house . techno . electronica . ambient


Genre pick of the week Cover of Sensation / Clear by Daniel Avery.

Daniel Avery

Sensation / Clear

With two years having passed since 2013’s hugely acclaimed "Drone Logic", Daniel Avery returns to Phantasy to offer a much anticipated taste of his restless studio experimentation. "Sensation" projects Avery’s distinctive feedback and engrossing modulations onto his widest canvas yet. Surges of noise link the track to artists such as Cortini and Basinski in its ability to echo purposefully across vast halls, yet proving to be just as absorbing in more intimate circumstances. Tough drums amid the shifting atmospherics nonetheless hint at Avery’s continuing stride towards techno’s more relentless facets. While "Sensation" floats freely, "Clear" continues Avery’s occasional forays into unapologetically trippy realms. Revisiting an evolved but no less addictive form of the acidic psychedelia touched on throughout the duration of "Drone Logic", "Clear" spirals seamlessly into both paranoia and euphoria.

The wonderful Black Ops sub label from the SLEAZYBEATS crew continues...

For the 9th and penultimate release in the series, the Sleazy Beats gang welcomes Bristol's Admin (Future Boogie, Banoffee Pies) aboard the Black Ops ship, which ventures beyond the trusted beatdown waters the label has been sailing since its inception in 2012 in search of exciting new pastures.

For his 'Super Lover EP', Admin commandeered an obscure record collection and cut up a cheeky trio of summery, sample-heavy disco delights that are rough around the edges but groovy like a drive-in movie.

The Black Ops dudes decided to leave the crackle, hum and imperfections intact as an ode to good old-fashioned art of sampling, a tip of the hat to the format's charm ('life has surface noise mate') and a polite middle finger to the non-descript clinical compressed deep House that seems to be so in vogue now.

As always, this is a limited, vinyl only release. It will not be repressed and will not be released digitally. Not now, not ever. 

Melancholia. Longing. Melancholia is a mood which we like to invoke and to maintain, we like to envelop ourselves in it like in a warm blanket. Our brain and our sensory systems appear to be made for perceiving and emotionally responding to music in a very immediate fashion. Consequently music is the obvious drug for all of us melancholia-addicts. However, there is a thin line between melancholia and sadness, and music which is meant to be melancholic too often crosses this line by far. Only very few artists succeed in avoiding this crossing, and in creating music which is melancholia in its most pure form. It is safe to say that BERSARIN QUARTETT - the electronic music project of Thomas Bücker - is one of them.

After his successful self-titled debut in 2008 and the sophomore 'II' in 2012 - album of the month in many magazines and in numerous "Best of the year" lists - Bücker returns with his third. Much like his two predecessors, III is a pure paradox. It is the creation of a perfectionist, an adamant control freak. Every element, be it a note, an ambience layer, a string arrangement, a field recording, a baseline, a vocal (Clara Hill on Track 11) or a beat, is meticulously modified and then assigned its place in Bücker's vast but still minimalistic arrangements. Thus, superficially Bücker's pieces seem to radiate a certain mechanical bleakness. However, there is a unique reduced warmth and liveliness emerging from these stainless compositions and transcending them. This transcendence is precisely the point where Bücker ironically looses control over his creations.

In contrast to the first two BERSARIN QUARTETT albums, 'III' offers a few darker shades and succeeds even further in narrowing down the arrangements to the absolute essentials without losing the characteristic grandeur of Bücker's sound. Whereas BERSARIN QUARTETT's debut was merely a description of melancholia in its most pure form, III maybe even goes as far a defining what melancholia really is. It is the only emotion in the vast spectrum of human states of mind which one can bear forever. 

Form and orderly queue please! The buy-on-sight Apron records comes strong with this killer release from Funkineven and the mighty Shanti Celeste in what could be the biggest coup for the label yet! Shanti Celeste's "SSS" is both dreamy and direct, floating on a similar bliss-cloud as Aphex Twin's electro fantasies but with a sense of immediate urgency and great synthesizer interplay. Glorious pads wash over the Detroit-electro beat, enveloping all while fizzing, weaving lead lines permeate through the kaleidoscoping atmospheres. Funkineven's "90s" cut has longer breakdowns to reflect the XTC-induced euphoria of the time while his tape saturated beats are present and correct. Flanging pads and woozing synth-organs add life and colour with various melodies peppering the mix with an eyes-wide-shut joy. Clever, stimulating and fun in equal measure and perfectly in keeping with Apron's fully established (and highly sought after) aesthetic. A classic for the label and another hit you'll need to bag quickly if you want a copy. Recommended. 

After spending the summer totally smashing it, Church returns with its latest 'white' offering courtesy of Peckham via Auckland brothers Chaos In The CBD. Fresh off the back of the sell-out sensation "Midnight In Peckham" on Rhythm Section, they delve into deeper territory with emotive title track "Constraints Of Time Travel". Referencing Larry Heard in the percussion and early Prescription releases through spacey sequences, Ben & Louis get fully astral on this one, getting your spine tingling with jazzy piano chords and lithe FP-style synth squiggles. We're in more familiar territory on the B-side, shaking our stuff to a pair of sampledelic deep house heaters in the boys' trademark style. "Phantom Melodies" marries swinging percussion, circular bass and off beat piano, keeping us right in the pocket while the looped crowd sample adds an irresistible texture. I  could very happily live in this groove alone, so Ben & Louis are spoiling me rotten with the occasional vocal samples and muted trumpet. Rounding the package off in blue-tinged basement style, "Similar Stories" works bloodless minor pads over rattling African percussion before hypnotising us with a melancholy piano loop. The muted trumpet licks return and a couple of streetwise vocal snippets add the extra detail which lifts this production above most of their contemporaries. 

Circuit Breaker

My Descent Into Capital

) "My Descent Into Capital" represents the most ambitious recording from this London-based duo to date. Even if they're taking influence from minimal synth, post-punk or early industrial sides, Circuit Breaker are unmistakably contemporary with their delivery. Forging together metallic drum machines, propulsive synth lines and stark guitar degradation into bold , simple and effective songs about down-trodden themes of isolation, discontentment and the true horror of work. This album transgresses any simple nostalgia for its musical forefathers and showcases a band with their eyes fixed firmly on the future. Any obvious reference points are contorted and stretched to the point where they are transformed into something new. After ten years of obscurity and a refusal to go away, and after two well-received records on Tombed Visions, this album is their first full-length album, and first for abstract-punk imprint Harbinger Sound. After many shows with supporting Harbinger Sound mainstays Sleaford Mods, the duo are about to embark on an extensive tour with new label mates Consumer Electronics early next year.
The album was mastered by Barry Grint at Alchemy.


Ultraviolet Music

A new collection of otherworldly transmissions from Deepchord’s laboratory. With ‘Ultraviolet Music’ Deepchord returns to his proprietary formula of atmospheric heroin-house (after 2013’s more cinematic ‘20 Electrostatic Soundfields’).

A hallucinogenic amalgamation of deep emotive textures swimming around 4/4 kicks and sub-bass, middle of the night atmospheres, hypnotic repetitions, shortwave static and slowly evolving textures that envelop the listener in warm blankets of sound. Multidimensional sounds that move the mind and the feet.

Numerous (processed) acoustic and organic sound sources make these tracks seem alive in a way that is uncommon in electronic music today. They are breathing life-forms that reveal their subtle layers with repeated listenings. It’s music that’s influenced equally by 1980s experimental, 1990s ambient, Detroit techno, deep house and Berlin school, creating something entirely unique in the process.

Another monster smash from the ‘Caracal’ album, Disclosure's 'Omen' is reminiscent of Bobby Caldwell's 'Open Your Eyes', with soaring vocals from Sam Smith and yacht rock smoothness reimagined in a 2015 slo-mo garage pop-house style. As well as the original mix this limited 12" includes three reworks for the club. Claude VonStroke and Jonas Rathsman provide stripped-back tech-house remixes, while Motez goes with a UKG flavour. Vinyl comes with bespoke sleeve artwork. Inner bag and reverse board finish.

Yes! This is actually happening! Legendary acid house / hip-house innovator Fast Eddie’s masterpiece "My Melody" gets pressed to 12". To say this track is rare is an understatement. It never received a 12" release (unless you include a very rare bootleg in 1988) and only ever appeared cut very quietly on 1989’s "Jackmaster Phuture Trax" album. Well now Super Rhythm Trax (one of the most underrated labels of the year IMO - Matt) are very proud to present to you remastered and cut super loud for the first time ever, this amazing track.. But that’s not all! Also included are two further album cuts hand selected for their squirming acid lines and the fact that they’ve also never been available on 12" vinyl before (only on LPs). Then what better way to round it all off than with the freshly remastered banger “Hip House” that sees Eddie get lyrical over one of the most suggestive 303 lines ever. Don’t sleep on this one folks - we've warned you!

One of the defining releases on Large Music gets a special re-issue after a 16 year wait. Considered by many to be one of the top 3 packages in the early Large catalog, this EP set the trajectory for what would quickly become known as the "West Coast" sound of American House. A-side cut "Let Me Love You" instantly welcomes us with open arms into a waking dream of funky guitar licks, subtle bass, deep pads and soulful vocals. Believe me, you could stay in this groove for days on end. A venerable classic at the Shelter in NYC, this jam was played consistently by the legendary Timmy Regisford throughout his tenure there. After keeping things deep and sensual with perfectly executed dub, Rasoul kicks off the flip with a dark and sticky filter disco bomb which goes by the name of "Blue Note". The killer bassline and snapping percussion has you locked in the pocket before looped up jazz piano and sweeping strings add another sublime dimension; it's no wonder this was massive for Daft Punk and Cassius back in the day. The disco house bliss continues on "Night At The Top", which sees Rasoul lay down a rhythm section packed with gurgling funk before working the fx and loops to drive the dancefloor wild. Rasoul is often overlooked as one of the chief architects of modern Deep House, yet this release certainly secures his elite standing in the annals of House Music history. Essential!

Julien Dyne

Down In The Basement Volume 2

New Zealand based crate digger Frank Booker invites good friend Julien Dyne to drop the second release on his new imprint Down In the Basement. JD picks up where The Man Called Booker left off on Vol 1 and gets straight up to speed cutting up rare boogie, disco and Afro jams and employing his trademark raw cuts in an old school style, while lacing oodles of FX 'n stuff into the mix. The opening cut sees us thrust right into the throng of a Lagos dancefloor, shaking our stuff to a seriously funked up slice of Afro-disco. All key elements are present and correct (sweeping strings, hot horns, buoyant bass, thick wah guitar), and JD's crazy FX use blasts the whole thing off to a distant dancefloor dimension. The A2 sees the tempo drop to a midtempo strut as Dyne indulges in a fully freaked out head nodder complete with low slung bass, chunky piano and the occasional bit of strings. Making extensive use of echo, delay, filter and reverb, the Kiwi producer properly fucks with the groove, blessing us with a full grade psychedelic disco stormer. JD keeps it funky on the flip, running the fx unit over a symphonic and soulful bit of Blaxploitation funk before knocking our socks off with some seriously feel good boogie. Infectious, invigorating and eminently danceable, this essential EP sees Dyne trading in the playful and psychedelic style we're used to hearing the Idjuts exploit, and I can't get enough of it. 

Based in Californian Humboldt County, Brian Pyle is Ensemble Economique. On his by now eleventh album and fourth Denovali release "Blossoms In Red", Pyle combines and perfects elements of his previous output into a cohesive narrative. The opener ""From The Train Window, Red Flowers On The Mountain"" is a surprisingly scarce ambient piece, which feels like an almost infinitely stretched precious moment of time. Despite being austere, it is warm, sublime and incredibly captivating and after listening to its full 8 minutes, one cannot help but to rewind and replay. Having barely escaped this seductively infinite loop, one encounters the title track "Blossoms In Red" featuring Portland electronic duo Soft Metals. Starting off with a characteristic sluggish programmed beat, one is immediately overpowered by the onset of the towering combination of a warm bassline and a shimmering synth ambience. As the track flows, these elements writhe around each other in a delicately beautiful fashion, absorbing the materialising wailing guitar which almost sounds like an ethereal voice, as well as the occasional melodic and rhythmic accents. The next track sees this guitar return in a rather pure form. ""On The Sand"", featuring jack-of-all-trades Peter Broderick, is essentially just reduced analogue drums, electric guitar, a simple vibrating bassline and hoarse almost spoken vocals. Slowly and methodically, these constituents form a captivating erotic ritual, much like a beguiling and hypnotic mandala procession of imperturbable blissful individuals on the beach. As proven on numerous occasions, Pyle can easily lead all his trumps in the presence of female lead vocals, and "Blossoms In Red" makes no exception. Indeed, "You, By Candlelight" is easily the best Ensemble Economique track with female vox to date. Pyle manages to embed the vocals just in the right minimal amount of instrumental layers, making the track radiate an elusive tranquility. The fifth and closing track "Nothing Is Perfect" is a classically tinged piano piece with only very little processing and sparse field recording samples. Ensemble Economique's most minimalistic album, but at the same time - or maybe just for this reason - his most skilled work. 


Barry says: Ensemble Economique's Brian Pyle once again expands his already venerable sound palette on his latest release for ambient/synth/post-rock titans Denovali. Near-gothic sounding drums hammer over echoing guitar and cavernous reverb, backed up on the third track by Multi-instrumentalist Peter Broderick's hoarsely whispered vocals. This is a haunting and stunning addition to the label's ever expanding domination over the ambient field.


LP Info: 180 gram vinyl.

Includes MP3 Download Code.


Visceral / The Ah Track

Brooklyn producer FaltyDL follows up the batshit bruk of recent Ninja Tune 12", "Rich Prick, Poor Dick", with the melodic dancefloor madness of "Visceral" and "The Ah Track". Opening with the gentle sound of cello, clarinet and chimes, "Visceral" sees Drew work some minimal influences (Glass, Riley, Reich) through his ADHD sound design, chopping and scattering the samples amid a restless and frenetic broken beat while sumptuous snaking synth leads bring to mind the symphonic future jazz of Floating Points. Over on the flip, "The Ah Track" rollocks along at a breakneck pace, feeding filtered strings and the titular "ah" through a solid breakbeat, while sawtooth subs nip at your ankles. On his incendiary return to the dancefloor, FaltyDL holds it down for the grown up ravers.

Originally dropped on Jack Trax back in 88, "Another Side" collected together the finest moments of the mighty Fingers Inc, and became the seminal Chicago house album on the way. Resurfacing occasionally over the last fifteen years in less than official form, the LP has always caused a wave of excitement, and now, a quarter of a century after its original release, Larry Heard has remastered and repackaged the set for an official outing on his own Alleviated imprint.

A studio collaboration between house originator Larry Heard, Robert Owens and Ron Wilson, Fingers Inc served up some of the deepest, most soulful  house ever heard, and it's all on this LP! The proto house/club soul sounds of opener "Decision" and deep and spiritual "Bye Bye" keep things light and euphoric, while cuts like "Never No More Lonely", "Feelin Sleazy" and "Music Takes Me Up", head deeper, darker and filthier into the realm of acid house. Flawless from start to finish, this is an essential item for any true house head.

Cin Cin, a series of split 12’s from Piccadilly favourite Fort Romeau and Warm Record's Ali Tillett. Each installment bringing together friends old and new in a spirit of collaboration and togetherness. Kicking things off is label boss Fort Romeau and ex Ostgut Ton honcho and Panorama Bar man Nick Höppner. “Untitled” sees Fort Romeau whip out the 909 for some bubbling, acid-tinged tech-house done in his fluid, glistening style. "Diana" follows with a more tranquil, dreamy vibe, FR's control of the filters allowing various levels of intensity and dynamics to break through the psychedelic hue bathing the track in technicoloured beauty. Nick Höppner indulges in some UKG influences with steppers “Stay” and “Splicing Hues”. The former utilizing Burial-esque coke-can drums that seem manipulated by bit-rate reduction while a woozy synthline drifts drunkardly through the track. The latter, "Splicing Hues" sees the producer go on a real London tip; sparse, deep and syncopated to the very last drop. Recalling the golden age of UKG but keeping the production tight and up-to-date. Proper.

Herva is the artist name of Hervè Atsè Corti. He lives in relative seclusion from the dance music world in the Italian countryside around Florence and is one of the most intriguing producers to work in house and techno for a while. He makes house and techno that doesn’t adhere to the usual influences of Detroit, Chicago or Berlin. ‘Kila’ (the Swahili word for 'everything') was put together using software and hardware that he often modifies, with a mixture of beats and samples punched in like old-school hip hop and synths and effects that give his tracks the feeling of dance music that's been teased apart, smudged and smeared. The music is relaxed and warm but simultaneously abstract and punctuated with ragged detail and gritty disruption.

The album moves across tempos, from the floaty upbeat disco of ‘All Good On Your Side’ to the full throttle electro of 'Seat Behind Mirrors’ which gently gives away to a looping Burundi vocal. Then down to the old-school hip hop and wonky ooze of ‘Mistakes Dealer’. The track ‘Fading Above Smoke’, is held in place by a repeating drum pattern while synths and samples scrape and wrap themselves around the rhythm. ‘Dust Cover’ approaches the sound of early Pole, as if it had been described to him but never heard, sending digital grit and glitches across a low-slung bassline and opaque dubbed-out chords. The album finishes on the overloaded climax of ‘Fog’, which runs awkwardly edited samples over a loose drum tattoo, with enough restraint to keep the track flowing.

After indulging in a little no nonsense house music via Henry Rodrick's mighty "Daybreak", Omena return with a lovely leftfield offering from mysterious newcomer Ishi Vu. Opening with the lush and verdant sounds of title track "Green Is The Colour Of Love", the EP immediately sets you at ease, wrapping you in deep bass and immersive textures before a chanted world vocal adds an extra element of otherness, which leads into "Plant Your Feet". Driven by tribal polyrhythms and lively market sounds, this floor friendly track utilises a filtered bassline and frenetic violin to make you trip the light fantastic - proper fireside ritual tackle. "Uhh, Your Heart Is Melting" continues the theme, looping a world vocal on some dreamy keys while rattling percussion moves your body. "Bi-Polar Nature" opens the B-side with playful sequences and lush Floating Points-esque lead lines, before opening out into a vivid and visual trip on a sonic safari. All that remains is for "Tem Per Malva" to close the set with sampled exotica, sweeping pads and subtle sequences, #lush. An assured debut which continues the recent revival of late 90s chillout we've seen from HNNY, Omena LTD and Saine.

More superb tracks by K-Alexi from the depths of the Trax vaults circa 1994. "Medusa" kicks things off with a wailing and squealing acid jam; surely inspired by the great Steve Poindextor and that rampant Chi-town '89 flavour. Drum machines work in overdrive as a concentric 303 gurgles on through the track. "MCM Club" contains THAT synth refrain from Lil Louis' "Y U Call" and again, unloads a plethora of frenzied drum machine abuse onto the mix. The whole thing sounds like Jamal Moss has gone all Members Only on the Lil Louis OG but this predates Jamal by some years and is pure fire for the floor. "Get The" utilizes some great Chicago booty samples included that instantly recognizable floor tom pattern. Tracky and infectious it's one of those great tunes that doubles as a wonderful DJ tool. "Don't You Want A Remix" bases itself around a well known disco sample whilst adding a serious air of urgency and high energy. Sexy female vox are layered up over the hook alongside beefed up drums and occasional bursts of echo. Just one of those pioneering disco-house blueprints which went onto inspire a whole plethora of copycats. Storming stuff from Mr. Shelby.

Made by Mark Imperial & Vinnie Devine as Laurent X, "Machines" was conceived in a 16 track studio with the perfect set up of Roland TB-303, TR-808, TR-909, a Juno 106, some FX and a bucket of rib tips. According to Mark Imperial, he and his friends (specially Vinnie Devine) had a mad fun playing with gear. This 'thinktank' approach saw the young producers on the Chi-town scene become acquainted with a vast array of gear in a laid back environment. The approach worked, and "Machines" is a total acid house classic, backed with innovative and unusual drum patterns (check out those syncopated snare rolls), growling synth parts, and of course a heavyweight 303 line. Next up, action packed jacker "Whatcha Tryin' T' Do T' Me", sees Mark and Vinnie let loose on the 808 and 909, putting it all out there while a simple bassline rolls on. Chuck in some chopped and dropped vocal samples and we're in classic Chicago territory. As far as I'm concerned, if you call your track 12 AM, you're making a promise for the peaktime, and luckily Laurent X deliver. Solid drum programming supports a beefy bassline and cinematic synth lines, putting this in the same deep and danceable realm as those early Frankie Knuckles/Jamie Principle collaborations. Finally, "Drowning In A Sea Of House" takes us as deep as the title suggests, laying down a storming bassline, lethal percussion and spooky, siren synths. If you dug on Legowelt's 'House Of Jezebel' version of "Love & Happiness", then you'll recognise and love this bassline!

In what's sure to prompt a feeding frenzy amongst our Balearic customers (mañana piranhas?) Lexx hooks us up with a super limited repress of this three tracker of Balearic brilliance on his own Phantom Island imprint. At this point it's basically a fact that the Swiss maestro never puts a foot wrong behind the desk or the decks but this beautifully presented EP takes the piss! "Turning Tides" does its best to send those baubles bouncing with the weighty combination of a solid kick and wall shaking bassline forming the perfect foil for the midtempo hi hat shuffle. As the hypno-house groove takes over, Lexx introduces echo drenched vocal snippets, scratchy disco guitar and bursts of clavinet energy, fusing all those disparate elements of a night under Adriatic stars into one sublime track. "Mahogany" follows the opener in a more subdued but no less cheery fashion, like a well mannered in-law at Christmas dinner. A sophisticated piano line rides the dubby bassline, scratchy guitar and swelling synthline, setting the scene perfectly for the gorgeous chimes to seduce all before them. On the flipside Lexx delivers the appropriately blissed out groove of "Serenity", a horizontal odyssey which glides effortlessly through exotic textures and rhythms marrying the organic and synthetic with ease. The low slung disco bassline and clipped guitar are reminiscent of early Norwegian excursions into the realm of space disco, while the exultant vocal samples and tuned percussion transport you to the swelter of a distant shore. Lexx just doesn't make bad records does he?!


12" Info: Silk-screen printed sleeves, repress limited to 250 copies.

LNTG (Late Nite Tuff Guy)

I Get Deeper - Inc. Cassian Rework

For the ninth instalment of his unstoppable Tuff Cut series, Late Nite Tuff Guy goes back to the start and the track which kicked the whole thing off. Originally released on TBot's All Nite House Party imprint in 2007, this simple, but devastatingly effective rework of Roland Clark's house classic took on a life of its own, infiltrating the digital realm via a wealth of dodgy rips and finding its way into all the playlists which mattered. Eight years and countless killer edits later, LNTG takes pity on the 470 people on Discogs (and however many less savvy collectors) and represses his masterpiece, this time round releasing more than 100 copies. For the uninitiated, or those who need a refresher, our main man looped up an irresistible bassline, laid down and solid drum track then topped the whole thing with the essential accapella from Roland Clark's "I Get Deep" - and it's ruddy brilliant. The LNTG original has be remastered for 2015 and arrives alongside a brand new remix from Sydney's Cassian, who amps up the drums and goes harder on the fx for 2015. 

Klasse Recordings and Grafiti Tapes impresario, Luca Lozano, rolls up to Hypercolour with a 12″ par excellence of genre blending, future dance grooves. Leaning on his Sheffield upbringing, it’s of no surprise that the break beats, edits and bleeps of his native city seeps into his own forward thinking productions. Having racked up some super releases for Sex Tags UFO, Optimo Trax, Crème Organization, alongside his own imprints, Lozano really impresses on his Hypercolour debut. "Gun Fingers" is a strictly heads down affair, luscious synths, tantalising breaks and heavyweight B-line sandwich in-between pounding kicks for a classy cut, whilst "Calling All Dancers" is indeed a call to rave, laced with the familiar components of a golden era of UK dance, that never slips into pastiche, instead sounding fresh, vital and relevant to the times. Kindred spirit, DJ Sotofett, weighs in with two versions of "Gun Fingers" exclusively for the vinyl edition of this release. Those who know Sotofett’s killer style will know the score here, and he certainly does not disappoint. And those who spent time chasing around motorways and A roads in search of the party will most definitely know what’s up on this set of remixes!


Digital Shades

    Digital Shades is an ongoing ambient series from acclaimed French musician M83. It was released in 2007 and features only founding member Anthony Gonzalez.

    Inspired by Eno and Krautrock in its many forms, M83 focused heavily on subtleties and atmospherics during the writing process.

    Listeners will find the same textured richness throughout the Digital Shades series as can be found on all of M83's releases. And while not a categorical sonic shift, Digital Shades follows its individual elegiac, lunar and dream-like path.


    Ltd LP Info: 180g vinyl.

    Four reworks lifted from the expanded edition of Maribou State’s debut album ‘Portraits’.

    Remixers include Axel Boman (Studio Barnhus), Ross From Friends (Breaker Breaker), FYI Chris (Rhythm Section) and Glenn Astro (Tartelet / Money $ex). 


    12" Info: Comes in plain black sleeve.

    Lubomyr Melnyk returns with his new album ‘Rivers and Streams’, the embodiment of his signature style.

    Ukrainian pianist Lubomyr Melnyk has often felt that his unique Continuous Music playing is akin to water – flowing and ever connected. As he further developed his technique, and the more the notes flowed, the closer to water he felt. “I found my hands and arms and everything inside them changing from normal muscle and flesh to well... water.”

    With his latest album, ‘Rivers and Streams’, Lubomyr focuses deeply on this connection to water, to the point where the music itself begins to embody its liquid form. Produced by Robert Raths and Jamie Perera, the album flows seamlessly from the live recordings of ‘The Pool of Memories’, captured in a church, to pieces entirely born in the studio, such as ‘Sunshimmers’ and ‘Ripples in a Water Scene’, which feature Perera on acoustic and electric guitar.

    Amorphous, ever-changing, Lubomyr as performer becomes subsumed into the natural ebb and flow of the keys as the album drifts between nascent upstream trickles and deeply reflective passages through winding river valleys. The album reaches its climax in ‘The Amazon’, a 20-minute piece dedicated to the world’s largest river. Raths invited Korean flautist Hyelim Kim to guest on the first part, before Lubomyr closes the album with cascades of arpeggio figures, stretching across the breadth of the keyboard with rapid virtuosity.

    Following on from 2013’s ‘Corollaries’ album and last year’s ‘Evertina’ EP, Lubomyr’s latest offering compounds upon his existing fluid signature style, and breathes an organic vitality, both nuanced and thoughtful.

    "In the body of the Continuous Piano Master, the fingers and the hands turn into Water, Air and Stone. These are the three manifestations of the Continuous Technique. And for the Continuous Pianist, the fingers physically transform the music into one of these three elements.

    The greatest of all miracles in the universe is Water. It is also, I believe, the rarest of all physical things in the universe. Water is the most magical and the most mysterious of all things we know! And so I dedicate this album to the Rivers and Streams of this world – in gratitude for their Beauty!“ – Lubomyr Melnyk.


    Barry says: Another beautiful release from Lubomyr Melnyk, creator and practician of what he calls 'Continuous Music'. A technique in which constant notes are played throughout the pieces, creating a driven and dynamic style. Despite being continously playing, Melnyk manages to imbue these pieces with a certain delicacy when needed, reminiscent of Labelmate Nils Frahm, these tracks are beautifully nuanced and outstandingly performed. Gorgeous meditative modern-classical.


    LP Info: Black vinyl edition.

    Deluxe LP Info: Limited coloured vinyl edition.

    Mistakes Are Ok return to the delectable Hivern Discs, Barcelona's finest purveyors of left-of-centre dance music. A label adored by those who follow it and who's artist roster always introduces new talent and never rests on its laurels. Mistakes Are Ok is Franc Sayol, one of the men behind this iconic label. "Forgiven" is weighty, slow motion trance music; thick, chunky beats galloping through effervescent pads and vivacious keys. Direct and succinct in its arrangement, there's little chance for respite bar a small but spine-tingling breakdown almost exactly halfway through the track. Great stuff. Completing the package, we get two very interesting remixes courtesy of a producer simply going by the name of Edward (who's actually got quite an impressive discography, linked to Giegling and Dubplates and Mastering). The first: "Alternate World" remix flips the track completely and sends us plummeting into an enchanted rainforest. Loose conga rhythms accompanying ethereal sound fx and gushing celestial winds. Psychotropical to the very last beat this is some out-there craziness that no home should be without this festive season. Flip and we get Edward heading in a new direction - the mainroom! A full frequency rub-down of the highest order, this is one of those hi-tech tracks that sound amazing across the Funktion1 / Void soundsystems. Urgent, repetitive, and very, very techy, the epitome of fine club science. The 12” comes wrapped in beautiful artwork by Australian via Berlin illustrator Elliot Beaumont. Hivern Discs always sell out super quick so move fast if you want a piece of the pie...


    Ltd 12" Info: The 12” comes wrapped in beautiful artwork by Australian via Berlin illustrator Elliot Beaumont.

    Stephen O'Malley


    Barry Says : Stephen O' Malley, formerly involved in all the projects dedicated to all the subgenres of drone/classical/dark ambient (Sunn o))), Aethenor, KTL, Khanate, etc) presents this, his latest incarnation.

    "Gruidés" is a collaboration with the French improv orchestra, ONCEIM and is very much a longform drone piece dedicated to texture and weight.

    Overtly sustained notes on all instruments ( special shout-outs to Xavier and Louis, clarinet and trumpet respectively) build atop each other slowly, sometimes dissonantly to create an increasing magnitude to the piece. Though the notes themselves are not changing, the organic sway of breath, or hand on the instrument lends it a living feel.

    The second side presents a slightly more airy and spacious affair (within reason), clangs of wood and surpringly small sounding, yet strangely jarring bells pierce the washing pulls of strings. Shockingly candid, and visceral, this piece even more than the last displays a fragility and finity not often seen in classical music, and to stunning affect.

    Through classical methods (and instrumentation), and the intensity of drone, "Gruidés" presents an initially bleak outlook, but glints beneath the surface. Shining and stunning, this is a modern classical masterpiece, a fascinating and life-affirming journey, and is one further notch in the extensive musical bedpost of Stephen O' Malley.

    Back in 1991, the mighty Steve Poindexter introduced Kareem Smith to the world via this four track co-production on Saber. The duo dropped a fearsome EP packed with mechanised aggression and dancefloor precision. With the full array of Roland kit taking care of the rhythm section, Poindexter and Smith take aim at the dancefloor via the stripped back jack of "NB Battle Track", a heads down stomper driven into the redzone by some swirling static and a distorted bassline. "Digital Clubhouse" offered a change of pace, injecting deep soul, neat strings and rubbery bass into the saturated sound palette, near enough setting the blueprint for the most on trend producers around today. Over onto the flip and "America's Most Wanted" blasts off into the stratosphere with a "French Kiss" style sequence and some precision engineered percussion laying the foundations for the kind of spacey lead lines you'd expect from a Prescription classic. All that remains is for EP closer "To The Motherland" to absolutely slay us with a booming tribal groove, spine tingling organ line and concentric bassline. Arguably the most musical of Poindexter's releases (I imagine that's down to Kareem Smith), this falls right into the secret Chi-town weapon category.

    Supported by: Deepbass, Slam, Riva Starr, Meatrik/Maceo Plex, Matt Cooper, Signal Deluxe, Angel Molina, Mord, Pascal Feos, Raphael Dincsoy, Single Man, Joseph Capriati, Markantonio.

    In the words of one Leon Paddock - 'got any acid tekno ket bangers mate?!'

    Yes we have. A madness.

    One side - 4/4. T'other: cyclical, broken machine-code beat, a la Surgeon, Chain Reaction, Female, Hessel etc. Functional club weapons for DJ's on the front lines. Tuff. 

    We've been waiting ages for this! After a 2 year hiatus, Jay Simon's Must Have Records (now based out of Atlanta) returns following the success of Seven Davis Jr's debut "One EP" with the debut EP from another new artist. Renato P is a 23 year old self taught musician from the Boston metro area. Hip-hop, soul, Brazilian and house influences meld to create a sound all its own. 6 songs ranging from sample based hip hop, to deep jazzy house. Fans of Kyle Hall, Al Dobson JR, Theo Parrish, Floating Points, BE etc are probably already over this; and if not - they should be! But this is no inferior effort to mimic said artists, Renato P's got some skills of his own. What was it Tim Sweeny said? 'Unique sounds for unique individuals' - well I'm sure 'ol Tim will be beating his drum in space when he hears this amazing EP. Brimming from start to finish with MPC greatness, xylophone lines Roy Ayers'd be proud of and some lush keyboard work that recalls the west coast prowess of Dam Funk. There really is something for everyone. Most recommended.


    Two Ways - Coloured Vinyl Edition

    London-born brothers Ben and Tom Page return from their travels with Neneh Cherry with a crisp new black-and-white split colour vinyl 12”, the James Holden-produced two track celebration of synth and drums "Two Ways". Accomplished jazz drummer Tom also plays in Holden’s own live band so Border Community provides a fitting home for his live take recordings of the RocketNumberNine brothers’ in-the-moment improvisations, capturing them at the peak of their performative powers. "Two Ways" sees afro-tinged percussive melodics and a beefy bass component build to a wild and joyful free jazz crescendo. The insistent rave stabs of flipside "Balance Of Imbalance" meanwhile power ahead noisily over judiciously placed atonal metallic clangs and the frenetic rattle of Tom’s vintage drum kit.

    House tag-team Siggatunez & Oliver Bernstein dive through the ropes and lay the smack down on their second collaboration, picking up exactly where they left off on the "Funkplace EP" with four raw, deep and funky cuts. "No Life Without Hustle" is a drifty and funky house groover which opens the EP with big chords and some sluggish claps before chunky guitar and rattling percussion blast us off into the future. On the surface "Dreamcatcher" seems to be a simple combination of classic deep house chords and sampled piano, but look a little closer and something stranger lurks beneath. A stomping kick drum and weird, dark and cosmic athmospherics lead into the first break where some piano chords appear from nowhere, and in the blink of an eye "Dreamcatcher" changes from a basement-stomper to a hopeful deep house track full of filigrane elements flying through the room. B-side opener "Gotzkovsky" is deep, soulful and meditative house born out of luxurious piano, drifty percussions and a deep sub bassline. EP closer "Chill My Hand Like That" is an ode to music and vinyl, composed out of samples recorded directly from vinyl into an MPC. It starts with the main pad/electric key sample which flows during the whole track. After some loops a very wise man, you might know, starts talking about what music and vinyl means to him.


    MSMSMSM / Vyzee

    As well as reissuing his monster hit 'Lemonade', Numbers hit us with a couple of new Sophie 12"s to get the dancefloor jumping. Samuel Long asks Carol for perhaps one consonant too many on 'MSMSMSM'. He's never going to make a decent word out of that, but he has made a EDM / trap / booty bass banger for the shape-throwing youth. Flipside cut 'Vyzee' is the tweenie child of 'Pump Up The Jam', an electro house jacker with cute / creepy girl rap.


    12" Info: 12" comes in plain black sleeve with white screen printed Sophie logo.

    After launching almost exactly a year ago with the blink-and-you-missed-it "Far East Transcripts I", History Has A Tendency To Repeat Itself returns with more house rarities mined from the brilliant brains of Soichi Terada and Shinchiro Yokota back in the early 90s. Soichi Terada kicks this classy EP off with the deep, rolling and rocking house of "Tokyo XXX", a solid floor burner complete with sustained strings, chopped rawk guitar and esoteric, exotic vocals. The tempo drops a touch for the bubbling, feel good groove of "With Whom I Wanna Be", a boogie tinged house cut in a Peech Boys style which did damage for Regisford and Humpries back in the day. We turn our attention to Shinchiro Yokota on the flip, getting deep and downbeat with the low bpm house/street soul hybrid "How Does It Work". A subtle beat and ambulating bassline pack more then enough heat to move your feet, but it's melody which wins out here, as gorgeous chimes, soulful piano and Oriental synth riffs deliver bags of ear pleasing flavour. HHATRI turn to newcomer Anthony Brooklyn to close the package, offering a peaktime refix of Yokota's original. Pushing the tempo up to a shuffling 120bpm, Brooklyn incorporates elements of the original alongside filtered disco samples and vocal snippets to deliver a retro tinged mainroom excursion for contemporary floors.

    Simon Fisher Turner

    Shishapangma - Inc. DJ Sprinkles Remix

    Unexpected, but totally in keeping with the open minded, art-informed ethos of the imprint, the latest release on Comatonse sees Terre Thaemlitz pick up an eleven minute epic from Simon Fisher Turner, backed with a subaquatic Sprinkles mix on the flip. Composed by Fisher in 2013 to accompany Captain John Noel's 1924 film "The Epic Of Everest", "Shishapangma" is a sublime and hypnotic journey into a distant dreamstate of ambient electronics. Underpinned by a rumbling sub bass, the track sees twinkling sequences dance around glacial synth drones while warm woodwind and eastern strings suggest a distant climes. On the surface, Sprinkles Deeperama mix retains the glacial majesty of the original composition, but dig a little deeper and you'll see the producer has lit a fire deep in its belly. Driven into the heart of the post peak haze by precise percussion and a typically deep bassline, this remix works itself right into your cerebral cortex, wrapping subtle sequences and jazzy woodwind around your brain stem and locking you into its endless rhythm. Simply put, this is sublime.

    Freaky and seductive club studies from NYC producer Via App on the freshest label to come out of Vancouver's THC-laden streets, 1080p. Disparately-sourced vocal samples, twinkling synths, and creeping basslines converge and tangle on this unique producer's cutting table. "Baby K Interaction" takes an almost-recognizable vocal snippet and basically fucks the shit out of if (if you'd pardon my expression) while pouring lashings of analogue goodness, deep bass and fizzing percussion into the mix. "7 Headed" takes cues from Detroit's burgeoning sludge scene and rolls out some gritty, sub-110BPM house dirg. Mainframe glitching melodies, dark buzzsaw bass, and glacial, ghostly vox all joining in the demonic la danse macabre. Flip and "Sunkissed" powers up the pistons for a more high speed ride into chaos. Torn apart vocal delays and penetrating sine tones layered over an uptempo and tuff-ass beat. "Poison" gives Rustie a run for his money as Via App displays an uncanny prowess for head-mangling electronics and disorientating soundscapes, finally bursting into a pummeling 4/4 power-romp towards the end. Finally, "Set You" takes the dark, technoid blueprints of LIES and Trilogy Tapes and sets about making something equally as disturbing. Mechanized, cyclical, foreboding sounds from this out-there-on-his-producer. 1080p have scorched out another belter. Recommended. 

    Music For Dreams release their second 12 inch this year from Danish duo Visti & Meyland. Continuing their current passion for writing "real songs", Visti & Meyland are back with a larger than life anthem of love, melancholy and thoughtfulness. "Sharing The Light" has a dreamy vibe in the verses and hits back hard with a Bobby Womack-esque chorus born out of Meyland's Jekyll and Hyde vocals. Carried by a 70's drumbeat, hypnotic electric bass line and an out-of-tune piano, this track has an emotional, warm and star-gazing feel to it, though still maintaining the heavy, rock-solid grooviness that the Danish duo are known for. On remix duties Payfone calls the shots and demonstrates his power, turning the track into a modern Paradise Garage-inspired DJ tool. "Girls On Camera" is the second track and a sure fire Balearic club monster combining "E2E4" style arpeggios with French Kiss style stabs making this package essential for any collector of open minded Balearic sounds.

    Brawther and Alixkun present a collection of 15 underground Japanese house tracks from the early days of electronic dance music, back when the genre was sweeping across the globe. Ahead of a related documentary project titled 'HOUSE' in Japanese characters, the compilation is the first to showcase the works of Japanese house on an historical and global level, with classics and rare as a hen's teeth tracks. Carefully selected by Brawther and his sidekick Ailxkun, this is a nectar of deep grooves and blissful melodies that form the blueprint of the Japanese house sound. Legends like Soichi Terada, Yukihiro Fukutomi or The Ecstasy Boys are back to back with unsung hearoes like Takecha, Magic Ware or Katsumi Hidano. Aimed at the house music lover and overall music enthousiasts, this compilation is the one stop shop of all things early Japanese house, unveiling the mystery behind it all and shining a brand new light on it, dusted and remastered, for your listening pleasure.

    London brothers Austen & Scott, better known as fearsome production duo Brodanse, launch this new special ops branch of their Danse Club label with a quartet of heavyweight club bombs from John Jastszebski, Lauhaus and Polder. Young Parisian producer Jastszebski kicks the package off with the immersive and driving house sounds of "Berceuse". This wall shaking main-roomer pairs techy stabs and solid kick with rattling percussion and cinematic pads, delivering a body moving sound primed for Berghain and Concrete. Longtime label associate Lauhaus takes the controls for our next two trips into the smoke and strobes, taking all the best elements of minimal techno (ketty fx, twitchy funk, general heads down brilliance) and fusing them with the rather more dynamic sound of tech house. "Spoof" sounds like a hallucinatory excursion into a run down robotics factory while B-side opener "Dust Devil" is the deepest, funkiest downfloor roller you'll have the pleasure of dropping all year - seriously, this one is screaming out for a Funktion One. For the EP closing "Ambulate", Lauhaus is joined by compatriot David Labeij as the duo don their Polder moniker for a groove-heavy house excursion into the post peak which comes correct with frazzled sonics, subaquatic fx, rubbery bass and insistent percussion. Molto bene!

    Austen and Scott fire up the Danse Club press for another batch of prime-time floor flayers, this time from the hands of Tuccillo and Tom Ellis, who snatch a side each to smash it out the park. The Italian stallion wins the toss and elects to kick off, taking us right into the beating heart of the peaktime throng with the solid gold groove of "Outbrain". Ticking boxes all over the place, the track boasts a killer bassline, infectious, ever changing percussion, freaked out samples and a vocal snippet which may well be an auditory hallucination (you guys will have to let me know if you hear it too). On "Globo" the percussion retains that ADHD twitch, while a subby and circular bassline lulls you into a deep trance state. There's a hint of NY house in the keyboard vamps but the muted and strained sound suggest a more lysergic influence. Over to the flipside and it's Tom Ellis who's manning the controls, pilfering the bassline from Gino Soccio's Italodisco classic "Try It Out" to create the MASSIVE "WDT". Ably assisted by some grooved up percussion, the superb bassline gets your body moving in all manner of ways while the wonky, funked up keys and lysergic details recall the likes of Minilogue and recent stars Alex & Digby. It's had us all dancing round the shop this morning, and I'm certain it'll garner similar results in the club. EP closer "Breaker Breaker" takes us to a deeper, but no less groovy place, as Tom tops a rolling bassline and swinging percussion with raspy sax licks, completely nailing that heads down after hours vibe when things get loose and loopy.

    Various Artists

    House Of Ages - Classic, Rare & Unreleased Dance Music Selected By Jeremy Newall

    Back in the early 1990s house music was having perhaps its most fertile and creative period. The original house from Chicago had blown up back in the 80s and left nothing short of a cultural revolution in its wake, with regional variants springing up all over the US, the UK and Europe. London in particular was a global hub for house music, with a whole slew of clubs and a long established underground scene that had taken house to its heart. A key mover-and- shaker was a young Jeremy Newall, who worked successively at a whole bunch of record stores including Catch-A-Groove, where the likes of Tony Humphries would come and hang out when in town (Humphries used to record his shows at a flat above the shop with a wide-eyed Jeremy soaking in the vibes), and latterly Release The Groove, where he could be found well into the twenty-first century. A close association with Paul ‘Trouble’ Anderson saw him repping for the big fella when Trouble was unable to do his Kiss FM radio show, and as the resident alongside him at Trouble’s much loved Loft Sessions in Camden. He also played on many pirates, at all the best parties in London, Europe and beyond. Jeremy’s position as the go-to guy behind the capital’s hippest record store counters saw many visiting US jocks passing him records that barely saw the light of day in a scene where superb new tunes were coming thick and fast. Therein lie the roots of this compilation … a collection of overlooked, unreleased, and just hard-to-find gems to put alongside some of the better-known and overplayed classics of the era.

    With Jeremy’s beloved New York vibe predominant, there are also productions here from Chicago, the UK and elsewhere. Some tunes which DID hit relatively big back in the day like UBQ Project We Can Make It and Susan Clark Deeper are represented here by alternative mixes (the latter from the criminally under-rated Benji Candelario); those who only know of Roger Sanchez as a bigroom commercial producer/DJ might be surprised to know that his early days were marked by some of the deepest productions around (check his mix of Tribal House Mainline); ditto Sandy Rivera, here in his early KOT persona, while an unreleased track from ‘Mad’ Moses predates his mid-90s heyday. UK house hero Jimi Polo’s Take Me Higher only ever appeared as a poor quality bootleg, while Hollywood Beyond’s track became a classic at New York’s Shelter club and is revived for no better reason than it’s due a revival. There’s an early track from Soul Dhamma that never came out, linking this to the later ‘90s period, Jeremy’s own exclusive mix of Karen Anderson I Work Hard To Love You, and much more besides, all evoking an era when house’s roots in black music and affinity with disco were far more in evidence. Which, for anyone directed this way via ‘EDM’ explains our kinda ‘spiritual’ title … because, kids, house music, it’s a spiritual thing…

    JUST IN: Seb Wildblood - Submarine - Inc. Project Pablo Rem... |
    Tue 1st - 3:40
    JUST IN: Samoyed - Saturday / Flask |
    Tue 1st - 3:11
    JUST IN: Brent Dowe & The Gaytones - Soul Makossa / Reggay ... |
    Tue 1st - 3:11
    JUST IN: Vaughan Mason And Butch Dayo - Feel My Love / Salsoul |
    Tue 1st - 2:55
    JUST IN: Candido - Dancin' & Prancin' - Expanded Edition / ... |
    Tue 1st - 2:55
    E-newsletter —
    Sign up
    Back to top