There is a frankly obscene amount of music I’m interested in out today including albums from Okay Kaya, µ-Ziq, MorMor, Daniel Avery and plenty more, so here’s a very quick post about one of the best tracks I’ve heard today so I can get on with listening to everything else.
Loraine James’s new album Building Something Beautiful For Me lands today and fucking hell it is amazing. I never really clicked with last year’s Reflection, but loved her ambient album as Whatever The Weather from earlier this year. Building… seems to sit somewhere between these ambient and club spaces and comes across almost like a work in progress, with tracks stopping abruptly or changing tone midway through. There are so many highlights picking a single track was very tough, but I went for Black Excellent (Stay On It) due to the simplicity of its construction – pretty much just a single, undulating synthline throughout – resolved perfectly by the bleak beauty of its final third.
Mark Pritchard is an extraordinary artist making some of the most visionary electronic music you’re likely to hear, ranging from the deeply unsettling and undefinable to blissful, meditative electronica like in My Heart. This is the final track on MP Productions – EP 1: a six track collection revisiting some of the aliases he has released under, and spanning a range of styles but predominantly focused on club music, which I would highly recommend checking out.
The Tweet that brought the new Overmono single to my attention came from grime producer Mr.Mitch and simply said “Think I would cry if I heard this in a club”. This, in a nutshell, is what every single person currently bereft at the lack of nightlife options in the UK is feeling. The specific tracks will differ from person to person, but everyone has at least one tune that if they heard loud, surrounded by other people, would reduce them to tears. It’s something that headphones and watching screens can’t even begin to replicate, and I only hope there are enough producers still making absolute bangers like this left when we’re allowed to party once again.
Slowly evolving techno from Bristol’s Hodge that for the first half of its running time is very much in the same vein as Barker’s Debiasing EP, which is one of my favourite electronic releases from the last few years. In all honesty it’s a little disappointing when Shadows In Blue actually resolves itself into a club track rather than holding that tension for the duration, but it’s still a very fine piece of work.