Braille – The Storm

Label: Glass Table

While Praveen Sharma’s name might not be a frequent occurrence on the dance scene, the man certainly knows how to keep busy. Besides running Percussion Lab and releasing via non-dance project Praveen, Sharma’s no newcomer to the dance world. Many will know him best as one half of Sepalcure alongside the unfathomably prolific Machinedrum, yet Sharma’s two dance releases to date have both been worthwhile offerings; bassy takes on house sounds packed with soul, with highlights including The Year 3000 on Rush Hour and his ace Hotflush E. Two years on Sharma makes a welcome return as Braille, fusing kinetic rhythms with an impressive range of vocal and acoustic samples, to ultimately mixed results.

It’s worth pointing out that Braille has never really put out any bangers. Instead, his best cuts, such as the lush, relatively relaxed A Meaning or the stunning emotive rush of Breakup were impressive because of their attention to texture and detail. Sure, they were danceable, but the songs stood out because of deft sample manipulation and clever structure rather than raw muscularity. A couple of the tracks on The Storm are clearly targeted at the dancefloor, and as a result the EP is a bit of a mixed bag. Opener The Storm starts well, revolving chimes married to clean synth stabs and a typical set of great vocal work. But despite the impressive production, particularly the textured percussive work, it never convinces as a whole. The core elements wear thin, failing to keep up the energy over five minutes and lacking any progression to speak of, while others, such as the jazzy chords that occupy the track's final minutes, seem somewhat out of place. Later At a Glance suffers from the same problems, where rising synths and clever vocal clips create an urgency only to be undermined by an incongruous acid line. This odd addition has the unfortunate effect of detracting from the organic soundcraft that makes Braille’s work so interesting in the first place. When the dynamics of such busy music aren’t exactly right, the result is too dense to really enjoy (a criticism that could also be levelled at a few of Sepalcure’s productions).

 

The Storm / Me & U / At a Glance / Casper

However it’s by no means all bad news, as the other two tracks remind the listener just how great Sharma is when he’s on form. Standout Me & U has atmosphere in spades and crucially each element is given the space it deserves; the rousing gospel-style sample is perfectly placed alongside drowsy pitched-down vocals, while crisp percussive accents are all that’s necessary to compliment the lush arrangement of keys and samples. It’s a really impressive piece of music, which makes one wonder how the other tracks would sound had they been given a little more breathing room. Closer Casper is another great piece: while obvious parallels will be drawn given the 2step woodblock pattern and melancholy atmosphere, Sharma makes the track his own with gorgeous vocal manipulation throughout, whether in the foreground or muttering away deep in the mix. It’s also a deft exercise in structure; the energy slowly mounts around the 3-minute mark as the snares hit harder, the ghost voices (perhaps humorously hinted at by the title) grow louder and busier, before a soft synthline closes the track out with a sigh.

Given such a clear divide between the success of these tracks, it’s clear that Sharma is a very talented producer who needs to play more to his strengths, and perhaps pay more attention to the use of space in his compositions. Of course this is only one reviewer’s opinion, and the EP is a worthwhile listen for its successes; those blissful organic soundscapes that sit happily just outside the dance mainstream.

6/10

Huxley – Bellywedge

Label: Hypercolour

Tring’s Michael Dodman, aka Huxley, burst onto the scene in a big way last year, following up the early success of 2011’s Shower Scene with the tasty Out Of The Box EP and, most notably, the excellent all-out house monster that was Let It Go on Hypercolour, which charted on our own year-end list of 2012’s best tracks. The latter half of 2012 saw Huxley’s sound holding strong but refusing to change, with a series of remixes and an EP that didn’t quite live up to his early promise. A year later Huxley returns to Hypercolour on strong form, and while he’s still not really going for variation, these two offerings are the young producer’s strongest pieces since his last outing on the taste-making label.

Little Things

Bellywedge kicks off with tropical notes and skipping hi-hats before syrupy synths and a strong vocal (à la Shower Scene) lead up to a strong drop, a sub-bass rattling rhythm that dominates over earworm vocal snips and a boisterous bassline. It’s a more stripped-down affair than one might expect for the producer, and it feels at times like a key element is missing from proceedings, but Bellywedge functions due to its ruthless efficiency, providing a generous dose of just what the dancefloors crave.

B-side Little Things is a little more interesting, and ultimately the more exciting cut of the pair. A skipping 2step pattern builds up to a series of arresting, metallic stabs that introduce a deep, intoxicating garage burner with tight drumwork, an irresistable bassline and sweltering vocal cuts. After a good but slightly unimaginative A-side, it’s gratifying to hear that Huxley can still knock up a surprise without sacrificing the raw scale of his unashamed big-room sound.

6.5/10

Youandewan – Disarray

Label: Hype Ltd

Though the year is still young, there has been a strong trend of great releases hovering on the border between dance music and home listening, particularly on the foggy spectrum between house and bass music. The likes of Leon Vynehall and ∆ ∆ have already offered some great variations on this hazy middle ground, and the latest release on Hypercolour’s low-key sister imprint seems set to continue these deeper explorations with style. The new addition comes courtesy of Ewan Smith, an assured purveyor of deep sounds whose sporadic release schedule has been outpaced by a series of notable DJ sets and great remixes. Disarray is the young producer’s first solo release in over a year, and the restrained elegance of these almost-club tracks should assure fans that it was worth the wait.

Disarray / Awn / Undrstnd / 0500

The EP kicks off with title track Disarray, where Youandewan’s textured beats sink beneath melancholic synth washes and sensuous, half-heard vocals. A soaring 303 bassline takes centre stage here, snaking through the soundfield and adding a subdued emotive drive to the track. Second cut Awn is similarly impressive, a more energetic variation on the theme where another subtle beat pattern holds down drowned RnB vocals and an uneasy synth wash. The sounds here are spare but expertly applied, showing a keen attention to space, while each sonic element is textured and rich, from the growling basslines to the organic drum samples.

Undrstnd starts as another languid number, introducing sunken vocals and blue synth notes before a swollen bassline breaks the pattern, introducing sharp technoid hi-hats that shake off the chilled-out atmosphere of the A-side. Closer 0500 is another more propulsive number, anchored by a sharp kick-clap combo that allows the mid-range to explore shimmering synth work and more ghosted vocals. Although Disarray keeps up its melancholic tone and doesn't contain any radical variation, Youandewan has a knack for mood and restraint that many of his contemporaries lack, making this EP one that you’ll keep returning to on and off the dancefloor.

8/10
See this review in context on Inverted Audio

Alex Coulton – Adventures In 4x4

Label: Hype Ltd

Jamie Russell and Alex Jones’ Hypercolour imprint had an impressive 2012, ending up on a number of year-end lists (including our own), as a result of their on-trend House tastes and a sharp eye for new talent. On top of all this, the pair run a dizzying array of sub-labels, including Losing Suki, Glass Table, Hype Digital, and the vinyl-focused Hype Ltd. The latter opens the new year with the fullest release yet from Mancunian producer Alex Coulton, who you might remember from last year’s superb twitcher Bounce on Livity Sound sister imprint dnouS ytiviL (clever, eh?)

EP Clips

Along with a precise 12” on Idle Hands, Coulton displayed a taste for the darker, experimental side of the dancefloor in 2012. As the title suggests, his first EP-proper treads more percussively simple ground, and the results suggest that it was a canny move. The dancefloor standout here is opener Dance, Max, a powerful cut where big stabs penetrate a punchy percussive field. It’s a simple tune, but sure to get the dancefloors moving, with a deft pitchbend applied to the synths across the second half of the track. Third tune Function is the other floor-killer here, with thicker, darker synth-work and a more muscular percussive workout providing a groove best suited to the 4am crowd.

Second tune Submerged is, as the title suggests, a deeper cut, where dark atmospherics and dubbed out Techno chords create a subdued and moody soundscape. So far the listener is left with an impressively polished and dangerously dancey set of 4/4 constructions, but Coulton has yet to really push the boat out creatively. Thankfully we have lush closer Fade Realization, which ramps up the BPM with fragmented percussive snatches and throbbing bass hits. It’s a gorgeously textured piece where bright synth swipes shine out of the darkness, showing Coulton has more than the straight dancefloor on his agenda. Having shown early promise with his tasteful early releases, here the young producer increases scope and proves he’s got the skills to stand out proudly from the crowd, both on and off the dancefloor.

7/10

 Noted House fan Josh Eves has been quoted by various sources saying “Hypercolour are really, really good.”

Best Labels of 2012

Year End Coverage

* Best Albums of 2012

* Best EPs of 2012

* Best Labels of 2012

* Best Breakthrough Artists of 2012

* Best Tracks of 2012 - 101-76
* Best Tracks of 2012 - 75-51
* Best Tracks of 2012 - 50-26
* Best Tracks of 2012 - 25-1

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In today’s climate of free downloads and disposable music, it takes more and more commitment to curate a solid label. The labels that White Noise has chosen as the year’s best are the imprints that have put out consistently excellent releases, and those that have continued to eke the best from established producers while keeping an eye out for fresh new talent.

10 – Hinge Finger

Joy Orbison - Ellipsis

Joy Orbison and Will Bankhead’s new label only put out three releases in its first year, but since a couple of those contained two of the year’s very biggest tracks, it’d be a crime to leave the oddly-named label off the list. Quality is the watchword here; gorgeous artwork and top notch mixdowns. The label-heads were similarly discerning with their releases; after Madteo’s analogue jams in Bugler Gold Pt. 1, Joy Orbison’s Ellipsis and Blawan’s His He She & She provided some hefty club tunes that had dancefloors shaking up and down the country.

Essential Releases:

Joy Orbison – Ellipsis

Blawan – His He She & She

9 – Hotflush

Jimmy Edgar – Sex Drive

Scuba’s unpredictable Hotflush imprint continued to run well ahead of the curve in 2012, with a busy release schedule offering a host of excellent releases. Although every cut wasn’t necessarily a winner, Hotflush offered a diverse and impeccably produced set of singles from the likes of Jack Dixon, Guy Andrews and Locked Groove, while stellar LPs came our way courtesy of Jimmy Edgar and Sigha.

Essential Releases:

Guy Andrews – The Wait / Hands In Mine

Jimmy Edgar – Majenta

Jack Dixon – E / Find Shelter

8 - L.I.E.S.

 

Bookworms – African Rhythms

Ron Morelli’s eclectic and uncompromising Long Island Electrical Systems label has been in action since 2010, but this was the year where it broke into the big leagues. The only common factors uniting the label’s diverse output are a taste for the rawest, darkest corners of electronic music, and Morelli has done an expert job sourcing fresh sounds from unknowns and scene stalwarts alike. Aside from the excellent American Noise compilation, special attention should go to great releases from Steve Moore, Bookworms and Legowelt.

Essential Releases:

u-202 – Straightjacket

Bookworms – Love Triangles

Various Artists – American Noise

7 – Aus

 

Bicep ft. Ejeca - You

Will Saul’s excellent Aus imprint had an uncommonly fine year in 2012, offering a series of stellar EPs from some of the House scene’s very best producers, all precision-built for the dancefloor. George Fitzgerald’s Child EP spawned two of the year’s most ubiquitous dance tunes, while Midland produced the typically classy Placement EP. Elsewhere, excellent singles showed that Cottam hasn’t lost any of his edge with another lengthy, epic house tune (Relapse), while Bicep took the focus away from 90s House to conjure one of the year’s very best with the You / Don’t EP.

Essential Releases:

Bicep – You / Don’t

George Fitzgerald – Child

Midland – Placement EP

6 – Hyperdub

Burial – Ashtray Wasp

You’d expect Kode9’s Hyperdub imprint to be losing some momentum by now, but the London-based label has continued to evolve and impress, and 2012 was one of the label’s strongest years to date. Focusing more on albums than singles, Hyperdub played the field with a wide range of successful LPs, from Dean Blunt & Inga Copeland’s career-highlight Black Is Beautiful to Cooly G’s RnB mutations on Playin’ Me to Laurel Halo’s confusing and undeniably impressive Quarantine. And that’s all without mentioning label-legend Burial, who came out with two of his best releases to date to bookend the year.

Essential Releases:

Burial – Kindred / Truant

Dean Blunt & Inga Copeland – Black Is Beautiful

Laurel Halo - Quarantine

5 - Tri Angle

oOoOO – Break Yr Heartt

Tri Angle burst out of the stables with a rare brilliance in 2011, with fantastic releases from Balam Acab, How To Dress Well, and Holy Other among others. It was certainly a hard act to follow, but Robin Carolan has kept the quality material coming, and managed to simultaneously stay true to the label’s eclectic, independent roots. This year saw great sophomore releases from Holy Other and oOoOO, an interesting debut from Hip Hop experimentalist Evian Christ and still managed to come up with one of the year’s very best albums in the form of Vessel’s searing Order of Noise LP.

Essential Releases:

Vessel – Order of Noise

Holy Other – Held

oOoOO – Our Loving Is Hurting Us

4 – Hypercolour

 

George Fitzgerald – Needs You

Hypercolour lost nothing this year by being firmly rooted on the dancefloor. The label continued to put out almost every variation possible of the House sound, continually straining against the boundaries of what we recognise as a generic 4/4 dance tune. The label had an alarming hit-rate of bangers, from Tom Demac’s terrifying Critical Distance Pt. 2 to Mosca’s Eva Mendes, by way of Huxley’s Let It Go and George Fitzgerald’s superb Needs You. Any label that can put out so many huge tunes in one year is more than deserving of a high place on this list.

Essential Releases:

Tom Demac – Critical Distance pt 2

George Fitzgerald – Needs You

Last Magpie – (Who Knows) Where Love Goes

3 – Hessle

Objekt - Cactus

The Hessle imprint, run by three of the UK scene’s biggest names (Pangaea, Pearson Sound and Ben UFO), only matches its extreme eye for idiosyncrasy with its unbelievably consistent quality. The Hessle release schedule wasn’t that full this year, but when almost every release spawned a leftfield knockout that left listeners reeling, there’s no point trying to complain. Pangaea impressed on the label’s longest EP to date with Release, while Objekt, Elgato and Bandshell provided excellent superb releases that neatly sidestep generic sounds whilst remaining dedicated to the floor.

Essential Releases:

Pangaea – Release

Elgato – Zone / Luv Zombie

Objekt – Cactus / Porcupine

2 - 50Weapons

Dark Sky - Shades

With 50Weapons Modeselektor eschew the goofiness of their releases on the Monkeytown imprint to focus on a darker strain of dance music which is even more powerful. This year the label put out an astonishing selection of LPs from most of their roster, unconventional full-lengths came courtesy of Benjamin Damage & Doc Daneeka, Shed, Addison Groove, and Bambounou among others. The range of styles is impressive but Modeselektor never let the quality drop, equally seen in a range of superb EPs from the likes of Dark Sky and A Made Up Sound.

Essential Releases:

Dark Sky – Myriam

Addison Groove – Adventures in Rainbow Country

Benjamin Damage & Doc Daneeka – They!Live

1 - Unknown To The Unknown

Palace - Trust

White Noise’s number one label is also it’s most unconventional. Unknown to the Unknown has a brilliant year that saw the coming of almost 20 releases, with no unifying aesthetic or sound to be found. Nearly all digital, UTTU’s unique brilliance can entirely be put down to the superb taste of curator DJ Haus, who birthed the label from a Youtube channel he started last year. The release schedule’s manic nature is matched only by the songs themselves, which take hyperactive swipes at everything from Electro (DJ Stingray’s unstoppable fururistic productions) to Jungle and Bassline (DJ Q’s All Junglist EP) to classic house (Capracara’s superb Ronin) to bizarre bass hybrids from 5kinandbone5, Checan and Palace. In a year where austere, industrial Techno seized the dance world by force, it’s fitting that one of the labels that shone brightest was one which threw all seriousness out of the window in search of fun tunes and dancefloor killers.

Essential Releases:

Capracara – Ronin

Mista Men – UTTU EP

5kinAndBone5 – Make U Understand / Reset