house . techno . electronica . ambient


Genre pick of the week Cover of Diskanted by Various Artists.
Emotional Response returns to Dusseldorf with a compilation of the music emanating out of the Diskant label over some seven EPs between 2009-2014. Featuring the productions of The Durian Brothers, Harmonious Thelonious and Don't DJ, their unique polyrhythmic percussive sound of the label is highlighted across this special double album.

Releasing this collection of works of the Diskant label is special as it was the discovery of Disk01 on the wall of Honest Jons store back in 2009 that was one of the prime influences in the creation of Emotional Response. Obscure, rhythmic music like no other was matched in striking artwork, presented on screen-printed sleeves that caught the imagination.

Since then a lot has become known about Dusseldorf's music scene. DJs, artists and labels like Musiccargo, Wolf Muller, Lena Wilikens, Tolouse Low-Trax, Themes From Great Cities, Vladimir Ivkovic, Kunstopf, B.A.R and more have all deservedly reached out beyond the original meeting and melting pot that is the Salon Des Amateurs to become names to watch.

With so much interest centered on this cultural hive, it is only right that the Diskant collective of musicians is now viewed and their music appraised for how ground breaking and influential it has been on the Cities unique musical perspective.

Born out of the early years of the Salon (check online for suitable live clips), the label was set up as a vehicle for the music and member's music of The Durian Brothers. Florian Meyer (Don't DJ), Stefan Schwander (Harmonious Thelonious) and Marc Matter. Coming together from their own music backgrounds to explore a new experimental polyrhythmic para-funk via distorted electronics. Using specially prepared turntables, hypnotic rhythmic patterns, noise and sequencing they have created a dense and fuzzy excess that over four sides of vinyl is here now presented as a retrospective, but not an end, to highlight their unique sound.

Brooklyn multi-instrumentalist trio Archie Pelago step up to inaugurate the Styles Upon Styles label proper with the "Hall of Human Origins" EP / mini LP. Previously, SUS have been issuing music under the excellent conceptual BASH series, and their decision to branch out from that is justified with this excellent release from Archie Pelago. Brought to wider attention on last year's self titled debut on Mr Saturday Night, the trio of Hirshi, Kroba and Cosmo D have garnered subsequent praise for their output on Well Rounded and their own Archie Pelago Music imprint. For the uninitiated Archie Pelago focus on an organic and texturally intricate approach to electronic music which they themselves describe as "keep it human, give it soul" and the "Hall of Human Origins EP" maintains the standards of their previous output. Numerous tempos are covered across the five tracks with "Chronomancer" and "Wrong Apartment (Worms)" stand outs.

Fool's Gold head honcho / DJ producer A-Trak hooks up with Warp Records Mr Soul Jamie Lidell for this slice up pop-house uplift. "We All Fall Down" features Lidell's soulful vocals over an upbeat funky house backing with chunky piano chords and hyper 808 percussion. It's the kind of track that I'd actually bother checking out at the gym, and can already imagine the video of festival crowds all jumping in unison during the chorus (in slo-mo, obv.). On the flip is 'Jamie's Version', which has more of an organic feel to it. Hit!


7" Info: Clear vinyl pressing.

The oft requested second salvo from the Black Madonna. A fully realized work, and a big leap from the sample-clad disco house of her records for Home Taping Is Killing Music and Stripped & Chewed. Weaving live orchestration and irresistible synth lines through tough percussive frames, both tracks bare their souls to listeners with enough muscle to command dancers' attention. "A Jealous Heart Never Rests" immediately turns heads with its disco style octave B-line and infectious hand claps. After a long, steady build glistening strings and beautiful piano flecks dance on the master stems, dishing out yearning melancholy and a serene sophistication in equal measure. As the long arrangement marches forth we're taken deep into the Black Madonna supernova, never taking our eyes of the stars as we plummet further and further into the galaxy. B-side's "We Can Never Be Apart" hints at the emotive content within, with a chord progression set to raise a mountain range of goose bumps while the frenetic percussion keeps the body moving forward at pace. Who knew the Black Madonna could pull off epic, cosmic-house anthems with such aplomb! This is ace!
This is a fresh recut on 140gr vinyl with new black & white labels. 

Blood Sport

Axe To The Root

    Blood Sport: Trio. Keegan, Parkin & Potter. Drums, electronics, electric chordophone, baritone guitar, voice. Premiere ambassadors of sheffield’s aggro-beat sound. Audio propaganda from the UK’s ‘first city of sanctuary’. Mongrel soundclash pups of hi-nrg ‘tronics & afro-beat. Musical wing of northern underground party agitators ‘hybrid vigour’ Brothers-in-arms to tie dye tapes & the audacious art experiment. Shoe-less dancers. “A glorious fusion of opposing forces….. You never quite know if they are here to start the party or destroy it” (Loud And Quiet) 

    Dego & 2000Black Family

    Don't Stop (Let It Go) / Save It Til Later

    Neroli welcome back Dego & the 2000Black Family three years on from their previous banger and instant classic ‘Find A Way’ circa 2013. Here they walk in similar territories with ‘Don’t Stop (Let It Go)’ a house tempo disco-boogie monster with strings to die for (courtesy of Izzi Dunn). On the flipside we get the chunky, morphing acid stomper ‘Save It Til Later’ with that unique Dego twist. Essential!

    With a penchant for the cinematic, the Georgia-born Durham, North Carolina-based producer cuts blasted, abstract beats on post-punk textures, resulting in a sound that somehow manages to echo RZA, Rammellzee, This Heat and PIL, whilst carving out a unique identity all of his own. At a time when most hip hop production sounds as if it’s stuck in preset mode, ‘Reducer’ feels like a vital injection of creativity, harking back to a time in the past when no sample and no sound was off limits.

    Opening track ‘The History Of…’, a dizzying collage of broken drum machine beats, white noise shards and glitchy dub, is a good place to start in trying to epitomize the energy of the record. From there on Hanz continues to take the listener on a trip into a dark, complex headspace where haunted patois vocals, industrial drums, harps, elastic basslines and dystopian hip hop beats collide. It’s his capability of collapsing one sound world into another almost seamlessly, whilst retaining a distinctly raw punk energy throughout, that sets Hanz aside. It makes for an unpredictable and thrilling listen.

    Originally released on Dance Mania in 1986, this Marshall Jefferson produced 12" was massive at Chicago clubs like Frankie Knuckles' Warehouse and Ron Hardy's Music Box, also crossing the pond to become a favourite at the Hacienda's early house nights, and with the likes of Laurent Garnier. Now Jefferson revisits his classic with new brand new mixes for 2016 on this official Dance Mania release. The 'Main Mix' and 'Club Mix' fatten up the paired back OG with extra drums and synth fills. On the flip Dance Mania's ghetto house man Jammin Gerald provides us with a stripped back instrumental and sleazy vocal rework, adding new life to this seminal track.

    HNNY / Kyodai

    Nothing / Vengo Loco - Inc. Kyodai Remix

    Local Talk (presumably) get a round in with the first release on new white label offshoot Beer Records. And what a way to wet the baby's head than drop a hot new remix of HNNYs big 2015 tune 'Nothing' by labelmate Kyodai. Flute loops, pulsing keyboards, slamming Todd Terry TNT style beats and THAT vocal sample give new life to an old favourite. Alongside this rework, we get a killer unreleased afro-Latin house jam from Kyodai entitled 'Vengo Loco'. Bongos aplenty, stuttering metallic rattles and siren blasts hit the spot. No fuzz, just a serious buzz on this one!

    Limited hand-stamped 12"! 

    House Of Mora invite you to turn on, tune in and drop out with another body moving, chakra grooving example of drifting, dreamstate house music. The Berlin outfit open the EP with the appropriately titled "Two Far Gone", a tranqued out journey into pillowy pads and softly spun ambience nudged gently onto the dancefloor by clicking woodblock rhythms, subtle chimes and bubbling boogie bass. The transcendent vibe and dreamlike textures bring to mind the out-of-body effect of early Prescription releases, but with a fuzzy, doped out undercurrent worthy of Blind Jack's Journey. To follow we're treated to two variations of the "Unathi" theme, beginning with the deep and percussive afro-house rendition of the "Experianza Version". Opening with the rattle of tribal polyrhythm and afro scatting, the track soon drifts off into the night, cycling between immersive textures and hypnotic sequences while the restrained bassline keeps the bottom end moving. On the flip, the "Haute Couture Euphoria Mix" sees the Berlin crew push the bassline further forward in the mix before adding ecstasy fuelled piano and trilling flutes for a voyage through time and space to the glory days of deep house. Not only is this essential dancefloor tackle for any self respecting DJs, but it's also as limited as it gets, so don't sleep!


    12" Info: Strictly limited dream house business direct from Berlin.

    Broken Dancefloors, Kev Beard's Box Bedroom Rebels offshoot and 'the sound of the northern DIY hyper insomniac underground' is back with its sophomore release. Its by Lancaster Tech-IDM-electro artist H>O>D aka House Of Daggers. A big ol' bear of a brute who makes Plaid-esque dancefloor killers that continually shift and evolve but never lose their pace. This is a 4 track 7" EP and a whopping 11 track download! And those extra tracks are OFF THE SCALE! From the robotic grind of "Glitchen Void" & "Brand New Plastic Bag" to the straight up leftfield AFX tech-electro of "KYBX" its a sweaty ride from beginning to end. One minute sounding like Plaid doing insane techno before rupturing into live percussion breakbeat and back into full-on warehouse tech. The next sounding like something of a Chris & Cosey analogue LP - fully robotik and tweaked 'n' twisted for your listening pleasure! All 4 tracks on this EP are different but made for a warehouse rave somewhere in deepest Ancoats.

    4 track 33rpm 7" in a custom thick card numbered sleeve, artist portrait & 80s rave propaganda insert plus download code.
    Only 200 numbered copies.


    Ltd 7" Info: 200 numbered copies. As usual - jazzy inlay with inserts including more 80s rave propaganda and portrait illustration. Download featuring extra tracks too!

    Hot on the heels of his brilliant "Superfoods" trilogy of albums on BBE, Australian production powerhouse Inkswel returns with a brand new solo effort entitled "Unity 4 Utopia". Stellar collaborators Steve Spacek, Recloose, Crazy P, Lay-Far, Kid Sublime, Mark de Clive-Lowe and Colonel Red all make an appearance and help to make Inkswel's quest for musical utopia a reality - As the man himself puts it: "we need to work together if we want happiness and furthermore if we want positive change - this is mirrored in music, collaboration being key". Flawlessly combining a lifetime of influences, Inskwel shifts between the early hip hop of "Utopia Intro", the future funk of "Unity 4 Utopia" and "The Heat", the roller disco of "Outerspace Connection" and "Together" and the boogie tinged "Vibe On It", and that's only the first disc. Inkswel's artistic freedom extends beyond a disregard for genre confines to the playful approach he brings to compostion and groove, which draws together the disparate stylings with an abundantly positive feeling.

    Transatlantyk delivers more deep dancefloor heat straight from the Polish house underground. This time Zambon has recruited two duets from the opposite corners of the country, hence the name of the sampler (Polnoc/Poludnie = North/South). The result is one of the most diverse and playful Transatlantyk releases yet. Jazxing are two youngsters from Gdansk, who cut their teeth playing drums, keys and bass in local reggae and new wave bands. Fusing their musicianship with an ear for classic American house production, they deliver two fresh and charming tracks. First up, "KS Gruv" is the road tested crowd favourite, never failing to move the dancefloor into the jacking direction with it's bubbling bassline, hypnotic strings and sizzling percussion. On the A2, "The Coast" is a slower, more seductive and deeper affair, topped with gently twinkling chimes. Its phased strings and swinging bassline form a perfect soundtrack for a late night or early morning at the Loft. Krakow's Unitrax take care of business on the flip, bringing their love of dusty samples and analogue machinery to the Transatlantyk table. Here they showcase the sound of deep, mystic, meditative house with a hint of medicine overdose. "Oasis (Water Of Love)" pulls us into the depths with its thick and narcotic textures, gentle percussion and brooding synthlines. Where others might drown you in druggy murk, Unitrax shine enough light through the water to keep you beaming throughout. EP closer "Another Feeling" is the blissed out sound of a post-coital cigarette in the early morning light, rubbing your shoulders with soft focus keys, dusty samples and rolling percussion. Buy on sight, play it in your local opium den and you won't be disappointed. 

    Max Graef and Glenn Astro keep the hits flying out of Money $ex towers, mining the rich seam of new wave sample house talent with this storming EP from German producer Kickflip Mike. If you've had your ear trained on the Oye camp, then you'll have caught this cat on Box Aus Holz, tearing it up with his wonky stylings. Mike steps up for the fifth edition of Money $ex, working through a crate full of dusty samples and pushing through an MPC haunted by the ghost of Madlib, as pitch-bent melodies bounce off the heavily swung beat work. As always, hip hop provides a sturdy foundation for this house, but make no mistake, we're living very much in the future. The "Intro" sees Mike getting jazzy with some off centre Rhodes loops and brushed drums, keeping us cool before the tough and rough kick of "Vanilla Seibt" slams into view, heating shit up for the club. Taking an infectious rhythm and deep bassline as a starting point, Mike chops up a little spiritual jazz and takes us right to the peaktime with some future funk keyboard lines. "The Green One" continues the dancefloor assault, serving up crunchy beats and croaky bass beneath some smooth keyboard work, before the totally batshit sample overload begins. Two note loops, rapid fire bongo riffs, crowd noise and a whole host of other madshit takes over, sending about 1000 volts through the dancefloor. On the flip, "Wizard Island" lays the dustiest percussion over some immersive pads, while wonked out Fly Lo funk lines, spiritual synth leads and a bubbling bassline lift us up to cloud nine. Spoken Blaxploitation samples adorn a drawn out bassline before the funk strikes back, Seven Davis Jr style. Kickflip Mike closes the set out with a break heavy jazz-funk outro, proving without question that he can groove for days.

    UK-based production duo Letherette release their first new music since 2013's self-titled debut album on Ninja Tune - a record that cemented their place at the forefront of the UK's perpetually shifting electronic underground. Returning from an extended studio interlude, the 'Refresh EP' wastes no time getting down to business, collating four powerhouse trax aimed squarely at the dancefloor and blessed with the signature warmth, soulful character and loping swing that lie at the heart of Letherette's appeal. Simultaneously recalling the certified classic output of early 90s NY imprint Henry Street (Kenny "Dope" Gonzalez, Armand Van Helden, DJ Sneak) and the instantly addictive grooves of Pepe Bradock, Motor City Drum Ensemble and Joey Beltram, Refresh is a startling comeback and signal of intent for 2016.

    Following an erotic adventure in the jungle on his own Moonlighting imprint, Øyvind Morken returns to Full Pupp, with "Invisible Objects". The Oslo producer ventures into the functional aspects of dance music for his latest EP, calling on his invaluable experiences from the DJ booth and moulding them into four dance floor tracks that highlight the more mysterious corners of his hometown’s dance floors. Built on the foundation of syncopated high hats and elastic Juno bass sequences that have become the Oslo DJ’s trademark sound palette, "Invisible Objects" finds Morken in a coy mood. Catchy melodic phrases repeat over driving rhythm sections, constructed from Morken’s vast knowledge and experience of the dance floor. Øyvind ingrains a mysterious air in the title track as the main melodic phrase drifts off its central pitch in a woolly distraction from the precise rhythm section. "Unholy Trance"’s Theremin-like central motif carries this sentiment through on the A-side, creating a hazy B-movie aesthetic against the backdrop of the primal pulse that has transcended the jungle for the cold solitude of space. Morken is nothing if not a curator of mood, taking the experience of the DJ booth once again to the recorded format. As "Invisible Objects" moves over to the B-side, the producer tones things down with the lusciously serene "New Age Of Smokin", a cover of LB Bad´s classic Nu Groove record from 1989, before making the final ominous statement with "Dance of the Drunk", a track forged in the bowels of an electro beat while metallic bass-stabs make a sizeable impression in the speaker cabinet, before moving onto its next victim.

    Early last year, the Wolf Crew took their brand of swinging, sampledelic house on the road for a wild night at Dortmund's Oma Doris club. After tearing the roof off the joint, Matt & Stu were relaxing backstage when a young resident named Mr Fries slipped them his demo CD before disappearing into the dancefloor throng. Immediately impressed with what they heard, the idea of an EP was formed, and nearly a year later, Wolf Music proudly present the newest member of the pack! The EP opens in classic Wolf fashion with "Get Together", a sublime collage of rattling beats, deep chords, lively bass and killer vocal samples, perfectly arranged for total club destruction. "2poor4change" sees the producer drop the tempo a little and head deeper into the groove with warm rhodes sounds, jazz club ambience and a head nodding rhythm section, while the extensive vocal sampling and lengthy breakdown offer a breath of fresh air before the body moving beats return. Capping off a perfect hattrick of original productions, "Daily Struggle" sees Mr. Fries hark back to KDJ's "Forevernevermore" with funk guitars, gospel keys and socially conscious vocal samples. German hip-hop producer, Hulk Hodn was one of the main reasons Mr Fries started to make beats, so it seems totally appropriate that he don his Hodini moniker and deliver his own remix of the young producer's "2poor4change". It's a slow burning, gradually building affair which spreads the soulful beauty over the full track length. Piccadilly favourite and long time Wolf buddy Garth BE drops in on the B2 with a hypnotic and hard hitting rework of "Get Together", which lands somewhere between Iz & Diz and Dance Mania. Simplistic and stripped back, the beauty of this is the contrast between the minimal rhythm section and the stuttering, stammering vocal sample.

    Manchester's techno alchemist and master of the Roland TR-808, the enigmatic Mr Raw, debuting MANCDETROIT 12” on WIN or LOOSE Records straight outta Toronto CA! Long term nightclub shaman on the Northwest of England circuit, Raw served time in Rotterdam's early 90s gabba circles before returning back to Manchester to twist brain's n bodies with his wild blend of freestyle techno. Raw's witnessed trends in production go from hardware to soft and back again but he's never strayed from a solid rack mount set up based solely around the TR-808. With a few added choice fx processors Raw's style is loose'n'live and captures a pure spirit rarely exercised by today's pacified youth. "Perseus Dance" sounds like the kind of shit the great Ron Hardy would jam on, with two copies, for hours. Inflicting a sherm-stick flavored mind-blast to the floor that may have indeed caused the good man to blush, we find percolating 808 percussion woven together with a mystic, fizzing lead line and twangy analogue artifacts. Darkside acid dragged wailing and whining from Rusholmes drains. Flip and we have "Hard On": a twisted x-rated porno horror jam. Raw's rapid-fire double-speed drum loops firing away while a plethora of abhorrent vox and coital sounds converge onto the track. A total wrecking ball of filth and hellish distortion which just smolders away in the basement of some sadistic nightclub like a rotten but highly intoxicating fungus ready to switch on any passing freaks.


    Matt says: Here it is! Iconic release for the Canadian-via-Manchester label Win Or Loose. With Manc hardware stalwart Mr. Raw on the dials! An old friend of the shops, Mr. Raw's torn heads and bodies apart at Detroit Public Radio (Wet Play's precursor) and Faktion respectively. An uncompromising record through and through. We heart this!

    MTO (Modified Toy Orchestra)

    Mary = X / The Breath They’ve Been Holding Released

      Birmingham’s iconic audio scientists, Modified Toy Orchestra, are back. This time as mto and with a new single on their old label.

      Hand cut in an edition of 100 copies by PhilM at 3345 this return sees the band in a casio only landscape watching the mathematician Richard Feynman sit alone at the top of a light house on mars contemplating calculus and aspects of his life.

      ‘Mary = X’
      A haunting lament of what might have been from the perspective of Richard Feynman's ex-wife Mary, her plaintive voice keening for her husband’s attention, a hopeless attempt against the infinite mysteries of calculus.
      "He begins working calculus problems in his head as soon as he awakens. He did calculus while driving in his car, while sitting in the living room, and while lying in bed at night." —Mary Louise Bell divorce complaint.

      ‘The breath they've been holding.’
      The Title is taken from a news broadcast observing the faces of the doomed astronaut’s families during the space Shuttle Challenger disaster in 1986.

      Since touring the world performing their 2nd album Plastic Planet, which culminated in sell out shows at the Hong Kong Civic Hall, mto have been commissioned to perform Stockhausen and to collaborate with composer/conductor Richard Baker on "Game" by Faster than sound performed at Aldeburgh Britain's oldest classical music festival.

      The 2 tracks are part of digital EP called "Feynman on Mars" which shows a darker, colder distant side of mto an aspect of the band which will be further explored as they blast off in to the outer reaches of the cosmos on what will be there 3rd album "Silfurburg".


      Ltd 7" Info: Lathe cut 7"
      Edition: 100

      After a string of releases for Omena, Transatlantyk and Studio Barnhus, Wroclaw-based Naphta delivers his first EP for Maciek Sienkiewicz's Father & Son Records & Tapes (FASRAT) label. This is house music like you've never heard before - loose, freaky, hippie, voodoo machine funk, highly infectious grooves for any modern dancefloor. 'Exorcist' is a jazzy piano looped beatdown house number for early doors head nodders. 'Boomerang Disco' is a slurred and submerged disco-tinted shuffler with gritty crackle and light fingered ivory tinkling. EP title track 'Enter The Dagon' fires up the mystic flutes, woodblocks and voodoo chanting for a tropical house flava. Lastly 'Idle Look' is a jump-cut house number, throwing spliced vocal samples, piano lines and organic beats  into the mix.

      As always FASRAT delivers also full picture sleeve artwork - this time by renowned graphic designer Ania Goszczynska.

      - Mixed and mastered by Nils Frahm at Durton Studio
      - Artwork by Frederic Gmeiner at FELD

      Nonkeen is a project led by Nils Frahm (Erased Tapes) alongside Sebastian Singwald and Frederic Gmeiner. Nils Frahm and Gmeiner attended the same school in Hamburg. A mutual interest in sound recording brought them together and they began producing their own radio show which featured sounds from school, the voices of their teachers and recordings of their own instruments. In 1989, East German schoolboy Sebastian Singwald spent two weeks at their school. Frahm and Gmeiner bonded with him instantly.

      After the Berlin Wall came down, Gmeiner and Frahm were eager to visit Singwald to play as a band. They performed their original material on fairgrounds in Plänterwald over the summer holidays. After an accident in 1997 at one of their fairground gigs the trio parted company, only recently started playing music together in experimental sessions with tape machines on Singwald's basement. Nils Frahm's input is evident across all the tracks in the form of minimalist keys and synths. With tracks ranging from lush synth-heavy ambience ('The Invention Mother', 'Pink Flirt'), via the more organic jazz-influenced 'Ceramic People' (think Four Tet or Floating Points), or the Boards Of Canada style cassette-sample woozines of 'Animal Farm', to the epic motorik electronica of 'Chasing God Through Palmyra', 'The Gamble' is a sublime listening experience.

      “this is the album I am most proud of” - Nils Frahm.


      Martin says: Nils Frahm is incapable of being associated with anything other than beautiful music. His trademark piano caresses might largely (but not entirely) be absent from this collaboration with his above mentioned primary school chums, but it is nonetheless a thing of wonder. Yes, there is just the faintest air of Boards Of Canada about its organic, jazz infused electronic atmospheres and loops, but that is about as far as you can get from a bad thing. A joy.


      2xLP Info: Double vinyl LP in heavyweight card sleeves with printed insert. Includes vinyl only track 'For Voice'.

      Berlin-based Palms Trax continues adding to his run of quality efforts with the forthcoming release of his 'High Point On Low Ground EP' - impressive effort number two for the Dekmantel imprint.

      Serving up three retro-futuristic killers, Donaldson parades his ability to touch on the many different corners of contemporary house music, whilst delivering heavyweight dancefloor standards. The title track blazes a beaten-up vocal snippet over stanked-out synths, stretched to a breaking point across a low-riding bass line. A stabbing Moroder-esque bass line dominates 'Cloud City', whilst 'Paws' equals pure and raw broken-beat bliss with a pinch of acid.

      Fucking hell, this is good! Theo Parrish turns Tullio De Piscopo's mid-80s Spanish Balearic sunshine pop anthem into a 16 minute-long beatdown rave monster. To be honest, I don't hear much of the original in this remix, so just treat it as a totally new Theo track - and a darn good one it is too! Equally good is the shuffling Isoul8 & Mark De Clive-Lowe Tullio refix on the flip. This is a "Stop Bajon" 2010 instrumental 2.0 type of rework, taking the original and adding crunching layers, extra bass and some shaker action. A smile is already on my face! Super-limited!

      Theo Parrish

      Overyohead / Dance Of The Drunken Drums

      *Limited Sound Signature re-presses!*

      Sound Signature #6, two tracks of definitive Theo Parrish house. Unique off-centre Detroit signals that defy pigeonholing and remain always the product of a true creative talent. Another pair of tracks, highly sought after by Detroit fans, re-pressed here for the first time in years: move fast!


      12" Info: REPRESSED.

      Phillipi & Rodrigo

      Karma / Gueto De Gent

      The latest Deewee release sees the Belgian Soulwax brothers hook up with Sao Paulo duo Phillipi and Rodrigo, otherwise known as Fatnotronic, for a pair of road testing club killers. Experimenting with synths, European club sounds and the rhythms and textures of their native Brazil, the duo have hit upon a unique sound which has done serious damage on the Despacio sound system in recent months. A-side cut "Karma" is a playful acid stomper built out of Wink-esque resonating synth lines, circular marimbas, village square breaks (complete with church bells and loose chickens) and some solid drum programming. On the B-side, the vocal led "Gueto De Gent" drops the pace and bubbles away with a body moving bassline and sunny synth sounds, treating us to some modern Balearic beat for the slower dancefloor.

      After bringing the noise with artists from Amsterdam, Newcastle and Manchester over their first three releases, this fourth offering on Intimate Friends finds Vienna's Roman Rauch representing, with a little help from Essen-based Glenn Astro. Broadcasting live and direct from the home of the Wiener Schnitzel, Rauch gets deep right from the get go, twisting our melons with a beatdown monster by the name of "Essig Jazz". Tough claps and hats dance around the thudding Detroit kick and subbing bassline, while sampled female vocals shift in and out of focus through the haze of echo. Classic deep house keys create that bloodless effect, while the screaming siren conjures the memories of a thousand RZA beats. On the other side, Caits Meissner drops by to preach some spoken word truth on the uptempo "Got To Be", bringing the realness to a piano-heavy house roller, rich with dubbed out textures and rattling percussion. The B2 plays host to this week's official winner of the Ronseal award, "Slowswing", which takes a beatdown wrecking ball to the nearest club at, you've guessed it, a 'slow swing'. Thunderous bottom end, filtered female vocal snippets, and jazzed up percussion come together in perfect alignment as Roman conquers the globe all over again. On a remix tip, we're in the capable hands of Glenn Astro, who flips the script on "Essig Jazz" with a tempo pushing remix which moves from head nodding hip hop to peaking house and back again in the blink of an eye. Totally off its box, this rework changes outfits more often than an Oscars host, and still seems effortless throughout.

      Unpredictable but ever exceptional, Golf Channel just keep coming up with the goods whatever the genre. Their latest offering sees UK legend Jaime Read making his label debut with a deep and diverse four tracker for the backroom and the bedroom. One of the few UK artists who has had the dubious honour of being ripped off by Chicago house royalty, Jaime's been dropping bombs since the early 90s, and recent collaborations with Felix Dickinson as LHAS Inc have seen the producer gracing Rong, Cynic and Tsuba. Switching things up on EP opener "Is It Real What U Feel", Jaime balances dreamy chords with a gentle 2-step for a languid R&B number dedicated to all the lovers out there. Featuring his own filtered vocals, the cut perfectly nails that lovestoned feeling of a blissed out morning after. From there we skip nicely to the slinky "Kaanlile", a lighthearted blend of new jack swing beats, squirming acid bass and emotive melodies. Immersive pads bring some late in the session depth to the cut, while a sumpuous melodica line floats into the clouds with the dancefloor in tow. A steady beat introduces the Fingers-esque "Rolling Dreams", a head nodding groove-a-thon which naturally features a rolling bassline. Echoing piano drifts in and out of focus while Jaimie channels Robert Owens for some sleazy, E'd up vocals. Last but by no means least, "A Night In Shirley" strolls through the dusk as sunny keys and an afterhours bassline vie for attention. The result is a mellow but restless body mover perfect for fans of PPU or Alliance Upholstery.

      Shamos was born in Dublin and raised in Leyton, East London. Funkineven came across his music via his regular show on NTS radio and promptly ushered him into the hallowed ranks of Apron. "Training Day" kicks things off in sufficiently dark form, abrasive snare hits rattling through a menacing soundbed of icy synths and warbling sub tones. It's Apron through and through - evil, gritty music for clubs with low ceilings and over active smoke machines. "Westdown Road" heads further into the Apron prototype, it's 'dry' treated drum machines working well past their saturation point as squelchy bass farts as other obtrusive sonic artifacts converge on the track. Mad, frenzied hardware abuse for the freaks. "Ode To Lynch" opens the B-side with phazed pads pushed well into the red and mechanical drums chugging on unceremoniously. What began as phazed pads actually transpires to be chopped and mangled jazz hooks, which as the track evolves, allow their loop points to be dropped and more of the hook to filter through the fug and haze. Mind-altering stuff that should send dancefloors careering into uncontrollable hedonistic revelry. Finally, "Cranbourne Road" concludes with a nasty ass acid banger, rawkus drums clattering away as a straight up badass 303-line provides all the bass and melody one could hope for. Wonderful stuff from this now iconic label. Move quick! 

      After uniting the Balearic crowd, avant experimentalists and classic rock aficionados with the superb "Orange Cloud Nine" retrospective, Golf Channel take another look through Mr Wolter's private press back catalogue, and offer the big room DJs something special at the same time. This superb 12" drops ahead of a forthcoming remix LP "Orange Cloud Versions", well and truly whetting appetites as Golf Channel favourite Justin Van Der Vee applies a tasty overhaul to The Sexican's interpretation of "Sometimes". After making good use of a minimal groove to put the crowd in hypnotic lockdown, JVV gradually introduces the vocal, bass and wild guitar lines of the original, hitting us with lights and colours in crescendant fashion. Soon romping electro synthlines and extra bass weight test the soundsystem to its limits while we punch the air in stroboscopic ecstasy - job done! Elsewhere, the New York label treat us to a quintet of unheard gold from the Spike archive, letting us here some lost nuggets which didn't quite find their way onto the much loved "Orange Cloud Nine". It's gloriously diverse stuff, ranging from the back to front shredding of "Lazerop", through the gorgeous americana of "Seebelebbad" and "Girl", to the chorus drenched, sunlight-through-the-blinds emoting of "You Can Do It" and the stunning fragility of EP closer "Careful". Unless you have the good fortune of finding a copy of the impossibly rare original releases, this is your only chance to bathe in their beauty, plus you get a club smasher on the flip!


      12" Record Storage Carry Case - Orange

        - Portable LP record storage carry case
        - Robust vinyl covering available in 5 colours
        - Protective chrome effect trim on corners and all edges of the box
        - Hinged lid with 2 closing clasps and carry handle in matching colours
        - Holds approx upto 50 LPs / 12"s in their sleeves
        - 3.8 KG

        STL's an elusive bugger. Although highly revered within the underground scene, he’s always kept a low profile and consistently pursued his own blend of boundary pushing abstract and experimental house & techno. One of those producers often heard but rarely seen. The majority of his music has been released through his own Something imprint but his unique productions have also found a home on Perlon, Smallville and Detroit’s Echospace. The two tracks on "The Amplified Bleep Package" EP marks his first contribution to Phonica’s white label series. "Earworm" on the A side is a discordant, dusty house cut comprised of tumbling, barrel rolled drums, warm tape hiss, gritty percussion and an ascending and descending synth glide that makes for a seriously disorientating, intoxicating listen. The rollercoaster sine wave burns its way through the entire track as the crazed drums lock you deep within their grooves. Out there stuff for out there dancefloors! Flip the disc for "A Cat And Her Solar Life"; a cosmic aligned journey filled with beautiful synth melodies, tight perc and lush harmonics. Intricately programmed and arranged in fine style, this is a tour de force of night club engineering, purpose build to create waves of euphoria rippling through any forward-leaning crowd. Exceptional stuff from STL and the Phonica White series. Recommended. 

        Tiger & Woods

        Scoring Clubs Part 2

        The inaugural release of T&W Records. Brought to life by Tiger & Woods and associates, this brand new record label will be a home to all things Tiger & Woods: from legit sample songs and up-beat boogie beats to darker deeds.

        The new label series starts with the epic and infectious disco trancer “Boca”. As ever with T&W, the track is all about the build (and drop), adding extra elements as the tune progresses; tribal drums, hissing hihat, vocal snippet, 909s, disco keyboard loop... and funky bassline (cue hands-aloft and happy faces on the dancefloor)! Flipside cut “No More Talking" is a prime-time sample-cleared, sliced and spiced disco house banger! Powered by Running Back!

        Twinkle³ Feat. Sidsel Endresen

        Debris In Earths Lower Orbit

          Twinkle³ have teamed up with Sidsel Endresen, Norwegian singer, avant garde pioneer and ECM recording artist. The result is Debris In Lower Earth Orbit, a graceful, yet precarious dance through the weightless slipstream of orbital flotsam and jetsam.

          The core trio of Richard Scott (analogue synthesizer and electronics), David Ross (Drosscillator, kantele, mbira) and Clive Bell (shakuhachi and other woodwind) conjured 7 distinct sonic landscapes through an intuitive and delicate interplay first honed on their debut for ini.itu ‘Let’s Make A Solar System’. Sidsel's singular interpretation of this material narrates a melancholy, stream of consciousness style wordplay. It was David Sylvian who brought the trio into contact with Sidsel and driving alone across the lonesome northwest recalls the first instance the album poured into his ears from the car:

          “As the first buzz of static and the strains of wind instruments, whose cultural heritage belonged to another continent entirely, filled the vehicle, as Sidsel sang with a soulful melodiousness, an ancient lament for lost souls like myself, hungry ghosts, and those found in remote gas stations, featureless structures illuminated white against a reddening sky, the otherworldliness of the landscape was returned to me. No longer blind or indifferent to the ancient rock formations, the bulky mass, the scale, the striations of stone, gradations of colour changing by degrees animated by the irrepressible sun. The black cactus with yellow plumage, the voluminous boulders, isolated, stranded, graffitied rocks and stones. The coarse granular sands, gritty, unrefined, populated by a stubborn stubble of shrubbery, an almost colour, not quite, failing to pick up on the improbability of their being present at all as an excuse for absence. I traversed a world in which both ancient and modern co-exist and there was beauty and sorrow at every turn. A similar journey will be undertaken by any listener of this remarkable recording.”

          As Sylvian rightly states, an absorbing awe and cloaking strangeness both ancient and present permeates each of the small rituals Twinkle³ evoke, with Sidsel voicing a bewitching pre-language that ruminates deeply in each of the pieces. One can expect to have their senses hushed, yet amplified, their imagination ignited, yet warmed by nostalgia and throughout its duration enriched by a magical and wondrous aura.

          The ever reliable Hell Yeah get collaborative with DJ Ralf's Laterra Recordings to serve up two sublime Balearic tinged remixes of the popular Italian chant, "Bella Ciao", by Brooklyn troupe Underground Soundsystem. This new project came about after Leo Mas played the afro-beat original cover on his Boiler Room set in Ibiza and made it a bonafide Balearic modern classic! Legendary DJ  Alfredo loved it so much he requested a copy, which lead the label to get official rights for its release. Originally, Bella Ciao is actually a partisan Italian song created during the civil war that is a hymn of freedom and resistance. Here it is flipped into two tantalisingly feel good disco anthems by Leo Mas & Fabrice, who bring a lifetime of dancefloor experience to the mixing desk. The vocal version is full of gentle tumbling toms, cute guitar riffs and rolling bass. The exquisite vocal chants up top add plenty of joyous vibes to the already summery beats and then it just rolls and rolls, making you shake your behind and swing your hips as it goes. The dub version is deeper and more low slung, with more emphasis on the drums and the elastic, lazy grooves. If this doesn't hasten summer's appearance, then I don't know what will!


          NYC Loft Trax + Unreleased 1991 - 1995

          Properly kept under wraps tackle here as we're treated to a sextet of slammers from one of NYC's seminal production crews, none of which have seen the light of day before! Things get off to a freaky start on the A1, as we're hit with the hottest drum tool I've heard in ages. Wonked out to the max, this rhythmic rattler tickles your fancy with tumbling toms, a two note bass line and some completely off the wall sound fx. Things get more melodic on the A2 as a spherical bassline pushes deep and tricky keys towards the peaktime, where chopped and treated vocals and some trilling synths make their impression felt. We're in deep and transportative territory on the A3 as our mystery musicians riff on the "Can You Feel It" bassline, adding their own immersive pads and some gorgeous vibraphone notes to create the perfect 'in-mix' weapon. We're on the flip and it's "aaaawww sheeit", strutting our stuff to a chopped up, break heavy disco revisit in line with Terrence Parker classics or Carl Craig's "FRS" release. Looped up bass, funk breakbeats and some killer clav snatches make this my kind of party! Sticking with the rough and ready sample styling, the B2 cuts some disco and jazz funk grooves into a totally unpredictible machine groove while the B3 adopts the same approach with jazzier source material to create a much deeper vibe.

          'Gqom Oh! The Sound of Durban Vol.1’ represents the first full length compilation collecting the sound of the suburbs and townships of Durban, South Africa known as “gqom”. The album unites many of the local young producers of this fresh genre over 15 tracks on double LP released via the Gqom Oh! label. The result of Rome-based DJ and musician Nan Kolè teaming up with South Africa-based Lerato Phiri, the Gqom Oh! label was set up to highlight the music and artists of Durban, the often overlooked cradle of the new South African sound.

          Kolè says of Phiri“ Thanks to her work the artists I was interested in had greater trust in a stranger who contacted them from Italy to promote a kind of music that even South African promoters don't want to promote or to enter the club.” Derived from an onomatopoeic Zulu word signifying a drum,“gqom” - in the local slang - “iz da sound u get wen u drop a rock on tiles”. This extraordinary, apocalyptic bass music encompasses many influences. Each polyrhythmic track draws on the darker side of electronic music, hip hop, soundsystem culture, kwaito, UK funky and deep tribal African vibrations. As Kolè puts it: “You can feel the troubled history of South Africa. It’s riot music." Tied to a specific dance called bhenga, gqom happens in a DIY-oriented universe, grafting organic and homemade samples on sourced software to create this wholly unique sound. The label’s greater aim is to invest in much needed technology to help build a local creative infrastructure. ‘The Sound of Durban Vol.1’ features a host of local talent including Julz Da DeeJay, Cruel Boyz, Citizen Boy and Formation Boyz. This compilation was preceded by a 12 ” EP release in summer 2015 described by Hyponik as “thunderous prime time music” and Complex said “ it surely won't be long until clubs across the UK are shaken by this new South African sound”. Resident Advisor’s review mentioned “these three tracks muster up a hulking sound out of very few elements, and they do it without coming off macho or alienating — an achievement on its own”. South Africa is a unique case in the African continent, a place of the soul that has no equal: so strongly western and so deeply African at the same time. With its mix of ethnic tradition and urban tension it has been a cradle of cultural phenomena. In its own way it is a country of great wealth, particularly rich of contradictions, yet 20 years after the end of apartheid little appears to have changed for the millions of black people that live in its notorious townships. It is from this background that innovations are continually being injected into the living body of the local music culture. The heartbeat of Durban is gqom.


          Includes MP3 Download Code.

          In 1981 Lee Michaels founded the Hot Mix 5, a DJ team originating from Chicago consisting of Mickey 'Mixin' Oliver, Farley 'Jackmaster Funk', Ralphi 'Rockin' Rosario, Kenny 'Jammin' Jason and Scott 'Smokin' Silz. The Chicago House Music scene exploded as the Hot Mix 5 show and BMX became the No.1 Radio show in Chicago by airing a new sound called house. Collectively with their unique turntable skills and radio persona a genre emerged. These guys broke nearly every Chicago House record we know today. From this show the first true superstar DJs emerged and are credited with turning Chicago and the rest of the world onto this new sound. The individuals featured here are pivotal in laying the foundations for the domination of house music around the world today. They went onto launch Hot Mix 5 records, a stunning label with a dazzling roster of artists releasing worldwide hit after hit, that have stood the test of time. The city of Chicago recognised the Hot Mix 5's contribution to the creation of house music and honoured them by presenting each member with an individual street named after them and in addition a street called 'Hot Mix 5 Way'. Now, London's Midnight Riot pays homage to the essential sounds of the classic label, with this two disc compilation featuring tracks, remixes, edits and collaborations with the likes of Larry Heard, DJ Pierre, Ashley Beedle, Ron Basejam, Severino, Pete Herbert, Rayko, Yam Who?, Kiko Navarro, Leo Zero, Fingerman, 80's Child and Jaegerossa.

          Midnight Riot celebrate the arrival of their killer Hot Mix 5 CD compilation with the release of this floor pleasing vinyl sampler, which collects together four of the hottest and heaviest jams. The set opens with a stunning statement of intent from Ron Basejam, who brings his trademark combination of boogie, synth disco and acid to Ralphi Rosario's classic "You Used To Hold Me", delivering a dynamic remix perfect for Horsemeat Disco, El Diablos and the Croatian festival scene. Emotive melodies, chunky beats and a nagging 303 line combine as this cut ascends to the next level! Next up, Mallorcan house hero Kiko Navarro brings his percussive style to Kenny 'Jammin' Jason's "Can U Dance", turning up the heat nicely with additional programming and synth work. Over on the other side, HMD's Severino takes on the hypnotic bassline of MG2's "My House Is Bigger Than Your House", beefing the cut up and dropping some of the more retro elements for a slick and modern sound aimed at the big rig systems. London edit expert Leo Zero closes the set out with the quality we've come to expect, freaking us on out with his stripped back rework of Mario Diaz's "Can U Feel It". The unconventional vocal styling, precision drum programming and detuned keyboard vamps are all Leo needs to jack your ass off, so you'd better start practicing your death drops.

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