MAGIC MIX

house . techno . electronica . ambient

WEEK STARTING 26 Jan

Genre pick of the week Cover of Dance Mania - Ghetto Madness by Various Artists.
Strut return to the archives of seminal Chicago house label Dance Mania for ‘Dance Mania: Ghetto Madness’. The follow-up to Strut’s acclaimed Dance Mania label retrospective ‘Hardcore Traxx’ from early 2014, this new instalment places the spotlight on the raw, stripped back, hyper bpms of ghetto house and the rise of the movement’s fresh generation of stars during the mid-90s including DJ Deeon, DJ Funk, Jammin’ Gerald and DJ Milton. The album tells the story of the evolution of Chicago’s sound during the era as mix tapes circulated through local stores and DJs developed their own underground following, playing local parties in the projects. Crowds began responding to faster bpms and gangsta rap-inspired X-rated lyrics. As DJ Deeon remembers, “it bridged the gap. It made it OK for guys in the ghetto to like house again and it brought the women onto the dancefloor too.” Dance Mania was perfectly positioned to capitalise on the new sound - many of the DJs came regularly into Ray Barney’s record store and, as Chicago’s most trusted and respected label owner, he was offered the best tracks for commercial release at an early stage. ‘Ghetto Madness’ brings together some of the underground classics and enduring favourites that earned Dance Mania the title of ‘Ghetto House’s Motown’. Tracks include DJ Deeon’s party-starter ‘The Freaks’, raw DJ Funk cut ‘Computer Sex’ and Nina Kraviz favourite, Paul Johnson’s ‘Give Me Ecstacy’. Other featured gems from the archive include the dark early Steve Poindexter outing ‘Computer Madness’ and Tyree’s in-demand jam, ‘Nuthin’ Wrong’.

‘Dance Mania: Ghetto Madness’ is released on 1CD unmixed and 2LP. Physical formats are fully illustrated in raw ghetto style by James Wilson and also feature CD a fold-out poster featuring an exclusive James Wilson. illustration featuring the Dance Mania DJs as tattoos!


After the success of the "Odd Movements" long player last year, Acid Test invite a diverse cast of remixes to offer their own interpretations of Iron Curtis and Edit Piafra's machinefunk opus. We begin our journey in Detroit, where 3 Charis member, hardware junkie and DJ extraordinaire Marcellus Pittman is toppling the "Holy Roman Empire" single handedly. Combining the tripped out sequences of the original with a rubbery bassline and unpredictable percussion Marcellus merges the psychedelic jack of Chicago's Muzic Box with the deepest Detroit grit to create a sonic mindbender of the highest order. Next up, Italy's Chevel brings his own brand of abstract techno to the title track to create a remix which shifts between tempos and time signatures at will, only held together by the industrial percussion and decaying frequencies. Things get very deep on the B1 as Convextion takes us on an eerie night drive through the gloom of a futuristic city scape. The metronomic pulse of the electro rhythm keeps time while those mournful pads drive us deeper into the shadows of the witching hour. Last but not least, Sued founder SW delivers a suitably trippy remix of "Konigstr", which balances dubbed out breakbeat pressure with malfunctioning machine noise, filtered ambience and tribal sonics.


Erol Alkan

Sub Conscious - Tin Man / Kamera Remixes

'Sub Concious' was originally conceived as the exclusive track for Erol Alkan's 'FabricLive 77' mix, which was released to major critical acclaim back in August 2014. A highlight track within the mix, 'Sub Conscious' has now been remixed by Tin Man and new Phantasy signing Kamera.

Over the last decade Tin Man has explored an ever-evolving sound palette that touches on house, techno and ambient. His tracks have been laced with slow and subtly shifting patterns that are infused with a very real machine soul and captivating warmth. In his remix of ‘Sub Conscious’, Tin Man drapes Alkan's celestial strings and piano stabs over his own bassline to blissful, rousing effect.

Kamera’s rich sonic space was part born in rural Yorkshire and eventually came to fruition in the wintry Majorca sunshine, his soundinfluenced by artists such as Sunn o))), Fugazi, Autechre and Sabres of Paradise. Kamera takes the track’s acidic origins and threatens to overpower with layers of stunning feedback that drag the listener in further still. Stay tuned for an EP from Kamera on Phantasy in early 2015.


Aphex Twin

Computer Controlled Acoustic Instruments Pt 2 EP

After bursting back onto the scene last year with the suitably brilliant "Syro", Cornwall's favourite son is back with his second release in as many years, upping his release schedule by about 9000%. "Computer Controlled Acoustic Instruments Pt 2 EP" situates RDJ right at the centre of the mad scientist's lab, cooking up a baker's dozen of rhythmic breaks out of tuned percussion, detuned piano and unhinged doors. Situated somewhere between the faux hip hop of "I Care Because You Do", the disorienting moments of "Drukqs" and Pierre Schaeffer's "Musique concrète" this latest Aphex release matches the cryptic and accessible perfectly.


First in a series of vinyl samplers of forthcoming album "Follow The Beat" from Copenhagen’s renowned music maestro Kenneth Bager. Released on his own Music For Dreams label, these samplers will feature original tracks from the LP alongside specially commissioned remixes and exclusive versions. On this first 12”, we have a flawless remix of ‘Amazing’ from Mancunian cassette pervert Ruf Dug. Well-known for his excellent original productions, remixes and edits, this mix is no exception - lush keys, warm bassline, and the unmistakeable vocals of Storm Queen’s Damon C. Scott all underpinned with the drum programming we have come to love from Ruffy. The Beat Mix of "Premiere Classe" is an instrumental disco floor-filler with Nile-Rogers inspired guitars, dreamy marimbas, edited clarinets and a keyboard hook to die for - a modern and twisted tale of a Balearic soundscape evoking memories of Larry Levan’s remix of Central Line. Opening side B, "Biological Bread" again features the voice of Damon C. Scott here showing his African roots over Fela Kuti style guitars, funky marimbas and a dubbed out horn section in a trancey afro space track that works a treat on any openminded dance floor. Finally "Premiere Classe" Ambient does what is says on the tin... a beatless mix of the track. Top quality all the way.

Bonnie & Klein

Singularity / Ergosphere

After impressing with a string of sought after releases on Music For Dreams, Timewarp and Uber, rising stars Bonnie & Klein, aka George & Thanasis, make their debut on Leng with this solid two tracker. Taking a slight detour from their usual horizontal sounds, the Greek duo open the EP with the low BPM house bump of "Singularity". Weaving the tribal rattle of African percussion around chunky beats, B&K let this one build and build until the flute comes in at the drop building it up to a slamming finale. It's exactly the kind of Balearic house bomb they'd have gone nuts for at Shoom, and probabaly are right now at A Love From Outer Space. On the flip we turn on, tune in and drop out to the mellow sounds of "Ergosphere". Taking the circularities of minimalism as a template, the duo layer exotic tuned percussion and dreamy pads over a steady backbeat and vaguely lysergic bassline, before paying homage to the cinematic kosmische of Tangerine Dream with a heart wrenching synthline at the midpoint.


"We’ve played a lot of shows and it’s senseless to document them all but every once in a while you get the feeling that something special is happening - and that it might only happen once. That’s what it felt like when in 2011 we assembled a group of friends - Four Tet, James Holden, Ahmed Gallab of Sinkane and the quartet of horn players who recorded on ‘Swim’: Kyle Brenders, Colin Fisher, Rob Piilonen and Steve Ward, and the four members of Caribou’s regular touring band - under the name of the Caribou Vibration Ensemble. And that’s why it felt like it would be a good idea to document it.

We gathered for a small tour around ATP’s Nightmare Before Christmas festival in 2011 and the music collected here comprises recordings from two shows - one at Scala, London on Dec 7th, 2011 and one at Concertzaal Vooruit in Ghent, Belgium on Dec 8th, 2011.

Opener ‘Bowls’ is reinvented by combining the album version from ‘Swim’ with elements from James’ Holden’s own remix. The next track ‘Ahmed, Colin, James, Kieran, Kyle, Rob and Steve’ is an improvised collaboration between all the members not in the regular Caribou touring band and features Ahmed’s drum kit triggering all the synthesizer sounds coming from James’ modular synthesizer. The release closes with an epic version of ‘Sun’.

Sadly, in 2014, we lost a dear friend and our sound engineer for almost a decade, Julia Brightly. This release is dedicated to her memory with all proceeds going to genderedintelligence.co.uk.

Thanks for listening",
Dan Snaith, Caribou

The Caribou Vibration Ensemble is:
Kyle Brenders - soprano saxophone Colin Fisher - tenor saxophone Ahmed Gallab - drum kit, electronic drum triggers Kieran Hebden - electronics, synthesizer James Holden - modular synthesizer Rob Piilonen - flute John Schmersal - vocals, bass guitar Ryan Smith - electric guitar, synthesizer Dan Snaith - vocals, synthesizer, electric guitar Steve Ward - trombone Brad Weber - drum kit


FORMAT INFORMATION

LP Info: Comes in clear sleeve with a poster designed by Jason Evans and Matthew Cooper.

CATFM is a new collaboration from Free Magic and Catamaran and the 7th release on Brooklyn based Discovery Recordings. Like Mister Saturday Night, the label and club night seem to be free from genre restraints and instead concentrate on grooves and frequencies to stimulate the floor, whatever style they may fall under the umbrella of. "Drumparti" is a lush, sensual affair, reminiscent of Recloose, Jazzanova and Amp Fiddlr with touches of broken beat alongside live instrumentation, sampled vox and dancefloor-centric grooves. "Niteanat" is more nocturnal, aligning itself with the latter half of the session as druggy nuances permeate throughout. Again, a living, organic sound palette offers a lovely respite from the millions of pre-programmed, VST-heavy house jams that clog up the genre. This jumps and fizzles off the wax, and should sound super warm in your favourite dancing establishment. Great stuff.

Dancer

Am A Dog / Boom Boom

Chaotic, acidic jack tracks are the order of the day here, as we get hit with a killer reissue of some essential dancefloor energy. Dancer aka Sidney Winters, dropped this obscure bomb on Trax in the peak year of 1987 and both sides are mixed by the late, great Frankie Knuckles and have all the trademarks of his touch; tough drum machines, Italo inspired melodies and thundering bass-lines. These monster tracks sound absolutely massive and will surely do damage when dropped today. "Am A Dog" is the A-side and is the more melodic of the two cuts, featuring triggered dog-like vocal stabs, epic, soaring synths and a repeated voice floating in and out of the mix, while on the B-side the descriptively titled "Boom Boom" does exactly that, a descending, aggressive acid line drives the track with some reverbed-out drums and a disjointed female voice repeating "Boom boom goes my heart", deep, dark and heavy! Both tracks have been re-mastered and re-pressed for the very first time since their original release in 1987 in conjunction with Trax Records, and have been made available again with original label artwork. Essential!


Alexandre Desplat

The Imitation Game OST - Red Vinyl Edition

Starring Keira Knightley, Benedict Cumberbatch and Matthew Goode, The Imitation Game portrays the race against time by Alan Turing and his team of top-secret British code-breakers during the darkest days of World War II. The film spans the key periods of Turing’s life: his unhappy teenage years at boarding school; the triumph of his secret wartime work on the revolutionary electro-mechanical bombe that was capable of breaking 3,000 Enigma-generated naval codes a day; and the tragedy of his post-war decline following his conviction for gross indecency, a now-outdated criminal offence stemming from his admission of maintaining a homosexual relationship.

The soundtrack is composed by Golden Globe and Grammy Award winning French composer Alexandre Desplat, who burst onto the Hollywood scene in 2003 with his evocative score to Girl With The Pearl Earring. From this point on he contributed the soundtracks to a rich collection of highly successful movies such as Syriana, Golden Compass, The Curious Case Of Benjamin Button, Twilight Saga: New Moon, Harry Potter And The Deathly Hallows (Part 1&2) and The King’s Speech as well as Monuments Men.

FORMAT INFORMATION

LP Info: 180g audiophile vinyl with insert. First pressing of 750 numbered copies on red/white vinyl.

Mad Max is back with another selection of batshit jackers from his Dolo Percussion outfit. The Beautiful Swimmer loads up a cohort of drum machines, rhythm boxes and vocal samples and knocks out a four track of DJ tools for all you nasty jocks out there. "Dolo 5" is a rolling, rattling, stomping beast, all bumps and thumps at the bottom end and snarling snare rolls at the top with the ever present guttural vocal chant giving you something to flex to. Things get dubbier on "Dolo 6" as Max sinks his teeth into some new wave jungle blasts, pushing fragments of the amen break through hissing tape distortion for a true late night filther. "Dolo 7" keeps with the breakbeat theme but with an a totally technoid slant. The menacing pound of the drums forms the perfect counterpoint to the celestial tones of the synth bells at the top end, making for the perfect accompaniment to any dream house or hazy techno set. Like a seasoned showman, Max saves the best for last, sending us headfirst through the looking glass with the mind altering bleeps and beats of "Dolo 8". Melon twisters all round here folks!


Jóhann Jóhannsson

The Theory Of Everything OST - Clear Vinyl Edition

The Theory of Everything is the extraordinary and uplifting story of one of the world’s greatest living minds, the renowned astrophysicist Stephen Hawking, and of two people defying the steepest of odds through love. The film, based on the memoir Travelling to Infinity: My Life with Stephen by Jane Hawking, is directed by Academy Award winner James Marsh (Man on Wire).

The score for The Theory of Everything is by Icelandic composer Jóhann Jóhannsson who has created music for many films including his recent work scoring director Denis Villeneuvue’s film Prisoners and Josh C. Waller’s McCanick. Jóhannsson’s intricate compositions provide a stunning backdrop to the romantic drama about Stephen and Jane Hawking, portrayed in the film by Eddie Redmayne (Les Misérables) and Felicity Jones (The Amazing Spider-Man 2).

Jóhann has released several solo albums on the labels 4AD and Touch and is equally at home writing commissioned works for contemporary ensembles such as Bang On A Can and Theatre of Voices as he is collaborating with artists like Barry Adamson; Finnish electro band Pan Sonic, Marc Almond, The Hafler Trio, the nom de musique of English avant garde composer Andrew M. McKenzie, CAN drummer Jaki Liebezeit and Stephen O’Malley of the drone metal band Sunn O))).

FORMAT INFORMATION

2xLP Info: 180g audiophile vinyl pressing in gatefold sleeve. First pressing of 1000 numbered copies on clear vinyl.

Amsterdam dancefloor experts Rush Hour get their co-op on with Detroit's own Kenny Larkin to reissue some of over looked, out of press greats from his back catalogue on remastered 12"s. For the first edition in this series, RH collate four tracks of Kenny's POD material, originally released way back in 92 on Belgian imprint Buzz, just in case we needed reminding what real techno sounds like. "Myopsis (Dark Comedy Mix)" opens proceedings with spacey chords and squelching sequences, locking us into the heads down heat of the dancefloor from the start, before the glacial melodies and astral tones of the almost Drexciyan "Vanguard" take us into a distant galaxy. On the flipside, we touch down on the dark side of an alien landscape as the electro rhythms and freaked out frequencies of "Life Forms" emerge from the gloom. But have no fear, the crystalline melodies of "Northern Light" are there to drive out the darkness and guide us home safely.


Kenny Larkin Presents

Azimuth EP

The second in Rush Hour's Art of Dance re-issue series features a selection of Kenny Larkin tracks under his Azimuth guise for Warp records in 1994. The A-side sees the spacey stylings of the first EP in the series remain, but the gentle electro rhythms have been replaced by the headnodding thump of a driving 4/4. "Azimuth" pairs flanging pads and bleeping sequences with a machine funk bassline, smattering of jacking snare and killer organ solo. Immense! Next up it's "Q", which sees Kenny puncturing a wavering synth sequences with scratchy keys before hitting us with thunderous percussion and expansive pads for a stadium sized exercise in transcendental techno that'll fit very neatly next to your UR records. On the flip "Tedra" takes us out for the peace and calm of a zero G spacewalk as electro drums play home to the immersive chords and cool synthlines. "Track" on the B2 is an entirely different beast, combining solid drum programming and rapid fire arps at a break neck tempo for a clear transmission of solid, heads down techno.


The Kenny Larkin express gathers momentum as we reach the third release in the series, with Rush Hour, compiling the best of Kenny's metaphor material originally released on R&S in 1995. "Soulman" takes us deep into the post peak domain with crunchy rhythm artefacts scattered throughout the calm of the euphoric pads, while "Nocturnal" does exactly what it says on the tin, as Kenny marries deep and smooth bass tones with eerie keys and plush pads to soundtrack your midnight drive through the city. Ooof! Things get hot and sticky on the flip, with Kenny lighting the fuse and blowing your nearest sweatbox into tiny pieces thanks to the metronomic pulse of "Loop 2". If all that hypnotic techno magic has your heart beating a little too fast, then the starlit calm of "Sympathy" should provide all the respite you need.


Marcus Marr

Brown Sauce / Peacemakers

    DFA welcome London multi instrumentalist Marcus Marr back to the land of new releases with the long awaited follow up to 2013's "The Music / Pleasure Moon", an underground smash which opened fashion shows, soundtracked art house movies and score #3 in Spin Magazine's best dance tracks of that year. Despite such stiff competition, it looks like Marcus is gonna eclipse his previous release this time round with a pair of malevolent techno cuts primed for club destruction. A-side cut "Brown Sauce" sees the London producer merging moody new wave pads and chord progressions with fierce acid house basslines and rattling live drums resulting in a weapons grade banger that leaves Avery, Factory Floor and the rest reeling in its wake. "Peacemaker" sees Marcus in the same funked up form he brought to his Prince-covering collaboration with Felix Dickinson and Horse Meat Disco. This mid tempo monster struts onto the dancefloor propelled by some superfluid bass work and far out wah guitars, constantly shifting its focus between house, disco and funk, but keeping the crowd moving and grooving til dawn. He might not be the most prolific of producers, but when he puts something out, it's always a game changer.


    As featured in the Piccadilly Records End Of Year Review 2014 Top 20 Reissues / Collections, this comes with a free End Of Year CD sampler. Click HERE for more info.

    The Italian’s ambient and minimal electronic compositions are the subject of forthcoming retrospective from the Amsterdam label.

    The Music From Memory label was launched by Redlight Records founders Tako Reyenga, Abel Nagenast and Jamie Tiller earlier this year, sporting a proud mantra of “giving overlooked and unreleased music that we love a second chance”. Music From Memory’s debut release 'Liquid Diamonds' collated material from the 1980s private press output of Rhode Island resident Leon Lowman who had a penchant for detailing his romantic exploits over a backdrop of languid synth funk.

    The focus of attention for Music Of Memory’s next release falls on the works of celebrated ambient composer Gigi Masin. Born in Venice, Masin’s work has been sampled by the likes of Bjork and To Rococco Rot and his albums attract feverish acclaim, with Wind, Masin’s privately pressed debut LP a desired rarity for the only the most well-heeled of second hand collectors. It’s from this album and a selection of Masin’s other released works that Music From Memory draw from for the forthcoming double LP retrospective 'Talk To The Sea', which also includes a healthy amount of unreleased material.

    FORMAT INFORMATION

    2xLP Info: Includes a free EOY 2014 CD sampler.

    2xCD Info: Includes a free EOY 2014 CD sampler.

    New year, new release and a new Local Talk member to introduce to you all, as Merrick makes his imperious LT debut.  This young wiz kid steps up to the plate with a sweaty and sticky three track release for Local Talk off shoot LTX. Developed deep inside his sound lab somewhere in Europe, using dark grooves and dusty chords as the foundation - this release leaves you in no doubt where his current position is - in the club. "Do That" kicks us off in deep and dense fashion as solid drum programming merges with expansive chords, sustained strings and choppy hip hop vocals before a glorious Murk-esque bassline drives us right through the peak time. On the flip, the sampledelic shuffle of "The Scene (Dub)" drives us past a small black church on the east side of Detroit until we reach the basements basements and bluelights beyond. If you dig on the deep and discofied Moodymann/Rick Wade sound, then this is gonna twist your melons for sure. Last but not least, the warm and textured "Devil's Dance" keeps you hypnotically locked from start to finish as Merrick signs off on his debut with style.

    Ninos Du Brasil

    Aromobates NDB / Clelia Clelia

      Allow me to introduce you to the latest signings to the legendary DFA roster, Nicolò Fortuni and Nico Vascellari, who come together as Ninos Du Brasil, an Italian percussion duo with a background in visual art. Through their aptitude with drumming, they are masters at fusing the seemingly disparate influences of punk, tribal techno, and batucada, emerging with a sound that is truly singular. The project takes its rhythmic backbone from Brazilian carnival music, and the duo inject each track both with the frothy attitude of punk and the shuffling dancefloor domination of techno. On the A-side, "Aromobates NDB" sees the duo dress their menacing drum rhythms with the granular distortion and analogue synthesis you'd find on some of the more musical L.I.E.S. output, or a heavy duty Border Community release. As the track progresses, the hints of the carnival appear, with chanted vocals emerging through the shufflebeat of the drum circle. B-side cut "Clelia Clelia" begins with the reverb drenched thunder of tribal percussion, before the warped and detuned synth wrap their snaky fingers round your throat and hold you hostage on the dancefloor. Three minute instrumental breaks? Thumping kicks? Evil synthlines? It sounds like an early Leftfield cut to me, and that's no bad thing. I'll leave the last word to Nico:  “These two songs are meant to be poisonous and malignant, As if somebody had the idea of inviting us to a party between the bushes of Queimada Grande (Snake Island, Brazil.)"

      Paperclip People

      Country Boy Goes Dub - Inc. Marcel Dettmann Remix

      Carl Craig needs no introduction, he has been at the forefront of the international techno scene for over 20 years and has amassed a truly enviable back catalogue of releases utilising various pseudonyms and collaborating with many different artists during his stellar career. One of the Detroit native's most enduring and popular guises has been his Paperclip People project which has been active since 1991. "Country Boy Goes Dub" was originally released in 1996 on the seminal Paperclip People long-player "The Secret Tapes Of Dr.Eich". Its blend of samples, metallic drum machines, 808s, guitar loops and serious dubwise tendencies made it stand out instantly. As with a lot of Craig's legendary productions it had that otherworldly swing, an incessant groove and a melding of various styles, sounds and influences informing its spirit.

      It's these elements that Berghain resident and international techno taste maker Marcel Dettmann has distilled into something more stripped back and closer to the dub leanings of the original version with his remix. First heard on his Fabric mix CD and not available in any un-mixed format (until now) it has been causing quite a stir within the techno community. Sounding like a long lost cousin of Basic Channel, Dettmann's remix comes off like the perfect marriage between steppers reggae rhythms and techno; tight rim-shot drums, dubbed out synthesizer stabs and an ultra deep rolling bass-line all punctuated by Craig's original 808 drum machine programming.

      An essential release featuring both the original and remixed versions & the first release on Planet E for 2015. One for the true techno connoisseurs available on vinyl only for now. The first 500 come on red vinyl.


      FORMAT INFORMATION

      12" Info: Limited red vinyl pressing.

      Nile Rodgers

      Do What You Wanna Do (IMS Anthem) - MK / The Reflex Remixes

      Fresh from stealing the show last year with his Daft Punk collaborations, the guitar wizard Nile Rodgers has teamed up with CR2 Records once again to create the "Do What You Want To Do" (IMS Anthem). The song was originally released last year with an Eats Everything remix and now it gets a shiny 2014 makeover and a new set of remixes. Who better to give the track a once over than fellow man-of-the-moment MK, who offers a chunky deep house rewire packed with big pads, stuttering organ and  clipped vocals. Also stepping up to remix the package is London-based French native Nicolas Laugier, aka The Reflex, fascinated by the remix from an early age, he takes his cue from the first wave of disco remixes by using only the original sounds from the master tapes (or stems) to breathe new life into soul, pop and disco classics. Imaginative arrangements, boxfresh sonics and intricate editing make The Reflex Revisions rocket fuel for every DJ set & this version comes approved by Nile himself.


      Omar Santis makes his debut on Karakul with the four track EP ‘A T.D.L.D Joint’.

      Karakul is a new label focusing on deeper house cuts from around the world. First up is Chilean born Stockholm dwelling Omar Santis.

      Omar first came to our attention through his records on the Woodsmen & Lady Log label, the first of which was a split 12” with Niklas Andersson which he then followed up with his own EP titled simply ‘W&LL003’ a few months later. Two fantastic records featuring his low slung, immersive house production that caught Karakul’s ears immediately.

      Omar tells us ‘A T.D.L.D Joint’ is an abbreviation of ‘Ta det lugnt daa’ meaning ‘Take it easy then yeah’ and on this 12” he certainly does, in the best possible way. It’s his most soulful record to date, building upon his detailed signature sound with perfectly placed vocals on ‘Stark Champagne’, melancholic Rhodes on ‘Lulu’s Jam’, tribal percussion and pads on ‘At The Shanzai Hotel’ and finally lowering the pace altogether for the emotional ender ‘Inward’.

      Part 1 of Slam's "Reverse Proceed Interpretations" with reworks from Planetary Assault Systems, Flug, Edit Select & Slam themselves. Planetary Assault Systems kick things off, saturating the mix with static and electricity as cavernous rhythmic elements bubble from the recesses. Buzzing beautifully throughout this should send dancers fizzing around the club like a shaken bottle of Coke in the school playground. Flug's take is more Millsian in its approach, deploying concentric sine tones, nagging acid triplets and ricocheting kick drums, this is a proper space techno excursion; proceed with caution! Slam's interpretation is a delirious affair, again swamping the mix with buzzing sawtooths as helicopter blade rhythms cut through the mix with finesse. Well crafted and exceptionally executed, this is main room techno of the highest order. As another bonus we get "Cirklin Bells" remixed by the people's favourite, Edit Select. Almost tantalizingly teasing us from the very edge of our own atmosphere the track seems to orbit the listener from a great distance, yet remaining a constant presence, like a sonic Moon to our Earth. Wonderful stuff, highly recommended.

      Kaitlyn Aurelia Smith

      Euclid

      Kaitlyn's solo debut Euclid (primarily written on a Buchla Music Easel synthesizer) was inspired by her love of mbira music, early electronic music pioneers like Laurie Spiegel, Oskar Sala, and Terry Riley, and euclidian geometry. Each of the first six songs on Euclid were initially structured using euclidian geometry, an idea which Smith explored while attending a class at the San Francisco Conservatory. As Smith explains, "We each chose a 3D shape and assigned our own guidelines to the different components that make up the shape. For example each point of the shape represents a different time signature, each line between the points represents a pitch, each shape within the closed lines represents a scale, etc. And then you play the shape."

      Despite their heady geometric origins, the songs have a playfulness and warmth that makes them inviting and memorable. In addition to the buoyant grooves of Smith's synthesizers, some of the songs feature wordless vocals, which energize the otherworldly songs, while grounding them with Smith's earthly presence. She slows things down for the second half of the record, which features a collection of twelve short pieces, Labyrinths I-XII. Originally composed as new soundtracks to old silent films she found online, Smith says the tranquil Labyrinth pieces are "intended to feel like one is walking through a holographic labyrinth and encountering different experiences such as hang gliding, viewing microbes under a microscope, ice fishing in Alaska, and watching glaciers collapse."

      Despite their brevity, most of these songs feel like mini odysseys, effortlessly casting a cinematic hue on the the listener's world. Throughout Euclid Kaitlyn Aurelia Smith consistently delivers sonic puzzles draped in a warm Pacific mist. At times these songs feel so alive — like the musical analog to roots growing deeper and stronger, leaves on branches bending towards the light, or the sun peeking over the horizon, briefly igniting the air with a primordial swirl of warm and cool colors.

      Claude Speeed

      Sun Czar Temple

      Scotland's Claude Speeed first came to our attention via his epic 2012 remix of Kuedo's 'Work Live & Sleep In Collapsing Space'. With a history in various bands such as RUSSIA and American Men, his work draws from Scottish post rock, 90s and 00s electronica, American minimalism, noise & drone. After a significant time travelling abroad he relocated to Berlin and released his debut album for LuckyMe, entitled 'My Skeleton'. Now he is releasing his follow-up EP 'Sun Czar Temple' on Planet Mu - an epic set of songs that distort emotional songwriting with textured synthetic ambience and computer noise. Dreams on hard disk. The EP opens with the epic 'Traumzeuge', a piece for digitally obliterated piano and plugins taking its inspiration from territories of culture shock and insomnia. Starting with monolithic slabs of SOLAR PARALLAX distortion, the layers of intensity build until eventually dropping out, revealing gentle, warm guitar harmonics and tender vocals. 'Dr. Liz Wilson' begins with twinkling, bleeping arrays of electronics: implied interstellar communication. Warm sinewaves and rising tone clusters build up into a rushing wind tunnel of ESCAPE TIME FRACTAL sound. Hidden drums, ghost choirs, and geometric cryptophasia arpeggios disappear into chaos. An Adrián Villar Rojas memory of terraforming and futuristic DMT ruins. 'VIN', serves as an interlude, built on field recordings from a short trip into an empty forest, made with looped tape noises and crushed oneiric chords. 'Fret' draws from a story about an abandoned palace, far away from anything. Initially composed entirely visually in Logic, sound muted, without any timing grid. Dense pitch shifted chords and multiple random effects building into strangely unearthly pop with Ryuichi Sakamoto 80s drums and obscured vocalvocalvocal loops.

      The final track, and the EP's most epic, 'RU Sorry?' (CITY CASTLE VICTORIES) opens with simple synth 5th interval figures evolving slowly into an enveloping, rippling, cosmic fuzz. building up to near noise, then falling away into blocks of buzzing chords. Distortion appears gently until a smashed out post rock crescendo bursts through.


      Following on from a pair of extended players released in 2011 Andy Stott returns to Modern Love with ‘Luxury Problems’, an 8 track album of new material recorded over the last 12 months.

      Five of the tracks on the album feature the voice of Alison Skidmore, Andy’s one-time piano teacher whom he hadn't seen since he was a teenager back in 1996. There was no grand gesture in mind, it just sort of happened - but after almost a year of studio work the result is really quite unlike anything you’ll have heard from him before.

      ‘Numb’ opens the album with Alison’s voice; layered and looped but essentially left bare and exposed, tumbling into a dense shuffle, sort of somewhere between Theo Parrish and Sade, but more fucked. ‘Lost and Found’ follows and deploys a growling rave bassline and a disturbed vocal, the beat assembling itself around a squashed Linn Drum like a submerged Prince / Cameo production, haunted and impenetrable, but full of funk.

      ‘Sleepless’ started life as an African drum edit that sooner or later succumbed to Stott’s intense rhythmic shifts. It’s a sound that’s been imitated countless times since the release of ‘Passed Me By’, here re-tooled and re-built for its next evolutionary phase. ‘Hatch The Plan’ ends the first half of the album with some heavily treated location recordings and a low end grind that probably doesn't quite prepare you for the vocal arrangements that follow - it’s just a beautifully inverted pop song.

      The second half opens with ‘Expecting’, the most recognisably ‘Stott’ moment on the album: a wrecked, deliriously knocked-out 4/4 shuffle deployed at halfspeed; those heavy kickdrums sucking in everything around them. ‘Luxury Problems’ is next and offers up the album’s most quietly euphoric and open 5 minutes; conventional arrangements and drum loops disrupted by sharp disco bursts that mess with what you know: it’s straight and beautiful and unbalanced and damaged, somehow all at once.

      “Up the box” fucks with the narrative and goes somewhere else entirely, an extended intro that seems to build continuously for 3 minutes before breaking off into a slowed-down Amen edit, creating a kind of narcotic Jungle variant that fragments everything and ends just at the point you think it’s going to go off, before “Leaving” finishes the album with an almost unbearably beautiful arrangement of voice and synth and a final key-change that takes you from joyful to forlorn in an instant.


      Todd Terje

      Inspector Norse / Strandbar - Justin Vandervolgen Remixes

      Get ready to dance like a lycra-clad loon all over again as the crowned prince of Norwegian disco meets the My Rules master uptown for some red hot remix action! After wowing us once again with his debut LP last year, Terje Olsen is keen to keep the party moving and a-grooving with some tasty remixes of a couple of his biggest hits. But who to trust with such a tall order? After all, "Inspector Norse" and "Strandbar" are shoe-ins for the upper echelons of any best of the decade charts. Just as well then that Terje turns to everyone's favourite party chieftan Justin Vandervolgen to bring the remix ruckus. On the A-side JVV stretches out "Inspector Norse", breaking the sleek Italo disco hit into its quantum components before reassembling them into a hypnotic laser fuelled groove. The rampant, roving, romping synth squeel of the breakdown is amplified to a heart bursting roar which only drops at the last minute. On the flip, JVV gets tribal and dubby with "Strandbar", pushing the percussive rattle to the fore, extracting all the lysergic juice from the spiralling sequences and extending all the breaks for a full throttle hypno groove. Eventually the sine wave squeal gives way to the head nodding bassline and punchy piano and we're dancing in heaven. Bliss!


      Bjorn Torske

      Nedi Myra - Smalltown Supersound Edition

      Smalltown Supersound is proud to announce the reissue of the Holy Grail of Norwegian dance music, the first two albums by reclusive cult innovator from beyond the Arctic Circle Bjørn Torske.

      With the Norwegian disco movement having given birth to many international dance stars, now is a perfect time to go back and re-evaluate these brilliant records, that provided the inspiration for a wave of producers in their wake. With all of Torske's album discography now with their natural home Smalltown Supersound, the label can finally feel complete. Both albums have been out print for many years and have not been distributed on any digital streaming sites. Now lovingly re-mastered by Helmut Erler at Dubplates & Mastering, for the first time Bjørn feels that they sound as he intended them to sound.

      Together with the late Tore “Erot” Kroknes, Bjørn laid the foundation for the disco scene in Norway that gave birth to Prins Thomas, Lindstrom, Andre Bratten and Todd Terje. Inspired by DJ Harvey, Ron Hardy and Idjut Boys, Bjorn Torske and Erot brought underground disco and house / techno (Chicago / Detroit style) to the country, developing their very own style of tripped out dubby disco with their characteristic weird, humorous and psychedelic twists along the way. With Torske as with many auteurs, he hasn’t always got the attention and credit he deserved. He is known for being reclusive, and an outsider, making music on his own terms and not playing by the rules of the record business. All of which has made him the musician’s musician.

      Torske’s debut album under his own name was “Nedi Myra” in 1998 on UK label Ferox. After that he released a string of singles with Svek label, among them the seminal “Jeg vil være søppelmann”. That translates to “I Want To Be A Binman” in English, which shows who set the tone for Norwegian disco’s particular sense of humour. Also on Svek was the single “Sexy Disco”; cited by Todd Terje as “the first time I listened to disco in a non-ironic way”. "Trøbbel" was released in 2001 and in 2005 he signed to Smalltown Supersound and released the two 12” singles “Kokt Kveite” and “Ny lugg/Kort bak lang på siden” and the albums “Feil Knapp” (2007) and “Kokning” (2009). In 2010 he released “Oppkok” 12” which was remixed by DJ Harvey and Todd Terje, and last year the “Kok” EP with additional material from the “Kokning” album sessions.

      Get to know the production genius of Norwegian disco’s original Wilderness man.


      Bjorn Torske

      Trobel - Smalltown Supersound Edition

      Smalltown Supersound is proud to announce that it is re-issuing the Holy Grail of Norwegian dance music, the first two albums by reclusive cult innovator from beyond the Arctic Circle Bjørn Torske.

      With the Norwegian disco movement having given birth to many international dance stars, now is a perfect time to go back and re-evaluate these brilliant records, that provided the inspiration for a wave of producers in their wake. With all of Torske's album discography now with their natural home Smalltown Supersound, the label can finally feel complete.

      Debut album “Nedi Myra” was first released on UK label Ferox and his second album “Trøbbel” originally came out on Telle Records. They have been out print for many years and have not been distributed on any digital streaming sites. Now lovingly re-mastered by Helmut Erler at Dubplates & Mastering, for the first time Bjørn feels that they sound as he intended them to sound.

      Together with the late Tore “Erot” Kroknes, Bjørn laid the foundation for the disco scene in Norway that gave birth to Prins Thomas, Lindstrom, Andre Bratten and Todd Terje. Inspired by DJ Harvey, Ron Hardy and Idjut Boys, Bjorn Torske and Erot brought underground disco and house/techno (Chicago/Detroit style) to the country, developing their very own style of tripped out dubby disco with their characteristic weird, humorous and psychedelic twists along the way. With Torske as with many auteurs, he hasn’t always got the attention and credit he deserved. He is known for being reclusive, and an outsider, making music on his own terms and not playing by the rules of the record business. All of which has made him the musician’s musician.

      Torske’s debut album under his own name was “Nedi Myra” in 1998 on UK label Ferox. After that he released a string of singles with Svek label, among them the seminal “Jeg vil være søppelmann”. That translates to “I Want To Be A Binman” in English, which shows who set the tone for Norwegian disco’s particular sense of humour. Also on Svek was the single “Sexy Disco”; cited by Todd Terje as “the first time I listened to disco in a non-ironic way”. "Trøbbel" was released in 2001 and in 2005 he signed to Smalltown Supersound and released the two 12” singles “Kokt Kveite” and “Ny lugg/Kort bak lang på siden” and the albums “Feil Knapp” (2007) and “Kokning” (2009). In 2010 he released “Oppkok” 12” which was remixed by DJ Harvey and Todd Terje, and last year the “Kok” EP with additional material from the “Kokning” album sessions.

      Get to know the production genius of Norwegian disco’s original Wilderness man.


      The Utopia Project, yet another one of many pseudonyms for legendary producer Rheji Burrell of Burrell brothers fame. All 4 of the "Files" contained within this EP bear the classic hallmarks and sounds of the Burrell brothers signature style; taut drum programming, deep, melodic synth washes, bass-lines from the darkest recesses of NYC's streets and dance-floors and an instantly recognizable atmosphere. Like much of the brothers output these tracks are designed to be heard either very, very late at night or in the early hours of the morning and are some of the defining sounds of New York's underground night-clubs in the formative parts of the 1990's. A true underground House record, over 20+ years old and still sounding as fresh and current as ever, "File 1" is now available again for 2015, re-mastered and re-pressed with the permission of and in conjunction with the Burrell brothers / Nu-Groove Records, New York City.


      Ooof. This one's been at the very front of my record box ever since the charming, affable and slightly saucy Kenneth Bager strolled into the shop and dropped us a couple of promos. Once again his oft-horizontal Music For Dreams imprint takes a hit of the albos and powers up into full on Coma Club mode. We dive straight into the sweat and sleaze of the Balearic dancefloor on the A-side with the horn heavy stomp of Mads Dalholt & Zimino's rework of Jawala's arabesque "Go East". The Danish duo augment a bit of tough drum programming with the organic ripple of world percussion, before unleashing the Yello-esque horn riffs to the delight of the crowd. No foolin', this is the kind of mindboggling dancefloor weaponry we're used to Moon dropping for the Nado heads. Landers & Dalholt go for gold on the flip with the sunkissed sway of "Zengo", a proper terrace anthem which combines highlife guitar, sweet brass and a body shaking bassline into one euphoric dancefloor explosion of shapes and colours. "Aelba" sees the duo follow the same template, with afrobeat guitars and organic percussion prominent, although this time the bassline is subby enough to make a warehouse wobble, while the marimba melody adds a heap of spice to the mix. Once you're locked into the exotic groove, Landers & Dalholt flip into overdrive with a simply massive piano led breakdown that'll have the crowd in a frenzy. Superb!


      Various Artists

      DJ Kicks - Nina Kraviz

      How much do you really know about Nina Kraviz? She’s a Russian techno DJ, an accomplished producer, one of dance music’s breakthrough names of the last five years. True enough, but there’s so much more to her story than that. She’s one of electronic music’s most interesting characters, someone who has stuck to her musical guns since day one, someone who has wide-ranging roots that run deep in the past, yet she’s also the embodiment of the future. Her signature sound is a raw blend of house and techno with a very acidic feel. If that feels very now, Kraviz has a lot to do with it, which is why she was asked to mix the latest instalment of !K7’s landmark ‘DJ Kicks’ series.

      The result is up there with the best in the ‘DJ Kicks’ back catalogue. It’s a sublimely crafted set, deep and trippy, like you’ve tuned into a mysterious pirate radio station in the dead of the night or stumbled across a stream from an illegal party. Fourteen of the 30 tracks are exclusives from Kraviz’s трип label, including three of her own: ‘Mystery’, ‘IMPRV’ and ‘Prozimokompleme’. “People probably know me for my Dance Mania-inspired, stripped down jacking groove style of DJing but the idea behind this particular mix was to create more of a trippy underwater vibe. A mysterious, sonic journey, inspired by the times I used to listen to late night radio growing up and imagine that all the sounds brought to me via the radio waves came directly from space.”


      FORMAT INFORMATION

      2xLP Info: 180g vinyl pressing with full mix CD included.

      Blind Jack's Journey continues the trip along the winding Nidd Valley of Knaresborough. Another super collectable quad pack of limited hand stamped vinyl only journeys. The third EP in the series and it’s one mighty meander through secret caverns, crag tops and waterfalls. Gnork gets even gnorkier with his aptly named "W.1.3" - live and direct from Budapest and flying those eastern European chord progressions proudly! A delicious electronic treat teetering beautifully on the edge of the soulful and synthetic. Something must be brewing in Hungarian waters as we find Mr. Fiel in deepest form with his "Awakening of Nature". Brighter and more optimistic than Gnork's tense melancholy, Mr. Friel deploys bubbling pads and a loose 4/4 swing to a celestial, post-peak time house jam - not requiring a kick drum but keeping us hooked in its hypnotic euphoria till the very end. Ratcatcher provides a thick sonic blanket on "Marsupial Dreams" - affirming the summery nature of this record - these are sunblushed, exuberant vibrations for balmy, coastal evenings. "Marsupial Dreams" allowing flanging hats and a pitch bent lead to drunkardly take us off on a blissful lie-lo. Finally Acasual provides some shoulder-dropped, sexy house grooves on "Spring Theory", allowing us to get up close with the object of our desires. Seductive, radiant, wonderful. Highly recommended EP from the Welsh camp. Ltd hand stamped solid blue dreamy vinyl. No repress. No digi. Part ¾. - don't sleep!

      STAFF COMMENTS

      Matt says: Very very last chance to own this future gold-relic from the UK house scene. The Dream House series have become an institution, finding favour with all the top players (Move D, Rufdug, Kickin' Pigeon) and this is the last time any of them'll be available!

      FORMAT INFORMATION

      Ltd 12" Info: Ltd hand stamped solid blue dreamy vinyl. No repress. No digi. Part ¾.

      Hypercolour proudly present the very first commercial mix compilation from dance music titan, Eats Everything. A mouth watering, two course audio menu awaits you on ‘Fries With That?’, a 130 minute romp through the Eats Everything record box.

      The Main Course features an à la carte selection of music that’s been floating the boat of Eats AKA Dan Pearce, over the last couple of years, as his ascendency through the ranks of dance music’s top players has been as deserved as it has been rapid. Tunes that have been tried and tested in all four corners of the globe, as the Eats juggernaut has ploughed through countless parties, clubs and festivals, from Ibiza to the USA, London, Amsterdam, Barcelona and back to his home city of Bristol. It’s a mix that showcases his inventive and quick fire style of DJing, always busy on the mixer as he works the tracks like a true burger flipper. Digging deep into his record box, hi‐lights include entries from scene stalwarts Radio Slave, Herbert and Mr. G, new talent in the shape of Oushe, Decius and Little By Little, and a handful of vintage house from the likes of Flux Mode (AKA Nick Holder & Marcus Turcotte), S.W.A.T. (AKA DJ Rasoul) and Kingpin Cartel.

      And if you’ve still room for pudding (and hey, who doesn’t) then Eats Everything serves up the Desert, a generous portion of sweet and sticky anthems that have influenced and shaped the Eats sound and style we know today. From his early days DJing in Bristol’s dark and salubrious nightspots, to his regular visits to London’s harder house nights like Trade at Turnmills (RIP), Eats dusts off the vinyl collection to bring us a big whopper of a classics mix. A healthy dose of vintage NYC trax are included here, from The Creator Session, The Kick Junkie, Doug Lazy and Millennium (AKA Jose Nunez), as are a couple of pivotal tracks that point us in the direction of Eats’ techno leanings, namely (LFO man) G‐Man’s ‘Quo Vadis’ and the raw drum machine vibes of the DBX remix of Robotman (AKA Richie Hawtin’s early 90s alias). Big chunky rollers from Aleem and Mambo keep things swinging, and the whole thing is topped off with the calorific classic vibes of Steve ‘Silk’ Hurley’s 90’s return to form; ‘The Word Is Love’.


      Superb new EP from Copenhagen’s acclaimed Music For Dreams imprint with the usually chilled Balearic label heading again into housier territory. First up is a hot collaboration from Ibiza’s legendary DJ Pippi and label head Kenneth Bager. Fully road tested in the clubs of the White Isle this summer, "La Serenata" is a surefire party starter with a hypnotic synthline, melodic bass and live accordion melding in an irresistible house groove. Next is HubbabubbaKlubb’s Olefunken with his house remix of "Stuck In A Lie", a track taken from Bager’s forthcoming LP "Follow The Beat". This deep soulful rework is layered with lush rhythms and beautiful keys topped with the unmistakable vocals of Storm Queen’s Damon C. Scott. Flip over for "Factor 30" from Bjarno, a low slung groover which clearly demonstrates his trademark warm organic deep techy sound - slow-burning bass-heavy house that builds and builds on an infectious flamenco guitar riff with just enough variations to keep you locked in, a great example of “Slouse”, the slow house sound being championed by the likes of Rainer Truby and Acid Pauli. Last but not least is Danish composer Troels Hammer with "Cold Hawaii", a gorgeous lo-fi track with smooth keys and an achingly heartfelt mouth organ - perfect sunset material.


      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...

      This time we go back to 1978. Why? Antilope’s and Death On The Balcony’s edits both are based around originals that were released in 1978 - stretched and sped up for the club. Matpat, on the other hand, selected a drum and piano loop from a Maxi Version of one of the first disco-rap records from 1980. When the original of "Singing Ghost" was released in 1978, it was already an edit, as it used poetry recordings of the band’s singer who was by then dead for 7 years. With the overdubbing of music to pre-existing poetry recital tapes by the surviving band members, it marks the beginning of the creation of something new for the band. Right in this spirit, Antilope has created a club version that stays true to the original but makes it suitable for after-hours and late night venues. Death On The Balcony’s edit of “Georgie Porgie” by Toto is all about the groove. Think Paul Humphrey, Ed Greene, Earl Palmer and the god-father of that 16th-note groove James Gadson. Death On The Balcony's "Addict For Your Love" version replays some parts & add a more modern bass to mirror and compliment existing parts in the original. This baby takes an eternity to get going, slowly drawing you into the pocket before slapping you with some darn near beautiful chord sweeps as it climaxes hard on the floor. Matpat uses a piano-loop from one of the first disco rap records ever made (Convertion’s “Let’s Do It” pop pickers. Big Frankie Knuckles jam – Matt) and transformed it into a jackin house swinger on "Only You". No more words needed, just enjoy it.


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