Skudge may no longer be a duo – Elias Landberg has been using the alias for his solo productions for a few years now – but the long-serving act’s sound remains as inspired, club-ready and far-sighted as ever. That much is proved by Soundworks, the first Skudge album in two years. Rooted in machine soul, it boasts tracks that variously doff a cap to Motor City futurism, the organ-tinged throb of Rob and Lyric Hood’s 21st century Floorplan productions, the sparse and dubby vibes of vintage UK bleep techno, late ’90s tech-house, and the woozy, life-affirming lusciousness of deep techno. In other words, it’s full of “proper techno” produced by a true master of his craft.
Three different takes from two different periods of time meet up in this acid focused 12”. The record features two Skudge originals from 2009, optimized into today’s standards. And also a classically trained Splice track, where a fierce drum patterngoes in parallel with the acidic bass line. A current take on a very classic machine.
This is the debut album of Swedish producer Daniel Andréasson, an artist that has both a sonically and artistic resemblance to the Skudge family of labels and artists. Pushing his eighth year of releasing records, Andréasson has accomplished the task of creating a debut album that seem to tie together the sound of his previous EP’s. Andréasson’s sound is in line with a more outsider approach, but with a dance floor focus. A sound that he has been pushing since the beginning. This approach shines through at the most on the tracks such as ‘Mc35I# Rushup’, ‘Stay’ and ‘Dreams’ as these specific tracks shows Andréassons more accomplished style. In between, the album keeps a perfect concept throughout. Taking breathers with its interludes and in general “shorter” tracks that hints of a ambient leaning urge to express himself, he never loses focus.
Skudge levitates into 2017 with tracks from a well-known place… Infectious groove and stabs reflects our most fond warehouse memories. For starters, ‘Circles’ reminds us of the first three releases, but in a updated shape – the beats are as tight as ever, with the accompanying melodies fitting right into their place. The A-side track has that special Skudge vibe that managed to establish them as a force to reckon with. As proven with the LP from last year, things are sounding and looking as exciting as ever! In stark contrast to the straight to the floor A-side, ‘Tundra’ on the flip resembles the calmer and on the edge of careful sound that Skudge has been running in parallel of their club oriented material. Sure, this one works well in that environment too, but it’s more minded approach might require some extra attention on the floor – however, this first EP of the new year facilitates what was promised with the LP: this is exciting times for Skudge.
When the duo Skudge started out in late 2009 with their first release on Alphahouse, followed by a string of underground hits on their own label Skudge Records, little did they know that they would be in the forefront of the Stockholm sound of the dawning 2010’s. The complex rhythm textures combined by a echoing audial lightness that still runs unparalleled, paired with sub intense quick basslines and swirling percussion has been the trademark. This updated take on the techno and house crossover of today got appreciated and caught the attention of a full spectrum of artists. With a tight release schedule, 2010 alone saw 6 releases from the Skudge hub. Culminating in 2011 with the release of ‘Phantom’, the full length album release on the home imprint, followed by the sub labels that releases other artists as well. Five years from that era, Skudge has reshaped into the solo work from one of the original artists. This change of production and artistry launches into the crates with the release of the limited full length ‘Balancing Point’ LP. During this time, the sound has shifted into new territory, where the entire A-side acts as the beginning of this grooving whirlpool of a record: quick and immense. The UK influences that was formed in the 90’s, gets picked up and infused through the B-side, ending off in a almost orchestral piece. The delicate subtleness of the second 12′ showcases a familiar coming-of-light type of style that we so much appreciate, firmly ending the long player and leave us sure of the future.
Solid mainstay Skudge has been pushing their unique mixture of house and techno for over half a decade now. In a new direction of becoming a sole producer for now, Skudge 009 is the first mark of this new direction.
The intertwined beat structures of ’Waveless’ on the A-side takes us to charted Skudge territory. The small modulations and the pushing groove has become a trademark. Flipping over to ’Motion’, a colder and haunting atmosphere binds this two tracker together, with a lot of focus and ambition for the future.
The 13th Skudge White release, and a welcome return of Daniel Andréasson. Going a different route than his previous 12″ for the label, this time it’s four melodic/braindance tracks.
After signing his album to the Amsterdam Dekmantel label, Basic Soul Unit still has more to offer. His first outing on the Skudge imprint shows four rugged dark techno jams.
Bristol based Julian Smith aka October returns to Skudge Records with the full length Black Body Radiation. Sounding like the soundtrack for a long lost dystopic Anime movie. Action packed, intense, fast-moving. Body music from the future.
Skudge return with their first solo EP since two years.
Cool new material from from Kimmo Rapatti. It pitches the 303 against colourful, synth fuelled-backgrounds and rattling drum machines programmed in a manner that don’t sound tried or retrospective.
Jorge Velez comes to Skudge White to drop a proper dose of relentless subterranean Techno. 4 tracks created with the adventurous dancefloor in mind. This is the sound of Velez at full command.
Jonas Kopp as Untidy on Skudge Records.
A collaboration between Elias Landberg and Nihad Tule. They started this conceptual project in November 2014 with the goal of record and master a complete EP in one day. The resulting analog jams are pretty different from each other. The A-side ”Terrorfish” is reminiscent of simplistic acid rave tunes from the 90’s while the B-side ”Halcyon” is a dreamy ambient trip.
Skudge Records presents an involved and masterful album of deep acid from Sweden’s Martin Skogehall aka MRSK.
Mister Andreas Tilliander under his TM404 monniker, the man with more machines than you drops 3 tracks of syncopated science on Skudge.
October is back with his first solo 12″ after appearing on Fred P’s SPM label last year. Both cuts will please lovers of October’s trademark slow techno sound and also hint at the industrial influences which he explores more heavily on his debut LP, forthcoming on Skudge White.
The 7th release on Skudge White is a four track EP coming from Daniel Andreasson.
Mono Junk from Finland with a new four-tracker on Skudge White. The affair starts off in a most evil fashion with “Electric Chair”, an industrial creeper with rolling minimal acid bass-lines. Next is “Yhteys”, a deep cut with Detroit cues and a highly 80ies romantic flavor, a haven before next the stage, “Jupiter Acid”, a night driving noisy banger that’ll turn your batteries acid, peak time ecstatic action followed by the contrast-full “Härinähouse”, a moody piece filled with a somewhat eastern charm to close this tense journey.
Two early Skudge cuts remixed by the mysterious Seldom Felt.