The winsome electro strains of Soft Networks is a clear highlight, while slow proto-hardcore opener Snowy Blue harks back to early Production House records, albeit with some starry-eyed synth weirdness rubbed into the mix in a manner that, ultimately, could only come from the DMX HQ. From the low-riding acid funk of Hip Hopeless via the cosmic robo-disco of Nice Portal and on to the wriggling 2-step of Thin Hype, it feels like Upton’s on a mission to show off the different styles he can tackle with his merry band of machines. Hence the warmth and punch of his music feels instantly familiar, while the compositional ideas themselves are loaded with wit and flair. It’s all about simplicity – the DMX Krew arsenal is crammed full of vintage gear, and Upton tends to let these instruments sing on their own with a minimum of crafty effects processing and post-production. Such a description could risk seeming a little reductive, but Upton’s version of consistency is actually immensely satisfying. Ed Upton’s electro-oriented project reaches back to 1994, and Strange Directions, his 21st album, is true to form. Best known for his work as DMX Krew though he possesses a small army of other aliases, including Computor Rockers, House of Breaks. There’s a comforting certainty that lingers around the arrival of a new DMX Krew LP. A scholar of dance music contributes a long-overdue FACT mix.
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