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12"
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KZN 006EP
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The Manchester producer exemplifies his range of sound with four weighty and moody tracks heavily focused on the dancefloor. Elements of dubstep run through the EP, especially on the title track with its floor-shaking bass rumbles, accompanied by skitterings of percussion and warped cries of "murder". In line with Kaizen's ethos, the rest of EP fuses elements of techno and grime to devastating effect, layered with spacey atmospherics and off-kilter rhythms. With love already shown by Pinch and Loefah, there's no doubt Walton's destructive club cuts will be getting plenty of minutes in the dance.
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12"
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TEC 105EP
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Walton kicks off 2019 for Tectonic with four cuts of pirate radio-infused, dancefloor-orientated DJ tools following the exceptional Black Lotus LP (TEC 023LP, 2018). Four tracks that sit around the 130bpm mark, providing grime sonics to a techno compatible form. "Bullet #2" kicks off with a radio style wheel up before dropping into rolling 4/4 square wave power moves. "Inside" builds towards a more rolling tech-noid construct. "More Cowbell" bangs out like an old 4/4 grime anthem with a contemporary production sonic while "Gunshot Clap" closes out with its swooping square wave stabs and background shouts from behind the mic.
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2LP
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TEC 023LP
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Tectonic present the game-changing second album by 26-year-old Mancunian Sam Walton, better known as simply Walton. Black Lotus follows his inclusion on Tectonic's landmark 100th release, Riko Dan's Hard Food EP (TEC 100EP, 2018). Abstract electronics, grime, dubstep, and new styles that don't even have a name yet coalesce perfectly on this classic in the making. It finds Walton at peak power, reaching just as far (if not more so) than anything on the Pan, Different Circles, Boxed, or Tectonic catalogs for pure futurism and new-terrain-traversing brilliance. Spacious and modern sounding, with just the right amount of grit, on Black Lotus Walton has taken things the next level -- setting an impressive new high bar. This is the best music to take inspiration from far eastern culture since Photek's seminal Ni - Ten - Ichi - Ryu (1995) and The Water Margin (1995). Cinematic may be a term bandied about too often, but on this record it unquestionably applies, with the whole thing playing out like an epic movie, full of highs, lows, action, reflection and changing scenes. The album kicks off with "Black Lotus", which makes it quickly evident that this isn't just another generic long-player; a weightless/sino style intro segues into a mystical kalimba line, which is then is enveloped by huge waves of synthesized, pitched-down brass. "Point Blank" offers locked, harsh mechanical funk, full of aggravated excitement, before sleek, spacious grime and disguised pop garage achieve twisted anthem status, on the hugely satisfying "Koto Riddim". The Yakuza crime riff of "No Mercy" is perfect for Riko Dan's threatening menace, especially at the point his voice gets distorted into a gutural and unsettling, demon-like wretch. "Mad Zapper" is abstract, comprised of simple yet challenging beats, tones, and stutters, whilst the taiko/kumi-daiko style percussion of "Angry Drummer" has a rousing, heavy thump. "Pan" sounds equally enthralling whether sound-tracking a dark movie scene of impending danger, or carrying enraptured ravers on a dancefloor journey, especially one suited to the synapse-prodding drama of a high production, laser-heavy festival set. Choppy drums and bouncy bass tones are laced with the gorgeous melody of "Ehru", and "Vectors" is sleek 'n' deep breakbeat-garage-meets-IDM, featuring Wen. Although already known for elements of musicality, Walton raises his game even higher with the beautiful closing track "White Lotus", which has a wow factor akin to hearing Aphex Twin's "Jynweythek Ylow" (2002) for the first time.
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12"
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TEC 099EP
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Walton drops his third instalment on Tectonic in fine style, calling upon Japanese influences to create a truly unique sonic across both tracks in the release. "Praying Mantis" captures all the charm of a fine Japanese watercolor painting by means of some spectacular midi-harp programming -- a low-slung grime-y masterpiece, both soothing and energizing. "Koto Riddim'" brings Japanese influences to the forefront. Walton programs classic sounding Japanese percussion sounds along with grunting vocal cuts and a charming flute-based melody. As the track drops, it switches into a more familiar, grime-based palette of sounds, deftly arranged for most dangerous impact.
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12"
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KZN 003EP
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The third release on Madam X's burgeoning imprint comes from Manchester based Walton. The A-side features two fierce and stark club cuts, with "Tension" setting the tone for the murkiness inside. "Taiko" hinges on a groove that bounces and slams its way through the runtime with Mary Ann Hobbs a fan of "the dark, tribal textures". The pace is kept up with two more dense, atmospheric tracks. "Black Hole" employs a heavy set, feverish use of percussion and "Zen" acts as a more cinematic cut, almost like a weightless, demonic lullaby.
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12"
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TEC 094EP
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Manchester's Walton leads with a dance floor crushing anthem that cruises a cool line between grime and tribal dubstep. Featuring a looping Riko Dan sample, "Gunman" sets a stone cold tone from the offset, hi-hats setting up the groove before a grime flavored melody cuts in preparing for the drop. "Caught In A Trip" builds around a developing melody played on a glockenspiel-esque instrument, backed with tribal percussion and a driving kick pattern. Ethereal in mood throughout, this one provides a lighter moment for the dance floor.
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12"
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TEC 085EP
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Manchester's Walton follows releases on the likes of Hyperdub with his Tectonic debut, drawing influence from grime, house, techno, dubstep, hip hop, and beyond. "Wrench" meticulously builds percussive layers before serving up warped bass and machinated drum patterns. The broken poly-rhythms of "Flute Riddim" precede devastating bass and a twisted flute sample. "Bulldoze" features distorted drums and snatches of rowdy pirate radio that build the mood before slamming into sweeping squarewave bass action guaranteed to get heads nodding furiously. "L.E.A.N." delivers fizzing percussive hits and mysterious vocal hits, with a melodic line that could easily have come from The Exorcist.
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12"
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HDB 061EP
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"All Nite EP is the young Mancunian Walton's second set on Hyperdub. Title cut 'All Nite' kicks it off with warm plucked strings, diva moans and lazer-like synths stretched to the point of anticipation over cracking grime handclaps and bass drums, until the track drops into a blocky bass line playing hide and seek with low arpeggios that spiral in and out of the mix, over a giant pounding metallic kick drum before layering on the warmth again. 'Mallet' is driving and darker, building detuned, bell-like tones over a 4/4 beat accented by breaks and fills and gaps, dropping into a big bass line and syncopations that disrupt the beat and bring the drama. 'Kush' is different again, taking the pace down with low end, synth hip hop with glassy chords, running over woozy pitch shifting Rhodes chords fed through a layer of crackly gauze."
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