VARIOUS ARTISTS

Back in stock!! This format is 3X12” Vinyl & 2 X CD packaged together in a gatefold sleeve shrink wrapped.

The compilation exists as a way to unite the entire Hessle roster, as well as allowing them an avenue to put out work by friends and producers they have been unable to work with so far. The first disc is all new work plus a second has a selection of choice cuts from the back catalogue. There’s also work from producers who they feel have shaped the label’s aesthetic, like D1’s ‘Sub Zero’, whose sub bass stabs were a staple of the early DMZ sets that they initially united over back in 2005. One of their close affiliates, Addison Groove is also featured, his anthem ‘Footcrab’ having done so much to bring the tough tempo of juke to the world’s dancefloors. The subtle pitch-shifting of a looping hip hop vocal and the polyrhythmic patter of rim shots and cymbals on ‘Fuk Tha 101’ are unmistakably his. Another producer previously unreleased on Hessle is synth-mad Randomer whose ‘Brunk’ features an industrial strength kick and finishes up with ghostly pads invoking musique concrete. The disc is rounded off by Bristol’s Peverelist, whose own dub-soaked productions, as well as those released on his label Punch Drunk, owe so much to that city’srich musical traditions. On ‘Sun Dance’ synth chords bring to mind the dystopian drum n bass of DJ Krust, the track driven forwarded by paper-like hi-hats and cymbals. There’s a single claustrophobic Hammond note held through to the close alongside the echoing sounds of water dripping in a cave.

Disc one kicks off with the spritely chimes and shuffling beat of Elgato’s ‘Music’, whose muted vocal chant was used to such beautiful effect in Kennedy’s recent FABRICLIVE mix. Untold bring’s detuned chords, jangling glass and a cheeky synth line, breaking down into mutant funky house. Blawan’s ‘Potchla Vee’ reveals some unexpected instrumentation: the skittering of what sounds like the cogs of a clock gives little breathing room to the assault of tribal drums and processed grunts. The Pearson Sound track ‘Stifle’ seems to slow things down, with an adenoidal vocal snippet acting as counterfoil to the percussive snap of the drums, delicate EQing and synth washes providing characteristic texture. Once again on ‘Twice’, Joe demonstrates the effectiveness of unexpected drum sampling, with a disconnected beat cooked up out of error bleeps and the tap of a typewriter. Pangaea’s own contribution is a rave homage; oscillating between synth stabs and a filtered ragga MC sample, the track is layered with a bouncy acid bassline, creating a phantom jump up effect. Romania’s TRG was Hessle’s first release and here builds on his mutant garage template, with a reverb-soaked drum kit jostling against some analogue pads and a seagull-sounding distorted warble. James Blake, re-edits an earlier Hessle release, bringing the processed vocals to the fore much in the style of his recent album. It’s soul music that’s undecidedly electronic, the vocals screwed and chopped into the background, a virtuoso display of arrangement ordering a lacklustre pair of cowbells, a chorus of shuffles, croaks and pads into an infectious slow burner.