Changing direction without losing the core of your audience is perhaps the most difficult thing to do in music (The Beatles and David Bowie notwithstanding).  Another feat, which is tricky at best, is to turn out a techno/house record that will somehow be unique; even the Chemical Brothers last attempt was somewhat comprised of past efforts and previous formulas.   Daniel Ash attempts to do both on his third solo self-titled album. Being the one time Bauhaus guitarist, as well as Continue Reading

You’ll know Dot Allison, whether you think you know it or not, as the perfectly sweet angelic foil to Death In Vegas’ dour military-esque drive on ‘99’s epic soiled diamond of a tune, ‘Dirge’. Before that, in hazy early 90s acid-house days she gave vocals to scene pioneers One Dove. Her debut solo album, out in ’99 on Heavenly, kind of got lost in the slipstream and the Death In Vegas collaboration may have done criminally less for her than Continue Reading

Dover born brothers Paul and Ross Godfrey make up the hub of this two boy, one girl outfit. First coming under media spotlight way back in 1995 with the single, Trigger Hippie, from their China released album, Who Can You Trust? Cautiously dubbed trip-hop by some, they were inevitably associated with the then zen like torchbearers of downtempo, Portishead. Slow pulsating beats, yes – existential, noir inflected cinema beatsters, no. And this really only goes to prove it. Moving away Continue Reading

As it happens, DJ/producer Fusion spent some four years writing for black music mag Echoes learning all the ins and outs of the trade without breaking so much as a sweat, never mind his or anyone else’s ass. Fallacy on the otherhand still works as a bouncer. And it’s at this point that we find them, straddling the ever increasing divide between London music and UK garage. Not that this is UK garage, you understand – just that it has Continue Reading

Far from being the self-indulgent clutter of oddsamples from ancient vinyl, bizarre conversations, and the occasional cool beat, this 1997 album is a break from the more serious side of Paul Huston (if you could consider Te Gravediggaz, or, really, anything else he’s done to be overtly somber). I think “Psychoanalysis“ was intended more as a release-valve of sorts for him, a way to entertain some of his funkier fantasies. There’s a very light-hearted feel throughout the seventeen tracks here, Continue Reading