EP Review: Hey! - The Emperor Machine

Following on from his rather filthy Like A Machine EP earlier in the year Andy Meecham is cued to drop this new release Hey! on Monday and if anything it only builds on the scuzzy sound of that last release.

This new EP precedes a return to DJing in 2014 and a planned full-length album and new live show. Michelle Bee is shaping up to be a key partner in the forthcoming plans for The Emperor Machine, lending vocals to not only "Hey!" but a number of tracks on the new album. Much like on "Like A Machine" the vocals here provide a dramatic sense of sultry humanity to the jacking robotic rhythms. An extended vocal and extended dub provide two flavours of the original, a track built around a stripped back 80s house inspired hook that borrows a little from Adonis' "No Way Back" and gives it a strutting punk-funk rhythm embellished with scratchy snatches of guitar and some heavily arpeggiated synths.

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Hey! - The Emperor Machine

Three remixes come from Ewan Pearson. The first, the "Skronk Disco Mix", features sleazy jazzy brass getting rough with a some seriously elastic bass and clattering drum rolls. In combination with Michelle Bee's vocals it results in a heavily layered and busy track but the sax, played by a guest musician from The Rapture, gives this a real backstreet New York vibe that's intensely depraved and slightly psychotic. A "Skronk Dub" does it all again but without those vocals, and with such excellent production it's better for a modicum of restraint. The final remix is Pearson's "Dubstramental" and it's slightly tighter still, reigning in the disco flourishes of the "Skronk" but amping the dark psychedelic acid feel in their place.

Finally the EP also includes a second original track, "Mandy Mutron", which comes complete with a low slung bassline and greasy guitars. It's another track that will go down a treat in the more twisted establishments and it has me excited for the forthcoming album.

 Hey! is released through Southern Fried Records on Monday, available to pre-order on MP3 and 12" from Amazon.co.uk, though the latter is currently posting a later release date [affiliate links].

EP Review: Automaton Remixes - Fairmont

Fairmont is Jake Fairley and whilst I'm not consciously aware of having come across his work before he's apparently been in the electronic music world for more than a decade now. This EP follows on from his My Favorite Robot released album from last year, his third album in total.

This release is a remix EP featuring re-imaginings from four of the tracks from that album. The first of these is Last Dance, which receives a remix from Ewan Pearson. Positioned at the beginning of the EP and with an instrumental version of the same remix closing the release out it feels like this is what the label view as the tent pole of the set.

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Automaton Remixes - Fairmont

And that is not without reason. Pearson has a proven history of quality remix and production work and he doesn't disappoint here. Last Dance takes the form of a dark, melancholic house record. There is a cinematic, night-driving-down-the-autobahn aesthetic to the record that conjures up visions, aided by the lyrics. "The hardest part is moving on / who knew this song would be our swan / I never meant to cause you harm / but it don't matter who's right or wrong" sings Fairley. It's hard not to question just how final that Last Dance is. The Spanish flamenco guitar that flickers in the background adds a further element of sophisticated, downbeat emotion. It's a quality mix no doubt assisted by terrific source material.

Whilst nothing else quite reaches the same heights the other remixes are good nonetheless. Ryan Crosson (of Merveille & fame) remixes Alkaline, turning it into flowing techno track that applies some touches to give the track an impressive range and melodic depth. It may not have the emotional punch of Last Dance but it certainly shines as a deep track for dark discos.

The Undo remix of Fate is slow and moody, a dark electro piece full of out of step timing and barely whispered vocals. The heavy synths roll over the track, giving it a building, immovable feel.

Tiny Diamonds is the last track bar that instrumental and it gets a treatment from Arthur Oskan. Oskan uses arpeggiated synths to create another dark, sleek remix full of menacing melodies.

Off of the back of this EP I'll certainly be checking out the album, and it's another quality release from My Favorite Robot.

Automaton Remixes is released through My Favorite Robot Records on 25 February.

Single Review: Counterpoint - Delphic

If this is anything to go by then we just might have stumbled across one of 2009's most exciting new bands. Foraging similar territories as BlackPlastic favorites Friendly Fires, Delphic mold a true hybrid between rock and epic, spaced out house music.

Only just entering their second year as a band Delphic come up with their music together on laptops and only then do they figure out how to play it live, laying instruments over the top before finally taking to the stage to perform their songs together in one continuous set.  From what BlackPlastic can hear it sounds like a pretty good system.

First singe 'Counterpoint' is produced by Ewan Pearson and it's a shimmering piece of electronic rock that sounds like an emotional two-finger salute, a celebration of the summer and a call for help all in one.  The video, directed by hAndz, is also quite cool:

Pearson is to start work on producing the debut album soon, meaning it should be one to look out for. Don't just take our word on it - we have a download of Delphic performing 'Counterpoint' live in Amsterdam here (right click, save as).

'Counterpoint' is released on 13 April 2009 on R&S.  Delphic - website / MySpace / Twitter.

Ewan Pearson on Twitter.

BlackPlastic on Twitter.

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