house . techno . electronica . ambient . neo-classical


Originally released back in 1997, "Smoky Clinic EP" is a stone cold classic and one of the most essential underground house records out there. All the tracks from this stunning EP stood the test of time perfectly and now finally gets a well deserved reissue on Baldo and Jimi Disko's Curated By Time label. Deep house never sounded so good on "X-Rays", with its squelchy perc, frenetic hats and amazingly lush pad n bass combo. "Underwater Acid" possess that same enchanted melancholy that makes Mr. Fingers so desirable, while over on side B "Hocus Pocus" injects a bit of Poindextor-inspired tumble drier madness into proceedings before finished "Starship" concludes matters with a sublime, driving and gliding deep house rub down. Epic stuff indeed. Do not sleep!

All's well in the world of the Terje. Album sales are booming, the beard's coming along nicely and people have even learned how to pronounce his name. Thankfully, he's not been frittering his hard earned cash away on silly synths and studio equipment, instead making a wise automotive investment with a few extra cylinders for the trusty Delorean. We catch up with Todd in the middle of a driving holiday in the scenic mountains of Italy. Shades on, beard trailing in the wind, Todd's opened her up and let the engine purr in metronomic beauty. Luxuriate in the rumble of the sequenced bassline, the snap, crackle and pop of percussion and those expansive melodies. Moving through the gears like a young Senna, Terje takes us on an exhilarating jouney into the night. All that speed, euphoria and effort is bound to make a man sweat, and "Oh Joy" carries the faint whiff of More-odour in it's wide eyed disco bounce. Zero gravity sequences, phasing white noise and super melodic synth-lines fill our ears as Todd fires up the flux capacitor and sends us hurtling into the future. Prepare for the ride of your life.

Back in stock Cover of Lanzarote - Inc. Diskjokke Remix by Lindstrom & Todd Terje.
Following his “Inspector Norse” EP, Todd Terje, combining with fellow Nordic disco pal Lindstrom, drops the second EP on his Olsen imprint. "Lanzarote" had the working title of “Cowley”, but perhaps "O" would have been a useful moniker as well, as this track has as many pointers towards that other collosus of electrodisco, Bobby 'O' as it does to Patrick Cowley.

In keeping with both Lindstrom and Todd Terje's recent work, "Lanzarote" is a peak time dancefloor-aimed electrodisco / hi-NRG bomb with an upbeat rhythm and keyboard arpeggios adding little hooks to reel you in. There's even a bit of a Euro rap near the end for extra holiday-disco fun. Diskjokke give the track a touch of Cerrone or Moroder, layering up the synths and giving the rhythm more of a flat piston-driven sound. There's also an acapella and "Krokstapella", which has the rap mixed with an almost samba style percussive groove.

"Hello guys and gals, it's been exactly one year since the first release on Olsen Records, so I suppose it´s time for a new one, now together with studio buddy Lindstrøm. “Inspector Norse” took me to a lot of cheesy places with lots of cash, and I expect nothing less with this new one called... “Lanzarote”! (pronounthed with a lithp and a finger thnap) The working title for this was “Cowley”, let's see if any of you can figure out why :) B-side remix by DJ-turned-mathematician DiskJokke turns down the gayness, but keeps most of the elements for a version even the most serious of the deep house mafia can play." yørs trüly, Tødd Tërje (and silent partner Häanz-Peter)

After excellent work from Berlin's Cocktail D'amore, whose reissue of "Musica Para El Fin De Los Cantos" caused a stir in 2017, London's Utopia Records launch their reissue division with the very first vinyl release of Iury Lech's debut "Otra Rumorosa Superficie". This cassette only release from 1989 is a minimal masterpiece practically unheard until now. Arguably a more complete album than '...De Los Cantos', (though possibly never hitting the heights "Barreras") originally composed for two short films 'Final Sin Pausas' and 'Bocetos Para Un Sueno' as a full score, the arrangement is a beautiful listening experience spanning through ambient, meditational and cinematic minimalism of real depth, romanticism and sincerity.

Iury Lech is a Ukrainian born multidisciplinary artist, whose main focus now is as the curator of 'Madatac' a festival based in Madrid focused on new media art, video art and audio visual technologies which has featured the work of Brian Eno amongst many others.
During the late 1970s and 80s he rose as a pioneer within a moment focused on electronically generated audio and visual media. Drawing on the ground gained by Minimalist pioneers like Steve Reich, Terry Riley, and Philip Glass - built from repetitive rhythm and sheets of rippling resonance, drone, and ambience, Lech's work of the period is so striking and beautiful, that it seems shockingly unjust that it was overlooked until now.


Patrick says: Utopia take a step into the reissue market with a first time on vinyl for Iury Lech's ace debut album "Otra Ruorosa Superficie". Released on cassette in the golden age of Spanish ambient / new age, this remastered vinyl version is essential for fans of Reich, Eno or Katsoulis.

Surprisingly good 12" straight from the solid Local Talk label, this time is Boddhi Satva providing the soundtrack. 
On A side up is the 00s mix of 'Basic Knowledge', a near-epic track, riddled with emotion and deepness, certain to cause more than just a few goosebumps. The key stabs and strings makes this one of the deepest cuts of house we've heard in a minute.

On the flip 'Together' is another elegantly realised stylistic track where all the moving chords are exposed and pushed to the front. A grand tour through the deep-rooted rhythms with a minimal yet spiritual sound. My favourite track by a mile on this ep. 

Last but not least is the 90s mix of 'Basic Knowledge'. It takes all the ingredients from the A side mix and infuses it with more jack, together with the kicks, snares and the swollen bassline.

An absolute killer all round!


Sil says: As said above, absolute killer with a special mention to the very very deep 'Together'. Lessons in deep house available from the man Boddhi Satva. Bravo.


Hanko / Sync Dancehall

After releasing on Music From Memory sister label Second Circle, Androo starts his own label Poly Dance. As usual, his music is infused with percussive rhythms and emotive melodies and sits neatly under any outdoor canvas. "Hanko" is pure jubilation for the daytime, a relaxed conga pattern careering effortlessly through some seriously vibing piano licks, bouncy organ stabs and punchy b-line. Sublime!

"Sync Dancehall" offers some more abstract and digitized rhythms, a squelchy analogue bass underpinning it all while some obsolete vintage drum machine provides the forward momentum. Perfectly formed fx decorate the track beautifully as it jostles on in a non-linear and quite cerebral fashion. Strong stuff here, unique, intoxicating and pull of life. Recommended. 

Ailie Ormston

The Sedate

The Sedate / Tony Soprano Fashion Inspo. serves as a solo release from Ailie Ormston of ******** / GUINNESS [Domino Recording Co.]. Comprised of two separate projects, the works coalesce to provide highly surged compositions. The tracks were co-written alongside one drum machine and one synth, embracing elements of chance and coincidence. Writing and recording came simultaneously, a production line of spontaneous melodies with realtime decision making ultimately determining how it sounded, as opposed to preconceived ideas.

Ormston intends to confront the traditions of presenting, performing and digesting music in an attempt to articulate a form of a contemporary condition. She aims to construct a coherent visual language that corresponds to music writing, carrying its ethos into different forms and varying modes of communication.

Side A - 001, 002, 003 and 004 were composed specifically for The Sedate, a work by artists Stasis, developed throughout 2018, concluding as a short film and a performance on a building site in Merchant City, Glasgow. Heavy drums, tiny handbags, choral synths, big earrings, a fight scene, a breather and finally, La Macarena. They are listed here in order of appearance.

Side AA - A32, A18, A67, B12 and B34 were composed in short succession post Side A, collectively known as Tony Soprano Fashion Inspo. Providing increasingly convoluted textures and arching narratives, these tracks are challenging in their multiplicity, with contrapuntal instrumentation being heard simultaneously. Multitasking is encouraged. Physical renditions of each track were realised and presented as an exhibition, An oat latte, but with no image in the foam at Market Gallery, Glasgow. An accompanying text written during this residency can be found alongside the release.

Our favourite bothy botherers Mac-Talla Nan Creag (comprised of Hoch Ma Toch, Other Lands and Lord Of The Isles) return to Firecracker Recordings, channeling ancient rites, the mysteries of the Scottish landscape and its elements through technologies both old and new for your listening pleasure.

This time round the archaeological work of Forestry Commission Scotland at Dun Deardail in Glen Nevis, and the links between that site and the ancient Celtic myth ‘The Sorrow Of Derdriu’ provided fertile ground for new exploration and response. Accompanying the music once again will be a lush booklet containing some of the stunning imagery that results from the work FCS have done there, all packaged and silk-screened with the usual finesse we've come to expect from Firecracker Recordings and their chief visionary House Of Traps, in conjunction with 12th Isle's Al White.

Captured in part in a high vaulted medieval church, then in home studios, bouncing ideas back and forth over the internet, MTNC have once again drawn on field recordings, traditional instrumentation, analogue electronics and the simple power of the human voice to create a shimmering and expansive song cycle.

Whereas the first album was borne out of an intense period of field trips and whisky fuelled jam sessions in brochs and had a loose approach overall, the second is perhaps more focused in its themes relating to the ancient tale - love, war, beauty and tragedy all intertwined - and they arguably go deeper this time, conjuring up something of the Fourth World feel, by way of the Firth Of Forth.

With additional contributions from Professor John Kenny - whose primal Zummoesque playing on a range of horns including a giant conch shell and a replica of the ancient Deskford carynx underpins several tracks on the album - and Eva Sutherland (daughter of Other Lands) who provides a reading from the myth at the very beginning, this is an album that not only carries the heaviness of history but also looks to the light of the future.


Matt says: It's another triumph from Firecracker HQ, a truly magical addition to Scottish future folklore from this all-star production trio and one of the most important albums you'll hear in the bleakest deep winter. Fully endorsed by us all here at Piccadilly Records - do not miss this!


2xLtd LP Info: 2xLP + Full colour, 16 page 12” insert. Silkscreened artwork by Al White & House Of Traps.

Ltd CD Info: CD + Full colour, 16 page insert.Silkscreened artwork by Al White & House Of Traps.

Another Basic Fingers gets us all smiling and wanting to dance. Superb disco edits as always. We start with 'Come Party' an appropriately title for a track exuding warmth and good feelings all over the shop - percussion heavy and with a very good bassline leading this number. 

On B1, 'Where's Eugene', the string arrangement and the piano loop that works as a bassline makes you think that you are in a set of some 1970s blaxploitation b movie. Just wait for the bassline solo mid track. Excellent tune. 
The last edit on this package, 'Rob Can't Stop' on B2, is definetely my favourite. The echo effect and those trumpets are a bliss. A bit faster than the former two but this is going to cause some heavy damage. Think of Idjut Boys and you are getting close to this golden egg. Stunner. 
As always Basic Fingers do not fiddle around, they go for the good stuff with no qualms! 


Sil says: Premier class edits from a top draw long lasting record label. All of them are ideal for the dancefloor hungry. Special attention to 'Rob Can't Stop'. Unadultered dynamite for whose who know.

Back in stock Cover of It Makes You Forget (itgehane) EP by The Orielles.

The Orielles

It Makes You Forget (itgehane) EP

    Limited edition 12” EP (300 only). Stamped white label. Heavenly house bag. Featuring a killer remix and dub by Dicky Trisco and Pete Herbert plus the group’s original and instrumental versions. 

    Red Pig Flower & Thought Crime

    Thought Crime (Inc. Wareika Remix)

    Kicking proceedings on A Side is the almighty ‘Thought Crime’ which opens the package with murky atmospheric textures, skippy hat patterns and shuffled organic drums grooves driving the composition before the focal stages see the introduction of eerie piano chords, spoken word vocal samples and acid tinged bass which ebbs and flows within the depths. ‘No Fear’ follows next, laying focus on a bumpy drum groove, modulating synth swells, ethereal tension building pads and a snaking sub bass groove to create a dynamically unfolding, hypnotic cut.

    Ravingly good Perlon’s Wareika step up to rework ‘Thought Crime’ which opens the flipside, as always from this trio shining light on chuggy bass grooves and jazz tinged ever-unfolding drums whilst stirring in the original’s eerie voices and choppy pianos to create a frenzied, dynamic feel throughout. On B2, ‘Since 1984’ is next to round out the release, an interlude of sorts featuring a bubbling arpeggio, dreamy piano melodies and an amalgamation of swirling, dubbed out echoes spiralling amongst muted kicks. 

    Folks, do not let this beauty pass you by. 


    Sil says: Ravingly good and effective minimal house. There are aplenty of these so called minimal cum house records. Few are worth your time. This is one of them and cements Red Pig Flower among the most promising producers out there. Cheerio.

    Genom Grundet is the new release by Swedish analogue explorer Ekolali on new imprint Patience. A pulsing, entrancing study in sustain and release that washes over in ecstatic waves throughout its 35 minute duration, "Genom Grundet" is a shimmering summation of Ekolali’s approach and an auspicious blueprint for the virgin NYC-based label.
    Recorded on a modest setup at his almost-off-grid compound in rural Möljeryd, Sweden, "Genom Grundent" (Through The Shallows) gently bubbles with a sampled stream, baked tape delay, droning broken organ and pitch-shifted rhythm, blooming with vocoder chants and klassic kosmische guitar as the track unfolds. Repetitive to the point of rapture, Genom Grundet reveals it’s wonders over subsequent meditations.
    Mattias Lagerkvist has previously issued similarly potent musical balms as Ekolali via Bakk and Not Not Fun.
    Patience is a new outlet for artists to explore ideas further and longer than they otherwise might imagine. Inspired by the music we like to listen to – with E2-E4 representing the format’s high tide mark – each release will be one artist’s deep dive down one inspirational wormhole - or two different interpretations thereof - spread across two sides of vinyl. Throw it on, lock in, bliss out.


    Patrick says: After taking us far fucking out with a recent split release on the BakkPlafond series, Ekolali slips his moorings and floats down the spiritual stream here with a totally fried bit of kosmische ambience. One for the mushroom crew.

    While he's not out on the road, ripping up basements and warehouse spaces with his rugged blend of new beat, industrial and EBM, Vladimir Ivkovic can be found in Dusseldorf, soaking up the cosmic vibrations of his locale and battling Detlef, Wolf Muller and Lena Willikens in a digging death match. He's not just after the lost Belgian bangers from the back room of a pawn shop mind, and this latest LP on his excellent Offen label comes from Roman techno veteran Marco Passarani. 
    Over an unstoppable 25 year career, the prolific Passarani has eleased fine twelves on Gerd Jansons Running Back label, crafted covers of Alexander O’Neal and The Jungle Brothers for Peacefrog, re-invigorated boogie and talo as Tiger & Woods and could possibly be the only producer to have been remixed by both Ricardo Villalobos and Autechre. Though famed as a man of many monikers, the Roman has returned to his legal title of late, landing at Numbers in 2017 for the thrilling electro-disco of "Wonky, Wonky, Wonky". 
    "W.O.W." sees Marco continue in the same cosmic vein, overlaying undulating waveforms with spiraling arps, glittering melodies and snapping drum machines. Whether intergalactic and atmospheric like opener "Coldrain", optimistic ("Cydonia Rocks") or club-centric like the acid laced e-funk assault "Dummy Dream", Passarani's music is precise, measured and concise.


    Patrick says: Roman techno hero Marco Passarani takes a break from recent club business as Tiger & Woods to deliver a flawless synth-driven LP for Vladimir Ivkovic's Offen. Switching between electronica, synthpop, house and electro, Passarani shifts the emphasis and intensity throughout, while retaining a signature clarity of tone and technique. This is sonic feng shui from a true machine master.


    May 1932 / Of Cotton

    A thumping  and melodic techno attack is happening on the A side. It is proper and respectable. The build-up is surprisingly powerful and something you could definetely hear the big boys spinning in a big room in a big club or in a small room in a small club in a dark, humid basement somewhere. You could also come across this beast in your headphones and you will still find yourself not noticing you started to dance. It is that good, fellas. 
    The B Side is a different kettle of fish. Here I picture the man that used to play the casio in the jungle that is Piccadilly Gardens during the summer months (oh man, that grass is something from a different galaxy - when will MCC sort it? tThey have been hiring all kind of contractors for years, and they all do a crappy job and run away with the money!). Anyway, coming back to the man and his casio. This could have easily come out of such machine. It is a mad number that will likely empty the entire dancefloor if you are not careful. However, surely will entice your appetite for a bit of off-the-beaten track vibes. It is definetly a rude number. 
    Summarising, it is a really good 12" that all techno heads out there should be listening to. We have played it in the shop and we have to stop it because customers where going totally bananas. Yes, it is that good. 


    Sil says: I wrote the above so everything I had to say is already said. But in a few words, a genuinely good straight dance record on A side, flip it and you get a more, let's say... introspective approach to techno.

    Moving on from their time holed up in a leisure resort relic, the Dutch retrogressive, analogue synth machine obsessives and tape fanatics Betonkust & Palmbomen II have teamed up together once more for a new EP.

    An immediate follow up to their debut LP "Center Parcs", the new EP pays fictional homage to a now deceased famous TV star, who instead on working on the screen, took up a new direction in making music. More replete with esoteric experimentalism, analogue jams, drums machines, synths, and a healthy dose of acid basslines, the production duo advance upon their aesthetic with a new extended EP of nostalgic, melancholic electro.

    With Palmbomen II aka Kai Hugo, based out and working in Los Angeles, collaborations with Dutch-based partner Betonkust happen less frequently than they should - especially when you acknowledge that they do not use, or record to computers. When they do happen though, their distinctive sonic palette of saturated distortion and warm melodic waves shine through. This time recorded in a bungle somewhere in the Dutch countryside, the two producers have created a concept record about Bart, a local hero and his imagined life in a parallel universe. In this reality, instead of making it in TV, Bart is a successful music producer, the track titles detailing his journey through this new and imagined life. "Bart Is Alone Again" kicks off the record with its wistful melodies, and harmonic leads, before "Underground Dance Floor" kicks in with its predominate bassline, and squelching deep-rooted, undercurrents of hardcore. Along Bart’s odyssey there are moments for "Bart's Jam", an early days Warp Records / Detroit belter; "Rejected Demo Tape" a downbeat moment of anguish; ending with "A Series of Bad Decisions," in which the EP plays out to somber, yet harmonious conclusion.

    Wow! Always a big fanfare when shop legend big bad Roddie M (Rod Modell to the less acquainted) and partner in crime Steve Hitchel fire up their cv313 moniker. An impeccable catalogue graces these bona fide dub-tech legends' legacies, whether it's as Deepchord, Shorelights, Intrusion, Radius or any of the other aliases they've used over their highly prolific and inspired career. Moonlighting here on Minimood (they usually reserve output for their Detroit label Echospace, we get five tracks executed in their completely inimitable style. Fathoms deep, sweeping textures, ethereal winds and a steady heartbeat - all the hallmarks of a cv313 outing...

    The five expansive recordings that make up the album are actually based on live recordings from a DEMF aftershow night back in 2000 in Detroit. 'The music is a bit creepy and so was the experience of this live show' says Stephen Hitchell, 'It was an old dingy warehouse about 10 miles out of downtown Detroit, right next to the now abandoned Eloise asylum, but there are many stories of it still being haunted'. Indeed, that theme of haunted locations around Detroit echoes through the five tracks and makes them a truly cinematic experience.

    Opening things up on the first record is the brilliant, "Belle Isle Symphonics", twelve frosty minutes of hunched-over drums and rattling metallic sounds that place you in the centre of a large abandoned building. Crackling static and sharp shards of analogue synth cascading through a pulsating groove and locking you into a mesmerizing stasis.

    "Masonic Mystic" reduces things down to a simple heartbeat suspended on glassy, reflective waters. Bobbing in the middle of crystalline ocean you can hear your own pulse and the solar winds from a thousand galaxies circling in the heavens. It's solitary, almost isolated, but somehow manages to revel in this lonely and expansive space - sinking you into a state of aquatic meditation.

    On the second record the superb "Stars Above Elmwood" lifts the shadowy mood somewhat with more a crisp, airy and spacious groove; delicate shakers, pensive soft-chords and flurries of delay occupying a deep space vacuum in which you could get truly lost. A track that'd no-doubt have profound results if mixed with popular disassociate drugs!

    "Two Way Inn" continues the trip in fine style with gentle chords and barely-there drums. A grandiose vastness encompasses the track, like you're sat on top of a huge canyon rushing off clean MDMA whilst a huge outdoor rave takes place beneath you, looking like tiny little ants.

    Concluding, "Eloise's Theme" arrives, an ambient slice of sonic, space drift wood on which to float off down your favourite black hole. Its cv313 as we know and love them and is sure to become a cherished entry to the impressive discography. 

    There are some people out there who can't help but make you feel inadequate - fantastic, charismatic bastards whose boundless energy, brilliant talent and superior skill suggests they're actually just more evolved than the rest of us. So it is with Leon x Leon, a Parisian doctor, digger, DJ and producer, who climbs mountains, makes your earth move and grooves you greatly whenever he's up in the spot. And when he isn't ripping it up on a rooftop DJ set, saving lives or tackling a multi-pitch ascent without breaking a sweat, Leon x Leon can be found in his home studio, fusing italo, house and boogie into neon tinged heaters for the likes of Red Laser Disco or Good Plus, the label he founded with his friends at Les Yeux Orange. 
    Now two years on from his last EP, our hero finds himself on Cracki, coming in hot and heavy with a five track frenzy of mature and diverse dancers for party people everywhere. The titular "Rokanbo" rocks your socks and sandals right off, bouncing out the A1 with an infectious fusion of acid, house and zouk. An intoxicating tropical tipple, "Rokanbo" delivers a string of bright and buoyant synth riffs, subtle percussion and a KILLER bassline, before blasting into the stratosphere via a bubbling 303 and massive synth brass solo - pure Rubicon tackle. Next up, "Formant Sweep" treats us to a squiggling bass line and spiralling synthlines, picking up a couple of classy keys on the way to mid 80s New York. If you're a fan of FK, Boyd Jarvis and Timmy Regisford, this proto-house peach will have you reaching for your Prelude jams. "Jungle Juice" transplants the party from Zanzibar to...well...Zanzibar, simmering sultry melodies, warm pads and a discoid bassline into a true techno-tropical jam, while "Red Footpath" and "Horizon" get deep, deep, deeper into this thing, balancing tougher NJ house percussion with atmospheric pads, tacky bass with trilling flute, Mediterranean optimism with New York grit.
    Exotic, evocative and utterly irresistible, this is the Frenchman's finest work to date. 


    Matt says: KP tip - double dose with a can of Rubicon for the ultimate party power up.

    Patrick says: Beat the seasonal blues from the comfort of your own turntable with Parisian producer Leon x Leon. Ignore the EasyJet offers clogging up your inbox and invest in something way groovier. Acid zouk? Island disco? Proto House? If you're after a breath of fresh air and a blast of high end floor fuel, this is for you.

    Black Label no. 3 from established Bristol firm Banoffee Pies who have cut out a truly unique and sincere pattern from the house, disco and downbeat clothes of today.

    New signing Monotronique delivers a 118bpm, sample heavy bopper in the form of "Baggage With A Secret". Peppered with loose breaks and reverb-heavy brass, it possesses a dark, cinematic mood whilst ensuring enough dancefloor focus through its sub-heavy kicks and sharp snare hits.

    Freerotation resident Tom Ellis contributes a sublime almost-micro-house offering. Utilizing those Akufen-esque vocal chops, a skitty, swung house beat and warm Rhodes it recalls the golden years of glitch whilst keeping up to date with the current players. Mega!

    Filip Szostak drops a beautifully eyes-down dnb flavoured roller with subtle touches of footwork and electrofunk thrown in for good measure.

    Finally the firm invite Lyssna Records own Flord King with another micro-inspired gem for the head bopping late nights on “Shanti”; which should tickle the fancy of fans of Jan Jelinek and vintage Matthew Herbert. Another sterling set of sizzlers from Banoffee Pies!

    Exterior is the artist moniker of Edinburgh producer Doug MacDonald. Exterior represents his transition to electronic music and an embrace of the dancefloor. Doug played hardcore and noise-rock for a long time before eventually abandoning collaboration, nostalgia and formulaic rebellion in favour of synthesis. What he gained on the way was an understanding of the power of live drumming and years of finely honed performance-skills, something of an aberration in dance music.

    Exterior thus represents a convergence of disparate personal and musical pleasures. Accordingly Exterior draws on rhythmic mavericks as divergent as Fugazi, Battles & Swans as well as DJ Spoko, Clark & Hieroglyphic Being. In addition, there is a deep undercurrent of melody and texture, drawing on the likes of Burial, Miles Davis & Bjork. Eschewing the modern home computer in favour of an exclusively hardware based approach, Exterior espouses a physical relationship to what is at heart an abstract practice, composing electronic dance music. Perhaps it’s unsurprising, then, that one of the things which really sets Exterior apart is his intoxicating live show. He gets the crowd going every single time he performs, so infectious is his energy, as he throws shapes and struts his stuff behind the gear, clearly 100% in the moment and his element.

    The three originals contains here are a perfectly modern amalgamation of choice dance music tropes. There's the full frequency spectrum assault of UK bass, the highly frenetic rhythms of Chicago house, the hoover synths of Belgium techno and the glitch, wobbly and wierdness of the Cornish acid crew (AFX, Ceefax, Sqaurepusher); all ushered through at an ADHD-satisfying urgency and intensity. In short, it's the technicoloured endorphin rush your stadium rave up never knew it wanted; with myriad moods sweeping through the three tracks effortlessly.

    On remix duties, the elusive but prolific DALI's "Collapsing Star" remix clocks in at just over 9 minutes, another marathon-length effort and perfectly encapsulating its namesake. Setting the beats to classic electro, everything's pushed hard until it all seems ready to fall rapidly apart (and it very nearly does), before dissolving in a fiery sizzle: a more visceral, dancefloor accompaniment to Exterior's heady affair.

    South London's Troy Town follows up a tasty Wbeeza EP with the rave-flecked optimism of Copper Green Sedan's "Pedestrian EP".

    A multi-intrumentalist who was living a nomadic life through northern Europe, these tracks were inspired and conjured up on the road before being finalized in a rapid and creative studio session.

    "Pedestrian" opens proceedings, a perfect hybrid of garage and house, it's both shoulder-rolling and elbows-out grooves instantly work their magic on the body, while quiet sustained strings lurk in the recesses. Bursts of rich piano cut through this tribal blueprint, shining a bright light through the murky, club-seasoned darkness.

    "Rolling In The Long Grass" is a smooth and techy affair, with those patented low subs powering the bottom end, it's immediately tailored towards the crisp and heavy soundsystems of the global dance village. An intricate arrangement litters the mix with elements, darting synths, reversed perc, elastic leads; all with a very textured and detailed perspective.

    Final OG from CGS, "Gene", ditches any beat syncopation for a driving 4/4, galvanized with shimmering keys and rising strings, this is the euphoric rush of endorphines required to close off the EP in epic style. Growing in intensity, with some subtle but arresting switches, and highly mobile bottom end you're gonna struggle not to lose your shit to this in the club!

    Desert Sound Colony gets their mits on the stems of "Pedestrian", turning out an able-bodied and stylish tweak that stays true to the original on many levels, just dressed it out in some alternative instrumentation. Mega stuff!

    Following the releases of the vinyl compilation "Spring Break" and the maxi 12” compilation "Bardo for Pablo", Stroom conclude their Pablo's Eye trilogy with the typically diverse and utterly devastating "Dark Matter". "More than anything, Pablo’s Eye is a temporary atmosphere, like a taste or a dream…", well so say the sales notes, and if that's true, opener "Worship & Passion" is a Michelin starred appetizer, served at a restaraunt in purgatory. Celestial pads and poetic vocals seduce you with their heavenly charm, but that still doesn't shift the stainless steel anxiety that this could go the other way. "More Hestiant Than Before" seizes on this moment of uncertainty, applying the classic ambient combo of tremulous drone and stately strings but with an intensity far removed from your typical day spa. I'm a sucker for rhythm, and the rolling toms, propulsive bassline and ruthless breakbeat of "Different Observers" more than tickles my pickle, upping the energy before the moody and mystical ambience of "She Would Stand Alone" provides the party fear. Help arrives via the dramatic "He Closed His Eyes", an uplifting and esoteric composition adorned in hang drums and metallic textures, which strolls effortlessly into the paradisiac "When You Were Asleep", a triumphant combination of healing frequencies.
    On the flipside, "L.A. Desert" takes a diversion into the ethno-ambient terrain of Laurie Anderson's "Mister Hearbreak", before the rainsoaked "She Told Him The News" harnesses the noir of Blade Runner. "Tamil Nadu" is trip hop in henna, while "A Pagan Use" exploits your inherent vertigo to pull you into its tower of song. Sparse studio dubbing and cinematic tones show us out on "Out Of The Corner Of Her Eye" and "Loisada Dub", bringing this most excellent and esoteric trilogy to an end.


    Patrick says: Stroom bring their Pablo's Eye trilogy to a triumphant close this week with the deep musica of "Dark Matter". Whether exploring straight up ambience, cinematic interlude or propulsive trip hop, Axel Libeert's outfit always maintain their signature sound. Pro-Tip - save a fortune on therapy and listen to "When You Were Asleep" once a day.


    Ba Hu Du (Wolf Müller's Unreleased Version)

    After landing around the ADE weekend as a special Safe Trip bonus, Young Marco lets the last few copies of this one sided killer out into the wider world. A companion to Jan Schulte's ace remix compilation "Sorry For The Delay...", this no nonsense power platter sees the Dusseldorf producer adopt his Wolf Müller guise to radically rework a track from one of his other acclaimed projects, Bufiman. “Ba Du Hu (Wolf Müller's Unreleased Version)” includes all of the ingredients that make Wolf Müller reworks so special. Rich in loose and heavy, densely layered percussion, Schulte’s trademark Jew’s Harp, liquid electronics and breathy, mangled tribal chants – the latter presented in a handy locked groove at the end of the single – the track is little less than dancefloor voodoo for basement botherers and slacker daydreamers alike. Well wonky, packed with off kilter funk and steeped in kosmische melodies, this is best played when the room's spinning and the walls are starting to melt. 


    Patrick says: Ooof! Right, we've managed to snag a few copies of this ST promo, originally only available from the label's webshop, released as a companion to the recent Jan Schulte remix collection. Tying all his varies guises together (more or less), this battle weapon is high grade voodoo lysergia - cosmic house for the froglicking crowd.


    Ltd 12" Info: Limited Single Sided 12".
    Tone arm balancing tool on the B-side.

    Using an old door, 17 strings, chopsticks and combining them with phasers, echo units and amplification, the new device was to become his signature sound, mixing Irish folk influences with Asian and North African sounds in a mesmerising and soulful new way that brought him to the attention of the leading improvisers of his day - Alice Coltrane, Ravi Shankar, Don Cherry and more.
    A logical follow up to AllChival’s recent reissue of Stano's debut LP, Michael O’Shea’s self titled LP was originally released on Wire's Dome Imprint in 1982. The background to the album is as interesting and inspiring as the artist who created it - born in Northern Ireland but raised in the Republic, O’Shea was keen to travel and escape the troubles of his home. Wandering throughout Europe and the Middle East, O’Shea found himself living and working as a relief aid in Bangladesh in the mid Seventies where he learned to play sitar while recovering from a bout of hepatitis. A later period spent busking in France accompanied on zelochord by Algerian musician Kris Hosylan Harp led to O’Shea’s idea of combining both instruments as a homebuilt instrument - Mo Chara [Irish for "My Friend"].

    He later described the process on the back of the LP himself saying:

    "Having sold my sitar in Germany and being desperate for money to travel to Turkey, I conceived of the idea of combining both sitar and zelochord. The first Mo Cara was born, taken from the middle of a door, which was rescued from a skip in Munchen"

    A combination of dulcimer, zelochord and sitar, O Shea would play it with a pair of chopsticks, striking the strings softly using Irish folk rhythms mixed with the rich, nostalgic sounds of of the many Asian artists he’d encountered on his travels. It was a pan cultural sound standing at an unusual crossroads of folk, traditional, rock, progressive, jazz, electronic and post-punk worlds without hesitation. 
    Perfecting the instrument on the streets, there were further spells spent busking in the underground stations and cafes of London's West End and Covent Garden during the heady days of the 1970s when they were full of eccentric street entertainers, jazz improvisers and musical pioneers. His work with Rick Wakeman never saw the light of day but O’Shea’s contact with the world of post-punk London ensured his name would live on. Introduced to Wire's Bruce Gilbert and Graham Lewis via cartoonist Tom Johnston, O’Shea eventually acquiesced to an open invite to record at their studio. Turning up unannounced in the summer of 1981 the LP was recorded in a day in the legendary Blackwing Studios and released on Dome the year after.

    The first side features the fifteen minute masterpiece "No Journeys End" with the B side featuring more input from Wire in processing the Mo Chara sound.
    Lewis himself said years later of the forgotten masterpiece: “I always said it was the best job we ever did.”
    After an aborted LP with The The's Matt Johnson the following year, O’Shea quietly disappeared from the formal recording world and his brief but unique contribution to the music world came to a sad end in 1991 when O’Shea was struck by a post van and died a few days later in hospital in London.
    This repress on All City’s AllChival imprint has been remastered and reissued with the approval of both Dome and his surviving siblings.


    Patrick says: Mind expanding tackle here from All City's Allchival wing, who raid the archives of Wire's Dome imprint to reissue Michael O'Shea's self titled masterwork. Operating in the street musician tradition of Laraaji, Space Lady and Moondog, incorporating the DIY experimentalism of post punk and exploring the avant-garde and esoteric end of the folk and jazz worlds, this LP will beguile, bemuse and bewitch you in equal measure.

    Norwegian artist Tarjei Nygård first touched upon the ESP Institute spectrum in 2016 with a limited-edition red flexidisc of "Bleusa", which accompanied issue 21 of New York City’s acclaimed Love Injection fanzine. Since then, his poetic offerings have been a staple, for their ability to effectively dictate mood is second to none. Concentrating on the timeless aspects of melody and rhythm, Nygård's approach may sound obvious on paper, it's this deliberate approach to songwriting that brings his productions to life and gives them a unique sparkle.

    "Bleusa" is dripping with fantasy and adventure with island pads, golden bent notes, even a cameo bird-call from the infamous acid house loon, yet Tarjei exhibits a mature level of restraint, a highly sophisticated grasp of emotion thats perfect for after hours luxury. "Forus Echo" furthers this notion but expands into full-blown ripples of ecstasy, coasting over soft-thumping percussion that mimics the human heart while smothering the listener with concentric waves of synth feedback. On Side B, Tarjei shifts to a strong rhythm dynamic, the demented "Lost In Lindos" is an aquatic breakbeat thats both deep and buoyant, a malleable tool that works at any BPM - not specifying particular references but skirting the ballpark of early turntablism. "Øylie" closes the EP with a familiar ESP prescription; we lie on our backs, finger-painting in the opium smoke above, feeling the warm embrace of collective consciousness while telepathically harmonizing plans for our utopian future.

    Conceived in Bali as a club event to allow Phil Cooper and Indonesian DJ, Dea Barandana a chance to flex their rave potential and dig out those obscure, heavy dance floor cuts, Through Gods Own Eyes has been hosting sporadic parties for the last 3 years, with no specific musical boundaries - it is about the late night, early morning dance floor experiences, heads down and lost in music!
    A label was also planned, but when that would happen was always unclear, however a chance meeting in Croatia at Love International Festival 2018 between Phil and Carlo Bragagnini AKA La Mano has led to the inaugural release, TGOE001 La Mano 'Tana del Lupo' EP.
    The A-side brings us "Sirena", inspired by the classic Italo stable, a deep and driving intro that builds with a rolling, solid bass line, shimmering effects, gun fire handclaps and siren sounds before the piano line eases in to take it to a euphoric crescendo of soaring synths for maximum hands in the air vibes...
    To add weight to the release, remixer options were discussed and both agreed on Man Power, whose rework takes the track to a very different place, adding a solid breakbeat to it, dirtying up the piano and extending the mix to 9+ minutes, this is HEAVY for the floor...
    On the B-side "La Mano" is the ying to the yang of "Sirena", a much more progressive track, subtle in the arpeggio build up and layered to create a big sound culminating in a swirling series of dreamy chords and synth lines.
    The "Ambiente" mix takes away the kick and percussion to allow the full dream like state to take effect, one for sunrises and sunsets across the globe...

    Since Ron Morelli's LIES declared war on clubs everywhere in 2010, we've seen plenty of technoise pretenders come and go, lacking either the melodic inspiration, consistency or invention to stay the distance. There've be no such problems for China's Tzusing though, whose future-proofed 'World Industrial' style has constantly surprised and slammed through the most cutting edge clubs across the globe. After the recent repress of his universally acclaimed debut LP, 東方不敗, LIES hit us with a triple 12" retrospective compliation of Tzusing's first three now out of print EPs on L.I.E.S. spanning 2014-2016. The precursor to his masterful long player, these sought after slabs saw Tzusing apply his own sonic imprint to Boccaccio style EBM, Macao industrial, slamming machine funk ("4 Floors Of Whores!!!") and corrosive acid, leaving most other producers crying for mummy. 


    Patrick says: Essential triple pack powerplay from LIES here, putting all those heavyweight Tzusing cuts in one place. The undisputed champ of the new unpleasantness, Tzusing rips through industrial and EBM with his own unique style - bag a copy immediately!


    3xLP Info: Includes MP3 download.

    Aided by airy pads and shrouded ambience, “Hammers” drives a 303 bass line right through its centre, perfectly balancing the tracks emotive and darker sides.
    Hodge (Livity Sound/Hemlock) comes on board with an industrial sized remix, carving out some heavyweight tribal drums and additional percussion and letting the acid do its tweakable thing.

    “Denergy” meanwhile channels some electro tinged bassline moves over super funky, tight drums, a flourishing acid line, and laced with the futurism and sound aesthetics that’s keeping James Welsh at the top of his game.

    A dark techno/electro 12" with acid flirtations for the hungry dancer.


    Sil says: If you need a soundtrack that is as cold and dark as a Eastern European desolate, abandoned concrete-made social housing building you just purchased as an investment in the hope that it will be the next pocket of hipsterdom, this is the 12" you truly need. It is pretty good at conveying such feelings.

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