Amazingly, this is the first full solo album from Jahtari head honcho Disrupt in eight years. It marks something of a change of direction for the label - described by them as " a new era of space exploration", which in the case of this release is true on more than one level. Firstly the album soundtracks the progress of the (presumably) imaginary and (definitely) doomed space station Omega, and that should also give you a pretty good idea of the more spacious sounds being explored: lo fi, cinematic, emotive and often beatless "23rd Century Library Music". The only slight disappointment is that the film it is supposed to soundtrack doesn't exist - the scenes that would accompany "The Lab Incident" or the pulsing synths on "Dropping Core" would be real nail biters. Check out a live jam on "Dropping Core" here - and then do yourself a favour and go and grab the album!
The usual high quality is in evidence from Bokeh Versions on this, the latest appearance on the label from Japanese producer Mars89. The tagline suggests it sounds like "‘Street Fighter’ meets ‘Pulse X’ meets gqom" which might be about right, as it's certainly right up my street. From the opening track "End of Death" - which manages to make Cutty Ranks time honoured "Six million ways to die" sound fresh as a daisy - to the claustrophobic "Run To The Mall" or the Knight-Rider-channelling "Random Coherence" this is darkside percussive brilliance from start to finish.
Described by the man himself as "Polyrhythmic abstract electronica", this EP features four trancey, meditative pieces of truly engaging and beautiful machine music, for the most part recorded in single takes from instruments of the artists' own design. In fact, some of the material is taken direct from recordings of Tom's live performance. Personal favourite at Robot Riddims towers is "Pink Something" which wriggles it way slowly into life in a serpentine fashion before detonating in a mind bendingly twisted crescendo. If this sort of thing floats your boat it's also worth checking out Tom's blog here and his revival of electronic music pioneer Daphne Oram's lost "Oramics" machine here.
This debut album from Gothenberg based dubster Hidden Operator builds on his frankly superb EP releases of the last few years with neat ten track selection of sub-acquatic bass, snappy dancehall drums and the occasional electro or world music influences. Think On-U Sound for the noughties and you'd not be too far away. High praise indeed, but it's well deserved - check out the weightless skank of "King Creole" for starters, or the Pablo-esque "The Great Escape". Kings Chamber was already one of my favourite record labels of recent years, and "Ghost in the Wires" just cements that feeling - don't sleep!