which made a very direct bee-line to our collective hearts.

6. The Fireworks “The Ghost Of You” (Shelflife)

At some point we are going to opine more forcefully about the merits of charging £15 for a single, but now is not the time, because the timeless post-Razors jangle of this song kills us, in a good way (and the whole 10”, “Black & Blue” is further proof of the Fireworks’ skyward ascent). The EP also marked Emma’s swansong as a Firework, but if they’re even half as great with Beth instead, we’ll still all be in clover. Emma departs with the consolation of now having starred in not just one, but two of England’s toppermost 21st century pop combos.

7. Nothing Clean / Ona Snop split (Gronk! Records / Repulsive Medias / Vleesklak Records / Samizdat Records)

‘Kinell. Again. Tremendous, crushing, properly fulminating hardcore played at grindcore pace, with excoriating lyrics. Despite ranging “only” 8 tracks over one side of 45rpm vinyl this time around, the sheer aggression of this third 7” of theirs sees them land somewhere between Coke Bust, Wormrot and Narcosis, leaving a crater roughly the size of Walthamstow. In fact, it hit us so hard that we were too shellshocked to give it its own capsule review: the aggression is perfectly fitting in songs like “Questions Asked”, which target our destruction of the natural world. And Leicester music hasn’t excited us this much since the halcyon days of Street Ferapy.

8. Sev Dah “Proletarijat 001” (Proletarijat)

“Your only daughter, dear mother of mine, I leave you, to carry a carbine”

This spellbinding 12” from Sweden-based Bosnian Sev Dah, a tribute to women who have fought for freedom from tyranny, has pretty much got it all. Track one: ambient tech-electronica as the ‘helicopter’ bit from “Something For The Longing” gets spliced with traditional Balkan folk tunes. Track two: sleekly artful minimalist techno, inspired by the resistance movement but ripe for beckoning us oldies from our armchairs onto the dancefloor. Track three: eight exceptional minutes of pure, driving Scandinavian acid-techno heaven bearing the name of Yugoslav partisan Marija Bursać, who died aged 23 from wounds suffered after attacking a Nazi base with hand grenades. Yup, this is not the sort of record you trip across every day. More’s the pity.

9. Sev Dah “Proletarijat 002” (Proletarijat)

That man Sev Dah again, and he seeks to tell a story with this EP too, ambitious in itself when you’re largely dealing in the currency of top-class, pumping European techno. This time, the theme revolves around the Stakhanovite endeavour of coal miner Alija Sirotanović and the udarniks - "Working and be able to live from our work” - with the EP dedicated to the working class and struggle for a more equal system. Aside from Amir Razanica, perhaps, it’s interesting (and a little sad) that there isn’t more of this in dance music circles: notable, I guess, that it’s producers of Yugoslav heritage that seem to be pushing the envelope.

Anyway, on this EP both “Ustanak” and “152” pulse with more than serviceable Aiken/Rushin-ish techno thrills (the latter is likely to be the only dancefloor-friendly tune in history named after the number of tonnes of coal that an udarnik’s team mined in a single shift) but the highlight is the stunning, strictly zero bpm “Fallen Comrades”, which turns the howls of anguish of the bereaved into a heart-rending, spine-tingling, frankly harrowing post-classical piece. If you turn it up, “Fallen Comrades” basically makes Diamanda Galas sound like Black Lace. Quite, quite exceptional.

10. Burial “Young Death” (Hyperdub)

One our favourite Advent traditions, this, as Burial sneaks out his annual 12” on Kode9’s Hyperdub in a bid to miss every year-end list except this one. Interesting that of all the celebrity deaths of 2016 Burial was most touched by that of Sir Jimmy Young: this single is an affecting tribute from one music guru to another.

In all seriousness, “Young Death” is powerful stuff: mostly ambient, there’s hardly a hint of dance music here. Instead, it’s as if the samples, shuffles and stutter that used to overlay his sarf London nightbus soundtracks have been thrown together instead as the main attraction, daring you to moan (as many are) that Burial isn’t as good as he used to be. The thing is, we think he might be: never has a record sounded so soulful and so utterly desiccated at the same time. And that’s even before we get on to the synth-jinking “Nightmarket” on the other side, which also toys with textures so delicate that they often disintegrate completely for several seconds at a time.

10A. Helen McCookerybook and Charlie Tipper "Femme Fatale" (Breaking Down)

Now. Radical times call for radical measures. And if we can't have an eleven-song top ten in 2016, when can we?

There's also a perfectly legit reason for allowing this particular late runner to slot into the listings, because it only fell into our clutches in the hours before Xmas. As you'll surmise, it sees Bristol stalwarts Charlie Tipper sharing a studio with ex-Chef and Skat vocalist Helen McC, as they re-create the VU song covered by Skat back at the start of the 80s, this time to raise money for Refugee Action. And to our slight surprise - not as a rule being fans of the Velvets or of the general quality of charity or Christmas singles - we found ourselves totally overtaken by the beauty of this.

Atop of Helen McCookerybook's soothing, lilting, hints-of-wild (Pam) Berry flow, Tim Rippington's mob keep the guitars low-burning, yet interlace proceedings with arcing Wareham-esque guitar lines; but the clincher is the song's use of samples of various politicos pontificating, intercut with news reports on some of the many lows that 2016 brought for those trapped by war and those trying to escape it to a West now frightened of its own shadow. In every sense - a moving song, a sombre summary of the year, a vital cause - this is something we'd urge you to buy.

* * * * *

And now - we must rest. Please have a splendid, and safe, 2017.

Friday, December 30, 2016

Singles of the year: 11-20

Welcome back to in love with these times, in spite of these times, the fanzine that prefers Lion Youth to Sonic Youth, Tender Trap to Temper Trap and Sven Wittekind to Sven Vath.

11. Mønic “Four Sides Of Truth” (Tresor)
12. Simon Shreeve “Lust Product” (Downwards)
13. Simon Shreeve “Healing Bowl” (Downwards)

It’s achingly hard to separate out these three records (all by the same bloke, btw), but to be honest there’s no need to because they all deserve unstinting acclaim. The song “Four Sides Of Truth”, a poised and stealthy aggregation of subtle percussive pulses, is so beautifully clinical and controlled that you only notice just how eerie it is on the 18th or so listen.

The five tracks on “Healing Bowl” make it the most consistent of the three records, a glorious all-round slam dunk of an EP from the title track’s skittering wiles to the bliss-out fug of “One Thousand And One”. Whilst the title tune of “Lust Product” is peerless, spellbinding slate-sky techstep somewhere between “Cloud Seed” and New Order’s “Movement”, a happily cascading blend of industrial cadences and emotional resonances. It makes us think of Joy Division more than any techstep track has ever done, or even has the right to. And both own-name EPs from x-Kryptic Mindster Mr Shreeve are of course part of a wider, all-out assault on all discerning year-ends by Karl Connor’s Downwards label this year.

14. Milky Wimpshake “Interior/Exterior” (Tuff Enuff)

Blinding punk-pop power from the north-east, via ace Brighton queercore label. On 7”. This tune may technically be the B-side, but it’s pretty much the perfect two-minute punk/pop song. Mind you, “Velvet Pants” on the ‘A’ continues to ROCK HARD, just like it did when the postman first fed it through our letterbox.

15. Terror Danjah featuring Jamakabi "Juicy Patty" (Keysound)

Fearsomely fine 12” from Dusk & Blackdown’s roster which starts with Jamakabi taking a dodgem ride around Terror Danjah’s rinky-dink ice-cold riddim before Logos delivers a heaving, E-number packed remix which rips the joint apart, a little reminiscent of how Mumdance turned Novelist’s “1 Sec” into such a compelling proposition.

16. Cortechs “Atropine” (Sick Weird Rough)

Chunky and satisfying yet with a touch of class, “Atropine” is the Cadbury’s Ripple of contemporary electronic musicking – a delectable, alchemical chemical marvel, not inimical to an empirical miracle. “Tropane”, its equally urbane ether-B side, was no slouch either. We’ll stick our necks out and say that this was probably Cortechs’ best single to date, as well as SWR’s pick of ’16.

17. Mike Wall “If Only I Could” / “Inkognito” (Wall Music)

The label boss leads by example with this elegant 12” of two originals and two remixes: Mike’s “If Only I Could” is a pristine slice of superslick trilling techno, co-opting Frenkie V-style messaround glissando, but it’s Michael Schwarz’s relentless remix of “Inkognito” that really raises (the stakes) and razes (all else around it to the ground).

18. Tangible Excitement! “Effectively Wild” (Emotional Response)

This is, of course, one of four (count ‘em) TE! Outings on their feisty split 12” with the also-ace Ginnels, but we still reckon “Effectively Wild” is TE!’s best song, much as we know that others bear torches instead for “Northland Food Court” or “Muddled Whine” (actually, let’s face it, there’s a veritable army of torchbearers for “Muddled Whine”, and they’re probably coming round our place right now to set light to it).

19. JK Flesh “Nothing Is Free” (Downwards)

‘Kinell. The bassline on this towering second-city titan is absolutely shredding, as heavy as anything you’d expect to find on a Godflesh record. That would be enough, but there are other treats in store, for Surgeon then pops up with an astonishingly ace remix (ace despite removing said bassline pretty much entirely), in the process becoming one of the few producers to have remixed one ex-Napalm Death member (Broadrick) and to have been remixed by another (Mick Harris).

Which not only proves what good company Surgeon mixes with, but reinforces just how important Napalm Death are to the history of basically *all* good music.

20. Corvum “Serpentine” (Darknet)

Splash! Here at ilwtt,isott mansions we adore the Serpentine, not least in pedalo season.

Now. As the Finnish grindcore scene amply demonstrates, there’s plenty to be said for classically-trained musicians dipping their toes in the fast-flowing waters of more modern genres. And so it is that Greece’s Corvum, who can get a bit avant and over-ambitious on his more epic EPs, delivers this moodily outstanding single for Sydney’s resurgent Darknet label, loosely in the vein of those excellent Gal Tsadok-Hai and Enzinger/Hora platters that louchely hung out in our 2015 top ten last year.

According to our abacus, Corvum managed to release no fewer than 13 singles in 2016 (Gedge, eat your heart out) which, given the sheer amount of stuff going on in just this one track, would rather suggest the man doesn’t sleep at all.

Thursday, December 29, 2016

Singles of the year: 21-30

Welcome back to in love with these times, in spite of these times, the fanzine which prefers all our favourite bands to all your favourite bands (though to be clear, we’re always willing to be persuaded otherwise and pore through your own top 100 singles of the year lists…)

21. Lamont ft. Grim Sickers & Nico Lindsay “Missed Calls” (Keysound)
22. The Charlie Tipper Conspiracy “The Clock On The Wall EP” (Breaking Down)
23. The Charlie Tipper Conspiracy “Shutters Down EP” (Breaking Down)

The side of the cargo ship-turned cabaret ship Thekla was a murky canvas for Banksy’s Grim Reaper, but an apposite metaphor for Bristol art: creative, but grimy and slightly underwater. “Missed Calls”, a fine themed 12” from Lamont is similarly somehow bright and murky in turn, its pristine beats and drops refracted through the dirt of canal water or the muddy Avon at low tide. 

Fellow Bristolians the CTC have a slightly different approach to the thematic schizophrenia of their city: they tend to corral fine tunes with downbeat lyrics, but charmant horn-led lead song here “Let That Feeling Go” is actually rather cheering all round, a nice counterpoint to last year’s resplendently doleful “You Made Me Homeless”. The last 30 seconds, as Forest Giants influences casually intrude to join the party, are quite possibly my fave half-minute of music of the whole year.

The “Shutters Down” EP, which hit around Halloween, reinforces the CTC’s credentials: “Drowning” is outstanding, an air-raid siren heralding a nicely clattering verse with staccato horns which unpeels into a catchy chorus and some tremendously lithe guitar lines. And “No Going Back” is not far behind, with more wonderful guitar breaks that, together with a shimmering organ sound, recall the sun-dappling glow of the Sea Urchins or Tramway. ROVERRRRZ.

24. Zomby ft. Burial “Sweetz” (Hyperdub)

You don’t often get singles that are so bleak, so uncompromising, so frankly wtf? as this one-sided 10” collabo – oddly enough, the 45 it most reminds us of is Television Personalities’ “All The Young Children On Crack” (#2, 2006), which pretty much dealt with the same subject matter.

Some of you reading this will regard Zomby & Burial as a bit obvious or ‘mainstream’, but all we’d say is that if a record like this can be considered in any way mainstream, then things have to be looking up. Mind you, this another example of a one-sided record that costs at least as much as a two-sided one… as always, only Sarah knew the real score, which is that the only truly acceptable one-sided disc is a FLEXI.

25. Aiken “Inductive” (Timeline)

Four excellent tracks on this artist EP from Spanish producer Aiken (Joan? Drum? Roy?), all of which merit repeat play. “Inductive”, perhaps the most minimalist, combines the casual shimmer of early Spiros Kaloumenos sorties with the clipped electrical pulses of Aiken’s compatriot Oscar Mulero. The seriously ace “Curfew” ups the ante further, co-opting a glitzy acid house line: both tracks making a pitch to snuggle up alongside DJ Hi-Shock’s “The Travelers” in your favourite DJ’s next live set.

On the other side of the vinyl, “Distant System” ripples with the reflective pulse of chilled-out D&B comedowns before “Sanity” belies its title and sees Aiken toy with a little more acid (slight return). The 12” comes coquettishly clad in v. stylish artwork by Kike Besada, which is quite a coup given his client list.

26. Obituary “Loathe” (Relapse)

Mmmmmm. Six MIGHTY minutes of textbook Floridian death metal to trail Obituary’s “Ten Thousand Ways To Die” live comp: “Loathe” is glorious sludge-chug-sludge-chug-mosh, with riffs hewn out of granite: it may be utterly devoid of originality, but it sounds not unlike a stretched-out version of “Inked In Blood” and as such we could simper and swoon and listen to it from dawn to nightfall.

Obituary are like the Lucksmiths (no, bear with us) in that if you like one of their songs, you’re basically going to like all of them. Also, Malcolm Eden’s late period ‘helium chipmunk’ style aside, has there ever been a more distinctive male vocal than John Tardy’s genre-defining growl?

27. Jeff Rushin “Obsolete” (Mote Evolver)

One of two absolute pearlers from Mr Rushin on the AA of Mote Evolver’s “Parallel Series 5” 12”: it’s fair to say that its chaperone “Solex” is no slouch, nor the A-side brace from super Swede Sev Dah (of whom more later, perhaps), but “Obsolete” blasts them all out of the North Sea with its slam-dunk synth stylings, despite a slightly disconcerting oompah rhythm.

28. Dexplicit ft. Chip, Durrty Goodz, Swiss, Black The Ripper, Flowdan & Rocks FOE “Link Up Season” (DXP Music)

There was a Brum-repping take on this club monster too, but this was the original London versh and it’s Dex’s old-skool flavoured triumph: a non-stop, no holds-barred maximum-entertainment nod to his role in early-‘00s white label smashes like “Pow!”, “Forwards” and “Backwards” that also generated some tidily sprightly performances out of an already decent-looking array of guest MCs.

29. Durrty Goodz "BMP" / “Organise” (TruThoughts)

Some artists can effortlessly evolve from one genre to another, as we saw from Foreign Beggars earlier on, but it's not often you get an artist single with two new songs split across two completely different styles. “Organise” was a laid-back introduction to the ‘new’ DG and his conscious hip-hop “Not Been Televised” set, while “BMP” was a taster for his “Hungry Belly” album, a febrile demonstration that the man still slays all things grime, and can flow like nobody else over giddily helter-skelter beats.

30. Nothing Clean / Higgs Boson split (MMXVI FHED Records / Glass To The Face Records / Samizdat Records / SuperFi Records)

NC’s first split 7” of the year, which thrilled us suitably at the time, not least for being on four labels again. But will it be their only entry in the 2016 singles of the year countdown? Ooh, the tension: you’ll just have to hold on tight, wait and find out.

Wednesday, December 28, 2016

Singles of the year: 31-40

Welcome back to in love with these times, in spite of these times, the fanzine that prefers the Dentists to dentists, the Ex to exes and the Church Grims to grim churches.

31. Violent Arrest “Authors Of Our Own Demise” (Artcore)

A thundering 6-track 7” EP from the ever-hearty and heartening Violent Arrest that came with a paper fanzine in the kind of package that we’ll never tire of, so long as there are good good people out there with the devotion and the guts to provide it.

The title track here actually does all that’s required: 50-odd seconds of pure politico-punk anger that would be pretty hard to better. That said, there are no duffers here, and “Five More Years” – VA’s reaction to the Fixed Term Parliaments Act - is definitely an anthem of sorts and a sister record (thematically, if not musically) to Benji303 and pals’ "Fight Against The System” (q.v). 

32. Cappo “Ether” (YNR)

Every Cappo single, of course, is BEEZER: the only question in the listener’s mind need be whether it will be “banger” or “mystic”. The last couple have definitely fallen into the latter camp, with “Ether” and last year’s “O.O.B.” maxing the introspection and laying down the groundwork for the fairly stunning “Dramatic Change Of Fortune” full-length.

33. Trim “RPG” (1-800-Dinosaur)

Probably one of the more wtf? 45s of the year, tripping the light fantastic on spartan, sleeveless 10”. The rough set-up is that some bloke called James Blake spoons in lurching, discordant discombobulated beats whilst longtime E14 grime don Trim basically murders the riddim (28 shots to the car, apparently). About halfway through their interests seem to diverge, though, with the result that the single starts to fall off a bit (less rocket propelled grenade, more role playing game).

34. Sir Spyro featuring Teddy Bruckshot, Lady Chann & Killa P “Topper Top” (Deep Medi)

Jealously guarded at Juno (one per customer), and one can see why as Deep Medi take one of their occasional forays into vocal tunes, including a verse from international man of mystery Teddy Bruckshot, the true identity of whom remains a jealously guarded secret. We haven’t delved into dancehall stylings for quite a while, but the Jamaica-via-London flavour here works brilliantly to give Spyro’s grime licks an unexpectedly exotic edge.

We feel bound to suggest that we suspect that Sir Spyro may not be a real knight of the realm though, any more than Sir Les Ferdinand, or Sir Handel. If the Queen ever does get to knight him, presumably for services to grime, we reckon she should whisper “sounds of the surf” to him as she lowers the steel, just to show she gets it.

35. Terror Danjah ft. Dot Rotten & Trigga “Fire” (Hardrive)

In which Rotten, on a skeng ting, absolutely *slews* yet another lethal Terror Danjah riddim. Our Dot gets overly saccharine & lovey-dovey on the B side, mind, so better draw a discreet veil over that. Next!

36. Durrty Goodz “Not Been Televised” EP (TruThoughts)

Reinvented artistically and thematically, DG has segued seamlessly from grime legend to UKHH guru, with Micall Parknsun’s productions on this EP allowing him to roll deep and conscious over Gang Starr-styled beats. The supremely confident “Coronation” would be a cracking single in its own right, but is ably buttressed by slower-paced, super-smooth companion tracks like “Grew Up Gangster” and the Ty-featuring “Reflection”.

37. M.I.K. featuring Merky Ace “6ix 6ixty (6ixtro)” (6ix 6ixty)

How grime should be, from two of its most invigorating practitioners: twisted and sinewy, intense yet fragmented, thoroughly modern with an experimental edge and yet ruthlessly dynamic on the dancefloor. PROPS.

38. Bubblegum Lemonade “Beard On A Bike” (Matinée Recordings)

This had the deep, deep misfortune to come out around the time of June 23rd, a time of both mourning and spluttering invective here at in love with these times, in spite of these times towers as we barricaded ourselves in with EU flags and defiantly stuck “Ode To Joy” on repeat play. So it wasn’t until much later that we realised that “Beard On A Bike” was one of the better indie singles of the whole year, underpinned by the same dewy-eyed devotion to neat melodies and bobbing rhythms that made the last Strawberry Whiplash LP so damn… convincing.

As all you bubblegum bop-pickers will already have clocked, the EP’s title tune would resurface on Bubb Lem’s “Great Leap Backward” full-length just last month, a remarkably consistent collection of skilfully-composed spiralling guitar-pop minibites. 

39. Jammz “Warrior” (I Am Grime)

Jammz hits us up an with too-rare vinyl outing, a 5-track 12” on his own label that elsewhere features Shemzy, Scott Garcia and P Money, but peaks with J on his own for the excellent title cut, a bleak post-eski foil for M.I.K. and Merky Ace’s excellent single two paras up. Sometimes, you can almost forget that grime peaked in about 2004.

40. Commodo ft. Rocks FOE “Set It Straight” (Black Acre)

“I scratch the surface” (like the Jasmine Minks) “Til the record breaks” (like Roy Castle). This eastern-flavoured dubstep/grime tune from Commodo’s “How What Time” LP is a three-city collaboration: composed and hatched in Sheffield, LACED by Croydon’s Rocks FOE, and put out there by Bristol’s Black Acre. Not to be sniffed at.

Tuesday, December 27, 2016

Singles of the year: 41-50

Welcome back to in love with these times, in spite of these times, the fanzine that will never accept “party” as a verb, “bake” or “invite” as nouns, or “obligate” as a word.

41. Scorzayzee “Gangsta Wraps (Take The Throne)” (Gangsta Wraps)

There aren’t so many rappers out there with a thing for sustainable food production, but then Scorz is no ordinary rhymer. This 12” - promoting the eco-conscious Gangsta Wraps brand - sees him re-indulge last year’s florid fantasy in which his GM-Unit raid McDonald’s to secure a niche for healthy grub, and it’s a sign of just how strong last year’s “Aeon (Peace To The Puzzle)” was that lead EP tune “Gangsta Wraps (Take The Throne)” – not even in the top 10 songs on the long-player, we’d posit - is still a chunkily strong single, all the more so when the 45 then hooks it up with fellow “Peace To The Puzzle” track (and Chester P collabo) “Double Dragon”; a more-fire remix of “Equestrianism” (Jehst and Micall Parknsun amongst the guest MCs); and a newie, the soulful soul-food cut “Gangsta Wraps (Take The Crown)”, which is really rather terrific as it rings with the funky beauty of all those ‘Ice Cube in New York’ tracks of the early 90s.

42. Sven Wittekind “Nimbus” (TK Records)

Tsk. SW moonlighting with singles on other people’s labels (in this case Torsten Kanzler, we’d hazard an ‘initial’ guess). Sven’s going to have to explain himself. To himself.

“Nimbus” is nimble and predictably flawless, if still a jog in the park for someone of Sven’s general artistry, and we’d sellotape it to our turntable if only anyone had bothered to put it out on vinyl. Plus, via Stuttgart Raphael Dincsoy cooks up a Fully Loaded Re-Work (more a sprint in the park, then). Basically, “Nimbus” is spotless (just like Mr MacKay’s wife) and if anyone at DExEU dares try to set tariffs on the import of German techno, we’re going to be incandescent.

43. Virgil Enzinger & Mantra Of Machines “Samgitaya” (I.Cntrl)

It’s often ‘VE Day’ round here, as the foundations throb to the Enzinger’s moody slabs of dark techno. Here, he collaborates with himself, basically, in his guise as Mantra of Machines. There’s a bit of a twist, too: in what may turn out to be our Virgil’s “Jullandar Shere”, he slows things down, succumbs to Eastern chants and rhythms and in doing so re-fashions a whole genre (yaaay). Sounds nothing like last year’s magisterial “Schlafendes Feuer” (the tune that launched 1,000 remixes), but it’s very nearly as magisterial. Also, best Austrian single this year.

44. Young Scum “Zona EP“ (Dufflecoat)

Reminding us of all sorts, from Math & Physics to Pants Yell! or early Aden, the lads of Young Scum range their fairly flawless and timeless American indie-pop skills over five strong songs, of the type that now surface all-too rarely on the indie disco wheels of steel.

45. Lewis Parker “Release The Stress” (King Underground)

I remember the moment I first heard Lewis Parker, because it was one of those old-skool record store epiphanies. I was hanging in Selectadisc on Berwick Street (pretty much my second home circa 2004) and they cued up his “Masquerades & Silhouettes” LP, a loose agglomeration of brainy UKHH released via Massive Attack’s major label hook-up. It was fresh and yet not rushed, and I bought the album then and there.

Strangely enough, it never sounded quite so good again as that first time (a bit like when your club gets a loanee, and they’re absolutely scintillating until you give them a permanent deal, and then the magic goes: hello Mark McKeever, hello Justin Channing), but there’s been a considerable upside in having been able to keep a weather eye on Mister Parker’s output over the years since, and this excellent (if extremely expensive) 12” on King Underground is a joy: especially as the woozy funk fug of the original is accompanied by an equally accomplished piano-bar, jazz trio remix.

46. Corvum “Harmony Corruption” (Gynoid Audio)

Corvum references Napalm Death! Er, not sonically though, and probably not entirely deliberately. Here, the ever-prolific Greek producer sensibly splits the 16 minutes of this particular composition into two tracks. Less nuanced and edgily nervy than his earlier 2016 gem “Serpentine”, “Harmony Corruption” I and II both essentially lock into yer cerebellum and pummel it for a bit before bowing and taking their collective leave. Not sure the four remixes add a great deal to the store of human knowledge, though - we’d have liked to see Sophie Nixdorf get her hands on this, if she or Corvum do requests.

47. Leon Switch “Intrepid” (Chestplate)

Yes, the battle with his old Kryptic Mindster Simon Shreeve was like “7 Reasons” vs “Getting Away With It”, or something. A tough-rooted wobblestep anthem on wax, this was easily one of our top dubstep twelves of the year. 

48. The Haywains “The Girl In The Holly Court Diner” (Whoops Records)

Time travel. We’ve finally cracked it. This might be no “I Wouldn’t Want That” or “Bythesea Road”, but it’s a wonderful, knowing and yes, cosy nod to their various outings for Vinyl Japan when the world was much younger, and the scattering of compilation tape appearances that had preceded those. Time has not, it is fair to say, withered the Haywains.

Um, in the spirit of people in the Haywains reforming bands, can somebody (Paul Towler would probably be best) please get on with some new Westfield Mining Disaster material now, please? The last WMD album was an absolute treat.

49. Jessica & the Fletchers “Marble Fountain” (Market Square Records)

Time travel, we’ve finally… oh, we’ve just done that one.

Anyhow, the press blurb thing rattles off the usual stuff about Talulah Gosh and Sarah Records. The first problem with this is that it doesn’t sound anything like any band that ever recorded for Sarah. The second is that apart from maybe a couple of songs, it doesn’t really sound anything like Talulah Gosh ever did. So what they should be saying is that, over the two sides of this great 7”, you’ll hear a bit of bands like Zipper, Free Loan Investments and the Garlands (all rightly fêted) and Strawberry Story (wrongly maligned). Maybe Vacaciones, even, when the Fletchers turn the keyboard up on the B-side. And, as we always say on these occasions, more bands should sound like this (it isn’t, truth be told, overly hard) but don’t. Until they do, this is just what the doctor ordered and we’re certainly not going to criticise it for being more daring.

50. Ultramantis Black “They Make Plans To Poison Us” (self-released)

Ah, the perfectly usual thing wherein an ex-professional wrestler plays eco-friendly, ear-unfriendly, meat-is-murder extreme hardcore and puts it out on a limited edition cassette in a handstamped sleeve made of recycled chipboard. If anything, this is even angrier and more uncompromising than his excellent Relapse Records EP in 2014. A magnificent reminder that despite Trumpism, there is much passion and principle abroad in that place over the water.

Monday, December 26, 2016

Singles of the year: 51-60

Yes, still they come, thick and fast, like snowflakes in the olden days (you know, before ExxonMobil).

51. Meghan Trainor “NØ” (Epic)

Not overly impressed by the video, nor could you cop this one on vinyl, but it’s still in our top three tunes of all time called “No”, behind the Chuck D solo single and the Wedding Present’s “Bizarro” cut. Also, this may well be Epic’s first ever single in our year ends, to which trebles all round at their A&R HQ no doubt.

52. Pinch featuring Riko Dan “Screamer” (Tectonic)

Sixty seconds too long at either end thanks to bolt-on instrumentals, this latest Bristo-Londinium collaboration between Pinch and Riko Dan would have made a magnificent 3 minutes of pure mic fire, but ends up as a merely marvellous five minutes of a dancefloor-ready 12".

53. Jeff Rushin “Assist Aim By Guiding The Eye” (Arts Collective)

Four-song ocular-themed EP on the twelves from surely the Netherlands’ finest producer right now. The busily-bubbling title track just shimmies past opener “Field Of Vision” to secure pole position.

54. Downpour “Do You Remember When It Was All About The Drums? (pt.2)” (bandcamp)

Aight. Yes, killa Yorkshire retro D&B makes everything nice.

55. Foreign Beggars ft. Asa & Sorrow "The Bits" (Par Excellence)

It’s hard to credit now that the Foreign Beggars were once lining up with the cream of the UKHH underground: and that “Asylum Speakers”, which saw them hooking up with peeps like Taskforce, Skinnyman and Supar Novar was all the way back in 2003. Anyway, “The Bits” saw the ever-versatile FBs in full-on grime mode as they continue to run through a gamut of producers (this time landing in Bristol to nab Asa and Sorrow). The single’s puissance was seriously bolstered by a blistering Mystry remix which throws in a Birmingham flavour and bare rips the rafters in the verse.

56. Measure Divide "Burn Through Me" (Local Sound Network)
57. Björn Torwellen “Uranium” (Sick Weird Rough)
58. Sandro Galli "Sensorial" (Klinik Room)

Let’s take a detour to another dancefloor, to line-up a clinical percusso-fest from Canada’s Measure Divide, courtesy of Ryuji Takeuchi’s LSN imprint; a brittle, radioactive little all-Deutsche gem from Mr Torwellen on Sven Wittekind’s house label; and, from his hometown of Rome via Crotia’s Klinik Room, what turned out to be the best of our Alessandro’s 15+ singles this year.

59. Sir Spyro “Side By Side (YGG Remix)” (Amy Becker RMX EP) (Amy Becker)

A second entry for the three young guns of YGG as they take on Spyro’s “Side By Side” and give it a less, er, Midlands vibe than last year’s Pres T-laced version. Thanks to Dalston resident DJ Amy Becker, this ended up on vinyl (an eclectic 12” also populated by Deamonds, Logos and Scratcha DVA, at least one of whom we plan to mention again before the year is out).

60. The Bug ft. D Double E and Riko Dan “Box” / “Iceman” (Ninja Tune)

The Bug, Kevin Martin, surely provides more ‘assists’ than any other producer: with his litany of varied songscapes he incessantly creates gilt-edged chances for vocalists to slam into the back of the net. Here, he supplies a glorious canvas for two MCs who should by now need no introduction: Newham Generals’ D Double E has been battering our speakers ever since the days when their records contained exhortations to check their MySpace, and here he rocks up with the menacing “Box” (NB I think we may be talking coffins rather than Christmas boxes here) before Riko drops in from on high to pump blood through the veins of the Bug’s achingly heavy “Iceman” instrumental. The 12” comes dressed in a very fetching Simon Fowler-drawn picture sleeve, if you were still struggling at this (too) late stage to think of something to get your Grandma.

Sunday, December 25, 2016

Singles of the year: 61-70

Happy Christmas! And welcome back to in love with these times in spite of these times, the indie-pop fanzine that prefers One Republic to the Vamps. 1 LOVE.

61. Peru “All The Way Home” (Archdeacon of Pop)

Peru have improved a lot in 20+ years, which shouldn’t be surprising but trust me, many a combo has managed to go backwards over the same period. This is a textured, grown up slice of indie-pop (maybe a bit Hillfields or ArtGruppe) that suddenly launches off towards the stratosphere when a host of spiralling guitars kick in near the end.

62. Tangible Excitement! “Muddled Whine” (Emotional Response / FreakScene)

Well. One feels this song from the long-distance intercontinental supergroup couldn’t have been more catchy if it had been fomented by earnest musicologist boffins in a secret government laboratory (maybe a bit like the one that 808 State used to help MC Tunes split the atom). The fact that "Muddled Whine" (not muddled, not a whine) is even more addictive than the Tiger Trap cover that TE! dig out on the 7” flip surely validates this hypothesis beyond reasonable scientific doubt.

63. Real Numbers “Frank Infatuation” (Slumberland)

Joyfully clattering Frank (the label) style pop with sweet hook, apparently an ode of sorts to the Television Personalities and a rumoured beef of sorts with John Peel, although as we struggle to catch all the lyrics (which was never a problem with the TVPs) we can’t fully vouch for that.

64. Tomohiko Sagae “Abducted” (HueHelix)

Dear God. Can this be the same label that brought us the rare and fluttering beauty of Ryuji Takeuchi’s “Possibility”? It is, though. On his “Abducted” EP, Tomohiko Sagae decides that techno is for wimps, goes all-out industrial, and throws screes and walls of feedback everywhere, before adding maniacal drums. This is metal machine music gone mad. Hurrah for that.

65. Slayer “You Against You” (Nuclear Blast)

After last year’s ruefully terrible single, this was a pretty great one, hopefully by way of apology. Contains maybe the best crop of beautifully OTT guitar solos (there are three of them, together making up half of the song length) since the feverish fretboard frissons of Deicide’s “Homage for Satan” a good 10 years ago.

66. Vincenn “2L” (Minimal Techno Records)

Label with Ronseal name delivers buzzing French tech-yes from Caen's Vincenn that sounds a bit like a fly buzzing around your head, which is really irritating when a fly does it, but somehow sounds ace when it’s Vincenn doing it. The download from Beatport is corrupted too, meaning that about 90 seconds of this suddenly derail into crazed noise-glitch, like Kid606 at circa 9,000 rpm. Which, obviously, serves to improve “2L” even further.

67. DJ Supreme ft. Son Of Noise "R.I.P." (BackBone Records)

Yes, it’s Hijack v Hardnoise redux as two absolute 24-carat UKHH legends return for this satisfyingly retro showtune. There’s also a dutty remix helmed by extra DJs and heavyweight contemporary MCs including faves of this blog like Durrty Goodz and Ramson Badbonez.

68. Strange Passage “Shine And Scatter” (self-released cassette)

There are five tunes here, but it’s just one of them - the seriously pretty, yet totally toetapping, title track - that destroys everything else by some considerable distance as these young Americans get all kind of helter-skelter Felt(er) in your face, churning out splendid pop hooks with a hint of morningdew glaze.

69. Fliptrix ft Jazz-T “Patterns Of Escapism” (High Focus)

Tophole platter from Brighton to London émigré Fliptrix, anchored at the business end by Jazz-T’s typically assured production, about the collective human need to shut out the real world, whether through drink, drugs or other dependencies. Fliptrix is rapidly becoming one of the best UK MCs on the circuit, and both Flip’s fire and Jazz’s soulful samples remind us muchly of those excellent Skinnyman singles, around the time the Finsbury Park rhymer was blowing up.

70. DJ Cable featuring GHSTLY XXVII “Ride To This” (Triangulum)

Not 100% sure why west London MC Ghostly has become GHSTLY XXVII here – presumably it’s a result of the usual copyright skirmish – but it does mean that he no longer shares his name with a Bracken track, which I’m sure he regrets. And we know for a fact that he is some years away from being 27. Happily, his flows on this one -as we may come back to at a later date, it wasn’t his first collabo with DJ Cable in the last 12 months - are as irrepressibly bright as ever.

Saturday, December 24, 2016

Singles of the year: 71-80

Welcome back to in love with these times, in spite of these times, the fanzine that has just discovered that Catapult and the Windmills (i.e. two of the best bands of all time) were once on the same record label… if anyone can tell us more about the dispiritingly short-lived S.T.S. Records (we’ve already checked out their old mailing address on the Holloway Road, without success) then, please, DO.

71. Corrupt Moral Altar / Hicks Kinison split (Fat Ass Records)

Shouty all-action split 7” as the barnstorming Liverpudlian combo Corrupt Moral Altar, who wowed us at the Garage back in Jan supporting Venomous Concept, share four tracks of vinyl with girl-fronted Portuguese grindsters Hicks-Kinison (well, Portuguese except for their bassist, because of course they also turn out to be one Shane Embury’s 119th band).

72. Brakeman ft. Footsie "What You Working With?" (Soul Music)

On “What You Working With?” young Brakeman, declaiming over slabs of icy, knife-scraping Iron Soul production, is very clear that you don’t want to end up 'like Byron'. We’re attuned enough to our own deficiencies to know that he probably doesn’t mean the late Lord B. of lolling-around-Lake Geneva fame, though it would be a bonus if he did.

73. Karen “Ocean” (via Music Glue, we think)

Davey Woodward’s latest project, Karen, deliver the appropriately glimmering “Ocean”, which is both slow-burn and feral, and puts me in a Bristol state of mind: maybe Kyoko vs Forest Giants vs the undersold brittleness of some of DW’s slept-on solo thing “6 Miles East Of Here, 5 Miles North Of Nowhere”. Our copy of this one didn’t arrive, but we’re content to put that down to “corrupt postman” (obscureish ‘we were there in the 80s’ lo-fi cassette-based reference there) rather than docking the lads of Karen due kudos or chart-ranking points.

74. Darkness "Arrogant Stance (Eski Thug)" (Triangulum)

Nothing to do with The Darkness, now best known round our way for appearing on the takeaway menu of a certain Indian restaurant, a menu which garlands our doormat on the regular (the band are featured as being 'celebrity' frequenters of said establishment, rather than having now turned their own primary attention to the purveying of exotic cuisine). Instead, this is the usual cast of grime thousands, including Nico Lindsay and Triangulum’s own Ghostly, getting tooled up in order to set a proto-eski retro banger utterly aflame.

75. Rabit & Dedekind Cut “R&D” EP (Ninja Tune)

Rabit teams with Dedekind Cut (aka Lee Bannon) for two sides of cut-up ambient noise / dance madness with “R&D”, very loosely carved into four tracks over 12" which collide styles and rhythms with such verve that we’d almost believe this was on Swarf Finger (how we miss them). “R&D – IV” settles into an almost commercial, looped vocal-sample dance groove equal parts Burial and Pariah’s “Detroit Falls” (2010, #42) but there’s plenty of fun to be had before that as jarring drum & bass segments flirt with calm neo-classical packages and lashings of electronic noise.

76. The Fall “Wise Ol’ Man EP” (Cherry Red) 

And our own wise ol’ man reviewed this one, back in those halcyon days of BEFORE EVERYTHING WENT WRONG.

77. Manhattan Love Suicides “Look Who’s Coming To Town (Please Let It Snow)” (Snowflakes Christmas Singles Club)

I’m really pretty sure that the Manhattan Love Suicides split up some years ago. I distinctly remember being quite upset about it, given how crucial & *alive* their records were and how much I enjoyed watching them play (their classic 15-minute set at Spiral Scratch lives with me to this day, and their LDN baptism at the Luminaire wasn't far behind).

Anyway, I have to say that the Manhattans’ model for splitting up (i.e. carrying on releasing records – also known as the Boyracer model) suits me down to the ground, and on this evidence it should be adopted by more great bands that have broken up. For this is one of the few Xmas singles that would be excellent even if Caroline was singing about Easter or lost love or canoeing or whatever instead: classic MLS fuzz and fury, punctuated by a glorious, breathy, snowflake-frosted slow section. Even better, in fact, than their OddBox single in the very early throes of 2016, the gloriously heady "Bikini Party / Birthday Kill".

78. Manipulate “Becoming Madness EP” (Flatspot)

Mainly for the tower of power that is “Beaten Path”, a song which swaggers into view with a blinding grindcore riff before shapeshifting into some proper stomping lean street, mean guy New York hardcore.

79. Joker Starr “Shottas” (Boot) 

Betjeman might have reconsidered his views on Slough if he’d copped this 7”. As we hinted in the spring it’s, um, the bomb.

80. Pale Spectres “Your Boyfriend’s Girlfriend” (self-release?)

This charming lo-fi French old school indiepop toe-tapper recalls a mix of Pale Sunday and ‘milky tea’-era Secret Shine (you know, “After Years”, “Unbearable”). Transpires that they’ve also got a 7” coming out on Cloudberry, which is none too shabby either.

Friday, December 23, 2016

Singles of the year: 81-90

Welcome back to in love with these times, in spite of these times, the fanzine that prefers The Game to Game of Thrones.

81. Brujeria “Viva Presidente Trump” (Nuclear Blast)
82. Sick Of It All “When The Smoke Clears” (Century Media)
83. Ketch “Linessa” (Berlin Underground)
84. Korpiklaani “FC Lahti” (Nuclear Blast)
85. Modular Phaze "Idealizacion Religiosa Alterada" (91 Records)
86. A. Paul “Fathom” (Sick Weird Rough)
87. Diego Hostettler & Krenzlin “Sector” (Wall Music)
88. Strobe “Degrading" EP (Hydraulix)
89. Hard Left “Strike For America” (Stomp & Stroll)
90. Schlachthofbronx “Haul & Pull Up, Vol. 1 – EP” (Rave And Romance)

Somewhat wistfully, we have to start with Brujeria. They really, really, really aren’t fond of Donald Trump. And to think that their single was recorded and released much earlier in the year, presumably at a time when Brujeria, even in their darkest, darkest moments, didn’t think that what happened could ever actually happen.

Luckily, via Finland, we have something more cheering to offer you. Yes, serious drinkers and folk-metal mentalists Korpiklaani have, rightly, been entrusted with writing the official club tune to celebrate 20 years of their local football team, FC Lahti, and the result is as suitably rousing as you’d want and expect, sounding towards the end every bit as folksily frantic as the Wedding Present’s faster Ukrainian adventures. Which puts this right up there in the footy songs pantheon, up with “Wo Ist Der Deutscher Meister” and Maximum Roverdrive’s “Goodnight Irene” (um, possibly). BTW if, like us, you suddenly found yourself asking whatever happened to Kuusysi Lahti, the answer is that they merged with Reipas Lahti to form FC Lahti, like an east-Scandinavian Dagenham and Redbridge.

Schlachthofbronx, from Munich, furnish the kind of impudent electronic noise which would suit Mark E. Smith so well to randomly prattle over (check the guy’s track record, check yr Von Südenfed back catalogue) but here it’s Londoner Riko Dan (a constant on these pages) and Jamaican dancehall stalwart Warrior Queen (who’s been absent from them for a few years now, we realise) who drop in to provide a super-distinctive vocal barrage.

Plenty of fine instrumental tunes here too, though. Ketch’s surely Berghau-bound “Linessa” (odd topic for a song, but makes a change from all the tunes of this ilk whose titles are just randomly-generated adjectives) reminds us just how brilliant Berlin is (and that’s before we even get on to Emil and the Detectives), whilst Swiss-born Diego Hostettler is another of those producers who came from a classical background, but now joins the massed ranks of rib-rattlingly beezer musicians currently thronging out German clubs. He also managed to release an EP triumphantly called “Disruptive Chickens” a few years ago, which rather helps him ingratiate himself with us. “Sector”, a hen-ergetic collabo with another of said producers (the Tresor DJ, Krenzlin), and on the label of a third (Berliner Mike Wall), is typical of the way that Germany has continued to dominate dancefloors this year.

Westward we go though, for in its year of Euro 2016 success, Portugal has also been showing the way with modestic tunes from Modular Phaze (on Cardao’s label, it also sports a Cindy remix: oh, we’re always down for a Cindy remix) and from Lisbon’s A. Paul, whose “Fathom” appropriately floods the dancefloor with dark sub-aqua basslines aplenty. But if you want something that’s more unapologetically in your face as well as harnessing your dancing feet, then you should probably salsa over to Strobe in the DJ booth, as he urges you to ‘lose control’ with the kind of all-analog synth, beat and hi-hat workout that has come to be the house speciality of longtime hardfloor heavy-hitters Hydraulix.

In your face in a slightly different way are New York’s ever-willing godfathers of HC, Sick Of It All, whose comeback EP on Century Media peaks with its full-spark shoutin' and stompin' title track. Also stomping about, this time over in Oakland, Hard Left’s “Strike For America” achieves the distinction of being our highest placed lathe-cut 6” of 2016. Their grunted SLF meets bare-skin street punk, also seen this year in their power punch-packed "Economy" 7", is still as glorious, yet incongruous a mix as ever: this latest anthem may not quite be up there with “Right To Work” but to our ears it’s aiming for the same kind of place, as Hard Left urge a general strike across the States. Mind you, just to come back to where we started this post, a newly authoritarian thread of US politics suggests they’re going to have their work cut out.

Thursday, December 22, 2016

Singles of the year: 91-100

Mm. Welcome back to in love with these times, in spite of these times, the fanzine that prefers Biggie Smalls to Bertie Smalls (your crew run run run, your crew run run).

91. Samuel L Session “Blitz” (Wall Music)
92. Mark Rogan “Dark Nights” (Electrax Music)
93. Logotech “LSD” (Ketra)
94. YGG “Don’t Talk Like That” (YGG)
95. Nancy Sin “Room For Rent” (Where It’s At Is Where You Are)
96. Konsumer “Clandestine” (Darknet)
97. MSDMNR “Black Hole Titanic” (MSDMNR)
98. P Money “Stereotype” (Originators)
99. Benji303 and the Welsh Connektion "Fight Against The System (Tories Are Scum!)" (Flatlife Records)
100. Krag “Black Walls” (Sick Weird Rough)

Don’t think we don’t know how arbitrary a “singles of the year” list is. For a start, some of the best songs of the year weren’t singles: “How Is This A Cure?”, “Coastal California 1985”, “The Comedians”, “Blockhead Fuck Off” (and we’re only half-joking on the last one).

Plus, the nature of these things means that even if you’re anoraky enough to compile a top 100, there are plenty of top-notch singles that won’t make the cut, and this year for us those included platters from TMSV, Manhattan Love Suicides, Justin Timberlake, Eastone, Matthew Bomb, Jaydan, the Last Skeptik, Northern Exchange, Yumi Yumi Hip Hop, Heist & Pleasure, the high-cheekboned English-tinged pop of the Holiday Crowd, a brace on High Beats from Desi Klakar and Jyoti Hussainpuriya, Curtis Mack, Ruff Sqwad (well, the remix anyway), Fudz, Snowy Danger, a couple from Flowdan, our man Sceptical C, a number of OddBoxers, Massive Attack, Chase & Status (don’t panic - it was C&S featuring Novelist), two from Darmec, AJ Tracey, about twelve from Corvum, Stephen’s Store, Seafang, Ghetts x Rude Kid, Hard Left, Avgusto, Gabeen, the Haywains doing Xmas, Milkplant, Sopik, Grebenstein and what should have been the dream team of Newham Generals vs Wiley.

Turning, then, to the giddy heights of the 91-100 slot, the only non-European tune in the batch is Nancy Sin’s mid-fi “Velocity Girl”-length “Room For Rent”, which bounces off the slower-burn melodo-jangle of it’s B-side, “Again And Again”, to nicely charming / chiming effect. Elsewhere here, charming chimes are elbowed out of the way by room-shivering bass frequencies and layered subterranean synth, not least with Italian master Logotech BACK at the controls and for some reason rolling about 20bpm higher than usual, whilst composing ditties with titles like “Lisergic Sound Dimension”. No matter: as you’d expect, his EP is highly acidised techno, great for rolling about on the floor to when you feel like rejecting all things alkaline. Nearly as frenetic is Benji303 and the Welsh Connektion’s entertainingly ace "Fight Against The System”, much as the subtitle to it makes us want to ruffle their hair a bit and coo “Aw, bless…

The rest of this batch shines with slightly less mayhemic outings from Swede Samuel L Session (a blue riband early hours club tune on Berlin’s Wall Music), Belfast’s coming-up-on-the-rails Mark Rogan, Frankfurt’s MSDMNR aka Miro Pajic (who devotes some 13 minutes of his “Black Hole Titanic” EP to the title track), the mysterious Konsumer (who is, in the way of such things, apparently the alter ego of somebody whom we might possibly have heard of), and the ultra-mysterious Krag (“ultra” meaning that we’re not even sure whether [s]he is an alias at all). And just to make sure we’ve covered everyone, London's bright young grime things YGG and prime Rinser P Money get a look-in, too. The latter’s “Stereotype” suggests, as it oscillates between anger and thoughtfulness, that the way the Met treat young black men hasn’t really moved on since Smiley Culture’s “Police Officer”: given that was well over 30 years ago, there’s reason for us all to be fairly ashamed.