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Search Result for Catalog H 018LP
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2LP
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PRESH 018LP
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Opaque red vinyl. "I dropped JK Flesh 'In Your Pit' on my new label PRESSURE three years ago, and then follow that up with the G36 vs JK Flesh sound clash Disintegration Dubs last year. Justin has consistently handed me pure audio gold, and actually gifted me some of my favorite releases from him full stop, in an incredible career of riches which he has tirelessly produced since Napalm Death til today. So again, I'm now totally psyched to drop Sewer Bait on my label PRESSURE. The sixth album from JK Flesh, this album is a slo-mo, slo-fi, sewer tech journey into utter gutter level filth. Overdriven, corroded, corrupted and absolutely blasted, it contains so many essential elements of clubland low life, but yet manages to remain beautifully original whilst pushing all levels deep into the red until it hurts in the best possible way. Anyone hooked on Andy Stott's dirtiest works, Porter Ricks deepest explorations or Techno Animal's speaker punishing grooves will find addictive nourishment within these relentlessly distorted heavyweight grooves... Not so much hard as completely f-ckin brutal, the master stroke from Justin Broadrick however, is takin his raw materials and feeding them militantly into the dub chamber. This is like a wholesale destruction of techno, 4/4 for people too wasted and strung out to give a f-ck about dancefloors, yet compelling enough and magnetic enough to completely insist upon fully body hypnotism in an undersized room with an oversized rig. The album's title track sounds like Drum & Bass don Digital or the peak of the Metalheadz label dragged down into hell for the ultimate bad rave trip, whilst 'Crawler' could be Killing Joke, jammin with Regis and his aggro allies from Birmingham techno's underappreciated discography, deep in a warehouse warzone. You don't have to dig techno to dig this dirt, you just have to enjoy having your head taken off and your body physically punished. If Jeff Mills output had been chopped, screwed and then painfully, slowly crushed, it may resemble the monolithic, psychedelic, crawl of Sewer Bait." --Kevin Martin
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2LP
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ENCH 018LP
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Midnight Resistance is the The Toxic Avenger's fourth album. And undoubtedly the most solar, where his musical signature is the most accomplished, integrating all his influences, from kinematic electro to pop, from song to enjoyable replay of house '90s, from neo-classical piano revisited to the current synth-pop. An album where the technique is less conspicuous, but where the emotion is more simple and direct. It is also the most open of all his albums, with real pop singles assumed as the heady "Lies" (featuring Look Mum No Computer), the '80s nostalgic ballad "Mandala" (featuring Ornette), or the pop song sweet bitter "Rent Boy" (featuring Jay- Jay Johanson). The musical turn of Toxic Avenger is also reflected in the very emotional song "I Need You" the unifying power of the introductory song "Americana", captivating it "On Sight" while keeping a crunchy production on a few songs like "Midnight Resistance" or "ЧЕРНОЕ ЛЕТО" ("Black Summer" in Russian), as markers for the continuity of the "Toxic" sound. One of the jewels of the album is the collaboration with Maxence Cyrin on the very delicate track "On My Own". And the surprise of this album is to find Toxic Avenger singing himself to sing his first song, "Les Heures". Finally, two somewhat special guests come to close this album, the aerial and hedonistic participation of Simone on the track "Falling Apart" and the spoken and always offbeat flow of Diamond Deuklo on the aptly named "L'Avenir d'Avant" where the absurd here becomes an art. His learning for over two years on modular synths guided his new research into sounds, making synthesizers more "alive", more organic. Finally, it is necessary to underline a real work of "sound surgeon" in the processing of the voices, complex but fluid in its rendering, adding again a strong melodic research always in the service of songs. Blue and red vinyl; gatefold sleeve.
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LP
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BEWITH 018LP
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2023 repress. Be With Records present a reissue of Willie Hutch's Soul Portrait, originally released in 1969. Soul Portrait is a slice of Southern-fried soul, a blend of beat ballads and dancers. Increasingly rare, this reissue is most welcome and showcases the early work of a soul legend. Officially licensed and remastered by Simon Francis, it's pressed on 180 gram vinyl for the first time and features the original artwork and liner notes. A monumental force firmly rooted in the soul canon, Willie Hutch is most notable for recording two of the best Blaxploitation soundtracks, The Mack (1973) and Foxy Brown (1984). Yet his legacy is much greater. Outside of Marvin Gaye, Stevie Wonder, and Smokey Robinson, Hutch was arguably Motown's top male solo artist of the '70s. Prior to his association with Gordy et al, Hutch crafted his opening statements for RCA, two vital LPs. His debut, Soul Portrait (1969), is an incredible slice of gritty, Southern-fried soul. Think Stax with a touch of Detroit sparkle. As a whole, the album demonstrates the self-contained act Hutch was; he wrote every tune on the album while also arranging and conducting for it. The album's centerpiece is undoubtedly the iconic, brooding minor-key masterpiece "A Love That's Worth Having". The album's most recognizable track, it's a towering ballad drenched in stylish, sliding horns, and elevated by its stunning backing vocalists. It was famously sampled by Madlib to augment his soundtrack for Stones Throw's Our Vinyl Weighs A Ton (2013) as well as 9th Wonder for the Murs classic "Dreamchaser". Horn-heavy opener "Ain't Gonna Stop" is a funk-fueled monster, Hutch's fatback vocal aided by a vicious drum 'n' conga rhythm whilst the bumping uptown soul of "You Can't Miss Something That You Never Had" anticipates the Motown-vibe that Hutch went on to create. Supple guitar licks propel the loping, head-nod breaks of "Good To The Last Drop" whilst "That's What I Call Lovin' You" features gospel piano and plaintive, tender vocal turn. The blazing horns of "You Gotta Try" hints at the Blaxploitation that was to come. The thundering proto-70s-Motown rhythm of "Let Me Give You The Love You Need" segues neatly into the bouncing Northern soul favorite "Lucky To Be Loved By You" whilst Hutch's gutbucket guitar stylings are all over the smoldering "Keep On Doin' What You Do". "Your Love Keeps Liftin' Me Higher" is not a rendition of the Jackie Wilson classic; rather, it's a powerhouse original that indicates where Hutch would take his sound on The Mack. Closing the album, the anthemic "Do What You Wanna Do" name-checks contemporary dance fads before instructing the listener to just get up and dance. Brilliantly supported by a heavy roster of studio cats who combined to create a winning combination of horns, strings, and gorgeous female background vocalists, Soul Portrait is as complete a soul album as the decade's very best.
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