With the sad passing of James Stinson of Drexciya some years ago, the dark aquatic electro sound of Detroit looked to be in decline, though in reality that has hardly been the case. Gerald Donald, the other member of the group has kept busy with Dopplereffekt, Der Zyklus, and recording most recently under the name Heinrich Mueller.
The purveyors of big room mirror ball house are back with Temporary Pleasure.
First came the anthemic remix by Justice, then from the ashes of Simian stepped James Ford and Jas Shaw under the new guise of a mobile DJ unit. Their debut album was heralded as one of the best in modern dance culture, garnering critical praise and spawning a handful of recognizable hits, rare for an album of its genre. After intense touring and both members lending their production skills to other projects they are back with Temporary Pleasure, the instrumental album chock full of vocals.
For over fifteen years Moritz von Oswald has been rewriting the book on modern dub music, feeding stripped back German techno and house through vintage valve compressions and creating a legion of fans with his Basic Channel, Chain Reaction, Maurizio and Rhythm & Sound projects with Mark Ernestus. Save for a couple of remixes we haven't heard from von Oswald since the last Rhythm & Sound release though his Recomposed album with Carl Craig last year was a dramatic shift away from his affiliation with dub techno and saw the veteran producer delving in to modern classical fused with electronics. Following on from that project we here witness the formation of the Moritz von Oswald Trio, a supergroup of sorts featuring Vladislav Delay and Max Loderbauer from Sun Electric.
The Welsh rockers tap into the spirit of gone but not forgotten lyricist Richey James Edwards for their ninth album as Real Groove gets up close and personal with Nick Wire and James-Dean Bradfield.
Their songs have long been a call to arms for alienated, disaffected youth and assorted castoff freaks. Faced with the sudden, shock disappearance of guitarist and chief songwriter Richey Edwards in 1995 on the cusp of real success, they decided to continue as a three piece and have since gone on to become even bigger and more successful than they ever hoped. Their latest album Journal For Plague Loverssees a return of Edwards to the group by way of lyrics long ago left to the other members shortly before he fell off the face of the earth.
Elly Jackson shakes her famously coiffed red shock of hair, loosening fragments of white detritus which float down to the table of the Sheperd's Bush pub we are sat at.
“I had a show last night and I sprayed my hair with that really hard spray but I didn't get all of it out so if you see little bits coming off, it's not dandruff,” she explains.
If you figure in Holger Zilske's release history as Smash TV, Mindlab and Acrid Gain then his debut solo album has been a long time in the incubation chamber. For the past two years Zilske's productions under his own name have focussed on the meeting points between subtle, deftly crafted techno and house. “Mes Yeux”, the first single from the album backed with”Metrodancer” appeared just two weeks before the LP and as a foreteller of what was to come was exciting news.
They may not happen with the greatest frequency but one thing is assured upon tracking down a new Robag Wruhme release; you will be entertained. The veteran producer has a knack of injecting his tracks with a certain buoyancy and mirth that few others manage to conjure with each successive release. Abusus Adde, his latest on Vakant finds Mr. Schablitzki in top, maniacal form with three cuts that not only prove to be weighty peak time contenders but also remind you that this music is meant to be fun.
Possessed of an old school pomp that harks back to the days of rock royalty, Kasabian make no apologies for their unchecked egos and diamond swagger.
