James T. Cotton’s On Time, his latest EP for Spectral Sound, succeeds because he realizes where to draw the line between reverence and progression.
review
LWE’s Guide to Mutek 2010
Mutek 2010 lasts five days and spans 28 individual events — all of which encourages attendees to make judicious use of their time and energy. To aid in this process, LWE has assembled its comprehensive guide to the festival, complete with our picks for the must-see events.
Gerd, Friendly Fire
Claiming both sides of the record this time, the veteran producer and 4 Lux Records head reprises a formula that easily won us over last time, capitalizing on an overlay of moods.
Wax, No.30003
Cut from the same cloth as antecedent Wax singles but woven into more functional patterns, No.30003 lacks the revelatory edge which make so many of Pawlowitz’s releases must-own items.
Unknown artist, The Freeze/The Melt Down
The latest record to receive Juno’s largess tries to seem anonymous in spite of its striking, purple marbled vinyl and a garrulous press sheet that makes The Freeze/The Melt Down seem like a blind item: Which boldfaced U.S. house producer drew dancers to the booths at Panorama Bar and Fabric with this incognito platter?
DOTW: Tampopo, Helicopters Got Cameras (tobias. Remix)
To celebrate five years of existence, Belgium’s Curle Recordings rounds up some of its favorite tracks and makes Tobias Freund’s remix of “Helicopters Got Cameras” by Tampopo available for free.
The Echologist, Slow Burn EP
“Slow Burn” is naturally ebullient; its rounded chords and breathing, spatial atmospherics chart the hopeful beauty you’d expect to find on an Intrusion release.
Radio Slave, I Don’t Need A Cure For This
It’s not entirely surprising REKIDS sat on I Don’t Need A Cure For This as it’s noticeably more subdued than Edwards’ usual club-clobbering fare, but it’s paired with the ethnic-sampling house varieties he’s helped popularize.
Matt O’Brien, Remixes From The Periphery
Matt O’Brien’s Remixes From the Periphery brings together some of the past and present leading lights of techno and house, which in many ways neatly sum up O’Brien’s approach to music-making.
BBH: Ross 154, Until My Heart Stops…
Listening to Delsin’s reissue of Until My Heart Stops… by Ross 154, born as Jochem Peteri but best known as Newworldaquarium, trying to pin down its exact origins blindly gets a little tricky.
Roska, Rinse Presents Roska
Despite warnings that he was jumping the gun, Roska releases his debut full-length on Rinse with nary a concern for how well ten of his tracks can sit side-by-side.
XXXY/Ike Release, Infra12002
Amid the hullabaloo about new-garage, the Infrasonics label has quietly been cultivating a uniquely minimalist take on swung-drum bass music, distilling the sound to its bare essence. Infra12002, a 12″ split between XXXY and Ike Release, furthers this ideal.
Chicago Skyway, Wolfgang Hair EP
On Wolfgang Hair, Chicago Skyway incorporates a bevy of classic signifiers, though rather than spacing them out from track to track (i.e. one track acid, another deep), he tends to stack them atop one another.
Various Artists, 2010
Dial’s core aesthetic of chic but understated deep house remains present on 2010, with contributions from label founders Lawrence, Pantha du Prince and Efdemin that stay true, occasionally too much so, to the label’s sound when it was first birthed in Hamburg 10 years ago.
Cottam, The Rub EP
Still surrounded by an air of mystery, Cottam’s next release arrives on Cologne-based imprint Story, also known for keeping its producers’ names a closely guarded secret.
BBH: Projekt: PM, When The Voices Come
Kuri Kondrak considers Edgar Sinio’s When The Voices Come EP as Projekt: PM, which helped put Guidance Recordings on the Chicago house map in 1996.
Todd Edwards, I Might Be
Todd Edwards hasn’t exactly been dormant over the years, but if there was ever a time for one of the leading proponents of what became U.K. garage to reassert their status then it is certainly now.
Herman, Prototype
Stuart Li, best known for his Basic Soul Unit project, continues his departure from more linear house music on his first release under the Herman alias for Fine Art Recordings.











