house . techno . electronica . ambient


Genre pick of the week Cover of Can't Do Without You by Caribou.


Can't Do Without You

After a four year hiatus Dan Snaith makes his triumphant return as Caribou, picking up exactly where 2010's Piccadilly record of the year "Swim" left off. He was hardly idle in that period, ruling the leftfield techno world as Daphni, and touring extensively, either alone or with the all star Caribou Vibration Ensemble. Returning from his travels refreshed and with another four years of boundary pushing production in his locker, Snaith calmy took the intimidating task of following up a classic, and smashed it out the park. "Can't Do Without You" combines his ear for an emotionally charged melody with his perfectly mixed live drums, trademark analogue synths and yearning vocals. This extended arrangement adds a little extra dancefloor oomph to what's certain to be the alternative pop single of the year, weaving skyscraper sized peaks that lift you way up high. Soundwise, there are similarities to "Sun", but with the former's frenzied intensity replaced with a melancholic and lovelorn drama that hits all the emotional sweet spots. Remarkably, Snaith has managed to equal the lofty heights he reached on "Swim", and with more to come, his latest work may also be his greatest. 

Actress continues to keep us on our toes here at Piccadilly, dropping another limited EP with no forewarning much to our postman's chagrin. Much like 2013's "Grey Over Blue" EP, "Xoul" arrives with no information, sporting a sleeve and label as black as Kubrick's monolith. Since "Ghettoville" found Cunningham in tranqued out heroin house form, I'm guessing this continues in the same vein, playing at a stately 33rpm. "Xoul" emerges from a hiss and fizz of scratchy white noise like a lullaby from a dystopic future. The ozone layer's gone and nuclear war has reduced the planet to an arid plane of scorched earth. The chirps and tweets of the rainforest fauna have been replaced by the electrostatic feedback, and battered electroncis are the only form of sound. Actress picks up the pace a little on the "Dark Chamber" variation, and rearranges the parts into a spot welded collage of industrial filth and qualude house fug. Disorientating and danceable, this mix has taken all the drugs in world at once. And just when you thought it couldn't get any weirder, Cunningham flips the track into reverse for the second half. I need a sit down and thankfully the "Xoul Particles" mix is there to offer a soothing bed of ambience for me to rest on. With the more abrasive elements of the track reduced to a mere murmur, there's plenty of time to fall into the hypnotic melody. Now, although lazy comparisons should be avoided, the similarities with "Drukqs" are as high an honour as I can bestow. If "Particles" was Cunningham's "Dreamscape", then "Pharoah Moon Rising" is the soundtrack to a particularly grim nightmare. While unnatural hats hiss away marking the time, a growling bassline snakes away in the depths creating a tone of true menace. A plaintiff clarinet holds long and reedy notes above the synthetic rumble as Actress soundtracks the paranoia and tension of a futuristic film noir. Another remarkable release from Darren J Cunningham; if he keeps going at this rate they'll be no boundaries left. 

Greg Cash

Party Chat

A rare warehouse find for you lucky buggers from way back in 2000. Pressed by no other than Moritz Von Oswald, this bangin’ little blighter is the very essence of bumpety Chicago house music. "Party Chat" contains rough-as-a-bear's-arse drums, overwhelmingly infectious piano hooks and this microphone rocking vocal delivery by Terrence Wagner and Adrienne Thomas; meaning this is pure alchemical house magic; guaranteed to ignite the floor wherever and when it is dropped. The second record this week you'd expect Moodymann to have on dubplate for months before its release, it's actually Future Times hero Max Dunbar that's been championing the track ('Despite being the ruggedest track, the vocal gets everybody's attention. The moment when 'Oh hell yeah' gives way to the bass drum gives me goosebumps'). "I Got Your Love" doesn't let up, letting the rolling drums prevail at the start before opening up the lowpass filter on this gorgeous horn-driven hook. Surely one for the terraces and beaming sunshine, watch you don't spill your Mojito as everyone rushes to the booth to get an ID on this one. Sublime. Get your skates on folks!


Matt says: Pure, peakin' Pigeon tackle from 2000. A lucky warehouse find means you get the chance to own this stone cold house classic. With Moritz putting his name to it, you know the quality is gonna be tight.


Record Player CR8005A - Cruiser (Tweed)

    Love the rich, warm sound of vinyl, but wish it was a more moveable music format? Put down the iPod and mobilize your music with the Crosley Cruiser 3-speed portable turntable.

    Constructed of wood and bound in a leatherette material, the briefcase-styled record player is lightweight and easily transported from place to place. It features built-in stereo speakers so you can listen to your music without having to connect it to a speaker system.

    Cruise over to a friend's house and experience vinyl's superior sound together.

    - Belt-driven turntable mechanism 33 1/3, 45 & 78rpm.
    - Dynamic full-range stereo speakers
    - AC power adapter RCA audio out
    - Dimensions: 15.50in X 14.00in X 6.10in

    After annoucing their arrival in 2010 with the mind bending analogue psyche of "This City Never Sleeps", the collaborative project between Gavin Russom and Viva Ruiz (with the later addition of Matt Thornley), have been pushing their own brand of transcendental noise at the forefront of the game ever since, culminating with the release of their debut LP last year. This latest leg of their spiritual synth journey features four wildly engaging stripped down mixes of album standouts "Rain", "Paradise", "Ascension" and "We Came To". Inspired by the pounding functionality of 12" dance mixes and a desire to reward the beating dancing heart of the club, rather than the restrained cool of the VIP booth, the trio set to work cutting back on the song elements and filling up on the buzzing synths and punchy drums. The deep mix of "Ascension" opens the pattern with the electro rhythms of a Juan Atkins classic, underpinning those moody synths Crystal Ark made their own. Next stop is the "Space Mix" of "Paradise", which rolls on and on driven by that growling bassline and syncopated hats. The ritualistic soon enter the fray, mirrored by a huge warping synthline as the song begins tp power up into sonic overdrive. The second disc opens with the classic DFA groove of their XXXtended mix of "Rain", a percussion (and more cowbell!) heavy throbber with detached and cool pop vocals, spiraling synths and a fuked up bassline. Topped by buzzing electronics, this could easily pass for a lost Soulwax mix of LCD; it's that good! The double pack closes with the Factory Floor style tribal minimalism of the house mix of "We Came To". Stuttered and resampled vocals, rattling percussion and stiff drum machines and a simple synth bassline all combine to make up the twisted sister of "Two Different Ways". Another future classic from the DFA camp, and an essential for fans of Factory Floor, LCD Soundsystem, John Talabot and the Optimo Trax series.

    Whenever Dego releases a 12" change occurs. Music changes. Producers switch gears. Panic sets in. Tidal-wave size ripples echo throughout time forcing shapes to be thrown and bodies to be bounced. Where words alone can not convey emotions, Dego speaks through his music, healing all that are willing to open their ears. His Blueberry Records debut is a serene prism alone in space, waiting to unlock your heart and mind. Opening with "Nuts!" the 4th quarter addition to the EP, Dego lines up the dance floor in his sights, takes aim and slays you. The play between rhythm and synth is so cold yet so hot, it's the tiger balm your dance partner has been aching for. "Could Murder A Burger" has featured in taste makers' sets for a while now, finally landing on this EP with it's thoughtful piano movements and load bearing bass. Could power a steam engine and serve a cup at the same time. Machine funk of the highest grade, this is future music for the present day. Flip side opens with "Celestian Ditton" a possible ode to the hifi of yesteryear, slow burning, ever charming and romantic. Warm and embracing, analog and rolling. Truly out of sight intergalactic-electronic-psychedelia in the same vein as Panoram. Closing out the EP is a remix from FaltyDL "The force is strong with this one" a quote from Dego himself. Paying respect to the master, maintaining integrity with added funk and scatting. Yes, scatting.

    Die Roh & Okee Ru

    Beam Boom Bum EP - Inc. Lucretio Remix

    Die Roh are the legendary DJ Octopus (Enlightened Wax / Hypercolour) and the mighty Sagat (boss of Noho Records). For the fourth release on Muscle Records they have hoisted into Brenta studios a talented musician known as Okee Ru (Enetrbt / Deependence). "Non E La Rai" opens proceedings with a pumping techno track, inflected with a little bit of that Dave Angel / K-Hand flavour. Flanging pads, tight hats and a clever arrangement tailor-made for heavy strobe light abuse and rampant dancing. Lucretio remixes the former, adding gritty undertones and a rolling bassline before hitting us with the most ridiculously infectious vocal hook you're likely to hear all year! Coming to every Boiler Room set for the next 3 months this is a SURE FIRE anthem pop pickers and worth the entry fee alone. Flip for the after-party, ket-fuelled banger "Xanax". A big one for the Berlin lunchtime crew, this is dark, dirty and dangerous. "Sensory Overlead" closes off this essential EP with a deep, eyes-down throbber, full of intricate bleeps, vocal murmurings and techy wubs before a chunky beat fires up the pistons. Big.


    Matt says: Ireland's best purveyors of hardware dirg return with this amazing EP from Die Roh & Oke Ru. Watch those tape heads as these trax run red hot!

    17 Steps is the new record label from UK act Dusky, aka Nick Harriman and Alfie Granger-Howell. This storming inaugural release leads with a unique title track that represents Dusky's hybrid approach to production perfectly. Drawing on dark, hypnotic melodies that reference classic jungle vibes, soulful vocal samples, and tough, intricate grooves, "Love Taking Over" also hits with a gritty percussive edge; making for a fresh and distinctly Dusky production. Second track 'Inta' connects even more directly with Dusky's formative jungle and rave influences growing up in London - taking its title and key sample from the classic 'Inta' by Grooverider's Inta Warriors alias. Archetypal of Dusky's genre-merging approach, "Inta" blends sub heavy bass pulses with dark synths and vintage rave motifs to form an unflinching and heavy dancefloor sound. Completing the EP in style, 'Expectations' is a track that has been on heavy rotation in Dusky's DJ sets over the year. A tough, no nonsense, floor burning house jam, "Expectations" instantly strikes a groove with its simple bass line and quirky jazz-inspired lead. Again summoning dark, D&B-inspired bass on its cavernous breakdown, "Expectations" is loaded with the texture and detail that Dusky are renowned.

    For Fans of: HTRK, Tim Hecker, Tamaryn.

    “Melt Into Nothing” is Ensemble Economique’s most lucid seance to date. The prolific Humboldt County musician has stripped layers off of his trademark haze but retained the beautiful desolation that’s earned him a rabid fanbase. The solo project of former Starving Weirdos member Brian Pyle, Ensemble Economique has crossed a land bridge from apocryphal world music and dusty soundtracks to gauzy 4AD-style atmospherics. Trellises of guitar embolden Pyle’s whispered, threadbare lyrics.

    On “Hey Baby”, the itinerant tone feels like an update on Neil Young’s stark and beautiful soundtrack for Jarmusch’s “Dead Man”. “Melt Into Nothing”, like that beautiful film music, evokes the great American expanse. Field recordings slip in and out of the mix. On “Fade for Miles”, Pyle’s adroit effects and backwards tape manipulation make the long trail on his vocals fade into waves on a rocky beach. Pyle combines minor-key organ and spacious string synths on “Never Gonna Die”, recalling the grey grace of the releases on Factory’s gothic cousin, Benelux. Thunder accentuates the dubbed-out machine drum programming as Pyle’s dulcet tenor floats in storm clouds.

    The full-length also features contributions from Toronto artist DenMother and Parisian artist Sophia Hamadi, also of dark-wave Opale. This music is not excessively dark or severe. Rather, the record explores the internal dialogue of solitary walks. “Melt Into Nothing” is for making sense of humanity in nature’s unforgiving face. Ensemble Economique has made his most accessible record yet, but the complex emotion behind these tracks remains resonant and ultimately mysterious.

    Four Tet

    Beautiful Rewind Remixes - Inc. Jay Daniel / Seven Davis Jr Remixes

    With those two recent Percussions 12"s demolishing mainrooms from Fabric to Berghain, it seems that the Four Tet of 2014 is well into his house music. It's fitting then, that for this remix EP for 2013's jungle leaning "Beautiful Rewind" should feature two of the hottest names in the business right now, in the form of rising stars Jay Daniel and Seven Davis Jr. At 24 and with sell out releases on Theo's Sound Signature and Kyle Hall's Wild Oats behind him, native Detroiter Jay Daniel is on an astronomic trajectory right now, and this deep and mature remix of "Aerial" is another giant leap to the stars. As you'd expect from a talented drummer, Daniel's percussion stands out a mile from his competition, and here he marries the natural feel of a live kit with effortless Detroit bump for a perfect rhythm section. A circular bassline that could have rolled along out of Theo's unused "First Floor" sessions joins the party, making for a pretty irresistible rhythm section. From there, the young gun shows a restraint a maturity as he arranges crystalline melodies and expansive pads into a subtle and deep track you could spend your life in. Breathtaking stuff. From the Motor City we head to the coast and catch up with LA dwelling Prince loving house don Seven Davis Jr, who takes Four Tet's skitterish "Buchla" and injects a healthy dose of lysergic machine funk. He keeps Hebden's rumbling bassline and rhythmic sequences, but sheds most of the other typical Four Tet sounds, opting for his own gritty drums and funked up church organ. Seven knows how to work a groove, and once he's got you hooked on this jam, there's no getting away. Just sit back and wait for the additional hats to carry you away. Ph0t0machine carries the EP home in techy fashion with his mindbending rework of "Crush". The first half of the track builds from twinkling arps and disjointed bleeps into an ambient techno groove in the Border Community vein, thumping along through a soundscape of whirring electronics and malfunctioning keys. But the Brixtonian soon flips the script and takes us back to his early years at the forefront of the capitol's bass scene by dropping a massive speaker wobbler in the second half of the track. The contrast is perfect and will deliver guaranteed destruction on any mainroom system. Ooft!

    Relish head honcho and leftfield disco don Headman's been busy of late, locked up in his Zurich rave cave finely tuning his forthcoming LP "6". For this latest project Robi decided to shake things up and experiment out of his comfort zone on collaborations with friends and family from the nu disco world. This first EP features four tracks from the album featuring an all star cast of Brassica, Red Axes, Emperor Machine and Sam from Piccadilly Records' favourites Gramme. The EP opens in gloomy fashion with the warped electro of "Work", a cybernetic chugger that'll tickle your ALFOS fancy with its industrial atmospheres and prickly sequences. "Barbarism" follows on in the same vein, with Tel Aviv's Red Axes dropping by to help create a doomy electro dirge, complete with fuzzing guitars, circular basslines and arpeggiated melodies. On the flip, "Der" sees Robi and UK house legend Emperor Machine delivering a zero gravity slice of acid tinged Italo, that stands up there with the likes of Gino Soccio, Kano or Rago & Farina. Closing the EP in disco-not-disco fashion is the ket addled ESG groove of "Sleep Red!" featuring Sam Gramme on vocal duties. Driven by a "Moody"-esque bassline and rattling percussion, the druggy sequences form the perfect space for Sam's dubbed out vocals to take effect on your brain. Grab one while you can and watch this space for Volume 2!

    We're celebrating 50 release on Local Talk and what better way to do it than welcome Alexander Lay-Far, the Moscow-based DJ and producer to the family.
    We've been following Alex for some time now. Being a driving force behind soulful and eclectic music scene in Russia, releasing lot's and lot's of fantastic music on 4Lux, Tru Thoughts, City Fly, Glenview and gaining constant support from the likes of Jimpster, Laurent Garnier, Osunlade, Joey Negro, Move D & Recloose just to name a few.

    Communcation EP contains three original tracks and a remix from Daniel Leseman and Hans Peeman aka Fouk.

    The opening track Side 2 Side (I Just) with it's vocal sample cuts brings a unique mood and is a joyful disco and house jam, perfect for the summer.

    Get On It! continues on the same vibe with its vocal samples, the punchy kicks, slapped claps and grooved percussions, this baby will drag you into a devilish dance in seconds.

    Feel Like Making Dub is a late night groover that's both soulful and deep.
    Last but not least is Fouk on remix duties. The dynamic duo rearranges the already familiar elements of the original from Side 2 Side and turns it into something that would fit perfect in any DJ set with a MCDE flavour.

    It's the kind of thing that record labels dream of: they fantasise that one day they'll open a cupboard and discover a set of master tapes that the world thought had long since vanished. Preferably by someone good. And though it may well sound like an Invisible City editions sized PR fiction, this is exactly what happened to Shabby Doll boss Matt Swift recently when he unearthed a dusty-looking DAT dating back to... well, the age of the DAT. But what was on it? Fortunately for Shabby Doll, it did indeed turn out to be by someone good. In fact it was revealed to be a set of eight blinding house tracks by the artist who graced the very first Shabby Doll release last year - namely cult Nottingham DJ and producer Neil Tolliday, better known as Nail. The DAT had been in hiding since 1997, when Nail was producing delicious uplifting house music firmly in the tradition of Nottingham's celebrated party scene, pre-dating his globe-trotting career as one half of Bent. It's quite a find. Only one of the eight tracks has previously seen the light of day: 'Brothers & Sisters' appeared in edited form on Matt Swift and Charles Webster's Remote Records back in 1998. But now we can get our hands on the full version, together with another seven mid-nineties beauties that glow with glitterball glory. Firmly believing that music this good mustn't remain hidden, Shabby Doll have released the whole set, limited edition and individually numbered, as a must-have double pack, finally unleashing this long lost chapter in Nail's continuing house story, and giving his devoted dancefloor following another reason to throw their hands in the air. So grab a copy and get out there: it's time to lose it all over again.


    Patrick says: Unlike some Lost Trax I can think of, this isn't a hastily cobbled together grab bag of rough out takes and drugged up meanderings, it's a relentlessly peaking collection of dancefloor joy ranging from the hazy fug of dream house to sampler bashing disco house magic.

    We're gonna need Manchester's roughest door team to fight off the riot that ensues when peeps here this has dropped in store. Detroit's understated wonder kid, Ob Ignitt kicks off his own label with this storming first release. "Sweaty Dancefloor" is the kind of celestial techno-house hybrid that elevates dancefloors to dizzying heights. Phosphorescent leads and licks intertwining perfectly and complimented by a grooving drum palette. "Chocolate City (Uncle James Mix)" is patented Deetroit bounce with infectious soul samples layered over a groove which you'd hear Kenny Dixon drop years before its release causing more hype and anticipation than news of a Skrillex assassination. "Ignitt Techno" does what it says on the tin as Mr. Ronsil says, but this beast requires a much more God-like pedestal. Pumping, flanging and totally future-proof, this kinda shit will blow the balls off clubs like Fabric and Sankeys, tailor made for high spec soundsystems and impressive lighting displays. Completely essential - move FAST!


    Matt says: Massive, varied three tracker from one of the more understated Detroiters. First on his label, a sure fire collectable make no mistake.

    Hot on the heels of Redshape’s bone-shattering “Bonuz Beatz Vol.1″, Ypsilanti’s whiz kid (or grown man for that matter) Todd Osborn serves some beat tools of his own for Running Back’s official unofficial Bonus Beats sublabel. "T-Rhythm Trax Volume 1″ contains five of the finest DJ helpers you always dreamed to possess. From the frantic “Beat B” to the frenzy “Beatapella” and the up-tempo “Beat A” or the house inclined rest, the man also known as Osborne lightens the heavy load that comes with the monotony of everyday DJ life. Ain’t no rocket science? Surely enough to take you and your audience over the moon. For DJ use only!

    Reese & Santonio

    Truth Of Self Evidence

    Sampling Martin Luther King speeches may have been done to death, but back in 1988 no-one had done it on a techno record (obviously), until Kevin Saunderson and Santonio Echols cemented their untouchable reputation with this kick-ass EP. The precursor to the later E-Dancer project, "Truth Of Self-Evidence" didn't even have to rely on MJK, because it had all those awesome sounds, copied to great effect by Altern-8. Next up is the intense and mind bending acid techno explosion of "Grab The Beat", powered along by wobbling sequences and sci fi synths. Topped off by a booming block party JB sample, this is heavy duty peak time tackle if ever I heard it. The whole of the B-side is given over to the synth insanity of Santonio's brilliant Yello sampling solo production "Structure". Ever changing and completely unpredictable this is proper off the wall techno for the messier end of the evening.

    Max Richter

    Max Richter Collection

      Cult composer Max Richter's "Fat Cat" Catalogue on Deutsche Grammophon - "The Blue Notebooks", "Songs From Before", "24 Postcards In Full Colour", "Infra" – a 4-CD celebration of the composer that brought us Recomposed.

      This special deluxe format compiles the four albums that form his “catalogue” from the 2000s, entitled "Retrospective". That’s what it is – a comprehensive look back at his achievement in the recording studio to date.

      “He closes in on reflecting the glowing consciousness of the composer, who is using music to keep alive the idea that there is somewhere to go next, a new place to think, and a new way to listen.” – Paul Morley.

      Gavin Russom

      The Purge / Entropy

      Kompakt's Walls kicks off a brand new label focussing on experimental dancefloor sounds accompanied by limited edition artwork. The debut release comes from DFA's Gavin Russom (The Crystal Ark / Black Meteoric Star) with a titanic double-header . Recording under his own name for the first time since 2011's "Night Sky", this material finds Russom creating visceral and hypnotic dancefloor tracks. Fitting in perfectly with the current obsession with dark, voodoo-techno, Russom adds a touch more fidelity and detail than the also-rans and combines it with the flatlined aesthetic of the Zooloft and Acido cats. "The Purge" is a throbbing, corrosive number with a hypnotic arpeggio repeating throughout its course. "Enthroned" is a deeper affair, awash with undulating sub, sinuous lead lines and psychotropic grain delayed. Mind melting stuff, recommended.

      Washington DC may have become synonymous with the smooth sounds of boogie via PPU, and the synthetic house of Beautiful Swimmers, but 1432R are introducing a new player into the game, with a wild style of his own. Citing his influences as ER, Burial, traditional Ethiopian folk and Scott Storch, the newcomer has hit the streets ready to take over the electronic music world. His debut EP kicks off in atmospheric style with the rich and textured soundscape of "Dropleton". Crunchy noise and grainy synthlines call to mind the aformentioned Burial, or the dusty rumble of Pepe Bradock with the depth of DJ Sprinkles, but the tough and rigid beat shows off his love of hip hop. Despite all these influences, the opener retains a distinct individuality. "Darkness Iz" transports us to the thick darkness of Ethiopian night, as Seifu combines skipping rhythms with traditional folk song and a menacing bassline. He switches the beat between the syncopated shuffle of future beats and the straight groove of hip hop, and breaks the melodies up with digital distortion and garbled glitch, keeping the listener on their toes and breaking away from all genre constraints. On the flip, we're treated to the expansive and polyrhythmic "Wedagn", which balances the kind of smooth and shimmering pads we're used to hearing Dam-Funk drop with stuttering samples of folk chant and his tight drum programming. Rather than accelerating towards the peak time dancefloor, the track breaks into beatless ambience before coming back altered into an ethereal late night brooder in the Burial mode. The EP closes in cinematic form with the title track, a moment of end of night beauty with emotive and exotic melodies. A beautifully placed saxophone solo sets up the transisition from gloopy bliss to mountain top euphoria perfectly, and the only thing stopping this being Balearic record of the week is the thick fog of distortion it clouds itself with. One of the most interesting and exciting records of the year from a complete unknown? Lock this one down before they've all got a copy.

      After blowing my tiny mind with the deeply dope hardware jamming of their "Hollywood EP" on Jordache's Off Minor imprint recently, the hotly tipped (by me and Ruf Dug at the very least) Stump Valley step up to Rush Hour's ever dependable in house label with three tracks of disorientating psychedelic goodness. Techy opener "The Visitors" matches phased sci fi sequences with military snares and space age synths to soundtrack the Thetans leaving your body and float off to pastures new (disclaimer: Piccadilly Records does not endorse Scientology). The gloopy offbeat funk of the qualude popping "Galaxy999" follows on in completely unique fashion, swirling out of the speakers like ever track Baldelli's ever played being heard at once. There's a dubby lilt beneath the cosmic sequences and Afro percussion, taking you all around the world in 5 seconds, while the tapey aesthetic and echo heavy mix makes for one hell of a trip. If that wasn't enough for you, the topsy turvy percussion mix will flip your lid in an instant. As the crazy drum pattern glugs along, a sample of some talk box insanity (edited on the ace Tambien 12" from 2012) emerges from out of the bottom end muck. Essential for fans of that warped and weird European sound (Sex Tags, Wania, Sued) this release sees Stump Valley cement their place at the top of the newcomer pile. 

      Supported by: DVS1, Richie Hawtin, Submerged, Max_M, Tom Bonaty, Arnaud LE Texier, Hector Oacks, Ness, Cassagrain, Phone, Ryuji Takeuchi, Ascion, HD Substance, Exium, Go Hiyama, Deepbass, Cladio PRC.

      Well it seems we're in the throws off a new sound right now, the whole slo-mo Balearic-acid ting certainly being flavour of the month here at Piccadilly Records. Following in the footsteps of Donato Dozzy (and Voices From The Lake), Tinman and the Luv Shack label we get the Nordic-based Toisvesi (actually named after a Finish Lake!) dropping this supreme double A side. Two expansions on one 303 jam, "106" places subtle, forward propelled drums onto the blotting paper, while the strong acid still bubbles from deep within the cranium. "106 Versio" goes for an anti-gravity floatation device, lost on your own lysergic daydream laying on some coastline enjoying the crashing waves. Unbelievable good, and already garnishing feverish excitement from Manchester's Balearic oracle, Moonboots. Handmade with hardware & passion in Finland. Strictly limited to 150 copies - move sharp!


      Matt says: Check the B-side for a slo-mo acid drifter tailor-made for lying in a field of daisies on a hot summer's day tripping on fine hallucinogens


      Ltd 12" Info: Strictly limited 150 copies

      Soo Wavey is back with a banger! Well, actually it's four bangers if you wanna be picky, all from the analogue armoury of the one and only Vin Sol. Split into a "Raw" side and a "Deep" side, the "Western Ways EP" sees the Californian producer making like a backstreet cosmetic surgeon; all killer, no filler. "Cookies" sets the pulse racing with its Linn accented jack and deep bass rumble, which head straight for the peaktime jugular where the sampled wails of a long forgotten diva cause mass hysteria. Next up, Vin Sol calls in the techno expertise (techxpertise anyone?) of good buddy Matrixxman for the sonar sweep and morse code bleep of the dark and mysterious "Spoiled Exile". Flip that shit to the "Deep" side for the moody Chicago vibe of "Pyramids", a submersible roller which employs a handy (Fingers-esque) bassline and simple percussion to take you into real smoke machine territory. "Meltdown" stays on the same tip with syncopated rides (that I'm sure I've, ahem, Heard somewhere before) and ethereal analogue chords conjuring a dancefloor dream state that you won't want to wake up from. Another sure fire winner from the Soo Wavey camp.

      Let's go deep! Germany's foremost Chicagophiles Chiwax come through with the second half of the Virgo Four "E Series", and it's every bit as essential as the first half. Back in the day, the duo of Eric Lewis and Merwyn Sanders were the true pioneers of deep house and their 1989 LP still stands up as one of the best in the genre. Well, the clock's rolled on and Merwyn's pursued a different musical path, but Eric and new recruit Terry Ivy are continuing the legacy without missing a step. EP opener, "I've Loved You Before", is a truly beautiful house love song which rolls along at ocean floor depths. The whispered heartfelt vocals and sublime synths are in perfect harmony as you let the music take you. But what comes after love? Envy. Eric and Terry underpin some plaintiff strings with a nagging bassline and needling acid lines as they take us to the darker parts of our psyche. "Concrete Free" continues to play on our paranoia, bugging us out with an unsettling bassline, queasy leadlines and some of those creepy Chicago vocals perfect for sending the dancefloor west. If the EP started with love, then it finishes with lust in the form of the super sleazy "What You Do To ME". Opening with a stripped back bassline and some muffled moans, the track instantly transports you from the cruising gallery to the sweat of the dark room. A buzzing sequence enters the fray to add some extra midrange punch before the lead triumvirate of Eric's whispered vocals, jazzy rhodes licks and the rarely spotted house melodica! As sleazy as any conversation with Martin, this is the winner for me.


      12" Info: Limited transparent brown marbled vinyl.

      American born but Helsinki based soulful chanteuse Nicole Willis, drops a red hot 12" featuring varied remixes of tracks from her acclaimed LP "Soul Makeover". "Siesta" is one of the slower, more sultry tracks from the LP, and on this DJ pleasing wax, it gets two fresh new mixes courtesy of Roberto Rodriguez, hubby Jimi Tenor, Iceland's GusGus and Temple of Soul.

      Finnish house master Rodriguez transforms the nice and easy album track into a soulful and deep house mover with big pads, an infectious bassline and gugrling synths. Rodriguez keeps it real by sampling the ride from the original and rearranging it to give the track a live MAW vibe. Temple Of Soul take a completely different tack, weaving Willis' gorgeous vocals into the swelter of an exotic groove before hitting the switch on a frenetic DnB drum track. More surprises abound on the flip with two remixes of "Heed the Sign". The first mix comes from Finland's premier spaceman and husband to Ms. Willis, Jimi Tenor, who drops a great mid tempo acid house rework that screams Hacienda, with its 303 gurgle, synth strings and brass, and a melody nicked from a New Order track. Iceland's GusGus drop by to close the EP out with a laid back groove perfect for the summer, featuring great guitar work from Chris Dawkin's and the hottest sax solo you'll hear this year.

      Matthew Young

      Recurring Dreams

        Matthew Young’s genre-bending, acclaimed 1986 release ‘Traveler’s Advisory’ reappeared as a reissue on Drag City / Yoga in 2010 and quickly sold out. We now return to Young’s first effort, ‘Recurring Dreams’, dating back to 1981 and the apex of the Eno / Berlin schools’ influence over myriad American followers. Young created eight EMS / Rhodes pieces solo, subtly weaving in variable-speed Revox manipulation of traditional rock instrumentation with the lightest of touches.

        As anyone who has heard ‘Traveler’s Advisory’ already knows, Matthew Young could never be a mere imitator. What all too often amounted to predictable shtick in the field of early 80s home electronica, Young made personal, delicate, discreet and discrete. Wordlessly illustrating its titles - ‘Version, Inversion’, ‘The Forest Of Lilacs’ and ‘Mistral’ (a strong, cold, north westerly wind), Young conjures vivid, progressive tones of the unknown.

        ‘Recurring Dreams’ requires repeat listenings to fully reveal its Bonsai-like qualities. Fans of Erik Satie, JD Emmanuel, private-issue new age or the more placid side of minimal synth should take note of this one.

        Ilian Tape label head, fresh from Munich, Dario Zenker brings more wrecking ball techno to the iconic Trilogy Tapes. "Morsin" begins the demolition with a chugging groove and sharp acid fragments torn out of a thick wall of sonic cement. "W3" utilizes some live breakbeats to great effect, manipulating and distorting them till they fit within the TTT remit. This is a highly interesting new take on the hardcore breaks / early jungle formula, layering up big subs, a surprisingly funky beat but keeping that burnt-red-hot tape aesthetic of the Trilogy Tapes label. Great stuff. "WM2" is most definitely a future Berghain staple, its wall-shaking sounds surely tailored with the club and soundsystem in mind. Clever percussion intricacies and a menacing undertone keeping the sophisticated club kids hooked till the very end. "Banded" closes the journey by thrusting us deep inside the mainframe; a disjointed, concentric pattern awash with hallucinatory elements and a rising demonic presence. Epic but in the nastiest possible way, another way to blow the heads off any dancers left come 7AM in the morning.


        Matt says: Who's up for a popper-sniffin', 7AM crotch-swivelling workout int' Berghain this weekend then?

        The now buy-on-sight Blind Jacks take us on another Tripp. A journey of dreams from Talaiassa to Cadibonna via Kumotori and Moel Penderyn. Secret sounds designed for mind adventure. Gobi supplies a retro-tinged Chicago-inspired joint on "White Dwarf". Lock Eyes gives us tantalizing frequencies and a Vakula-like attention to detail in the synthesis department, gloriously cruising through the glistening ocean on a sonic speedboat. Tominori Hosoya's "Saki" is unfathomably deep but gentle and pulsating with it; when that bassline drops you know the floor / terrace / planet's gonna erupt with joy. Finally Subjecktive allows us to lie back and enjoy the radiance as "Point Of View"'s ultraviolet rays wash over us with a beautiful glow - an instant shot of Vitamin D to the soul. Vinyl purchase allows you access to secret digital tracks from each artist also. Aquatic ocean transparent vinyl.


        Ltd 12" Info: Vinyl purchase allows you access to secret digital tracks from each artist also. Aquatic ocean transparent vinyl.

        Ron Hardy is the only man who can test Frankie Knuckles' status as Godfather of Chicago House Music.

        Though he rarely recorded under his own name and left little evidence of his life, Hardy was the major name for Chicago's dance music from the late 70s to the mid-80s. By 1974, he had already effected a continuous music mix with reel-to-reel machines plus a dual-turntable setup at the club Den One. Several years later, Hardy played with Knuckles at a club called the Warehouse and though he spent several years in Los Angeles, he later returned to Chicago to open his own club along with Robert Williams, the Muzic Box.

        While Knuckles was translating disco and the emerging house music to a straight, southside audience at the Power Plant, Hardy's 72-hour mix sessions and flamboyant party lifestyle fit in well with the uptown, mostly gay audience at the Muzic Box. A roll-call of major Chicago producers including Marshall Jefferson, Larry Heard, Adonis, Phuture's DJ Pierre and Chip E all debuted their compositions by pressing up acetates or reel-to-reel copies for Hardy to play during the mid-80s.

        This CD compilation brings together some of of the classic house and electro-dance tracks he played at the Muzic Box back in the day...

        Another collection of classics culled from the sets of the master of psychedelic house here, featuring three completely far out cuts which show the sonic range of the Ron Hardy experience. The A-side kicks off with Ron's psychotic mix of K-Alexi's "Don't You Know", a throttle acid banger with plenty of stutter-sampled vocal madness to be getting on with. As ever, the devil's in the detail and Ron's PCP addled EQing does the business here. Ron's rework of Greg Perry's jazzy soft rock hit "Come Fly With Me" follows on, dropping the pace and the intensity in favour of beatless passages of wah guitar and crashing cymbals. As far out as it's possible to get, it was dropping this kind of shit that put Big Ron at the top of the DJ game. On the flip, we get treated to another of Hardy's no nonsense/no sense, drum machine workouts, blown out into the red and laced with a ton of psychedelic phase. Another essential release for the real DJs out there, this is more acid magic from the master. 

        Rufdug says: "There's a pattern to these Ruf Kutz releases... odd numbers = edits, even numbers = OG tracks. But bugger me if everybody isn't doing edits now. Jesus. Which is not to say bad things about edits, I know I'm gonna be doing some more in the future, hell yes, but right now there's a bit of congestion... But still we wanna keep to this pattern ya know so instead of pissing all over someone elses chips by editing the hell out of their pride and joy we are gonna crush their dreams by popping out some wack cover versions! So here you go, four hot covers from some great artists. only one pressing, dont bother suing cos there's no fuckin money. Anywhere. Mastered once again with deep love by Stalker... Good to see our Zanzibar Chanel pals also choosing the Stalker rig for the phunkiest mastering in the world."

        So, bearing all that in mind, here's the skinny on the audio treats he has in store for you. On the A1, Glowing Palms makes his triumphant return to Ruf Kutz with an ace marimba laced version of Skream's "Midnight Request Line", which drops the steppers rhythm in favour of a boogie house bump. Bell Towers follow on with their restrained cover of Pet Sop Boys' "Domino Dancing", laying off the 80s bombast and injecting the gentle bubble of acid into the bottom end. Next up Benny Badge puts on his Freekwency cap and gets into a studio booth with Penelope Shum to turn out a heavy boogie jam that's stumped my inner shazam. Spotters unite! Bringing up the rear is the introduction of all new live sensation The RK's, the label's house band made up of an ultra secret line up of Ruf Kutz talent. Our power rangers assemble to create an absolutely storming Compass Point style cover of Stardust's "Music Sounds Better With You", which will have you grooving away like a dad at a wedding, or a Balearic legend after a couple of lines in the afternoon. 

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