house . techno . electronica . ambient . neo-classical


Genre pick of the week Cover of Only Human by KH.


Only Human

Form an orderly cue please. After months of agonizing wait following exclusive plays across Boiler Room and sneaky blasts leaked via the WWW, Four Tet finally releases "Only Human" to raptous adoration.

If you weren't aware of this, prepare to be amazing as the legendary producer manages to wrap Nelly Furtado's "Afraid" vocal around a DC-10 / CircoLoco / Villalobos friendly terrace groove that percolates harder than Ancoats Coffer in morning rush hour.

A sure fire hit for the Big Days Out across the UK summer and open air raves across the globe, they don't come more hyped than this folks! Move quick!


Patrick says: Four Tet adopts his KH moniker, turns the vocals from Nelly Furtado's "Afraid" into a pseudo-African chant and creates the biggest system rinser of 2k19! Massive! Flying off the shelves right now so get it bought! #nellylovesapinger


12" Info: One sided 12".

A set of on trend remixes are presented for our listening enjoyment on this latest 12" from Swiss collective Alma Negra who enlist Bambounou, Glenn Astro and Michal Turtle to remix a trio of tracks from their exquisite catalogue.

First up, "Kabare" is deftly transformed into a deep rooted percussive workout, subtle nuances in the various hits providing a natural push-pull to this most tribal of rhythms.

Money $ex boss Glenn Astro provides a nice downbeat rub-down of "Haleto Lale Lalo", resplendent with humming organ lines, punctuated with his MPC and decorated with analogue swirls and fx. It's delcate and poised and really quite beautiful.

Finally, Michal Turtle injects "Tany Be" with a certain level of horizontal sophistication only he can muster. Unusual drum patterns reminiscent of Wally Bandarou's ""Echoes" cascade under lounge sax and twangy bass; while the odd suspended jazz chord keeps us in titillated suspense. This is really good folks.


Matt says: One of the more spellbound releases of the week; a choice selection of remixers breathes new life into three Alma Negra tunes and turns out a beauty of a 12" in the process. You need!

Baldelli needs no intro. A veteran in the music making scene deliver 4 slabs of cosmic beauty. This time his partner in crime is Dario Piana. Together they forge the very solid and clean 'Double Yellow Line'. Cosmic keys and effects are dropped with not warning on a bad boy bassline and a chuggy balearic house beat.

Followed up by 'Just The Time Of A Trip', which ups the tempo and adds some crazy psych, almost jazzy synths on top to keep the fun going. 
On the B Side, we go full cosmic journey with the aptly titled 'Cosmic Mood'. The tempo is slowed down again and a beautiful melody meanders in and out to produce a classic Baldelli futuristic trip.
Closing affairs is 'Closer To The Source'. A very nice chugger with a heavy bassline and gorgeous synth keys. Some vocals sample with heavy reverb and echo effects thrown in to complete what is my fave track of the pack. 
Classic Baldelli sound that shows the man is not ageing badly. 


Sil says: Baldelli in true form delivering 4 tracks of blissed cosmic cum balearic house with the help of Dario Piana. No surprises here if you know Baldelli's game. But that is not a bad thing if you love his take on cosmic house.

Saint Petersburg habitant Pasha Mikheev aka Cable Toy drops some serotonin-flooding rave breaks here for Low Budget Family.

Former game soundtracks and ad music maker, he found himself attending dance parties more frequently in recent years, and eventually making dance music himself. After some time he started throwing parties at Tancploshadka club in Saint P, touring around Russia and quite often playing at Denis Simachev Shop & Bar, so it makes perfect sense that his first record appears on the affiliated label.

Kirill Ivanov, frontman of a Russian indie pop band SBP4, provides the only vocal snip on EP opener, "Doktorhaus" - a mainline acidic injection with classic 'jack' drums and killer B-line.

"Mc09 Jam" turns up the sfx generators for a lysergic trip into the mixing desk. Somewhere between an Idjut Boys' brain melter and a Ron Hardy sherm blast this is the one to confuse the dancefloor.

Two versions of "Boden" follow, the first featuring Lipelis which is a heavenly slice of paradisical house; somewhere between Andras Fox, Mood Hut and Telephones - all resplendent with that sun-reflecting-off-the-ocean sensibility.

"Boden Pt.2" is a peak-time banger with a vintage, 'Gat Decor'-type feel featuring a beautifully rubbery B-line and delish bleep and string sequences that take it right into coastal decadence and give it that proto, '88 Balearic flavour too. Proper. 

“Human Potential Movement” is the second release from Chaotic Reality since his first self-released 12” “CHREAL01” which received support from Samuel Valenti (Ghostly), Project Pablo, Eclair Fifi, Coby Sey (Whities) and Telfort. In this follow up EP, Chaotic Reality deconstructs trance music, exploring deeper meditative themes on a canvas of 4/4 dub techno. Influences like Shinichi Atobe, Ciel, Newworldaquarium, Sensual Physics and Fluxion creep into a hypnotic three-track EP which is beautifully understated yet grandiose in sentiment and feeling. Highly melodic and meticulously constructed; the sheer finesse on these tracks is nothing short of sublime. A sonic cuddle and a positive, frequency-raising motion directly into your soul - you need this in your life right now, trust us...

Carla Dal Forno

So Much Better

Carla dal Forno launches her own label, Kallista Records, with her first original single in over a year, ‘So Much Better.’ The widespread success of her debut album ‘You Know What It’s Like’ (2016) and ‘The Garden EP’ (2017) has seen dal Forno spearhead the latter years of the Blackest Ever Black vanguard. Now the London-based Australian artist turns her attention to releasing original work on her own label, Kallista Records. This two-track 7-inch record begins a bold year for dal Forno, who takes her lone kosmische misanthropy onto fertile new ground. The a-side single, ‘So Much Better,’ sees dal Forno step out from the shadows of emotional ambiguity into the vulnerable territory of anecdotal song-writing. Lyrics that echo the irrational passions of love scorned, in truth reveal a self-assured artist confessing to resentment which propels her.

Here is dal Forno chiding herself in the mirror while excoriating an old infatuate with a vocal timbre that sits among the giants: the lilting power of Alison Statton, the mystic shamanism of Una Baines and the post-punk cabaret of Vivien Goldman. The sparse production on both sides springs from the soft-pedalled cassette of covers, ‘Top of the Pops,’ which dal Forno self-released last year. Though the raw, dubbed out vision takes a back seat on ‘So Much Better,’ overshadowed by dal Forno’s fork-tongued lyrics, it is heightened on ‘Fever Walk’ with acoustic drum racks ricocheting off fizzing drones, pastoral synth textures and meandering melody in the way of Broadcast, Flying Lizards and Portishead. But the illusion of wide-open spaces belies an oppressive, hysteria-inducing humidity swelling from the studio vision of her past instrumentals like ‘Dragon’s Breath’ and ‘Italian Cinema.’

And with a nod to her old band, F ingers, dal Forno’s voice-as-instrument hacks like a machete through her endless jungle of anxiety. This two track 7-inch, the object of a new existence, reflects dal Forno’s life in London working at Low Company recordstore and her monthly radio show on NTS. All in with the history and tradition of British post-punk and independent music, she strides boldly into the abyss. So much better is yet to come...

Thick n chunky (™), vintage house music here on the ever-reliable Sound Metaphors.

Unceremoniously switching between reissues and original material, SMR01 was the first release on this burgeoning label, which has since seen Carmen, Fettburger, Instinct and Global Electronic Network all represented on wax.

This one caused so much hoo-harr when it first came in out 2016 that the crew have handily repressed it for us now. Originally, ORIGINALLY (if ya getme?) out in 1994 on Deep Groove, the "God O'Mighty EP" effortlessly delivers that classic HOUSE SOUND, via his native New Jersey. Stylistically it shares much with Terrence Parker's Intangible Records, or Pal Joey's Loop D' Loop label - utilizing classic disco and soul samples with primitive sampling techniques then bolstering with clattering, shuffled drums that really bang! It's a simple formula but few do it with some much conviction as this. Top drawer stuff that really put the label on the map - be sure to cop this re-press before it's too late. 

Don Laka

Stages Of Love - Inc. Prins Thomas Edit

Donald Laka (Don to you and I) is a South African jazz and funk musician, who spent the 80s and 90s bossing the game, working with the likes of Sipho Mabuse, Brenda Fassie, and Sankomota. In 1986 he released a four track EP, "Stages Of Love", from which this glorious synth-driven disco song is taken.
For their first release, Neppå press this killer SA boogie bomb across the whole of a side, lending the hydraulic bassline extra heft and the proto house rhythm a little more snap. Seriously, even when you get past that floor filling boogie groove, there's still the hands in the air vocal and a wild organ solo to fuck you up - MINT!
On the flipside, Norway's cosmic kingpin extends the ecstasy for a nigh on nine minute journey into this unstoppable groove, keeping us locked into hypnotic instrumental passages, adding tasteful delay and echo to vocal sections and generally doing everything in his power to hurry along the next stage in human evolution.


Patrick says: Hot like chakalaka, tasty like bunny, this South African boogie bomb will fuck up your dance floor. Mega bassline, tight percussion and uplifting vocals do all the damage on the original, while Prins Thomas' edit keeps the whole pot on simmer for twice the track length, additional elements bubbling up to make the whole thing zing.

'Oh Transistor' is dark and menacing with a thumpy, fat beat coming on strong to drag you into a hypnotic rhythm and an ondulating wave of sound with a bit of Space Invaders feel thrown in for major effect. This sounds a bit like any of the remixes that James Holden used to produce in his golden era - but without the broken intricate beats. 
'Rare Formations' is a fast house tune with a stuck and looped key that ends up making tons of sense when the bass kicks in. You could also drop 'Midnight Express' by Patrick Cowley (I think that is who made it) and it would work wonders. Same bmp. 
As it is mandatory with a four tracker, there is always a slowed down track. And this is the one. A nice welcome after all the rush and sweat on the A side. This one is a bit trippy in a good way. Playful and groovy. 
And the same vibe goes for the closing track 'Cascade' It almost sounds like a Jean Michel Jarre, and that in my books is an excellent feat. 
Well rounded and diverse ep from Drumtalk. Still in form, still worth your time (and money!)


Sil says: Great comeback from the man who never really went away. Two seriously good house tracks on the A side accompanied with couple of chuggy, chilled takes for the early hours. Top draw.

Originally released on the brilliantly named Big Big Trax in 1994, Fibre Foundation's "Don't You Ever Stop" is the kind of relentless deep house bomb which keeps building and building and building - the musical epitomy of its mantra-style vocal. Think Mission Control's "Outer Limits" but refined for the club as opposed to the warehouse. Glassy/Glossy M1 chimes, bubbling bass and a skipping NY groove slot together perfectly then roll on and on, topped by that encouraging female vocal. Shout outs to Murk, MAW and Chez Damier - comes in Club, Dub, Instrumental and Bonus Beats variations.

Peggy Gou

Moment EP

International house sensation Peggy Gou launches her own Gudu Records with the "Moment" EP, a killer double header of dance floor majesty, informed by 30 years of club music and transformed into something all of her own.
The A-side kicks off with "Starry Night" (surely the only Radio 1 daytime play in history with a Korean vocal?) a beautiful fusion of emotional SAE melodies and proto house elements. The pinging bassline and punchy piano could come straight from a Prelude classic, while the sweet synth strings are totally AZN, providing an infectious and energetic backdrop for Peggy's fierce vocal. Top. On the flip "Han Pan" hits us with glassy / metallic synth melodies, a stepping rhythm and hints of island life in the lead line, once again topped by a choice vocal from Peggy. Timeless, anthemic and totally irresistible, this is another essential release from the latest house superstar.


Patrick says: How does she do it? Peggy Gou distils Prelude boogie, proto house and bubblegum style groove into a glorious two track 12" on her new Gudu Records. Featuring her bilingual vocals once again, along with a perfect combination of bump and melody, surely this is 2019's summer anthem?

Life is all about rhythms. We don’t know what we’re dancing to until we’re in so deep we can no longer control ourselves. The rhythm controls us. Right now both Guti and the Martinez Brothers are dancing to the conga rhythm. Guti’s third album, they’ve been dancing to it since the summer, teasing us with a whole slew of percussive new… And they’ll continue throughout 2019. Chance are you will, too. Eventually the rhythm will control all of us. It’s too infectious not to. Here’s the 411: ‘The Year Of The Conga’ is Guti’s third and most rooted album to date. It came about through a personal request from brothers Chris & Steve Martinez. Both unapologetic Guti fans they wanted the very first album on their Cuttin’ Headz label to be his. The result is a total reconnection back to his Argentinian foundations, his club roots and everything that first lured him to the dancefloor…

“I’m back to my roots and found my Latino groove again,” says Guti who wrote the album throughout 2018, starting it whilst bulleting through Japan by train, the majority crafted in the jungle of Dominican Republic, having collected and sampled native percussion instruments, and then finally mixing down on his return to Europe. “Every song is full of rhythm and created to make you dance…”

He’s not messing around; from the writhing snakelike percussion and rousing calls and cries of opener ‘Aee’ right through to the final mesmerising waves and farewell struts of finale ‘Voladora’ this an album is born both for and from the dancefloor. No overthinking, no purism, no exclusion; just unabashed physical hypnosis, fuelled for the floor, guided with gut instinct and years of groovecraft. It’s the sound of an artist who’s disconnected, explored and reconnected. He’s older, he’s wider and more in tune with his own pace and palette. One of the most diverse and explorative artists to come from Loco Dice’s Desolat stable, this is Guti simplifying his passions down to an essence of everything that’s magic about his roots and our shared dancefloor culture.

The highlights are in abundance; those hazy-but-persistent New Jersey organs on ‘Telling The Truth’, that wobbly sub on ‘Red Eye’, that shimmering sinewy acid line on ‘Se Baila’, the spicy pianos and wet horns of ‘La Orchestra Fantasma’, the list goes on. Each cut designed for deep mix pleasure, each cut rolling with a strong organic flavour and alluring percussive dynamics, each cut showing Guti at his most inspired, warmest, playful and ready to wrap you up so deep in a conga you’ll soon lose yourself. Cuttin Headz, cuttin straight to the chase but never cutting it fine… Let us be the first to wish you happy new year with the first ever album on the currently unstoppable label. We’ll wish you a happy new conga, too. 2019’s going to be a vintage and Guti and the Martinez Brothers are leading the charge.

After the first wave of artists that have broken the ice with their way of combining contemporary symphonic music with electronica and jazz on the European side (Olafur Arnalds, Nils Frahm, Max Richter) – now there is a new generation of young musician breaking boundaries on a new level. Especially in Germany there is a new wave of artists that bring the thing on a whole new level. These 20 – 25 year old people don't just imitate what the bigger names in the scene (the fathers) have done but develop the style to a totally different level and add new ideas instead of just copying what the older guys did. This new wave of artists have a huge musical knowledge, have studied at the best music academies, learned to play „classical“ instruments and know how to improvise on a very high level. They have been raised in 2 different world: Studied the history of (contemporary) classical music and also been influenced by what's happening in Electronica evolution of the last 25 years.

Ralph Heidel is one of these new kids in the German scene. Coming from Munich, the 25 year old extremely talented musician studied saxophone and composition at the Munich academy of music (known for being the best music school in Germany. Think Julliard or Berklee). He graduated in 2018. Leering everything about the music of 20th century composers (Charles Ives, Alfred Schnittke, Giöyrgi Ligeti etc). At the same time he grow up with the music of electronic producers like Alvo Noto, Boards of Canada, Jon Hopkins, Jan Jelinek, Four Tet since early days. And: he comes from a Jazz musicians family and has grown up by listening to the jazz collection of his father. Studied saxophone since age of 12 with a big passion for the more advanced Jazz.

In his own music all this comes together.
„Moments of Resonance“ are seven compositions full of brilliant little ideas, harmonic complexity, unheard music surprises, clever citations, dramatic evolutions, big explosive moments, meditative moments and euphoric high points. This album is an extremely emotional work of art for strings, saxophone, drums, bass and electronics.

Ralph Heidel and his 7 piece ensemble Homo Ludens connect contemporary chamber music with Electronica, Ambient, Post rock and avant-garde Jazz. On a highest possible musical level – without getting too abstract and incomprehensible.

Everything is composed and improvised. Nothing is sampled. You find wild Punk-Jazz parts that recall John Zorn or Mahavishnu Orchestra and romantic passages that make you think about European impressionistic composers like Ravel or Debussy. But nothing is imitated, everything gets broken up through an expressive new way of using harmonization and melodic composing. Sometimes the band flies through an ambient and drone universe but one moment later the music evolves into an explosive, impossible to describe musical moment. One of Heidel's biggest ability is to melt electronic and organic elements into a new unheard sound.


How I Made My Mom & Sis' My Sexbot Slaves

Repress of this highly sought after 7" from Brothers From Different Mothers - a painfully hype label showcasing the best of the modern shamanic and esoteric warehouse music scenes. Think Pilotwings, DJ Normal 4 and this, tasty double-A side 7" release from J-Zbel.

One track split across two themes; "ZHF" first comes as 'poppers mix' which aptly describes the hazy, strobe-lit flair and disorientation after a massive hoof of the world's favourite room deoderizers whilst this fractures and very technoid breaks journey unravels behind the backdrop of narcosis. Expertly constructed and arranged for maximum drama on all-nite dancefloors, that wide-screen, 'rainforest breaks' sound also favoured by the Aiwo lot is perfectly reprezented here.

Flip for 'gale mix' of "ZHF" which ditches any expansive psychedelic qualities for a snarling 303-driven acid bangers. There's still lashings of breaks, but overall the vibe is much proggier and conjures up images of filthy warehouse inhabited by militant mutant dancers all locked into a united, coital throb.g


Matt says: Space breaks and earth core tekno from the one of the market leaders in leftfield rave music. Cult collector item this from Brothers From....

Cin Cin’s fourteenth release sees the DFA label mainstay, The Juan MacLean, paired up with Zombies In Miami. Nods to British synth pop can be heard on lead cut “Time Out Of Joint”, with its jubilant and optimistic melodies tied to a robust drum machine groove, whilst Juan’s second contribution, “Everywhere At Once” unfurls with a carnival of sound and a spring-like tone that’s perfectly fitting, as bright keys and synth brass tumble forward in this colourful triumph of a track.

Zombies In Miami have been omnipresent on the scene for quite some time now, releasing their infectious music on labels such as CORRESPONDANT, Love On The Rocks and Futureboogie. “Lotus” is some serious business; heavy cowbell hits and a rasping arp riff that packs a punch, it’s production sheen straight out of the 80s soundtrack books! “Dance Of Gopis” has techno chops at the heart of its chugging and dubwise arrangement; it’s a bold cut that features swinging guitar riffs, walls of synths and towers of noise for a truly splendid closing moment on this release.

Kenton Slash Demon return to Tartelet Records with "Zstring", with remixes by Urulu and Kasper Marott. 

Kenton Slash Demon have always had an affinity for uplifting melancholic tunes and "Zstring" cements their ability to create just that. The track oozes with dancefloor euphoria, offering up a distorted arpeggio bassline, lush pads and layered melodies, all built around a tight and ever-changing groove. There are clear references to Italo disco, early techno and trance, but it’s hard to pin down the exact style – if that even matters.

On remix duties, man of the moment and label collaborator, Urulu, delivers a fresh take in his signature early 90s style, while local hero and close friend Kasper Marott of Monkeytown fame comes through with an obscure melodic techno workout of the finest sorts.

After turning in a wall-shaking remix of Essaie pas last year, Romanian production duo Khidja present their first EP for DFA. These four tracks are deep, spooky heaters - think John Carpenter in the club, with industrial basslines, frenetic melodies careering a bit out of control and vocals echoing from the corners of the room. The duo’s signature throb runs along all four tracks, influenced by their time spent in underground scenes in Bucharest, London and Berlin, as well as an emphasis on the jagged sounds of hardware.

Having established themselves with previous releases on labels like Hivern Discs and Malka Tuti, Khidja get darker, dubbier and more twisted on "In The Middle Of The Night". We find the record in the witching hour and the tracks represent the cycle of night-time mentalities, revealing the various directions the mind can wander in the place between consciousness and unconsciousness - mania, paranoia, even boredom. It all makes for a raucous dancefloor experience, with the duo bringing something new and heavy to the DFA roster.

For fans of John Talabot, Severed Heads, Factory Floor, Front 242, Andrew Weatherall.

Kone Kone kick off the India Gets Physical with an ace dancefloor cut inspired by Salma Agha's "Come Closer", complete with remixes from Reboot and Todh Teri (who will be curating and mixing the bumper forthcoming compilation). 

Mumbai’s Kone Kone has an unconventional DJ style, creating audio-visual productions that are “a new route to discover old media.” Kone Kone's electronic sounds explore Indian musical practices with a lo-fi finish, including references taken from disco, funky basslines and rolling toms. This superb latest track is a tribute to Indian cinema’s ‘80s dance music.
Entitled "Come Closer," it is a brilliantly loose and louche house track propped up by elastic bass. A whole world of instrumentation and exotic percussion enrich the groove while female vocal coos and soulful pads bring rich colours to lift the listener.
Remixer Todh Teri is behind the acclaimed Deep In India release series and is at theheart of the revival of Indian cinematic sounds, where Bollywood sounds are reworked
for the modern dance floor. His brilliant version has heavier drums doing big loops and pulling you further in each time as the synths bring cosmic vibes. Last of all, label stalwart Reboot’s Muscleflexx Remix is darker and more edgy, with late night dance floors in mind as the pulsing synths and slippery drums gradually unravel.

Krystal Klear

Euphoric Dreams / Miyoki

Krystal Klear continues his permanent residence in 'anthem' territory following mahoosive hits "Neutron Dance" and "The Division". "Euphoric Dreams" is tailor made to milk that serotonin gland, it's bright, ascending shard patterns perfectly elevating the fizzing synth elements and charging 4/4 beats into a peak-time spine-tingler. Yes mate.

"Miyoki" channels the spirit of Euro disco with its vintage gated drum hits and galloping arpeggios. A killer chord progression and lavish sfx further decorate this pumping, stadium pleasing number. Krystal Klear continues to keep the global dance party alive and kicking in 2019!

Technological force-of-nature Leafcutter John teams up with fellow stalwarts of idiosyncratic electronica Border Community for the release of his masterful seventh artist album: the small-yet- perfectly formed joyously utopian artefact ‘Yes! Come Parade With Us’.

Interweaving layers of lyrical modular synth and occasional guest drums (from Tom Skinner and Sebastian Rochford) with a set of field recordings collected during his sixty mile walk along the Norfolk coastal path during the summer of 2017, these seven bright-eyed folk anthems sing with positivity and a sense of place and see Leafcutter John on career-defining form.


LP includes MP3 Download Code.

Sound Metaphors treat us to another dance floor romper here, rescued from rarity and put back into the hands of working DJs everywhere. Conceived in Spain in 1989, Madrid Groove's sole 12" fuses jacking percusion, sampler vox, acid touches, flamenco guitar, huge pianos and driving basslines into a trio of summertime house killers. The titular "Arsa" is the most maximal jam here, somehow finding a way to marry Chicago piano madness and extravagant flamenco guitar solos over a bass driven house track. On "Madrid Groove" the team drop the chopped up sampler vox, synth brass and a body jacking bassline for some serious h-h-h-house music. If you're looking for something slightly more subtle, B-side jam "Suave" twists a new melody out of "Love Honey", lets the bass bubble under the freestyle-tinged beat then tops the whole thing with a sultry spoken female vocal. The B-side's the winner for me here. Boasting pristine restored audio and a nice remaster, this is ready to rule the dance floor once again.


Patrick says: Latin house insanity here featuring flamenco guitar, massive pianos and all the period features you know and love. Flip it for "Suave", a more subtle take on the same style with spoken female vocals for the ultimate club seduction.

Wall of sound made of unadultered bass is what Mark Broom serves you today. Piano looping exercise a la Sound Stream and those vocals! That mega high pitched Patti Labelle's vocals lifted from her The Spirit's In It' uber known disco hit. This one is a belter and definitely peak time, big room artillery. 
Mighty Mouse focuses more on the vocals and a very long climax build-up that ends up with a chunk of Labelle's original followed up by a heavy house beat Derrick Carter style.  
This one is a summer banger, Terraces, clubs and festivals will be playing this one well loud. What about you? 


Sil says: Mega disco hit given the house treatment for the big club scene and the daring bar dj. Mark Broom steals the show effortless for us, giving you all the parts in due course. Not all at once. Give this bad boy a listen.

Fabio Monesi

Let It Roll

Wilson Records is back with two killer, rough dancefloor cuts, directly from Fabio
Monesi's archive, with a special 12" for the record store day 2019.

"Let It Roll" combines frenetic hand claps, evocative French spoken word vox, rising pads and a shattered and saturated recorded medium for a typically ruff and direct exercise in primal house musica.

"Vanishing Love" sees a hook and loop Moodymann or Theo would be happy with, layered across the trusty pads of the MPC and bolstered with extra drum hits. This is a 100% certified sample-house banger folks - essential for fans of Kyle Hall, Bastien Carrara or Eddie Danielle.

For their sixth release London based record label and clubnight Snap, Crackle & Pop return with another slice of the nu-EBM and Kraut influenced electro & techno sounds that are coming to define their label. The latest release comes from Niv Ast and it serves as a follow up to his appearance on this summer's Relish compilation. The EP leads with an ice cold slab of electro-punk aggression in the form of "Quebec / Makolet" which gets the remix treatment from previous collaborators Khidja. The Romanian duo strip the percussion back for the dancefloor and tease out the track's darker side with more than a hint of acidic malevolence. "Disco Monroe" sees some darkwave French electro ride the record's grooves into a pitch black, popper-reeking sex dungeon. Optimo Music's Mr TC rounds off the EP with his unmistakably leftfield vision to give the track a dark, tropical re-imagining.

O Yuki Conjugate

Insect-Talk - Inc. Tolouse Low Trax & Howes Remixes

Following releases by Trevor Jackson and Jack Latham (Jam City), this new 12" on Utter features a rare alternate 'Dry' version of legendary post-industrial group O Yuki Conjugate's "Insect-Talk" from their 1995 album "Equator". Alongside this long lost treasure we get contemporary versions by Tolouse Low Trax (Salon Des Amateurs), Howes (Cong Burn / NTS Radio) and OYC themselves.

"Insect-Talk" is pioneering in that in 1995 it seems to have discovered the entire sonic landscape that much of the modern entheogenic and esoteric producers are occupying now. 'Rainforest'-aligned and shamanically guided, this is evocative music from another dimension but seems completely normalized in our current neo-hallucinatory, augmented reality.

German electro-goth Tolouse Low Trax is the first obvious choice for remix action; his version almost sounding like a continuation of the original's theme, his creeping, step-sequenced approach lending an even eerier edge to this already tense workout.

Local lad Howes drizzles plenty of Mancunian plasma over the stems; conjuring up a thoroughly unique version that is both nestled in shamanic and science fiction realms; if witchcraft exists on Mars; then this is what the medicine men and women are listening to whilst they brew their potions! Finally, O Yuki themselves offer up a re-vamp of the track; emphasizing its future vision through forward>>reversed paraphrasing, celestial SFX and a minimalist, ambient approach.

This is amazing! Difficult to find words, impossible not to be captivated....


Ltd 12" Info: 12" + insert

Open Mind (Joey Beltram)

The Trance

Another sure-shot legit reissue from the Easy Streets vaults. Unbelievably from 1990, this forward thinking slab of dark and moody breakbeat techno courtesy of Open Mind (aka Joey Beltram) hits the spot every time! Harking back to the glory days of Euro-techno, pre-jungle, the dark-side and all in-between.... Need we say more? The eerie atmospheres, epic synth breaks and stuttering drum machine programming combines to create the super heavy sound that early Beltram is known for and "The Trance" is one record that any serious techno or electro lover will need in their bag. Rare as hen's teeth, hard to cop and a total under the radar classic, "The Trance" is here again, and it's not taking any prisoners!

As we said before, this monster dropped on Easy Street in '90, and has been caned by the most discerning of DJ's and diggers across the galaxy ever since. Every home should have a copy of this, no collection is complete without it. A record that will never go out of style & will always do the requisite damage on any dancefloor it's dropped on. Essential.

Shout out to Easy Street, %100 legit re-issue, re-master & re-press from the original tapes, essential wax!

A 12" loaded with water reflections and 'clean' melodies, Pepe comes back with more goodies for the alternative dancefloor. His love for old school, breakbeat-ish beats are still present and we like it that way. The tempo has perhaps slowed down a tinsy bit when compared to the Fanta ep - and that is also a great improvement. 
The tempo is now at the right speed (check the excellent 'Trouble Glider' for an example of what Pepe can add to the house genre. Beautiful blue skies and waves kindly licking the sand at your feet is a great image to accompany this killer. 
And just when you got a superb ep on your hands, comes Lauer, beefs up the basline and makes it even better. 
Not much good acts come from Spain, sadly so this one is a refreshing arrival that we cherish at the Picc towers. Now, carry on enjoying that blissful landscape and thanks Pepe for the soundtrack! Buy on sight.


Sil says: Pepe brings on the sunshine as he did with his take on that sugary drink called Fanta. Now slows things a bit and makes it all even more dancefloor friendly. Lauer beefs it up on the B side too.

Mark Peters

New Routes Out Of Innerland

    Former Engineers songwriter Mark Peters pays a final visit to his debut solo album ‘Innerland’, with the release of ‘New Routes out of Innerland’, a collection of reworkings.‘Innerland’ was one of last year’s most surprising sleeper successes. An intentionally low-key album of windswept instrumentals inspired by Mark’s move back to his native northwest, it gave musical nods to Eno, Talk Talk, Vini Reilly and Richard Thompson, and first appeared as a limited-edition cassette before being expanded to a full vinyl, CD and digital release last April.

    Something about its beautiful simplicity struck a chord and slowly but surely – thanks to word of mouth, as well as the support of the likes of Lauren Laverne on BBC Radio 6 Music and positive reviews everywhere from Uncut to The Times – it worked its way into people’s hearts. By the end of the year it had also worked its way into Rough Trade’s top 10 albums of 2018 and, to celebrate, another limited edition vinyl only version called ‘Ambient Innerland’ was released, an even more introspective iteration that stripped away all of the percussion.This new version, however, is completely different. It finds Mark looking outwards, away from the bleak, post-industrial landscapes of Wigan, and inviting eight different artists from around the world to interpret and translate the instrumentals of ‘Innerland’ into their own musical and geographical languages.

    German sound artist Andi Otto takes ‘Twenty Bridges’ and turns it into a weird world music groove, the cello recalling Arthur Russell, the rhythm Holger Czukay circa ‘Movies’; Polish composer Olga Wojciechowska sprinkles stardust all over ‘Mann Island’, morphing it into a slice of febrile, filmic techno; former Disappears and now FACS frontman Brian Case wrangles ‘Windy Arbour’ into a dark, dystopian drone; as previously heard last year on a limited edition lathe-cut 7” single, Ulrich Schnauss subtly re-frames ‘May Mill’ as elegiac electronica, the kind of oddity that could have graced a Tears For Fears B-side circa ‘Songs From The Big Chair’; Moon Gangs, aka Will Young from BEAK>, climbs ‘Gabriel’s Ladder’ and finds some delicate drone’n’bass; American producer and DJ Odd Nosdam takes his experience of working with Boards Of Canada and turns ‘Shaley Brow’ into a sinister tape collage, entirely in keeping with the murky history of the locale; E Ruscha V, the erstwhile Medicine guitarist also known as Secret Circuit, converts ‘Cabin Hill’ into Balearic Blue Nile; finally Jefre Cantu-Ledesma lights up ‘Ashurst’s Beacon’ as an inferno of deliciously distorted shoegaze. All eight are so disparate and yet they hang together perfectly, resulting in an exciting musical journey to somewhere completely new. 

    Powder is an alchemist of time. Her ceremonious DJ sets invite listeners and dancers to extend their imaginations to abstracted spaces, while allowing the body to vessel the voyage in free, flowing style. Playful, thoughtful, and natural without knowing, Powder’s crates encourage abandonment of arbitrary boundaries and expectations surrounding genre, movement, schedule, and societal convention to revel, spirited and harmonious, in the passage of time.

    Momoko Goto relocated from her hometown of Nagasaki, Japan to Tokyo in 2011. This is where the story of Powder, as the international dance music community knows her, begins. With the change in location came a change in lifestyle, where a balance of 9-to-5 office life and sacred, nocturnal recording sessions invited Moko to reflect on music’s unique ability to “stop the clock” and “expand or shrink our sense of time.”

    While many workers across the world feel the pressure of artificially controlled measurements of time, Moko’s musical mission to transcend these weighty associations, to shed light on the positive possibilities of passing time, resonates far past her island’s shores. Experiencing the pleasure that comes from physical and emotional transformation. Creating and nurturing memories.

    In embracing these positive properties of time, Powder uses the hypnotic language of patterns to communicate with listener-dancers. Patterns represent the meter by which bodies are compelled to move; they also represent a method for collection and organization of sound, where the cohesive stylistic and historical narrative of different pieces of music are laid over one another transforming both intimate and universal moments into a dreamy, experiential, and endlessly interpretable whole.

    Moko notes that patterns, “are always ancillary and never playing the leading part of things, and the patterns themselves recognize this fact and act low-key.” This interpretation of sound and rhythm mirrors critical aspects of underground club culture, such as collective energy-making and protection, togetherness over spectacle, the layering of multiple bodies, and narratives upon one another in ecstasy.

    Since her debut release on Born Free Records, 2015’s Spray, Powder’s sound has flirted with numerous unconventional dance institutions and outlets, releasing on ESP Institute, Wichelroede and the Cocktail D’amore imprint, as well as regularly contributing to the latter’s illustrious mega parties. For her Powder in Space mix, Moko presents two new songs that were created within a new schedule, with summers spent touring Europe and North America, welcoming the unique experiences offered by each location.

    “New Tribe” toasts the global community Powder’s connected during her travels. Marching-band snares, breathy ostinatos, motivating chords, springy auxiliary percussion and bouncy melodic details – all Powder trademarks, coalescing into one of her most celebratory offerings yet. “Gift” is a subtler jam, shuffling and twinkling in perfect balance. Reminiscent of “Spray,” it sustains a retrofuturistic groove that defies the house / techno categorical binary.

    On the the EP, Powder’s two new originals sit alongside Daphne’s “When You Love Someone (Groove Instrumental),” a sultry, twirling vibraphone deep house number from 1993; and the first ever release of Samo DJ and Hidden Operator’s atmospheric scene setter, “Захват Сзади Rox.” For the CD and digital mix release, these four originals weave within an impeccable mix of memories from Moko’s travels and experiences over the past years touring and sharing with new friends.

    Powder In Space marks the first in a new series exploring dance music’s form and informality from Tim Sweeney’s Beats In Space Records. The friendly voice behind the longstanding Beats In Space radio show and a formidable DJ to dance floors around the world, the …In Space series, like the rest of the label’s eclectic catalog, is testament to Tim’s trust in the selector and vice versa.

    Terry Riley

    A Rainbow In Curved Air

      Keyboard virtuoso Terry Riley started experimenting with different instruments in the ‘50s. One of his electronic music landmarks is his third album A Rainbow in Curved Air. Through the use of overdubbing, he recorded all the instruments to feature on the title track. The composition consists of three movements, each representing another part of his musical influences. As the song progresses, its structure goes through frequent changes. It’s an colorful, psychedelic, atmospheric and revolutionary song. The second track consists of a loop of saxophones and is the dreamy and calm opposite of the title track. Fans of electronic music, such as Tangerine Dream and Klaus Schulze, would love this record. Taking inspiration from Hindustani classical music and jazz techniques, Riley’s masterpiece influenced many musicians, from the likes of Brian Eno to Emeralds.

      A Rainbow in Curved Air 50th anniversary limited edition is available as 500 individually numbered copies on transparent vinyl.


      Coloured LP Info: Transparent vinyl

      South keep the classics coming with these three incredible reimaginations of Nina Simone classics from Francois K, Tony Humphries and Coldcut each with their own unique touch and trademark style weaved within.
      Francois K kicks off with a sublime deep house rework of "Here Comes The Sun". Reminiscent of Larry Heard’s more emotional output, Francois nods to Mr Fingers with a bassline that harks back to those early Chicago classics, coupled with deft mbira touches that create an other-worldy feel to the remix. Celestial waves and singing rides mix with a buzzing top line melody that lay the foundations for Simone’s spiritual voice to hang in the air with a perpetual elegance and grace. A timeless slice of house music that earned Francois’ version a spot on one of Innervisions acclaimed ‘Secret Weapons’ compilations.
      Next up, Zanzibar royalty Tony Humphries lays out a bumping remix of ‘Turn Me On’ turning the bluesy soul leanings of the original on their head and flipping it into an uplifting summertime groover. Simone’s words take on a different tone with this revitalising rework backed by staccato guitars and chopped up vocal melodies that give a playful yet soulful character to this slab of sunshine.
      Rounding off the EP in classic Coldcut style, the duo meld ‘Save Me’ into a chopped, screwed and crunched remix. Lo-fi percussive elements and distorted textures blend with glitching samples and stuttering sequences that turn Simone into a tripped-out goddess. An atmospheric piece of electronica but with a harden edge purpose made for the dancefloor.


      Sil says: Reworks of uber classic 'Here Comes The Sun' with Francois Kevorkian delivering yet another masterclass in remixing with another suave, chilled house number. Humphries goes more full on and Coldcut go a bit more breakbeat. Great package!

      The Italian disco masters are back with four heavy funk-fuelled vinyl cuts.

      "Cabasa" has off-kilter bass, Rhodes, dirty drums and grainy samples knitted together in to a groove heavy enough to get your Gran going. Hypnotic, trippy and disco at its finest. "Congo Club" goes full cowbell and 80's drums. A chanted vocal wonks out over a Rhodes that weaves all kind of magic, then the lead drops and critical mass is reached. The title track cracks on at a pace with synth strings, flanging bass, distorted drums and keys tying it all together. Latin percussion is dropped over a a sung sample and the swing is on. "Summer of Sam" takes a more soulful diversion but keeps a foot firmly in the disco camp. The track builds with spacey atmospherics in to a track that will work in any situation.

      Although Itta (vocals, Harmonium) and Marqido (analog synthesizers) have been regular fixtures in Seoul’s experimental music community for years, the vinyl release of "Spiritual" reflects the growing international recognition of their singular sound, described by The Wire as 'meditative synthesized vistas.' "Spiritual" ccertainly embodies the meditative element of their music, layering hypnotic modular synth with Indian harmonium drone and Itta’s transcendental vocals. This is more than functional music for the metaphysically curious, however. Perhaps more than any of their previous releases, "Spiritual" offers an open accessibility, owing at least partly to the channeling of Krautrock-influenced rhythms. Tracks like “Luft” and “Morgen Tempel” wouldn’t sound out of place in any DJ set with Kraut or psychedelic leanings, while “Barabonda” and “Dodeuri” dig deep into a more meditative place, serving as perfect expressions of the album’s title and intent. Fans of Neu!, Kraftwerk, Laraaji or Klaus Schulze might find themselves in a comfortable yet unexplored place.

      "Spiritual" was originally released in 2017 as a limited-edition cassette of 250 copies, produced in collaboration with Seendosi, an arts enterprise in Seoul Euljiro district, the city’s heart of printing, packaging and electronics manufacturing. The cassette sold out within a year of its production, prompting Extra Noir, who had previously released Tengger’s “Breathe In, Breathe Out” on their "Extra Noir Vol. 1" compilation, to propose reissuing "Spiritual" on vinyl. Working with Seendosi once again, the result is a beautifully produced piece of work. Closely attentive to the band’s vision, the gatefold sleeve features rich landscape motifs that evoke Tengger’s commitment to earthly travel and the less accessible places beyond. Pressed onto clear vinyl, the design of "Spiritual" has been carefully constructed to reflect the entirely unique music within: heavy ephemerality, dense transcendence and grounded wanderlust. 


      Ltd LP Info: Limited to 300 copies.

      5th of the RSD limited series for Vinalog and Mr. G. Handstamped limited release. Mr. G comes on strong like cough medicine - offering up the slow and gloopy deep house swoon of "Radio In The Kitchen" which utilizes sloppy pad stabs and even sloppier beats to devastating effect. Vinalog joins Eddie Danielle, Bastien Carrara and Tiger & Woods - effortlessly conjuring up a tape-friend, loopy disco edit that'll titillate the dancers and DJs in equal measure. Finally, "Bonus RSD" is a clever and catchy rhythm tool that's ruff around the edges but direct in approach - a lot like some of Anthony Shake's more rambunctious DJ tools. Recommended!

      Various Artists

      A Love That Never Dies

      A little mystery goes a long way, but it's fair to say the appetite for unearthing those secret tunes and lost classics has rarely been stronger. "A Love That Never Dies" give us a peek inside their formidable archive with three wonderful pieces of coveted music, in very short supply in their original form. Faint memories of proto-techno collide with Zanzibar / Cosmic friendly afro-funky and a solid dose of sherm-fuelled, rambunctious disko. No f***in about on this one - straight into the deep end and dazzling.

      One super limited, clear vinyl pressing.


      Matt says: Three styles and flavours to cater for the different moods and feels of a good weekend on the rocks.

      London’s Release / Sustain imprint returns with a four-track package featuring material from Eduardo De La Calle, XDB, Joey Anderson & Moody Waters feat. Carolina Damas.

      The Release / Sustain imprint has gone from strength to strength over the years, welcoming the likes of Alton Miller, DJ Aakmael, Benjamin Brunn, Losoul, Norm Talley and many more respected names in underground house and techno over its past twenty nine releases.

      Cult Spanish maestro, Eduardo De La Calle kicks us off with concentric technoid tension of "The Protosoul"; helicopter synth shards spiraling again a taut, discordant pattern that's very much in line with what Surgeon or Jeff Mills might twat out mid-session (albeit possibly at +8%!!).

      XDB then offers up heady, subtly blooming leads, pulsing subs and shuffled drums with "Another Night" next. Certain to set forward-learning floors alight with its unrivaled sound design and mind-expanding palette. Proper techno this.

      Opening the flip is New York’s Joey Anderson with "Drum Play" which as the name suggest sees the percussive aspects dynamically evolve throughout amongst choppy bass hits, stuttered arpeggio blips and warm string melodies. Moody Waters then teams up with Carolina Damas, vocalist on anthemic house cut "Sueno Latino" (!!!) for "Acid Lovin", edging into deeper territory with ethereal pads, crunchy drums and squelching 303 licks while Damas’ soft, spoken-word Latin vocals wander within. Essential? Youbetcha.

      Homegrown talent from the beautiful inland town of Hamar, surrounded by the beautiful Furuberget and lake Mjøsa. First collab with these former Skwee-stars on Full Pupp Splits as Prins Thomas further expands his roster.

      Although previously contributing to the discombobulated, fractured sub-genre that was 'Skwee', Melkeveien and Sprutbass here opt into a more dancefloor friendly aesthetic - somewhere between house, Balearic and new disco - ie. the Prins Thomas remit!

      A couple of PT-OGs grace side B. "Bybuss" begins with the produce's patented percussion section working at 2/3s acceleration: a gentle sway and canter introducing a typically hypnotic, stuttered groove made up of staccato synth lines slowly growing intensity over its extended course before a picked bassline is introduced for the second half of the track. "Ænsjless" is basically a rip off of Jeff Mills' 909 workouts, with fizzing snares compressed to buggery and big fat kicks banging away as analogue crashes and swooshes fill out the mix - perfect for utilizing at your next three-deck dance party and a very ear-catching listen.

      Trax Records is the iconic Chicago label that played a major part in the birth of House Music This release features the original sounds of House by Marshall Jefferson, Frankie Knuckles, Mr Fingers and more. 12 essential tracks cut on 2x LP 180g heavyweight vinyl with printed inner sleeves.

      READ: A Chicago house greatest hits LP across two discs. Perfect for soundtracking weddings, bar mitzvah's, children's birthdays and 'in an all back to mine scenario' of the millennials and older. Coffee table tackle!

      New release from La Beauté Du Négatif - Italian camp of maverick hardwired electronix and far flung leftfield dance music. Now up to their forth 'Various' EP (and tenth release in total), this label has found its way into the more discerning Mancunians' DJ bags over its short but succinct existence.

      Kicking off with the legendary Italian duo Monomorph (aka D'Arcangelo) with an epic & rare ambient track released only in CD in 1996 on an obscure compilation produced by the defunct Italian label Disturbance Records (!!!! - yes guys you're right to be excited! - ed). "Rystal" is nothing short of genius; harnessing a spiritual energy as it carefully deploys analogue synth lines and a gentle pulse before decorating with a vintage, stoned breakbeat. The enigmatic Brainwaltzera are drafted in for this momentous occasion - contributing a typically fractured, future-gazing soundscape of discord, harmony and rhythm - ace! Onto side B and The Jaffa Kid's "Phos Harbinger" is one of the most arresting and frenetic slices of pots, pans and pads you're likely to hear all year - and then in flies this step sequenced B-line I honestly think even Autechre would be jealous of! So good.

      SSIEG and Rawmance remain, concluding the EP with a heavenly slice of downbeat ("Sogno In Bb") and a head-turning exercise in alien chatter / interstellar flux ("Mondonotte...") respectively. Totally recommended. 


      Matt says: The Jaffa Kid - "Opener" >>> This is ridiculous! As is most of the EP. More essential listening from this maverick Italian firm. TIP.

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      Thanks for posting about it. It’s here until next Friday May 3rd btw.
      Wed 24th - 8:58
      Yes! Thanks @NME for the feature. Come and visit @ianbrown
      Tue 23rd - 9:48
      It’s great isn’t it?! Glad you liked it and hope your wish comes true.🤞🏻
      Mon 22nd - 5:55
      Thank you. Come back soon.
      Mon 22nd - 3:49
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