MAGIC MIX

house . techno . electronica . ambient

WEEK STARTING 20 Apr

Genre pick of the week Cover of Love Is A Mystery by Tropical Moon.
Fantastic remastered reissue of a masterpiece of the golden era of NYC deep house, the incredible "Love Is A Mystery" EP by Tropical Moon (aka legendary producers Nelson Paradise Roman & Blue Jean), their one and only release under that moniker. Originally released back in 1990 every track here is a killer. The A-side features the underground emotional smasher "Love Is A Mystery", with its beautiful emotive pianos, classic lush strings and gorgeous vocal. Quickly followed by the infectious conga rhythms of "It’s Alright", coupled beautifully with a soulful male vocal hook this ones perfect for getting the floor simmering hot during the warm up. On the flip we get another club classic, the Instant House-inspired tribal bouncer "Jungle House" (the blueprint for a sub-genre of house music all unto itself!) as well as the darker, after-party vibe of "Data Bank" with its phat b-line, deep chords and superb sleazy vocal. Absolutely storming stuff and pretty under the average house DJ's radar as far as I can tell too. 

STAFF COMMENTS

Matt says: Huge reissue of this little known deep house classic from 1990. Essential for anyone into Instant House, Murk, Rudolpho, Risque III etc.

AIAIAI

TMA-1 X Headphones

    The AIAIAI TMA-1 X are democratically designed, closed headphones for DJing, monitoring and mobile devices. They feature a dynamic and balanced sound, suitable for all types of music.

    Inspired by the award-winning design of the AIAIAI TMA-1, the TMA-1 X makes a lighter addition to the existing TMA-1 range. Intended for both professional and everyday use, the headphones have an all-rounded, articulate and balanced sound.

    Designed with comfort and portability in mind, they feature a minimalistic headband and a unique capsule design, which makes them an attractive and lower-cost alternative to the TMA-1 DJ or TMA-1 Studio.

    Easy to walk with and use everyday, the TMA-1 X are versatile headphones for producing, DJing - or just enjoying great music.

    Technical Specifications

    Transducer Principle: Dynamic, Closed
    Driver Unit Size: 40 Mm
    Impedance: 34±15% Ohms
    Frequency Response: 20 - 20.000 Hz
    Total Harmonic Distortion: <0.1%
    Sensitivity: 102 3dB
    Maximum Power: 70 mW
    Microphone Sensitivity: -42dB 4dB
    Microphone Directivity: Omni-Directional

    Robert Aiki, Aubery Lowe & Ariel Kalma

    FRKWYS Vol.12 - We Know Each Other Somehow

    'We Know Each Other Somehow' is the twelfth volume of FRKWYS, the music, film, and event series celebrating intergenerational collaboration. For this installment, RVNG Intl. offers a collection of original compositions by Robert Aiki Aubrey Lowe and Ariel Kalma. In the four decades since Ariel Kalma’s debut album, the privately pressed 'Le Temps des Moissons', the French-born Kalma musician has circulated corners of culture now legend: intrepid excursions as a spiritual explorer through India and New York in the 1970s, a studio staff position at the Groupe de Researches Musicales (Pierre Henry’s famous music concrete laboratory at INA studios), and training with music / mind / meditation institute Arica. The genesis of this FRKWYS collaboration was inspired in part by Robert Aiki Aubrey Lowe’s first release under his own name, the widely regarded full length 'Timon Irnok Manta', released for Type in 2012. The album paired two strobing, drone-oriented pieces in an uncategorizable combine of ambient synthesizer-music and pulsing rhythms. Lowe also performs his vocal-based compositions as 'Lichens' and is a frequent collaborator with Om and Nurse With Wound. Chance travel landed Lowe and Kalma in San Francisco at the same time shortly after the collaboration idea was seeded. Upon meeting, Kalma was endeared by Lowe’s unique set-up, a portable modular synth unit housed in a vintage luggage case. Kalma recalled his own adventures when he traveled with just a Revox tape-delay machine and saxophone. Plans were soon settled to record in Kalma’s home studio in Main Arm, a remote community on the eastern Australian coast, around Lowe’s serendipitous tour dates with Om. The pastoral life that Kalma had settled into eons earlier vastly informed the character of the recording. Similarly mined by Ariel Kalma in his 1978 album 'Osmose', itself a collaboration with sculptor Richard Tinti, field recordings are embraced throughout 'We Know Each Other Somehow' as a key harmonic and timbral element with which to adorn. Described by Lowe in the liner notes as the “collective voice,” these birdsongs, creeks, tributaries and other ambient sonics of Main Arm appear throughout the album in processed and pure form. Wind instruments and signal sources are modulated, modified and sustained ad infinitum, cohering the choir of mother earth with the collaborators’ own. 'We Know Each Other Somehow' is accompanied by a feature length exploratory documentary based on the collaboration. Titled Sunshine Soup and directed by multitalented designers / artists Misha

    Hollenbach and Johann Rashid, the non-linear film is keyed to the outer-boundary music created by Lowe and Kalma. Following up his 2014 archival collection 'An Evolutionary Music (Original Recordings 1972 - 1979)', Kalma found an ideal collaborator in Lowe and an ideal opportunity to innovate in the field of modularly synthesized electronic music which he helped pioneer. Voyaging along parallel paths until now, 'We Know Each Other Somehow' shows these artists summoning another world in an otherworldly part of the planet, merging the collective voice with their own.


    FORMAT INFORMATION

    2xLP Info: LP+DVD.

    This week we've got another batch of Armando magic lifted out of house music's back pages and freshened up for the modern dancefloor. Originally released in 1989, through lesser known Trax sub label Housetime, "Overload" was hampered by a frankly abysmal pressing full of pops and crackles which got in the way of the club energy somewhat! Now remastered and pressed on pristine wax, the full force of these minimal and jacking Chicago house cuts can be felt for the first time. Across its three variations, "Overload" hits us with a primitive and tribal drum machine rhythm while malfunctioning synths fizz and bleep under the influence of Muzic Box acid. "Maximum Overdrive" keeps the vibe going on the flip, rolling along through the lysergic sludge, while "Dance With Me" ramps up the tempo and romps through a little proto-filter house. Act quick or you might have to wait another twenty five years for the chance to grab a copy!


    Frank Booker

    Down In The Basement Volume 1

    New Zealand's foremost crate digger Frank Booker launches his brand new label, Down In The Basement, in typical classy fashion with a superb inaugural offering. What you get is four top quality Booker jams that will grace any dance floor and which cross the boundaries of funk, disco, soul and house music. Never one to over complicated things, FB cuts straight to the essentials of each track and rides them in the mix, while dropping his trademark DJ friendly FX. On the A1, Frank delivers a dislocated bit of disco for the punk-funkers and NYC crowds, decorating a bare bones rhythm section with the occasional blast of echo drenched wah guitar and muffled vocals, while the A2 sees the pace drop to a syrup strut as the Kiwi producer works the filter well over a squelchy bit of slo mo funk. On the flip, things get deep and tribal with a well worked edit of Supermax's afro-cosmic classic "African Blood" before a full throttle psychedelic disco journey courtesy of Dogs Of War and "Space Conqueror".

    Essential stuff as ever from The Man Called Booker.

    Nervous dig up another NYC classic from their extensive vaults here, delivering the first ever vinyl repress of William Rosario's "My Love" originally released in 1992 under his The DAT Project alias. Getting straight down to the nitty gritty on the title track, Roasrio dishes out a skipping, bouncy NYC rhythm complete with organ vamps and mellow keys, then slowly introduces a wavering synthline and some spiritual vocals. "O'ww Baby" works with the same sound palette but takes a deeper and darker route into the post peak, looping a high pitched vocal into an ever present texture and working the M1 organ to perfection. Flip the disc for stone cold house killer "C'mon Sweat", the standout cut on a top notch EP. Rosario unites a superb bassline, scuttling percussion, tight keys and a belting little vocal sample to create a tailfeather shaker that perfectly treads the fine line between ballroom and basement. How better to cap off a quality release than with a little hit of new jack swing on the hip hop sampling magic of "Clap Your Hands"! NYC in the house!


    Etienne De Crecy

    Follow / Family

    In true 'Super Discount' tradition Etienne De Crecy's third volume in the record series now comes spread across an incredibly limited (300 of each) set of four 10" singles, each with different sleeves that, when put next to each other make up the 'Super Discount' logo. 

    On this fourth part of the 10" quartet we're treated to the slo-mo disco-house slinker 'Follow' featuring vocals by American singer Kilo Kash, which lifts off with an arpegiated, synthy mid-section - sweet. Flip it for 'Family', another filter disco-tinted number with grimy spoken vocal by Baxter Dury with an uplifting female vocal chorus as counterbalance.




    Etienne De Crecy

    Sunset / Smile

    In true 'Super Discount' tradition Etienne De Crecy's third volume in the record series now comes spread across an incredibly limited (300 of each) set of four 10" singles, each with different sleeves that, when put next to each other make up the 'Super Discount' logo. 

    This third 10" opens with 'Sunset', a sluggish, chugging electroid disco-house number featuring a vocal by Tom Burke of Citizens! fame. Flip for the more upbeat 'Smile' featuring longtime 'Super Discount' collaborator and fellow French touch innovator Alex Gopher. This is a typically breezy SD acid-tinted disco-house instrumental that is simplicity itself.

    Etienne De Crecy

    WTF / Hastag My Ass

    In true 'Super Discount' tradition Etienne De Crecy's third volume in the record series now comes spread across an incredibly limited (300 of each) set of four 10" singles, each with different sleeves that, when put next to each other make up the 'Super Discount' logo. 

    Number two in these tens opens with 'WTF', which takes its cues from the electro end of the French house spectrum (Daft Punk etc), laying down a funky cowbell-clanked groove, dropping a vocoder (Autotuned) vocal chorus and getting Pos & Dave from De La Soul to supply some rapping. The massive single 'Hashtag My Ass' follows on the flip in equally electroid fashion, with a robot rap and sassy, slurred shout of the song title. 




    Etienne De Crecy

    You / Cut The Crap

    In true 'Super Discount' tradition Etienne De Crecy's third volume in the record series now comes spread across an incredibly limited (300 of each) set of four 10" singles, each with different sleeves that, when put next to each other make up the 'Super Discount' logo. 

    First up on these 10" EPs is pop-house track 'You' featuring vocals by Cults frontwoman Madeline Follin, synth panpipes and a smooth but jerky electrodisco backing track reminiscent of 'Can't Get You Out Of My Head'. We're treated to 'Super Discount 3' album opener 'Night (Cut The Crap)' on the B-side, a mid-tempo synth-riffed electrohouse number complete with Eastenders doof-doof syndrums.

    Andi Hanley

    Rong Promo Only #10

    Body & Soul legend, deep digger and all round musical expert Andi Hanley helps Rong celebrate their 10th anniversary with the 10th and final edition of their groundbreaking "Promo Only" series. Now back in Manchester, Andi's been hard at work in the studio, turning out some exciting and eclectic edits which finally see the light of day courtesy of this killer silk screened double pack. The EP opens with the Balearic dancefloor in mind as Andi dubs out and pumps up Frankie's majestic "Welcome To The Pleasuredome" for some all out dancefloor ecstacy. Next up "Sylvia" takes us on a trip into a distant galaxy with all manner of rich space fx, a chugging bass sequence and the warm and airy sounds of the thumb piano, before "Dream" takes us down a proto-house wormhole with rubbery bass, swirling synths and sultry vocals. Slip on the second disc and step into your spacesuit! Andi out-cosmics Baldelli here, pairing a spacewalking bass sequence with synth asteroid belts and wild drum sounds. Get ready to get funky on the D with the badass boogie sound of "Burt", a spaced out stepper decorated with cascading keys, squirming sax and laid back vocals perfect for early hours in your local disco. "Yutaka" closes the set in sublime fashion, hitting us with the sweetest Japanese soul-jazz groove imaginable. The liquid bassline flows perfectly over the mellow instrumentation, while the exotic sounds of the Japanese flute leave you with goosebumps. Superb stuff from Mr Hanley, and the perfect end to a special series.


    The illustrious Jasper James graces Leftroom with the superb "ZTRK1" single, complete with two vinyl-only Optimo remixes by JD Twitch! Jasper James is a 24 year old DJ & producer hailing from Glasgow who has from birth been immersed in Glasgow’s rich and vibrant music scene. Taught to DJ at just 13 by his father, Sub Club’s Harri, Jasper has grown up with access to an impeccable and wide ranging record collection of thousands from the day he was old enough to cue up a record.

Jasper has already featured on BBC Radio1’s world renowned Essential Mix radio show more than once. Not only has Skream played his productions in his mix, but Jasper took the reigns to provide his own Essential Mix in May 2014. In the same year, Jasper has made various appearances on Rinse FM with both guest slots and show takeovers. As a result, Rinse FM have now given Jasper a monthly residency.

His debut release ‘Sneaky E.P’ on Optimo’s Optimo Trax label went down a storm on dancefloors over the summer with backing from the likes of Bicep, Jackmaster, Eats Everything, Richy Ahmed, Skream and 2 Bears to name a few. "ZKRT1" is a fantastic slice on unadulterated techno; Jaspers original has been going a treat with crowd of late. Featured on this 12” only are these two brilliant remixes by JD Twitch, a mesmerizing Optimo mix and heavy head-spun Live Jam for those darker floors!

    “Love U 4 Life” is the second installment of the Jeedeci series. It was debuted on the Dirt Tech Reck label profile on BBC with Benji B in October 2012. The internet has been going nuts since. "Love U4 Life Melody" is a strange, stuttered, fluttering dose of luminous lysergic prowess as pummeling drums bounce against a heavily manipulated vocal loop and mangled synth drones. Totally out of this world and future-proof, but retaining enough charm, radiance and head-turning beauty to not only get your younger brother / sister playing it to their mates on the bus to Loreto college, but should find favour in any DJ interested in showcasing the future sounds of the underground. The alternative version swaps some of the instrumentation but keeps the incessant rhythms and pummeling drums and also adds a few new elements into the mix. All in all a completely head-turning, great record.



    FORMAT INFORMATION

    7" Info: Black vinyl with kraft sleeve

    Ltd 7" Info: . 7.5 X 9.5 Original silkscreened print.
    . 7-inch black vinyl in a protected polyvinyl sleeve.
    . Hand numbered and signed.
    . Certificate of Authenticity.
    . Only 225 copies available worldwide.
    . Digital download card.

    This is the new FXHE release from John FM. A 21 year old artist that sings as well as produce house, techno and new age Detroit R&B. "Where My Roots Lie (A New Detroit Anthem)" certainly possesses much of the traits of its highly lauded title. Rampant hand claps, dreamy synthlines, twinkling melodies and epic key changes. The old Roland drum boxes hit overdrive as John FM moves through the track, all the time keeping that ethereal, space-age energy intact. "White Churches Be Like" is a direct hit of freebased narcosis, mainlined directly to your cortex. Jagged shards ricocheting against hot drums, dark piano chords and grainy rhythmic elements. Finally "Solace" concludes, displaying the slower, more delicate side to the producer as he croons over his own smudged and blurred beats. If this is new age Detroit R&B then I love it! Carrying along the same lines laid by K15's "Mist" and showing a new side to the city's electronic movement. Great stuff! Highly recommended.

    Jordan GCZ beckons you into Rush Hour's No 'Label' lounge and invites you to partake in a toke from his lightly laced jazz rolly. The strain he's smoking is that "Lushlyfe" grass, a thick plumer guaranteed to sit you down and trip you out for the foreseeable future. Imagine lounge jazz made by space lizards in a distant galaxy and you'll be on the right trail as the A-side, as Jordan combines bubbling spaceways electronics and keys with a fat slap bass. Orbiting the same distant star as Vakula, Zanzibar Chanel and Young Marco, this has all the power cosmic you could ever want.  "Lushlyfe" itself is a DMT fueled journey through time and space, floating free on a bubbling carpet of sequenced bass and celestial pads. Last but not least, "Lushlyfe Birds" treads the line between experimental synth and soothing new age with bird song on top naturally. Yet more leftfield brilliance from Jordan and No 'Label'.


    The wonderful Black Ops sub label from the Sleazybeats crew continues as Junktion joins the Black Ops special forces for a stunning new EP! This Dutch producer, co-owner of the celebrated Outplay label, has made quite a name for himself over the course of a handful of very well received releases but this might well be his best work to date. "The Great Unknown" deals in the kind of irresistible grooves that have ensured the Black Ops series has been a day-one sell-out around the globe. Familiar sample work blended with toughened up, mid-tempo house manoeuvers and superb additional synth candy conspire to fill out a very crisply produced and versatile 3 tracker that will work a variety of floors perfectly. Black Ops pull off another operation with 007 levels of charm and efficiency... Report to the dancefloor! As always, this is a limited, vinyl only release. It will not be repressed and will not be released digitally. Not now, not ever. 

    For 'Speicher 84', Danish mastermind and global fan favorite Kölsch returns to the label that started it all (or at least his best-known monicker), delivering two heroic techno cuts whose electronic grandeur is only rivaled by the sweetness of their melodies.Coming hot on the heels of the face-twisting madness of “Loreley“, the piano-driven melancholy of “Opa“ or the bestselling chords from his collaboration with Gregor Schwellenbach, this release somehow paying tribute to all of these within the confines of one admittedly massive two-tracker. Rune's first new original material in a while, these cuts follow much-acclaimed remix work for artists from the whole gamut of contemporary music, from high-profile pop stars like Coldplay to purveyors of fine house Monkey Safari or bass music aficionado Henry Krinkle. "DerDieDas" is a romping bit of stadium sized techno which alternates rising synth melodies with abrasive fx and disorienting breakdowns, while "Two Birds" is a euphoric and summery hit pairing a fragile melody with purposeful percussion.


    Underground sonic energy on 12" of black vinyl as defunct San Francisco free-jazz / free punk band Libertas finds release on La Mission. Growing up in San Francisco, one of the most important punk bands in the tight-knit Mission scene was 50 Million. So when label head Beaner discovered 50 Million member Wade 'Storey' Driver's new project Libertas, he had to release their 'Song For The End Of The World', a swirling blast of sonic expressionism which flips the middle finger to the punk and jazz faithful. This four track release sees the multi-instrumental magic of the original backed with remixes from Max Graef (in his Reverend G guise), Kenneth Scott and J Choirboy and Beaner. Max's weirdo spacelord deep house remix builds to several crescendos, continuing his meteoric rise into the very highest reaches of the atmosphere. Kenneth's tongue in cheek nod to 90s house a la Dajae also mixes in modern elements present in his work on labels like Circus Company. Lastly, the collaboration between La Mission core members J Choirboy & Beaner has a subdued yet big Shed-lite sound, offering something for everyone. As with past releases in the ongoing kunst / WORK series, this one includes a Magazine (40+ pages, Performance Ticket (for the third performance related to the record and magazine) and defaced Zimbabwean Currency. All these things tying together the theme of 'Divesting from Capital / Against Austerity / Exposing the false Scarcity Economy'.

    Drew Lustman leaves his FaltyDL persona at the door and dons his stetson for a new alter ego, The Crystal Cowboy - his cleanest, most concise record to date. The 11 tracks here are a body of work that Drew put together quickly, free of the connotations and associations of his FaltyDL moniker. Creating music in the small hours of the morning rejuvenated his sense of experimentation and freedom. Under this new name Drew found himself making the kind of music he would DJ with or play to friends without the pressure of the conceptual weighing him down. Like all great projects between Planet Mu and Mr. Lustman, these songs found themselves in Mike Paradinas' inbox with little fanfare, letting the music speak for itself. The album often uses the speed or tropes of hardcore and drum & bass, assembling tracks a bit like lego, but adding in Drew’s own almost opaque elements of sophisticated soul and funk to give the roughness some melodic light and emotional pull.

    The album opens with ‘Watch A Man Die’ which relives memories of mid-nineties drum & bass, weaving delicate melodies and smooth strings into brisk latticed drums. ‘Time Machine‘ is a stab-heavy recall of hardcore, with reverbed animal calls giving the track a humid jungle feel. ‘Angel Flesh's‘ delicate looped soul voices blend into a gaseous haze over jazzy drums, while ‘Green Technique’ layers intense beat and synth loops into a dark and disorienting vortex. ‘Wolves’ is Drew's melodic take on dub techno building crunchy, rolling drums and shivery chords into one of the albums many highlights. Placed at the albums midpoint, ‘Hyena’ takes a broken diva vocal and repeats it into an intense howl, leading into the title track whose carefully poised rhodes jazz chords and vocals are balanced against rough hardcore breaks and dense distorting bass which makes you feel like your bouncing on water. Drew takes things slower with ‘Onyx’ which featuring the rapper Le1f’s first ever sung vocals, over xylophone and light raindrop rhythms. The album finishes on the pumping electro of ‘Sykle’ whose itchy overexcited rhythms rub up against plaintive childlike piano and shimmering synths making it one of the album's most memorable highlights. "The Crystal Cowboy asks the listener to lose themselves and any inhibitions they may have as he takes the time to hold your hand and lead you through his thrilling and immersive wonderland. Good night and good luck."

    Sworn Virgins is one of the many perverted projects from the blossoming mind of Mutado Pintado, legendary vocalist for Paranoid London, head of Warmduscher and general purveyor of chaos and DIY videos. This release is all about rage and bits of broken down computer melted in tar, and is probably LDDLM's strongest release to date. The two original cuts on this madcap 12" come on strong and heavy like a youthful experience with class A's. Opening track "Michelle" bursts out the speakers like a ket addled cousin of Liquid Liquid, boasting trippy synth drum rhythms and detuned brass, shattering into your psyche like a giant metal freeze in the warmth of Trinidad. It's wild and it's fun; there's even a vocal that sounds like a kazoo. "Lazy Boy" on the other hand takes me back to my mispent youth in the dingy basement of Retro Bar dancing to Noblesse Oblige, Crossover and Suicide. This is scuzzy, sleazy electronic ghetto punk of the highest order, powered by distorted synths and deadpanned vocals. Fabrizio Mammarella manages to put a dog collar on the beast with his fist pumping remix. His version of "Lazy Boy" has been label head Ivan Smagghe's biggest hit since he got it and in his words "smells of poppers and GHB, leather and bum sweat." Finally Acid Arab muscle in on the action with their interpretation of "Michelle". They recorded the strings in Teheran (for real) and their mix drops the acid without the TB. This is pure retro-futuristic hypnotism, almost taking the track to the dark regions of James Holden and his Border Community consorts.


    Paid Reach

    Fair Trade Dark / Colddrinksnreverse

    The first release on Paid Reach - in collaboration with Ominira, edited and produced by Kassem Mosse. 

    'Fair Trade Dark' is pure minimal wave / industrial inspired electro-tech, with an insistent, elastic, siren-like analogue twang repeating over grimy synewaves, syncopated tones and machine noise. 'Colddrinksnreverse' is a minimal rhythm track... But running backwards... Not only that, but the track plays backwards as well, from the centre label to the outside edge, just to fox you...

    The Revenge

    Love That Will Not Die

      After dropping a teasing 12" last year, Graeme Clark returns as The Revenge with his second full length release, "Love That Will Not Die", released through his own Roar Groove imprint. The Scottish producer came to prominence at the tail end of the last decade through a impeccable string of disco re-edits on the likes of Jisco, L.E.S.S. and Instruments Of Rapture, which found their way into more or less every set that mattered over the next five years. In recent times Graeme's moved away from the edit scene to concentrate on original productions which bring together his love of deep and hypnotic house, rough disco and raw soul. "Love That Will Not Die" finds the producer in imperious form, marshalling tough percussion and lithe bass into a dozen body moving, floor shaking beauties that'll have your hands in the sky before you know it. Careful to avoid the tired dance music formula of a handful of identikit tracks thrown together to make an LP, Clark offers a varied selection of mood here, contrasting tense warehouse bangers with swooning disco cuts and uplifting house jams, keeping us on our toes, and our toes on the dancefloor. 

      Manchester's snazziest dresser, most committed vaper and foremost cassette tinkerer Ruf Dug inaugurates the brand new Cosmic Pint Glass imprint with a trio of Balearic-not-Balearic cuts perfect for the summer months. Ruffy kicks the EP off in sumptuous fashion with the sublime synth sounds of the brilliantly named "Guybrush Threepwood Takes DMT & Goes Paragliding At Sunset". As far as titles go, this is pretty much perfect, combining comedy with descriptive prowess; this does sound like Monkey Island, an interdimensional trip and a calming journey through the orange skies. Powered by a rhythm section of dubby drum machines and a hipshaking bassline and lifted skywards on cosmic electronics and new age sequences, the track manages to perfectly combine the lilt of reggae disco with the earnest emoting of Krautrock into something completely beautiful. Next up, El Ruf takes us on a gorgeous diversion into the shimmering heat haze of a midsummers afternoon with "Joanna". Fragile mallets scatter across a lysergic bass sequence as Ms Newsom's unmistakable vocals weave a spell over your smiling brain. Loosely speaking, it's acid Enya in dub, and how good does that sound! Since Ruf Dug's softened you up with all the interdimensional vibrations of the A-side, Chicago Damn may as well dissolve your consciousness back into the universal with the immersive dream house of his "Dangerous Dub". CD drops the vocals completely and rearranges the original elements with a new bassline to submerge us entirely in wave after wave of hypnotic house bliss. Monkey Island funk and tropical breeze for the geez!

      Phonogramme get with the program and drop a much needed reissue of S3A's killer EP from back in 2013, offering the uninitiated a chance to pick it up with ease. Like many people I was late on this first time round and had to part with a great deal of my hard earned on a well known second hand site, and it was worth every penny. The French house genius has breathed new life into the weary world of sample based house with his smooth and sultry productions, well sourced originals and intuitive knowledge of the groove. "Forward (Part 1)" kicks us off with the rattle of off kilter percussion before dropping into dope jazz territory thanks to a warm double bassline and swooning Rhodes licks. The track builds and builds as S3A adds crashing hats, terse strings and a one bar vocal loop the French touch fraternity would be pleased with. Killer. On the flip, we blast off into the sweaty humidity of the peak time dancefloor thanks to "Forward (Part 2) (The Anthem Version)", a funked up stomper featuring a few of the ingredients of the A-side worked into a straight up club banger. After keeping you locked in the hypnotic groove for the first three minutes, S3A lets loose with a classic 'hands-in-the-air" string line, and just about secures himself a play in every open air set for the next decade. But that's not all folks! He's only gone and dropped a superb B2 show stealer, ain't he! Let's face it, sampling Bob James' "Feel Like Making Love" always goes down a treat, (just ask MAW or Fudge Fungers), but this raw and soulful arrangement plays those sweet jazz funk chords against bumpin kick and rattling hats to perfection, making for a DJ Nature approved weapon which always has people coming to ask what it is! Buy on sight!

      Chicago house godfather Jesse Saunders originally composed and released this proto house classic in 1984 on his own seminal Jes Say Records before later being re-released on Trax in the 90s. On the A1, Jesse opts for groove over impact, layering smooth vocals and Italo style synth vamps over a roving Bobby O bassline and sets the 808 to a gentle jack. If you like a little more boom, boom, boom for your zoom, zoom, zoom then try out the "Club Mix" on the flip. The thunderous kick should find a home deep in your gut while the stripped back arrangement opens up space for head turning dancefloor sonics. All 4 original mixes have been re mastered and are re released in conjunction with the Trax rights holders.

      Second Storey & Appleblim Present ALSO

      ALSO

        3 x ALSO 12" EPs packaged together in a stickered heavyweight anti-static transparent grey cellophane outer sleeve. Limited stock.

        R&S welcomes ALSO to the family, AKA the pairing of Appleblim and Second Storey for their excellent debut album, compiled from their critically acclaimed trilogy of EPs.

        Ever since they first met and bonded over a shared love of machine rhythms and sleek electronic grooves, the pair have been hard at work on pushing their creative boundaries to the limit, never content to take the easy route - as Laurie explains "if that means broken rhythms, and untraditional melodies then so be it. There's so many people making sonically 'correct' or refined 4x4 music, we just wanted to explore everything other than that, whilst still keeping the dance floor moving."

        These heavy studio / live jams sessions have borne truly verdant musical fruit inspired as much by classic R&S alumni from Aphex Twin to Blawan and the Detroit axis of Carl Craig and Juan Atkins. The album drips with uptempo cyborg funk, heavyweight bass and bleeping synth squiggles, pulsing subs and swooning pads. ‘Arpemonger’ is an exclusive track to the album that sees ALSO stretch their classic IDM influences into a lush, soulful, futuristic five minutes that finishes the album in style. 

        ALSO is pan genre, pan generational, emotive electronic music at its best. Truly something special and a fine addition to R&S rich heritage of forward thinking dancefloor sonic artistry.


        Fit Siegel

        Carmine / First Found

        It's Winter in Detroit and Fit Siegel has given us "Carmine", a moody techno classic perfect for the lonely season. Subtle, low-key and thumping, the title track revolves around a bittersweet piano lead, elegiac 303 and Blade Runner string swells. It's a high-tech driving song in the tradition of Model 500's low-key classic "Pick Up The Flow" and FIT sounds more assured than ever. "First Found" is Millsian jigsaw puzzle techno imbued with breathy and addictive humanity. Staccato, free-jazz informed piano solos lock into ping-pong synths before eventually, a female vocal emerges over a bed of arpeggiated bass. Loose yet robotic, "First Found" is first-rate Detroit techno mysticism. The record as a whole is a worthy entry into the Motor City's storied canon from a leader of the new school. Indeed, Fit himself seems dedicated to the cause, his distribution alone carrying forward the baton of new Detroit music into 2015. Like Underground Resistance his name behind a record is a sign of uncompromised quality. Look out for more vibrations emanating from the Motor City under the guidance of this high-grade mover. Recommended.

        Waheeey! It's a new Soundstream, primed and ready for extended play over the Summer months... but has it been worth the wait? Most definitely - yes! These are 3 HOT cuts by the German maestro, and should more than please your fellow chopped'n'looped disco-house fanatic. "Bass Affairs" introduces the EP on a smooth, sunny plane; the slap bass riff, funky guitar lick and pulsing organs all converging on an end point which signifies hot, sweaty days smoldering under sun-burnt skies. As the cowbell rhythms move to the fore you'll soon be sucked into its magnificent grooves, tailor-made for daytime dancing! "Sweep Magic" gets more manipulated as 'stream delivers some sizzling white noise hi-hats (ala Kyle Hall) across a filtered disco loop and celestial background pads. Frank Timm sure knows how to work the shit out of a loop, and this is displayed with aplomb on this excursion. Finally, "Starstrike" is a chunky, bass heavy number with looping sirens and live drums. Before long a brilliant swelling bassline is introduced along with more ascending sirens and tones and some cleverly syncopated hi-hat / shaker rhythms. Subtle but devastating, and possibly my favourite track off the EP. Soundstream continues to provide the DEFINING disco-house standard, leaving everyone else in his shadow. Essential.

        "Damogen Furies", Squarepusher’s first full-length since 2012’s "Ufabulum", finds Jenkinson’s kineticism in full flow. While the techniques and craftsmanship that Jenkinson has honed over the course of his career are clear, "Damogen Furies" is a record with all the brutal energy and the vivaciousness of a debut. 2014 saw Squarepusher release "Music For Robots", an EP composed by Jenkinson and performed by the three robots that comprise the Z-machines. "Damogen Furies" then marks the culmination of years spent experimenting with and hacking hardware and software, rejecting limitations choosing instead a compositional process that places the act of building instruments at its heart. On "Damogen Furies" we hear a truthful, unembellished representation of how those instruments sound. All of the recordings here were made in one take, with no edits. Raw and raging electronics packed with punk spirit.


        Tooth Faeries

        The Sound / Love & Resistance

        Sheffield mainstays Mark Brydon (Moloko) and Parrot (Sweet Exorcist, All Seeing I) come together as Tooth Faeries with this latest release on Shabby Doll comprising of two versions of the title cut plus the gently pulsing "Love & Resistance". Deeply melodic yet also crisp and compelling, "The Sound" layers Carmen Squire's lush vocal over a martial drum beat, unleashing a dose of deep Sheffield bass just when it matters most. It's an arresting and irresistible record, disarmingly simple and yet designed to stick fast in the memory. On the flip, "Love & Resistance" balances an unsettling electronic rhythm track with delicate chords and crystal clear vocals, guaranteeing heavy rotation throughout the summer months.

        The latest chapter in the electronic evolution of guitarist John Frusciante (Red Hot Chilli Peppers) features a new project under his Trickfinger guise and has him utilizing the classic hardware that spawned the eternal acid template.

        Frusciante's desire to cede control to machines has paradoxically allowed him to present a singular take on elemental dance music, a brilliant and unexpected entry into Acid Test's growing canon of modern, 303-focused dance music.

        Frusciante  says:
        “I started being serious about following my dream to make electronic music, and to be my own engineer, five years ago. For the 10 years prior to that, I had been playing guitar along with a wide range of different types of programmed synthesizer and sample based music, emulating as best as I could, what I heard. I found that the languages machines forced programmers to think in had caused them to discover a new musical vocabulary. The various forms of electronically generated music, particularly in the last 22 years, have introduced many new principles of rhythm, melody, and harmony. I would learn what someone had programmed but their thought process eluded me. Programmers, particularly ones fluent on machines from the early 80s and/or tracker programs from the 90s, clearly had a theoretical foundation in their employ but it was not the theory I knew from pop/rock, jazz or classical. The hands relationship to the instrument accounts for so much of why musicians do what they do, and I had come to feel that in pop/rock my mind was often being overpowered by my hand, which I had a strong desire to correct. I was obsessed with music where machine intelligence and human intelligence seemed to be bouncing off one another, each expanding with the incorporation of what it received from the other.

        In 2007 I started to learn how to program all the instruments we associate with Acid House music and some other hardware. For about 7 months I didn’t record anything. Then I started recording, playing 10 or so synced machines through a small mixer into a CD burner. This was all experimental Acid House, my skills at making rock music playing no part in it whatsoever. I had lost interest in traditional songwriting and I was excited about finding new methods for creating music. I’d surround myself with machines, program one and then another and enjoy what was a fascinating process from beginning to end. I was so excited by the method of using numbers much in the same way I’d used my muscles all my life. Skills that had previously been applied by my subconscious were gradually becoming conscious, by virtue of having numerical theoretical means of thinking about rhythm, melody and sound.

        In summary, Acid served as a good starting point for me, very gradually leading me to be able to combine whatever styles of music I want, as a one man band.” - John


        O. Xander's "Less is More" EP does what it says on the tin with a bare bones aesthetic that pays dividends in the subtlety of its arrangement and an enigmatic viscidity that sits central to each component track, none more so than the nectarous "Lovers Theme". Deeper into the EP there is a discernible salute to the Belleville Three and their dilettantish synthesis of sound and sensation on the aptly titled "Integrity & Intensity", while closing out the collection Michigan's Karen Gwyer contributes a leviathan rework of the propulsive "Dirac Sea", also included in its original form, with the subsequent version weaving a distended web of imbricated melodies into a rapturous crescendo.

        Matt Tolfrey’s musical roots lie in Nottingham where he regularly attended DIY events as well as the infamous The Bomb nightclub, the latter being a home to authentic British deep house via the likes of Kelvin Andrews and Dave Congreve. Soon after these formative years, just after the turn of the century Tolfrey found himself behind the decks at The Bomb - and later, Stealth - where he began to carve out a reputation for himself as a varied and adept house selector. Craig Richards, also a Bomb regular, spotted Tolfrey’s skills and invited him to play at fabric in 2004 which marked the beginning of a long relationship with the club and its auspicious resident.

        After a move to London around this time, Tolfrey kicked off Leftroom and signed his debut EP to the burgeoning Crosstown Rebels, two moves which fully drew him into the music industry. Since then, Tolfrey’s productions have cropped up on the likes of Cocoon, Culprit, Phonica, Rekids and, most recently, Skream’s Of Unsound Mind while stewarding Leftroom to drop releases from the likes of DJ Bone, Laura Jones, Huxley and Kate Simko.

        The result of eleven years of playing and attending fabric (Tolfrey can be seen regularly at the club when not he's travelling himself), fabric 81 is a distillation of his experiences and musical memories rather than a straight up trip through the latest promos and hot cuts.

        Across Tolfrey’s mix we’re treated to a broad selection of styles and compositions old and new, all tied together in the DJ’s bumping, energetic and sometimes idiosyncratic dancefloor style, with tracks frequently weaving in and out of the mix or laid over others throughout their full duration. Nods to the past come from Nail (‘I Think It’s Love’) on Tolfrey’s beloved DiY Discs and Soichi Terada’s ‘Tokyo XXX’ while contemporary offerings come in the shape of cuts from Genius Of Time, Jon Convex and a number of Leftroom exclusives. Tolfrey, ever the slave to his record collection, also drops in bonafide classics such as Doc Martin & Eddie Amador’s take on Aaron Carl’s ‘My House’ and a Derrick Carter re-rub of 2nd Shift’s ‘Somethin’ Else’.

        fabric 81 stands as a radiant presentation of Matt Tolfrey’s knowledge and background as one of the UK’s finest purveyors of electronic music.

        London Housing Trust 009 is here with the second installment of Jamie Blancos "Unknown Reason", the original mix which creates a moment of late night drama for dancers. Fx Mchn makes a welcome return with his trademark dark, eerie sound, rolling mutating crispy beats and weird vocal samples on "UFOD". LHT newcomer, Late Night Audio enlists the vocal skills of a local Hackney gal before adding a techy, shuffling nightclub beat and deep rumbling bassline on "Live For The Music". Finally LHT mainstay Facade brings us one of his best pieces of work yet with a stunning slow analogue house workout that goes way deep with added dub delay FX warm chords and arpeggiating bassline.

        Mr Khan is back with the 11th edition of Shir Khan’s "Black Jukebox" series!
        This time Shir Khan has collected edits from Purple Disco Machine, Dayne S and Zoka. PDM's "Magic" kicks off proceedings with a well know male-rap vocal collaged onto a funky shaker rhythm before "Evil Vibration" by the Mighty Ryeders gets lo-pass filtered into just bass and groove. Every so often the catchy rap hook gets fired over the top of the mix with aplomb, hitting hard and working collaboratively with the hi-pass filtered sections. Dayne S's "My Soul" is up next, another soundsystem-ready disco-house jam which tickles the subwoofers beautifully and seems purpose built for eyes-wide-shut Summer terrace play in big outdoor spaces. Zoka brings two cuts to the B-side. "I Don't Dance" deploys some nice warm disco drums before subtly working in some intricate guitar parts, funky b-line and sensual female vocals. Another hip-shaker to get an early evening dancefloor wiggling too. Finally, "Professional Dancer" closes off the EP with a percussion heavy workout taking in wicky-wicky guitar (official term) and heady, psychedelic elements; a loft-party future classic for sophisticated dancers everywhere. Limited & vinyl only. Cop that before it sells out. 



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