Here's some bargain business for the intrepid digger... An array of also-rans, slept-upons, potential turkies or simply over-stocks that we got too many of! Anyway, there's some absolute bargains to be had so get stuck in and have a look!
Public Possession favourite Anton Klint gets collaborative with Edvin Edvinssom, dropping a trio of cheeky edits on their brand spanking new Tryck & Ton imprint. The mood's hazy, lazy and loose as the duo work the controls on three horizontal dancers from right across the genre spectrum. Totally nailing the dreadlocked vibe of a languid Mediterranean morning, the Swedish producers treat us to a ridiculously groovy Italian reggae number in the form of "Sunday Morning". Built around a foundation of nimble bass and lilting drums, the cut drifts through choral vocals, funk guitars and breezy horns, all naturally wrapped in a thick cloud of dub delay. Flip the pancake and lick those lips, "She Couldn't Dance" is about to balance your palate. Sweet as sugar and sharp as lemon, this summery disco number pulls off smooth and sassy like a 70s pin-up. A limber bassline rides the pitched down disco beat while dreamy organs, crooned vocals and the occasional guitar lick soundtrack add a real touch of class. What's next? It's the return of the B2 show stealer as Balearic bopper "Æ" completely blows us away. Naive and brilliant, the combination of simple drums, a two note bassline and those jaunty keys could play on forever without losing their appeal, and as for that sultry sax - wow! Don't sleep, or this beauty will haunt your dreams.


Patrick says: Public Possession associate Anton Klint and countryman Edvin Edvinssom deliver a trio of sunkissed edits for the Balearic crew. It's this year's "Cocktails By The Pool"!

YPY is the work of Osaka based Koshiro Hino. Having recently released on labels such as Nous, his own label BirdFriend, and the legendary EM records Koshiro now presents the 7 track LP ‘2020’ for Where To Now? Records.

The LP leads with the slow building, off kilter title track ‘2020’, where flurries of eastern horns skitter beneath evolving layers of wonked yet beautifully balanced percussive movements, coming off like a technoid homage to the fourth world works of Eno & Hassel. As is the case with much of Hino’s music, as the piece develops it takes on heavier and heavier modes of experimentation and excitement – turbines whirr and fizz alongside layers and layers of percussion, constantly teetering on the edge of No-Wave breakdown whilst never losing sight of the rhythmic backbone, recouping from every moment of collapse with total grace.

Hino swings from this cacophony of rhythms on ‘2020’ to the playful, straight-laced ghetto tech burn of ‘Soup’, using layer upon layer of low key jazzed melody and percussion to gather pace and momentum, showing another side of the YPY palette with a deep groove and melody indebted to the work of Carl Craig as Psyche/BFC and the like.

Hino creates a musical world that veers from the frantic to the sublime seamlessly and appears to ground his interest in the potential harmony of these two states – or more specifically, how the two can exist in a way which keeps heads down and bodies moving in a dancefloor capacity whilst challenging the listeners expectations at every turn. Whilst obviously this is not a new concept, it is Hino’s own historic steeping in experimental drone, improvisation, and his work with his intense, hypnotic, minimalist psych outfit Goat which allow him to hold a unique position in this electronic realm.

Yusaku Shigeyasu (Juno Plus) further conveys this aura of Hino’s work in a YPY feature piece for Juno Plus, writing - “Intensity is a common thread that runs through all of Hino’s sprawling productions. It isn’t necessarily synonymous with a boisterous, forceful sound. He eschews conspicuous structures or overt arrangements and brings a sonic potential out of sober materials, creating deceptively stark pieces with a dramatic impact that capture and hold the attention from the off.” - Yusaku Shigeyasu / Juno Plus

Hino’s more rockist influences are perhaps most pertinent on ‘Ash’ which embodies this improvisational and stark approach to rhythm. ‘Soup’ is a doomy, sludge hybrid of fizzing electronics and stoner swagger, owing as much to contemporary artists such as Earth and Om, as it does to the first wave of Japanese and German experimental psych of the early 70’s. It’s a piece which is unlike anything else on the record, a vital piece of the puzzle when understanding where Koshiro is coming from, yet leaving no clues as to where he is going.

The Playground offers up its 9th release to date with honorary Ozzy (now via Berlin, Amsterdam AND London - phew) - Inkswel. This self-confessed drum machine obsessive (and former B-Boy) takes on the task of laying down 4 future-boogie jams on this up and coming label, aided and abetted by Henri Le Blanc, Sven Atterton & Man Made Mountain. "Visions Of Life" features Sven Atterton and is a lively number; soft keys and weaving B-line complimenting a whole manner of vintage drum boxes while glistening chords twinkle through the mix. "Patchouli & Nag Champa" slows things down for some proper smoochy, leftfield boogie. Squelchy synths, mystic leads and flurries of synth-sax are the main motifs of this intriguing soul nugget; full of radiance and intrigue until the very last beat. "All The Way Live" features Henri Le Blanc and veers off towards a slightly more housey direction. A huge, low-slung bass rolling around the low frequencies as clipped drums and warped melodies fight for dominance in other areas of the mix. Inkswel adds the icing on the cake in the form of a spoken word section of cultural observation - noting that most people in the current scene don't want to have random sex with strangers, instead a more conservative, let's get to know each other first system seems to prevail (!!!). Finally, "Pot Liquor Revisited" relives Inkswel's B-boy days as him and rapper Man Made Mountain collaborate on some proper street ready hip-hop. Well programmed beats, a really strong vocal and jazzy, crate dug instrumentation put this up there with Q-Tip and Dilated Peoples - an authentic slice of retroist rap music executed with aplomb! Wonderful stuff here from Inkswell - most recommended. 



Detrot's Santiago Salazar returns to the Frustrated Funk label under his Seldom Seen moniker. Bringing a gangsta swagger and a lysergic mindset, Seldom Seen bridges that monumental gap between ghetto beats for the corners and mind music for the the psychonauts. Surely gonna be big with all the taste makers and hype followers (NTS / Fact / RA etc), fortunately on this occasion the content DOES deliver as this is some truly unique wigged-out 'n squelchy body music folks. The title track, trailed wonderfully by a flanging, phased locked groove, reframes Justin Timberlake's "Sexy Back" as totally warped electrofunk complete with buzzing sequences, sleazy vocals and a strangely skewed sound design. Seldom Seen takes us deep into the rave haze of the post-peak next via the low end glide, cavernous reverb and disembodied vocals of "Slide Me Yo Luv", before turning back to the boogaloo on "Varrio Funk". Quite possibly the very freak Sexual Harassment were in need of way back when, this infectious body worm works the frequencies with swelling bass, churning keys and prime cuts of choral vox. "Lose That Man" keeps things off the straight and narrow for the B1, its off-centre synth whirlpool veering between Ghetto house vocals and a Paisley Park bassline, while "Deuce And A 1-4" (again coming with its own locked groove) is the trippiest bit of zero g hip hop you'll hear all year long.


Matt says: Imagine stumbling into a block party full of twerking ladies and jitting fellers, only you've ingested 500mics of LSD and a whole bottle of tequila. Everything's swirling around, struggling to keep upright but somehow bodies keep bouncing. Could well be the birth of a new musical sub-genre this one people - suggestions on a postcard please!

Does Ron Trent ever sleep? The acclaimed Chi-town luminary seems to be putting out as much new music now as he did 20 years ago, with his recently revived Future Vision alongside new imprint Music and Power, not to mention his Electric Blue series.... On this latest offering he teams up with Manoo for a deep, dubby, atmospheric house track with a beautifully detailed, highly textured palette. Everything from the crisp perc, electric soundbed and squelchy B-line sounds sublime, with the veteran producer's lifetime experience really paying off. Deep house never sounded so good! Comes with a further dub and reprise versions in that typical US style. Recommended.

"Boulderball" is a whole new, fully stretched world, inspired by everything from the Bomberman Hero OST and Cesar Camargo Mariano's "Prisma" LP, to 'going on youtube and playing tracks at 1.25 speed.' The LP is made of fizzing Brazilian fusion, video game music, virtuoso keyboard playing, funk, and the type of glorious, hook-driven pop energy known to fans of YMO, New Order, and Mario 64 alike. The first LP from Repetentes 2008 (aka Gabriel Guerra of Rio's 40% Foda/Maneiríssimo crew) and although worlds apart, sits brilliantly next to James Ferraro, Dream Catalogue, Art Of Noise, Krikor etc.
'Future Times is very happy to announce that we're putting out Boulderball, the first LP from Repetentes 2008 (aka Gabriel Guerra of Rio's 40% Foda/Maneiríssimo crew), this September!


Matt says: All sounding very vapourwave this to me folks. With a solid 'aasssthetic' that brings to mind playing SNES-era Donkey Kong on Val Kilmers while vintage Channel 4 space exploration vids play in the background. aka LOADS OF FUN.

After a string of releases for Omena, Transatlantyk and Studio Barnhus, Wroclaw-based Naphta delivers his first EP for Maciek Sienkiewicz's Father & Son Records & Tapes (FASRAT) label. This is house music like you've never heard before - loose, freaky, hippie, voodoo machine funk, highly infectious grooves for any modern dancefloor. 'Exorcist' is a jazzy piano looped beatdown house number for early doors head nodders. 'Boomerang Disco' is a slurred and submerged disco-tinted shuffler with gritty crackle and light fingered ivory tinkling. EP title track 'Enter The Dagon' fires up the mystic flutes, woodblocks and voodoo chanting for a tropical house flava. Lastly 'Idle Look' is a jump-cut house number, throwing spliced vocal samples, piano lines and organic beats  into the mix.

As always FASRAT delivers also full picture sleeve artwork - this time by renowned graphic designer Ania Goszczynska.

The new release of the mysterious label Lama, comes from Repetentes 2008, the alias of Brazilian producer Gabriel Guerra. Two beautifully kaleidoscopic tracks where you can hear the influence of 1980s video game soundtracks, Brazilian jazz-fusion, electronic pop and new age Japanese ambient music played at the wrong speed. Beautiful silkscreened artwork by Portuguese street artist Rudolfo. Limited to 200 copies.


Matt says: Repetentes 2008 return after that brain fizzing EP on Future Times last year. The formula hasn't changed but they're still out there completely on their own - sounding like if James Ferraro and Stanley Clark collaborated on a new Donkey Kong soundtrack whilst on holiday in the tropics. Yes!

Que Sakamoto + NT

Lalo - Inc. JP & Vulinej / Magic Touch Remixes

The latest installment of Roam Recordings comes from the Japanese disco scene via the production duo of internationally acclaimed DJ Que Sakamoto and seasoned studio engineer NT. The title track "Lalo" is an original production with a stylish edit of an obscure vocal. This slow paced groove has a lot to offer with its bells chiming, synths drifting, and peppered in vocal that brings it all together. The first remix comes from JP & Vulinej the partnership between JP Soul (boss of Roam Recordings) and Jeniluv (a prominent figure in the LA dance scene and partner in Roam Recordings). Having heard Que Sakamoto+NT’s excellent single, Vulinej fell for the song and brought it to JP Soul at Roam Studios. Together they came up with a filthier heavy hitting acid bender.  The second remix comes from Magic Touch who has made a name for himself for his critically acclaimed releases on 100% Silk and Tensnake’s label True Romance as well as his performances at places such as Sonar, Unsound, and the legendary Panorama Bar. His remix of "Lalo" perfectly rounds out the EP in an entirely new direction with elements of atmospheric electro combined with a consistent heady dance beat.

Another record from P Relief & D - two producer so far content lurking in the shadows and away from the Dance Music™ spotlight. Their first release was killer and lucky they don't let us down on this most recent outing. D kicks things off with "Vocal Drift", a fizzy, gently saturated hardware house jam with droning synth lines and scorched perc. P Relief follows suit with "Panoramic Point" - a serene, ice cold chiller with static discharge, metallic washes and proper wigged out aesthetic. Imagine a Mood Hut record beamed straight into the furthest reaches of the cosmos and you'll get the jist. The two producers join forces for third track, "Kinker". Another out there, spacey house jam, there's definitely nods to Vakula's mainframe exploring sound alongside the various facets Firecracker's multi-dimensional output. Finally, D concludes with the tranquil shimmer of "Syrup"; gentle Rhodes fluttering across a skeleton hi-hat patterns as the synonymous sci-fi sweeps and effects hover overhead. Top stuff and another winner for the leftfield house massive. Recommended.

PeteMartell arrives onto Raw Sounds District with his first EP. A 5 tracker full of strong Casio RZ1 rhythms backed with cold pads and bumpin' basslines. Title track slowly churns out of the computer memory with plenty of dither / compression artifacts, PeteMartell layer's up ghosted perc, a seductive vocal line and swirling pads before shelving everything at about 12K hertz. "I Have Conformation" switches on the VST-303s for some gurgling mid-range experimentalism. Sounding a little like if Leron Carson was to come and jam with Deep Space Orchestra and record onto 1/4" tape. "Rabbit Snare" completes side A in strange, bewildering form as a broken drum machine rhythm attempts to formulate some kinda groove while eerie vocal smudges and more drunkard pad swirls pad out the mix. Flip and "Allenby Portrayal" seems to lift the low frequency shelf to about 16K hertz as PeteMartell lets the mix jitter and shudder that little bit more. Finally "Naked Lunch" deploys a robotic, minimal wave beat to metallic sweeps and industrious growls. Militant stuff indeed from PeteMartell, when AI bites back!

French label The Other Planet drops release number three via Worth Way - a new producer who let us into his sonic world through this debut four tracker. Although the label's French, I guess Worth Way is Australian through a personalised set of sales notes: 'This EP was created throughout adventures into the Australian wilderness. Whilst hiking and driving around mountains, forests and beaches, inspirations were drawn from emotions and connections that were felt in these settings. The tracks reflect the physical and psychological catharsis that can be induced in a landscape that has seen minimal human activity.'
It definitely fits into the radiant and psychedelic house sound emanating from down under at the moment, with our Antipodean cousins ruling the roost when it comes to sunny deep house sounds. "Signals Weak" introduces itself through glowing Rhodes licks before getting on a bit of an old school garage tip through soulful male vocal and swinging New Jersey-esque beats. "Must Be" opts for a straight up deep house vibe, flattened pads ushering through some well constructed beats with chopped vocal embellishments recalling Saint or Giften and Blessed with its advanced audio manipulation. Top stuff! "Brain Phasing" sees a return to an pure vocal garage house track. With no vocalist credited I'm assuming this is indeed Worth Way on the mic, delivering a beautifully laid back but intoxicating series of harmonious passages. Finally, "Still On Earth" concludes with a delightfully playful house groove, full of tasty polyrhythm while a radiant keys and shuffled snares fill out the rest of the mix. Worth Way gives us one more blast of his amazing voice before allowing the EP to naturally draw to a close. Wonderful stuff from this newcomer - one to watch! 


Limbo Yam / Pfer

Spooky-J spearheads Blip Discs darkest, most outlandish and hands-on dispatch to date. The A side, "Limbo Yam" contains mystic, glacial and meditative sounds sparsely constructed within a minimalist framework. Both melody and rhythm on this outing working in tandem to create something quite hypnotic and encompassing. "Pfer" on the flip showcases some real production finesse: that tribal, half-tempo D'n'B sound that's incredibly in vogue right now but so hard to pull of with this much style! Spooky-J's percussion programming is second to none, while is deft, suave sonics should turn the head of even the most stubborn of nightclub bores. It's another storming release from the buy-on-sight Blip Discs and a wonderful introduction to this obviously highly talented new producer. TIP!


Matt says: The exquisite Blip Discs return with the new sound! Half-tempo, 150bpm tribal business... perfect!

The debut 12" from Wherethetimegoes. Lastminuteman delivering five diverse, nauseating, and picturesque odes to the epidemics of Dublin City direct from the subconscious. Opens with the Ferraro-esque dreamworld of "Aerosol Meer" then quickly into the housey, conga-led shuffle of "Phi); with its nicely stripped back arrangement and undeniably funky grooves. This particular number should interest everyone with a current penchant for all things shamanic house related, unfurling as it does into a shimmering, ethereal epic full of all the mystic nuances that the genre desires. Flip and "Reducer" wraps more spellbound sounds around a rigid, concentric drum beat; sounding like J. Albert and Person Of Interest's smashed NYC experiments. "Tent" echoes and throbs as its stems are forced through a strange spring reverb preset, heavy with dub inflections but remaining decisively abstract and intangible. Finally, "All Or Nothing At All" concludes the set with a collage of synth shards, buzzing sine tones and faux-orchestral passages; a mirage of enchantment set against a digital backdrop. Out there stuff from both artist and label and highly recommended.


Matt says: I liked this. Bit of a digital exotica / shamanic vibe to it. But not wafter and beige like the also-rans....TIP!

Deep, cosmic, neck-snapping, gut-gurgling electro straight outta the 'Dam via ITPDWIP. Follows a previously huge release on Brokntoys with another four tracks of authentic, x-rated machine abuse. "Blinded By The Light" kicks things off - an emotive micro-anthem for pitch black dancefloors and cybernetic lovers of the night. Over ITPDWIP's taut electro grooves we get a melancholic, almost goth-like male vocal taking about being blinded by the light but now can see. Nice! Jeremiah R has a go at remixing the track. Rolling out machine-code 808s through a slew of hazy pads and creeping bass. Lovely stuff. Onto the side B and don't forget to switch to 33rpm as "I Am Not Him" introduces itself slowly but directly, with swirling pads accompanying a buzzing lead bass and dripping electronic arps. When the beat finally drops its more on that ghetto-tek, electro-funk vibe made popular by Mr. De and Godfather. Street-ready and primed for extended JIT. Finally "Outernet" concludes in suitably narcotic and out-there fashion - a plethora of mechanical sequences converging on some radiant atmospheres and garbled alien chatter. Strong stuff here from ITPDWIP and the excellent Lobster Theremin. TIP.

Hailing from the Ruhr Area in Germany, the Homewreckers (Johannes Ehmann, Gregor Pottmeier and Krischan Wesenberg) have 20 years of musical background - meandering between jazz, blues, soul, house and techno (!!!). Moving between electronically powered dancefloor music to film soundtracks with ease, the trio of self confessed music obsessive's present an excerpt from their upcoming album, "Machine Kiss". "Confusion" sends old jazz loops through an audio tumble drier before layering up some rich, fervent male vox. "Rotthausen" sees delicate piano notes demolished by thudding perc hits and torn up electrics. Serene and psychedelic in equal nature it recalls the crazed rhythmic power of Where 2 Now? or some of Boomkat's recent forays. As we flip the disc the mood remains constant - the lights are low, the time is late, smoke and heady atmosphere fills the air. It reminds me of sipping classy cocktails in places like Fitzgerald's - prohibition themed jazz bars with sexy lighting and even sexier bartenders. Finally "Guestlist" concludes the trip, possibly the most 'modern' sounding track on the EP. Disjointed and with a nod to glitchy hip-hop (or wonky-hop as we call it here), it squelches and squeals as various elements are mashed and mangled, reconstructed into something resembling a groove. Challenging, innovative and definitely not for the faint hearted! 

Cosmic Resonance is a Toronto label showcasing artists who experiment with music and sound via a cosmic perspective. It was founded by Chris Evans and James Harris in 2017. The first release comes via an artist called Hemingway, who's "Memoirs EP" here, showcases the intergalactic side of jazz-funk in a dreamy and completely listenable fashion; highlighting the rich musicality of the producer as it does so. "Ayahuasca" opens the EP, a contextual if surprisingly subversive title for this quite trad sounding of offerings; I guess the DMT-containing entheogen is hot in everyone's mind's right now (not just our feathered dance buyer... - ed). The track is vibrant and energetic, with a cinematic quality that exudes all the best records of this style; it could well have been plucked directly off an Italian library album! "Dream Swagger" sees a more appropriate title applied as this one really does SWAGGER. Another fully live arrangement, basing itself around a truly low slung bass lick and lively guitar work. "Ocean Hues" is up next, a circular, undulating cruiser suspended on crystalline seas and coastal breezes. Flip the disc for "Love Mirage", which shimmers with more intriguing synth work and a new age optimism. Finally, "Memoirs" concludes the set, applying the brakes for a sensuous and smooth jazz jam, with reverb drenched sax, walking bass and excellent rhythmic interplay. It's been one hell of a debut, both for artist and label and another reason why Everyone Must Move To Toronto. Most recommended.


Patrick says: Fresh Toronto tackle here which combines the best of the Vancouver scene with Peckham's soulful strut to create a detailed and dreamy contemporary take on jazz-funk.

Australia's GlamouRatz` revamp the whole ghetto-house / booty rap blueprint here with their own take on xxx-rated dance music. This Melbourne super group make no effort to hide their intentions with a sexually charged lyrical content backed with some erogenous music and carnal beats. With a tongue-in-cheek attitude, their upfront sound palette recalls the best bits of fidget, electro-clash, trap and new bass music while the whole crew contribute on vocal duties. Andras Fox gets lewd with the crew, remixing "Pussy Doctor" under a 'Misogyny' moniker, rounding off the edges with his traditionally warm bass sequences and adding a spoken word piece containing some Australian stateswoman going off on one about misogyny and sexism. A strange and intriguing record that'll appeal to fans of Peaches , Hercules And Love Affair and the seedy, explicit side of Chicago and New York house music. Strictly 18+

DJ Koyote & Too Smooth Christ

On Some Party Tunes

    Tasty tackle from the Supergenius Records who reach the micro-milestone of release five. DJ Koyote & Too Smooth Christ aka Alexandre Lotz & Christophe Le Gall pretty much dominate the label's releases thus far, operating somewhere outta France.

    "Error Does Not Compute" is a rough but clever electro-techno hybrid; with skeletal but well programmed drums ricocheting against trickski LFO / quantize patterns that'll tighten the trouser of the more avid tech-heads. "Strike (On A String)" has elements of grime, funky and kwaito - big synth-brass stabs, rampant digital hand claps and a "Township Funk"-era synthline all displaying its three disparate ingredients. Finally "Modern Action" sees funky meet Detroit as rippling synth patterns ride a bouncy UKF riddim. Top stuff here, well fresh! 


    Matt says: Urgent and cutting edge but still purpose built for the dance. Fierce stuff here from DJ Kotote & TSC.

    Downbeat Feat. F-On

    Downbeat Black Label 03

    3rd release of Downbeat black label, the sublabel of Downbeat. The owners of the label, Jose Rico, Urtzi and F-on present us two long slow motion tracks with field recordings, whirring melodies and voices from beyond the rave. Two dense experiments which show us the less kind side of Downbeat and continue along the path opened up by "Solaris". "Moskitos En Siberia" explores the barren sonic wastelands which Juju & Jordash are too scared to venture through. A thick haze of ghostly vocals, opiate-soaked percussion and eerie drones. "Smog" on the flip has sounds from a distant metal works clanging away while radiant pads open up and bursts of white noise give us an indication as the origin of the sound source. More ghostly artifacts sweep in and out of the mix indiscriminately while unfathomably subtle melodies drift in and out of focus as the track progresses. This is some really unique stuff, perfect for creating atmosphere in unusual spaces (I can personally imagine this sound tracking Neil Robbins' exhibitions in the old Olklahoma basement here in Manchester) but also great for long drawn out druggy after hours wind-downs, taking us deep inside outself through undeniable introspection and detail. Wonderful stuff.
    Only 200 copies pressed.

    Following the critical success of last years mini-LP 'The Last Tortuga', Black Deer is back on Emotional Response with a 4 track remix EP featuring friends and alumni Nacho Patrol, Luke Wyatt, Sad City and Valet.

    William Burnett returns to the label in the form of a remixes EP that takes his original productions and hands it to a broad selection of today's finest electronic producers, plus a rare outing from one of the label's favourite pyschedelic experimentalists. While Danny Wolfer's Legowelt project needs little introduction, it was only right that his inclusion on the label came from a more cosmic outlook. With must have EPs and a long player offered, his afro-infused Nacho Patrol moniker is a must check. In 'Circle Dance' the original is taken by the hand down to an afro-tech-funk'n'breaks basement for one of his best remixes to date and rightly so for one of his old buds. Luke Wyatt follows with an uplifting and warped retake on 'Meditation'. The kraut influence of the original is built on with fuzz guitar and a solo that builds across the track to a higher peak. Play this at sunrise for reaffirmation of life itself. Next is a big favourite of the label, Sad City, who caught the ear with his first release on Underwater Peoples and a lush follow up for Phonica. The pure ambience of a 'Highway' remix strips everything back and lets the 4th World shine. Finally, one of the main influences on the label when it started a few years back. Valet aka Portland multi-instrumentalist and mum, Honey Owens offers a deep, beautiful and haunting retake of 'Tortuga', adding whispers, drones, guitar, toms, keys and intonations to swallow you whole.

    "Paint en Pointe" is a compilation of selected compositions by Eugene Ward, otherwise known to most as Dro Carey / Tuff Sherm. The tracks have been taken from a series of performance collaborations with choreographer Patric Kuo over a 5 month period. Throughout the series many ensemble types were explored, ranging from solos up to large groups of as many as 16 dancers. Patric Kuo is a Sydney based dancer / choreographer originally trained in all styles, but presently heavily draws his influence from hip hop and contemporary dance. Coming from a performing arts and commercial dance background, Kuo has expanded his ideas about communicating to an audience, moving away from the traditional entertainment relationship towards an approach that includes engagement more informed by performance art. Best known for his club music productions in his Tuff Sherm and Dro Carey guises, the compilation offers an exploration of a different side of Ward’s music. "Paint en Pointe" showcases Ward the composer, synthesising his characteristic textures and percussion with structures that allow in some instances more formal approaches (informed by his study of composition at the Australian Film, Television & Radio school), while in others, even greater experimentation than in his – already quite singular - solo music work. "Paint en Pointe'" explores that tantalizing and ultra-modern dance ethos of contrasting double & half time feels to create a juxtaposition of fast and slow rhythms that echoes the sound palette of styles such as trap, juke and footwork without aping them or even directly referring to them. At times "Paint en Pointe" recalls the deconstructed, mutated, and cinematic dancefloor work of UK producers such as Wen and Logos, but embraces a more organic, experimental, and occasionally exotic approach to rhythmic structure that is comparable to the work of artists such as Fatima Al Quadri or Shackleton - combine these two worlds with a constant respect and acknowledgement for modern sound design masters such as Rashad Becker and Mika Vainio and you find a forward thinking sound that stands completely alone.


    Matt says: Exceptional disjointed future body music from Sydney's Tuff Sherm man. Artistically and sonically in a whole world unto itself.

    Well now, Shadeleaf, obviously unaware of the famous proverb, have lobbed all their deep house eggs in a 12" basket and smashed the competition out of the park! Thatmanmonkz's label of love has already established itself as a major player in the club world thanks to a handful of sold out releases from the main man and his cohort, and this looks certain to follow suit. Showing some considerable A&R flex, the Sheffield producer has hooked up a heavyweight head to head for the sixth release, pitting Grodno's finest, Four Walls & Funky Jaws against the Helsinki hitman Saine in a no holds barred contest. Continuing the fine form they've shown on a pair of rapturously received Kolour LTD 12"s, Four Walls & Funky Jaws deliver a mid tempo shuffler topped with late night pads, bottomed with a foot pleasing bassline and decorated with a cracking intergalactic keyboard solo. Saine dons his remix cap, claps on some mood lighting and delivers a truly seductive beatdown take on "Bring Me To Space", complete with live percussion textures, a bubbling bassline and atmospheric pads. Gorgeous, bottom heavy and sophisticated, this is the kind of beat I'd marry for status. On the flip Saine serves up his own original in the form of "Daze", a cool and collected head nodder with melancholic keys, fizzing synths and just enough shuffle to get your hips swaying. The Belarusian boys up the pace with their remix, taking us to directly to New Jersey with a swinging US house rework that'd put the Masters to work. Top stuff all round basically.

    Alex Cortex

    Have Liveset Will Travel

    Skudge enlists the deranged and manic electronics of Alex Cortex into its esteemed ranks. Having already split our cranium in two with his "Live at Monox, Glasgow" jam, this new release on our favourite flat-lined techno label should firmly scatter all that's remaining across the galactic floor. "Rumble Ratio" is a fine example of how to do frenzied repetition perfectly. By using small passages with varying sequence lengths, Cortex's concentric elements all weave and intertwine wonderfully, with squelching acid artefacts, a buzzing sawtooth and flapping percussion all merging together into a head-bending collage of sound. Absolutely sublime. "Dense" is a typical Skude track - flat-lined, corrosive and with a most invading hook; sure to get people pulling the all important 'techno face' on the dancefloor. "Charge" concludes and falls under what I like to term 'nuclear power plant techno from the cosmos' - which basically means it sounds like a thousand militant aliens all working in synchronicity to harness new energy for a distant planet. "Charge", in particular will appeal to the Millsian fraternity while the rest of the EP is absolutely storming from start to finish.

    Marius Circus

    Shorelines - Inc. Rollmottle Remix

      Norwegian producer Marius Circus has been steadily carving out a name for himself over the past few years, with releases on Prins Thomas' revered Full Pupp imprint, a ten minute acid tinged rework of Seahawks for the Ocean Moon imprint and recently the launch of his very own In The Garden. Sentrall Records very own Rollmottle, one half of Project Sandro, steps up to deliver his take on "Shorelines". The original has all the feels and flavoures of the Med, with coastal melodies hung delicately on a Balearic-beat, chiming keys and playful perc completely the holiday package in fine style. Rollmottle's version is even more blissed-out and opiated, lapping against our ears like the waves of the ocean, gentle arps bob and undulate around a wish-washing rhythm section as we fall tenderly into our hammock-habitat, nothing but white sands, an ice cold cocktail and a the blue sky our friends. Pefecto!

      A huge departure from his known works, Marcos Cabral appears on L.I.E.S. with his most dynamic and experimental work to date, the 'False Memories' double album. Compiled from various cassette tape recordings spanning the years of 1998-2000, here we have the early experiments from an accomplished producer, which showcase the unharnessed energy of youth when it crashes head on with the technology of the day. The tracks created by Cabral reflect his attempts of the music of the time falling somewhere in between techno, dub-techno, IDM, and even noise (actually, especially noise - you'd think our new 'technoise' section had been created just for this release!). An engaging and timeless listen the whole way through.

      Marcos says: "I recently found about three hours of my unreleased tracks from 1998-2000 on old cassette tapes. The collection that I set aside for LIES is pretty much all from 1998. During that time, I lived in upstate New York in a 3000 square foot loft with just one other friend. Both being DJs we would use our loft for fairly large parties... Cajmere from Chicago definitely being a highlight. I knew nothing about "making" music at this time and was using this fairly primitive wav. looping program called Acid. I just started recording my crappy Roland MC-303 into my computer and would just mash loops together over and over. Listening to these tracks now, I have a really vague memory of making them, and feel that their naive nature and the happy accidents that happened here are pretty exciting to listen to."

      NYC producer Marcos Cabral coming correct with three choice weapons from his private arsenal. On the A-side we have "Pest Control", the title track and EPs dark, techy opus. Cabral's industrialized rhythms permeate through the entirity of the track, vast machines driven into frazzled intensity through repetitive processes and a monster workload. "In The Red" features fellow noise maker Entro Senestre and draws indesipherable vox backwards through an engine room flanger before rearranging with skeletal beats and glitching synth bleeps. Final track, "Standing On The Corner" sees Cabral capably explore the realms of blissed out, late night deep house; tipping his hat to the THC-soaked sounds of Vancouver along the way. Ace!

      Rawmance's La Beaute Du Negatif is exactly the kind of obscure, limited run, no-hype record label that always piques my interest. After giving us coastal acid courtesy of Toisvesi, a crazed psych swirler from Deviere and a pummeling V/A EP, this might be their strongest record yet. CCC kicks off with an untitled number spanning the whole of the A-side. Throbbing 808 kicks and a sharp electro beat characterize this dark cave-dweller as a rising synth motif emerges from beneath the fug; penetrating all but the strongest craniums and bending consciousness as it does so. On the flip Cosimo Damiano's "Norvegian Landscapes" is a wonderful way to describe the serene, glacial beauty contained within this track. Another tour de force of epic synthesizer prowess coupled with a keen ear for inflicting mountains of emotion into a simple chord sequence, this is an absolute killer of a track. The serene, cryogenic nature is continued into Commodity Place's "Life Is A Georgeous Lie", as glitchy beats tumble over delicate piano notes and mournful strings; having a similarly calming effect as one might achieve after reaching the peak of a great summit. Breathtaking stuff from this buy-on-sight label. A 100% roman release.


      Matt says: Rawmance's La Beaute Du Negatif is exactly the kind of obscure, limited run, no-hype record label that always piques my interest. After giving us coastal acid courtesy of Toisvesi, a crazed psych swirler from Deviere and a pummeling V/A ep, this might be their strongest record yet. Secret weapon business from me to you. Enjoy x

      Boot & Tax

      Spazio EP

        the italian duo boot & tax got already one lp and four eps under their wings who all deliver house and techno that stands out. so far their records been published by glasgow’s finest optimo music and meant records from paris. now the two give their debut for endless flight and release three tunes that listen to the name “dimension”. they all got funk, they all love mesmerising melodies. you can feel the power of disco coming in with heavy seducing strings. you can get lost in echoed drums, trippy sounds and some oriental tones. and you also can march to cosmic techno that loves krautrock without embracing it. a multi-coloured ep that spreads deepness in an uncommon sense. if moves the heart and soul profound, while staying edgy and catchy.

        Iceland born, Norway based producer, BG Baarregaard, drops in for the inaugural vinyl outing of Austin, TX based imprint, Whiskey Pickle Records (possibly an early contender for label title of the year). "The Buskerud Tales EP" comes complete with four, silky smooth original productions that lie somewhere between street soul and 80s boogie, Balearic beat and classic soulful / deep house. It's the latter that begins proceedings as we get the sumptuous textures and soulful vox of "Get Up". "Tokyo 1988" is a nice clean Balearic tune, super slick digital production and a strong sense of musicality marking this lush, dreamy little number. "Kick The Burger" touches on that sunblushed, street soul sound and will go down a treat with the Full Beam! FM crew. Finally, "From Oslo To Aal (By Train)" allows a cushiony soft, blissed out Balearic-house hybrid to serenade our tired minds and bodies, offering up a sensuous aural massage to wash away and pains and strains. Let BG Baarregaard into your world for some sonic healing! Wonderful stuff.

        The Steoples is a collaboration between Gifted & Blessed (Wild Oats/GB) and A Race of Angles, who recently recorded an EP for Theo Parrish's Wildheart Recordings. "Nature Of The Soul" will be getting nuff praise from Giles Peterson I reckon, its lush organics and neo-soul vibe set around the house template heading right up his strasse. "Got To Be Right" uses similar soulful male vocals bouncing against a house beat. This one intricately weaves some radiating synth lines and bubbling sonics into the mix though, making for a slightly more melancholic, if none the less intoxicating trip. "Riding On Light" uses a kraut-inspired 3/4 groove to send us spiraling off into madness. Imagine if Suicide were actually best mates with Prins Thomas and Todd Terje and lived in the Nordic mountains; this might well just their jam! Finally, "Even So" ends on a emotional note, male vox crooning away supported by staccato keys while a simple drum machine rhythm holds it together. Very effective. Each sleeve is unique, hand-stamped and hand-sprayed with different colour schemes. A sublime release, and very limited copies available, so don't miss!

        Ratcatcher provides two new cuts for the esteemed Peach label, with hot-to-trott remixes from Leon Vynehall and Benjamin Damage. "Somehow" is a sleek, sub-heavy slow house jam, delicately pairing syncopated percussion with deep synthetic textures and catchy vocal snippets. "Motion" does away with the vocals and layers up sizzling white noise sweeps and techy stabs to create a pitchblack throbber for late on into the session. Leon Vynehall unloads some tough breaks onto "Somehow", turning the drum palette and overall aesthetic into summat a bit more crunchy and aggressive. Benjamin Damage tears "Motion" a new arsehole as he delivers a forward propelled nu-techno jam complete with rumbling kicks and discordant rhythmic artifacts.
        Support from: Mike Huckaby, Trevino, Maya Jane Coles, Jonas Kopp, Nikola Gala, Norman Nodge, Joris Voorn, Lorca, XXXY, Vince Watson, South London Ordnance, Eats Everything, Totally Enormous Extinct Dinosaurs, Shenoda, Iron Galaxy, Atjazz, Randomer, Komon, Physical Therapy, Doc Daneeka, Braille, Thefft.

        Fabio Monesi

        Say Wot?! EP

        Wilson head honcho Fabio Monesi has quickly carved out a solid rep through unique, ruff-n-ready releases that land somewhere between vintage, dusty Chicago house and analogue-driven hardware techno, possessing a wild energy and fiery mood.

        No. 18 on his label and the London-based DJ / producer presents two inimitable tunes - full of acidic bass, mainline drums, rampant perc and warehouse friendly goodness. I often think Monesi characterizes what it must sound like to frequent the modern day acid house squat scene of east London and this record hammers that idea home even further. 


        Matt says: The Italian stalion returns! Two tracks of squat party thrust locked n loaded.

        Les Graciés is a collaboration in the truest sense between Paris-based sound artist Gaël Segalen and Deepblak co-founder Afrikan Sciences. Segalen’s experiments in electroacoustic sound met the wider world this year via a debut LP for Erratum, an arresting work that showcases her ability to merge hypnotic murk ala Angus MacLise with the hard concréte of Parmegiani & Reibel. Segalen’s IHearU imprint / organization is a platform for her various doings, including psychogeographical audio works and multi-media collaborations, as well as servicing as a reference point for other contemporary female artists working across various mediums. Eric Douglas Porter aka African Sciences has been deconstructing and re-building forms of contemporary Black music since the mid-2000’s, through releases on Deepblak (the label he co-runs with Aybee) and PAN. His musical universe is one of warping cadences and celestial melody, referencing the bold work of percussionists like Milford Graves & Art Jenkins, the dissonant chords of Motor City Techno and stripped back essence of early Chicago House matched with broken Hard Bop sentiments: all tied together with an aesthetic that sits somewhere between Sun Ra’s omniverse, Jean Giraud Mœbius and Dogon cosmology. Together as Le Graciés, Segalen and Porter make a wholly unclassifiable strain of music that, while containing recognisable elements of each individual's work, also creates a third entity in the process, which can be heard to stunning effect on their forthcoming debut LP "Low Doses" for Firecracker Recordings.

        • 2xGatefold LP from Les Graciés
        • Strictly limited vinyl
        • Silkscreened artwork by Al White & House Of Traps


        2xLtd LP Info: • 2xGatefold LP from Les Graciés
        • Strictly limited vinyl
        • Silkscreened artwork by Al White & House Of Traps


        Co-ordinates #1

        'All temporal things, whether material or mental, are compounded objects in a continuous change of condition, subject to decline and destruction.'

        Recital of Friedrich Nietzsche's 'Will to power' by Jenna Whelan

        The inaugural release on enigmatic conceptual artist and Freerotation regular Aboutface’s new label Coordinates- a limited physical release series exclusively showcasing his music and original art, depicting conceptual themes and exploring the aural terrain of two sets of location coordinates around the world. Coordinates #1 explores the relationship between a human cohabiting bat colony in Lincolnshire, England, and the ancient mayan culture of the Zinacantecs from the Chiapas region in Mexico, who in their native tongue refer to their land as - Sot’s’lab (Land of Bats).

        The theme is articulated through triggered ultrasonic bat recordings from the Collegiate Church to affect the rhythm and timbre of live synthesis and instrumentation, alongside the cultural history of the Zinacantecs - a bat worshiping mayan community of the Chiapas region of Mexico, influencing the tonality and mood

        The research and experimentation is used to articulate a conceptual sonic narrative of the impermanent nature of existence; the cycles of birth, prominence, decay and rebirth of all things. Exploring the ebbs and flow of religious identity, cultural tradition, the universal ecology of all living things, urbanisation and the perception of the role of the the subconscious, all locked in fleeting circles of rise and decay, phasing in and out of alignment.

        Considering a connection between sociopolitical and environmental change through interspecies solidarity and utilization of the subconscious mind.


        Matt says:

        Kareem Kool on Arcane US, the Brooklyn based label run by Edgar Rojas-Masferrer. With a low key but highly specialist artist roster, this is one label to watch if your after the less obvious cuts from the current house spectrum. Kareem Kool contribution is nothing short of inspired, with a sound that meets somewhere between Apron's frazzled aesthetic, Hieroglyphic Being's fearless experimentation combined with an ear for angelic, heavenly and transportive sounds and textures. If the first three tracks don't win you over, then "Town", concluding should crush even the most iron-wrought of hearts, destroying the listener with painfully emotive blasts of yearning melodies, white noise bursts and mechanical rhythms. Genius.

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