house . techno . electronica . ambient


Genre pick of the week Cover of Remixed By Richard Fearless by Moebius Plank Neumeier.
“Zero Set” represented a milestone in latter-day Krautrock, created in 1983 by a hugely authoritative triumvirate of the German avant-garde: Dieter Moebius, Conny Plank and Mani Neumeier. The musician, producer, remixer and self-confessed Krautrock fan Richard Fearless has dismantled the outstanding track “Speed Display” and bequeathed two new versions to Bureau B.

Dieter Moebius was a member of seminal bands like Cluster and Harmonia. He was active as a solo artist and in various collaborations (with Conny Plank, amongst others). Conny Plank is seen as the definitive Krautrock producer, having worked with Kraftwerk, Neu!, Cluster and Ash Ra Tempel. Last but not least, Mani Neumeier, Guru Guru founder, figurehead and drummer.

Delving into Conny Plank’s tape archives, Bureau B came across the original “Zero Set” multitracks. Having just meticulously curated 'Kollektion 4' for the label, Richard Fearless seemed like the perfect remixer. He once described his love of Krautrock and related movements as follows: “I always listen out for music with a sense of space; where compositions are stripped down to the barest components while retaining the power to conjure emotion. If you can trigger emotion with the most minimal amount of sound, that’s job done as far as I’m concerned.”

The original was powerful enough, driven forwards by Mani Neumeier’s machine-like drums and incessant bass synths, yet Fearless has managed to crack up the energy levels even further. On the A-side he has grafted rhythmic patterns onto a four-to-the-floor beat and compelling bass signature. Feedback, echoing voices, a sprinkling of synth - only the most essential elements, nothing which risks overloading the mix. Meanwhile on the B-side, the original track is barely recognisable. Fearless has plucked just a few notes from the bassline and crafted a fine slice of hypnotic electro-dub with minor chord echoes.

As one of the most exciting talents rising out of the UK, there is no better time for DC-10 resident Richy Ahmed to team up with New York’s seminal house imprint, Strictly Rhythm, and release "Can’t You See EP". Opening with a hard-hitting 4/4 beat ‘Can’t You See’ features a funk-laden walking bassline adding fluidity to the mix, calling on the sound of the 80s and bringing it in to the present day. Analog synth sounds are peppered amongst bluntly cut vocal samples, drawing inspiration from the clinical elements of techno, yet retaining the groove that Ahmed’s work is rapidly becoming synonymous with. The EP’s second track is Ahmed’s remix of Logic’s 1990 classic "The Warning". The original’s acapella has been repurposed by Ahmed, looming over the track’s driving percussive elements. With a low-slung bassline interchanging with sizzling hi-hats, the remix pulls the original away from its blissed-out roots and firmly into the warehouse, providing new meaning to one of the legendary Strictly Rhythm’s many classic club anthems.

After taking the transatlantic flight from Cuba to Kenya, Esa closes out the Highlife World Series with a quick hop to neighbouring Uganda. During stints at the East Africa music conference DoaDoa in Jinja in 2014 and 15 Esa was exposed to a new breed of talent and ideas emerging from East Africa and beyond, meeting musicians from Burundi, Rwanda, Kenya and South Africa. Here, Esa unites the pan African producers for a superb four tracker which makes for a fitting end to the series. The EP begins with a collaboration between Christopher and Swahili Alley born out of the Doa Doa conference in 2014. This rhythmic cut hints at African jazz heritage with lithe bass and subtle rhodes licks, while the insistent percussion and passionate vocal are certain to raise the energy on the dancefloor. Esa takes control of the desk next with his extended dancefloor mix of Santuri's "Min Kula". Layered vocals, found sounds and organic percussion swirl around with immediacy before Esa's detuned synths and brooding bassline propel us towards the witching hour. The tempo takes a dip on the flip with the slow head nod of the Bantu Clan and Sarabi's "Africa Ni Leo", which sees the musicians merge the organic and synthetic via cascading synth lines and traditional strings while a smooth groove rolls along underfoot. Behr turns the track on its head with his remix, replacing the bassline with a juddering electronic shuffle and generally tripping things out in proper low slung fashion. 

William Basinski

The Deluge - White Vinyl Edition

'Cascade' and 'The Deluge' are variations on the latest tape-loop and delay composition from the inimitable William Basinski. 'Cascade' is the CD variant, and 'The Deluge' is the vinyl LP companion. In 'Cascade', a single ancient lilting piano tape loop repeats endlessly carrying one along in its tessellating current. In 'The Deluge', the same loop is processed through a series of feedback loops of different lengths, creating a spiraling crescendo of overtones that eventually fades away to silence. In the denouement, a series of limpid piano loops leads to an urgent orchestral theme that builds and gradually dies. 


History Of Touches - Kramfphaft Remix

As Björk continues to make waves in the electronic scene One Little Indian present exclusive remixes by boundary-pushing artists and DJs personally selected by the Icelandic artist.

The ‘Vulnicura’ remix project will be released for collectors only as a series of singlesided etched translucent 12” records, each with their own unique etching and die-cut ‘Vulnicura’ wound sleeves, designed by M/M (Paris).

Björk ‘History Of Touches (Kramphaft Remix)’:
“Krampfhaft is someone I have been listening to for few years adoring his hyperbeauty, orchid techno I nickname it in the vein of plaid and others: brave enough to take joy on in the often rather apocalyptic environment of electronic music” - Björk

“I was very honoured to be part of this, although it was a pretty daunting task to rework a song with such an intimate topic! As the original is very stripped down, all I could think of doing was adding in [even more] tension and drama. So I layered the whole track on to a bed of heavily compressed cloth movement and gradually built up the tension from there.” - Kramphaft


Lionsong - Kareokjeijd Version By Mica Levi

As Björk continues to make waves in the electronic scene One Little Indian present exclusive remixes by boundary-pushing artists and DJs personally selected by the Icelandic artist.

The ‘Vulnicura’ remix project will be released for collectors only as a series of singlesided etched translucent 12” records, each with their own unique etching and die-cut ‘Vulnicura’ wound sleeves, designed by M/M (Paris).

Björk ‘Lionsong (Kareokjeijd Version By Mica Levi)’: “Mica is someone I have been following growing since 2008, like a proud aunt, I might even have been at her first concert? Sooo exciting to witness her grow into a full on composer and carry the weight of such things as ‘Under The Skin’... And I still adore her upbeat stuff with Tirzah too !!!” - Björk

“I did a karaoke version more than a remix, because I love her string arrangements and thought it would be an opportunity to draw attention to them. I hope Björk isn’t offended that I took her voice out, [but] you can hear it in your head - or sing along.” - Mica Levi

As Björk continues to make waves in the electronic scene One Little Indian present exclusive remixes by boundary-pushing artists and DJs personally selected by the Icelandic artist.

The ‘Vulnicura’ remix project will be released for collectors only as a series of singlesided etched translucent 12” records, each with their own unique etching and die-cut ‘Vulnicura’ wound sleeves, designed by M/M (Paris).

Björk ‘Notget (Lotic Keptsafe Version)’: “Lotic is the one of the first musicians Alejandro introduced me to in Autumn 2013 with piles of enthusiasm: I got immediately obsessed enjoying how always total nature he was!! The most clublike flamboyant anthems of his always seem like shrieks of beasts, dark insects and pagan birds displaying their feathers in a territorial way: a colourful celebration!! The reason why I asked him to do ‘Notget’ was there are certain suspension-like elastic gravitydefying beat structures that him and Alejandro share (each in their total idiosyncratic way though) that Notget has and I had a gut feeling he would take further. Which he did.” - Björk

“When Björk sent over the original track to review late last year, I couldn't believe how well she had intuited that ‘Notget’ was the perfect selection for me. Perhaps it was a bit of coincidence, but I was very much still tending to the scars left from my previous relationship while at the same time nurturing my current one. ‘Notget’ is both the mourning and the eulogy; I knew this meant remixing the song would be difficult, both technically and emotionally. In the end, I felt I had to attempt to amplify both the desperation the song expresses as well as the inspired, reminiscent joy.” - Lotic

Release no.9 for Fear Of Flying's deeper house offshoot. Black Dynamite bustin' out a 4 tracker of fine house music. "Busted Loop" is a stripped down, low slung infectious grind; incomprehensible vox looped across a seriously subby bass glide. "Mother's Love'" is a slo-mo burner with sampled vocal snatches of a classic soul singer. Steadily but precisly concocting up something really quite beautifully which could easily soundtrack a fiery red sunset on any number of daytime outdoor stages. On the flip, "Wayback" takes things deep and nocturnal. Cascading snare echoes rippling through a tantalizing fug of forward-propelled pad pulses and cavernous bass. "Block A" is a funky, sample-led number complete with flanging guitar loops and big B-line, nailing that heady, filter-house vibe down to a tee.

The latest trip into the KMS vaults has yielded a treat for true techno fans everywhere, collecting together a trio of Carl Craig remixes from early in his career. Spread across a few 12"s in the mid 90s, these three remixes of Kevin Saunderson, under both his Inner City and Esser'ay monikers, hark back to a golden era in Detroit techno history and what some would call Craig's 'golden years'. "Ahnnonghay" blends those tribal African drums prevalent in much of his works with technoid dischord and thumping kicks. Lacking any obvious hook or melody for the first 4 minutes, the drums take centre stage and begin a deliberate, steady ascension, building up tension and drama until the wicked breakdown, which introduces the lead vocal from the OG and strips everything back to just analogue juices, thumping kick and dubby shards. Excellent. Esser's "Forces" may just be one of the all time greatest Detroit techno anthems and words simply will not do this stone cold banger justice! Carl Craig's remix is suitably narcotic and hypnotic, elevating this already most spiritual of connections to even great heights - worth the entrance fee alone! Finally, Inner City's "Till We Meet Again" gets beefed up with rotary arpeggios, tough kix and sensual female vox. Sexy and sophisticated and tailor made to blow the roof of the sturdiest of rave bunkers. Classic Detroit techno! Recommended.

Django Django, or Django² as they're lovingly known by maths readers, pluck a standout track from their triumphant second album and dish the stems out to some handpicked production talent for this club-ready remix 12". The combination of snapping beats and chunky piano on the original mix makes for a remixer's dream whilst their trademark Beach Boys inspired vocals float serenely above keeping the indie kids hooked. Rising star Happa lets loose on his remix, delivering a distorted house remix packed with the quirk, glitch and aggression which have made him an overnight sensation. Turn the disc over and you'll find a younger, thinner version of yourself neon clad on the dancefloor, reliving the mdma fuelled haze of the nu rave era thanks to a bleeping and squealing version which could have graced Ed Banger in their prime. On the B2, Leith finds the emotional heart of the track on his Waterworld remix, reworking the original around a post-dubstep rhythm with chill-inducing results., the newest label from Christian Gerlach, enlists the delectable technoid delights of one Edit Select - possibly the coolest guy in deep space techno right now! "Hi Line Extraction" has all the traits that are making this cat so in-demand right now. Pummeling kick and bass patterns mix and mastered perfectly for optimum soundsystem buzz and hum. Hats burst from the tops and the discordant, druggy mid-range lead lines fly out of the stacks at a million miles and hours, sweeping all in its path into its thruster-powered groove. Most excellent. Another sound veteran and Edit Select collaborator, Mike Parker, provides the first mix; instantly stamping his identity on the track with his highly charged, machine-code version; screaming of dark, barren industrial wastelands. Finally, Claudio PRC takes us out to the very edge of the wormhole with his rub down; stripping things down to just red-shifted bleeps and space-station squelches; totally in keeping with Jeff Mill current obsession with all things from the outer cosmos. Breathtaking stuff to kick off the label - more of this please!

“’7 of diamonds’ started from a glass of tea with too much sugar. I was pushing down my spoon into the sugar till the bottom of the glass. It was creating a really nice atmosphere and I thought I needed something different like bigger grains, I took a empty glass and I used water and cooking salt the result was amazing so I jumped into the studio to record it and ‘7 of diamonds’ was born.”

Originally hailing from the northern Italian province of Verona, florestano – aka producer and multi-instrumentalist Leonardo Salvaro - spent a majority of the last five years traveling nomadically through Asia, Europe and South America, which, he says, has vastly influenced his creative process. "When you travel the way I used to you have a lot of time in which you’re alone; being alone and far from home could help a part of your artistic expression obligating you to look more into your emotions and what really matter for you."

Employing both analogue and digital recording techniques, almost all of florestano’s compositions start at his old black piano and his drums before he moves into more experimental territory with synths as well as field recordings. Often taking cues from renowned avant-garde composers Bernard Parmegiani and Iannis Xenakis, florestano’s electronic soundscapes and compositions show a natural affinity for oriental cinematic scores, classic lieder’s music especially Hugo Wolf and 90s US west coast experimental scene.

Absolutely massive festival banger here from Geeeman (aka Gerd) backed with a killer remix from Alden Tyrell. "Wanna Go Bang" has that huge soundsystem tickling quality that much of the Aus Music records possess. Coupled with that growling bass and rib-shaking drums is this mind-bending and truly intoxicating vocal line, chopped and hacked to oblivion and set to cement itself firmly into the memory banks for eternity. A real tasty number from Geeeman certain to be one of the big tunes to see off the summer. A handy instrumental version is also included for the more creative DJ to use while Alden Tyrell's remix heads for the strobe-light driven mainroom techno vibe that he's known to frequent when not purveying his neo-Italo / house music hybrids; huge! Again, an instrumental is included which in this instance brings more attention onto the intensity and rabid energy contained within the track. Head for the bunkers!

Busy bee Hans Peeman takes a break from A&R duties at Outplay to don his Junktion moniker and go solo on that ass with this brand new four tracker on the dignified and refined Razor-N-Tape Reserve. The Fouk man follows up his sell out smashes on Sleazy Beats and Outplay with a further evolution of his earthy, sampledelic sound. Opening cut "Hot & Bothered" does its thing with the kind of poolside nonchalance usually worn by unfeasibly attractive LA extras. Summery strings and flute licks shimmer in full filter bliss over a bouncy little beat, while the occasional vocal sample gives the hunks and honeys something to punch the air for. The summer breeze continues unchecked on the soulful "I'm Wishing", a peaktime cut that's as perfect a marriage of diva vocal and rolling bassline you're likely to hear, before "Fling Cleaning" drops the pace to a sensual disco chug on the B1. Well worked frequencies and the constant manipulation of fx shake things up nicely while the rough disco loop rolls on and on. What better way to bring the EP to a close, than with the cool, calm and collected groove of "Visions Of You", a slow motion soul roller with touches of hip hop in the percussion and plenty of sex appeal - proper BBQ tackle. If you're looking for a vinyl slice of summer, look no further!

Taking a break from his tyrannical rule of Gabon, President Bongo extradites the stems for Róisín's "Exploitation" to his Bongomachine Studios in Berlin and serves up a speaker busting rework. The dramatic strings of the original sweep through the stereo field over the steady boom of a powerhouse kick, while sonic artefacts tumble into a pool of reverb. As Róisín's eerie vocals whisper into your soul, a roving, rampant electro bassline builds and builds, tunneling straight for the peaktime. This WMD comes specially designed for mainrooms, primed to explode into a shower of strobe and smoke. Distributed once more through propaganda arm 'Radio Bongo', this limited dispatch will cause destruction wherever it's heard, so make sure it falls into the right hands.

The saga continues as Undertones drop the second part of Nathaniel X's long awaited debut album, "Last Supplement", providing club kids everywhere with more raw and raucous, deep and dense house magic for their next party. The EP gets off to a dramatic start with the orchestral stomp of "Dr Vil'Kenstein & Monksta", a full bodied house track electrified with strings, flute and massive percussion. On the A2, "Thee Illusionatti" takes us down into the Heardean depths with the classic combination of feathery organic details and round, rib rattling bass. At the top of the flip, "All In A Day's Work" delivers the classic NYC house sound as jazzy double bass and a swinging beat bring the heat to your feet, while piano chords and big orchestral stabs dominate at the top end. The clue's in the title on EP closer "The Party's On The Way", a killer vocal cut in the vein of Chez Damier classics on KMS with lithe keys and plenty of live energy. I can't wait for part 3!


12" Info: Blue Vinyl Pressing

Blackest Ever Black presents Red X, the debut release from Young Echo member Ossia. 10 unyielding minutes of noise-strafed, rootical techno backed with two more abstract, uncanny studies in reverb and delay. One of the Bristol underground’s most vital behind-the-scenes operators, Ossia runs the RWD FWD mail-order and oversees the Peng! Sound, No Corner and Hotline Recordings labels, among others. Though you may have clocked his appearances as DJ Oa$is on FuckPunk, the no-fi dancehall label he runs with Vessel, Red X is his first proper solo offering. The title track was made during the winter of 2014/15, inspired by Peter Tosh’s personal taped diaries: mysterious reel-to-reel recordings in which the reggae star documented his dissatisfaction with city life under Babylonian rule, and his mistrust of certain people around him, in the run-up to his shocking murder in ’87. Recorded using - among other things - samples, Roland synth, and a rowdy one-take session with the open spring reverb thundering through echo pedals, hard delays and distortion, 'Red X' brilliantly bridges dubwise, isolationist electronics and modern soundsystem dynamics, the stoic half-step of its opening section gradually hewn apart with a ruffneck 4/4 thump, warping sub-bass and a hellfire of high frequencies. Spacious, spry and airy, but with the threat of violence never far way, B1 'Ice & Blood' feels like something picked up on an ebbing pirate signal, with deep blue synths holding fast against stepping razor drum edits. The deep, dread ambience of B2 ’Blood & Ice (Version)’ was coaxed out of an acetate dubplate of ‘Ice & Blood’, and the crackly old 7” run-out groove of Tosh’s ‘Oh Boombaclat’, shot through ’70s Copicat tape-delay and an array of effects. It powerfully evokes the the last breath, or perhaps first gasp, after the rain, after the violence. Peace at last. Vinyl-only edition of 500 housed in beautiful screen-printed sleeve designed by Studio Tape Echo.

Conclusion of a triptych of new releases from Prefuse 73. It has been four years since Guillermo S. Herren released anything significant from his most famous and respected moniker, Prefuse 73 (though he did keep busy with live shows, collaborations, and remixes). That's a long time for virtually any artist, but it's an eternity for Herren, whose first three Prefuse 73 albums dropped in the span of four years. As if to make up for lost time, 2015 will see the release of not one, but three major works from Prefuse 73. After several albums that saw Herren progressively drift away from the beatmaking prowess that made him synonymous with emotionally resonant, damaged hip-hop, he's found himself reinvigorated - thanks in large part to an emotionally draining, creatively cashed few years. As Herren puts it, "I've come back to hyper focusing - immersing myself in the sounds, rhythms, and formations that created Prefuse 73 in the first place. Recently, I've found a new life in the whole process of refining what I've created over the years as "Prefuse". Right now I'm at my most confident and comfortable since 05/06." It shows. The conclusion of a triptych of new recordings, Every Color of Darkness basks in the darkest corners of Prefuse 73's world, finding an eerie romanticism in manic beats and damaged jazz. It's a record that showcases his uncanny ability to excavate and exploit a source of light buried in pitch black. For an artist who has played an undeniably integral role in the careers of so many influential artists - from MF DOOm to Battles to Flying Lotus - it's not just refreshing to hear him return to top's revelatory.

Danny Moore aka Pvre Matrix is from a generation of young techno producers out of Brooklyn who come at the music without preconcieved notions or boundaries in their approach to production and playing live. He is the epitomy of the slash and burn blitzkrieg attitude of new producers popping up under the JMZ everyday. While very interesting to see the scene develop this way, few have executed in such a fashion as Pvre Matrix has. Impeccabily produced without losing its sense of urgency or brutality and clocking in at breakneck speed, Pvre Matrix is out for blood, and his three track debuts prove as such. While you might not catch Danny Moore in your local big room anytime soon, he is undeniably a force that is present and will crush you regardless.

Conrad Schnitzler

Kollektion 05: Compiled By Thomas Fehlmann

Things come full circle. In 1976 Thomas Fehlmann arrives in Hamburg to study art at the HfBK. In 1979 he attends a guest lecture by Conrad Schnitzler, who demonstrates to students how the 'extended definition of art' established by Joseph Beuys can be applied to music. This proves to be a crucial element in Fehlmann's decision to become a musician. And now, over 35 years later, he has compiled Bureau B’s fifth collection: 16 pieces from the early 1980s by the man who broadened his horizons, Conrad Schnitzler. The gateway to Schnitzler's sonic cosmos has been flung wide open.

Conrad Schnitzler (1937-2011), composer and concept artist, is one of the most important representatives of Germany's electronic music avant-garde. A student of Joseph Beuys, he founded Berlin's legendary Zodiak Free Arts Lab, a subculture club, in 1967/68, was a member of Tangerine Dream (together with Klaus Schulze and Edgar Froese) and Kluster (with Dieter Moebius and Hans-Joachim Roedelius) and also released countless solo albums. Thomas Fehlmann rose to prominence in the seminal band Palais Schaumburg with Holger Hiller. Their debut album in 1981 was a milestone in German post-punk music. In 1988 Fehlmann founded the Teutonic Beats label and in 1990 he became a member of The Orb. He has played an important role in Berlin's electronic and club scenes ever since, as a musician, producer, remixer and DJ.

Thomas Fehlmann on this Kollektion: "So the question is, are we talking about a 'mix' or what is the most accurate way to define this kind of compilation? If 'mix' overreaches slightly, the fact remains that I have strung together various pieces from Conrad Schnitzler's white period - the CON series - in a seamless arrangement which creates its own state of dramatic tension. The tracks retain their original form and tempo. This is not a study in montage. I have restricted myself to picking the right moment to move from one piece to the next, cross-fading. Okay, I did edit one track. Mixing implies a deeper incursion into the source material, dismantling and reconstructing it in new combinations. I would have found that too crude a method when each individual piece carries its own unequivocal message. The sound is the sound of Conrad Schnitzler. I was looking for a form which would condense Conrad Schnitzler's versatility, his inventiveness and wit into a single journey. The new running order adds a certain friction to the aura of each as new connections are made. My choices were musical, not chronological, bathing these works from the early 1980s in new sensuous light. It is quite remarkable to see how intensely the sparks still fly. Preparing this collection closes an elementary circle in my life, without which I may have followed a completely different path."

Tsuba follow on from the success of Sebo K's "Aquamarine" 12" with this bonus platter containing the unreleased Mr Fingers dubs. The Chicago house originator already blew us away with his deep remix on the first 12", but these three further interpretations showcase the unbridled creativity and diversity of the great man. The Acid dub sprawls across the A-side, dragging the original into the depths of the undergrowth with rainforest sounds, wriggling 303 lines and warm synth textures. On the flip, Heard serves up two versions of the "Raw Mix", submerging a hypnotic bassline within zero gravity pads and a rattling drum machine beat. Unsurprisingly, this has been flying out over the last few days, so grab a copy sharpish.

Sei A returns to the cooking-on-gas Aus record factory. Having released records on Turbo, Kompakt and Hemlock - the London via Glasgow producer marks his welcome return with "Gasp" - a muscular club track with distant traces of pirate radio attitude, arranged dramatically with some head-turning drops and high-end production sheen that'll keep the most clued up of club kids happy. "4ME2" deploys synthetic, 2ci-flavoured arpeggio shards raining and shattering through a suspended wall of radiance before a big ol' beat comes clunking through. Another completely unique number from this talented producer and surely one for the Beats In Space brigade. "Never Wander" then builds behind a seriously atmospheric and dreamy backdrop. Mournful chord shifts are spread overhead before alongside a catchy vocal refrain before a sharp electric bass pattern is driven in from underneath; the epic, angelic curtain of sound covering the whole thing in an ethereal cloak. Magic.

John Swing returns to the arena with now trademark sound - big terrace rollers for the hedonistic party crowd. This is one producer who's really ringing my bell at the moment, with his insatiable loops and rough-as-a-bear's-arse drums. Just bad boy house tunes for the peak time. "I'm Here" rolls out a retro drum beat over looped vox and a disco flavoured octave bassline. Chopped and editted to perfection its certain to get the floor gyrating early doors. "Build It Up" continues the theme with more looped female vox. This animals got some serious bite when it drops though, with a bassline so fat it barely fits onto the master tape! Hi energy dancefloor saturation from Mr Swing - great stuff! "Groovin' Jazz" takes the crushed tape aesthetic even further, forcing funky jazz samples through his audio blender until we're flatlining in the red. "Run Out Jam" concludes this manic EP with a nice groovy number; a crazy air-horn sound introducing some funky as hell congas and bass, opening up the lo-pass filter to reveal some pumping house goodness. Most excellent stuff from John Swing, and one of a current plethora of bangers come our way from him and his amazing Relative imprint. One to watch!

Venetian Snares returns with his first release since 2014's heavy duty LP "My Love Is A Bulldozer" and guess what? It's totally batshit! Much like the clown going in for the buzzer handshake, Aaron pulls us close with the music box melodies heard opening "Your Face When I Finally", before scrambling our collective brain with a rapid fire barrage of frazzled microchips, knackered modems and Sega level up sounds, all set to a completely unpredictable drum & bass rhythm. Soon enough we're in flipped back to Doom and Aaron's singing "I have cut off your head, and shit down your throat, cause you're a cunt" - this one isn't for our Balearic customers. "Former Eagle" switches things up with a more melodic vibe, as horror-score piano is scattered over a disjointed beat, before "Red Orange 2" feeds a grade 8 piano recital into the D&B blender with abrasive results. On the flipside Aaron hits us with more high speed insanity, before the dark, druggy Carpenter-esque "Misericordial" drops the pace and chills the air. Closing with the stoned-over calm of the "Glass Version" of the EP opener, Venetian Snares completes his journey into the beating heart of the midnight world and returns you in one piece.

John Swing & EMG's gnarled take on loopy house music! Breathtaking stuff from these two current flag bearers for the house new breed. A two note bassline, clickity 4/4 drums and drifting airhorn is sometimes all you need to cook up a piece of dancefloor mayhem, and no better is this executed than on "Disco." This could blow the roof of any of the global dance institutions right now, whether its Panorama Bar, Space Ibiza and Sankey's Soap. Sheer terrace pleasure that could go on for hours, Vinalog reminding us exactly how it's done. On the flip we get a stripped down, hypnotic, dubbed-out refix, lysergic and melancholic in its approach but most satisfactory. Highly recommended.

Vinalog's John Swing and EMG deliver their toughest, techiest piece of work from this week's onslaught. "Truck" gets things underway with a whipping, mechanical beat dressed in swirling distortion and 909 drums. The industrial, destructive aesthetic is bolstered on "Sediments" which dishes out rumbling, wall-shaking kicks to the unsuspecting listener. Growling with intensity from the offset this should whip mainrooms up into a salivating frenzy by the halfway point, hopefully blowing the whole roof off the gaff by the end. Proceed with caution! "Acid Choice" spits filthy, corrosive juices from its deep techno bunker, grating hats and gurgling 303s carrying the track forward through a thick, crushing vacuum. Finally, "At The Warehouse" closes the set with a fractured, post-industrial beat glued together by droning space-station fx and darting sine tones. John Swing and EMG's most experimental and out-there sounding release to date - and I love it! Limited repress of this Relative classic. Move quick.

8th instalment from the mighty Relative and it's a belter! Vinalog churn out some more tapey, squashed but mightiyl infectious house music, full of their usual grit, charm and swing. This release concentrates on four traxx all based around the same theme - soundsystem friendly bangers for the peaktime. Ranging from loopy vox, machine-code drum and sweeping breaks, this is specialist tackle for DJs out in the field. Tough and uncompromising, with a very live, highly energetic feel yet never losing its unrelenting grip on the dancefloor. Absolute magic, every last one of these jams. John Swing and EMG could well be the hottest thing in house right now. Most recommended.

Midnight Riot's "This Is How It Started" series sees a host of modern dancefloor energisers offer their own interpretation of those heady days of the birth Chicago sound, especially in the formative years at Ron Hardy's Music Box. Mach start our journey with ashimmering disco house rework of Jesse Saunders' superb "On & On", incorporating elements of Lipps Inc's "Funky Town" and a whole load of groove. Next up, Yam Who? get collaborative with Chicago house veteran Robert Owens on "This Time", a classic combination of synth strings, piano chords and passionate vocals. On the flip, Clandestino spike the punch with the 303 laced "Delta", a space age dancefloor cut reminiscent of Virgo Four while Eli Escobar takes us to the vegan deli with a cheese free edit of Easy Going's "I Love You" which ditches the naff synth work in favour of the Metro Area like disco magic.

First release on this new label from Glasgow featuring four drum tracks and workouts for the skilled DJs who know how to jam. Bryan Kessler's "Kill Boredom Before It Kills You" bounces with that early DMZ ferocity, wobbly subs and aggressive jungle perc battering the senses. JC Williams "Bass Invaders Beats" is a 4/4 slammer with added claps, snares and toms for maxxximum jack. Flip the disc and MCFREEDOG unloads a filthy sludge hybid on "With You On My Side", a pitched down vocal snippet, squashed kicks and tough woodblocks occupying this heady of trax. Lighter's "Skanker" concludes proceedings with a frenzied, flat-lined techno romp busting with power and crushing energy. Limited edition, hand stamped vinyl with screen printed sleeve and insert.

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RT @PeteJ2015: rt @Levis_UK RT now to #win the @PiccadillyRecs custom Trucker jacket, created at our #Manchester #LevisTailorShop #LiveInLe
Sat 1st - 1:05
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