house . techno . electronica . ambient


Genre pick of the week Cover of Lollipop - Inc. I:Cube / Dream 2 Science Remixes by Jose Padilla.
After taking a lengthy hiatus from studio duties, Balearic legend Jose Padilla made his return this year at the request of International Feel. Surrounded by the collective production talent of Jan Schulte, Mark Barrott, Tornado Wallace and Telephones, Padilla delivered the perfect modern Balearic LP, providing the soundtrack to beachlife and nightlife, sunrise and sunset. Following the blueprint laid out by previous singles from the LP, this 12" hits us with a special extended mix from the track's co-producer (in this case Telephones) as well as a fresh remix from NY house legend Dream 2 Science and two versions from French filter disco king I:Cube. Telephones' 12" Version of "Lollipop" sees the Scandinavian producer expand on the transportive dancefloor magic of the original to treat us to a sublime summer house anthem, driven into the clouds by rippling percussion and a rolling groove. The floating melody plays out on keyboard, piano and guitar, while bright sequences ring out across the bright blue sky. I:Cube takes the controls on the A2, discarding most of the original instrumentation in favour of a moodier club cut complete with detuned deep house pads, growling bass and the occasional blast of Padilla's chirruping melody. The B-side opens with a rare appearance from reclusive NYC house dons Dream 2 Science, who compliment the summery melodies of the original with trademark vibraphone and shuffling hats to create a warm and groovesome rework perfect for the terrace or outdoor party. I:Cube takes the reins once more on the B2 with a minimal arrangement of the track played through naive synth sounds, bossa rhythms and autoharp riffs. The result is a gentle journey through cosmic realms, perfect for post club listening. 

The Analogue Cops

Monkey Suits

    The Analogue Cops, made up of the part machine-part man duo that is Lucretio and Marieu, have now solidly established themselves at the base of contemporary house and techno. Moreover, the pair have, and always have had, an instantly recognizable sound; their hardware approach and funky yet driving grooves are always a pleasure on both the Juno HQ speakers and the ol' Funktion One's. For their latest outing on the UK's Hypercolour imprint, they've chosen to deliver two tracks each: Lucretio comes through with the disco-filtered stabs of "Vampire Killer", and the 80's electro number "Shinobi World", while Marieu goes deeper and housier on "Corona", but leaves the funky servings for last on the excellent sample-fueled "McGraw". Quality, as per usual, from the Coppers.

    Andras & Oscar

    (I Know) What You Want / Looking Back - Inc. Tornado Wallace / Zanzibar Chanel Remixes

    After taking us for dinner at the "Embassy Cafe" and "Cafe Romantica" on dates number one and two, "(I Know) What You Want" sees Andras and Oscar go all the way. Released in celebration of the duo's current European tour, this sublime cut is a smoothly urgent house plea, with Oscar’s yearning vocals soothed by Andras’ warm, lightfooted production. Blessed with arguably the best production I've ever heard, this incredibly textured and round house cut goes all the way back to the early 90s, shaking its shit next to Larry Heard, Frankie Knuckles and Vincent Floyd. A fluid sequence works its tropical magic under the warm house chords, while the smooth bassline and killer drum programming get you moving from the toes up. Total summer anthem! For the B-side A&O enlist some of their antipodean chums to transform "Cafe Romantica" stand-out "Looking Back". Tornado Wallace takes to the task first off, stretching the track out into an instrumental excursion into lush vegetation and fragrant flowers. Perfumed, groovy and summery as they come, this remix is alive with additional percussion and disco guitar. On the B2, funk anarchists Zanzibar Chanel take a big swig of the purple drank and deliver and deranged cover version complete with croaking synths, flip flopping toms and all kinds of odd distortion. It's as mad as the box of frogs they used to record it! There are three killers here, but it's the A-side that steals the show - Ladies and gentlemen, put your hands together for Andras and Oscar!

    For the label's 16th (!!!) release, Dixon Avenue Basement Jams continues to bolster their local infantry with fresh, new blood, this time with the addition of a young but well-seasoned individual hailing from the hinterland of greater Glasgow and going by the name of Big Miz. If you happen to live within an 8 mile radius of a Blue Lagoon, the chances are you will have already been acquainted with the bold Miz, most likely through the longstanding and legendary club night / crew he’s a resident and founding member of: Offbeat. Tracks presented here, such as “Good Thing” strike a fine balance between good ol’ Motor City funk and Chi-Town oddities such as Vincent Floyd’s more obscure cuts on Dance Mania. Utilizing a very well known disco vocal sample across dark acid beats. "Electrolites" see Miz take cues from Metrodome's recent Wet Play record - tearing cowbells into long grain delayed sweeps and overall creating a very tropical sensation through house music, always with a nod to the pioneers from across the pond. The velocity increasing “Solange” opens the flip like the result of a three-day Theo Parrish studio session fuelled by bad speed. Nagging melodies and the grimiest beats collaborating in unison to take you deep inside your cerebrum. Finally, "Wurx" unloads some squashed and technofied beats onto the master tape, filling in the gaps with big synth swells and distorted donks. Great stuff!

    Thatmanmonkz Sheffield house imprint Shadeleaf drop their eighth release, and it's another solid release.

    Joseph Caserta (now known simply as Caserta) is a DJ / producer based out of Boston, Massachusetts, who has worked with Razor N Tape, Soul Clap Records, Midnight Riot, BBE, and Kon's Star Time imprint.

    'Ricky' is a little slice of traditional East Coast, soundsystem / basement club house. It's a simple but textured workout aimed squarely at the floor, with its lascivious narration and repetitive hook - sweet. On the flip the 'Jeep Mix' harks back to those mid 90s B2 hip hop beats mixes othat all Big Apple house twelves included.

    Digging royalty and a bona-fide master of the art of the re-edit Kon handles the first of the B-side re-rubs. Stripping things back a little and letting the bump and hustle ride to an altogether more hypnotic and atmospheric destination, the weight of the bass on this reminds me of Mood II Swing etc.

    Finally label boss Thatmanmonkz adds more than a little Sheffield grit to proceedings, amping the rhythm section, laying out a deadly bassline and aiming for the proper Sheffield ravers. Another Shadeleaf sureshot! 

    Rhythm Section International proudly presents its 8th offering from local boys Chaos in the CBD. Born in New Zealand, but based in Peckham for the last few years (literally just around the corner from Henry Wu and Bradley Zero), these brothers have made a real mark on the scene in London town. Taking its title from the locale the boys have come to know as home, the record channels a delicate late night energy - equally indebted to the hypnotic incantations of Ron Trent as it is to the hazy suburban atmospheres of Burial. These 4 classic cuts pay homage to deep house in its truest sense - at once sublime, melancholic and meditative. "Trust Is Key" utilizing delicate, emotive piano chords alongside that shuffled, Rhythm Section-patented groove. "Observe" lets the deep jazz influence run riot with upright bass and brush drums supporting the bright piano licks. "Midnight In Peckham" is the sensual money shot which should have the whole of Canavan pool hall united in sweaty, exuberant bliss. Ghostly saxophones cascading through the mix while a straight 4/4 keeps us chugging and a beautiful piano section plays its heart out. "Luxury Motivation" concludes this tight and succinct set with more of the same - playful pianos meeting emotive brass sections and a nigh-on-perfect attention to drum programming. Chaos in the CBD have clearly taken their cue from the mid-west masters of the genre but have not been afraid to let their own influences and environ creep in, and in doing so have created something that is unmistakablely London, Rhythm Section and infact, timeless. Move quick!

    Cowboy Rhythmbox return to Phantasy with a new set of recordings, following last year's celebrated debut two-side, 'We Got The Box' and ‘Rattle’, which gained international DJ support from the likes of Barnt, Carl Craig, Seth Troxler, Roman Flugel, Kim-Ann Foxman, Jackmaster and Lena Willikens, as well as featuring on Erol Alkan's acclaimed Fabriclive 77. Fantasma's distinctive three tracks continue from where Cowboy Rhythmbox left us; a trident forged from the sweat of a thousand lost nights spent dishevelled beneath tarnished mirror balls.

    ‘Fantasma’ takes its cue from early sample fetishists Yello, a compelling, sensual and rather muscular piece of industrial house music underpinned with a series of mesmerising, cavernous breakdowns. This is the sound of a ride on the world's biggest ghost train, the ultimate drug for morbid thrill seekers.

    ‘The Natives Are Having Us For Dinner Tonight’ drops the the tempo, but maintains the intensity. Militant 21st century exotica, heavily percussive fourth world music , an atonal hymn to found sounds and lost souls. A track very much inspired by Nathan's marathon DJ sets at Salon Des Amauters, the cult club in Dussledorf, home to one of the most legendarily open-minded dancefloors on the planet.

    Finally, ‘Latin Sex Change’ melds a primitive drum machine with the sound of metal on metal, while mechanically altered vocal elements assist in creating a brutal and robust DJ tool, bringing aspects of EBM, early Chicago House and exotica to the fore once again.

    "Bound Adam" is the first in a series of reissues by American artist Elysia Crampton (f.k.a. E&E) for Total Stasis record label. Originally self-released in 2011 as digital files, this is its first vinyl pressing. Its three tracks are an ode to the artist's Ford Ranger. 2011 is also the year Ford discontinued the Ranger line. As Crampton says, 'it is a speculative / ontological poem about a relationship with a car.' Sonically, if you imagine the futureproof hydraulics of Jam City or Bok Bok, coupled with that icy frost of Total Fantasy but then given a warming, hippie-friendly edge which recalls a distant Iasos or Brian Eno. Glacial pop ambience for generation i-pod.
    7" vinyl record
    Mastered by Brandon Hocura
    Cover + insert by Felix Lee

    Where To Now? records present Beatrice Dillon’s follow up release to "Blues Dances". This three track 12” sees Beatrice step things up a gear in terms of intricacy, experimenting wildly to add to her already astute palette of timbre and rhythm. "Face A" opens the record with the unmistakable skronk of saxophone cutting and jamming over the skeletal pulse of Beatrice’s signature dubbed out techno landscape. Initially the inclusion of saxophone acts as an aural abstraction or diversion to extract a little freedom from the pumping cavern of dark dub techno punctuated with the mechanical juddering saw-bass. As the piece develops and we become locked into the groove, the inclusion of wild sax trips us up and becomes the focus itself as new levels of complex melodic and rhythmic detail become apparent within this otherwise structurally obedient space. Taking its cues from Rabih Beaini, Miles Davis ‘Big Fun’ era, Dresvn and Keith Hudson, undoubtably "Face A" is a compelling, complex trip; heads down but arms flailing. "Face B" continues the theme but takes the listener deeper into the cavern. Here the concern is more the effects of space within song, a moment where Beatrice allows herself to move away from the floor to find a little more room for playful experimentation. The saxophone is further treated with a plethora of effects to compliment the array of dub signals that scatter and skip around the basin. The record closes with "Sonnier (Walk in the Light)" which strangely manages to feel even jazzier in its components, even in comparison to a pair of tracks riffing on a manipulated free-jazz sax part. It sounds strangely unsure of its world, adding to this whole loosely slung, loping feel which somehow fits amongst the stern, brooding, and efficient synth play. Beatrice masterfully manages to create a piece here that grows in intensity without ever increasing in pace or texture, every drop is intended to stir the listener a little more than the last. There is optimism, harmony and above all - wild groove nestled within Beatrice’s world of mutant shuffle, as I for one love it. Totally alien and of another species perhaps, but Beatrice is on hand to translate and iron out any communication difficulties. Pioneering stuff indeed. 

    140g vinyl bangers. Not much to say apart that all of us at Piccadilly think this is killler. Must have for fans of twisted house and techno - think early Blawan, Boddika, Tessela and the rawness of Night Slugs 'Club Constructions' series. "Energy" kicks things off in slow, deliberate form. A dark and menacing atmosphere introducing the track before metallic shards lock into action. One of those Surgeon-friendly concentric techno beats reinforces the nuclear power station mentality of this deathly wall-shaker. "Twisted Karma" unloads equal measures of dischord and controlled aggression; making another industrial techno clanger which should get the kids chucking drugs with weird letters down their throats with little personal regard for safety. "Jack Knife" is a very unusual track indeed, and really highlights the potential of this crazed new artist. Hysterics' "Club Constructions" are the closest reference point I can think of - pneumatically powered beats with a disjointed groove sucking all but the last few molecules of air from a tight vacuum. On a big powerful system like Fabric or Liquid Rooms this is gonna absolutely demolish the floor. Brand new freshness from a relatively mysterious source and thoroughly recommended. 

    If there's one thing better than acid house, it's acid hip-house, cos everyone knows there's nothing better to accompany the 303s than a catchy rap that shoehorns in the rhymes. 'So Let It Be Houze!' was released on Bam Bam's Westbrook imprint in 1988.

    Written by Mike Dunn and co-produced by Bam Bam all three tracks are truly pioneering acid house benchmarks from Chicago's golden age. EP title track 'So Let It Be Houze!' snaps the 808s, prods a three note synth bassline and lets someone (Dunn? Bam?) do the talking. 'Life Goes On' offers tinkling ivories, a super-funky elastic bassline bounce and jackin' beats. Closing the EP and going for the 3am peakin' clubbers special is 'Magic Feet' - hyped beats, acid and honking synth sax work overtime in the mix - one for the Lucozade crew.

    Re-released and remastered for 2015 in conjunction with Westbrook Records / Chris "Bam Bam" Westbrook.

    Japanese import business here from the Catune label, who giddily present the first material from Balearic dancefloor supergroup Flying Men. The collaborative vehicle of Japanese import Max Essa and Italian duo Leo Mas & Fabrice, Flying Men touch down on your nearest turntable with a two part 12" special, featuring four sublime mixes of the mighty "Only Love". We're right in the pudding from the get go on this first EP, speeding through the strobe lit underground to the sounds of the "Flying On The Dancefloor Dub". A heads down trance dance reminiscent of The Backwoods or DJ Kaos, this cut flies into the peaktime on the back of a jet propelled acid bassline, full of menacing synth stabs and phasing white noise. Almunian guitar and synthetic brass provide hands in the air melodies before space age synths make a notable appearance in the latter stages. If any of us are lucky enough to see the Idjut Boys play in Japan, I'm certain they'll deploy this rave weapon. Things take a calmer, cooler but no less killer vibe on the flip, as Max, Leo and Fabrice serve up the humid house vibes of the "Jingumae Rooftop Extended Mix". Cicadian guiro adds a tropical touch to the chunky drumtrack, while the vintage house bassline shakes the windows and the wall, locking everything in sight into its timeless groove. Glassy keys deliver some deep dancefloor texture while the synth brass returns to tie the whole thing together. If you dig on early nineties Larry Heard or those recent Far East Recordings reissues, then this is very much the one! Deep and discoid Balearic house tackle already approved by Weatherall, Coyote and Pete Herbert - join the club.

    The bells sounds for round two of Catune's Flying Men double header, and we find Max Essa, Leo Mas & Fabrice in imperious form with two more mixes of the mighty "Only Love". Once again we're thrust straight into the smoke, strobes and sweat of the peak time on the A-side as the "Balearic Militant Acid Spirit Dub" soars out the speakers with a menacing roar. Powered along by a fierce acid bassline, this stripped back mix drops most of the guitar and brass from the other mixes, opting to keep things dark and deep via trippy echoing percussion, whispering slo mo vocals and occasional bursts of laser guided synth. Skip to the flip and it's a different kettle of fish - specifically, big fish, little fish, cardboard box. The Flying Men top a shoulder rolling Balearic house bassline with fluid piano, spacey synth and rippling guitar while the exuberant percussion rattles away. Sounding a whole lot like a collective memory beamed forward from the second summer of love, this sunkissed dancefloor moment should have ravers of any age smiling and swaying.

    Fx Mchn

    Dunn - Inc. Roman Flugel Remix

    If you've had your ear close to the ground, you'll no doubt have peeped the subterranean, earth shaking vibrations of Fx Mchn. Fresh from causing that Mancunian Way sinkhole, the producer drops by Transit with one of his most potent system smashers in tow. Previously released on a London Housing Trust edition, "Dunn" is the trippiest, lo-fi warehouse monster you've ever heard, saturated with radioactive filth, weapons grade bass and deranged bells. After the full fat "Dunn" experience you're left needing a breather, and A2 cut "Piter De Vries" is just the ticket, taking you on a space funk journey to the nebulous regions beyond SDC's "Love Quadrant". The groove takes care of your bottom half while the stargazing melodies and whirring fx give your head endless textures to get to grips with. The flipside sees one of house music's most versatile and talented producers, Mr Roman Flugel offer his own acid laced version of the club killing "Dunn". The German takes thing deep, drawing you into the hypnotic slow-burn arrangement before soaking the whole place in thumping bass stabs and white hot acid lines. Don't miss out on a chance to grab this classic from Fx Mchn on vinyl if you missed it first time around. 

    Direct from the deepest corner of the southern hemisphere, aka Perth, Western Australia, Good Company Records is a new outlet for the music of the West Coast Underground, born out of four years of parties and a newly-opened specialist record store of the same name.

    For GCR001, the label have worked with local fishing outfitter Hugo Gerani to offer a grab bag of quality night-time tackle sure to land you the big one!
    From the deep jacking 'About Face' to the VIP 'Deep Sea Dub' of his classic 'Baited Drum Lines' through to luminescent throbber 'Freeze Action (Desire)', there's something for every condition and skill level.

    Born on the Aegean Sea but now calling the the Indian Ocean home, in retirement Mr Hugo Gerani supplies local jocks with the very best gear money can't buy - most handmade in his modest atelier - but with this record his products are finally available to discerning deejays worldwide!

    As Gonno celebrates more than a decade at the forefront of the Japanese house & techno scene, it seems about time he got down to business and released a second full length LP. If you've heard any of his releases for the likes of International Feel, Perc Trax or Beats In Space then you'll be well aware of the man's flawless knack for mixing speaker punishing club sonics with machine wrought emotion. For his new album “Remember The Life Is Beautiful” he ressurects a forgotten art and leads us on a musical journey, producing ten tracks that unite Balearic, ambient, techno, house and the spaces inbetween into a mesmerising sonic collage. Even though the LP comes on like a multi-coloured musical trip, switching between rushing peaks and drifting ambience, Gonno manages to inject a story arc into his album that reflects the emotions and feelings we've all been through at some point. And where so many of his contemporaries are slaves to the sampler, Gonno does his thing with 100% original material, hunkering down among the Korgs, Moogs, Roland drum boxes and borrowed guitars and letting it all loose. The result is a triumph or machinery and melody which offers delights for both the DJ and home listener.

    Raw, crisp, and simply honest 115 bpm organ techno with a distorted soul. Two takes of it featuring a left-handed chord intro so surreal the exposition will softly draw you in before you realise you just got caught in drum loop heaven. This is a white label release with music played from the heart and recorded live straight to L/R on an old used cassette tape. Mastered and cut by Matt & Barry at Alchemy in London. The record comes in a black cover with a handwritten and burgundy RISO printed 120g paper inlay. Will be big for fans of Jamal Moss / Mathematics, LIES, Moot Hut, Magic Mountain High, Ste Spandex / Cerberus Future Technologies - basically all hardware fiddlers throughout the known cosmos!

    Reactions and reviews:
    "From the heart of dark ambient comes two slices of fuzzy joy, bringing with it ghosts of fellow travellers from the past: Cabaret Voltaire, This Heat, Nurse with Wound; even the African electronics of Francis Bebey. Still German at it’s core but somehow squeezed into a pipe sticking out of some industrial wasteland in Mecklenburg-Vorpommern and re-appearing in a lay-by just outside Sheffield." (Prof. Jono Podmore)

    "I am confused. This a record you should listen to. There are simply no words doing it justice." (Thaddeus Herrmann, Radio Fritz Berlin).

    Amid the haste and confusion of the modern world, you need to take comfort wherever you can find it. I'd suggest there's no better place than in the soft, ambient textures of the debut album from July Skies. The solo project of Birmingham musician and Avrocar mainstay Antony Harding, July Skies offers a hazy glimpse of soft focus nostalgia and reassuring melancholy. Composed from a minimal set up of guitar, reverb/delay, occasional keyboard washes and calmly murmured vocals, the twelve pieces on this debut fully envelop you in their fragile beauty, sheltering you from the outside world and allowing you to luxuriate in raw emotion. On its CD only release back in 2002, "Dreaming Of Spires" met with rapturous critical acclaim, garnering comparisons to Duruttti Column's finest work. I'd offer Gigi Masin, Johnny Nash and Suzanne Kraft as ideal companions from recent years. The album consists of twelve delicate dreamlike compositions, each full of heartfelt detail that conjure up images of half-forgotten childhood days, innocence, nature and the English landscape and skies. From the dusky autumnal loss of "Coastal Stations", the swooping delayed melody of "Swallows and Swifts", the late night astronomical delights of "The Night Sky" and "Garden Constellations", this is certainly an album for the quiet moments in life and will delight anyone who is led by the heart. No review would be complete without a mention of "The Softest Kisses", a sublime piece of music much loved by Balearic militant Moonboots. After a truly dire week, I'm gratefully accepting the opportunity to retreat into the shelter of this modern classic.


    Ltd LP Info: 180 gram vinyl. Limited to just 300 copies worldwide.

    There are some things in this world which were just meant to go together; coffee and cream, beer and pizza, Frankie Knuckles and Jamie Principle. When the duo delivered this flawless example of house songwriting back in 1985, no one knew they'd be responsible for a shitload of the essential dance releases, but with glorious hindsight you can see where it all started. Perfectly programmed sequences, swooning synth strings and emotive pads ride a solid rhythm, while Jamie's heartwrenching vocals take your breath away on top. The radio version delivers a short sharp shock of vocal perfection, the club mix bangs harder than Suge Knight and the B-side dub is simply heaven. 
    Remastered and re issued for 2015 on Trax. Released in conjunction with the rights holders.

    Okay. If you're coming to this expecting the usual LIES technoise assault, you're barking up the wrong tree. If, on the other hand, you're in the market for the most eccentric, otherworldly, eurotrash madness captured on tape, this three track of edit action from Lipelis is right up your strasse! Enlisting fellow muscovites Simple Symmetry for the A-side, our intrepid editor gets right into the drug-laced pudding, throwing a painfully obscure Thai vocal over a borderline Balearic, 80s electro-funk / disco backing to create "Weirdshit Xu Paelk". Tribal drum breaks sit next to Caroline Loeb pop fusion keys, while weird dub effects and an eastern chorus make up the rest of the music. Incredibly it still manages to sound like one coherent record, packing maximum punch amid the madness - weirdshit indeed (imagine Compass Point relocated to Phuket). Lipelis is joined by That's A Steal affiliate Emotional Blackmail on "Rumours", a coke-fuelled ballad which manages to tread the fine line between blue eyed soul, jazz fusion and sweatband metal without ever losing its cool. Balearic in the most eclectic sense of the word, this should give the LIES crowd a much needed end of nighter, and provice the beards with a distorto curveball to play next to "Kiss Me All Over" (apologies to Rob Bright). Now, at this stage in proceedings, there isn't much ground Lipelis has left uncovered. Lysergic Brazilian disco, I hear you cry? Of course! "It's Alright" marries a phat acid bassline with tumbling toms, rolling congas, bells, whistles and the sounds of tropicalia, before bursting into a spoken female vocal (a la Musique) and the flourish of AOR disco strings. Mental and essential.


    Patrick says: The Russian disco mobster comes through with eurotrash brilliance, blue eyed soul and tropical acid insanity that's a million miles away from the usual LIES tackle.


    Ambience / UFO'z

    Set to smash the summer and beyond, Mele debuts his single, 'Ambience' on Redlight's highly acclaimed label Lobster Boy Records. With its wailing female diva vocals and a hefty, bumpin' drum groove, this could be classic 1990s Todd Terry or Masters At Work at their most tribal. Arriving on vinyl just in time for (Notting Hill) Carnival, this bass / house bomb is sure to create a roadblock at the right soundsystem. Flipside cut 'UFO'z' gives the riddim a broken, swinging touch, and replaces the diva with some little green men. With a residency on the Diplo and Friends, Radio 1 show and support for the track from Gorgon City, Disclosure, Tiga, Jackmaster, Skream, Redlight and Annie Mac, Mele has created a soon-to-be sought after dance formula, and exercised the production of a track that cannot fail to make people move.

    Mr Fingers

    Washing Machine / Can You Feel It / Beyond The Clouds

    Trax pull the rabbit out of the hat and reissue the greatest house record of all time, complete with the iconic centre label that defined dance music for so many years. Actually, let me change that, "Can You Feel It?" isn't the greatest house record of all time, it's the greatest record of all time. End of. The heartbreaking combination of those huge emotive pads and that stunning square bassline have changed lives for nearly thirty years now, and I don't think they'll ever stop. This is a magical record, perfect in its simplicity and subtlety, with Larry Heard's masterful syncopated percussion giving you a different nuance every time you hear it. Stunning! And there's more! Back in '86, Trax had the dancers in mind and bumped "Can You Feel It?" to the A2, giving the floor oriented "Washing Machine" top billing. Officially the first record Theo Parrish ever bought, and an enduring classic of the Chicago house scene, the pyschotic and hypnotic force of "Washing Machine" is just as powerful now as it was back in the day. Considering he'd already delivered the defining peak timer and end of nighter on this single, I guess old Larry thought he may as well nail the after hours game as well with the blissful deep house of "Beyond The Clouds", a mellow and melancholic nodder with all of his trademark touches present and correct. Musical perfection for £7.99, sounds good to me. 

    Two and a half years on from the sad and untimely passing of Ewan Robertson aka Offshore, his label Big Dada can announce the release of a last album from the Aberdonian musician and designer. The tracks for the new record, 'Offshore' were all more or less completed before his death in 2012. His family, his partner and the label have pieced the album together as close to his original intentions as they could manage, to create a suite of music which in its openness, beauty, humour and joyfulness, both hints at what Ewan could have gone on to achieve, and celebrates what a unique and lovely human being and musician he was.

    In addition, artists including Ikonika, Amon Tobin, Blue Daisy, Slugabed, Mamiko Moto, Lockah and Enchanté have all contributed remixes and expect videos and photographs from long time collaborators.

    All profits from the record are to go to the Marfan Trust at his family's choosing, it was the condition that affected Ewan.

    The sadness felt by those who knew and loved Ewan is still very real, but this record is a chance to celebrate what a unique and talented individual he was.


    LP Info: Limited blue and white marbled vinyl pressing. Comes in colour sleeve with printed outer PVC sleeve.

    1080p make their much anticipated vinyl debut with a special vinyl edition of Project Pablo's "I Want To Believe". "I Want To Believe" was originally released as a cassette on 1080p earlier this year, and the vinyl edition features a special mix of "Follow It Up", alongside another three of the original cassette's lushest jams. The Dandana mix of "Follow It Up" commences proceedings with a very sun-blushed, laid back house shuffle instantly reminiscent of PSS's "The Glass" from May. Crisp analogue drum machines, lush organ / synthesizer patches and bright aesthetic make this ideal music to warm up the floor. "Movin' Out" is up next with tough, compressed conga rhythms collaged onto another familiar soundbed of sumptious pads and velvety goodness. The track evolves into a bit of a banger when the crashing hats and rampant house beats are introduced and provide the EP's first ecstatic dancefloor moment. "Always" opens the flip with more compressed percussion ricocheting violently against the kick. Like a stoned version of Ron Trent's "Electric Blue" series - this one meanders on and on through xylophone-led passages into droning synths and back again, touching the sun as it does so. Most excellent. "Why, Though?" concludes and for me they've saved the best till last. Twangy acid lines, powerful square bass and a syncopated drum program make this a real tasty number, primed and ready to turn heads and contort bodies out on't floor. They've even included that unique sound ident off the first Pender Street Steppers record ("Bubble World") - see if you can spot it!  Obviously, Project Pablo is from Vancouver, you must have clocked this  by now and this first vinyl release from 1080p sees the BC natives join the hallowed ranks of the 'coolest place in dance music right now'. Official. 

    This isn't just recommended if you like Mood Hut / Jack J or the Pender Street Steppers - it's absolutely essential! Very limited copies!

    After seducing people around the world with the future classic "Into The Sun" on Local Talks OneOffs label and footwork anthems on "Don't Believe" released on Studio Barnhus it's now time to present "Daybreak" or as Tooli described the track the first time he heard it "It's like listening to "Deep Burnt" Part 2". Perhaps it was the jetlag (Tooli arrived in NYC the very same day Henry sent it) or the fact that it's a straight forward deep track with lush strings and no fuzz included. It's up to you to decide. For remix duties label boss Tooli was brave enough to have a go himself and recorded some piano chords and strings. On the flip is where the real magic happens - Parkway Records head honcho Mark Seven, delivers a remix that takes you on a journey and a half. It's deep, got tons of percussions and lures you into afro territory. If Body and Soul was still around this one would peak on a Sunday afternoon. 

    Fresh heat from the city that never sleeps here, as Schatzi open their account with a quartet of edit action guaranteed to cause absolute mayhem on the floor. Opening cut "Hands Up In The Air" joins the dots between the ballroom and the warehouse as our mystery editor chops and drops Candi's "You Got The Love" acapella over some tumbling toms, snapping claps and a thumping kick. Sparse, percussive and hard hitting, this is a dynamite tool to throw over anything and everything. Next up, "You're So Right For Me" sees our editor sticking the scalpel into Eastside Connection's glam and glitzy disco stroller of the same name. As well as providing a much needed EQ tweak to the bottom end, a tasty bit of arrangement gives this one the extended dancefloor impact it always deserved, without a single ounce of flab. Flip the disc and undo a couple of buttons, things are about to get steamy. "Perfect Love Affair" accelerates from the filthy french of the intro into a stomping disco driver complete with chunky pianos, sweeping strings wah guitar a heavyweight bass. The Schatzi crew take the Constellation Orchestra original to the moon and back, doubling the length and upping the intensity, resulting in a grade A disco destroyer in the COMBI mode - nothing short of an A-list disco edit! Last but not least, our new friends tickle more than our fancy with a velvet, satin and lace slow burner that's sexy as hell. Slick guitar lines weave between soft strings and sensual moans as the simple beat and deep bassline roll on, moving things from the dancefloor to the bedroom. Ooh la la.

    Edit & Dub Records Tokyo present two unreleased killers from proto house legend and Zanzibar, Better Days and Cheetah resident Tee Scott. If the name's new to you, I suggest you dig out all your favourite 80s dancefloor jams and take a peek at the production credits, because this guy lent his mix and engineering expertise to the best and brightest of the day. Make no mistake, you're dealing with a genius here. Up first we hear Tee's unreleased extended edit of Sergio Medes' "I'll Tell You" (total classic alert!), a sweltering tropical dancefloor jam, alive with steel drums, funk grooves and disco vocals. Tee shows his innate knowledge of dancefloor dynamics on this one, constantly switching between the breaks, chorus, verse and middle eight to create a dub disco masterpiece which will keep any dancefloor on its toes. This killer is followed by the abstract boogie of "Diamond Dub", a Tee Scott original which was only available to a few luminaries at the time. The kind of loosey goosey boogie cut that set the blueprint for the likes of Metro Area and Maurice Fulton, this piano led groover sees the producer utilise a squelching bassline, sharp rhythm guitar, dubby percussion and a space ae synth solo on the way to club nirvana. Larry Levan used to cane both cuts at Paradise Garage, so you know we're talking class here.


    12" Info: Limited single sided 12"

    Seahawks & Eddie C Present

    Sky Party EP

    Canadian groove expert Eddie C teams up with Britain's famed cosmic yachtsmen Seahawks on this Red Motorbike 12", soothing us with a typically lush two tracker of dreamy innerspace travel music. "Say Hello To Love" opens proceedings with a head bobbing funk breakbeat and porch-swing double bassline (presumably Eddie's doing) before blissed out pads, twinkling harp and yacht friendly guitars enter proceedings taking us to a fantasy island where you can smoke the palm trees and drink in the sun. Just as we're settling in our deck chair, cocktail in hand, Eddie takes the baton and injects the track with a snipped Rhodes lick, beatdown house beat and more of the sample magic he's made his trademark. Truly the sum of its parts! Over on the B-side we plunge into the nebulae and take in the luxuriant beauty of the cosmic majesty. Interstellar whale song, drifting pads and ambient tones wash over the mind and body like a cool solar wind until the gentle rattle of organic percussion carries us through a dimensional wormhole. As we pass onto the other side, a steady one-note bass, subdued kick and hissing percussion replaces the cosmic with the kosmische, suspending us in the perpetual motion of a Tangerine Dream. Phasing synths, sweeping pads and dubby fx work their magic before the celestial choir lifts our souls into exaltation. This is music Carl Sagan would smoke weed to, music that swirls and flutters through rays of light reflected by the sheen on this production.

    The first release on the new Downbeat label comes from Chi-Town with Specter. Specter is Andres Ordoñez, the owner of Tetrode Music, a cult label from Chicago, that with only three releases has become a reference point for many techno / house heads nowadays. The EP offers up four hypnotic deep tech-edged house tracks with the influence of Mr Fingers clearly evident throughout. It's atmospheric mid-tempo house that represents perfectly the sound of Downbeat. Full of radiant pad swells, organic percussion and eyes-down vibe throughout this is beautifully deep house music, the very epitome of the genre and what seems to be lost in most of today's soulless copycats. Majestic stuff that disappeared as quickly as it arrived first time round, making this a highly sought after slab or wax. Now's you get a second chance to own this iconic record. Recommended. 


    12" Info: Limited hand-stamped white label.

    The Ting Tings

    The BXY Remixes

    Very limited remix 12" on heavyweight vinyl - 250 copies for the UK. A pre- and post-club tune, remixed by up and coming Spanish DJ, BXY (pronounced 'Boixy').

    Boixy has been DJing since he was 16. Originally from Elche (Spain) and later based in London, where he perfected his craft before moving to the clubbing Mecca of the world - Ibiza. Here he took up residency as sound engineer at Sonic Vista Studios, while DJing around the underground parties.

    When The Ting Tings were making their third album at Sonic Vista and looking for a DJ to tour with them, they were introduced to the eclectic Boixy, who shared his remix ideas and they snapped him up for their 2014 world tour.

    BXY is currently working on his debut solo material as well as co-producing new material with the Ting Tings, and working on remixes for Alt-J, and Heavy Mellow & Speak

    Ron Trent

    Tribute To Ron Hardy

    Rush Hour come through with a proper treat for the real deep house heads here, giving Ron Trent's previously CD only dedication to the late great Ron Hardy the fat 12" pressing it always deserved. Originally released on the soulful house master's 2009 CD "Dance Classic", this nine minute tribute to the most fearless, innovative and slightly insane character in the rich house music tapestry became a firm favourite within the house community - after all, we all pray at Ron Hardy's alter. Trent builds a deep mid tempo groove from growling synth bass and a beat up drum box, pulling us into his hypnotic world, before preaching his gospel. Amen!

    Brooklyn's finest purveyors of synthetic madness, Lectric Sands drop a fresh and funky nine tracker from label mainstays Zoovox under the imaginative title "Great Cats And Weak Dogs". Syncing up the classic sounds of the ana-digi machines of yore, the duo embark on a journey deep into tropical synth territories, passing through the Norman Whitfield-in-Jamaica 3D dub psychedelia undergrowth and coming to rest in a humid jungle clearing. The Compass Point meets Miami Vice lilt of "The Turkey And The Swan" eases us in nicely before "Marinara Trench" merges menace and camp via moody 80s action film motifs and a charmingly bizarre spoken vocal. "Volcano Vic" and "World Service" see Ben and Jeremy combine the tripped out tribalism of Jan Schulte with the playful tones of Young Marco, seamlessly combining primitive electronics, cosmic funk and into one surreal, psychedelic package. Speaking of dub, A-side closer "You Jane" brings the slank with no slackness, turning the space echo up to 11 while the digi bassline dances with Sakamotan synths. "Irene" brings an upbeat mood on the B1, layering a vocoder sound and pinging synth reminiscent of Charlie's "Spacer Woman" over a galloping bass sequence a la JMJ's "Oxygene IV". Six tracks in and no boogie? Well feast your ears on "Donkey Calling", a joyful meeting of simple drum rhythms, heavy duty bass and spritely synthlines, perfect for play next to Sasac jams, Benedek cuts or future funk grooves from our pal Ruf Dug. From the sublime to the more sublime next, as Zoovox turn out a relaxed, replayed and resplendent primitive synth dub of Carly Simon's Chic assisted, Balearic co-opted pop gem "Why". Get your audials round that! The quality stays sky high to the finish as "Funky Wildlife Congress" soaks you in totally tropical dancefloor flavours, via jaunty stabs, snaking synth lines and a meaty drum riddim. Flawless from start to finish, this one's already sprung into the upper reaches of my End Of Year chart, making the perfect companion piece to Ruf Dug's "Island".

    Berlin Atonal is proud to pick up on a tradition begun in 1984 with the publication of two volumes of live recordings from the 1983 edition of the festival. Those records bore witness to the most inventive, adventurous sounds of the festival, and therefore of their time, containing live bits from Psychic TV, La Loora and Z’EV.

    Vol. 3 carries this custom forward three decades with selections from four of the standout performances at Berlin Atonal 2014. Of course Cabaret Voltaire’s lauded and historical first show in over 20 years is featured ('Microscopic Flesh Fragment ' and 'Universal Energy (Live Version) '), Richard H Kirk’s no-nostalgia and machinery driven set firmly putting the Cabaret Voltaire project in a future-facing direction. Demdike Stare member Miles Whittaker’s surprising and muscular live performance also contributes a cut ('Vagabond Nº7 '), as does festival favourite Fis with his characteristically lumpy, textural soundscapes ('Dist CL (Atonal Version) '). Finally, two selections from Abdulla Rashim’s memorable session point toward a possible future for synthesised music. 

    'Berlin Atonal Vol.3' is housed in a special cardboard sleeve and limited at 700 units.

    Melbourne house heads Butter Sessions return with more fresh faces from the depths of suburban Melbourne.

    First up the label Introduces Tina Wantirna and 'Untitled', a beaty tech / house driver sprinkled sub-aquatic sound bubbles and dubby keyboard echoes. Heading deeper into the realms of dub-techno is 'Everybody Hz' by  Cale Sexton. The pitched-down rhythm makes space for a heavyweight bassline gurgle, while waves of echo-drenched keyboard crash against the 4/4s. Label head Sleep D drops fresh acid driver 'Vermondo Vermango' - the slowly evolving, morphing 303 lines make for some serious hypno-house. Going for the same level of trance-inducing acid, but at a peak-time tempo, Dan White's 'Rhythm Works' aims for the Hardfloor school of dancefloor-filling. 

    The four tracks on this EP represent an excellent example of early Kwaito, originally released between 1990-1994. Now available as a limited edition EP only.

    Kwaito can be considered an authentic South African phenomenon. A new urban genre developed in the 1980s, an Afro-dance pop, mainly influenced by mbaqanga and African-American popular styles like hip hop and house. The development of kwaito began at the pinnacle of bubblegum music and when the apartheid era in South Africa was drawing to an end in 1994. Within the new democracy Kwaito soon became The Sound of Young South Africa.

    Kwaito instrumentals are usually made entirely of synthesised sound. The tracks are constructed using a fusion of slowed down house music tracks (normally 100 and 120 beats per minute) and African percussion, which forms the core of the rhythmic pattern.

    The lyrics in kwaito are normally not sung, but recited in rhythmic speech, usually in Isicamtho or any of the South African official languages.

    The origin of the word kwaito comes from the Isicamtho word amakwaitosi (which means gangster). Amakwaitosi derives from the Afrikaans ‘kwaai’, which means strict or angry. The association of kwaito with gangsters is because kwaito in itself is all about black ghetto music. To kwaito musicians and their fans alike, the term simply implies that the tracks are ‘hot and kicking’. 

    With each successive volume of Throne of Blood’s 'Moon Rock' compilations, the New York label attains a deeper appreciation of electronic music’s most chakra-massaging tendencies, participating in a communal dialogue devoted to a new dynamic beyond the confines of the dance floor.

    Sharing a spiritual and aesthetic kinship with a burgeoning community of psychonauts and astral voyagers like Multi Culti, Emotional Response’s Scheißen series, Andras Fox’s ART Wilson project, 'Moon Rock Volume 3' casts a wide net, folding in crystalline contributions from label veterans like Steve Moore, Ulysses, Curses, Luv*Jam, Anti Hero (aka Chris McIntyre from Jokers of the Scene), Clean Plate (aka Pink Skull), Tempelhof, and Pittsburgh Track Authority, as well as expansive contributions from friends like Stone’s Throw affiliate Chrome Canyon, LA mainstays Kisses and Anzano,’s Apiento & Co, CCC’s Night Plane, Peacefeast mailman Tim Love Lee, and Hivern Discs’s CPI.

    Pushing beyond the terrain so capably explored in Volumes 1 and 2,'Moon Rock Volume 3' begins in a familiar place with cyclical arpeggios and orchestration deeply indebted to Brian Eno. An interlude of reverb-drenched percussion and harp segues into cinematic synths and a series of selections rooted in the low slung rhythms of chillout. Fluctuations in intensity slowly give way to a darker tone as more unnerving drones and atmospheres close out this fifteen track selection.

    As always, 'Moon Rock' is music for comedowns, meditation retreats, and adventures beyond the Ultraworld. Tune in and space out...

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