• Trim / Pritch & Trim I Am + Stereotype / Kiss My Arse

    Pritch & Trim - Stereotype

    Reviewed by Laurent Fintoni Source: (Playground)

    <b> Pritch &amp; Trim </b> - Stereotype

    One of the best - and often underrated - MCs to come out of London’s grime scene in the last decade, Trim returns with not one but two releases across the Butterz and Planet Mu labels this summer. Boy is it good to have him back. First up is his release on Butterz, “I Am”. On the ‘A’ side Trim vocals TRC’s “Skipping Rope”; riding the hyperactive instrumental, led by feverish percussion and synth tabs, with uplifting rhymes that neatly
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  • Enter Juke's Darkside

    DJ Diamond - Flight Muzik

    Reviewed by Unknown Source: (Artistexite)

    <b> DJ Diamond </b> - Flight Muzik

    Planet Mu’s quest for Chicago’s freshest ghetto bounce also known as juke continues. And with DJ Diamond’s debut album ”Flight Muzik,“ Planet Mu mastermind Mike Paradinas has landed another corker. 24 year old Karlis Griffin aka DJ Diamond is a true master when it comes to letting the drums tumble loosely through heavily edited and processed samplescapes and bursts of neon synths. His sound is a fierce amalgam of low-riding bass-weight,
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  • Tropics - Parodia Flare

    Tropics - Parodia Flare

    Reviewed by Andrew Ryce Source: (Resident Advisor)

    <b> Tropics </b> - Parodia Flare

    When Tropics first debuted on Planet Mu with the Soft Vision EP, the project seemed like an agreeable if unremarkable take on '80s baiting chillwave. Maybe not the most distinctive music ever, but it worked well with the label's recent summery narrative strand. Fast forward to Parodia Flare, Chris Ward's debut album, and he's turned from bedroom synth enthusiast to one-man-band. For better or for worse, Parodia Flare sounds like the work of a real
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  • Machinedrum Room(s)

    Machinedrum - Room(s)

    Reviewed by Matt Main Source: (Coke Machine Glow)

    <b> Machinedrum </b> - Room(s)

    Having experimented (usually successfully) with some much more testing aspects of digital sound, including ventures into and beyond the fields of IDM, glitch, and even hip-hop, it is perhaps not entirely surprising that Travis Stewart has shifted direction once more. What is immediately striking, however, is that this new progression is not more intricate or arduous in its approach, nor does it return to the disappointing Want to 1 2? (2009), which
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