house . techno . electronica . ambient


Genre pick of the week Cover of Nagan / Vatula by Cain.


Nagan / Vatula

For their sixth release the Highlife crew introduce a frequent guest and perennial party starter from their regular shin digs to make his first appearance on vinyl. Cain's been making waves behind the decks for some time now and his transition into production has sparked similar excitement. From the moment the crew dropped lead track "Nagan" on their Rinse radio show, everyone and their nan's been after it, longing to get another taste of those infectious vocals. The label describe it as Daphni via Delhi, which isn't a bad shout at all considering the thickly undulating synth bassline, solid beat and diasporic vocal melody, in this instance cut up from a little Bhangra. "Vatula" gets spiritual on the flip as the producer concocts a deep house groove flecked with melancholic pads (think a midnight collaboration between Yoruba and Detroit) and tops the track with a tribal vocal. If you dug on the excellent Esnard Boisdnur rework on Sofrito a while back, then you'll be all over this. Time to get global!

My favourite purveyors of that classic 'terrace house' sound return on the delectable Contemporary Scarecrow. The Iberian producers have been rolling out hit after hit, all in a very unique, easy to spot style. These are rolling, big room tunes that instantly get the floor shakin' and wigglin'. This particular offering ranks as one of their finest moments in my opinion, and so good it receives not one but four (4!) outings on this essential 12". First up is the vocal mix of "Stretcher", which deploys a spine-tingling, never-ending breakdown with those double kick drum drops which get the floor salivating at the bit (you think the kicks dropped, but then it REALLY drops!). Both vocal mix and 'Stretchapella' feature this fucked up spoken word vocal section which'll play hell with people's minds when blasted out of some 10 foot Funktion1's on Playa d'en Bossa on a Sunday morning.... The instrumental does away with any lysergic vocal meanderings and just goes straight for the jugular with its gorgeous rolling grooves and clever melodic snippets. Hard to describe but so, so easy to enjoy! This is the kinda track Groove Armada would make their own in one of their classic terrace-tinged sets; big extended breaks with even bigger drops! You know you need this! Finally, the 'dub' version really tweaks with the OG, doing away with much of the melodic elements and instead keeping things dark, sexy and sultry, perfectly balancing the arrangement between heads-down, bass-led grooving and more cerebral, floaty sections without a kick drum. Massive record!

This legendary 1994 double-pack on Eightball has long been an object of desire for proper house heads and vinyl junkies worldwide. We should count our lucky stars then that 2014 is the year that it gets its first full reissue! Featuring deep house classics "Making A Living" (as heard on Phil Mison's awesome 'Originals' comp), "Young And Free", "All In The Same Family" alongside a host of dancefloor weapons, "The African Dream" embodies the true spirit of classic club music at a time when disco and house collided in the melting pot of NYC. An absolutely essential release from a classic era of New York dance music that captures the deepness, rawness and soulful edge of the people who made it. Timeless house sounds for the true connoisseur made available once again. It's a beautiful thing baby!

Art Of Tones / Thatmanmonkz

So Worried / Got To Get To

Thatmanmonkz is enjoying a fine run of form thanks to a string of heavy duty releases for Delusions Of Grandeur, Kolour Ltd and his own Shadeleaf label. For the fifth release on the bubbling imprint, Sheffield's finest is joined by French house loyalty, with Art Of Tones taking care of business on the A-side. "So Worried' marries a spoken word vocal with a clipped organ lead for a bumpin' house workout reminiscent of fellow Frenchman St. Germain's finest work. If you like to keep your mixes tight and quick, then the slick and sleek re-edit will do nicely. Monkz handles the flip with the kind of rough and ready sample-house jam the label has championed since day one. "Got To Get To" strings together a handful of live instrumentation and melodies in that MPC bashing style we're used to hearing the Motor City jocks rocking. A thick mix and bubbling bassline provide all the grit you could ask for while a sharp clap will keep the necks snapping. On the dub mix, Monkz strips that shit back and houses the ingredients up for a buttery groover packed with soul. 

Bing & Ruth

Tomorrow Was The Golden Age

'Tomorrow Was the Golden Age' is an album length composition by minimalist ensemble Bing & Ruth. Written and conducted by pianist David Moore, 'TWTGA' is a halcyonic journey to a neverending place, where music waxes, wanes and drifts imperceptibly from silence to grand, glowing sound.

Formed in the mid-00s among music student friends at New York City’s New School, Bing & Ruth’s lineup has shifted with the scope of each recording. For 'Tomorrow Was the Golden Age', the group whittled down from the eleven players on their first album, 'City Lake', to seven: two upright bassists, two clarinetists, a cellist and a tape delay tech, all supporting David Moore’s sublime yet resonant piano scores. Moore is responsible for the compelling melodies mediating the overarching ambience of 'TWTGA'. With untethered textures inspired by the indeterminate music of Morton Feldman and later torch bearer Gavin Bryars, 'TWTGA' achieves canon-level quality for instrumental music. Within the piece’s extended passages, Bing & Ruth wander through gradient fields of colour, illuminated by a delicate architecture of slowly developing microtonal harmonies, Steve Reich-ian piano lines and the same analogue tape delay that launched both Brian Eno’s 'Apollo' and the greatest dub reggae engineers into the unknown. Moore employed fundamental contrasts as the conceptual mode for 'TWTGA. Daybreak offered one contrast, with its untraceable hues from dawn to sunrise. Silence and its intrinsic gift of listening offered another. The emergence of 'TWTGA from the two is Bing & Ruth’s epic and ultimate reprisal.

The album was recorded in Yonkers, New York and mixed in Brooklyn, with Brian Bender and Moore at the controls. Intended to be experienced at both high and low volumes, 'Tomorrow Was the Golden Age' is perfectly calibrated for meditative backdrops, burrowed headphone listening and utter captivation when performed live. Its sonorous palette inspires emotional response across a dynamic field, welcoming a journey to and beyond tomorrow’s promise.

The unquestionably dope Hessle Audio drop something special for their 27th single with this three-track 12" of glistening techno and broken abstractions by newcomer Bruce. Already a winner with Gilles Peterson, Benji B and Joy Orbison, "Not Stochastic" is gonna ring through the speakers at every forward thinking venue in the land over the next few months. Bruce sets trippy sequences to circular rhythms and coats his drums in a fine mist of echo as he takes a shot at the psychedelic end of the dub techno spectrum. On the flip, "Trip" offers a stripped back percussion tool built out of tribal drums while "My Legs Wouldn't Go Quick Enough" updates the minimal techno blueprint with a little Drexciyan shower packed with electrostatic fuzz. 

Gregor Curten & Anselm Rogmans


    Wah Wah Records proudly presents a luxury vinyl reissue of this rare 1974 private pressing. Cool long electronic experiments splitted in two tracks, one on each side. Recorded in one take and offering an astounding combination of synth drones, wordless vocals, ambiental electric organ and ethereal guitar arpeggios.

    An outstanding work that moves away of the more classical kraut cosmische sounds to walk darker paths, yet retaining some early Kluster reminiscences.

    The Wah Wah reissue comes to life thanks to the cooperation of Gregor Cürten himself, this new LP and the 2012 CD release on Entr'acte are the only legit reissues of this great lost piece of kraut music history. Don't be fooled by imitations!

    Limited to only 500 copies. Remastered sound and featuring an insert with liner notes.

    East India Youth

    Hinterland - Inc. Katja Waske Remix

    In a move that's certain to please the proper techno heads out there, East India Youth has finally seen fit to deploy the finest piece of dancefloor weaponary on his critically acclaimed debut LP in 12" form. Militaristic drums, driving sequences and swirling modular washes interlock into a pulsating nuclear core, well on its way to meltdown. Falling somewhere between the stripped back machine funk of Factory Floor and the unyielding energy of a Carl Craig classic, "Hinterland" is the kind of cut you build your whole set around. In other words, totally massive. On the flipside, the mysterious Katja Waske drops in to provide a face melting remix, which ramps up the aggression tenfold, turning "Hinterland" into raw techno filth. If you're after one of those thunderous stadium sized techno monsters usually released by either of the Kalkbrenner brothers, then this is your new jam. Serrated sequences, pounding percussion and searing drones combine perfectly to set the night on fire.

    East India Youth

    Total Strife Forever - Deluxe 2xCD Edition

    East India Youth aka William Doyle delivers his highly anticipated debut long player ‘Total Strife Forever’. It's an ambitious work heralding the arrival of a singular new talent. Doyle is an inventive composer, and not tied to one style of music, bringing a love of minimalist and ambient composition to play alongside traditional song writing. The album ranges from ambient passages and neo-classical episodes and Detroit techno through to effervescent melodic electronic pop songs, with 'On Heaven How Long' combining both elements as the euphoric chorus dissolves into a driving motorik rhythm. Inspirations along the way included the output of Tim Hecker, Brian Eno, Björk’s ‘Homogenic’ and Arvo Pärt.

    East India Youth release an expanded version of their Mercury Prize-nominated debut album ‘Total Strife Forever’ which now includes an epic 54 minute imagined soundtrack for the 1916 silent film ‘20,000 Leagues Under The Sea’ on a bonus disc.

    Four Walls & Funky Jaws

    Another Night In Grodno EP

    As the song goes, the boys are back in town! The town in question being Grodno, and the boys being the Belarusian dream team of Four Walls & Funkyjaws, who pick up right where they left off on their storming label debut. More than equipped to handle the heat in the kitchen, the up and coming duo keep the recipe the same, serving four deep underground house joints crafted with love and precise execution. Opening track "10 PM" mines that divine MAW seam of live fretless bass driven jazz house topped with smooth ivory tinkling. Perfect for a warm up or warm down this one's gonna get you loose and limber well before the Wood, Brass and Steel aping breakdown. Naturally "12 AM" follows on, propelling us into the midst of a packed dancefloor with a rolling bass groove and disco strings reminiscent of a Joey Negro Ze Records classic. Sounds good don't it?! On the flip we're transported into the post peak haze of love dancing under a golden glow thanks to the warm and breezy "2 AM". The Masters At Work vibes continue here with an intricate piano solo and shuffling rhythm that makes seductive eyes at you across the room. "4AM" finishes things off in rough and ready after hours fashion, as Four Walls & Funkyjaws hit us with a slick hit of break backed dancefloor funk with plenty of attitude, pop and swagger. Mighty moog riffage and sassy vocal samples turn up the heat on this block party boiler till this motha starts blowing like a steam kettle. Too legit to quit, the Belarusian house duo give you exactly what you came here for.


    12" Info: Limited 'beer coloured' vinyl pressing

    Some classic Kelli Hand biznizz here, beaming forward from 1993 on the producer's Acacia imprint, remastered, repressed and rereleased to fuck shit up for a new generation. The queen bee rocks the A-side with the slamming Detroit Techno bomb "Everybody" / "You Give Me", a heavy duty looping monster of a track punctuated by immediate vocal stabs. This is rough and tough Detroit business, an excellent DJ tool that keeps the funk strong throughout. Over on the flip we have the legendary Claude Young who turns in two mixes of the futuristic sounding "You Give Me". Stripped back and funky with tight, choppy drum programming and clipped vocal samples weaving in and out of the mix, this one is another sure fire weapon in both dub and the instrumental forms. This 12" has long been sought after and has changed hands for £50 and upwards online; all in all an essential addition to any self respecting Detroit fanatics record collection and an indispensable record to have in any DJ bag.

    Hardway Bros (otherwise known as Sean Johnston of A Love From Outer Space) returns to Throne of Blood with their second EP. After successfully exploring Belgian New Beat influences on last years “A/B Music”/“Shorty” release, Sean continues to explore the darker side of vintage electronic tropes with the Sleaze EP. The EP’s opener “Legato” operates on the interface between electronic body music and early techno, invoking Chris & Cosey, nights at the Dorian Gray, Suicide and Belgian 24 hour Discotheques. Remixer Kasper Bjørke, riding a killer bass line, pushes things deep into late night warehouse rave territory. On the flipside, “Thoughts On Modern Living” comes over like a deranged early Murk production and is fashioned for late night basement jams. Closing out the EP is “Sleaze” a cover of a 1983 Marc (Almond) and The Mambas B-side and a collaboration featuring Horton Jupiter (They Came From The Stars I Saw Them / DJ Mystic Rock / Puwaba) on vocal duties and Mat Flint (Death In Vegas / Revolver / Deep Cut) providing guitar textures.

    Mark Henning

    Titan EP

    Mark Henning returns to Soma with yet more jacked up machine funk in Titan. Mark has firmly established him self within the Soma mainstays and continues to further his sound on the label. This latest EP sees him take to the street with two energetic drum workouts laden with his unique flavour.

    Title track Titan is very typical Henning, keeping the ingredients simple yet effect and created live. A solid groove from his trusty 909 that just oozes dance floor compatibility hooked up with a quirky synth stab, weird vocals and a eerie organ-like riff all rounded off with a fantastic arrangement makes for one seriously infectious track

    Roots gives of a real ghetto-tech feel, as once again a 909 groove is enough to get things going while squelchy synth hits bounce of rimshots working up to a subtle rolling bass line. Mark’s skill in the arrangement process take hold as he allows the tracks to develop into a full drum workout with mutes here and there and the simple addition of more stuttering percussion help to pick up the pace.

    Henning as the enviable talent of being able to create dance floor burners with the simplest of elements, a task he delivers of with blinding result on this EP.

    Hieroglyphic Being

    The Fourth Dimensions Of A Nubian Mystic

    Jamal Moss adopts his Hieroglyphic Being moniker to continue his spiritual journey through the cosmos with this new two tracker on Technicolour. Although his music takes cues from the EBM and house that played a huge part in the Chicago's musical underground in the late eighties and early nineties, from Ron Hardy and Adonis, the Mathematics boss has always blazed his own trail, fusing elements of industrial, avant-jazz and noise into his dancefloor brew. His tireless schedule of rough low-key releases over the last 12 years and his intense, very physical, psychedelic music, have made him a pioneer of what's recently come to be named 'Outsider House', although he prefers the more Sun-Ra like descriptors of 'Rhythmic Cubism' and 'Cosmic Be-Bop'. Listening to the sprawling and complex 'Fourth Dimesion' these terms come alive, perfectly describing the intricate, crystalline sequences Moss layers and tesselates over a jacking beat. Hypnotic and celestial, this is the ideal post peak cut, perfect for transporting people out of their weary bodies and into a new plane of being. On the flipside's 'Star Time' Moss explores similar ideas of melody and tone, but forces them through the other side of the wormhole, burying the signal beneath a wash of white noise. Deep, cerebral and spiritual, this could be only one man!

    Invisible Menders

    Porn Wax Eight EP

    Everyone's favourite adult imprint offer something bold, new and exciting with their latest hot pink 10", thanks to the debut of the Invisible Menders. I'm gonna come clean and admit that I know absolutely nothing about these blighters, but from the beefy post-punk drums and sprawling synths of "Affected", I'm willing to bet they took their name from a Faust track. The A-side cut stomps out the tracks and explores the post Weatherall wormhole in a blast of Tangerine Dream sequences and baggy backbeat, simultaneously referencing Germany 1978 and Manchester 1989. Those looking for a more recent comparison could do worse than Death In Vegas' "Satan's Circus". On the flip, "To Be Discontinued" opens with an eerie sense of disquiet thanks to some mournful pads and a jagged sequence. As the track progresses we're dragged further into the abyss by a swirling tangle of synthlines until those techy flavours are replaced by the spacey melodies of a classic Bobby O production, albeit played at the wrong speed. An impressive debut from the Menders then, who offer a new take on the ALFOS blueprint. 


    10" Info: Limited pink vinyl pressing.


    Wolf EP 26

      Soul has always been a constant in WOLF's musical adventures, and here they release an EP that is positively drenched in it.

      WOLFEP026 has been crafted by WOLF favourite, Ishmael. A multi-instrumentalist who has featured on the label in the past but is now stepping up for his first full EP.

      Fans of WOLFEP017 will be familiar with his debut single 'Want You' that received praise from the likes of Jimpster, Lovebirds & Ben Westbeech.

      This release is his full debut EP, and is a taster of what you can expect from this exciting new addition to the pack.

      Mark Jenkins

      Analog Archives

        A leading figure in the UK’s electronic music scene, Mark Jenkins has played with White Noise, Arthur Brown and members of Can, Gong, Van Der Graaf Generator and Tangerine Dream. He is the author of the acclaimed books Analog Synthesizers and iPad Music (Jenkins became the first musician in the world to release a CD created entirely on the Apple iPad).

        Analog Archives is a collection of recordings from the early to mid eighties. Armed with his Moog Sonic Six, Sequential Prophet 600, EDP Wasp & Spider and other legendary electronic weapons Mark Jenkins delivers envolving electronic textures that could be filed along those of artists like Klaus Schulze or Ash Ra Tempel.

        These recordings are issued in vinyl format for the first time ever, in a limited edition of 500 copies only.

        Juju & Jordash

        Clean Cut Album Sampler

        Dutch duo Juju & Jordash live up to their reputation for being predictably unpredictable, dropping a single sided album sampler out the blue, with no mention of the new album or a track title. Thankfully, as ever with the boys, you can count on the quality to be sky high whatever ramshackle noise they're sinking their teeth into. This time round the platter provides a warm synthetic pulse on top of a bubbling bassline, both of which undulate nicely through the fug of tape saturation until finally unleashing the panpipe/jug band duet that we've all been waiting for. Melding the organic and synthetic like an environmentally conscious, dancefloor destroying Monsanto, J&J step up to the plate and smash it out the park once again.

        You know the clocks must have just gone back when Blawan and Pariah start up their machines and start making noise under their Karenn guise again. Yes, the onslaught of winter usually comes with a plethora of filthy techno releases, the darker days and shorter sunlight hours allowing the vampire mutants of the underground time away from their coffins to release music and party. Sheworks set a new blueprint for 'wallshaker' way back in 2011 with a whole new sound that took techno's frenetic tempos and meldied them to a sonic demolition ball and highly caustic recording mediums. 'All-hardware muscular techno jams' as they were then penned. Karenn is Blawan and Pariah together, two already established stalwart of the scene. On this, their third record for Sheworks the pair unleash that frenzied demon of sound they've kept locked up throughout the Summer. Speaking of which "Summer" churns and pummels like a Soviet-era factory line, that squashed and saturated kick drum present from the offset while eerie, discordant melodies circle overhead. "Nelly" lets loose the beasts for a carnival of voodoo. Rampant, uncompromising and really quite scary - this sounds like your dancing around a gremlin campfire with pitchforks in hand and human on the fire! Both medieval and alien at the same time! "Ballast" deploys those clever concentric beats to a droning sonar hum and futuristic machinery sounds. Surely a mid-session bleeper that Surgeon would dominate in the mix. Recommended.

        Kiasmos (Ólafur Arnalds And Janus Rasmussen)


          Ólafur Arnalds and Janus Rasmussen finally release their unique Nordic electronic sounds in album size

          After dropping several tracks and performing at select festivals throughout the years, Ólafur Arnalds and Janus Rasmussen dedicated the year 2014 to explore the area in-between Ólafur’s more acoustic, piano-based solo work and Janus’s synth-heavy electro pop, with their collaborative electronic project Kiasmos.

          By focusing solely on their self-titled debut album, Ólafur and Janus have been able to combine and further develop their unique sound aesthetics to complete an album driven by their mutual love for electronic music. Made in Ólafur’s newly build studio in Reykjavík, Iceland, a majority of the album was recorded using acoustic instruments next to a variety of synthesisers, drum machines and tape delays. It features a live drummer, string quartet and Ólafur performing on the grand piano, producing an ambient, textured sound, which makes it a perfect home listen and equally danceable record. If you listen closely, you can spot them record the thumb piano, finger snapping and even the sound of the metal grinder of a lighter slowly to replace the usual electronic hi-hat sounds, giving the album a far more intimate and unique atmosphere.

          “We decided to start almost completely over with this record, so most of the material is written this year with the idea of making a record that can stand as one piece rather than a collection of songs. I am very excited to get a proper record out exploring a different territory than I am used to. I touch a lot on electronic genres in my own music but never have the opportunity to go full out electronic like we do here.” – Ólafur Arnalds

          “The Kiasmos project has been around since 2007, but because of all our other projects we never really got the time to sit down and write all the tracks we always wanted to. So when we early this year finally found the time to sit down and make a full length album there was so much we wanted to try out. The result surprised us a bit, it's deeper and more emotional than we imagined it to be, but that's the beauty of being able to make an album.” – Janus Rasmussen

          Long-term Erased Tapes graphics collaborator Torsten Posselt at Feld Studios in Berlin created the cover artwork. Feld Studios was a natural choice for Kiasmos, seeing he also designed the cover for their Thrown EP, released previously.

          Kiasmos is made up of Icelandic BAFTA-winning composer Ólafur Arnalds, known for his unique blend of minimal piano and string compositions with electronic sounds, and Janus Rasmussen from the Faroe Islands, known as the mastermind of the electro-pop outfit Bloodgroup. Based in Reykjavík, Arnalds used to work as a sound engineer, often for Rasmussen's other projects, where the two musicians discovered their common love for minimal, experimental music. They eventually became best friends, often hanging out in their studio, exploring electronic sounds.

          More craziness from the Wrong Island; Line Idle returning to the demented paradise for an excursion into hunting for Unicorn blood! Or so the sales notes say... "Woodblocks" starts of in suitably strange form - a simple tuned woodblock workout, gloriously organic, magical and slightly ethereal; and surely informed by one of Dresvn's Sued or Acido compositions. "Time And Time Again" glistens and vibrates with the charged electrons and protons which it is filled to the brim with. A proper electrified groover, with bending, twangy synth lines, sharp arps and a steady forward momentum. "When All My Love Is Too Much To Bear" is one of those druggy exercises in discordance paired with a tongue-in-cheek sensibility. Sure to get people thrusting with meaning come 5AM the next morning, this is out of this world, interstellar funk, pairing AFX-style synth fizzles with chiming bell tones and white noise hats. Space voodoo!

          Love Club was an obscure one off project fronted by Jay "Mixin" Dixon, a DJ with a long history at NYCs Kiss FM where he played deep house and garage on the station's legendary master-mix show in the early 90's. The record also features a mystery, uncredited female vocalist and expert assistance by some top shelf studio personnel manning the boards. Originally released on the mighty West End Records in August 1983, "Hot Summer Nights" is a real under the radar gem which bears all the hallmark sounds the label was known for at the time: slick, synth heavy, futuristic sounding production and sultry vocals extolling the virtues of eyes meeting across the dance-floor of a unknown discotech on a sticky summer night. This sweet slice of electronic disco bliss even features a rapped verse from Dixon himself towards the end of the track, for essential street soul crossover. Flip the disc for the obligatory instrumental mix / dub which extends and expands the spacious, stripped back groove, blasting all and sundry out into the cosmos. Yet another gem from the vast West End catalogue re-mastered, re-pressed and re-released in conjunction with the label, featuring the original label artwork from 1983. A treat for all serious disco / boogie fans.

          As the Autumnal nights draw in, Futureboogie show off a slightly darker edge to their ever expanding roster of artists, welcoming re-edit king Mark E to the fold. The Birmingham based DJ and producer has risen steadily through the musical ranks over the last few years, cropping up on a multitude of top drawer labels like Sonar Kollectiv, Running Back, Golf Channel, his own Merc imprint, and most recently a brace of albums for the US label Spectral Sound (home to Matthew Dear, Osborne et al). Title track, "Activity" chugs at a house music pace but with plenty of techno swagger, bridging the gap between the two genres with ease. A simple and minimal beat is doused in a pacey acid bassline riff that’s constantly morphing and transposing, layers of synths join in the infectious melody whilst soaring pads rise up with all the familiarity of a Detroit techno classic. For B1 cut "Night Heart" Mark takes us back to the start with a killer rerub of a disco oddity that's streets ahead of the rest. Taking the bossa bass of McCartney and Wings' "Goodnight Tonight", the black country producer chops and stitches a new hypnotic and ultra funky groove that'll keep you moving till morning. EP closer "Shapes" sees Mark jump back to the present with the kind of head nodding techno he delivered for Spectral Sound. Blurred funk lurks in the background while heavy percussion drives the celestial synths to the heart of the dancefloor. A fine label debut from the inimitable Mark E. 

          James 'Jack Rabbit' Martin

          There Are Dreams And There Is Acid

          Still Music maestro Jerome Derradji hits us with a little teaser from his latest compilation "Kstarke Records - The House That Jackmaster Hater Built." This time round the name of the game is rare, lost and previously unreleased Chicago juggernauts from the underground realm of Jackmaster Hater, aka Kevin Starke. What better way to get started than with the track considered by the experts as the sickiest acid track ever, "Only Wanted To Be" by James "Jack Rabbit Martin". This sampler includes the utrageously rare and previouly unreleased version of that cut, a heavyweight, driving and borderline progressive acid anthem with the creepiest vocal you've ever heard. On the flip, "Rabbit Trax" pulls the rug from under us and lets us fall deep into the acid wormhole (or should that be rabbit hole?) with only 303 lines and flanged hats for company. Heavy shit.

          Adelaide producer Mic Mills releases his long awaited debut EP on Untzz, a label he has contributed to since day one. "Tasty Little Fruit" and its accompanying dub version stomp around tastefully distorted analogue drums, well picked samples and a delectable modular bassline to boot. Mixed beautifully, we get nice Rhodes elements, gentle, airy flute / pipe melodies and of course, that totally electrified bassline. The loose, funky drum palette reminds me of classic Floating Points while the intricate synth work and instrumentation display an almost Carl Craig level of musicality. Flip for "(She Ain't) Da Wun 4 U" (spot the Omar S influenced title). This is really quite special. Combining a slow, sludgy motorcity-inspired groove alongside melacholic, droning organs and complete with excellent lowpass filter usage this set to be a classic of the genre. "Then Again (Maybe She Is)" doesn't let up on quality as skitting hats deliver a radiant mix of warm pads, bumpety beats and firing snares. Technicoloured arpeggios are slowly introduced to the mix as the beat keeps on rolling and a rubbery, thick bassline is brought to the fore. Exceptional stuff, highly recommended.

          Natan H

          Glen Park EP

            LA resident Natan H returns to ManMakeMusic with the Glen Park EP. 3 slabs of rounded, undulating deep house that will be warming up sunrise & daytime dancefloors across both sides of the pond.

            Real Lies

            North Circular / Dab Housing

            London three piece Real Lies build on the success of last year's "Sweet Exile" single with this massive double A-side on Marathon Artists which perfectly showcases the band's versatility. The driving house rhythms of "North Circular" suggest the band have learned a thing or two from the remix experience (Pariah and Bey LF went in hard on their last single), providing a tough and insistent basis for the swooning emotional pop of the spoken vocals and euphoric piano chords. This is "Weak Become Heroes" for a new generation of sophisticated and urbane youths freed from genre constraints. On the flip, "Dab Housing" is a simmering hit of dubby dream pop with plenty of Jamaican flava adding spice to the yearning indie vocals. Watch this space. 

            It's late, too late. Still you can't help hitting redial. Three rings... four. Should you hang up? "The Call"... We all know what it means. Will you answer?

            After making us wait two years before delivering Parkwest number 3, label head Mark Seven keeps 'em coming in quick succession with this thumping ode to booty calls. We've all been there and done that, but it's never sounded this good before. On the A-side, the original mix of "The Call" is an overproof shot of legit house music, packing muscular percussion and a rubbery bassline. Rather than those usual proto-house flavours we've come to expect, Mark delivers a devasting early nineties sound backed by a techy sequence and some hushed erotic vocals. This is audio viagra for the flatlining dancefloor. The "(3AM) Mix" on the flip gets nasty in a different way, pinging the sleazy vocal samples through all the outboard fx for a chemically enhanced session. This one can go for hours! 

            Red Laser Records drop four tracks from Mancunian fucked up disco band Silverclub. Thick analogue percussive vibrancy has a scrap with a sophisticated discoid lyricism resulting in shaky legs, adrenaline overdosed heightened senses and a fuck yeah fist in the air for every track on this EP.

            The EP starts of with 'Back To the Start', a sampled piano fuelled beauty that weaves you through another disco dream world. It brews and bubbles subtly enough to capture the imagination and transport you to a thoughtful sound pallet. Music that paints pictures as you listen only for you to awake and realise your foot is tapping like Keith Moon on a kick drum. Beautiful work.

            In remix mode Ste Spandex gets busy jamming up his tape machine in the studio and crunching out an absolute warehouse banger with this massive remix. A totally spiritual hardware shower to assist you in ridding you of your tiredness as dawn breaks outside the club. 'Gravity' is a perfectly crafted dope wave disco from the Manchester five piece that's built to suit any kind of dance floor. The production is perfect. Every instrument is crystal clear and spreads lush and wide like a junkie with a needle in his arm . The dark chugging vocals build and soar in total harmony with the bubbling disco not disco soundscape. A total masterpiece.

            'Trouble' has more percussive and acidic synth disco feel with a great lo-fi intro then the beautiful vocal bursts through to balance the sharp with silky soft perfectly. The track is choc-full of soulful boogie licks and sprinkles of pop sensibility. By the 3 minute mark I'm jumping about the house in my underpants like some high school twat from an 80's John Hughes film. Mega jam 

            Rough & raw jams from the formidable duo of John Swing & EMG. Both take a side each this time round. Heavy & essential. EMG kicks things off with "Good Inside". Utilizing those monstrously fat kick drums from previous productions, and layering up rip roaring hi-hats and tearing snares, the drum palette along could slay a dinosaur! Not to mention the perfectly toned, rolling bassline of which there is no let up, and finally the beautifully mixed, swirling piano chords which come hurtling into the track before it hits the halfway stage. Add to this infectious disco snippets and a Ron Hardy-esque, PCP-hazed production aesthetic and you've got yourself one side of dancefloor dynamite pop pickers! John Swing takes the controls for the t'other side, again sticking to that tried and tested formula of jacking, upfront drums, catchy loops and a nice warm tape saturated feel to the recording. Energetic, powerful and sure to be at the front of most house DJ's battlepack when out in combat. Massive!


            Mind Over Positive And Negative Dimensional Matter

            In between the re-releases of the two legendary Drexciya albums released on Tresor in ’99 and ’01, the Berlin techno institute is proud to re-present Transllusion’s “Mind Over Positive and Negative Dimensional Matter” the 12” single which originally accompanied the album “The Opening Of The Cerebral Gate”.

            Produced by the late James Marcel Stinson and released in 2001 via Supremat, a short-lived sub-label Tresor dedicated to a more abstract and experimental electro sound, both releases were conceived as the second part of the so-called Drexciyan Storms – a whopping stack of seven albums by the Detroit pair released under different monikers within a single year (the Tresor album “Harnessed The Storm” being the first).

            This phase marks a groundbreaking time for the duo, their cosmos breaking wide open, right at the dawn of a new technological era in electronic music production. All this is deeply reflected in Transllusion’s first album and single.

            Thematically, “The Opening Of The Cerebral Gate” and “Mind Over Positive and Negative Dimensional Matter” saw Stinson shift away from the grand narrative of the Drexciyan saga, instead exploring a sub-plot of esoteric concepts revolving around internal, mental and psychedelic tropes. Musically, it presents the electro genius at the height of his game.


            The Opening Of The Cerebral Gate - Tresor Edition

            Produced by the late James Marcel Stinson and released in 2001 via Supremat, a short-lived sub-label Tresor dedicated to a more abstract and experimental electro sound, “The Opening Of The Cerebral Gate” was conceived as the second part of the so-called Drexciyan Storms – a whopping stack of seven albums by the Detroit pair released under different monikers within a single year (the Tresor album “Harnessed The Storm” being the first). This phase marks a groundbreaking time for the duo, their cosmos breaking wide open, right at the dawn of a new technological era in electronic music production. All this is deeply reflected in Transllusion’s first album. Thematically, “The Opening Of The Cerebral Gate” saw Stinson shift away from the grand narrative of the Drexciyan saga, instead exploring a sub-plot of esoteric concepts revolving around internal, mental and psychedelic tropes.

            Musically, it presents the electro genius at the height of his game. The album is chock full of hypercharged arpeggios and driving pulse patterns, morse-like tones and chord stabs, huge, über-booming tympanic kicks and grainy snares, (see openers “Transmission of Life” and “War of the Clones”). On the other end of the stylistic spectrum it features sweeter tones and moments of sheer, staggering beauty (“Dimensional Glide” or the CD’s centerpieces “Look Within” and “Unordinary Realities”).

            In between, all kinds of alien electro funk shadings are to be found, every single track so well-executed making it impossible to pick a highlight.


            3xLP Info: The 3LP package includes the vinyl version of the album as it was originally released plus a bonus 12” featuring “Look Within”, “Unordinary Realities” and “Do You Want to Get Down (Vocal De Void)” - for the first time available on wax.

            The III Rivers juggernaut sallies forth once again, with Voiceless back in the cockpit leading the charge. "Second Nature" sets a dark and ominous tone as Voiceless conjures the sounds and moods that reflect the tense drama of the label's affiliated club night, Bohemian Grove. Big laser beam synths dart through a thick pitch black haze while a factory line percussion section hammers on. As the fug melts away into the aether, an insistent piano line enters and sucks us deep into the centre of the dancefloor, transfixed til dawn. Always keen to keep a foot in the sonic warfare division, Voiceless deploys three locked grooves loaded and ready for battle; funky, electrified technoid wobblers that should fight off most opposition with ease. Flip the disc and "Opt-out" opens with controlled urgency as a barrage of kick drums sets the train in motion. Voiceless layers up rich, untreated piano chords against the backdrop of dark industrial chaos; percussion artefacts career around the mix and various elements are put through an aural meat grinder before the familiar and welcoming piano motif returns like a long lost friend; guiding us through the smoke hand-in-hand. A beautiful juxtaposition of soulful melancholy and cold, glacial machines. Final track "Charivari" really hits the accelerator as a tough and mechanical rhythm jolts against blurred, radioactive pads and searing string lines before collapsing into a fractal breakdown introducing mystical, weaving high end leads. An eyes-down fist pumper of the highest order and one that commands excessive smoke & strobe light abuse late, late into the session. One to close off one of their infamous soirees in style, hoards of mutant dancers leaving the industrial backdrop of the club's venue and crossing paths with the early morning dog walkers and Sunday strollers. Four releases in and we've lost none of the quality control, unique drive and free minded 'true spirit' (to quote Tresor's legendary catchphrase). The label goes from the strength to strength and with it, brings a whole new generation of techno shamans under their wing.

            Michael Walsh

            Before When It Was New EP - Inc. October / Maheras Remixes

            Plastic Love welcomes fellow Angeleno Michael Walsh on board for the 2nd release on their budding label. Walsh's debut EP showcases the producer's breadth and depth of all things rave with two distinct tracks aimed squarely at the dancefloor. Before When It Was New's unmistakeable melody act as a call to the dancefloor while a rumbling bassline underneath keeps you locked into a groove. Strobe Light's arpeggiated bassline and snappy disco drums showcase how versatile Walsh can be. Remixes come courtesy of label co-boss Maheras as well as Caravan boss and Aus Music stalwart DJ October.


            Half Age EP

              This September will see the long awaited vinyl release of Half Age EP by electronica act Weval. 2014 started with a bang for the duo. Their track Detian was featured in the new Schweppes commercial starring Penelope Cruz. Meanwhile the duo worked on a new EP for Kompakt, released a remix for the legendary Gui Boratto and saw their Half Age EP climbing in the iTunes top 100 for months, #5 highest notation in France. Further the guys performed their live set at Pitch Festival, Into The Woods, Trouw and many other clubs and festivals.

              Weval (consisting of Harm Coolen (b. 1986) and Merijn Scholte Albers (b. 1989) both have roots in the film industry, which is also where they met in 2010. When they found out they were sharing the same love and ambition for creating electronic music they decided to team up as a producers duo.

              Harry Wolfman & Skinny Love

              Celebre EP

                After taking a short break 'House of Disco Records' are back with a purpose. Not content with the adding to the plethora of 'Disco Edit' labels representing the genre they have opted to walk a more distinct path, determined to lean on originals or clever sampling as opposed to outright re-rubs.

                In this their twelfth release they recruit previous label-mate Harry Wolfman and compadre Skinny Love to provide three stunning dancefloor ready originals. The duo have certainly delivered on the brief and turned in three diverse and clever takes on what a modern Disco track with a House soul can represent.

                On remix duties they have recruited a promising young producer 'Kickflip Mike', who has released on Box Aus Holz as Joschka Seibt and paired him with experienced disco merchant 'The Revenge' who is responsible for some of the best remixes we know of, and he doesn't disappoint here with either remix.

                Earl Zinger & Ashley Beedle

                Ghostdancers - Inc. Will LV Remix

                Esteemed conductor of the Black Science Orchestra, DJ supreme, top selector and all round legend Ashley Beedle delivers the third release on his warmly received and fast rising new house imprint Back To The World teaming up with Electronica artist Earl Zinger. Earl Zinger for those with a longer memory may better know him from his days fronting Galliano, or his spoken word epic 'Escape from Ibiza'.

                This track is in a similar vein and 'Ghostdancers' is a heartfelt love letter to japes and scrapes from days gone by, a proper Boys Own eye-witness account from two voices who were most definitely there.

                This reminisce is however served up over a great modern dance floor backing to bring it bang up to date, an almighty collaboration that has the full support of Giles Peterson and a wide range of jocks, featuring as it does the block party remixes by Bones who supplies vocal & instrumental re works plus A WILL LV Remix... No serious collection should be without this track, an authentic documentary on wax.

                Various Artists

                Acid Tracks

                Chicago's Trax Records has gone down in history as being one of, if not the most important House labels. With a roster that includes luminaries such as Adonis, Armando and many, many more this accolade is more than justified. "Acid Tracks" is a loose guide to some of the afore mentioned peoples' music, but it is also a snapshot of the rough, lo-fi, almost bedroom quality of some of the sounds from this new wave of producers emanating from the city in the mid to late 80's. It is these sounds that captured the imaginations of people all over the world at the time and continue to inspire and influence countless contemporary producers today. This collection features classic acid cuts "Got The Bug" (Phuture Pfantasy Club) and "Downfall" (Armando) alongside funked up jackers "House This House" (Mr Lee) and "Get The Hole" (Lidell Townsell) on the first disc, while the second features a quartet of raw acid rockers from Jack Frost. "Acid Tracks" is the perfect addition to the seasoned Chicago lovers collection or it is the perfect starting point for those who have just discovered the windy city's own unique brand of jacking electronic grooves. 

                FORMAT INFORMATION

                2x12" Info: Comes in Trax red printed disco bag.

                Alongside the acclaimed solo albums it is primarily through his remixes that DJ Koze, like no other producer of electronic music, sets new standards again and again. His musical and storytelling skills always seem to shine a little brighter when he lets all his love and passion flow into the music of other artists. There are many songs where people first recall the DJ Koze version. Remixes to remember.

                For 'Reincarnations Part 2' DJ Koze, aka Swahimi, der Unerleuchtete, (Swahimi, the Unenlightened), collected 12 of his musical rebirths in an old wicker basket, where otherwise a small cat can be found sleeping. Once more, DJ Koze refines and varies his colours and shapes, styles and materials. He prefers to reach a crescendo on the dancefloor in his own special way - often the loud becomes the quiet, the heavy stands in contrast with the gentle. Koze's remix of Moderat's "Bad Kingdom" makes a hymn from a hit. His reworking of the two Herbert tracks "It's Only" (Resident Advisor Poll 2013 - Track of the Year #1) and "You Saw It All" feel like abstract paintings, yet function simultaneously as great pop music. And his wonderful arrangements for Caribou, Who Made Who, Ada, Gonzales, Soap & Skin, and finally, as a crowning glory, Apparat's "Blackwater", have all long since become classics.

                In the mountains, they say, the direct route always leads from summit to summit. An experienced mountaineer, DJ Koze also leads us along winding paths, up through shady valleys and high over the clouds. 'Reincarnations Part 2' is that kind of journey, rambling and floating, a grand illumination. Enlightened.

                Kerri Chandler has always taken his music to the next level, he's always been original and pushed the limits throughout his illustrious twenty plus year career, thus giving him the title of a bonafide "House legend". Digging through the vaults of King Street you will see Kerri's name pop up time and time again and this, the first of two samplers, is designed to celebrate the man and some of his classic contributions to the label.

                Featured on sampler number one we have Chandler productions and remixes across the board, featured tracks include the raw Gospel House of Bassmental Feat. Charles McDougalds "It's The Music (King Street Club)" and "Just Wanna Be With U (King Street Mentality Club)" and the storming "King St Tracking Ya" dub of Nuphonic and Charvoni's "I Wanna Be Your Lover", all solid dance-floor smashers, all with that special Kerri Chandler bounce, all essential!

                All cuts featured on this sampler have all been carefully selected, re-mastered and re-pressed in conjunction with King Street Sounds.

                There are few names in house music today which need less of an introduction than Masters At Work. The duo of Louie Vega and Kenny 'Dope' Gonzalez have forged a reputation for genre-eschewing DJ sets and flawless house production during careers which have spanned decades and seen hundreds of releases and remixes. Their influence and reach changed house forever. Taking the song-writing ability of Vega and fusing it with Gonzalez's encyclopaedic knowledge of breaks and hip-hop, the pair created a smooth-yet-underground sound that is still being copied and referenced by producers today.

                Now, for only the second time in their 25 year partnership, they've put together a “Best Of” collection for Defected Records.

                The timing couldn't be more apt as we're in another era dominated by deep house, a genre MAW were at the forefront of when it first emerged in the mid-90s. But to tie them to one sound would be far too simplistic. Masters At Work have always operated according to their own rules and their own sound. Whether it's the sampling techniques of hip-hop, the swing of Latin styles or the soulful euphoria of house – they've always added their own special ingredients, which is what makes Masters At Work genuine dance music legends

                Latest Pre-Sales

                42 NEW ITEMS

                RT @TobyonTV: Genuinely nervous some TopMan twonk is watching #gothatthebbc and will have personality-free Sisters of Mercy clobber on the …
                Fri 31st - 10:37
                JUST IN: Roladex / ((Pressures)) - Glass Statuette / The Voic... |
                Fri 31st - 6:36
                RT @OddestBar: 50% off cocktails 5-7pm @OddestBar #Chorlton & stay for Dead Disco 9-1.30am @DuncanWallis @dutchuncles + Patch @PiccadillyRe
                Fri 31st - 4:52
                JUST IN: The Men - Tomorrow's Hits / Sacred Bones Records |
                Fri 31st - 4:38
                JUST IN: DJ Shanté - Ballroom Glitz / H.O.T. Records |
                Fri 31st - 4:19
                E-newsletter —
                Sign up
                Back to top