house . techno . electronica . ambient


Genre pick of the week Cover of Café Romantica by Andras & Oscar.
As summer fades and the nights draw in, the young lovers of the world need to keep themselves warm through til the morning. Lucky then that "Café Romantica" is here to soundtrack seductions, trysts and lingering embraces, whatever the weather. Man of the moment Andras Fox reconnects with Oscar Thorn on Dopeness Galore for another collection of stripped back, sultry and smooth proto-house grooves, decorated with rippling percussion, intricate and exotic melodies and Oscar's gorgeous vocals. Over the course of eight tracks, the Australian duo take us back to the old school and show us how it's done properly thanks to Nu Groove inspired rhythm sections, street soul motifs and Italian keys. From warm and uplifting floor pleasers to deep and intimate bedroom teasers, Andras and Oscar mack out in perfect harmony. 

The culmination of four years writing and editing, Anjou marks the first collaboration between Labradfordʼs Robert Donne and Mark Nelson since the release of that groupʼs “fixed:context” LP.

Combining modular synthesis, Max/MSP programming and live instrumentation, Anjou deftly weaves noise with gentle ambience and melody with texture.

Guitar, bass and Steven Hessʼ (Locrian, Fennesz, Pan American) live percussion give the eight pieces an immediacy and create a framework for the more abstract sounds of digital and analog synth programming.

The product of twenty plus years of friendship, Anjou is refined and challenging. An extension of the Labradford sound-world but no mere victory lap, Anjou represents Donne and Nelson stepping out and forward, their eyes firmly focusing on the future.

Mark Nelson formed the legendary Labradford in the early 90ʼs and and started working solo under the “Pan•American” moniker a few years later. Robert Donne played in Breadwinner, joined Labradford shortly after the release of the first album, recorded an album with Adam Wiltzie as “Aix Em Klemm”, and has been active over the last decade in the trio Cristal. Percussionist extraordinaire Steven Hess has collaborated with dozens of artists including Greg Davis and Fennesz, and has worked in the Dropp Ensemble, Cleared, and Haptic to name just a few.

Astral Social Club

Fountain Transmitter Medications

    A boggling and super-fun 100+ minutes from Neil Campbell’s Astral Social Club, Fountain Transmitter Medications delivers the head-on collision of classic UK electronic styles, electric grit and the future.

    The LP starts with a set of tight chuggers, the high-end racket of “Infinity Thug” ripping through the speakers before closing the side with the loping “Grisly Terroir.” Side two is comprised of the 20-minute epic “Diamonds in the Dreich,” a mid-tempo journey of Throbbing Gristle-ish lurch-pulse and disembodied voices, giving way after ten minutes to an organ-interlude which accelerates into a full-on rock jam loaded with scathing guitar slashing. It’s unlike anything else in the Astral Social Club catalog.

    The CD (“side three”) offers three lengthy explorations of key facets of the overall Astral Social concept, where Campbell really stretches out and lets the tape run—the rushing sound effects and buried rock of “Sun Still God,” the bristling electric juddering of “Erotic Meditation,” and the blownout space-rock (!) of “Squeegee Anthem #3.”


    Ltd LP Info: LP comes with a bonus CD.

    WOLF invite two old friends back for the fourth release in their top notch white label series, playing host to Ron Basejam, Danielle Moore and Chicago Damn for one hell of a party. The A-side sees Ron step up with a beautiful piece of soul sampling, low slung house, topped off by the sugar sweet vocals of fellow Crazy P-er Danielle Moore. Sleek, warm and grooving, this is the perfect track for sunset and sunrise in the bar or on the terrace. Chicago Damn rocks the flipside with a proper peaktime jam, which comes on strong like a classic cut with rolling beats, vocal samples and disco loops. Strutting its stuff at the intersection between NY ballroom and Detroit basement, this is one of those killer cuts you can easily pitch up or down a few notches to suit your set. I cannot wait to play this out!

    Julio Bashmore

    Simple Love Feat. J'Danna

    Julio Bashmore's first new music of 2014! Featuring the sensuous vocals of J'Danna, "Simple Love" is the first taste of music from Bashmore's forthcoming album. Glowing with that synthetic radioactivity, this beauty's sure to keep you warm over the Autumn months. The simple but highly invigorating chorus lodging itself firmly in your memory banks before the big bouncy hook comes charging through in all its glory, pummeling 808 subs elevating the droning phosphorescent pads. Massive. "Petals" goes for a more jagged, tough-arsed approach, phased pad stabs ricocheting against a really aggressive, frenzied drum attack and tight brass horn elements. Retaining a certain element of fun-loving, naive recklessness, when the octave bass stabs meet the rest of the mix halfway through I challenge anyone not to start moving. Head twisting stuff that should get bottoms bouncing on tha flo'. Bashmore's back!

    Full album of insane archive cuts from the inimitable, Beau Wanzer. Known for his past releases on Nation, L.I.E.S, and Cititrax, Chicago's Beau Wanzer delivers a 12 track LP of archival material culled from tapes stored away from years past, the tracks in question being plucked between 2002-2008.
    Wanzer has stuck to his grotesque guns over the years, keeping his music personal, grating, and down right bizarre. Each track takes a narrative of its own, from the languidly vocaled, yet uncannily catchy "Mob Boss" to the possessed murmurs of "Love Tone," Wanzer has created a completely unique collection of music which engages the listener all the way through.

    Following the critical success of last years mini-LP 'The Last Tortuga', Black Deer is back on Emotional Response with a 4 track remix EP featuring friends and alumni Nacho Patrol, Luke Wyatt, Sad City and Valet.

    William Burnett returns to the label in the form of a remixes EP that takes his original productions and hands it to a broad selection of today's finest electronic producers, plus a rare outing from one of the label's favourite pyschedelic experimentalists. While Danny Wolfer's Legowelt project needs little introduction, it was only right that his inclusion on the label came from a more cosmic outlook. With must have EPs and a long player offered, his afro-infused Nacho Patrol moniker is a must check. In 'Circle Dance' the original is taken by the hand down to an afro-tech-funk'n'breaks basement for one of his best remixes to date and rightly so for one of his old buds. Luke Wyatt follows with an uplifting and warped retake on 'Meditation'. The kraut influence of the original is built on with fuzz guitar and a solo that builds across the track to a higher peak. Play this at sunrise for reaffirmation of life itself. Next is a big favourite of the label, Sad City, who caught the ear with his first release on Underwater Peoples and a lush follow up for Phonica. The pure ambience of a 'Highway' remix strips everything back and lets the 4th World shine. Finally, one of the main influences on the label when it started a few years back. Valet aka Portland multi-instrumentalist and mum, Honey Owens offers a deep, beautiful and haunting retake of 'Tortuga', adding whispers, drones, guitar, toms, keys and intonations to swallow you whole.

    Boards Of Canada

    Hi Scores

    Skam Records are very proud to announce the re-release of Boards of Canada 'Hi Scores'. This follows the reissue of their other seminal records by Warp in 2013.

    The new edition has been re-recorded and re-mastered from the original DAT tapes and has been re-cut onto heavyweight collector’s edition vinyl.

    The CD is placed in a digi-pak sleeve with some extra art and the vinyl includes a double-sided 12” poster.

    The original image on the back of the sleeve is in colour. There is a spot varnish finish on the images and text alongside the usual Skam Braille sticker to give the whole package new depth and a refreshing look and feel.

    Originally released in 1996, this six track EP signalled the arrival of a major force on the electronica scene. Everything you love about the BOC sound is here; crunching breaks, busy electronic infills, crystalline tones, synth lines reminiscent of the theme tunes and incidental music from 1970s Programmes for Schools and Colleges. Included are the wonderful title track 'Hi Scores', haunting 'Turquoise Hexagon Sun', electro-funker 'Nlogax', dancefloor slammer 'June 9th', sleazy, queasy 'Seeya Later' and melancholic hip hop cut 'Everything You Do Is A Balloon'.

    'Hi Scores' hasn't been available since 2005, so take advantage of this limited remastered repress and grab yourself a copy of BOC history!

    The diabolical double act of Les Disques De La Mort and Kill The DJ, two labels joined at the hip make their first ever collaboration and it's well worth the wait. The evil twins introduce CAR the latest project from Chloe Raunet, a melange of dark electronics, chugging beats and the swirls of her spectral vocals. Friend of the LDDLM family, Roman Flugel steps up on a remix tip and drops a ripsnorting synthetic driver. There are bleeps, there are subs, and Chloe's vocal drifting on top of a general electronic monster. Kill the DJ may have commissioned the Planningtorock remix but LDDLM loved it so much they stole it for this vinyl release. Jam has made the song hers, pitching down the vocal, punking up the bass grove and adding sumptuous disco strings for some seriously danceable high art! Manfredas' remix of "Angelina" has been given extensive road testing by Ivan Smagghe over the past year. A tricky one to describe, this stomping remix incorporates gloomy synths and mournful bells as it advances unrelentingly. A cross between a panzer and Rondo Veneziano on acid, this is one for those who dare. Finally, Robert Johnson and Hivern wunderkid, Benedikt Frey delivers a brilliant acid rendering which just builds and builds. A million miles away from plastic warehouse cliches, this growling remix channels C.A.R.'s scowl and sneer with devastating results. Could this mark the return of electroclash? Watch this space.

    L.I.E.S. mainstay Marcos Cabral dons his Chemotex alias for his second black ops mission on Will Bankhead's Trilogy Tapes. The pounding "Snake Inside My Leg" emerges from the stuttering hiss of high frequency distortion as a mutated dancefloor monster, taking the rhythmic thrust, minimalism and echoing keys of dub-techno and pushing them straight through the red. The result is a blast of dancefloor intensity wrapped in a thick cloak of distortion, not for the faint hearted. On the flip "Yang Solution" is even more menacing as the kick and bleep stylings of later Belgian releases get the technoise treatment. If you can find a system that can take it, this shit's gonna change lives!


    12" Info: 500 run, with hand-stamped inner bag.

    Two of the UK's finest underground labels join forces and share their talent on this killer 12. From IIB we have Coyote's "Sin Distracciounes", an upbeat sunkissed dancefloor meditation featuring the blissed out Flamenco guitar of long time collaborator Saro Tribastone. Futurboogie's Christophe remixes and chops up the guitar and adds some gypsymenesque organ stabs and layers of keys. Futureboogie's Felix Dickinson and Jamie Read drop the funky guitar heavy "Restless People". Sublime chugging beats and a beautiful vocal refrain imploring 'Slow It Down' creating a laidback house monster. IIB's Max Essa puts his remix right in the middle of the dancefloor with straight up house vibes and extra percussion.

    Deejay Deer was born and raised in the Bavarian wilderness and is to our knowledge the first forest dwelling animal to use the prefix ‘Deejay’. Deejay Deer produces music of such high quality and depth that most people think he’s a true pro who has been hiding in a studio for the past 20 years.’

    Deejay Deer is hiding in the woods to protect himself from all the fake producers in the city'. Numbers enslist some HOT new talent onto their well respected roster. "Natural" is a future-proof liquid house jam, utilizing glowing phosphorescent keyboard chords alongside undulating, glistening arps. The catchy vocal refrain 'give yourself away' rides the groove gently before the big fat drop catches us off guard and hurls us into the speaker stacks. "Unnatural" uses a similar sound palette, and also deploys the catchy vox; this time supporting the glorious synthetic textures and hooks with a rapid fire, hardcore-informed, skitting breakbeat and massive, room-filling darting synths. Great stuff, recommended.

    Austrian musician and producer Dorian Concept presents his singular musical vision in its most widescreen form to date. His second album 'Joined Ends' is the biggest, boldest work of his career, and a sheer, technicolour audible joy.

    This album is sonic geometry at its finest. With layers upon layers of breathtaking chords, weighty bass lines and hypnotic synth phrases - the album sits somewhere between a floating lucid dream and a deep trip into a synaesthetic wonderland. Whilst working on this album he cut down on touring and distanced himself from his signature club sound to put his mind on what was to become a two year journey.

    For 'Joined Ends', he dropped his trademark MicroKorg and started working with new gear, building the album around a Wurlitzer electric piano and a handful of analogue synths. Sequencing only the beats, he based his songs on material he recorded live and then sampled.

    The album moves with profound subtlety and deceptive simplicity: at times feeling effortless and light ("Ann River, Mn"), other times taking a turn for the calculated (as in the rhythmic intensity of "Trophies"), and sometimes falling into euphoric escape (heard in the fragile arpeggios of the closer "Tried Now Tired".) Although there is a tangible narrative weaving throughout, each individual song is packed with several stories, such as "Nest Nest", which oscillates between music-box charm, dynamic flares and pulsing rhythms. A dense, agile body of work filled with playful melodic earworms, complex textures and virtuosic transformations, the long player reveals more with each listen.


    Venice (10th Anniversary Edition)

    "Venice", the fourth studio album by Christain Fennesz, finds electronic music at a crossroads between its early status as digital subculture, and the feeling that there has to be something more, an emotional quality that rises above noise and moves towards melody and rapture. It was voted No. 3 in The Top 50, The Wire, December 2004, was album of the week at BBCi on its release and remains Christian Fennesz's best-selling record to date. prefix (USA) noted: "Although Fennesz's breakout record Endless Summer was followed by a live release and a collaboration with Jim O'Rourke and Peter Rehberg as Fenn O'Berg, Venice is the true heir to that album's ascendant pop. Venice is not as unabashedly poppy as its predecessor (the lack of Beach Boys references can attest to that), but still mines much the same vein. It was marked by critics at the time as a move away from the relatively robotic music spawned by the IDM craze of the late nineties. Instead, its melodic, emotive tracks foresaw an electronic music that could be purely human." Pitchfork Media (USA), in a lengthy review, also noted: "Venice's quality extends beyond its sound. Touch proprietor Jon Wozencroft-- through his breathtaking design and photography - continues to fight the good fight against records-as-pure-data by making the CD a value-added prospect." and The Declaration Online (Web): "Two blue empty row boats left listless on rippling water. Red orange green riverbed foliage reflected in the water's gauzy oil slick surface. An airport enveloped in dull gray stratus and snow. Upon seeing the photography and packaging accompanying Christian Fennesz's latest recording, Venice, it is clear that the record label Touch remains intent on not simply putting out records but creating audiovisual imprints dedicated to inextricably tying sound and vision."


    2xLP Info: First time on vinyl! Includes bonus tracks.

    Clone Royal Oak hit us with a timely repress of one 2011's hottest records from Norse duo Genius Of Time. The original pressing disappeared in a flash and has hovered around the £30 mark on discogs ever since so a nice fresh repress seems heaven sent. The fact this record has aged perfectly probably comes down to the fact the duo nailed a timeless house vibe across these three tracks, keeping things deep, jazzy and laid back. Opening cut "Drifting Back" begins life as a conga led disco loop and gradually opens out into a sublime groove textured with warm pads and ornate rhodes. It could have come direct from the Move D playbook, and by the time the vocal sample comes into play, you'll be moved to tears. Flip the disc for the track that everyone wanted in their sets, Genius Of Time's magnificent, "Million Dollar Bill" tampering "Houston We Have A Problem". This house head nodder makes great use of Whitney's acapella over a rolling drum loop, giving you plenty of time to tease the crowd before you unleash THAT bassline. Looking back, it seems like such a simple idea, taking the most groovy pop record in years and wrapping lush deep house pads around it, but it still sounds totally flawless to this day. Huge! To close proceedings in timely fashion, our genii deliver the celestial bliss of the broken beat flecked "Juxtapose", which snakes its way to the floor to the heavenly sounds of harp and strings. 


    Coax / Thundare EP

    Graze is the synthetic porous ultralight material derived from low-mid frequencies, in which the liquid component of the melody has been replaced with curvaceous tones. The result are tracks with extremely low density and high thermal conductivity. "Coax" was produced by extracting the liquid component of an early Toronto rave tape through supercritical drying. This allowed the essence to be slowly extracted without causing the solid matrix in the samples to collapse from tape hiss, as would happen with conventional techniques. Ruff, ready and ragga. The electrical backbone of "Thundare" typically does not leave even a minor mark when played at low volumes; but pushing the system more firmly will leave a permanent depression on the floor. Pressing extremely firmly will cause a catastrophic breakdown in the atmospheric space, causing the music to shatter like glass. Despite the fact that it's prone to this behavior, the track is very strong structurally. Its aggressive low-end abilities are due to the dendritic microstructure, in which spherical percussion particles of average size are fused together into clusters. These clusters form a three-dimensional highly vibrational structure of almost fractal chains, with tones just under ear level.


    Matt says: Dark, frenzied breaks and voodoo for the Witching Season. Recommended for fans of HATE Soundsystem, Objekt, Night Slugs, Adapt, Sunklo etc.

    Hieroglyphic Being And The Configurative Or Modular Me Trio

    The Seer Of Cosmic Visions

    Producer and boss of Mathematics records, Jamal Moss aka Hieroglyphic Being is a one-off musical explorer. Jamal's music takes cues from the EBM and house that played a huge part in the city's musical underground in the late 80s and early 90s, notably Ron Hardy and Adonis, but also industrial, avant-jazz and noise. His tireless schedule of rough low-key releases over the last 12 years and his intense, very physical, psychedelic music, have made him a key exponent or maybe even 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'.

    His releases as Hieroglyphic Being, much like his music, have straddled house labels and the more leftfield avant garde electronic imprints with ease. However his deeply held Afro-futurist intent and the discipline of his radical designs set him apart from the pack. Always moving forward, his music is an ever-evolving transmission from his mind to our bodies, or as he sees it, a form of meditation that the supple, tuned listener will enjoy immensely. 'The Seer Of Cosmic Visions' is a collection of tracks from his back catalogue that have been selected to make this album. Remastered by Michael Kuhn at Berlin's Dubplates and Mastering. The album is hugely varied within its basic drum machine and synths template; from the psychedelic blowout 'The Seer Of Cosmic Visions' and the distorted, ruptured crunch of 'How Wet Is Ur Box', to more delicate meditations like 'Space Is The Place' or 'Letters From The Edge'. From the the shimmering rhythmic noise of 'A Genre Sonique' to the the woozy tribal funk of '134340 Pluto' or the rough darting strings of the off-kilter 'Calling Planet Earth' and finishing on the relaxing gaseous drones of 'Strange Signs In The Sky', the album never fails to transport the listener to another state of mind.

    Having evolved from engaing underground prospect into a fully established international DJ and producer in recent years, the time has now come for Huxley, born Michael Dodman, to release his debut album. Entitled 'Blurred', it lands on Will Saul's Aus Music. Initially precipitating something of a garage house revival with his early EPs, ensuing releases on key labels like 2020 Vision, Hyper colour and Tsuba have seen him roam into percussive and deep house territories, but always with a fresh modern twist that has seen him find favour with a diverse array of press and peers from Pitchfork to Mixmag, Pete Tong to The Black Dog.

    One lead single from the album has already been premiered: ‘Callin’ is a collaboration between Huxley and house veteran Roger Sanchez in his revered S-Man guise and with its deeply infectious drum loops, earwormy vocal hooks and slick production is indicative of the album overall. Elsewhere the LP excels with original vocal performances from Yasmin (who has seen chart success working with Gorgon City), FEMME aka Laura Laura Bettinson (Ultraísta), Thomas Gandey and emering UK talent Obenewa. Starting with the deeply emotive melodies and snug sub bass of ‘I Want You’, the album coherently unravels through fractured garage beats and classic LFO wobble, anthemic and idyllic pop leaning vocal cuts, screw face bass tracks and tough techno stompers. Tying it all together is a polished sheen, a deeply rooted musicality and Huxley’s trademark sense of irresistible groove. Certainly marking yet another step up in the musical evolution of Huxley, 'Blurred' more than captures the contemporary dance zeitgeist: it truly defines it and will do so for plenty of time to come.

    Larry Heard fires up the Alleviated pressing plant to hit us with a killer deep house four tracker from his long dormant The It moniker. This new EP features the production expertise of the deep house pioneer in harmony with the unique vocal poetry stylings of Harry Dennis (who you may remember from his Jungle Wonz releases). The experience is suitably deep and atmospheric as Heard combines rhythmic intricacy, weighty basslines and fragile melodies, weaving a gorgeous cocoon for Harry Dennis' bleak spoken word. How Larry Heard keeps delivering totally high calibre shit at a time when many of his contemporaries have fallen off still amazes me, and this is as good as any of the classics. Proper.

    Super Rhythm Trax follows up Mike Ash's immense "Return To Acid" EP with another smasher. With a slew of releases due to drop on some very respected labels in the coming months, DJ's DJ, Jerome Hill steps up and serves up 3 tracks of pure groove acid music. Owner over at Don't Recordings and Fat Hop, Jerome zones in on that 'Ultra-Vibe' and takes you back whilst keeping you up to date in a style all of his own.. "Paper Bag Acid" is exceptional, reminding me of "Charlie"'s tongue-in-cheek rave attitude (cartoon vocal: 'there was a man.... he went mad') but coupled with a ridulously infectious acid line, huge mind bending grain delays plus full frequency drum assaults. A proper weapon while "Dustbin Acid" makes sense when you hear it - an old school tom tom-led drum track, given extra weight through low-tuned 303s and a cheeky little giggle sample. "Bully Beef" concludes in suitably aggressive form, a rubber band acid line constantly pulling and pushing us in various directions and causing strange contortions on the floor. Head splitting filter abuse lends this track towards frenzied, smoke'n'strobe territory when the floor is packed and the narcs are flowing. Recommended.

    Successfully weathering electroclash, disco-punk, electro-disco, techno, house, deep house and whatever we can call the sound of today, The Juan MacLean have surpassed it all and created the best album of their career.

    The dance world way too often privileges the new and not many dance artists write albums as good as ‘In A Dream’, the third full length album by The Juan MacLean, this far into their career. They never feel totally in step with the moment but somehow always feel right and necessary. Put differently: there’s always something exciting to say about the music, regardless of the release date.

    Let’s start with Nancy Whang. Nancy’s voice has always been a kind of secret weapon on The Juan MacLean records but this album is her triumph. You get all sides of Nancy on this record, a wide range of expression. These are all love songs but emotions run wild.

    Like every Juan record, this one quotes freely from house and techno and disco. Dead drums and vintage synthesizers are abundant. This is a DFA record, after all. The diction is always off in all the right ways. Another distinction is how much fun Juan and Nancy have with the arrangements of their songs. Different parts interact and play off one another in a way that’s remindful of the interplay on classic disco records.


    2xLP Info: Deluxe vinyl pressing in gatefold sleeve.

    The fourth installment of the classics series features two of the label's most successful artists Kenny Dixon Jr. and Rick Wade. KDJ's untitled tracks were previously issued as a one-sided limited pressing so here's your chance to get one if you missed out the first time. "Untitled 1" contains a less adulterated version of the ethnic hook used on Rick Wilhite's "Tribute & Respect", backing up the tribal chanting with a simple but effective drum beat and polishing it off with glistening keys. "Untitled 2" deploys a typically funky yet mystery Moodymann loop. Forget Ebola - this is the most infectious thing on the planet right now! I'm tempted to suggest this is a classic Sylvester track looped up and triggered via a possessed MPC2000, Kenny keeping us hooked till the very last beat. Rick Wade's "Thought Process" opens up the B-side with a completely different mood. Sumptuous strings, delicate xylophone licks and a nice warm, rumbling bass instantly exude 'deep house classic' which so many pretenders have tried to copy. "Forever Night" utilizes that classic Rhodes sound Wade likes to use and layers up a sexy male vox. live percussion and the odd piano lick. Heads down, groovy stuff. Massive EP full to the brim of rare goodies - you need!


    Matt says: Two fine Moodymann numbers only previously available on one sided white label backed by a super strong Rick Wade couplet. Ideal.

    Kreon & Lemos

    Part 1

    After 4 years of silence, Kreon & Lemos are back with their first release on their own imprint, Equivalence. This first release offers two dancefloor oriented techno cuts with lots of low frequencies, modulated delays and heavy filtering. "0.1" tears, grates and stretches with analogue elasticity, a thick sonic soup in which the listener can get truly immersed. Nice wooden percussion artifacts pepper the mix while a collage of sweeping low end subs, dusty vinyl static and chirping mid-range frequencies twist and contort our bodies any which way they please. "0.2" has a similar sound palette, all wooden, cavernous and slightly lysergic. This one kicks like a mule and should have the whole floor wiggling their booties before long. Understated and sexy, this one highly noxious mother fucker. Recommended.


    Backspace Unwind - Clear Vinyl LP+CD Edition

    'Backspace Unwind' is the long awaited new Lamb album. The sixth album of the electronic music duo contains 10 new songs written by Andy Barlow and Lou Rhodes with four featuring string arrangements by Tom Trapp, who also conducted the string section for the recording session at Air Lyndhurst Studios in London.

    "Making this album has been a journey of discovery in so many ways", says Lou. "After making music together over a period of almost 20 years (with a 5 year hiatus to take a breath) it’s reassuring that new routes and approaches seem to abound. Over those years I think we’ve learnt that this journey needs no map; in fact tearing that map up, at every twist and turn, has become our regular gleeful practice."

    Musically we're treated to crisp electronica, tech-house and downbeats, sweeping orchestral passages and, as ever, Lou Rhodes fragile, folk-tinted vocals centre stage.

    The LP version of 'Backspace Unwind' contains a bonus track that’s not available elsewhere (“As Satellites Go By (Piano Version)'). This fantastic package also contains a free CD copy! And to top it all off, just for the fans, the first 1000 copies are numbered and pressed on transparent vinyl!

    Following hot on the heels of the sell out success of INTO26HYR (or Prins Thomas's remixes of Crimea X for those who don't speak catalogue numbers), here's another exclusive merger between Internasjonal and their Italian friends. This time Thomas dishes up a 'Diskomiks" tribute to Margot, Riccone's finest dancefloor electronica project. The dream team of Pepe and Giaga Robot has previously graced Border Community, Kill The DJ and recently Les Disques De La Mort, but this remix 12" on Internasjonal could well eclipse the rest. Prins Thomas snatches up the previously digital only career highlights and gives them his own idiosyncratic twist, elevating and expanding the originals into his own galaxy. If you've been following the Norwegian's career in the past couple of years, you might have noticed a progression from the space disco sounds of his early years to a full on exploration of cosmic techno. Fitting then that on EP opener "Randomizziami Sto", Thomas finds the centre point between the two styles, combining a trademark sequenced bassline with weight synth riffs and a solid beat. As the track progresses Thomas shifts into hyperspace, leaving a trail of pitch shifted melody in his wake. "Merdona" picks up the deep space transmission, emerging from a black hole with reversed melodies and clattering percussion before transforming into a mind bending vision of celestial euphoria. Flip the disc and Thomas is at it again, combining techno and disco with a masterful flourish to transform "Goblin" into psychedelic groover boasting a girth bassline and lengthy delays. While that hypnotic riff rolls on below, a salvo of space age tones erupt in the night sky. This one's already in my bag and I havn't even talked about the EP closer! You can make your own mind up about that one, my copy's in my record box already!

    Toi Toi make the natural progression from club night to record label, keeping true to their underground roots and supplying the golden combination of English and German inspired electronic goodness. Mr. G fits the bill perfectly for Toi Toi's first release, having recorded a track named and dedicated to the night (released on Bassculture) after an inspired live performance at one of their events. Here he delivers four tracks in his synonymous, driving future-tribalist style. "Mango & Rum" is dark and discordant, eerie melodies weaving and intertwining with the percussive forward thrust. A clammy female vocal refrain and tight piano stabs immediately transport us straight to some fluorescent purple outdoor stage. "Side Swing" rides a big organ and bass riff through the course of its duration, a straight up 4/4 pounding away throughout while a filtered and looped vocal effect ties our head in knots. Daze Maxim works "Mango & Rum" into something really quite deep and tribal and makes me think of pretty girls covered in feathers and facepaint loosing their shit to Radioslave or Slam under clear starry skies. Finally "Freefall 7" concludes with a subtle, end-of-night bliss hidden within its concentric grooves. Again, clever use of a seductive female vox transports us exotic headspaces while the warm, bubbling piano chords simmer gently on top of the mix, hi-hat patterns spiting over the sides. Excellent stuff. A heads down, eyes-wide-shut beast of an EP for going wild next to the speaker stacks on foreign dancefloors. Recommended. 

    Hotly anticipated sophomore album from Felix Martin (Hot Chip), Al Doyle (Hot Chip, LCD Soundsystem) and Tom Hopkins.

    Recorded at their own Lanark Studios in Shoreditch and Club Ralph in West London with Mark Ralph (Franz Ferdinand, Clean Bandit), the 10-track self produced album follows their 2012 debut ‘Yesterday Was Lived And Lost’.

    An unashamedly electronic collection, ‘Pour It On’ is a cohesive and assured record of rich, monolithic dance music. With shades of The Human League, textures reminiscent of Caribou or Dan Avery and vocal turns right out of Richard Thompson’s songbook, it explores the outer limits of the pop-song-structure.

    Topped and tailed by ‘The Sunlight’, the band’s atmospheric festival set opener, and ‘Pour It On’ a beautifully crafted seven and a half minute masterpiece, the album is an anthemic set of bold statements, lyrically addressing very human concerns; broken lives, frustration, fear and confusion, whilst simultaneously celebrating the resistance of the human spirit.

    Nightmares On Wax

    A Word Of Science

    Reissue of Nightmares On Wax’s 1991 debut album. ‘A Word Of Science’ is the hardcore rave sound of the initial duo line-up of George ‘EASE’ Evelyn and Kevin ‘Boy Wonder’ Harper. Contains the dancefloor anthems ‘Aftermath’, ‘A Case Of Funk’, ‘Biofeedback’ and ‘Dextrous’.

    The original vinyl release of ‘A Word Of Science’ was a single LP which dropped three of the tracks included on the CD version. For this edition Warp have re-cut the album as a double LP for improved bass response and the missing three tracks (‘BWTM’, ‘Sal Batardes’ and ‘EASE’) appear on vinyl for the first time.


    2xLP Info: As the final part of the ‘NOW Is The Time’ campaign celebrating 25 years of Nightmares On Wax, Warp presents double gatefold vinyl represses of the Nightmares On Wax back catalogue. Includes printed inner sleeves and a download card for the full audio.

    Nu Era

    Nouveau Synthetic Compositions - CD+7" Edition

    Limited edition eight track CD with bonus 7" single in a gatefold sleeve. Nu Era's last album 'The Third Adam' was noted as one of the most adventurous techno records of 2013 and had support from DJs across many genres. Marc Mac continues to expand on his Nu Era journey into soulful, funky techno with these 8 new compositions.

    Pev / Pev & Kowton

    Aztec Chant / End Point - Tessela / Stenny & Andrea Remixes

    As Livity Sound deliver the final instalment in their long running remixes series, they keep the quality sky high right through to the end. This time round, two of the Bristol label's biggest hits from 2013 get ripped apart and restitched by a couple of big players in the seismic techno field. First up label head Pev's "Aztec Chant" gets an earth splitting remix from R&S signing Tessela, who lulls us into a false sense of security with a rattling intro before blowing us away with a barrage of wall shaking aggression. On the flip, Pev's enduring collab with Kowton, "End Point" gets a main room techno refit thanks to Italian duo Stenny & Andrea. Like a Ferrari on an open road, they go full throttle through their remix, making a hell of a racket in the process. Proper pounding techno that'll sound amazing on any decent system.

    Redinho’s always been different. Debuting on Numbers in 2010, his "Bare Blips EP" showcased an artist with no desire to fit into the landscape of the time. Darting between styles and tempos across six tracks that drew from grime, hip¬hop, funk and more, the only constant on "Bare Blips" tracks was that they kicked back – or, at least, remained blissfully ignorant – of the 130bpm house that the rest of the UK was gravitating towards. On his first album, Redinho finds the perfect solution to being out of step – creating his own world to fit into. Across 15 tracks, including acclaimed past singles "Searching" and "Stay Together", Redinho conjures up visions of the deep sea, deep space, not¬-so¬-deep Jacuzzi parties and everything between, binding them together into an aesthetic that's both stylish and starry-eyed. Drum machine ¬driven ‘80s funk is a key influence here, as it always has been with Redinho and Numbers, but where Redinho excels is how sublimely he combines it with other genres: the 'hey' chants and drum patterns of Atlanta hip¬hop on "Playing with Fire", Detroit techno on "Shem", the freeform dreamscapes of "Bubbles", 707¬driven Chicago house on "Going Nowhere" and downtrodden electronica on ‘Say I Want You’. It only takes a few tracks to realise that Redinho’s studied the ‘80s, and the sounds and dynamics that make that style work, but this is far from a throwback album. With a masterful modern sheen and links to contemporary pop and hip¬hop, it’s hard to imagine it being released any time but now.

    Craig Clouse, aka Shit & Shine, follows up his stunning "Powder Horn" and "Find Out What Happens When People Start Being Polite For A Fucking Change" with this brand new set of pure heat for Gangsigns. Clocking in at just over 31 minutes, this brand new release pushes on from the last just that little bit further, chopping and screwing it’s way from the dancefloor to the slow jam in six easy steps. From the all drums blazing assault of "Be Careful" to the Drexciyan groove of "Can't Be Trusted" via the biggie click of "Catapilllar" this is red hot from the get go. Then do the flip for the KDJ bounce of "Geenskul", the smoothed out "Welly Too Far Away" and the looped funk that is "What’s Wrong With Me" and you got end to end burners. Once again Craig Continues to be one of the most important and original producers out there.


    Matt says: More cough-syrup swiggin', chopped'n'screwed southern disco and Texan house jive. Essential tackl for the fReAkz!!!


    Ltd 12" Info: 180g vinyl


    Darkroom Dubs Edits 1

    The classic series from Silicone Soul sees the label head down a different path for the first time since its inception - it's going to release some edits! Housed-up versions of spiritual jazz classics: Art Ensemble Of Chicago's "Theme De Yoyo" and John Coltrane's "A Love Supreme". Both get subtly and naturally worked into Skinnerbox's rolling groove, flowing beautifully and seeming quite organic in their restructuring. "A Love Supreme"'s delicate solos cascade beautifully over the ears during well placed drops and breaks in the arrangement. "Theme De Yoyo" holds the funk through a gloriously catchy bassline while a real sax attack goes fully on one and a big diva vox comes hurtling through the mix. Absolutely massive, both of em! Highly recommended.

    Teddy Douglas, DJ Spen and Maurice Fulton don their "Those Guys" alias and invite Jean-Luc Ponty to jump head first into their sampler down in Baltimore to show some love, love, love and the result is this amazing 12" originally released on Basement Boys Records in 1996. A truly deep beauty of a track that utilises Ponty's violin from 1983's "Computer Incantations for World Peace" to the absolute maximum in over ten minutes of building bliss, "Love Love Love" is an under the radar classic, a true gem and a real treat for all DJ's to play. If that wasn't enough, the alternate mixes and bonus beats are a treat. DJ Spen's "Balto Doo Doo Mix" for example, keeping it thoroughly B-More with the old school breakbeats and snatches of the original sample jumping through the mix from time to time make this an essential weapon in any record bag!

    The otherworldly yet lifelike ‘The New Today’ is 2562’s fourth album and presents his first new material in this guise since 2012’s ‘Air Jordan’ EP, which was also self-released on his When In Doubt imprint.

    As with that last EP, ’The New Today’ was sketched out during a trip abroad - a six week stay in New York in late summer 2013 - and later arranged at his home studio in Utrecht, The Netherlands.

    Composed as a narrative collage drawing upon and splicing from an eclectic library of early European synth experiments, new age tapes, musique concrète, krautrock, post punk, obscure electro-pop and other largely forgotten and out of print music, ‘The New Today’ loosely references the novel of ideas tradition of writing as a restless, eight-track drift bolstered and propelled by his signature texturhythms.

    From the humid concrète drone sphere of ‘Arrival’ through the hypnotising gyrations of ‘Terraforming’, to the airborne rhythmelodies and mercurial syncopation of ‘Vibedoctor’ and centrepiece ‘Utopia’, the tension and conflict of aural assault ‘Drumroll’ and ultimately the celestial sweep of closing chapter, ‘New Life’, it’s equally the most diffuse, cohesive and involving LP in his celebrated cache.

    Although renowned for their unrelenting pursuit of boundary-pushing minimal techno, Cologne's Kompakt charmed all and sundry earlier this year with a curveball release from a couple of acclaimed party starters. Marcus Worgull and Danilo Plessow (that's Motor City Drum Ensemble to you and me) combined under the name Vermont for an album of adventurous jam sessions and sleek synth soundscapes, which drew from sonic curiosity and the spirit of informal collaboration  rather than the laser-like focus of the club tunes both producers have become known for. For this 12" release another revered hero of contemporary dance floors enters the stage, as Norwegian disco connoisseur and cosmic techno expert Prins Thomas plunges into three brilliant reworks that emphasize the rhythmic elements of original cuts "Dynamik", "Elektron" and "Macchina" without betraying their laid-back vibe. He does so by turning to airier variants of classic dance music styles - techno, house, even a hint of dub reggae (on the magnificent "Macchina Remix") - and let them do the legwork. The result presents itself as thrusting as needed and as relaxed as possible.

    Lumberjacks In Hell maestro Marcel Vogel pilots the third excursion on his Intimate Friends label with the able assistance of his talented crew. Milos Gersi returns on vocal duties, this time joined by the sweet sounds Gianna Tam, while the possibly insane Dr. S Proper adds some percussive magic. Our ensemble cast take us for a trip through space and time to Jamaica '93 with a treacle slow reggae hip hop hybrid that'll get the lovers rocking in no time. African Shakedown expert Noema ups the ante on remix duty, pushing the tempo and looping the beat for a rolling groover with the right amount of bump. On the flip, Newcastle's NY*AK gets snug and cosy with Detroit's finest, pulling off the seemingly impossible and flipping the original into a storming house cut that'll have em hanging from the rafters.

    Wild Beasts

    Mecca / Palace - Juan Atkins / Sohn / Steve Moore / Foals Remixes

    Limited ediition remix 12" with silver printed labels. Wild Beasts' indie sounds get remixed for a different dancefloor, a different bedsit. Detroit techno legend Juan Atkins applies driving pressure to 'Mecca', adding two stepping beats and gurgling acid. Sohn takes the track in more of a down-tempo direction; synthetic slo-mo vibes. Dreamier still is the rework of 'Palace' by Steve Moore, which transforms the track with brooding kosmische textures. So, that leaves Foals to provide a final dancelfloor fling, going down the wonky indie-house route for their remix of 'Palace'.

    The Wire

    Issue 369 - November 14

      Richard Dawson
      The Newcastle singer and guitarist weaves his songs from the landscapes and social histories of North East England. By Abi Bliss

      Alfred 23 Harth
      Born in Germany and based in Korea, the multi-instrumentalist and artist reflects on a life spent crossing borders. By Julian Cowley

      Invisible Jukebox - Cooly G
      The London producer and vocalist goes in hard against The Wire’s mystery record selection. Tested by Chal Ravens The Primer Autechre remixes
      From Merzbow and Earth to LFO and Surgeon, a user’s guide to the Sheffield duo’s radical reworkings

      Cross Platform - Moniek Darge
      Nick Cain enters the playful workshop of the Belgian performer, composer and recordist

      Kenny Wheeler
      Philip Clark pays tribute to the Toronto born trumpeter who came to define British jazz

      Katie Gately
      The Los Angeles musician makes sound design for imaginary worlds. By Sam Davies Ascetic House
      US label combines visceral performance with polemical publishing. By Louis Pattison

      Keeping up with the prolific Copenhagen improv collective. By Nathan Budzinski

      Beatrice Dillon
      Human and robot rhythms inspire the London composer. By Maya Kalev

      Global Ear Chennai
      Carnatic music thrives at an annual festival. By Andy Hamilton The Inner Sleeve
      Oreet Ashery on Valeska Gert’s Baby

      Joe Maneri teaches Ashley Paul to hear and play in a different key

      Print Run
      Topless Cellist: The Improbable Life Of Charlotte Moorman by Joan Rothfuss Different Every Time: The Authorised Biography Of Robert Wyatt by Marcus O’Dair
      Check The Technique Volume 2: More Liner Notes For Hip Hop Junkies by Brian Coleman
      The Big Midweek: My Life Inside The Fall by Steve Hanley & Olivia Piekarski

      On Screen
      New films and DVDs: Louis Sarno in Song From The Forest plus Nas: Time Is Illmatic

      On Site
      Recent exhibitions: Skan II in Riga, Latvia

      On Location
      Live: Fort Process, The Scratch Orchestra, PC Music, Guelph Jazz Festival and more

      Fierce new release from Happa's (Bleep / Boomkat Editions) freshly minted label PT5. Newcomers Witch step up with two tough workouts of abrasive techno in the same vein as Kareen, Sheworks, Blawan etc. Brash, acidic movements on "Vent", a claustrophobic vacuum with little room for air which attacks the mind and body through a barrage of spitting acid, rampant snares and industrial clanging. Truss supplies the first remix, coming out with a bleeping, rumbling and slightly tamed version of "Vent", it's the rhythmic interplay between the bleeps and drums that set this track alight. Witch gets back on the controls for a gnarled half-stepper on the flip with "S2007 S2". Around a rotating stepping beat Witch charges the mix with distortion and electricity, slowly morphing it into one biting and frenzied beast. Shifted moves in ever clandestine and emotive directions with his masterful remix of "S2007 S2". Reducing the OG to just sonar bleeps, low oceanic subs and sweeping solar winds. Epic stuff.

      Hotflush follow up Dense & Pika's high octane remix of the essential Paul Woolford cut with this phat pressing of Kowton's deep reimagining. Swivelling outside and in, popping upside and around – the coveted Bristol producer behind Livity Sound leaves an indellible mark on a notorious tune.  A pulsating beat emerges from the cacophony of industrial clatter and metallic reverb as Kowton turns the clock back on our favourite clubs and puts the assembly line back to work. Seismic bass weight collides with thunderous percussion and takes no prisoners in the club. On the flip, the "Beatless Version" is probably the fiercest ambient track you're ever likely to hear. Another cracking reshape of a modern classic, from a producer at the top of his game; Essential.

      Includes both beatdown and beatless versions.

      Who better to curate an acid house compilation than Boys Own legend and UK house pioneer Terry Farley? For this second 12" sampler Terry selects four more choice cuts spanning the breadth of the Chicago movement. The late, great Frankie Knuckles dominates the A-side with two of his biggest and most loved club tracks, "Baby Wants To Ride" and "Bad Boy", both featuring the inimitable vocals of Jamie Principle, Frankie's trademark production skills and more sleaze than a night in the redlight district with Prince. On the flip, wayward eroticism is replaced by rampant aggression as Pierre's Fantasy Club unleash the twisted vocal cut "Got The Bug" and Pleasure Zone's sinister jacker "Fantasy". Another truly essential selection!

      Bucky Skank rides again! The Glaswegian take on the classic 'Sleng Teng Riddim' already received massive props at the beginning of the year and now they close it with this clever bag of tricks. First up, JD Twitch teams up with his old mucker Dave Clark (LUMA / Sparky) for an electrified, highly corrosive Sleng Teng-club-rub. Complete with big screaming vocal sections and a sinister, dark aesthetic. Next up is Jabru, The West Country gent with releases upcoming on Futureboogie and Huxley's Saints & Sonnets with a digital dub gem in the shape of "Whiteboard Jungle". Resonating with all the hazed and blurred beauty of classic dub, Jabru works the tape delays and drum boxes with style, unleashing a beast of a groove which should slay dancefloors the world over. Highlight of the EP in my opinion comes when Richmond & Sheraton deliver "Under Mi Flat Cap", a minimal but highly infectious take on Sleng Teng with super squelchy, sopping wet reverbs drowning the track and a superb, slightly tongue-in-cheek vocal. Made even more fierce and frenzied on "Flat Cap", the pair adopt an almost ragga-like aggression with buzzing sawtooths and long, tense breakdowns. Absolutely huge in the dance! You need this! Vinyl only!

      A three tracker from Copenhagen’s Music For Dreams and an unusual new house direction for this normally quite Balearic label. All 3 tracks still have that definite White Isle feeling however, James Moor’s ‘Spirits’ kicking things off in an irresistible funky style, perfectly blending melodic bass with dark emotive elements. Electronic artist Hess is More's classic ‘Yes Boss’ (more than 9 million views on You Tube) is here revamped by Serge Devant with a very groovy B-line and mad vocals creating that after-hours DC10 feeling and already getting support from Jamie Jones. Born in Ibiza, Valentin Huedo is former resident DJ at Cafe Del Mar, now resident at Blue Marlin and this release is his debut for Music For Dreams. ‘Running On Grass’ is all flowing pads, rolling beats and a beautiful little melodic hook with spot-on production and an Innervisons feel. Sounds great on the dancefloor or on headphones - a true testament to Huedo’s versatility. Limited edition. Move quick!

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