house . techno . electronica . ambient


Genre pick of the week Cover of The Paul Breitner EP by Ste Spandex Feat. Kickin' Pigeon & Metrodome.
Rothmans return with their magificent seventh release, this time paying homage to the unerringly calm and composed German playmaker Paul Breitner. It seems slightly ironic then, that the man at the helm of this release is the perennially wired, wide eyed and peaking Ste Spandex. Manchester's most prolific producer arrives at this release in fine form, fresh off the back of his remix of Coyote on ROTHMANS6, and joined by Piccadilly's own shamanic Matt 'Kickin Pigeon' Ward and sure manic Metrodome, who bring their own sensory boosts to the hardware convention.

Spandex flies solo on A1's "Ladykiller", a sprawling psychedelic house cut boasting a spangled groove and heavily dosed synthlines, which has been tried and tested in basements and attics all over Manchester. The A2 sees Spandex joined at the controls alongside feathered friend and Wet Play witch doctor Kickin' Pigeon for the non stop technoid joyride of "Fist". Possibly named after the country's leading brand of poppers, this lysergic slammer lulls you into a false sense of security with those familiar piano vamps before blowing your tiny mind with a barrage of laser fire, echo swirls and trippy sequences. Certain to leave you light headed and sore for days, this is the kind of jam that chews you up on a Saturday night and spits you out on Wednesday. After that stomach churning breakneck intensity, Spandex and Metrodome drop the pace and take you on a cosmic trip with the raw and synthetic "Drinking Petrol", a boogie tinged psychedelic taste of Manchester's after hours scene. Rattling percussion and a sludgy bassline represent for the rhythm section, while those flanged and phased leadlines wind back and forth between dimensions.

If you're wondering why this sounds completely different to everything else out there in release land, it might be because the whole EP was recorded 100% live on analogue equipment without a computer in sight. The EP finds Rothmans taking a slightly different and more up-tempo vibe but still retains the psychedelic nu-disco feel of many of their earlier releases. The best one yet I reckon!


Patrick says: Wax debut for our very own Kickin' Pigeon! Spandex, Metrodome and Pidge (aka Matt Ward) deliver the phet fuelled, psychedelic house sound of the Manchester underground. Essential tackle.

R&S are proud to introduce hugely talented new signing Alma Construct, AKA 19 year old Josh Thompson to the world for his debut self-titled EP.

From the throbbing bounce of Balearic-friendly opener 'On The Edge, Surrounded With The Shores Of Assudrey' to the menacing hum and snarl of 'Deer Drink From The River' it's clear that Alma Construct music is wildly ambitious and expressive. Taking inspiration from La Planète Sauvage a 70s stop-motion science fiction allegory by René Laloux, his music conjures up fantastical visions through caustic timbres and enigmatic melodies - on the flip 'Imagine Them's industrial beats, strobing synths and hypnotic BoC bass melody give way to Dialectic A and B - a pair of trippy, hallucinogenic audio workouts.

Thompson utilises an array of beatboxes, samplers, tape machines and guitar pedals to assemble his warm, immersive sound taking as much inspiration from his fascination with film and art as his obvious love for music.

There’s an array of styles on this debut EP and an obvious deft skill behind the machines that point to Alma Construct joining the ranks of some of the finest young producers in the UK.

Amadou & Mariam

Ce N'Est Pas Bon - JD Twitch Edit

As has now been universally scientifically accepted, JD Twitch can do no wrong, even when taking on the might of Mali's masterful Amadou & Mariam. If you've caught a few of his sets in the past couple of years (or heard Ben UFO and Midland for that matter) then you may recognise this gem from soundtracking a particularly celestial moment on the dancefloor. It's been a secret weapon for the Optimo man since 2008, and now thanks to this strictly limited 10" pressing, it can do the same for the likes of you and I. Twitch shows a subtle and well balanced touch as he adds some floor centric punch to the gorgeous music box melodies and droning guitars of the original, and tweaks to arrangement to allow the lush instrumental opening to blossom into the spiritual bliss of the vocal duet. All proceeds will once again go to the Mtandika mission in Tanzania and since this is the last Autonomous Africa release slated for this year, you'd best dig in to get your fill of the good stuff.

Fred P immerses himself further into his techno alter ego, bringing more depth and insight to the saga, using sound to transcend time and space. "Serenitatis" kicks things off in an intoxicating manner, long synth drones permeated with pumping, side-chained compression and a rumbling, rubbary kick drum rhythm. The perfect long, drawn out atmopshere which instantly transports the dancefloor into another world (or planet) and is brilliant for bridging spaces between more track-based or 'hooky' records. "Dark Population" could be one such record, with its wooden, cavernous lead motif firing up from the off. Tribal and minimalist at the same time, this one's crying out for a huge pitch black mainroom with super powered speaker stacks. As the track evolves the hook does too, growing in intensity and bounce and should see the floor unite under its mystic voodoo. "Convective Zone" concludes the set with squelchy synth elements meeting gliding basslines and rampant drum programming; again keeping things understated, sexy and sophisticated. It's Fred P alright - just not as we know him! Recommended.


Matt says: Anomaly is Fred P's dark, space-age techno alter ego and this SPM record is suitably prepared for galactic exploration.

If you heard Obsidian last year, you already understand. On his sophomore album as Baths, Will Wiesenfeld fully shed of his sonic influences with a staggering work of graveyard beauty. Contrasts to the other artists became null. Giving it a 8.6 “Best New Music,” Pitchfork hailed it as a “subversive work that gets uncomfortably close to pop, confronting closed minds with what they don’t want to believe.”

Always a gifted musician, Baths became a fully conceived artist: a songwriter of uncommon sensitivity, a whimsical and romantic spirit, and a lay-me-gently-down falsetto. Think of his Anticon EP, Ocean Death, as a companion piece—the Dia De Los Muertos to Obsidian’s Halloween. It’s title and the eponymous opening track existed before a single note of 2010’s Cerulean had been recorded. Darker in tone, they were always targeted for a sophomore album, but wound up a different cut of gem.

Ocean Death is the exquisite setting. Just five songs and a shade over 20 minutes, the idea was to avoid over-thinking. Songs were perfected not embellished. The subject matter remains dark-tinted pop. “Ocean Death” reclines in the aquatic seabed. The lyrics are simple and bleak, but the effect is celestial. The 3 a.m. introspection and heart beat pulse are almost reminiscent of Four Tet or Pantha Du Prince. The pulse is almost minimal techno, but it’s suffused with maximalist emotion.

A small part of Ocean Death was recorded in a hotel room in Spain, but it was mostly done at a friend’s home in LA, the same place where Obsidian was completed. Both records traverse similar terrain: morbid lyricism, direct vocal melodies, a felicity in subsuming electronic experiments into pop songs. It’s about death, apathy, and loneliness. It sounds like a final love letter to a chapter of life that has already ended - and maybe it has. Songs are currently being theorized for a third full-length, and the direction is vastly different.

It’s not normally in Baths’ nature to rehash old ideas. In a sense, Ocean Death was an experiment to animate these beautiful but discarded fragments. We’re lucky they survived. Baths has a rare gift for cloaking melancholy with gorgeous arrangements. The emotions are raw, but the musicianship is refined. Guitars are scraped and processed. Vocals are clipped and layered, drowned and resurrected. But what lingers are the songs themselves; ideas fully formed and immortalized, built to haunt forever.


Mini LP Info: Coloured vinyl pressing.

BE (Garth Be)

The Seven Movements - US Import Edition

In the mystical cycles of the sonic universe, every so often Manchester conjures up, seemingly from nowhere, an absolutely mind blowing LP; up there with anyone else the world over. Following in the footsteps of Moodymann's "Black Mahogany", Trus'me's "Working Nights", Floating Points' "Shadows" and more recently, Kyle Hall's "Boat Party" and llum Sphere's "Ghost's Of Them And Now", we have this expansive, full-vision of sound presented by our fair city's very own Garth Be. I don't make these comparisons lightly, but it's rare that something quite so perfect reaches our shop - and it's with great honour that I write these notes. "Marquis" opens with delightfully radiant pads and glowing licks that wrap around a bouncy, disjointed groove which Kyle Hall would be proud of. "Dreamline" retains that jazzy bounce and bright, optimistic keyboard work; joining the esteemed ranks of Vakula and all the aforementioned cats when it comes to sophisticated organic sound palettes. Then he flips the script. "Don't Want" is a PERFECTLY constructed MPC jam which should have Andres wetting his pants and Theo scratching his head. So onto the B-side and "Housekeysonbrandy" moves towards a 2AM dancefloor, rolling a tough mechanical train wreck across deep aquatic pads. The perfect pairing of hard edged tension coupled with blissful release. Smoothly inserting another smoky sample from the archives of Afro-American heritage. "Monday Club / Tuesday Nite" is possibly the elevated 'top ring of the pyramid', and aptly titled "On and On" - you won't want this beauty to end. Simple but ridiculously infectious, think "JB's Edit" on Theo’s SS001 - it really is that good. "GYB3" is the celestial workout you've been waiting for, and oh so perfectly timed! It's like Garth's some cosmic shaman, guiding us through our trip like a seasoned galactic explorer. In his own words - 'find your place in the cosmos and unwind your mind!' I felt like I'd been on a 250mics acid trip by the end of this track. Finally we have the most delectable of outro's with "Teakayo" - again working the MPC like Shane Warne works the reverse swing. Leaving you desperate for more, BE keeps things painfully tight and succinct, not a single groove on the record is wasted, and at least three of the tracks could well be extended across a whole side of a twelve inch. It's that Madlib-styled intensity which cuts each track at its very peak, keeping you riding the wave till the very end, with absolutely no room for boredom. Unrivalled.


Matt says: Anyone who's been pecking my bill recently will know how excited I've been about this dropping. The next beacon of light in Manchester's long musical heritage. **New US pressing on 180g vinyl and in hand-painted sleeve**


Ltd LP Info: *SUPER LIMITED* 300 180g, numbered copies - no repress. Individually hand painted sleeves by RICHARD HARRIS (Oi Polloi) and Garth Be. Logo design inspired by Rachel Dargave-Leafe.
More info at

The Black Madonna

Stay / Venus Requiem

The queen of the scene brings 2 tracks of gorgeous, emotional, disco-inspired deep house in the vein of her sought-after 2013 Argot release. Already getting played by Derrick Carter, Mike Servito, and more. 300 with menu attachment.

It's time to make another nightime foray into the DJ International Batcave, this time to snatch the raw, stripped back and jackin' Chi town sound of Chip E. Originally released all the way back in '85, "Jack Trax" is one of the bonafide classics from the first wave of house, laying the blueprint for many a warehouse jacker to come. The pitch shifted insanity of "It's House" sets the wheels in motion as we cut a rug to its delirious minimalist groove. Next Chip hits us with the anthemic "Time To Jack", a percolating hit of proto acid which sees the producer firing up every sample in the TR repertoire while the bassline rolls on. The flipside offers the mindbending delights of the dub mixes, which turn the o.g.'s inside out, take a hit from the sherm stick and go bananas. When you factor in a tasty drum track on the A3, and a mid tempo roller on the B3, you know you're in business with this one. Get jackin' folks!

Wild Oats presents Da Sampla's "West Side Sessions". This wonderful project is by Detroit techno legend Anthony 'Shake' Shakir. Limited to 800 copies, the release comes as a LP + 7", all with signed, stamped and screen-printed sleeves. Featuring rare, out-of-press Shakir joints and some new collaborative material between him and Kyle Hall. Rather than a full length album, the release presents a number of jams, tracks and tools in an easy to use format. A secret package of Detroit firepower if you will. "Pursuit Mix 3" and "Pursuit Mix 2" are both extended club jams which work as either tools or stand along tracks. Lots of live percussion and filter use alongside a chugging Detroit kick. Organic techno in that Shake style, which is totally in fitting with the Kyle Hall / Wild Oats ethos. "Over" on the flip uses a well known disco sample to devastating effect. Proper bumping Detroit disco-tech with rough-as-a-bear's-arse sample chopping and serious party energy! "Track Four" is just as relentless, with looping strings and a powerful kick riding a massive slapbass line and more rough cuts. The 7" is more tailored to being a DJ tool, with "GJ" and "FRCT BEAT #6" being live percussion workouts with extra effects and manipulation, with each featuring a locked groove version at the end. Perfect for 3-deck action or just adding some extra drums to some crazy acapela or summat. A real head turner in these days of laptop DJs and Serato. An exceptional release, beautifully put together and pretty limited in number - move fast if you want to snaffle a copy.


Matt says: Timely repress of this Wild Oats classic featuring the amazing Shake Shakir. Recommended if you missed it first time round.


LP Info: Limited LP + 7". Repress - this time with printed sleeves.

Candela Rising welcomes Manni Dee to the fold with 2 original tracks covering broken beats, nostalgic rave elements, industrial menace and heavy bass rhythms, all topped off with 2 remixes. "A Lover's Rhetoric" displays the kind of tough, pneumatically powered techno that's very big in Europe right now. A concentric groove lets the bass drum pistons power the machine forward with a shoulder dropped swing while electrified static elements keep us locked in till the very last beat. Ancient Methods deploys his now famous ‘pitch black techno war funk’ attitude to the track, turning it into a militant, swampy wall shaker which should turn heads across the board. "Voluptuous Surrender" cleverly unloads more concentric grooves onto our ears, this time a dark industrial whirring sound repeats at the end of each bar, desperately holding onto its audience and stopping them spinning wildly into the speaker stacks while incessant acid shots are fired at the body. Insane. New York's Shawn O'Sullivan completes the package, moonlighting here after time spent with both The Corner and L.I.E.S. His remix is a fractured, discordant affair with synthesized bell tones chiming through a thick, sludgy haze of sharp percussion snaps and blurred atmospherics. Really strong release covering the four corners of the techno dancefloors. Recommended.


Matt says: Superb techno from this feldging label

Dejay Cease / Boogienite

Grimy Trax 2

If you're going to beat 'em down, you need the right tools. On the label's second release, Grimy Trax has given you a couple hammers. The A-side, DeJay Cease's 'The Fixer' is straight Chicago. We're talking banging 909 funk that might be found buried on a particularly unhinged Ron Hardy mix. A simple bass line and two notes of acid are all it takes to make the floor go wild. This is functional heat with enough atmosphere to engage the mind, body and soul. On the B-side, rising Chicago son Boogienite proves he's earned the hype. 'Boy, OK' is an instant classic thanks to some recognisable disco strings and a funky escalator of a bassline. The producer uses a trippy, rubberband synth which eventually turns into rhythmic, teasing vocal. The mixdown is ridiculous, especially as the lengthy track passes the halfway mark. Boogie brings the bassline in and out in between beautiful ambient Rhodes keys and a call and response male and female vocal. Those strings hit again and you feel no pain.

Ekman follows up his apocalyptic release on Berceuse Heroique with another transcript from the unholy book of sonic revelations on the ever experimental Trilogy Tapes. The EP opens with the enigmatic "≥0", an unsettling combination of thudding distorted drums and fragile layers of ambient sound, before heading into tripped out territories thanks to the unhinged rhythms of the Border Community-esque techno epic "Entropy". "Dissipation" sees the producer experimenting with the form of bass music, melding its sub heavy rattle and stepping rhythm to his own dark and distorted designs. Around the halfway point Ekman brings the pain, letting the track unravel into a clattering rhythm topped by a prickly synthline. EP closer "ΔS" sees Ekman adding a little lysergic colour to the technoise palate, creating an intense and immersive acid-techno-ket-banger.

Melbourne-based producer Andras Fox (A.r.t. Wilson) creates a tactile and unique form of Antipodean boogie / synth-funk that feels equally informed by garage house and new age musical traditions. His productions sound appropriate on both the dancefloor and in the lounge, boasting a casual danceability and mood that seamlessly adapts to both environs. On 'Vibrate On Silent', Wilson creates G-funk with a surf sensibility; congas, shakers, electro-acoustic melodies coalesce with grooves, subtle hooks and a laid-back, oceanic ambience.

Wilson's arrangements are spacious and deceptively simple - layers are built up and stripped down, with the rhythm track providing a solid framework for jazzy / improvised flourishes. Opener "Ankle Snapper" begins with a politely funky bass line, adding handclaps and a casual house beat that is gradually adorned with cowbell and midi-saxophone. "Pontoon" pushes the G-funk agenda further, coming across like Dr. Dre driving top-down along the Great Ocean Road.

Elsewhere, "Driftwood" and "Mystic Beach" allude to Wilson's prior dabblings in new age. In addition to his production work, Wilson is a renowned DJ, hosting Strange Holiday on Melbourne's Triple R where he champions a diverse mix of primitive rhythms, weird disco, outsider music and other Australian rarities. He recently completed a DJ tour of UK and Europe, and now has three Boiler Room sets under his belt.


12" Info: Limited numbered edition of 1000.

EM Records delivers an excellent new addition to their 'EM Steel Pan' series from the legendary John Gibbs and the Unlimited Sound of Steel Orchestra. It's official, and of course it's excellent. Designed to whet our appetites before EM's reissue of Gibbs & Co's fine 1977 album "Steel Funk" on CD/LP, this first of two 12" singles is about to blow your socks off! "Trinidad (Disco Mix)" was originally released in 1977 as a remixed 12" single for the dance market on Gibbs' own label, in co-operation with the legendary Philly Soul producer Louis Anthony DeLise. The uplifting and explosive slice of island disco is legendary among the deep disco circles and was a favourite of Larry Levan, who always had it in his record bag for Paradise Garage play. This version is a previously unissued long version which was the basis of the 1977 remix 12". The track is approximately one minute longer than the 1977 release and this new remaster from the original tapes sounds better than ever. On the remix tip Hair Stylistics AKA, Masaya Nakahara, has totally transformed this long version into a two headed house-not-house monster, entering the Gibbs soundworld, adapting and rebuilding it for a contemporary audience. Both tracks are NOT on the upcoming EM Records album "Steel Funk", so grab the 12" while you can.

Number 3 on Ruff Draft comes from Louis Guilliaume. Having met Louis back in 2009 and followed his music since way before then, it was an exciting day when we received these tracks from him. Known more for his harder edge techno productions on labels such as Soundtravels, Bio Rhythm Holland, Teng, SD Holland and a remix on Skudge, here he edges slightly away from that heavy sound. The tracks here ('Careless', 'A Place Like This', 'Taking Over (The Sermon)' and 'Electriflying') vary from deep, groovy and meandering house to a beatless soundscape reminiscent of early Larkin and Pullen to a powerful kick drum driven sermon.

Marquis Hawkes

Maladaptive Brain Dysfunction

The Berlin based producer and DJ Marquis Hawkes is next to take the baton for Creme Organization with another of his searing EPs. Before now Hawkes, about whom little is known, has released a diverse array of rough and ready, raw and ripping tracks that range from deep house to jacking acid, weird techno to freaky electro on labels like Dixon Avenue Basement Jams and Clone Jack For Daze. First up here is 'Tunnel', a slow and lazy house cut with rubbery bass drums and sharp edged hi hats making for an inviting groove. Starry melodies unfold up top like a classic night sky and deep, spacious synths flesh out the simple but effective track. Next cut 'Prince Among Men' is a much more prickly and synapse firing affair with random hits, stuttering drums and chopped up vocal samples all chucked together into one fierce brew of soulful analogue noise. On the flip, 'Sofa Acid' is riddled with hiccupping 303 lines and proceeds at an inviting mid tempo pace, whilst closer 'October Blues' is a deconstructed house jam with rave whistles, cow bell pings, wooden hits and tinny drums all loosely glued together into a slow and sombre track that oozes a freaky late night moodiness. Overall, then, an EP that fits in perfectly with Creme and is another fine release from the man they call Marquis Hawkes.

Last year Accidental Records released ‘Herbert Complete’, a 130 track boxset featuring Herbert’s entire extensive back catalogue. It included rare and unreleased tracks from the mid 90’s right up to the critically acclaimed ‘Bodily Functions’ and ‘Scale’ albums. Though this might have felt like the closing of the doors for Matthew Herbert’s house moniker, particularly with the ever forward-thinking producer having moved onto making music out of an exploding bomb, a shopping list, a club and even a pig, this thankfully is not the end for this side of the prolific composer's output. Following last month’s release of the 4-track EP 'Part 6' comes the unsurprisingly titled 'Part 7'. Another 4 tracks of twisted club music kicking off with the R&B tilted pop chant 'Bumps' which once again featuring the vocals of Rahel from London band Hejira. Track 2 'Sucker' is reminiscent of the original 'Parts 1-5' that came out on the now defunct Phono label circa 1995, a true Herbert techno workout.

Side B of the vinyl opens with 'Get Strong' a track that Herbert has already been playing out a fair bit in his DJ sets to heavy crowd responses at the likes of Fabric and Space already this summer, the bouncy melody picking the dance floor up against a backdrop of industrial sounding bass clunks. Moving on to the closing piece of the EP comes 'Pretty Daddy', a twisted and rigorous slab of electronica to keep you awake all night.

With 'Part 7' directly following 'Part 6' (of which the first pressing of the vinyl sold out in under 2 weeks), we hope there may be more to come from the uncompromising producer yet...

Joel Hood makes escapist Friday night music heard through the haze of a foggy Monday morning. The North Yorkshireman's music transports you straight out of a cold working town and drops you into a hazy world of intercontinental sonic voyaging, taking in fragments of family holidays and adult travel adventures cut and pasted into instrumentals that evoke DJ Shadow, Twin Peaks and The Avalanches stargazing in the middle of nowhere, with Hood's voice weaving between it all.

Already profiled by the Guardian and Music Week plus picking up support from Rob Da Bank and BBC6Music, his debut EP for International Feel features four tracks of psychedelic fusion carrying hints of 80s nostalgia amidst hedonistic futurism.

Music is certainly taking Joel Hood somewhere else. in 2013 he was working for his builder dad and making music in his Ripon spare room with a borrowed drum machine, a 'crappy' keyboard and the various percussion instruments his friends brought home from their travels.

His four track debut EP exercises his love of old audio samples culled from film, radio and YouTube. Take EP track 'In Turmoil', which layers a friends road movie along the Pacific coast with his own Yellow Magic Orchestra­ style synthesizers and a slow­burn head­nod.

"We've released just about every style of music (cos we're Balearic) except dreamy pop....which of course is well Balearic, so here's Joel Hood to bliss y'all out" - Mark Barrott, International Feel founder

Holy CBGB's batman! In Flagranti return with a heady hit of unmissable New York noise featuring the musical talent of disco-not-disco legends Salvatore Principato (Liquid Liquid) and Jonny Sender (KONK). This international collaboration worked their magic in a truly modern way, with each musician submitting recording their parts in their hometown then beaming them to In Flagranti for assembly and studio wizardry. The EP opens with the angular groove of the original mix, propelled by restless percussion and a low slung groove and topped by Principato's unmistakable and idiosyncratic vocals. If you're gonna make a track with a Liquid Liquid founder, then it makes sense to enlist a member of Optimo for a remix, and so JD Twitch enters the fray to hit us with his bass heavy, space age house-not-house rerub, perfect for the leftfield dance crowd. On the flip, DFA's Whatever Whatever drop a relentless, bass driven house refit which marries a little of that early DFA magic with the bass heavy crowd rocking breaks Justin Strauss has made his own in the past couple of years. For those yearning for a little of that dark wired sound, the stripped back, avant garde brilliance of the Suicide-esque dub mix will more than suffice. Dark and playful, "High Pitch" is frowning and laughing and it’s available now.

DJ International reissue a proper rarity from their well stocked vaults in the form of label head Rocky Jones' 1987 acid epic "The Choice Of A New Generation". A1's "Choice Of Clubs" pairs a jacking rhythm track and stuttered vocal with a web of deep and immersive pads and driving sequences, foreshadowing Ron Trent's sound a few years later. "Let's Jack, Rock & Move", strips the track back and chops the arrangement down to a concise blast of dancefloor intensity. For those who dig on dubs, the oceanic depths of the B-side instrumentals will tickle your fancy, with the "Choice Of The Underground" ditching the majority of the jack in favour of added bass weight and psychedelic sampling, while "Deep Underground" heads even further into the post peak darkness. This essential cut goes for silly money on discogs, so prudent investors out there would be advised to pick up one of these remastered reissues for a fraction of the price.

The usually banging boys at LHAS Inc throw us a slight curveball with this hot shot on Rong, swapping their usual weighty acid excursions for the light and lithe tropical sway of "LA Sunrise" and "Imminent Boogie". "LA Sunrise" locks us into a lilting tropical rhythm from the off, as Felix and Jamie drop their habitual 4/4 thump for a polyrhythmic explosion of drum machine exotica, complimented perfectly by the rapid fire bassline and twinkling keyboard sequences. "LA Sunrise" might still sport the veil of the dancefloor, but there's something deeply cinematic at play too, reminiscent of Hans Zimmer before he only wrote epic scores for trashy blockbusters. On the flip, "Imminent Boogie" surfs straight into the heart of the dancefloor on wave after wave of sunkissed pad. The duo gently massage sound esoteric sounds out of a Jomox, indulge their inner Nile on the guitar, and get real nasty with a killer bassline. Don't think about it, just report straight to the dancefloor. 

Listening Center

Other Voices 02

NYC's Listening Center return to Ghost Box with another 45. The second in the Other Voices series, in which David Mason puts his analogue electronics to work on two powerfully melodic pieces. Drawing on the classic library-esque, music for schools and colleges sounds that inspired Ghost Box at its very beginnings.


Rob Manga Salawaku Slipmats

    High quality pair of anti static felt slipmats with Rob Manga Salawaku print.

    Some records are birthed through countless months or even years of studio hard yaka; drafts, followed by re-drafts, an eternal process of searching for that money shot musical moment. Then there are albums that simply pour out of the collective minds of its creators - more of a stream of consciousness and musical expressions that strategic beat creation.

    For best friends and long time collaborators Matt Edwards (aka Radio Slave) and Thomas Gandey (aka Cagedbaby). Matom began as a one off project to create an hour of music to celebrate the iconic Hansa recording studios in Berlin, a space that’s seen everyone from David Bowie and Iggy Pop to Tangerine Dream and Brian Eno.

    Says Edwards “The initial music was loosely based around the recording of David Bowie’s ‘Low’ and the works of Iggy Pop and I wanted to create these soundscapes that would allow Thomas to improvise and we managed to come up with seven songs in two days.”

    From this auspicious beginning the project continued to pick up pace and the pair soon performed in Warsaw alongside revered Kosmiche figurehead Manuel Gottsching and a few months later at the Name festival in Lille, France.

    Splitting time between Gandey’s home and studio outside Bordeaux and Edward’s studio in Kreuzberg, Berlin, the pair continued to create. The duo adopted a free-flow approach to production, with Gandey talking warmly about creating sounds for the Matom Project. They’d cook together, eat fine food, and then sit down to work on the music together.

    Gandey describes Edwards as the “master of minimal”, building up the soundscapes and beats before Thomas filled out the compositions with various keyboards from his collection including a Fender Rhodes, Moog Voyager, Clavia Nords, Roland Drum Machines and live percussion and finally another collaborator Paul Sandrone would improvise on guitar at the final stages of production.

    The entire essence of Matom’s sounds is based around live takes and recorded snippets of conversations and ambiences from their tours, with no MIDI or samples so when they joined the line up for the Pyramids of Mars label showcase at Berghain’s Kantine it was a seamless transition from studio to stage. Their last gig was once again for the Red Bull Music Academy in Miami WMC 2014 to perform the finished album for the people who first inspired and supported the project.

    And so Matom’s ‘Love Mistakes’ is signed sealed and delivered, a work Gandey describes as “a culmination of our combined skills and reflecting its contrasting environments, a dualism between the cosmic serenity of the vineyards in his south of France retreat and the gritty urban cityscapes of Berlin’s bohemia.”

    The Messenger (Todd Edwards)

    Guide My Soul

    Four tracks of classic 1993 Nervous NYC garage house from the mighty Todd Edwards under The Messenger moniker.

    If you're a fan of his work (and let's face it, who isn't?), you'll love this; It's full of soulful groove, jazz licks, tough skippy drums and Edwards’ trademark spliced up vocal samples, this release does not disappoint.

    “Guide My Soul” opens the EP and can't fail to put a smile on your face or feet on the floor - funky, skippy and soulful, it's a killer. Dropping jazz touches and working the room is 'So Real'. 'End This Hate' cuts up uplifting, positive vox over a stripped-back funky swing featuring biscuit tin snare snaps, rim shots and compressed keyboard lines. 'Main Vibe' is even more crisp and compact. You can hear the roots of UKG all the way through this EP - it's 100% quality.

    Remastered from the original DAT and repressed in conjunction with Nervous with love for all the house heads and garage freaks.

    Model 500

    The Passage - Clear Vinyl Edition

    Apollo come correct with a sweet treat for all the true techno heads out there courtesy of this gorgeous clear vinyl reissue of Model 500's "The Passage". Originally released in 1992, this three tracker of intergalactic delights stands up as some of Juan Atkins' finest and most under rated work. The title track opens the EP with zero gravity sequences and a snapping electro rhythm before Juan shows a subtle touch thanks to a restrained sub bassline and the occasional breakbeat blast. Perfectly constructed techno whether you're upright or horizontal. The mood gets darker and more intense on the flip, as Juan delivers the paranoid melodies and menacing bass of "Mind Changes", a constantly evolving salvo of metallic Detroit techno. As you'd expect from the title, "Vessels in Distress" is a galactic ghost beamed back from the Event Horizon. A bass pulse combines perfectly with interlocking sequences as Juan jettisons us into deep space forever. Re-mastered by Matt Colton, these three techno killers sound better than they ever have, so don't miss out.

    Mr Assister

    Bala / Reggae Drums

    Mr Assister - more commonly known as the drummer that James Blake sings for - unleashes his debut double B-side release on 1-800-DINOSAUR, the London based label and club-night of which he is a founding member. The seismic lead track "Bala" has received rapturous feedback from the likes of Jamie xx, JD Twitch, Martyn, Gilles Peterson and Pearson Sound and was made on a laptop in Mr A's kitchen without much knowledge of the software he was using at the time. Emerging from a polyrhythmic drum beat. the cascading beauty of thumb piano tops a simple and subby bassline as Mr Assister clashes cultures brilliantly. If you've dug on those Autonomous Africa releases, then this is gonna make you flip your lid. Prior to "Bala" he came up with the deeper, driving house workout "Reggae Drums" on the tour bus, using samples of drums from reggae songs. A warm bassline and melancholic pads combine for a teasing deep house groove, but it's the polyrhthmic brilliance of the percussion that sets this one in a class of its own. If you're looking for that special something for your set then look no further.

    Golf Channel pull off a major coup with the debut vinyl release from New Jersey born New Yorker Dan Selzer under the New York Endless moniker. For those out the loop on this one, Dan's thrown parties across the Big Apple for the past 20 years, playing disco in Brooklyn lofts, post punk and new wave with The Rapture, all kinds of kosmiche weirdness with Mike Simonetti and blunted house with the Lectric Sands crew. Add in to that intimidating track record that this is the cat who runs the essential post-punk reissue imprint Acute Records and it's obvious we're talking about an OG of the highest order. And now, one of the world's more diverse disc jockeys makes his studio debut with three kaleidoscopic cuts reflecting his various influences. Techno, house, Italo, new wave, cosmic, kosmiche, Kraut and minimalist all get refracted through Selzer's prismic mind and come out the other side in healing frequencies of synthesizer joy. The brilliantly titled "Consultant's Agreement" kicks things off in serialist fashion, with a cyclical introduction Philip Glass would be proud of. Soon enough skipping house drums and pure kosmiche synthlines weave a spell over those crystalline sequences taking your mind for a wander. From the celestial heights of the opener, we make the transition to the more earthy "Scale Those Heights", a driving hybrid of Italo and new wave which gradually makes the glorious transistion from minor key to major key as those analogue keys get you peakin! Flip the disc and Selzer hits yer with the pulsing, glistening, arpeggiated brilliance of his krautrock hymnal "Benefits Arrive, Life Goes On". The New Yorker packs this number with arms aloft 'sun-through-the-clouds' moments and lush melodies, building from a bass led sequencer groove into a sunset Balearic bomb (in the "E2-E4" sense at least!). A superb debut and another total blinder from Phil South's Golf Channel. 

    Richard Norris

    Freaks / Yeah - Inc. Hardway Bros / Brioski / Ivan Smagghe Remixes

    While many labels take it easy during the summer, lounging by the pool and getting a tan, Throne of Blood are doubling down with the soundtrack to a heavy night bathed only in strobe lights. For the label's latest release, the aptly named “Freaks” / ”Yeah” EP they’ve recruited UK legend Richard Norris to lead their latest foray into the darkest and sweatiest corners of the weekend.

    Best known for his contributions to storied projects like Beyond The Wizard’s Sleeve (with Erol Alkan) and the Grid (with Dave Ball), to say nothing of his cosmic disco project, The Time And Space Machine, Norris here is sailing alias-free for the very first time.

    As efficient as they are simple, the aptly named “Freaks” and “Yeah” are to the point, post midnight analogue jams, what Norris calls basement filth. Three superb remixes complete the EP: The Hardway Bros make their second appearance on TOB with a storming version of “Freaks”, dragging the original into Belgian new beat territory. Boot & Tax’s Brioski also reworks “Yeah” into a shuddering polyrhythmic chugger. Rounding out the EP is Ivan Smagghe, who turns in a mind-bending 8 minute version of “Freaks” that trades much of Norris’s signature filth for 60s-era organs and hair grease

    Massimiliano Pagliara

    With One Another

      Massimiliano Pagliara, originally from Lecce, Italy, now Berliner of choice, is an orchestrator of a warm bassline-sound accompanied with rich melodies - due to a deep love to vintage drum machines and synthesizers - takes Ramona on a journey through the colourful depths of his new album 'With One Another' - follow-up of his debut album 'Focus Of Infinity', released in 2011.

      'With One Another' shares the joy of Massimiliano's trademark sound influenced by underground-disco of the 70s and new-wave of the early 80s. Starting from this point, he took a hand full of close friends along with him on a ride through his musical garden - reaching from Italo-induced disco smashers over to acid dripping floor fillers to charming proto-house.

      Features contributions from Telephones, Mavin, Credit 00, nd_baumecker, Lee Douglas, Benedikt Frey and more).

      Capital Bass continue to offer an insight into Moscow's booming bass music scene with another release from a rising local talent. After the wall shaking success of Formally Unknown's "Untitled EP", Capital Bass drop another tough as nails, bottom heavy package from close label friend and Red Bull Music Academy Moscow graduate Pak0. Based in the Arkhangelsk, North Russia (home of one of the best levels in Goldeneye) the young producer has consistently focused his productions towards the more weighty strands of dance music, shifting through experimentation with techno, garage and drum 'n bass. This tonking two tracker on Capital Bass gets nasty from the off with the subby and dubby thump of "Legacy", a cavernous bass techno hybrid boasting Basic Channel stabs, rhythmic rattle and seismic bass power. Flip the disc and Pak0 hits us with a different kettle of caviar thanks to the jazzy groove of "Work It Out". This breakbeat fuelled nodder combines concrete kicks and brash hats with a jutting piano riff that shifts your focus throughout. With a busy schedule including shows with the likes of Zed Bias and Lokiboi, progress shows no sign of slowing for Pak0 and propelled by their 5th release it's fair to say the same applies to Capital Bass.

      Huge reissue from Steve Poindexter's back catalogue circa 1991. All SIX tracks are fully remastered for 2014 and re-released with authentic replica label artwork. Released in conjunction with Steve Poindexter / Chicago Underground. If you want to shell out on an original, Discogs prices are $100+, but I bet they won't sound as good as this brand spanking new version, as those early pressings had loads of faults. So, on the platter we have 'Happy Stick', 'Destiny', 'Mental Problems', 'State Of Shock', 'Mental Problems' and 'Night Flight'. More Chi-Town house sounds than you can shake a stick at.

      With a bountiful career of singles and EP releases, alongside a host of collaborative and solo monikers spanning a staggering fifteen years, The Revenge is preparing to release his first solo full length LP next year. The first release from the full length LP is three tracker "Incredible Shellsuit". Naturally popping on his own imprint Roar Groove, here we have a proud hat trick of infectious and refreshing grooves that have become a trademark for the Scottish Producer/DJ. "Incredible Shellsuit"s up tempo blend of house and disco is an apt beginning for this newest venture, as the producer provides the sound he’s traditionally famed for whilst still creating a new and forward-thinking composition. Breathable nylon to one side, here we have The Revenge’s signature sharp studio output where every sample and key drapes and falls into that precise arrangement we’ve come to trust from him. Next, "Los Angeles Times" displays a darker side, comprised of looped vocals and synths that build to a growling apex, bubbling with atmospheric intensity. "Vorderman" rounds off the release with a stripped down groove and raw percussion that confirms that less can certainly be more. The track ends with a steady rumble of thunder reminding us that this is just the beginning of this new venture.

      The Rhythm Odyssey & Dr Dunks

      Broken Drums / Super Chips

      After smashing plenty of systems woldwide with "Saffron" and "Fox", the dynamic duo of Eric Duncan and Dean Meredith return to unleash another double headed monster that's gonna detonate the dancefloor. On the A-side, "Broken Drums" sees the duo turn out a heads down floor driver of the highest order. An almost progressive keyboard sequence and solid 4/4 at the heart of the track power your body forward, augmented by the rumble and tumble of 808 toms, a phat boogie flavoured bassline and a funky pitch bent synth. It sounds like Duncs and Dean were on the lash in New Jersey one night, happened across Metro Area's studio and decided to smash out some techno. Let's face it, this one has you hooked well before that massive proto-house vocal comes in! On the flip, "Super Chips" is a deft combination of mid-tempo electro-funk groove, Carpenteresque gloom and freestyle boom. Imagine World Premiere's "Share The Night" and Rockers Revenge's "Dubbing On Sunshine" circled by a sweaty throng, settling their differences with an intense dance off. The "808 Mix" strips the original mix down to the bone replacing some of the synthetic flavour with added rhythmic drive. More dopeness from the GC massive.

      Rival Consoles


        Ryan Lee West aka Rival Consoles reinforces his unique style of minimal electronic arrangements with a new 6-track EP .

        Continuing on from his Odyssey EP released in 2013, Ryan Lee West aka Rival Consoles creates atmosphere and space whilst exploring waves of sound and rhythm, and the power of colour. With Sonne Ryan creates music to structure itself around a pulse, rather than the pulse being the defining point.

        The title track begins with “a very subtle set of melodies that repeat almost without confidence, and then gradually give way to a huge collage of colour and power”, as Ryan describes it. Not relying on a conventional beat, it’s a prime example of how an analogue synthesiser can create the power and momentum of a rhythm section. From the distorted waves in 3 Chords, growing and shrinking, to the rhythmic waves of constant speeding up and then slowing down in Recovery, it’s the Moog Voyager, Prophet and tape delay that make up the core sound of the EP. Whilst tracks like Helios, Haunt and Think Tank see West play live drums and acoustic guitar.

        “I’m often looking at art in exhibitions and I always think to myself ‘why the hell don’t I have this much colour in my work?’ The answer in part I think is down to synthesis. It is very difficult to create colour without it sounding plastic. Colour in music is both the note combinations and the actual timbre of the sounds. There are lots of instances of very colourful ambient sounds, which I took great care to create for each song, using various methods – from passing analogue synths through chains of effects to chopping up random sequences of recordings and forming tiny collages." – Ryan Lee West

        Resembling the colour and vibrancy in his music, the cover art was created by South London artist Supermundane, who was also responsible for the artwork of the Odyssey EP.

        After supporting Luke Abbott on his recent UK tour and I Break Horses on their North American tour in spring, Ryan will debut his new live set with a special release show in London, followed by a string of West Coast U.S. dates culminating in Decibel Festival.

        Some might be surprised that London based electronic producer Ryan Lee West, the man behind Rival Consoles, shares a home with contemporary classical composers such as Nils Frahm, Ólafur Arnalds and Peter Broderick. And yet they have a lot more in common than expected. Fascinated by sound from an early age, Ryan chose to dedicate his time to studying, experimenting with and producing sound graduating from De Montfort University in Leicester. One consistent element in his musical journey has been his desire to create a more organic, humanised sound. Ryan often drafts early ideas on piano, violin and guitar, although the end result is much more electronic-laden. As an accomplished sound designer he has repeatedly performed at the Tate, and recently created a bespoke audio-visual performance for Boiler Room at the V&A. Ryan is currently composing music for a BBC production.

        Aria Rostami's "Czarat EP" is Spring Theory's sophomore release. With Avalon Emerson's "Church Of SoMa" having soundtracked many a dance throughout the Summer, I was very excited to see the label's next foot forward. The San Francisco-based musician's roots extend off into theoretical dimensions far beyond conventional dancefloor fodder (his material has appeared on labels like Audiobulb and Crash Symbols). For "Czarat", however, he's honed his approach to produce an unusual dancefloor anthem. Melding influences from around the world, the song arrives at something that sounds like acid house and techno as interpreted through an internet-enabled, information rich dialog of the present moment. Glitches permeate through a thick stream of sound while a spectral, AFX-inspired beat skits along nicely. Unique; good. Secret Circuit's 'Acid Dub' remix sends the OG spiraling off into the cosmos with circular arpeggios and sweeping white noise elevating the floor to dizzying heights. "Vietnamoses" concludes with yet more aciieeed. A heavy 303 assault combined with soulful piano refrains, lush strings and a sympathetic, well executed arrangements. Solid second release from this label and another one set to sell out quickly. Move quick!

        To paraphrase the late great Jimi Hendrix, excuse me while I shit my pants! Berlin's sonic militant Shapednoise pops up on Russian Torrent Versions with a blistering, brutalising bitchslap of distorted electronics that'll have the weak-willed cowering in the corner. "The Existence Of A Vital Reality" is an aggressive noise assault punctuated by the occasional blast of rhythm, while "Phase" is a hard as nails techno workout topped with plenty of thunder and lightning. On the flipside "Illumination" puts us in the midst of a breached space cruiser, taking cover as the fire doors malfunction venting black smoke into the atmosphere. On EP clsoer "Distorted Vision", Shapednoise burries a skitterish drum rhythm beneath a fuck-tonne of sonic rubble and rumble, laying waste to any system you'd care to hear it on. Abrasive and extreme, this shit's not for the faint hearted.

        Four peak-timers from the masters of bang! Including a special club edit of the popular "Rawhide" - a growling beast of a track which deploys helicopter blade hats and monstrous weight to Sims' delectable groove. "Strike 2" lashes us with more sharp hats while a nagging circuit-bent lead / bass line hybrid weaves its way quickly and effectively through the mix. Sims works the low pass filter well and deploys a glitching, head twisting breakdown from deep inside the mainframe before firing up the pistons again for the final charge. Uncompromising. Degiorgio's "Dread" appears on vinyl for the first time after its inclusion on Sims' Fabric Mix CD. Dark and rumbling, with on-the-one hand claps coupled with Millsian hats and leads; you'll come too at some point around 5AM, hugging the speaker stacks unbeknownst, covered in a cloud of smoke with this one banging away in the background. Ace. "Dark Fire" shows no let up on the darkness either, with Degiorgio barraging us with 303 fire, rattling snares and a Joey Beltram-inspired bottom end. Great stuff!

        No sleep for those guys at Shabby Doll Records. Not long since Nail's Lost Trax 1997 sold out shortly after going on sale, and they now drop SHB014.

        This time Shabby Doll bring a killer package from two of the most highly respected men in house music today - South West Seven. South West Seven are Montel and Sean Grieve.

        These guys have a track record to die for: Their collab label Seven Music has released tracks from the likes of COEO, Rhythm Operator, Giovanni Damico, Death On The Balcony and of course the man Montel himself. As a production duo, they've released on labels Kolour Ltd, On The Prowl, Sccucci Manucci, Carry On, and Solardisco.

        But when Shabby Doll came calling, shit got serious. The result was three shimmering new cuts, on yellow vinyl no less.

        The four track 'BT1' EP ('Angel', 'You Don't Know', 'Vaporise') is strong. And just when you thought it couldn't get any better, along comes Shabby Doll favourite, Quell on the remix of 'Angel'. Angelic. 


        Spiral Slipmat

          Pair of high quality felt slipmats featuring spiral Technics logo spiralling round into the centre. Hypnotic while spinning on the deck!

          In 2013 Tornado Wallace touched down at the ESP Institute with his 'Thinking Allowed' EP, a slab of wax that proved pivotal in his musical aesthetic, beautifully complimenting our catalogue. He ups the ante further with 'Circadia', his second three-track EP that riffs on ESP themes whilst sophisticatedly amplifying their character. The title track lays trance-like arpeggiated vocals over thunderous tropical toms, opening up into an epic group chant. 'Time Of Nectar' coasts along, blanketing us with soft pads and soothing pan pipes before Jonny Nash's palm-muted Stratocaster makes its cameo. The essential Baearic-house jam on the B-side, 'Soft Light', will no doubt pump its way through dancefloors this autumn. Don't sleep!

          1210 Apparel

          Musical Roots T-shirt - Black

            DMC t-shirts always stand out from the crowd and this particular design called musical roots is a real head turner and conversation starter.

            This awesome design showcases over 150 different music genres from rock to soul, jazz to funk, hip hop to be bop and many, many more that also include ska, electro, breakbeat, lo-fi, acid house, indie, country and northern soul and many more.

            This stylish t-shirt is made of 100 percent premium cotton for complete comfort and softness.

            Luxuriously soft and lightweight premium T-shirt
            Regular fit
            100% Cotton
            Machine wash 30c, wash with similar colours. do not iron printed area.

            ‘Punish, Honey’, the follow up to Vessel’s critically acclaimed debut album ‘Order Of Noise’, finds the always unpredictable Bristol-based producer continuing to challenge himself and listeners alike.

            Wishing to move away from working with archetypal electronic sounds, with ‘Punish, Honey’ Vessel sought to create something that felt more organic, even if the sounds themselves didn’t always feel inherently organic. That lessening interest in electronic sounds was concurrent with a burgeoning interest in natural sounds, in particular how the physical body has a direct effect on the nature of the sound, whether it be harsh or pure, messy, violent, seductive, or strange.

            Using sheets of metal as percussion, sawing up bikes to make flutes and creating harmonic guitars all by his downhand, Vessel created his own set of crude instrumentation exclusively for this record.

            Combined with an interest in notions of national identity - Vessel asking himself the question “What does ‘Englishness’ in music really mean?” - ‘Punish, Honey’ is an uncompromising and dizzying experience. Traversing the queasy glam stomp of ‘Red Sex’, the chugging, cinematic soundscapes of ‘Anima’ and the medieval industrial tones of ‘Euoi’, ‘Punish, Honey’ is the byproduct of an artist striving to create his own unique lane.

            Christopher Willits


            "For years, I’ve imagined the work I do in music, photography, and video all coming into one space," says music-tech guru Christopher Willits from his home in San Francisco. It's an ambition that many musicians have aspired to, but nonetheless seems especially befitting of a worldly polymath like Willits. "I believe that sound and light, when used intentionally, have the power to transform and inspire our imaginations," he continues. "I believe that art has an ability to awaken our connection to everything." And that is exactly what he has set out to do with 'Opening', the veteran Ghostly artist's immersive new audio-visual project.

            Across seven tracks of widescreen ambient music, 45 minutes of visuals shot over four years in multiple countries, seven bespoke photographs, and a multi-sensory live performance, Willits has conceived and produced something which might better be thought of as an experience than a simple album. Of course, 'Opening' does feature Willits' latest music since Ancient Future, his 2012 collaboration with Japanese pianist Ryuichi Sakamoto, and the vibrant, enveloping sounds we've come to expect from him are on full display. The quiet majesty of "Vision" ushers us into the sacred world Willits created, a living universe which billows and heaves in the corners of slow-grooving songs like "Clear " and "Connect " or the textural minutiae and harmonic subtleties in "Ground ". Closing out the album, "Wide" and "Release" o!er the listener a gentle comedown through 15 cumulative minutes of transcendent audio, with Willits' delicate guitar manipulations breathing life into the aether of prickly atmospheres and soft-glowing synths.

            The Wire

            Issue 368 - October 2014

              Robert Fripp
              The King Crimson guitarist talks to Mike Barnes about the ongoing saga of the reformed group and the legacy of their vast archives

              Margaret Chardiet’s miseducation in the New York noise scene has birthed an album of visceral electronic music. By David Keenan

              Bruce Lacey
              Shaped in the crucible of 1960s London, this master inventor’s films, music and curious constructions still play by their own rules. By Julian Cowley

              Mdou Moctar
              The Tuareg singer and guitarist adds film star to his CV. By Jennifer Lucy Allan

              Looking For The Perfect Beat
              A day in the life of the LA beat scene. By Jack Law

              Jeremiah Cymerman
              The New York improvisor keeps conversation flowing with his 5049 podcast. By Bill Meyer

              Gazelle Twin
              Elizabeth Bernholz spills her guts about new album Unflesh. By Adam Harper

              Global Ear - Darmstadt
              The modernist new music insitution enters a new era. By Christopher Fox

              Cross Platform - Adam Bohman
              The detritus of everyday life inspires the surreal sonic and visual collages of the London artist. By Daniel Spicer

              Invisible Jukebox - Grumbling Fur
              The psychedelic duo seek a portal into The Wire’s mystery record selection. Tested by Joseph Stannard

              The Inner Sleeve
              Steve Gunn on Bobby Brown’s The Enlightening Beam Of Axonda

              John Cale in an Auckland pub has Peter Jefferies beginning to see the light

              Print Run
              Dance Of Death: The Life Of John Fahey, American Guitarist by Steve Lowenthal
              A Moment Worth Waiting For by Kevin Pearce
              Free Jazz And Improvisation On Vinyl 1965–1985: A Guide To 60 Independent Labels by Johannes Rød
              A Little History: Nick Cave & Cohorts, 1981–2013 by Bleddyn Butcher

              On Screen
              Charles Lloyd: Arrows Into Infinity DVD Finding Fela Film

              On Site
              Experimental Sound Art workshop, London, UK

              On Location
              Sun Ra Arkestra, London, UK
              TÖNE, Chatham and Gillingham, UK
              Jazz Em Agosto, Lisbon, Portugal
              Supernormal, Ipsden, UK
              A Concert Of Musical Metacreation, London, UK
              Échos, Le Saix, France
              Winning Sperm Party Summer Festival, Glasgow, UK

              Paul Woolford

              Untitled / Overload

                Extremely limited pressing. Fresh from producing an impeccable run of singles under his Special Request guise, Paul Woolford returns to the Hotflush camp on ferocious form, providing two spectrum-spanning cuts, one of which has already been certified as a bona fide Ibiza anthem. That honour belongs to the A-side’s ‘Untitled’, which has garnered fervent support from the likes of Joy Orbison, Midland and Ben UFO, and has been named the track of the summer by the folks behind We Love @ Space. Its compelling groove lays a foundation on which Woolford balances a timeless piano line, thumping bass stabs and the kind of infectious refrain that’s come to define the label’s exuberant output of late. On the flip, the vinyl-only track ‘Overload’ is a different beast altogether, displaying his technical expertise to meld a barrage of throbbing toms, militant kick drums and sparse breaks, that further draw upon the influence of jungle and techno which has proved so fruitful for him of late, whilst harking back to the tense, hybrid excursions that litter the label’s back catalogue.

                The Young Gentlemen's Adventure Society / Parada 88

                Adventure Party / You're Gonna Miss Me

                *180 gram pressing* Original white label pressings of these cuts go for silly money on Discogs! Both records in their original incarnations caused a riot amongst disco vinyl junkies. Notably an actual riot in a Japanese store when the 30 limited and hand-stamped copies of Parada 88 went on sale!

                As if International Feel owed us any more this summer, the label re-releases these two stone cold killer club tunes - now back to back on one 12".

                The Young Gentlemen's Adventure Society meet once a month inside a vault in a disused furniture warehouse to discuss boxing, and the rediscovery of Conan Doyle's Lost World. Their 'Adventure Party' track reinvents 90s style bass-heavy acidic progressive house (think Cowboy Records etc) for today's dancefloor. Parada 88 have long disappeared inside the world's largest recorded disco ball leaving behind just one nugget of dancefloor gold and no note. 'You're Gonna Miss Me' remakes Turntable Orchestra's classic house cut in a hands-aloft Balearic-friendly piano house stylee.

                Leading UK music website Dummy present an album of the hottest new artists for 2014/15. Vinyl + CD edition limited to 500 copies only. Features 12 exclusive tracks only available on this compilation.

                Dummy is an online magazine dedicated to discovering and supporting the best new music from around the globe. Dummy was started by Paul Benney and John Burgess who were the founders of 90s electronic dance music and club culture magazine Jockey Slut. After Jockey Slut closed in 2004 Paul and John decided to start a new magazine that took Jockey Slut’s passion for new music and move it forwards while retaining the important elements of any decent magazine - great writing, photography and design. After seven glorious print issues they decided that, much as they loved print magazines, the most exciting publishing arena was now the internet and in 2009 Dummy launched properly online.

                They believe that music can and should be brave, fun and clever. Surprising sounds come from the top of the charts and the furthest reaches of the underground. The great artists of now are just as likely to sell out arenas as they are to compose alone in their bedrooms.

                FORMAT INFORMATION

                2xLtd LP Info: Limited edition includes free Dummy deluxe tote bag (it's got a gusset for fitting in those extra tunes).

                To accompany the release of Emotional Especial's compilation mix CD, "Eleccio" ( which offers of a snapshot of the first 9 EPs on the label), they drop this limited edition sampler EP featuring 4 unreleased remixes from the label's roster.

                Ever since the first white labels appeared at the end of Summer 2013, (Emotional) Especial has had a busy release schedule, putting out 12"s that offer a slightly warped take on club music. Mixing the influences of dub, electro, disco, proto-house, house and techno has created a feeling, a sound, a vibe that has appeared without any preordained plan. With the release of EES10CD - a DJ meets studio compilation mix created by label mainstay and handyman, Jamie Paton - to mark the end of first series of the label, it was decided to included a couple of special unreleased remixes to add a bit of new with the old in the mix. To that end this limited edition vinyl sampler was created to include the two remixes, plus another two gems that simply needed to see the light of day.

                First is the alternative 'Member' remix of Inhalt 'Occupations' by Black Merlin - a strings meets leather bar club-dub-out that takes things deeper and darker than before. This is followed by Jamie delivering his own take of Khidja's massive 'Mustafa', with a warped, swamped out dub. Next is another mix from Cage & Aviary of their pals, Blancemange. A brooding low-slung rerub dub of 'The Western' anyone? Finally there is a very special remix by Khidja of The Ganges Orchestra's 'The Calling'. Released on Emotional Rescue in 2013, this special remix takes the vocal mantra of the original and creates a Balearic-raga tale that perfectly rounds off Especial to date.

                (Emotional) Especial looks back at the first nine releases since the label's inception to provide a selection via this special dubbed-out DJ-meets-studio mix from label stalwart Jamie Paton.

                Ever since the first white labels appeared at the end of Summer 2013, (Emotional) Especial has had a busy release schedule, putting out 12"s that offer a slightly warped take on club music. Mixing the influences of dub, electro, disco, proto-house, house and techno has created a feeling, a sound, a vibe that has appeared without any preordained plan. To celebrate the end of the first series of 12"s releases comes this ace mix CD. Featuring tracks from every EP, including two unreleased remixes are the tight productions of Richard Sen; the wiggle of Scott Fraser; deep, chugging Cage & Aviary dubs; the Eastern influences of Baris K and newcomers Khidja; the quirky discoid wonk of Maurice & Charles and finally not forgetting of course, the stand out Timothy J Fairplay touches. All this is perfectly mixed together by Jamie Paton, the man who launched the label with his 'Bizarre Feeling EP'. As well as the inclusion of several unreleased cuts, Jamie has edited the selection, adding live studio dubbing, FX and the odd megamix to make it truly (E)special.

                La Escollera is a wonderful family-run restaurant on Es Cavallet beach, in the middle of the Ses Salines natural reserve. This breathtakingly beautiful stretch of coast is bordered by a small pine forest just past the salt lakes that give neighbouring Las Salinas beach its name. A short walk around the tip of the coast reveals deserted, untouched rocky outcrops with secluded caves, and none of the seaweed that swamps other sections of the coastline. This is the other side of Ibiza, the side that rarely courts the press but makes the island one of the most beautiful places in the world.

                La Escollera is owned by Dani González, the son of the Spanish actor Gaspar 'Indio' González, who has been serving delicious food on the island for the past two decades.

                Gavin Kendrick has been playing on the terrace which is at the side of the restaurant for several summers, and the space allows him to spin jazz, folk, rare groove, hip hop, house and soul, to quote him; 'this special time on the island is perfect for really getting inside your music collection, airing the B-sides and album tracks that rarely otherwise get their chance to shine'.

                NuNorthern Soul label owner 'Phat' Phil Cooper, no stranger to Ibiza, was invited to play the festive season of 2013 / 2014 and immediately fell in love with the venue and the fact he could play across the board, delving deep into his collection of rare and wonderful music picked up from years of extensive travelling.

                For this double disc compilation, the two DJs get a disc each to showcase some favourites from La Escollera terrace. The set includes tracks and mixes from Ron Basejam, Smith & Mudd, Marcos Valle, BJ Smith, Mo Kolours, Steve Cobby, Andras Fox, Elephant, The Decoders, Xantone Blacq, Michael Boothman, Uku Kuut, Headland plus more.

                We live in hectic, turbulent times. It seems reasonable to slow things bit down. In fact: slow house down to what Compost are calling "Slouse" (geddit). Implying down to earth club music under 116 beats per minute.

                Rainer Trueby selected some of his favourite slo-mo house cuts for the comp, including the rare Maurice Fulton remix of Alice Smith's "Love Endeavor“, in demand tunes like S3A "Deep Mood Act2“ or Ron Deacon’s "Untitled“, and amazing discoveries like Moonstarr's 'C-Minus Particles'. It’s a full palette of slo-mo house flavors and moods as Rainer Trueby takes us on a magical trip into his imagination of Slouse. The result is a future classic compilation with melodic and groovy masterpieces, made for your home / garden / car / club listening pleasure. It works for the happy hour as well as after hours.

                Blind Jacks take us on another Tripp... A journey or dreams from Dandenong to Lacanau, Xarraca and Lendelede. Secret sounds designed for mind adventure. Blind Jack's Journey is the next stage in the evolution of sound from the same crew that brought you Crow Castle Cuts and Dream House. Born out of the Welsh countryside and a pure free party spirit, but fast becoming the most unique and exciting sounds to come from the UK underground. Dreamy, electrified textures with a coastal, almost Balearic slant before firing us deep inside the wormhole with twanging synthlines, rubber band bass and the most celestial sonics I've heard since Red Planet! Releases sell out fast and fetch big bucks on the 'cogs - you know why? Cos they're yet to release a single bad track! To quote one Mr. Randy Marsh - 'all hitter, no shitter'. Essential.
                Vinyl purchase allows you access to Secret digital tracks from each artist also. Apply within.

                FORMAT INFORMATION

                Ltd 12" Info: Hand stamped first quenching strawberry milkshake vinyl

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