house . techno . electronica . ambient


Genre pick of the week Cover of Expressions by Linkwood.
After receiving a mysterious 'whiskey notes' sales sheet nearly six months ago, there hasn't a week gone by in which we haven't been pestered about this new Linkwood LP over the shop counter! Now it's finally here, and boy is it hotly anticipated. For the uninitiated, Firecracker records is one of the most respected and sought after of the 'boutique' UK record labels - IE; ones that do limited vinyl runs (and actually stick to that limited quantity) with bespoke artwork and full creative vision in mind. When the first 10"s came in everyone knew something special was in the air and now, nearly 11 years later (!), the label still remains as feverishly adored as it ever was. Without Firecracker, you could argue the US would have retained the deep house crown for 30 years; but Firecracker brought the attention back to the UK, and surely inspired many an artist and record label to fire up their machines and start making music. Belatedly following up his Prime Numbers album "System", Linkwood finally returns home to the label that first put out his music.

Beginning with the liquid and languid textures and atmospheres we've come to expect from label cohort Vakula, the A-side soon drops into this infectious bass-driven groove on "Off Kilter", littered with completely unique percussion artifacts and juicy with analogue goodness. "Object" then supplies the first club-ready cut with a big chunky kick n' B-line alongside hypnotic arpeggios and velvety pads. After a lovely underwater refrain ("Coral"), "Tier 5" allows us to drift momentarily into outer space as Linkwood deploys a celestial floatation device of the highest order. The D-side is given to "Expression", the title track and obvious 'single' (sic). Powerful, soulful and HOUSE in every meaning of the word, its indisputably Linkwood through and through and should unite listeners in love and desire for the Scottish house cat. Onto the final disc and after another cleverly placed and executed 'refrain' we get "Ignorance Is Bliss" - another perfectly crafted club cut full of intricate nuances and peppered with emotion. It's hard to tell who's influencing who these days, but Linkwood and Vakula are out there on their own in terms of lysergic, rich production, and you can hear similarities between the equipment and effects used by both producers. Linkwood really goes to down on the meditative states on the last jaunt, bringing us slowly back down to Earth with a nigh-on-perfect downbeat number; cautiously inviting the listener into his arms and cuddling them to sleep in a cosy and sensitive fashion. If you've got this far you'll have realised how passionately I feel about this record, and it's those people who HAVEN'T necessarily listened to Linkwood (or Firecracker) before that I'm aiming for. Everyone needs this album in their life. A classic.


Matt says: About a year on from slaying us with Vakula's expansive vision, Firecracker Recordings mainstay Linkwood offers up another fury of goodness. A meandering, lush presentation of liquid future-soul, celestial dreamscapes and the occasional dancefloor firework. All captured in a concise, space-age aesthetic inferior to our sublunary world.


3xLtd LP Info: * Eagerly awaited Linkwood LP
* Screen printed by House Of Traps
* Triple vinyl!

Armando was nothing short of a Chicago House & Techno pioneer and many producers since have been inspired by his raw punchy style. His seminal classic EP 'New World Order has now been remastered from the vaults of Trax Records for your jackin' pleasure…

In anticipation of Bosq's second full-length album, "Bad For Me" paves the way for more of his signature dancefloor goodness that he's been steadily cultivating from his work with Whiskey Barons to his full-length album debut "Bosq Y Orquesta De Madera". This time around Nicole Willis lends her talents to the tune, revisiting her dance and house roots where she made a name for herself in the 90s. Bosq originally reached out to Nicole to do a slow burning soul track he'd been working on, but after listening to his album she was set on doing a dance record. The result is the most straight up dancefloor disco in the Bosq catalogue thus far. The track is dense with that afro-Latin-disco percussion you would expect, bubbling with thick funky bass lines, rhythm guitar from "disco" Tom Noble himself, and a wide open piano driving it all. Nicole's perfectly nonchalant vocals sit just right in the groove effortlessly tying the track together and repeating the phrase we've all uttered at least a few times. The late night dub version expands on the deep chorus groove and allows each piece of the track to really stretch out, highlighted by a killer solo from Boston's piano wizard Yuki Kanesaka. In keeping with Bosq's hometown crew love theme, he enlists the Soul Clap production duo to have their way with a remix that packs a punch with its pulsating drums and expertly placed synths complementing the vocals, percussion, hand claps, and keys from the original tune.

Cultishly adored with a small but highly astute following, Aconito's 'Seed' series continues with release number 4. A merging of titans, the record is a collaboration between Informa head Deepbass, and nAX Acid - head of Aconito. This pair practically defined the new deep techno sound and along with Edit Select, Silent Servant and Mark Broom, keep pushing the scene darker and further into the wormhole. With track titles inspired by Greek mythology and thoroughly spiritual take on the techno blueprint, these are tracks for mind elevation and body stimulation and will make very little sense farting out of an i-pod dock in a field in Camden. "Hesperis" kicks off with a glorious urgency, Detroitian sonar bass bleeps cementing a groove while a shower of metallic shards and radioactive synth elements rain down on the mix. "Erebus" is pure body music, subtle polyrhythms working their way into the flatlined 4/4 causing the body to contort and wiggle in ways previously unknown. Subtle lashings of acid give this track xxxtra bite and when the brutal 909 comes steaming through the track it'll take some serious willpower to not succumb. "Nyx" is the concentric, broken beat number you've been waiting for; a trademark style for nearly every release on both Informa and Aconito. The kind of jam that Surgeon would make his own mid-set, it's that disconcerting, triplet rhythm kick drum that just screams of excessively hedonistic nights spent entirely behind the speaker stacks, cloaked in blankets of smoke and strobe. An immense collaboration - highly recommended!

Deetroit returns with "The Voyage Underground". Opening with the title track, a cleverly manipulated loop from one of the first inceptions of music software package, Reason (yes music tech geeks I can go that deep! - Matt). Deetroit works this radiant loop into a tough and raw drum set. Bouncy and syncopated, almost touching on a broken beat vibe but keeping the house flame burning bright. "The Secret Meeting" is up next, firing up the synthesizers for an sophisticated exercise in sound manipulation. Deetroit gets his hands around all the important knobs on his keyboard and works an already catchy riff deep into our cerebrum until there is no escape! "The Celebration" is a skitty, garage flavoured number with a clever xylophone refrain, looped female vox and a tough beat. "On Another Mission" in another fine display by a man who understand synthesis. I might know my Reason patches but unfortunately I'm struggling to identify the man's hardware on this outing (answers, as usual, on a postcard) but "On Another Mission" is a bubbling acidic number, with flurries of rampant 303-sounding instruments running riot throughout. "Exploratory Findings" in the speaker (and face) melting track that should set the club truly on fire. Tape distorted kick drums, plenty of swing but the killer is this rubberband, elasticated synth riff that morphs and twists its way through the whole track with aplomb. Finally, "Discovery Of A Deeper Galaxy" finishes on a high note with deep rumbling techno vibes the dish of the day! Definitely one for fans of Levon Vincent, Dj Qu and Fred P, this powerful last blast is should completely level the dancefloor with its sheer sonic force! Six tracks....from Detroit?! And only eleven quid... next you'll be telling me Levon Vincent's releasing his new album online for free... oh wait.

Detroit Swindle

The Punch Drunk EP

Heist kicks off the new year with the first ep of Detroit Swindle since they put out their album "Boxed Out" back in march '14.

The Punch Drunk EP is the result of a series of jam sessions in their studio, experimenting with their ever growing studio setup.

Allright (we'll be) is an uptempo affair at its 128 BPM, with an irresistably sexy hook that just makes you wanna give free hugs for its full 7:10 minutes. Pursuit has that classic Detroit Swindle vibe with an almost acidy synth rolling on in the background, giving the track the core of it's energy.

Heads Down is the deepest of the 3, where a particularly shuffling set of offbeat toms create the groove and a set of warm synths give you a simple dancefloor choice to go hands up, or heads down.

The new year of Heist after "The Round Up Part 1? comes with a lovely new minimalistic design by Amsterdam based artist Baster. Sincerely yours, Lars & Maarten

E-Versions #4

Sitting Here Alone / Childstar

The E-Versions E-xpress rolls back into town, as Mark E lends his edit expertise to another pair of overlooked and underplayed staples. The first three volumes sold like hotcakes and filled floors all over the globe as people lost their shit to Mark's reworks of Jean Carne and Madonna. Number four in the much loved series provides further proof that no one flips a track like the mighty Midlander. On the A-side, "Sitting Here Alone" sees Mark weave an extended and irresistible groove out of a simple bassline and the polyrhythmic clatter of conga led percussion, creating a solid base for the kraut synths and clipped vocal refrains to take us away. As ever with the Merc boss, it's hypnotic, subtle and perfectly arranged. B-side cut "Childstar" sees Mark kidnap a disco ball for some reinforced rollerskating tackle formed out of the groovesome ingredients of a lost disco classic. The producer loops up about four bars of the original and sets to work beefing it up for modern club play, augmenting the bassline and clavinets with a hard hitting drum track and a breathless arrangement that'll keep the crowd peaking for the whole seven minutes. Vinyl only and limited to one pressing, I'd suggest you act fast on this one. 

Fresh Leeds' based label Slipstone return after the spaced out "Moonwalk EP" from Kesper with a new release courtesy of young producer Einerlei. As the name may suggest, Einerlei trades in a teutonic brand of techno, specifically the melodic and proggy style long associated with Kompakt. "Sind Wir Echt Frei?" opens the EP with a dramatic flourish as Einerlei layers wintery pads and kosmiche sequences over a clipped beat alive with rattling Villalobian percussion and subtle echo. The rising chords and stretched out vocals provide the track with a dynamic arrangement which lifts it above the predictable tonk of 90% of minimal techno. From the restrained melancholy of the opener we head to "Berg", a peak time number which thumps along with a certain vorsprung durch technik before Einerlei launches the first of a duet of hypnotic, space age sequences. Trippier than an evening with Border Community in the fancy dress tent at Bestival, this one's gonna pull people deep into the music. Hold up, B-side bomb alert! "Ensnared" balances a light and airy melody with a deep and moody bassline to form the perfect basis for the yearning lyrics and cinematic strings as Einerlei marries his obvious knack behind the desk with some major songwriting chops. It falls to Kesper to close the EP out with his stripped back and melodic rework of "Berg", which tones down the peak time thump a little in favour of that 8am afterparty vibe well suited to the moment when the feeling returns to your extremities. An absolute beauty from the Leeds label intent on putting musicality ahead of big names. 


12" Info: Limited to 300 copies. Screen printed sleeve.

After recent stormers on International Feel and Gomma, Argentine producer Fernando finds himself washed up on the shores of Tsuba with three tracks of precision engineered Balearic house complete with a remix from the relentlessly brilliant Legowelt. "Sometimes" opens proceedings with a buoyant bassline, crystalline melodies and a metronomic rhythm track, propelling us into a shimmering jetwash of cinematic Italo disco and euphoric house. "Life Super 8" takes us down, down, deeper and down with its combination of thick cut off chords, KID-esque sequences and moody bass weight. This retro dancefloor beauty drives convertible down a mountain and off to the shore, where those cinematic guitars ring out clarion in the sunset. On the flipside, Legowelt enters the fray with his psychoactive rework of "Sometimes". Sending the original through his organite powered array of hissing hardware, the Dutch producer creates a forceful bit of synthetic house set inside a swirling maelstrom of reflective pads. Fernando wrestles back control for the finale, serving up a dubbed out bit of sunset disco in the form of "Creciente". Echo drenched vocals and tripped out fx weave a trippy web in the background whilst a stone bass groove and taut synths dominate the scene. An assured label debut from the Argentine producer, and a slight detour for the Tsuba camp. 

"Rob Glassett aka FOLD has been playing his trade of quality house music for over 10 years now. With a seemingly bottomless record bag, his varied and soulful sets at Panorama Bar and on NTS have seen him gain increasing recognition.
His return to ManMakeMusic sums up what he's been perfecting over these last years: timeless house music. From the disco echoes of Mr W00d to the dubbed-out thump of Keif Chugwin, this is one versatile EP which we're proud to have on the imprint."

DJ Feddback:

Ben Pearce- 5/5 -Always on heavy rotation when Fold releases tracks, these are top class!
Will Saul - 5/5- Been playing out Mr Wood in nearly every set since Rob gave me the track over the summer - absolute killer.....the rest of the EP is also ACE x
Xxxy - 5/5 - Some real quality stuff from the Foldmeister
Ben UFO- 5/5 - support
Tom Demac - 5/5
B Traits - 5/5
Jacques Renault - 4/5
Ed Billion - 5/5


Eyes Closed EP - Inc. The Revenge Remix

Frederick is the alias of a DJ and producer known for releases on labels like Local Talk and Soundofspeed. Emotive, cinematic, epic and space are some of the words used to describe his approach to deep house music production and also in his versatile DJ sets.

Most recently he has been recording for Berlin imprint Miseriedits, a blink-and-you've-probably-already-missed-it spin-off label from Ewan Pearson & Klas Lindblad and also on his dwelling-label Fifty Fathoms Deep on which he recently released his stunning debut long player 'Disruptive Pattern Material' earlier this year.

So it's time for the next chapter in the Frederick story. It all began with his opening statement in the form of an album back in March 2014 but this time he turns to the man behind the label Roar Groove to offer a different take on things… The Revenge. As we look forward to Graeme's long awaited debut album due for release in Spring 2015, here he's given us a superb sounding and intelligent take on the original… Damn… It's so good!

Whilst Sasse was mixing down the original project over at Blackhead Studio's, Berlin he sent some thoughts upon completion; "I'm in love with the tune, such a wicked song… Looking forward to hear this baby on a some good systems! This will definitely be a sunrise/sunset hit of mine". 

All-day / night cultural entertainment center and Athenian place-to-be, six d.o.g.s, comes correct with their second release: Glacial’s “Entropy EP”. Glacial are the joint project of renowned Greek techno / house producer Giorgos Lemos, known usual as Lemos; and saxophonist / experimental artist Ilan Manouach. Their debut was a self-titled LP on the Hotel Costes series, released to critical acclaim in the beginning of 2012. Ricardo Villalobos called it 'the album of his dreams'! Today, almost three years later they return - taking a more dancefloor-friendly direction, but retaining their Maurizio-style and Balkan-jazz tastes. On side A we are greeted by an epic fifteen-minute-long dub techno monster. Don’t let that sweet jazzy intro misguide you, as the track builds and builds to reach monstrous heights of energy, full screaming horns, squelchy technoid beats and forward propulsion. Side B is deeper, moody and minimal with a Villalobos-friendly groove and that cavernous, warehouse-tuned element which the recent Sylphe records have nailed down. Both moody and sexy, with that eyes-down aesthetic; when the break comes Ilan’s saxophone shines through like a blister in the sun. Voodoo techno for the dark frEaKz!


12" Info: Comes in jazzy, 'vacuum-sealed' factory snap-bag. Could be cheese, could be drugs, or just a snazzy record.

Sonar Kollektiv's Daniel Grau remix spectacular reaches its third stage with this pearling 12" featuring the production talents of British disco king Ray Mang, leaders of the new school Soul Clap and Australian newcomer Debonair. On the A-side, Mangled main man Ray Mang handcrafts a bass driven, dub disco slammer out of  Venezuelan six-piece combo Los Amigos Invisibles cover of Grau's 1980 cut "El León Bailarín”. As is standard with Mang's supreme productions, "El León Bailarín" comes correct with a deep bass groove, hypnotic keys and a whole load of funk. It's the music the most beautiful girls in town want to wiggle their hips to! On the flip, Soul Clap and Bosq turn in an anthemic disco house reshape of Grau's brand new track "To Night". Uplifting piano chords and choral vox add a celestial bent, while the killer funk breakbeat and scratchy guitar keep your feet moving. Australian Debonair comes to the party with his remix of '79 track "Atlantis", a housed up revision complete with a stellar filtered bassline, sustained strings and rattling percussion. The hits keep on coming from this Sonar Kollektiv series.

The mysterious Marquis Hawkes returns to Dixon Avenue Basement James for more raw, ghetto tactics - his last effort, "Higher Forces At Work" becoming a certified BANGER in recent months seeing numerous outings across the house music network. This EP kicks off with "Big Papa" - a bright-eyed, cheerfully tainted joint with New York flavoured pads 'n' keys complimenting a light, bouncy groove. "Acid Snowball" soon submerges us in the ways of the underground - relentless 303s and vocal 'AH's attacking the senses from all angles with a menacing intent. Of Course, no Marquis Hawkes DABJ release would be complete without the now obligatory raw, thumping ghetto track, and we reckon "Get Yo Ass Off My Grass" is the best one yet. The flanging, spring-delayed vocals ricocheting perfectly against the raw club beat. The 12" closes out with "Hold On", roping in the some of the better elements of classic garage (and an absolutely massive male vocal sample) and adding a dollop of dusty cowbell action and Hawkes' loose, sloppy drum programming. A storming effort, excellent work from the urban warrior. Don’t sleep!



Girl Unit's club-dwelling Hysterics alias makes his first appearance on the Night Slugs main series. His opening statement via "Club Constructions Vol 5" introduced a dungeon world of hydraulic rhythm tracks driven by primal exertion. "Hysterics EP" offers a first glimpse of colour from the artist (mainly oxidised bronze!). "Club Life" is built of gated amp feedback and a pummeling beat like a hardcore re-edit that rewinds on itself every 8 bars. It approximates the effect of rave, 90s tribal bangers and MAW rhythm tracks, with an added 2015 aggression inspired by the Vogue scene (apparently reciprocated, with "Club Life" receiving regular plays from MikeQ). "HTRX9" is a stuttered bass rhythm that opens up into a delirious bright pads & noise. A filter house sports theme that submerges into deep tribal house before re-emerging for an elevated final round. "Eye Mask" is heroic 8-bar filter house, the constant organic movement of the filter over the resampled chords, like slow breathing, inducing a strange and disorientating euphoria. "Empty" - the comedown from "Club Life" - closes the EP on a moment of rare afterhours poise, beautiful pianos submerged and frozen in time, steam jets filling the air and club kicks bumping. Four stone cold killers for the club, dictating the future of the soundsystem right before your very ears.

“Cry 4 U” b/w “Cry 4 U Melody” (DTR05) is the third offering of imaginary 21st century R&B group Jeedeci. As said by Benji B upon its premiere on BBC in 2012, “Real drums are back.” Jeedeci is Jeedo's intepertation of 90's classic R&B with some hip-hop slap and contemporary influences. “Cry 4 U Melody” carries his avant-garde DIRT TECH sound, while “Cry 4 U” offers a smoother touch.

The cover features works by Spanish fashion photographer Sergio del Amo and Russian model Nastya Kovaleva, and is designed and illustrated by Jeedo using mixed medium. A combination of spray paint and silkscreen on chipboard creates the final result, combining chic and street art.


7" Info: Black vinyl with kraft sleeve

Ltd 7" Info: DTR05A Vinyl Details:
. 7.5 X 9.5 Original hand silkscreened print.
. 7-inch red vinyl in a protected polyvinyl sleeve.
. Hand numbered and signed.
. Certificate of Authenticity.
. Only 65 copies available worldwide.
. Digital download card.

Clone Classic Cuts take us on a journey through time and space to early 90s New York and the hayday of the NY and NJ house scene. While heavyweight labels such as Nu Groove, Nervous, Strictly Rhythm and Henry Street hogged the limelight, Jovonn was busily working away on a small but sensational catalogue of music that somehow got overshadowed by the populist releases on those labels. The honest productions, jazzy melodies and playful vocals (rooted in gospel) transported the genre into a more musical, more spiritual place, lacking gimmicks or dispensable samples. For the real diggers, the true lovers of house music, Jovonn was always a name to watch, whose tracks combined raw energy with a sincere human touch and pure underground house vibes. Now after almost 25 years since his first release, the man's small discography on his own Goldtone label and Emotive records are collected here for the benefit of us jocks too young to have been there first time round. "Erson's Keys" and "Where Did House Go (Did Goldhouze Mix)" open the record with the timeless New York sound we all hold dear to our hearts; skipping percussion, warm and jazzy basslines and an airy and uplifting flute/synth melody soaring skywards. On the flip NYNJ sees Jovonn break out the M1, for some hands in the air organ vamps, a deep and dense bassline and euphoric strings which are certain to give you goosebumps. EP closer "Pianos Of Gold" is a, well, piano-led banger that may as well be the template for every US house rip off ever since. Jovonn's smooth vocals enter the arrangement every now and again, but it's the blissful marriage of the bassline and keys that do the damage here. Dope.

Ata Kak's cassette 'Obaa Sima' fell on deaf ears when it was self-released in Ghana and Canada in 1994. The music on the recording - an amalgam of highlife, Twi-language rap, electro-funk and disco - is presented with the passion of a Prince record and the DIY-bedroom-recording lo-fi charm of early Chicago house music. The astute self-taught song craft and visionary blend of sounds and rhythms has made the album a left-field cult favorite among adventurous listeners worldwide. Awesome Tapes From Africa founder Brian Shimkovitz found the tape in 2002 in Cape Coast, Ghana - one of only a few ever pressed - and later made it the inaugural post on the Awesome Tapes From Africa blog. Hundreds of thousands of downloads, YouTube views, music video tributes and remixes, as well as years of mystery regarding Ata Kak's whereabouts, culminate in this remastered release featuring rare photos and the full back story of one of the internet age's most enigmatic musicians.

In-Beat-Ween Music continue their series of remixes from Lay Far's much loved debut album So Many Ways with a second 12" featuring the high profile talents of Ashley Beedle, Peter Oakden & Craig Smith, Tommy Rawson and Aroop Roy. It's Ashley Beedle who calls shotgun, rewiring the vocal hook from "Yes You Can" with infectious drum breaks, mellow organic chords, piano solos and synthetic bass lines. Typical Beedle funk on this one! Fifty Fathoms Deep Label bosses Craig Smith & Peter Oakden focus on "We Are The Drum" teasing out a truly irresistible afro-influenced house groove, whilst Tommy Rawson adds some classic house flavour to "Let Me Fly Away". London-based master of reworks and a true nomadic soul, Aroop Roy instils some notable Latin spice to the Sarah Winton featuring "So Many Years" for a superb finale to this round of remixes.

Man, what's in das wasser at the moment? A new crop of German producers, headed up by Max Graef and the Box Aus Holz crew, are going against their nation's long held relationship with metronomic techno, opting instead for their own woozy take on classic US house grooves. With "The Art Of Loving", Frankfurt's Le Rubrique adds his name to that cohort, delivering a sampledelic house bomb containing three dope originals and an unexpected but trademark Ugly Drums version. The title track gets us underway with rising string samples, warm textures, woozy keyboards and delicate filter action. Intricate and mesmerising depite a heavyweight kick bump. Next up, Le Rubrique gets his collab on with a couple of deep cuts coproduced with Barcelona's BfAM and Paradice. For "Stoya", Le Rubrique and BfAM drop the pace a little, lay out a rattling percussion track and get their groove on with a superb subby bassline. Hypnotic keys and dislocated vocal samples fill the frequencies and lull you deeper the basement. On the flip, "Back To Back", a co-production with long term friend, music colleague and sound wizard Paradice, is an uptempo house monster, driven along at a peaktime pace by a rubbery bassline and taut strings. If you closed your eyes and double dropped, you could easily be forgiven for mistaking this for a classic Henry Street release. Ugly Drums' version of the main title track fits perfectly in the context of the whole EP. It gives a perfect thematic frame, reworking the original parts in a warm and organic vibe perfect for the Body & Soul crowd. Flavoured with some concise Ugly Drums moments, genially arranged cuts and a killer live bass line, this is the perfect start for a warm up set. A very classy selection on a label that's a cut above.

So what would the week be without one or two new Legowelt releases eh? But before you start your usual consumerist whining, consider this: this here selection was made by a team of experts after truly careful consideration and sonically enhanced with a plethora of experimental prototypes. It was chosen for its coherence, depth, otherwordly qualities and general PIZZAZZ. To call it a gripping, compelling, sweeping tour de force would be beyond lame right? You and me, we know better. But see how we weaseled it in here anyway with some advanced reverse psychology marketing techniques? It really is true, we know you better than you know yourselves. So if you make it a point to pick up, say, just one release per month off the top of the hipster pile, it better be this one. Just so you can tell your grandchildren you were there in the Satierian Moonrise, contemplating the Silent Sea while you vaporize the ounce of sherm you just copped from some Norwegian Crack Dealer that flew in with XYZ dig? See? that was easy. Riveting!

In 2014, ‘Damsel In Distress’ a free mixtape album created by 23 year old J’Kerian Morgan, aka Lotic, garnered universal praise from all who heard it. Consisting of all original material and mind warping edits of smash hits like ‘Drunk In Love’ by Beyonce, the mixtape was lauded as an ‘important turning point’ in regards to where electronic music could go next.

Now based in Berlin but originally from Texas, Lotic has also attracted significant buzz as a member of the Janus crew, a collective of producers and DJs who have gained a reputation for throwing some of the most forward thinking club events in Europe.

Having already been profiled in The New York Times and The Fader, as well as by countless other independent music sites, the recurring message is that Lotic is at the centre of a new scene of musicians who are pushing boundaries and creating something uncategorizable and truly unique.

‘Heterocetera’ is Lotic’s first official release since the unveiling of ‘Damsel In Distress’ and marks the producer’s debut on Tri Angle. Built on Masters At Work's influential 'Ha Dance', 'Heterocetera' takes the weird spiralling synth sound from MAW and deposits it in the centre of rhythms that sound like they've been dropped down a flight of stairs (twice!). Four tracks of experimental brain-frying beat confusion. Tomorrow's sound today!

Limited 8 track double 12" with some of the best tracks from now out of print Members Only 12" singles plus some tracks never released on vinyl previously. Compiled from cassettes and overdubbed. 


Matt says: Wow. 10 years ago it was a young me enthusiastically rushing into Picc Records in anticipation of a new Members Only record. Now it's me getting them in! We all know what happened next - Jamal Moss played Faktion Manchester, became a global underground superstar, had Wire articles written about him, and now has the rep he rightly deserves. These were some of his early tape-edit experiments inspired by the halcyon days on Ron Hardy and, for me, are still his best pieces of work to date.

Phonica's steady release of solid techno hits continues with this flawless four tracker from Slow Life mainstays S Moreira and Xinner. Based in Berlin, Slow Life is a multidisciplinary collective of Spanish and Italian creatives led by percussionist Sergio Moreira, whose production prowess first caught the ears of Phonica via a trilogy of highly impressive 12”s on the group’s Slow Life label. It seems only natural then that he should grace their label with a spellbinding journey through deep hypnotic techno, broken beats and submerged ambience. The EP opens in dense and dark fashion thanks to the quintessential Berlin cut "Communication Breakdown", an immersive twist on the dub techno formula certain to lock any crowd down into a trancelike state. Next up "Through The Rings Of Saturn" follows suit, but swaps Berlin's dub techno stylings for the intergalactic sounds of third wave Detroit, pairing syncopated rhythms with the sprawling sonics of cosmic sequences. On the flipside, "Orbiting Around" sees Moreira take his foot off the gas for a more relaxed venture into the textured world of broken beat. The celestial synths remain, but the organic sound of live drums grounds the track in an earthy realism. Last but not least, Moreira hits the remote and turns over to the Basic Channel with the wickedly dubbed out sounds of "Communication Breakdown (Space Dub)". Although he might have found himself in unusual surroundings, leaving the comfort and safety of his Slow Life community, S Moreira has released yet another refined EP of sophisticated techno sounds.

No stranger to the house scene, Kiko Navarro is a DJ and producer whose productions, remixes and edits have appeared on an impressive list of labels over many years. It makes sense then that his good friends at Local Talk have snapped him up for a solo 12", backed with a sweet Glenn Underground remix. First up is "Dope High", a raw cut, funked up and full of percussion that gets your head nodding, feet tapping and body moving. You could play this track on any sound system in the world and within 90 seconds Kenny Dope would be there smiling and making moves. On the flip there's two versions of "Nea Kameni" beginning with a revamp by Chicago house champ Glenn Underground. Glenn's early musical atmosphere was soaked in Jazz, Soul, Funk and Disco and this remix proves all that. His 'Dance Fusion' remix is incredibly tight, soulful and uplifting with sublime synth leads and the jazziest bassline this side of the Midwest. Finishing the 12" is the original mix of "Nea Kameni", an end of the night anthem with it's dramatic build up, warm bassline, percussions and beautiful synth lines. Kiko has created something that's both atmospheric and haunting at the same time. If you've ever searched for a track to play when the sun goes down, here it is...

Never On A Sunday is one of many names used by Detroit's Burden Brothers, Octave One to you and me, a project that has been running since the early 90's. Fans of Detroit Techno and House will already be familiar with the brothers output over the last 20+ years and "Day By Day" has long been at the top of the wants list for lovers of the Motor City sound since it's 1992 release on 430 West. Clocking in at six tracks and straddling a more melancholic, garage house sound than the Burden's Techno outings, "Day By Day" is an expansive journey through the full repetoire of the brothers' diverse range. From the sax and piano jamming "Jackie's Theme" and the introspective and rolling "Carnal Pleasures" through to the airy, melodic groove of "In The Breeze" featuring frequent collaborator Lisa Newberry's instantly recognizable vocals, the whole record sits perfectly as one piece with each track complimenting the other beautifully. A real treat for Detroit lovers or those who have a fond ear for the deeper and more emotive side of electronic music. Re-mastered, re-pressed and re-released in conjunction with the Burden Brothers / 430 West Records, Detroit USA.

Kai Hugo works in two guises. Palmbomen is a group-oriented collaboration suited for live dynamics and instrumentation, while Palmbomen II is geared toward solitary production with an austere toolset: classic sequencers, time-tested drum machines and their contemporary counterparts. Hugo’s foray as ‘Palmbomen II’ makes its debut on Beats In Space Records with the eponymous full-length ‘Palmbomen II’. Guided by voices hardwired into machines of house productions past, Hugo found his footing on the road most travelled by pioneering dance producers by following a spontaneous ethos to create ‘Palmbomen II’. Recorded during a summer lockdown in his mother’s attic in their hometown of Breda, The Netherlands, Hugo monastically set forth making ‘Palmbomen II’ with tools of a seemingly distant trade: machines - to program and to play - and tape - to record the results.

By reversing the perceived potential in hardware versus software production, Hugo returned to the creative core sometimes blinded by too much screen glow: make good music and the rest will follow. By virtue of Hugo’s reductive approach, ‘Palmbomen II’ is flagrant with moments that fall outside an “ideal” mix. The album is imbued with a literal human touch. One hears Hugo riding Oberheim DX faders in real time, improvising Arp 2600 patches at the turn of a track, and dripping sweat across Roland TR-909 keys. Beyond the process of ‘Palmbomen II’, the album maintains to two metaphysical atmospheres: his mother’s attic and The X-Files.A solitary binge of sorts, the 14 tracks of the album represent only a portion of the escapist trove Hugo yielded. Simultaneously, Hugo’s binge-watching of the 90s / early 00s sci-fi television show coloured characteristics in his music. ‘Palmbomen II’ possesses the qualities of an artist slowly slipping from one reality to the next, yet it welcomes listeners to experience this transcendence in tandem. By toeing the primal lines drawn in early electronic production, the base - and bass - from which Hugo explores the fringe remains musically bright and in sight.

Hotly anticipated album from Paranoid London, after a slew of sell-out (and now rather expensive) 12"s from the last few years. Repetitive, machine bass music for DJs to play loud & dancers to freak to. Featuring vocals from Mutado Pintado (NYC), Paris Brightledge (Chicago) & DJ Genesis (Detroit). Leaning heavily on the pitch-black, dirty backroom acid vibe (not your stadium filling acid-techno-bangers), Paranoid London keeps things simple in terms of instrumentation and gear used, but pushes the classic formular deep into the darkest recesses of the club. The album sounds like its been squeezed out of some gunge-soaked hardware before being left to ferment in a LSD-filled swamp. Featuring the follow up to the cultishly adored "Paris Dub 1 and 2" with, yes you've guessed it, "Paris Dub 3", firing delicate rhythmic nuances through a plethora of sizzling hot drum machine bombardment. "Lovin U (Ahh Shit)" also needs a special mention, rolling out classic emotional Chicago house in a timeless style. Rightly hyped to be a huge album, we've been hassled loads about this already. Contortionists tackle of the highest order, this is real 'Electronic Body Music'; just don't tell beatport! Move quick…


Bring / Curtains

Limited repress in stock! Randomer supplies more vacuum sealed bass fresh from the Hemlock stocks. "Bring" is an icy, straight-up wall shaker. Thin, wavering leads all pumping with air as a bit crushed 4/4 pummels the innards. Grating hats and an infectious vocal 'AH' repeat every 4 bars elevating the track into the more techno-orientated realms. "Curtains" is a dark tribal steppah, touching on similar rhythms as Shackleton's "Music For The Quiet Hour / Drawbar Organ" LP. Randomer mixes up the influences in a cold, glacial fashion, imparting an extra layer of darkness on these menacing elements. All in all, two future proof cuts for the floor, guaranteed to turn heads and crush torsos!

Max Richter

The Blue Notebooks

The Blue Notebooks was Max Richter's second solo album, a distinctive and adventurous work that is beautifully recorded and cinematic in scope. Opening with a text from Franz Kafka over a sparse piano melody, the album moves through heart-wrenching strings of “On The Nature Of Daylight” to lyrical piano pieces.

Using piano, cello, violin and viola, alongside electronic beats (made using a variety of antique electronics and Reaktor), spoken word passages and the occasional field recording (including a very realistic crow that you probably think comes from your garden); other sounds were generated via old guitar pedals and vocoders.

Siriusmo, Jan Driver and Gene Siewing on the one piece of vinyl? Aber hallo! The third release on Berlin's Intent Recordings sees two of the funkiest Germans known to man (and woman) teaming up with their favourite St. Louis export. Siriusmo brings his anarchic pop sensibilities and unique funk synth sound to the A-side cut, On My Case, a catchy- and fun-as-hell collaboration with Siewing. "You're on my case and I can't shake you off," Siewing drawls alongside 'Mo's intoxicating jazzy keys. Together, they create a song which represents exactly what the two of them have shown they are all about through their production and DJ work over the years - dance floor bombs with a mind of their own.  ‘Mo has worked with some of the best names in the biz - artists like Chromeo, Boys Noize, Captain Future and Simian Mobile Disco - and now resides on his hometown label Monkeytown. Siewing is a producer (Made To Play, Kolour Recordings, Intent Recordings), a label boss and a scratch master DJ who can jump seamlessly through his eclectic crates all night long. He was raised on the Mississippi on a diet of blues, soul and rock'n'roll - and you can hear it in his vocals here. The one and only Mr. Jan Driver delivers the flip-side. They don't call him Driver for nothing: his sound is massive, and boy, does he deliver here, dishing up a stomping remix in his unmistakable driving style. Driver's remix discography spans far and wide, working with the likes of Blaze, Laurent Garnier, Armand Van Helden and Modeselektor. His Berlin studio is built in an old army bunker. Driver took Siewing in as family when he first came to Berlin, and let him live in that studio for a few years.

Tornado Wallace

Kangaroo Ground / Ferntree Gully

Australian Tropical Funk weather system, Tornado Wallace returns to Beats In Space Records in boisterous mood with an acid-soaked two-tracker for the strobelit dancefloors. Where "Desperate Pleasures", his first EP for Beats In Space, distilled post-punk and electro influences into sun kissed sub-equatorial tones, Lewie Day's new 12" secretes lysergide and sweat from deep within a zero gravity dance bunker. "Kangaroo Ground" shares the buoyancy of its spirit animal namesake, but grinds in high-gear with a shredded 303 line and monstrous drum machine groove more akin to a possessed croc. On the flip, "Ferntree Gully" sheds its scaly acid skin for softer sines and sirens signalling Italo productions past and built to last. The bassline and sequence double up at either end of the keyboard, driving the track ever onwards, while the cosmic tones of that sine wave beam back and forth into infinity. A score to a surfer's dream wave or a runner's last stretch, "Kangaroo Ground / Ferntree Gully" ornaments Tornado Wallace's discography with another shining, kaleidoscopic sonic gem. Each 12" from Beats in Space Records features original artwork in considerate and serial form. This 12" threatens all arachnophobes in a half-mile radius care of Will Sweeney's Lite-rite tarantula. The packaging, constructed by Will Work For Good, features the signature removable vinyl BIS logo cling.


Dilate - Bonus Disc Edition

The transformation is complete. After four years of incremental musical evolution, Vessels emerge into the light with a brave and brilliant new sound, masterfully fusing the widescreen builds and elegant breakdowns of their previous work with altogether more physical electronic rhythms. With their new album 'Dilate', Vessels are firmly focused on the euphoria of the dancefloor.


2xLP Info: Includes bonus disc featuring Vessels remixes of Rival Consoles, Satelliti, Maximo Park, Pick A Piper, Torkelsen and Harry Wolfman.

Volume one of a two-volume 12" set featuring tunes from Eamon Harkin and Justin Carter's mix CD, "Weekends and Beginnings". This volume features a beatless ambient futurescape from Bass Clef ("Ghost Kicks In The Spiral") and an obscure, tough, marimba-led house banger from Nebraska ("Green Marimba"). But the real money shot however, is the long sought after Maurice Fulton remix of Alice Smith's "Love Endeavor." Maurice's remix is cut to a full side of vinyl at 45rpm and sounds truly phenomenal. A huge Electric Chair anthem; infact, when this was released in 2006 you couldn't really escape it here in Manchester! From Mint Lounge to the Music Box this euphoric soul gem soundtracked many an emotional release and dancefloor group hug in our fine city. One of Maurice's finest moments and previously fetching £50+, this is definitely worth the entrance fee alone - pure electric soul musica....Inside!


Matt says: Giving me goosebumps and rushes of joyous nostalgia, DO NOT miss this chance to own Fulton's awesome remix of Alice Smith's "Love Endeavor".

Volume two of a two-volume 12" set featuring tunes from Eamon Harkin and Justin Carter's mix CD, "Weekends and Beginnings". This volume kicks off with a Chicago-inspired house masterpiece from Ike Release, the aptly named "Phazzled". Surely a new addition into nightclub colloquial spiel ('I'm proper phazzled me mate!' or 'awww, Jeff Mills was phazzling the shit outta the decks last night'). Anyway, the track fizzes and splurts phosphorescent juices from every orifice as the classic drum boxes get to work on making the body jack. Certainly on a late night, deeper tip, and one aimed firmly at the heads. Jasper Street Company's unashamedly hands-in-the-air gospel house classic, "Solid Ground" gets a remix from Tommy Musto, keeping the church vibe intact and propelling the track forward at a fast and frenetic 125bpm. If Maurice Fulton's Alice Smith remix was the highlight of volume 1, then it's surely Motor City Drum Ensemble's remix of Caribou's "Leave House" that's gonna get people twitching on this outing. Transforming the original into a stadium-filling tech-house ripper, Caribou's arresting vocal floats effortlessly on MCDE's upfront, bubbling techy beats while eerie electronic Oboe melodies weave through the track. Absolutely massive and sure to soundtrack many a terrace / warehouse project throughout the hedonistic Summer months...

Requiem for a dreamstate. It’s possibly somewhere between heaven, hell and high water, down the Thames Delta towards Eden. It may involve techno and a distorted state or simply mates sat listening to music together, drifting on the open sea of their minds. This is Jon Hopkins’ world, not so much joining the dots as colouring the whole damn picture in.

The story arc with which Hopkins succeeded on 'Immunity' makes its appearance on Late Night Tales, with a perfectly sculpted excursion on this widescreen selection. Opening with the unreleased 'Sleepers Beat Theme' by composer Ben Lukas Boysen, ghostly pianos skip elegantly hither and thither, among rising strings, as on Darkstar’s ‘Hold Me Down’. Nils Frahm is here, his sonic palette perfect for the job, while labelmate A Winged Victory For The Sullen contribute ‘Requiem For The Static King Part I’. Sigur Ros offshoot Jónsi & Alex’s heroic ‘Daniell In The Sea’ sends us forth towards the Baltic with tears streaming.

Beats occasionally appear, as on the Grace Jones-sampling ‘Yr Love’ by Holy Other or the pair of Black Country acts Bibio and Letherette, whose ‘After Dawn’ is almost spry in comparison to the minor key symphonies on display here. The perfect contrast to this comes from Alela Diane’s wistful ‘Lady Divine’ or even Four Tet’s mesmerising ‘Gillie Amma I Love You’, with its enchanting kids’ choir. Exclusive to this release, Jon Hopkins provides a startlingly vulnerable new piano version of Yeasayer’s ‘I Remember’.

Poet and fellow Brian Eno collaborator (their joint album 'Drums Between The Bells' was released by Warp in 2011) Rick Holland narrates the exclusive spoken word closer 'I Remember', underpinned with additional sound design by Hopkins.

"Putting this album together was a unique opportunity for me to present music that I have been listening to for years, free from the constraints of a club setting or from trying to stick to one genre. I chose tracks not just because they have been important to me but because of how they sit together, putting as much thought into the transitions and overall narrative as I did into the track choices. I mixed by key and by texture more than anything else, using original sound design, pivot notes, and often recording new synth or piano parts to link things together in a way that flows as naturally as possible." - Jon Hopkins, December 2014

Armand Van Helden, Boston-born, Grammy Award-nominated DJ, producer and remixer, has spent 20 years honing a reputation as one of the most respected producers on the scene. With three official UK Number 1’s under his belt, he is a worthy choice to present the next installment of Ministry of Sound’s prized ‘Masterpiece’ series.

His trio of CDs divide up as follows: On CD1 we get a classic house selection featuring Mood II Swing, Happyhead, Sterling Void, Earth People, Logic etc. CD 2 is sub-titled 'Yacht Rock Don’t Stop' and includes Christopher Cross, Kenny Loggins, Toto, The Doobie Brothers, Chicago, Boz Scaggs end enough soft-rock to get across the Med. CD 3 gets back on the peak-time dancefloor with 'Freestyle Forever' - Stevie B, Nocera, Information Society, Debbie Deb, Lisa Lisa & Cult Jam, Joyce Sims etc. All three discs look like winners to me!

Following in the footsteps of Francois K, Jazzie B (Soul II Soul) and Fabio & Grooverider, Gilles brings a Masterpiece selection containing a typically wide ranging, devious selection that references twists and turns of Petersons career as a ground breaking, outer-national club and radio DJ. Its journey which begins at Dusk, heralds the Dawn and slips to the Twilight. Gilles' passion and enthusiasm is unfailing and deeply infectious and this is why Ministry of Sound is very proud to have him deliver a Masterpiece.

Paper Disco are back on vinyl ahead of their forthcoming Trash The Wax Vol. 2 and two totally exclusive tracks. Leon Sweet launches things with Sunny Bigler that has a Moroder style bass and plaintive male vocal designed to make grown men cry on dance floors. Italian master blaster shares the same side rocking his trademark edit chops with Games whch will only be seeing the light of day on this wax.

Turn it over and Yam Who makes an appearance with Natasha Watts and Paper tea boy Chris Massey on remix duties. It's floor heavy 4/4 disco with modern production and dynamics that will slot in to any discerning box. The second exclusive comes from Oslo young bucks De Fantastiske To who offer up a more house take on disco. Gimme Sum Dim Sum has a shuffling backbeat, lush keys and chords to give it an organic garage feel that tips a wink to the best that New York has to offer.

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