house . techno . electronica . ambient . neo-classical


Genre pick of the week Cover of Luminous Spaces by Jon Hopkins & Kelly Lee Owens.
Both Jon Hopkins’ and Kelly Lee Owens’ work perfectly complements each other here on ‘Luminous Spaces’; Hopkins’ transcendent, dancefloor-focussed electronics paired with Owens’ entrancing, often spiritual vocals and her ethereal techno production creates a euphoric electronic collaboration.

What was originally destined to be a remix of Hopkins’ ‘Luminous Beings’ by Owens morphed into a track in its own right, following the pair working closely in the studio together.

12’’ in black poly-lined inner sleeve with digital download card.


Matt says: Spectral, star-gazing and blissed-out, Jon Hopkins & Kelly Lee Owens hit that sweet spot of relaxed euphoria. Gently rushing, this will go down perfectly at Bluedot festival!

Presenting a fully legit, remastered and repackaged reissue of this extremely sought after, cult 12" from the Addis Posse featuring unreleased and previously unheard music.

The Addis Posse was one of the main outfits on Warrior's Dance. Featured on this very special EP is the much sought after "Pirate Acid Mix" of this original breakbeat masterpiece, which has been a huge festival winner with the likes of Peggy Gou, Palms Trax and Josey Rebelle amongst others last Summer. Joined also by a previously unreleased, (and pulled from DAT tape) "Alternative Acid Version" which has never been seen or heard before! Across the EP’s 4 cuts are all the 'definitive' versions of this absolute dancefloor bomb - WD fashion - right and correct! Essential business, right here!

London's Warriors Dance label was a unique operation and a pioneering London label during the late 80's acid house phenomena. Home to an assortment of DJs, MCs and soundmen, they went on to make their own original and indelible mark on the rave scene from the infamous Addis Ababastudio on Harrow Road on the North-West side of the city. A former reggae and soul studio that was instrumental to the output of influential artists like Soul II Soul and more, a steady diet of reggae, bass, hip-hop, house and techno kept their edgy, and diehard UK sound and style right at the cutting edge of the dance music underground across the globe with the top DJs and producers of the day celebrating the label. The studio, helmed by label owner Tony ‘Addis’, acted as an incubator for artists whose names would go down in the history books.


Matt says: There's plenty of break hardcore resurgance records out at the moment but here we go straight to source, doning our finest Spliffy jeans and heading to the deserted motorway bridges of the M1 for four unreleased trax from market leaders Addis Posse. All the massiv!

London's Aroop Roy is enjoying a fruitful period of work, with new label Neon Danza asking the Afro-funk-disco-house wizard to contribute a selection of reworks to kick off the label. 

"Tabu Afrique" is an unstoppable 80's Afro-disco monster, with sassy vocals and Soukous guitar licks. "Magia" is an extended mix of a Brazilian classic with epic vocals and uplifting mid-tempo groove. Finally "Na Boko Samba" is on a deeper tip, featuring an infectious chorus, and equally catchy synths and an 80's house beat.

Following a trip into the heart of Max Santilli’s Sydney studio, Into The Light Records’ ‘International’ series returns to Europe for an audience with former Peur Bleue, Versatile and Wisdom Teeth contributor Benoit B.

The Berlin-based producer has previously won praise for his atmospheric and evocative approach to electronic music, which priorities melody, texture and vibe over form and function. "Notes of Love", his first EP for Into The Light, was deliberately designed as a 'soft journey for the ears', with Benoit B opting to layer up only the most essential musical elements in order to guarantee sparkling, crystal clear sound and an overriding clarity of purpose. More recently, a 10" for Firecracker sublabel Unthank saw the producer head to dark leftfield dancefloors with a heady concoction of EBM and mutant warehouse stylings.

Compare and contrast the sunrise-ready new age synthesizer melodies, bustling synth-bass, Fairlight style stabs and shuffling breakbeats of "2090", the Vangelis Katsoulis style bliss of "Polar Nights", the Art of Noise style ambient collage that is "Czechoslovakia" and the intergalactic, post-electro pulse of "Cowboy Dan", whose rubbery synthesizer lines and electronic motifs somehow manage to be both funky and foreboding; and we find find a multifaceted artist with an already dazzling catalogue!

Yet for all of these stylistic twists, “Notes of Love” is a coherent statement of intent from a producer whose personal musical vision remains as clear as ever.

After the release of "Hello Darkness" in 2017, a collaboration with Dag Rosenqvist, "Uzonia" is the fourth solo album of the Scotland-based composer Matthew Collings. His acclaimed 'audio-visual opera’, "A Requiem For Edward Snowden", for strings, clarinet, electronics and real-time visuals was premiered to a sell-out crowd in October 2014, and has been performed at Glasgow CCA, Edinburgh Fringe Festival and Utrecht's Gaudeamus Muziekweek (NL). He’s responsible for several installations using custom-made software, which have been exhibited at Burning Man Festival in San Francisco or Glasgow's Centre for Contemporary Arts. His work for films includes a specially commissioned live score for Dziga Vertov’s 1929 silent classic, "The Man with the Movie Camera" and an invitation to work on "The Invisibles", a commission from Amnesty International. Matthew about his concept and the initial ideas to write "Uzonia": 'Usonia’ with an ’s’, was a term coined by architect Frank Lloyd Wright about an ideal view of America, and of living. There is something very optimistic about the idea, not only architecturally but aesthetically, which other people have picked up on over the years. With the name "Uzonia" I’m almost imagining someone appropriating the phrase for their own means; respelling and reselling it, in the same way that ideas, and facts seem fluid and up-for-grabs these days, in our post-Trump, post-Brexit landscape… the symbolism of anything can be shifted, manipulated into another idea for political or social means at any times.

As a meme, as an agenda, as a pseudo-fascist icon. So the phrase sums up, for me, this balance between something utopian, and something potentially dangerous, and/or meaningless, which feels like a good analogy for the time we are living through. The feeling running through the record is of energy, of trying to find something positive in dark times, of being confronted with vast forces, often beyond your control, surveillance, social media, climate collapse. It ends with a question mark, and has energy but also an aspect of despair; to me at least. I generally make lists of interesting ideas, concepts and phrases which pick up from all over. I then just assign a title almost randomly from the list when a piece is coming together. There are many references to dark things; corrupt organisations, military contractors, natural forces threatening to destroy, weapons, dark intentions, giving up… We live in a time of apathy, of action, of confusion…will middle class, white men (like me?) own the future? Who has been paying attention?'

- 'deeply unsettling' The Wire

- 'this is art-house ambience aiming to be something a lot different to the norm, and an era where everything seems a copy of a copy, his work has a freshness to it' - Metro

Joakim Cosmo is back with another record crammed with wonky and weird numbers. It's obvious right from the start that Joakim Cosmo has a passion for machines and it seems he's having a jolly good time churning out his own version of Chicago music from them. "Fissens Lockvral" is the kind of track that makes me want to grow a big ol' moustache and join a motorcycle gang of leather freaks. Tough drums are being propelled forward by an even tougher bassline while FX sounds and bleeps are being ignited and thrown into a whirlpool of echoes. "Gagarin" is pretty close to the Norwegian disco we have danced to so many times but with distinct Chi-town influences. That cool Spanish voice sample that reveals itself in the break makes me think of Ramirez. "Brugte Boner" is going to set some dancefloors on fire! Perfectly shuffled drum machines with a ba-dom-dom voice bobbing along with them. I think this is what Fettburger refers to as basketball house. Vocoder nonsense is my best kind of nonsense and that is what "Sabdoo Chimaa" is all about AND then on top of that Joakim is jazzing it out on the keys.

At once playful, erogenous and sexually aggressive; a filthy slice of machine porn as you're likely to hear all year. RIYL: Cerberus Future Technologies, Grim Lusk, Beau Wanzer etc. 


Matt says: Gotta love Borft for providing loud and wobbly™ bangers every time. Usually utilizing the gnarliest analogue technology, their roster of artists is edgy, relevant and cutting edge. Big ups Borft!

Music From Memory are back with more essential action on the archival tip, this time combining the ultimate techno-tropical tonker from Curt Cress with the finest dancers from his most celebrated solo LP "Avanti" - providing those with a thirst for the deeper dancefloor experience with the best of Cress in one easy place.
Prolific as a percussionist and producer, Curt Cress came to fame during the 70s, lending his rhythms to a who's who of German prog groups, jazz rockers, fusionists and popstars, before finally stepping out on his own with the "Avanti" LP in 1983. Inspired by his time with the fusion groups, the burgeoning NDW scene and cutting edge synths, Cress swept through backbeats, breakbeats, syncopation and solos, providing melodic intricacy via tumbling mallets and otherworldly electronics. The three tracks which make up the B-side on this retrospective 12" all appear on the second side of "Avanti", and give an instant impression of the impact, accomplishment and ambiance of the LP. "Sundance" sprints through syncopated hits, tumbling talking drums, ace electronic passages and a hypnotic mallet refrain made for dancing feet. Taking a tougher approach, "Power Vein" thumps out the toms, rock snares and white noise hats in true mechanical funk fashion before "Flying HIgh" offers us dreamy Asiatic melodies, bouncing Linn idents and an intricate, ever changing web of pure percussive joy - a true dancers' delight.
From a DJ's point of view, all this was just foreplay ahead of Curt's '92 12" "Dschung Tek", pulled from a point in his career when the veteran drummer was experimenting with techno and tribal house, with the confidence to have a little fun. Played with passion by Ruf Dug, Talking Drums, Basso and Bufiman over the past half decade, "Dschung Tek" takes us on a trip through the undergrowth, pairing warped synthetic metal hits, a pounding beat and all sorts of tropical tropes (birdsong, cicadas, crickets) with a gurgling sequence a bit like an army of ants chomping their way through a DX7. Add in an elephant trumpet, ace pads and a break with a fly swatter and you're having the time of your life.


Patrick says: My favourite and most played dance record ever, and the essential Talking Drums track! Play "Dschung Tek" loud enough and you'll actual land in Jumanji! If that weren't enough to have you buzzing harder than an irate mosquito, the flip pulls three of the best tracks off Curt's excellent "Avanti EP" and gives them a fresh pressing for club use. Top!

DJ City

Sierra Madre

Borneo Records board the good ship Piccadilly with their Swedish born, Berlin based plus 1, DJ City and his carry-on bag of bleep-heavy house!

As a fairly fresh face to the European dance music scene, involved with renowned musical outlets like Cocktail d’Amore and Born Free, DJ City has been turning heads with his playful and energetic style.
For Borneo’s ninth release DJ City delivers two deep dance floor cuts, referencing and paying hommage to his childhood idols, craftily combining well known building blocks into future classics.

”Sierra Madre” is a warm and deep dive into the aesthetics of the late 90s electronic music scene, balancing between lush pads and low bit rates. Steadily it progresses as the loops unfold and evolve into an ambient landscape of clear peaks and valleys. Dreamy and suggestive without becoming too literal or camp, it invites its listener to let the mind wander during the course of the dance.
On the flip side, “5426261” is a more playful feature as its percussion and somewhat off tune melodies roll out. The texture is light and invites its listener to venture in thought to an imaginary Mediterranean location right before dawn. The enigmatic title is repeated in a sample towards the end, implicating it is a phone number. Who are you trying to reach?


Patrick says: Double dose of upfront house music on Borneo thanks to DJ City. A-side is bleep, B-side is deep, both sides are dope.

DJ John Collins

Yeah / All We Need


Take a deep breath folks, fresh new shit from the institution that is Underground Resistance (now up to UR-80!) and I am glad to inform you all that this is UNADULTERATED FUNKY UR booty-shaking tackle! DJ John Collins takes us right back to the grinding Detroit booty parties of yore with "Yeah". Turn the shuffle up to 100%, turn the 909 right up, bang in some super chopped up funk samples and you’re certain to get any crack-house bumping wildly. "All We Need" continues along the same lines with its use of a dirty gospel soul sample coupled with a huge piano line and banging UR beats. "All we need... is funky music!" the lyrics proclaim and Mr Collins certainly brings us that. After a heated intro we're treated to one of the best choruses I've heard in house or techno for a long time. Epic chord progressions, sing-a-long vocal line and breathtaking drops. This is gonna rock the shit out of any main room with a beating heart and will unite the girls and boys in dancefloor euphoria. DO NOT SLEEP!


Matt says: Another highly sough after UR nugget, repressed and repackaged for our listening, dancing and DJing pleasure! John Collins on the choppy, funky, Deetroit bounce tip. Mega!

Jesse Kanda is a visual artist and musician widely known for his modern gothic surrealist art, especially his work with Björk, Arca, and FKA twigs, and in recent years for his own musical output as Doon Kanda. At Hyperdub, we are very excited by his transition into music; if there were a sound to his beautiful, otherworldly art, this is it in its pure form. ‘Labyrinth’ is his debut album, comprised of 13 pieces of new music, and 10 artworks. It is a dreamlike, exhilarating listen from start to finish, covering emotional ground from hell to heaven. It was created between summer 2018 and spring 2019 in London and Ontario.

His two previous EPs 'Heart' (2017) and 'Luna' (2018) focused on melody across a spectrum of emotion, and like his visual work often metamorphosed pain into beauty. 'Labyrinth' chronicles a period of loss, in ecstatic fantasy. Stylistically, much of the album is in 3/4 time signature in rhythms reminiscent of waltz, allowing Kanda to create movement through melody. This idiosyncratic gothic style was hinted at in his first EP, and is in full bloom here. It is also a proposition of a new form of club music; one can imagine venues transformed into an alien world, where the music moves the crowd in previously unknown ways. The album has a narrative arc of building chaos, peaking with ‘’Mino’, then a resolve of clarity at ‘Bunny’. Jesse hopes listeners experience ‘Labyrinth’ in its presented order, while maybe flipping through the artwork in the accompanying full size 10 page picture book. 


Matt says: Looking for summat fresh? Look for further pop pickers! Totally twisting my melon with his neo-gothic-electronica, Doon Kanda's "Labyrinth" is one of the most transportative and imaginative things I've ever heard. Incredible!

Dukwa is back with the second chapter of his own personal output with a new killer four tracker EP.

"Akira" opens things up with a beautifully anthemic house cut. Nodding to Space Dimension Controller and Kyle Hall with its pitch bent leads and shuffled drum patterns, the track subtly nods to Detroit without becoming pastiche and is surely already big with MCDE, Move D and such cats.

"Violet" leads with a repeating piano line which slowly forces our arms aloft. Skitty drums add an urgency to what would be a midtempo house track, imparting a sense of building exciting which is only accentuated through that nagging acid line. If anything was to convey the excitement of a nightclub about 2 or 3 tunes before the headlining DJ is due to take to the decks - this is it! - Warm up DJs take note!

"Water" is low-key deep house intricacy at its finest. Interweaving leads complimenting the meticulously programmed beats and warm chords permeating through the mix. It's delicious and welcoming with its gentle string parts and fluttering piano trills. If you're looking for a track to wind down the action after a long session, this could well move the audience to tears and jubilation if you time it correctly!

Mega stuff from this underrated artist currently escaping the spotlight of hype! 

Alongside the raw, icy aggression of vocal-led "Burning Car" and "Miss Machinery", this collection of instrumental music from 1980 initially appeared on the 2018 Metamatic box set. Now on vinyl for the first time to celebrate Metamatic’s 40th anniversary in January 2020, this is a haunted, at times beautiful electronic soundtrack which stands as a sister album to the main work. Photo by C.P. Gabrin. Artwork by Jonathan Barnbrook


Coloured LP Info: Grey vinyl LP.

Alex Bradley's new reissue division at Utopia Records recovers the early works of Gianni Gebbia, a saxophonist and composer from Palermo, Sicily whose highly sought-after debut LP from 1987 is remastered with added unreleased material and updated art work by Gebbia himself.
A minimal and contemporary jazz album of the highest order, its beautiful sound, sentimental electronics and use of synthesisers - that were a precursor to the house and dance music scene of the early 90's - has made the album endure the years that have passed.

It will be sure to be a valuable addition to your home listening collection with stand out tracks like Cud evoking visions of a Sicilian beach stroll and the intense and brooding 'Vedersi Passare le Cose Attorno' with its Juno chords transports you to a Detroit night club in 1992 counterbalanced by Gebbia's soft saxophonic embrace...

The self taught Gebbia's works touches on the avant-garde whilst maintaining a musicality and fluidity with his technique of circular breathing adding an extra element to his playing, the ability to create Reichian like minimalism with a single breath whilst maintaining melodic structure.
The multi solo album artist is noted recently for working on the music score of Heiner Goebbels' music performance piece 'Everything that happened and would happen' at the Manchester international festival and for his curating of the "Anassimandro Festival of Music and Philosophy" in his home city of Palermo of which Bradley hosted last years after party.

Left Ear have put together a collection of recordings taken from the elusive Berlin band I.A.O., spanning their third phase from 1988 to 1995. "Phase III" commemorates the bands final line-up of three members; Achim Kohlberger, Ralf Östereich and Carsten Zielske. The sounds on this retrospective vary widely, however, link with threads of melancholic sequences, angular jamming and a focus on electronic soundscapes.

The tracks are pinned against a backdrop of political and social unrest in Berlin at the time. Two different cities had become one with the fall of the wall, driving a bubbling subculture attempting to reunite the capital. Seemingly irrelevant to what I.A.O. was producing, these territories dance parallel to one another. In the late 1980’s, Achim Kohlberger of the band and partner Dimitri Hegemann, were orchestrating ‘Atonal Festival’, these days known as Berlin Atonal. Soon after, they set-up of one of the first techno clubs in the world - UFO, today known as Tresor.

I.A.O. cites the cast of personalities they would come across in the clubs and pubs as influential in their songwriting, artists, outsiders or the ‘general dropouts.’ However, the works of IAO far resemble techno music. Phase III’s opening track Gospel IV introduces the band with their patience and restraint, synthesizers work to reveal folding melodies. The downtempo voyage continues with Marshmallow Girls, an insight into the band’s sensitive observations and hazy imagery. All Is Bliss presents a vocal mantra cooperating with nagging bass lines and euphonic percussion. Meanwhile, two instrumentals Love and Twinkle Twinkle Twinkle Little Star both typify and defy timeless dancefloor paradigms. The compilation signs off with Ferns, binding the icy yet bright tones found throughout. 

Renowned record label and events brand Renaissance announce the next release in their acclaimed "The ReMix Collection" - a scintillating reworking of Jaydee’s 1992 R&S classic "Plastic Dreams" from one of the leading names in techno: Producer, DJ & MOOD Records label boss Nicole Moudaber.

Nicole Moudaber’s spectacular and atmospheric remix of "Plastic Dreams" is already receiving strong DJ support, not least from Carl Cox, who has been playing it out as a highlight of his recent sets.

A track that Nicole Moudaber had always wanted to remix, when approaching such an iconic track as "Plastic Dreams", she applied her trademark tough yet melodic sound, emphasising the jazzy bass notes and famous organ synthesiser refrain, to deliver a fresh and vibrant reworking.

If one wasn't enough, she then goes on a deep n dubby prog tip; taking the original even deeper on side B with her "Passion Runs Deep" remix.

Nicole Moudaber said: 'I didn’t want to lose the essence of this ground-breaking track. I kept the balance between house and techno and added a little touch of jazz. I was in New York when I first heard it; I was dancing, I was flying, I was connecting with people, I was making memories. I believe I gave it justice, I certainly gave it a lot of space and respect of its original identity.'

"The ReMix Collection" celebrates Renaissance’s proud heritage which has seen the brand at the forefront of electronic music since its inception in 1992. The concept behind the collection is to put a fresh and exciting take on seminal tracks that are closely connected with Renaissance’s early years.



    Kyson is a self-titled sonic memoir that jailbreaks Kyson’s repertoire through a depth of narrative and tactile instrumentation. Where he ensconced his other releases in escapism, this one by design hits you in your soul.

    The album’s title is particularly significant. Kyson’s stage moniker was his nickname as an infant. His free-spirited parents (mom is English; dad, Malaysian) couldn’t decide on a name after his birth, so they temporarily called him Kysanwith “Ky” taken from his father’s name and “san” meaning son. As Kyson got older, his father exposed him to Asian culture, but he showed a lack of interest. It took the passing of his paternal grandfather to awaken a desire to learn more about his Chinese-Malay roots.

    “This album,” he notes, “is really about how curious I have become.” The album artwork and packaging comes courtesy of German artist BD Graft in his ‘Add Yellow’ style with images from Kyson’s upbringing. Kyson got his start when he won an official Bon Iver remix completion with his version of “Holocene.” This sparked Kyson’s love for tinkering with effervescent, hip-hop soundscapes and production which eventually evolved into Kyson realizing his potential as a solo artist. Pitchfork has credited his music as “exotic but familiar” and Stereogum as, “forward-thinking arrangements with sleek electronic elements.” “I try to make music ever day- I want to be there when the inspiration comes.” says Kyson, the synth-shaman of teleporting sounds. “There are no borders to what you can do. It’s limitless.”

    New York vocalist Kosmo Kint joined the Toy Tonics crew. Born in Trinidad and raised in New York City, Kosmo has been part of the recent Brooklyn scene, singing in several projects in NYC before moving to Berlin two years ago. To find like minded people to create new lyrics driven dancemusic.

    In Berlin he teamed up with the Toy Tonics boys and now TT boss Kapote and the crew are working with him in Berlin Kreuzberg to find a new R&B & Disco influenced style of electronic dance music.
    The first release is a collabo between french talent Mangabey and Kosmo Kint - produced by Kapote.
    The 2 songs have a chilled L.A. G Funk Vibe that makes you think about certain Dr. Dre productions from the 90ies combined with some broken beats and 4 to the floor house vibes.
    The song might remember some french touch tracks too and some might think about that West London early 2000 "Dego" Vibe maybe. Anyway, its new and there is not a name yet for that style. Let's see where the TT crew will bring Kosmo Kint sonically over the next years.


    Millie says: New to the Toy Tonics label Kosmo Kint, alongside Mangabey have dipped into all the genres going - Disco, House, R&B, Broken Beat, Funk, Electronic and created two tracks of pure dance music hits. TT bringing the vibes to Piccadilly!


    House To House

      Nightdubbing are ready to drop the follow-up to their warmly received debut 'Frontline'. As the name suggests, 'House to House' is a celebration of House music in the deepest sense of the word, loaded with insistent beats, solid basslines, lush chords and delicious piano breaks while retaining the band's trademark grit and sense of otherness.

      'Danceteria' traces the roots of House in the New York loft scene, while 'Rascals Return' tips the hat to the Latin Rascals. The title track takes us into deceptively spartan territory before a joyous piano swoop shifts the gear right up. Final track 'Orangely' brings a distant transmission from a long lost Welsh techno TV show before descending into a full on dub-house excursion that sounds like it's echoing around a warehouse for the last few stragglers at the party.

      21-year-old New Zealand musician Arjuna Oakes's debut EP, The Watcher, is a showcase of his ability as a singer-songwriter, instrumentalist and producer, and a testament to his depth of engagement with music.

      The first two tracks on the EP fit neatly within the jazz-infused soul music landscape he is quickly becoming part of, but the latter half of the EP is far harder to categorise. Featuring instrumentation from some of New Zealand’s most exciting young jazz musicians, The Watcher explores a wide variety of themes and musical ideas, with Arjuna’s charismatic soul vocals and robust sonic palette serving as a connective thread. From big social issues to personal relationships and internal self-discoveries, across The Watcher, Arjuna takes his cue from the title track and exploration of mass surveillance, and it’s relevance within our everyday lives.

      This watcher theme continues throughout the rest of the EP, with the stories told rendered as if being observed by an outside force. Decorated by cinematic soundscapes, hypnotic grooves, creative improvisation and catchy melodies, Arjuna's debut is a test palette for his future projects, one that makes his enthusiasm to develop and explore themes and style in song abundantly clear.

      'Pender Street Steppers Productions (PSSP) proudly presents a sweet new double single. One side describing a relationship in its infancy and the other side its end. Not letting the truth stand in the way of a good story. Dubs included at no extra charge. Please enjoy and thanks for everything.' - Mood Hut.

      Our favourite Canadian Riviera dwellers are back with more sun-kissed boogie-house pleasure. It could only be Pender Street Steppers responsible for "Falling". Effortless, hardware driven and with a melancholic vocal contrasting against the serene dusk calm emanating from the machines and rhythm boxes. Distinctly 'live' as per their previous output, PSS reaffirm the songwriting structure in dance music showing that you can achieve depth and character whilst still working within house music's formulaic framework. As always - hats off to the lads!

      "Our Time" takes things deeper into the night, with a nocturnal framework driven again by the group's authentic hardware. Creeping through the cityscape with another well placed vocal part working in dynamic harmony with the rest of the piece. PSS make some of the most subtly brilliant music that just grows and grows in your headspace.

      We'll still be spinning this one well into 2021.... Recommended! 


      Matt says: Timeless stuff from the now buy-on-sight Mood Hut crew. Hitting a mellifluous sweet spot between boogie, house and street soul; with a glowing internal radiance and heartfelt vocal utterances. Injecting some real song writing into house music's oft-repeated framework.

      On The Corner favourites Penya kick off the new year with a collaborative EP with legendary gogo musician Msafiri Zawose. The collaboration began in September 2017 when Penya’s Magnus P.I. spent a week in Tanyania, East Africa, recording material at Zawosi’s studio.

      Penya are a genre defying quartet that embody the energised sound of a cosmopolitan UK. A host of traditional folkloric rhythms, club culture motifs and DIY electronics mark the band’s distinct sound. Drums, horn and vocals evoke Penya’s live performance from a world of euphoric ritual and visceral dance scapes, ancient and future.

      The bands debut LP "Superliminal" (Jan 2018) quickly achieved critical acclaim from a host of taste makers and artists including Gilles Peterson, Bonobo, Tom Ravenscroft, WorldWide FM, Jeremy Sole, Late Junction (BBC Radio 3) and Boiler Room. The band went on tour, quickly establishing it’s dance floor ready, multi instrumental live show.

      Since “Superliminal”, Penya have released collaborations with a diverse array of artists including Dengue Dengue Dengue, Photay, Sarathy Korwar, and most recently the renown Tanzanian artist Msafiri Zawose. Legendary gogo musician Msafiri Zawose, is heir to the legacy of the late Hukwe Zawose that put the music of Tanzania on the atlas.

      Schatrax is back on his own imprint after a small hiatus with four idiomatic tracks produced in varying styles.

      Techy and tribal, "Folkdance" opens up with big, cavernous tuned toms and ethereal leads for a high pressure, midsession cut. "Coral", electric and minimal is up next, humming along nicely and sounding great in laser-guided aircraft hangers.

      Flip the disc and "Sisphunk" is an anthemic, end-of-night roller with triplet perx running up nicely against the emotive chord progression and stretched out vox. "Into The Stars" concludes with a jagged techno growler full of metallic hits and slamming bottom end.

      Josh Brent's impressive and prolific alias continues! 

      Ulrich Schnauss

      Now Is A Timeless Present - A Retrospective

        Highly respected German electronic music composer Ulrich Schnauss releases a career spanning retrospective seven CD boxset. As all the recording rights reverted back to Ulrich he has taken the opportunity to remaster his entire back catalogue to be released on his own Scripted Realities label. The two most recent of the albums, A Long Way To Fall and No Further Ahead Than Today have both been extensively reworked. The set also contains an 18 track compilation of outtakes, demo's & fragments including a cover version of Scott Walker’s ‘It’s Raining Today’ and Ulrich’s version of Bach’s ‘Prelude And Fugue No1 in C Major’. With 14 of the 18 tracks being so far unreleased. Each of the album's artwork have also been refreshed. This release makes Ulrich's music available again after an 18 month period. These seminal electronic albums are sounding contemporary and fresh. Contains the albums “Far Away Trains Passing By” “A Strangely Isolated Place” “Goodbye” “A Long Way To Fall – Rebound” “No Further Ahead Than Tomorrow” & “Now Is A Timeless Present” – (Outtakes ,Demos & Fragments) with a total of 73 tracks on seven CD’s. Similar artists Jon Hopkins, Brian Eno, Tycho.

        Mark Seven's Parkway series makes a triumphant return! The highly respected producer / DJ / remixer saves some of his best pieces for this label and packing four hot new tracks, there's somewhat of a furor around this latest release!

        Kicking things of in tradition MS fashion, "A Gift Dub" sees his patented boogie drums rattle and shake through darting keyboard stabs and the occasional piano refrain. Add some funky perc patterns and a rugged bottom end, plus a shed ton of tape delay and you've got one of those early evening burners just primed to get the crowd warmed up... Yes Mark!

        "Tranquility Dub" utilizes much the same palette for a nocturnal, paradisiacal trip that reminisces over the very first Petrcane site in Croatia with its palm-flecked licks and star-lit groove - magical.

        "No Time Dub" and "Secret To Success Dub" both grace the flip side with the kinda rock solid boogie-house we've come to expect from Mark Seven. Drums that could chip chunks out of caves, synths squelchier than being slimed on the Big Breakfast and sweeping tape delays that take you off into the stratosphere!

        There's no one quite like Mark Seven and this new EP is sublime - check!


        Matt says: Highly proficient excersises in new boogie and proto-house by the master Mark Seven. Rock solid and ready to DANCE!

        STL's moonlit machine grooves strike back on the Blundar imprint. Dub, beatdown and deep house that's destined to soundtrack Dutch coffee shops as much as red lit dance basements. Nods to both Sound Signature and Grand Central with a sound that celebrates the dusty crackles of the past whilst viewing the future with optimism and insight.

        Pressed nice n hot on 180g, limited vinyl. Complete with sexy locked groove for the headzz...



        Matt says: Nice n varied EP touching on smoked out dub, house, dusty beatdown and some ruff atmospheres. Incredibly well pressed records - others take note!

        Symptoms of Love, a project by Detroit duo Ryan Spencer (Freakish Pleasures) and Ben Christensen (Sector 7G), present "Foam EP" on Sydney label Planet Trip Records. This is the team’s second release, a follow-up to their 2019 "Eye Contact" (SOBO, Montreal). "Foam EP" reflects a contrast of the high-energy late nights and laid-back afternoons in the sprawling echo-chamber of Detroit.

        Recorded over the course of two years, the duo stack live instrumentation onto the vast synth and drum machine collection in Christensen’s home studio. The tracks are finished with explorations into sample-based wormholes that deliver a truly diverse EP. The sounds cruise through balearic and streetsoul inspired smoothness, machine funk dancefloor jams, and bleepy percussive workouts.

        This five tracker holds a mood and a groove for every hour of the dance; be it at peak time, sun up or sun down. Receiving early support from Jex Opolis, Millios Kaiser, CC:DISCO!, Lauren Hansom, DJ D.DEE, Ben Fester, Ruf Dug, Bayete & more.


        Matt says: Niiice n steady balearic-house business with 'nuff tropical inflections and a buzzy vibe right though. Already getting big spins from Ruffy, I'm reckoning this is gonna be huge when the masses catch on...

        Since relocating from Amsterdam to Bergen on the Netherlands’ north west coast, Tom Trago has gone back to basics. Every day he jams out tracks in his home studio using a small selection of electronic instruments, drum computers and effects units, a process that allows him to quickly capture ideas, emotions and the intense moments he experiences while making music.

        It’s these diverse and sometimes surprising musical moments that will be showcased on Trago’s new DIY record label, Jong Nederland. The imprint is named after the building where he now lives and works, an historic and storied place that has been home to artists of all descriptions since the 1960s. Each vinyl release will feature tracks made by Trago using his improvised, straight-to-tape technique, packaged in handcrafted sleeves illustrated by internationally renowned Dutch artist – and fellow Bergen resident – Pieter Bijwaard.

        The Jong Nederland story begins with two tracks of undulating, slowly shifting dancefloor voodoo rich in crunchy drum machine hits, lilting electronic melodies and instinctive dancefloor warmth. On the A-side you’ll find “Whisper”, a hypnotic but fluid affair where hushed melodies tumble down over off-kilter polyrhythmic machine drums, spaced out effects and bubbly, ever-changing analogue electronics.

        B-side “Belltower” sees Trago up the tempo a little and bounce us towards the farthest reaches of the galaxy. Utilizing a rubbery rhythm track full of sturdy but supple kick-drums and hissing cymbals, Trago layers up fizzing synthesizer lines, poignant minor key chords, wiggling acid-style motifs and starburst electronics to fire the synapses and stir the senses. Like its’ A-side companion, “Belltower” gently twists and turns throughout, reflecting the real time, hands-on changes made by its creator during the spontaneous sessions that led to its creation.

        Underground Resistance

        Knights Of The Jaguar EP

          Without doubt, one of the greatest techno records of the last decade, perhaps even one of the greatest tunes of any kind of music, ever. DJ Rolando produced this stunning piece of music in 1999 and its reverberations are still being felt today. Instantly recognised as a Detroit techno classic, it slowburned its way into the brains of clubbers of every persuasion, becoming a Body&Soul anthem along the way. Not since "Strings Of Life" has a crescendo of techno rhythms and strings caused such a dynamic collection of soundwaves. This is a re-issue the original UR 12" pressing (with "Ascesion" on the B-side), albeit re-credited to UR rather than Aztec Mystic.


          Matt says: Don't fuck about if ANY OF YOU still don't have this amongst your shelves! Simply every home needs this, one of the best tunes ever made. I'll be checking!!

          The Wire

          Issue 432 - February 2020

            Inside this issue:

            Wire: Since 1977’s Pink Flag, Wire have crushed and expanded rock at will. About to release their 17th album Mind Hive, the most stable line-up in the band’s history discuss facing the future while repurposing the past. By Dan Barrow

            Katie Gately: Bereavement and ritual inform the new album from the Los Angeles based avant pop auteur. By Emily Pothast

            Frank Denyer: With his unusual instrumental combinations and penchant for microtonality and extended technique, the English composer offers sanctuary from sensory overload. By Sam Richards

            Invisible Jukebox: Mayo Thompson: Will The Wire’s mystery record selection trigger a “Free Form Freak-Out” for the Red Krayola founder? Tested by Alan Licht

            Unlimited Editions: Recital Records

            Unofficial Channels: Auctioneers

            Marcela Lucatelli: The Brazilian composer and improvisor gets her shriek on. By Philip Clark

            Nava & Shayna Dunkelman: Percussive siblings bond over the beat. By Kurt Gottschalk

            Terry Allen: Weird country’s master storyteller returns. By George Grella

            Global Ear: Malta: Creativity flourishes quietly in the shadow of turmoil. By Kurt Buttigieg

            The Inner Sleeve: Freedom To Spend on Heroin

            Epiphanies: Ryley Walker gives in to the temptation of Christian ska punk

            Highly sought after obscure dancefloor-approved house edits. Comes with a special appearance by mysterious Japanese / Swedish super-trio SPF.

            Bass buggin', low-ceiling house trax are demonstrated by Wiz whose three tracks all grab the ears and hips in equal measure; upfront, underground and edgy AF! There's plenty of groove programmed into those drum machines too, with some excellent swing templates keeping us gyrating all over the shop.

            SPF gets on board with one track, "Socratic Method", with is almost like a traditional 'Jack' track given a Ron Hardy-twist: lysergic, writhing and totally centric around its hypnotic perc lines. Excellent stuff!

            Wiz & SPF are one to watch!

            STAFF COMMENTS

            Matt says: No-nonsense and fresh #goodhouseandtechno for the bass buggin' basement cru! Inside!

            In 2015, Optimo’s Autonomous Africa label released "Youth Stand Up!", a triangular recording project hatched at Glasgow’s Green Door Studio that brought together young musicians from Belize, Ghana and Glasgow for ten tracks of cross-cultural collaboration. The result was an infectious cocktail of traditional Caribbean and West African rhythms, hip hop, highlife and Glaswegian post-punk, featuring contributions from Optimo Music regulars Golden Teacher and Whilst, among others.

            The proceeds from that project went directly back to the youth groups in Ghana and Belize, helping the musicians from Ghana’s Tafi Cultural Institute build a recording studio and performance space in their village.

            Two years later, a grant from Creative Scotland’s Open Fund spawned the sequel to "Youth Stand Up!": "Youth Stand United", recorded both at Green Door and at TCI’s new studio in Ghana (with Golden Teacher’s Laurie Pitt at the controls), and mixed by Green Door’s Stuart and Emily Evans.

            "Youth Stand United" features backing tracks contributed by members of Golden Teacher, Pu$$y Mothers, Whilst, Kaputt, and Sordid Sound System, with vocals provided by the musicians from TCI. Over 6 songs, it oscillates from the leftfield disco of "Diloeshutubui" to the Juju-electro odyssey of "Gidi" to the Joe-Meek-meets-William Onyeabor space age gospel pop of "Nobody Knows".

            Proceeds from Youth Stand United will go towards a scholarship fund for musicians from Tafi Atome, Ghana.

            STAFF COMMENTS

            Matt says: More creative genius from the hotbed of activity that is Green Door Studios in Glasgow. A feiry cauldron of myriad influences but constantly looking to innovate and excite. Wonderful.

            Returning for Volume 2 of the sought-after series, Glitterbox Jams is back with another red-hot delivery of dancefloor gems, ready to become a record box essential for all discerning disco DJs. Delivering two tracks previously unavailable on vinyl and a pair of previews from the imprint, Volume 2 opens with Mike Dunn’s irresistible "Natural High". Featuring Mike’s unmistakable Windy City drawl, this stripped-back disco-house jam sees Mike flex his musical muscles with traditional analogue techniques. Up next, a silky-smooth disco number and exclusive first listen of enigmatic duo Body Music’s latest output, where pair team up with the ferocious voice of Amy Douglas. On the flip, another forthcoming Glitterbox release powers through, as French production maestro Yuksek turns his hand at remixing Risk Assessment’s "Remember Me", featuring the mystical vocals of Jemeni G. Recounting tales of Studio 54, self-expression and long nights spent on the dancefloor, this exhilarating cut makes a perfect fit for Glitterbox’s ethos of acceptance and open mindedness. Finally, the unmistakable bounding bassline of Seamus Haji’s "Boogie 2nite" delivers a dose of Saturday night fever, rounding off this sublime release from the Glitterbox camp.

            The cultish Rhythms Of The Pacific series returns with its first new edition in three years, showing off the freshest sounds from the Canadian Riviera all the way to The Big Smoke. Khotin returns to the series after two blockbuster ambient albums and shows how his melodic gift still carries over to dance music with a piano house track that feels as dreamy as an old Vincent Floyd jam.

            Wolfey makes his debut on Pacific Rhythm with a chilled-out, Joey Negro-style disco-house track that sounds like it was made for a Manhattan lounge in the late '90s. They extend another olive branch to the East Coast after releases from ANF, Ex-Terrestrial and Jump Source with Toronto's Active Surplus. The duo delivers a jaunty tune whose quirky samples and synth horns give you an idea of what to expect from their debut EP in the coming months. And have you heard of Chapters? That's okay, we haven't either- but if you've been out in Vancouver at all the last few years, you've probably heard their incredible, addictive dubby house track "Ray Trace". Lazy but propulsive, melodic but minimal, it defines what Rhythms Of The Pacific is all about: relaxed, quietly inventive and essential house music.


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