If there’s a buzzword for this review, it should be ‘scale’, in that Henry Greenleaf’s productions — whether they’re lithe and feathery like ‘Inch’ or chunky and bruk like ‘Tare’ — have a very grandiose sense of it. And frankly, it’s fucking wonderful to hear someone doing bits with one eye on precision production, the other on groove and the third eye on scope. Any comparisons to Mickey Pearce feel justified in terms of the drum syncopation, but where Pearce has his tongue in cheek, Greenleaf feels a little more serious, twisting sheets of noise-absolute into walls of sonic impact on cuts like ‘Caved’.
'Art Attack Gone Wrong'
I’ll say this about the lad, the sound choices Piezo makes are fully good and great. The way he bends his percussive elements on the B-side ‘perccsszzzz’... like, it’s just really, truly very cool. I’ve long been a fan of tracks that sound like a drum kit being thrown down those pink stairs in Peckham that every indie band has their press photo taken on now, but this jam has semblance and structure.
‘Fall Control’ feels like it’s caught between two modes. The sprawling synth swells seethe as they power up and engulf the short passages of Yamaneko's frankly very infectious, skippy rhythm work — but it’s as if the producer is [sub]consciously fighting both of his instincts at once. It creates a lust for a roll out, and a delay in gratification. Hopefully this approach is explored further on his forthcoming LP project.
I hope that one day someone refers to me as an 'interdisciplinary artist' because, honestly, that phrase just ‘sounds’ cool regardless of the context; but the visual/aural artist HOWE’s work also sounds cool, like he listened to a megaton of Rustie and refracted the squall of it all back in on itself. Incidentally, do synth lines like the one on ‘Wolf’ mean that a harder edged skweee is coming back? Because I’m ready...
A sharp blend of the weightless grime aesthetic filtered through a desire to explore negative space gives Miracle’s 'Memory Ha EP' a buoyancy that is very hard to dislike. Take a cut like ‘Creepy Touch’: cloudy synth lines ripple at the peripheries before dissipating into pools of reverb, vocal samples are snatched and delayed, and the drums are staccato and punchy. The whole release rolls at this calm and content slower momentum.
'Scales + Measures'
Facta’s latest three-tracker appears on his own Wisdom Teeth imprint and good news, guys, it’s super fun. At least that's what the descending swirl of the chords on ‘Rose Red’ and the layers of organ that decorate it prove rather incessantly. Taking yourself seriously is great, it means people don’t get you misconstrued, but having a sense of humour about your output, that shit allows people to engage with you and smile.
Sneaker Social Club
I know that I’m a fan; he knows that I’m a supporter and you, dear reader, should well know that I rate Filter Dread’s weirdo brew of eski-come-ravecore pretty damn highly too. His music always feels like it’s been downloaded straight from some long scuffed up DAT tape, and this eight-tracker for Sneaker Social Club only emphasises Dread's penchant for grit and oddball bit-crushed samples. ‘ICE B8SS’ for the win.
'Space Between Stars'
The title cut from his Keysound backed album, ‘Space Between Stars’ is the first time on the record (at some 12 minutes in) that you really hear drums and a quote/unquote rhythm. Perhaps it’s the fact that it isn’t a subtle switch up; the fact that the track does pound in from out of three preceding tracks of granular swells, that it has such an impact. After all, context is everything...