Here's some bargain-bin 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!


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!

Tropa Macaca = André Abel and Joana da Conceição. For the beguiling Dunno they present two soundscapes of sparsely populated new environments. On part 1 of "Caçador Do Futuro" we here distant swells of biomass and radio waves bounced down into our audible frequency range. Part 2 sees more life forms introduced - alien bird chatter, insect hive minds and AI-induced emotion. It's all a very out-there and futuristic experience and should sit well with anyone who thinks the stark reality of Charlie Brooker's 'Black Mirror' is more than just science fiction.

Syncboy is a beloved electronica-kraut-punk live act from Leipzig Germany. A beautiful dark shimmering and playful project, recorded at Zurichs infamous squat and released via the sublime Lustpoderosa. "Stolpern" unfurls a rich sonic pasture before our receptive ears, lush and detailed synthesis meeting a biotic mood and cerebral approach. It's both Balearic, electronic and almost psych-folk in equal measure - superb! "Green Market" begins its ascent in a swirl of synth fug; with leads jostling for position in the foreground. As the arps power up and the motion begins we climb a buzzing and taught sawtooth / drum pattern, dark and cinematic and meeting somewhere between Timothy Fairplay and John Carpenter. Flip for "Kiss An Elefant", which returns to the naive, blue-sky dreaminess of the opening track "Stolpern" but underpins it all with a slightly more menacing, minor key arp. Finally, "Waterfalls" returns to the dark side, with advanced synthesis ushering in a range of textures and moods while those vintage drum boxes still supply the forward momentum. As usual, a truly arresting and captivating listen from Lustpoderosa. Recommended.


Matt says: More electronically-guided weirdness from the exquisite Lustpoderosa this time touching upon cinematic synthscapes. Wonderful!

Here it is folks! The eagerly anticipated new EP from local firm Swing Ting arrives just in time for the warmer months ahead. 

"Junction", a six track EP produced entirely by Samrai & Platt, features vocalists from Jamaica, Ireland & the UK and rounds off an excellent 12 months for the label & crew who’ve toured across North America, Mexico and Europe in 2017.

The set kicks off with ST favourite Alexx A-Game (originally voiced at his studio in Kingston in 2016) urging listeners to ‘free up’ their mind and souls and let the ‘good times take control’. It sets the tone for upcoming Jamaican talent Blvk H3ro to step up on the soulful party number "Can’t Wait" (recorded at Equiknoxx’s studios in Vineyard Town in 2016), which has been a staple in Swing Ting sets over the last 18 months.

Slowing the pace is "Addiction", a link up with Irish artist and frequent Murlo collaborator Gemma Dunleavy who lays down an impressive vocal over the skittering drums, muted guitar and glistening keys. The listen is interrupted momentarily for an interlude from Gavsborg whose moving voicemail is accompanied by a poignant piano line from JP aka Without Understanding. One for the clubs - "Turn it Up" features Equiknoxx’s Shanique Marie riding a stripped funky-esque riddim with ease.

Fittingly the set closes with "Contagious" which finds two of Manchester’s finest vocalists - Fox & Tyler Daley searching for an escape from the reality of our turbulent times over a refined yet sparkling production. 

Support from: Murlo, Toddla T, Jamz Supernova, HDD & Equiknoxx across NTS Radio & BBC Radio 1 / 1xtra.

Limited to 200 copies, this is an essential slice of music history, showing Manchester as the joint epicentre for a global-wide scene which spans Kingston, Dublin, London and the cybersphere. Samrai and Platt are two the nicest, most humble and understated guys in our city but their credentials already set them amongst the music business elite. Following some expert A&R, DJ'ing and general brand curation, it's great to see they've also got the skills in the studio. Top one lads, as ever, massive props. 


Matt says: Samrai and Platt are two of the nicest, most humble and understated guys in our city but their credentials already set them amongst the music business elite. Following some expert A&R, DJ'ing and general brand curation, it's great to see they've also got the skills in the studio. Top one lads, as ever, massive props.


Ltd 12" Info: Limited edition, full picture sleave

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!

The delectable Normals Welcome bring more upfront, multi-dimension house music to our receptive head spaces. Project Pablo and Khotin should need no introduction to our regulars, having established themselves as leading lights in the current dance music scene. Here they join forces as Rest Corp for their debut collaborative release. "Infinity Scroll" was created during a weeklong session at Deep Blue in Vancouver. From the arpeggiated house moods of "Love it TBH" to the depths of the dubbed-out title track. The 12" is then capped off at peak intensity with the bouncy basslines and high-pitched filtered freak outs of "Current Mode". Excellent stuff here from two producer's highly tuned into the circuitry of the dancefloor.

Produced, arranged and mixed by: A.Neri, M.Baroni, A.Dodici & P.Pieretti on Oversky Records in 1992, this oft-overlooked piece of Italian house history is one of the crowning glories of the genre. Both dreamy and chunky, it knocks aside those wafty imitations with no stones as sizzling leads and captivating hooks float delicately atop of a rock solid b-line. Highlighting that 'coastal exuberance' that's fast become back into focus, "Holy Dance" is everything you want in a house track. So good it gets four outings across the twelve, I'm not gonna describe the individual nuances of the difference versions - just assure you that each and every one of them is lush! House heads - you need this!

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.

Simbad (aka SMBD) is a stalwart of the underground music scene in the UK; this multifaceted producer can turn his hand to a number of sounds and styles. Since his 2007 album "Supersonic Revelation" and his acclaimed dancefloor hit "Soul Fever", the London based Frenchy has been constantly travelling the five continents entertaining delighted clubbers with his super energetic DJ skills or producing and recording various artists from many different genres including deeper dubstep don Mala (DMZ), UK Hip Hop star Roots Manuva, Cuban songstress Dayme Arocena, Detroit House producer Kai Alce, Berlin based deep Techno artist Fred P, Seun Kuti from Afrobeat's most famous family, Brazilian superstar artist/actor Seu Jorge and being production mentor for the king of cool, radio DJ Gilles Peterson (who made him one of the resident at his Worldwide Festivals). With the "Moon Theory" EP Simbad demonstrates his talent on some deep analog frequencies for the very solid & ever growing label that is Apron Records. As the music wizard puts it himself : ‘I'm just trying to make some timeless shhhhh man, soul in all forms really, trying anyway! And I guess that the best is yet to come.' Recommended.


Matt says: Apron continues to remain completely crucial through 2017. Funkinevin's uncompromising label constantly offering up gritty, real life alternatives to the gloss'n'polish fakery of this world.

Mannella brings a rousing 12’’ EP, including a devilish Sunil Sharpe remix. “Nibiru Road” is an engrossing but arsehole-tearing techno slammer. The infectious, grating percussion rides a rib-punching kick while a whole manner of glitching synthesizer action and analogue whirlpools converge in the recesses of the mix. Manella gets all Purpose Maker, changing the pitch of hi-hats mid pattern and generally adding multiple dimensions to his drum programming where other producers would be happy to just let a preset play through. It's those extra elements that really highlight the EP, with "Fourth Dimension" (recorded from a recent live performance) sounding like a lost Drexciya track with its squelchy sequences and deep sea aesthetic. Sunil Sharpe of various glories (Trensmat, Labrynth, MORD, Mindcut, Inner Surface, Works the Long Night, Black Sun Records & On the Hoof to name a few), gets to work on "Nibiru Road", retaining much of that original thrust and keeping the biting, aggressive nature before adding some clever harmonizers, resonators and such like to the outboard; giving it an electric, radioactive hum as it powers through the motions. An excellent record for the OG techno heads.


Matt says: Hefty ball-haulage from this relative newcomer with a stonking refix from tech-vet Sunil Sharpe


Hypnoelectronix No.1

The North East of England is known for its role in helping to shape the UK house and techno club landscape during the late 80's and throughout 90's. It’s infectious and raw energy engaged Slip-D from a young age exposing him to a number of venues including The Riverside, Empire, Pleasure Rooms and the hedonistic Rockshots. Drawing inspiration from the scene along with potent labels like Svek, Guidance and Shaboom that came in to prominence in the late 90's, a bedroom studio set up of amassed hardware funded on a basic income was then formed over time. Residence in Teesdale Avenue, regular local car thefts and the wail of the Rag and Bone man all assembled themselves as a formula of what was happening outside the 4 walls of the studio. The vaulted "Hypnoelectronix No.1" finally got pressed after some years, and transports us to the true crux of that era. More material to follow in 2017 on the HPNX imprint... Eyes-down, laser guided, deep techno musica.


Matt says: Sexy, stylish, eyes-down and deep musica from this NE enigma.

Pulsating, arpeggiated, snarling beasts here from an Italian producer together with an ominous-sounding remix by Heinrich Mueller aka Gerald Donald of Drexciya. Track titles refer to the journeys of the Sky Dragon (A1), Yellow Dragon (A2) and Dragon King (B1/B2) as they soar and serpentine majestically underwater and beyond the clouds. Crushing waves of gurgling synthesis mix with expertly assembled rhythms and a gliding, no-friction aesthetic as we soar down the rainbow road. The Drexciyan master sorcery provides some much needed black magic, a vigorous and hermetic workout which sees the electro cauldron spurting fractals and plasma balls from its fiery core. Absolutely killer stuff here for electro and techno heads alike. Much recommended. 

The Pulse Projects

Black Catalogue Rituals - 2004-2005

The Pulse Projects "Black Catalogue Rituals (2004-2005)" show Albert Van Abbe’s grittier electro / industrial focused work all recorded in the mid noughties. Four tracks from the archives and fizz, sizzle and bite in all the right places. Think distorted kicks, buzzing sawtooths and lashing, hi-res acid lines. Militant gated drums ensure plenty of deep thrust as the cacophony of noisy attributes makes itself heard through the dirg. "Zeta" has gotta be the money shot for me, swaggering into a focus through some penetrative leads, clever, shoulder-dropped beat and one-the-one bass sequences. Top stuff for the leather clad dungeon dwellers.

A new split series from Barcelona's Hivern sees label stalwart Marc Pinol joined by newcomer Charlotte Bendiks. "Cel Avall" by Pinol is a slow, deliberate excercise in late night hypnosis; a steady pulse jotted with rigid melodies and ushered forward by some simple drums. Bendiks offers up a reinterpretation of those early Chicago body tracks. Rhythmically dominating and again, very hypnotic, Bendiks drops some sexualized spoken word passages over the otherwise completely drum-based track.

Artworky by Dr. Me.


Matt says: New project from cult label Hivern. If this first release is anything to go by, it's gonna be a doozy!

This is Orbe's first release for Jon Talabot's intuitional Hivern Discs. Chasing technological purity by only retaining the most essential elements is what characterizes Orbe's work. The quest for transcendence needs to have little distractions, focusing the mind and body on the singularity. A thoroughly electric outing, the six tracks plunge the deeper and more enlightened ends of the techno and electro spectrum; splashing the listener with wet snares and sub-aquatic bass patterns while a melee of intricate lead lines jostle for the spotlight in the upper frequency range. It's not too stripped back however, as "Uniformity" displays a musical and diverse side to the producer which is extremely warm and seductive. Held together by an intuitive, concise and highly fascinating sound palette this is one of the stronger Hivern releases to date and is likely to sell out as fast as it came in. Get those skates folks cos this one's a keeper.


Matt says: John Talabot's Hivern continue to remain a crucial force, signing up this brand new talent and in turn, releasing one of the most essential joints on the label to date!


Ltd 12" Info: Last remaining copies!

M-Twelve is a new collaboration between Tortured and Electrix label owner, Billy Nasty and Nick Dunton of Surface Records, 65D Mavericks fame and more recently, Poverty is Violence label.

Taking their name, M-Twelve, from the iconic Fred Perry T-shirt, the pair decided to combine forces based on a love of techno and electro, their strong friendship and many late night conversations in the back rooms of various nightclubs. They started recording together last year and the "Apocalypse in Paradise EP" is the first signs of their monthly meetings at what’s been dubbed, 'Dunton Abbey Studios'. The EP features their two original cuts of beautifully crafted emotional electro, the warm and glittering "All The Things" and "Time Spent" with it’s deep narrative and tough machine groove. In addition, remixes of "Time Spent" come from Sync 24 (Scand / Cultivated Electronics) who delivers an energetically fuelled reworking and electro veterans, Transparent Sound with a stripped and stomping acidic version. Whilst fitting perfectly into this year's acid / electro / vintage techno resurgence it also shines a light on these unique producers, demonstrating that their way ahead of the pack when it comes to cutting edge sounds and invigorating melodies. Top stuff most recommended.

Nomadico’s "Gentefication EP" is inspired by the gentefication movement in east Los Angeles (something I'm sure we all can relate to on this side of the pond as well...). A movement striving to uplift and maintain the local street culture without selling out to real estate developers and so-called gentrifiers. The A side tracks “Gentefied” and “Semillas” are deeper, uplifting tracks with a hi-tech edge. The soundtrack for young barrio coders, digital artists and community organizers. On the flip “Graff Walk” and “The Heights” are grittier techno-funk workouts for bumping loud while rolling down North Broadway or Cesar Chavez Avenue in L.A. Yaxteq will continue to honor high tech urban innovation that goes against all expectations. Si se puede!

Mono-Enzyme 307 debuts on MCR's freshest underground sound depot - Natural Sciences. "Adventures in Cryosleep" is 'a record of corrosive space sludge dipping between deep acid trajectories, twisted cyber funk, narco new beat, android warehouse movements, Detroit machine tyranny and musicalities often referred to as TEKNO. We present the first phase in the mutation.'

More excellent, uncompromising musica from the NS camp. This particular offering, a rave gremlin friendly smorgasbord of cavernous acid, freakish hardware abuse and strung-out, schitzoid warehouse beats. 


Matt says: Manchester's killer underground electronics label Natural Sciences come correct on this, their 5th release so far - and perhaps the deepest into the wormhole we've gone so far. Caution advised!

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.

Long term friend and cohort of Leven Vincent, Eric Maltz is the latest artist to grace the hallowed Novel Sound. Hailing from New York City, and now residing in Berlin, his life alongside the label honcho has included a long stint in Halcyon Records' (Brooklyn) and a dynamic series of parties that the pair threw in and around the area. A debut album that takes on the industrialized, technoid aesthetic of Novel Sound and injects it with a kind of cybernetic emotion that makes it glisten like a neutron star. From the opener, "Drone Y Besa" which hints at its cyborg-pop sensibilities to the inter-planetary bounce of "Time". "All The Things" sends shatter-like ripples through the space time, as another yearning vocal part gets shrouded in dark matter and red shift. "Symphony At Dawn" sees the second disc introduced with style and aplomb, a cosmic arpeggio pushed ever-outward into the outer cosmos and met with emotion-riddled strings and sweeping mainframe bursts. One hell of a ride this one folks, a more than competent addition to the flawless NS catalogue. 

"La Fête EP" is a collection of 3 remixes of Luc Marianni's "Voyage Vers L'Harmonie". They were made by Crystal (Beats In Space - Nagano), John Shade (Bristol) and Tin Man (Vienna). Crystal's "Stained Glass Ball" version begins with a plethora of gleeful synthesis manipulation before the cresendo drops into a pumping, electronic disco groove kinda reminescent of The Chemical Brothers "Star Guitar". Epic and melancholic in equal measure, it builds in intensity through added arpeggios, perc and computerized bleeps. John Shade completely flips the script for some squashed and saturated frog lickin' tackle straight from the jungle. Primitive rhythms and mystic drones taking us deep into entheogenic realms. On the flip, mini-legend Tin Man turns out one of his most arresting epics to date; the soaring, crashing and crushing waves of white noise, ambience and acid culminating in a momentus barrage of aural goodness which could well knock any unsuspecting listener off their feet. Truly breathtaking and worth the entrance fee alone. Recommended. 

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


Matt says: Firecracker continue their intrepid exploration of deep space exotica with another new artist: Les Graciés.


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

J Slusher speaks through Partial Magic. These four cyborgian utterances contained herin shall pursue you along the corridors of your mindframe. Their technoid alloys shall whisper the acid machine language to the ghost in your core. Mixes well with the infernal, dystopian noise of the J Train. Covered in a molten metallic patina, as if the whole environment's been locked away in storage on some far away space station. This ain't some mindless thump and bump though, intricate production nuances keep the energy levels flowing and although brutally rock solid, there's a plenty of groove and polyrhythm to be uncovered.

RIYL: LIES, Power Vacuum, Ben Sims, Russian Torrent Versions etc etc.

Hank Jackson


Hank Jackson has been behind some of the most inventive techno to have left NYC in recent years, releasing music on his compadre Anthony Naples label, Proibito and Mister Saturday Night. If you're after a twisted NYC take on classic Chain Reaction and Monolake, then this is strongly tipped. One dancefloor(ish) number complimented by two abstract, atmospheric numbers. "Gacx" is the lead track, and one that'll (probably) garner most dancefloor play. It's a swirling, fragmented piece of celestial techno that should pique the interest of Huerco S fans as it's side chained atmospheres are permeated by stuttered concentric beats. "Snake Pit" and "Oebbbbbb" see the producer delve into the circuits of his synthesizers, churning out some proper analogue phlegm and mainframe juices as he rips apart circuit boards and CV inputs with abandon. Proper ear-grabbing music by one of the new school. TIP!

Exemplary synth-work here on Alessandro Cortini's Make Noise Records. Barry's handily filled me in on the concept here: the 'Make Noise' modular synthesizer has been developed by Cortini himself, and for the label he invites various producers to come and test the piece of kit, the results forming the individual releases on the label. What a concept! And the music's not half bad either....

For number nine in the series we see Bana Haffer step up to the dials and patch leads. "Endo" begins in a wash of low end drone, stepped frequency shelves jarring and shifting the orientation in different directions. After a couple of minutes the celestial arpeggios slowly start to converge on the mix, floating from overhead and glistening like plasma droplets as they drip viscously into the electrostatic soaked stems. As you'd expect, Haffer gets deeper and deeper into the controls as the track progresses, resulting in a truly cranium splitting exercise in modular synthesis and angelic patch bay programming! Honestly, this is the some of the most advanced and pleasurable synth work I've heard for ages (Barry agrees...). "Exo", begins its exercise with high pitched metallic rings and randomized mechanics, twisting some stuttered vox inside out through a series of envelops and grain reassembly. Slowly more epic, edge-of-your-seat synth patterns and sequences are introduced, steadily elevating the track closer and closer to the cosmos. A must for synth and modular heads, not to mention anyone with a penchant for the abstract, modern and experimental. Bana Haffer and Make Noise are truly pushing the envelope here, a source of inspiration for patch bay tweakers across the universe; highly, highly recommended!

Pressed to 12" Clear (140gm) vinyl and inserted into a black inner dust sleeve
and Matte Jacket w/ photography by Moe Espinosa and layout by Sean Curtis Patrick..

Written and composed by Moe Espinosa aka Drumcell 


Matt says: Gonna get my stake in this before Barry big knobs comes through with his modular cru. This my friends, is the dogs bollocks. Face melting? Conciousness disolving!

Strongly recommended dancefloor weirdness from Gila (of Gorgeous Children / Purple Tape Pedigree fame). Must have for fans of MESH & the Time Dance crew and currently massive love from from Mary Anne Hobbs, Optimo & Hudson Mohawke.

"106 Slipper" sees a frenzied 3/4 pattern turn itself inside out before settling into a more familiar 4/4 direction. One of those club tools that'll really come into its own when its blasting the nuts offa crowd of 21 year olds on strong narcs. "Trench Cadence" takes a more tribal route into dancefloor oblivion. Brick wall compression meeting some interesting reverb presets for an intense, thundering masterpiece of voodoo rhythms and upfront production. Breathtaking!

Two brand spankers for the dance. You need! 

New York experimentalists Sheik N Beik continue on form as they follow up records from Japan’s Keita Sano, Legowelt & Xosar and Jeffrey Scott with a bold and atmospheric 12” from Jerry Riggs & Maxwell Church aka Hermans. Hailing from Toronto, Hermans specialize in their own brand of esoteric techno, concocting up late night dancefloor rituals that stimulate body and mind in equal measure. "Diana (How You’ve Changed)" kicks things off with an infectious, gated vocal loop and juddering drum patterns. The juttering vocal loop adding serious movement to this wonderful slice of modern EBM. Brooklyn’s Max Pask then follows up with his take on "Diana" which sets 909 drums over a thick, burning 303 line. Flipping the vibe completely on its head and taking the track into lazer-guided warehouse territory. "Forget The Past" then brings the package to a thumping close as manic noises dart between crunching drums and futuristic sonics in another strong addition to Sheik N Beik’s unique catalogue. Recommended.

Mystic heaters from the one they call Deadboy. His debut on Ten Thousand Yen and the first output from his new Montreal HQ. "Columns" introduces this new chapter with a glistening, ethereal sound palette. As if we've found ourselves in some icy cave, light refracting off huge crystals while rivers of green, purple and blue languidly wash around our feet. "Glass Lake" plunges us through a luminescent pot-hole as we adventure further into the abyss. "Ten Cups" celebrating our near-death maneuver through the danger with soothing, caressing hand, delicate melodies floating aloft a bubbling rhythm while plumes of melodies percolate from deep underwater. Finally, "Ten Cups" sees a ambient reduction, offering us those gorgeous sound bubbles without any drums - simply letting the beautiful fragments ricochet off our receptive ears. A fully realized vision of sound here from Deadboy! Highly recommended and super limited. Don't sleep! 


Matt says: Deadboy moonlights with Welsh institute Ten Thousand Yen for a four tracker of stupendously fresh, neon-tinged house music for icy winters, glacier raves and Baikal dance rituals.

After kicking things off with Sean Thomas’ (Cop Envy) The Weigh, Sydney’s Outer Time Inner Space return with a collaborative EP from Jon Watts, the kind-hearted, go-to sound engineer of the Sydney club and experimental music scene and OTIS label owner, Hugh Burridge (AKA Hubert Clarke Jr). As resident DJs for OTIS’ Sweet Echoes parties and guests for some of Sydney’s more open-minded club promoters, Jon & Hugh have developed their own style of warm up set, largely unrestrained by genre. "Another View" is just an extension of this open approach to club music. There’s an obvious ode to Bukem’s "Good Looking Records", a lopsided MPC jam that could have been written by a drunk Ron Trent, a club roller with UK broken beat at it’s heart and a spaced out, dream-scape dub from Melbourne mate, Rings Around Saturn (Dan White) to round out the EP. The common thread, they’re keeping it deep.

Early support from: Ben Fester, Simon Caldwell, Adi Toohey and a load of other selectors that are keeping it deep in twenty seventeen…

In the spirit of pioneering library music manufacturers and archives like De Wolfe and KPM, Red Bull Music Academy presents a series of library music releases by Academy alumni. New Zealand's Grayson Gilmour helms the inaugural entry with his unique combination of baroque pop, electronics, and new wave sounds, accompanied by a remix from Bristolian ambient and drone producer Paul Jebanasam.

The mood is kinda exactly what you'd expect - only executed with much more flair and sophistication than I personally imagined. There's a futuristic, digitized edge - vast in scope and expansive in vision; yet the musicality fits perfectly into the storied cannon of library music - simultaneously hard to place, wistful, evocative and picturesque in equal measure. Gilmour surely comes from a jazz-informed background, but apart from some intricate chord progressions and unusual inversions, the release is as far from the typical jazz genre as could be. Instead, this is a perfectly placed collection of moods and feels from a producer and musician undeniably living in the now. Hats off to Red Bull and Grayson Gilmour this is mega!

Mastered at Calyx and manufactured via Handle With Care.

Generation Next

Our Time In Different Lives

Generation Next back alongside Big Strick this week as 7 Days Entertainment returns firing on all cylinders. GN's often the more dreamier, celestial of the two producers and this definitely seems to be the case on "Different Lives". "Cascade" starts us off with a thoroughly tryptamine based ride through double-helix structures and 5D percussion. It's weaving melodies and phazing beats perfect for extended mind expansion. "Vultures" heads deep for minimal repetition, it's hypnotic stabs and machine-code drums drawing us into a late night dance ritual with ease. Finally, "Our Time" completes the set with morphed vocals twisted and churned like cream while a barrage of hi-hats attacks the track. Very out-there and in keeping with the records hallucinatory theme. Three tracks of hardware powered Detroit HEAT. Most recommended.

Diverse house compilation EP from the Soiree camp with a rare appearance from Santonio Echols. It's Drivetrain commencing the journey however with "This Love", a bright, hands-aloft house tune with well manipulated vocal snippets and feel-good organ riffs. Echols' "Magic Grooves" is liquid joy dripping down from the heavens! The beat and backbone of the track is just straight up house music - programmed and executed with aplomb and style; but it's the absolutely beautiful female vocal sample that sends shivers down countless spines as this beauty burns on - someone name that vocalist she deserves an award! Arranged perfectly, with just the right ebb and flow, this is a no-braniner to warm up any all- night discotheque. Rennie Foster kicks off the B-side with "Just Begun", an eyes-down, techy house number with big room sound but stripped back instrumentation. It's the constantly swinging, clever hi-hat rhythms combined with this darting lazer beam that garnishes immediate focus. A goosebump inducing breakdown is subtly worked into the middle of the track, introducing looping vox and micro-epic synth sweeps. Sexy stuff for discerning dancefloors. Hide Yoshi's "Alpha Decay" begins with a defiant 808-laden kick drum grounding everything in its path. When the full force of the track hits you realize just how much sonic potential is squashed onto the wax. A real speaker tickler, this is gonna sound super powerful on a good rig, and is surely designed to fill the huge aircraft hangers of Sonar festival or such like dance event. 

Roberto Lobo and Ernesto Avelino come from Mieres, Northern Spain, and have been making music together for more than 20 years. They shook the Spanish underground in the 90s with projects such as Hegemonía or Goodbye until they conceived Fasenuova in 2006. Since then, they've delivered what they deem as “battered free-noise” in a handful of CDr and cassette releases on subterranean labels such as Ozono Kids and Truco Espárrago. “A La Quinta Hoguera” (Discos Humeantes/ 11) was their ocial debut and the album that included “Cachito Turulo”, a track that captivated us with its mixture of menacing industrial sequences and weirdly playful vocals. After having listened to it a zillion times over the last couple of years, now we are pleased to release it as a 12” single backed with a batch of remixes by producers that, in one way or another, can relate to their shadowy aesthetic.

Hivern stalwart Marc Piñol keeps the toxic atmospheres of the original composition while winding down its rhythmic pulse with sluggish analog drum-machines. Transforming the vocals into eerie whispers and enclosing them with unrelenting acid basslines, the Barcelonian lters the raw energy of the track into a hypnotizing piece of numbing house. Drexciya's Gerald Donald appears under his Heinrich Mueller guise to deliver one of his scientically-precise electro-treatments. The legendary Detroit producer brings the track to its terrain by surrounding the vocal snips with his trademark ice-cold sequences and alienating atmospheres. To complete the release, long-time Hivern-fav Legowelt follows the track's savage spirit and adds manic melodies, rapturous pads and extra-muscular bass tones to boost its dance-oor power. The release comes in a limited edition vinyl 12” with artwork by Hivern in-house designer Arnau Pi.


Matt says: Check the Legowelt mix for some heavy vibes.

Fake Left

Borders Night Train

Fresh new shit from the Rubadub camp up there in Glasgow. The label has fast become synonymous with cutting edge sounds from the worlds of leftfield, house and techno; and this new release by Glaswegian local and until now unsigned artist, Fake Left, further cements the crucial status the label is quickly achieving. Onto the music and what we have is two tracks of rich, textured, deep house music. It sounds to me like Fake Left is a hardware fanatic, as there's a natural distortion and warmth here that suggests analogue instruments. Not over complicating things, he often stands back and allows the machines to breath, letting gentle phasers and frequency shifts drift through the pulsating sequences. "Borders Night Train" is the more acidic of the two, layering up a gliding, disorientating motif over some wigged out 303s and dramatic string sweeps. Deep and more cinematic than your average acid blaster. "Depth Contours", in contract, is pure liquid deep house pleasure. Casually unfolding under phazed hats, grinding electronics and dreamy pads it's like Jose Rico's Downbeat label soiled with warehouse grime. Excellent stuff. most recommended.

Eidetic is a new project from the brokntoys camp, focusing on the deeper side of techno. To kick off the project, Eidetic welcomes Exhausted Modern - an alias from Layup, the co-founder of Endless Illusion, for a 4-track EP of grimy, grubby, eerie electronics suited for the early hours on the dance floor. Slow but quite crisp and clear, "Absence Of Divine Principle" opens the record in a glorious darkness. "Free From Possessions" has a rubbery b-line and shadowy pads, recalling a distant and skewed version of Ron Hardy's acid trax and possessing the same level of grit. "The One" shimmers and slides like the best of Detroit and UK techno. Intricate LFO fluctuations highlight some exquisite synth work, punctuated perfectly by some classic drum boxes. "Attain Ataraxia" concludes, a concentric, interstellar number with ascending arps and ghostly pads. All in a class way to kick off this new sub-label from the true underground. Recommended!

El Coyote

Dream Dealer / La Frontera

The duo of DJ Dex and Esteban Adame team up as El Coyote. "Dream Dealer" takes the Los Hermanos inspired, hi-tech Latin soul template into edgier territory with a thumping kick drum and deep driving bassline. The E2E4 inspired chords and Esteban's wicked solo half way through the track assure "Dream Dealer" will be a highlight in any club set. The flip side "La Frontera" leans more to the moodier end of the Detroit techno spectrum. A juddering, late-night throb, the track slowly builds to a melodic hook, a percussive break and a requisite hands in the air moment but otherwise keeps it swamped in heads-down, pitch black club energy. Third release on Nomadico's Yaxteq label, run outta LA but so far exploring the deep and techy sounds of Detroit's heroes (and of course, distributed by Underground Resistance). Highly recommended!


Matt says: Dan Caballero & Esteban Adame join Nomadico's Yaxteq label for a deep techno trip, many miles from Detroit and their Underground Resistance family home!

“A Little Comedy, A Little Drama” is an album by Dusty Baron - a collaboration of Moldavian fellows Eugen Kara, Ivan Slivka and Dima Scripnic. Recorded throughout 2016 in various bedroom and professional studios, including Moldavian Radio and Television Studio, the album is inspired by French and Italian psychedelic electronic music of 60s and 70s, cartoons and absurd comedians. Vintage synthesizer lines and classic drum machines create a hugely enveloping blend of dreaminess, repetition, vigor and imagery. Blended with intoxicating instrumentation, the listener slowly gets swamped with a dazzling array of both electronic and acoustic universal goodness; a deliriously caring love song that sounds reassuringly warm and well rehearsed yet completely fresh and from another dimension. There's brief forays into techno, a nod to a future which sees machines controlling our planet, and often the album drifts into a blend of absolute and exotically influenced reverie. In short it's a wonderful masterpiece of space station romanticism, alien lullabies and intimate whispers between lovers, drifting across the cosmos in carefree abandon. Superb.


Matt says: Truly mesmerizing collection of tracks that skirt through kraut, psyche, lysergia, electronica and beyond.


Ltd LP Info: Warehouse find of this lost Vakula LP. Five copies left once they're gone they're gone!

Lawrence Le Doux

Music For Documentaries

When Lawrence Le Doux was asked by filmmaker Fabrizio Terranova to soundtrack his documentary about Donna Haraway, he requested not to see the movie first. "Instead, I asked him to tell me the story of his encounter with her and his experience of the shooting in California', Lawrence recalls. After all, Terranova's approach to Haraway, a science philosopher known for his work on gender, identity, technology and trans-species relationships, had also been an unorthodox one. Far from deepening too much in theoretical concepts, the director spent a summer filming Haraway and her dog Cayenne at her home in Southern California. Maybe that's the reason why the sounds in "Music For Documentaries" feels so genuine and palpable. Inspired by Terranova's stories about wandering, nature, the deep sea, the West Coast winds, Science Fiction and surf, Lawrence produced a series of short pieces that, a bit like a Miyazaki film, connect the purity of nature to an esoteric dimension. It's music filled with heartwarming melodies and textures, but always with a mystifying undertone. As Lawrence himself puts it, "I think there is a certain darkness in the Soundtrack, as well as in the documentary, maybe this is inherent of the presence of humans on Earth". Terranova finally kept four of the tracks for the movie, but there were many more sketches and ideas floating around. After hearing them all, we liked them so much that we asked Lawrence to finish them for us, hence the plural in "Music For Documentaries". Even if some of those are imaginary. All of the tracks were created using a limited amount instruments, with a deliberate crossover of old synthesizers like a Farsa organ or Sequential Circuits's Pro-One and 90's technology like the Roland JD-800. It is curious that Lawrence says all his synths are "half-broken", since the sounds he extracts from them are absolutely healing.


Matt says: Hivern have done it again! A brilliantly realised concept piece executed with plenty of vitality and amazing depth of hardware trickery. Top stuff.

DeViere & Ali Berger

Free Gherkin Vol.1

Limited to 100 copies worldwide. Boston vs Detroit gherkin acid trax. All killer, biting and visceral;, hardwear powered, fried and frazzled one take blasters. RIYL: Hieroglyphic Being, Steve Poindextor, Afrikans With Mainframes, La Beaute Du Negatif, DJ Guy, Rawmance etc etc.

Pre-orders essential. Don't mess about!


Matt says: Heavy artillery, totally unsanctioned and likely to be subject to an embargo / trade restrictions upon release. Order now to avoid disappointment.


Ltd 12" Info: 100 copies worldwide!

Roots That Talk is the debut release by young Detroit-based artists Julion De'Angelo and Thomas Xu. It's released by Theo Parrish's iconic Sound Signature. "Chase The Summer" sounds like an extension of Theo's "Galactic Ancestors" (I guess that's why he likes it! - ed). "ALOTTOCHEWON" is more ethereal at first, before dropping into soundsystem-crushing bass swells. Very arresting and certain to turn heads in the dance, the sound design alone on this bad boy is worthy of some attention. "Pocketfull" sees the pair head down a melancholic, introspective path with squashed Rhodes accompanying mechanical, Big Strick-esque drums and rushes of piano. This is one of the strongest SS record we've had for a while, and therefore won't hang around long!

"Zibaldone I of CVX" is the first in a series of releases from Rupert Clervaux of Sian Alice Group and following recent collaborations with Beatrice Dillon, Spring Heel Jack and Treader Records. They are collections of sketches, vignettes and musical footnotes to Rupert’s ongoing and varied endeavors as a musician, listener, reader and writer. This first piece is in five sections (titles listed below), consisting of three thematic poetry recitals, read by Clervaux and others over sweltering ambient arrangements, along with two clattering percussive tracks created using a variety of sounds across the fidelity spectrum and finely sourced, layered samples. The result is a meandering and diverse musical journey which threads together succinct meditations on originality by Leopardi and Silvina Ocampo, and salutary warnings from Hölderlin and Derek Walcott!
"Zibaldone I" is presented as a 12” with a fold-out poster by Belgian artist Coline Cornélis.


Matt says: Indulgent music for active minds. CVX takes the listener on a rich and varied journey across noisy percussion, thick ambience and vivid poetry. Most excellent.

Wacked out $$it delivered by Detroit's new underground stalwart Aaron Seigel through his Fit distro outlet. From Connecticut but now based in Brooklyn, Lars Probert aka Color Plus makes his debut on Vanity Press Records. Five tracks featuring a colab from AceMo and introducing vocalist VXO. Hallucinatory percussion, interesting reverb presets and a strung-out tension characterize the release; as tense and taut sounds refract back off concrete walls and lysergic swirls. It should appeal to anyone with a penchant for the cutting edge and brand new as well as the hordes of subterranean club dwellers who live for that moment of smoke-machine abused excitement that only comes at the weekend. Excellent stuff.


Matt says: Powerful and arresting stuff here ouuta Brooklyn. Fearlessly pushing the boudries of what's expected production wise and landing somewhere in the outer realms of 'GOOD'.

Bas Van Vuurde aka Colophon is a Harlem based producer who was a regular in the Deeptrax store and had an open exchange with the label. A label owner himself, his Lowercase Life has put music out by Florian Kupfer and Orson Wells. The four tracks here have been selected from his achieve by Deeptrax and see VC-118A brought in to remix title track "Heritage". A beautifully biotic interpretation of vintage machine music, the tracks have a nocturnal mood - lying in shadows but catching flickers of light as they develop momentum. Cushion soft electronics, frenetic rhythm, synthesized drums - the very definition of techno but wrapped in a sympathetic, loving patina. VC-118A's remix of "Heritage" is urgent and overwhelming, one of the centre pieces of the EP. Strictly limited to 250 copies. 


Ltd 12" Info: Limited to 250 copies with full picture sleeve.

Transit Valley is the debut release by Joe Coghill, a multi-disciplinary artist, musician and experimental publisher based in Edinburgh. His practice incorporates sound, video, performance, social sculpture, facilitation and media distribution. Borrowing from multiple spheres of influence, his scattered output operates from a liminal position. Coghill works in an improvised and often haphazard way, incorporating disparate field recordings, modular synthesis and other sonic ambiences to create unpredictable and ephemeral multi-layer audio-visual performances. Alongside this Coghill has been producing music recreationally in his various bedroom studios over the past 14 years.

The sound is glitchy, IDM-informed and possibly modular driven yet its very essence seems somewhat 'alive' compared to alot of other examples: not human per se, but definitely some exotic, interplanetary species that you've uncovered under some long lost slab of moon rock. Recommended!


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:

After a clutch of killers for labels like Dolly, Supply & Argot, John Barera & Will Martin team up once again to smash out four powerful dancefloor heaters for NYC's esteemed Basement Floor. On "History Of Space" they take the synth presets from Mood II Swing, add a one-shot 'whoop' then lace noxious leads over the frenetic rhythm, conjuring up a slice of house music magic that few of their peers can come close to. "One Night" brings to mind classic Chez Damier - namely "The Choice" with its anthemic piano chords, old school house beat and warehouse filling hook. "Keep On" sees the pair explore deep dubby house for pitch black dancefloors with one red light. "Share Love" concludes with classic New York flavours, recalling the genius of Kerri Chandler or Joe Claussell with its organ-driven house vibrations. Ace EP, you need!


Matt says: Slamming dancefloor carnage from John Barera & Will Martin. Proper uplifting house music, just the way it should be - arms aloft and not a care in the world.

Don’t is excited to welcome Dublin’s Another Alias with a perfectly unsettling 4-track EP that veers from 2 step through Techno and out the other side, truly bringing something new to the table.This producer has been busy carving out a definite sound of late and that sound chimed so much with the original ethos of Don’t, that he was immediately sought out and invited to record an EP. His productions bang, whilst managing to hit a delightfully off-kilter tone which is a tricky combination to get right and we really hope you’ll enjoy this special release.

Hardware peddlers First Cut return with their forth installment. Gotta love this label's ethos - shining a light on the lesser discovered knob twiddlers and the shadowy DIY electronix scene; offering a platform for producers that would otherwise be buried too deep into their gear to ever get round to actually releasing anything.

Giles Armstrong has spent years in the so-called 'SCENE' but never actually made a record, until now. Whilst admitting it's not the most polished or technically accomplished; Giles says he's managed to get his personality across through a select but impressive array of synthesizers, noise boxes and rhythm machines.

With hefty kicks and a steady, deliberate tempo, the tracks unfurl at their own pace, but pack enough punch for the most demanding of club crowds. Non-linear arrangements hint at a producer not bogged down with tradition and in turn, offer up moments of ingenuity and expression. Strong stuff carrying this maverick label forward.


Ltd 12" Info: Hand numbered & limited to 150 copies. No repress.

Major Problems is well on its way to achieving cult status in the so called underground. Fearlessly releasing brand new music that's often hard to categorize, often with little fanfare and by artists with no online presence or marketing, it's everything I want in a label and more. Delivering the kinda tracks that you'll discover yourself, not through some hype-machine, and cherish them as personal finds and lesser known bombs to use out in the field. Calcium Club's latest addition to the catalogue is no exception: "Cosmic Creeper" sees trend-eschewing warehouse beats and rubber band electro for nightclub mutants and cybernetic b-boys alike while "Columba" delivers a scintillating, late night bliss-cloud of Sheffield bleep melodies, proto-house rhythms and spine-tingling, embrace-all chord progressions. So good! 

Dillon Wendel

Pulse / High

Beatrice Dillon and Gunnar Wendel team up together as Dillon Wendel for some far out explorations of abstract space-time. "Pulse" transmits its message through red shift interference and event horizon drones - menacing, fierce and buzzing with alien static. Indeed the back of the sleeve perhaps eludes as to the planet from which these encrypted messages are emanating from, with the fearless adventures locked safely in the cockpit of their sub-aquatic vessel. "High" on side B continues the conversation, our response a series of mathematical bass algorithms that sweep through the lower frequency ranges as Morse code bleeps swirl into another encrypted message to be deciphered upon delivery. Wendel and Dillon's grasps on synthesis is second to none here, showing that their just as in tune with their machines when doing abstract drone / cataclysmic ambient as they are making wall shaking techno records. A proper mind expanding record. Essential for another into altering consciousness through sound.


Matt says: Like chopping off a prime fillet of your hippo campus before proceeding to flash fry it in a pan of high grade lysergic acid

Apron's protégé (and Kickin' Pigeon fave...) Bastien Carrara is back at it with those tight AF MPC jams that fit perfectly with dancefloors and living rooms alike. Clipped to buggery drums, tasty hooks and a rawkus energy characterize the three tracks; from the dreamy swirl of "You Are My (XTC)" to the saturated bass rumble of "The One (Drums Mix)" and concluding with the lo-fi indebted, indiscriminately seductive "Instrumentals Part III", which sees a sleazy funk loop pitched down and obliterated by an edgy low-pass filter. All in all, another strong and concerted effort from this mysterious, French,. beatsmith and house master. Top stuff.

Discozma is an Austrian electronic duo consisting of Alois Huber (electronics, sounds, sonic spirits) and Didi Neidhart (beats, sounds, sonic effects). They pair have a deep passion for disco, house, dub and space. But most of all they (together with the mixing desk wizard FALM) love to transform those styles into something else. This EP is dedicated to Princess Ozma and the 1960s SETI experiment to explore alien life forms in outta space - Project Ozma. "Uppsala Jaguar" hurtles in with squashed kick and bass patterns ricocheting against alien frequencies and tight rhythms. It's the launch pad we need into the immediate galaxy and the perfect introduction into this artist's sonic world. "Lavender Island (Disco Montez)" is an incredibly strange sonic trip to an enchanted island with exotic life forms, dedicated to Princess Ozma, Jack Smith, Mario Montez and Thee Deep Ones. One to lure Martians and gremlins out of the dark recesses of the club and something should ignite fire into the heart of any dancefloor. More sinful party business goes on with "Under Green Wigs" where kinky rhythm machines hit overdrive and work in tandem with some elastic and seriously x-rated synth work. A driving, popper-fuelled hit of narcosis which knows no sexual boundaries. Finally, "Space Jaguar" gets remixed by Falm and transports us into the middle of a sherm-stick fuelled moment of bliss circa Ron Hardy's Muzic Box 1986. Completely lacking an fluid motor skills or orientation, the listener is forced to surrender everything to the incessant rhythms and sonic power of the track. Excellent!

Shara Music enlists Italian maestro DJ Rocca for release number two. Exploring the new European sound - slow, harmonically minded and musically rich, it's a far cry from funky house beaming off the terraces at Space, but thankfully seems to be spreading just as far and wide. From the boutique festivals around the Adriatic, Potato Head in Bali and of course, the more classy spots on the Iberian peninsula, there's a wealth of producers opting for more musicality in their holiday music than just banging beats and big basslines. "Basic Drink" is a dreamy number indeed, with gentle arpeggios cruising against mid-tempo drums and garnished with sharp synth jabs. Bobbing in on the crest of the wave and showering you in technicoloured goodness. "Ghostlyfunk" ups the tempo for when energy levels are high - rolling out a B-line that'd make Paperclip people twitch before layering up sweeping pads and frenetic percussion its a high intensity ride and should be the rocket up the backside required to kick off any big night out. "Basic Drink" gets remixed by Hivern star Marc Piñol on the flip, throwing down one of his typical electronic re-rubs, drawing out the tension and reeling us in slowly through its heady course. This one's much more suited to when the Sun's gone down and you're dancing under star-lit skies. Finally, "Savoir Faire" gets proper wigged out and dirty, grinding electronics weaving through mechanized drums at a nice and groovy 110BPM. Aceness. 

Supposedly comprised of 50% 'Tokyo's Infonature Files Power Electornics' sounds - this strangely alien record came with little info or fanfare but instantly grabbed our attention through its Jovian outlook and fractured construction. No record has ever drawn us closer to the audio chaos of an event horizon than this. Brutally terrifying, intoxicatedly blurred and broken; it instantly transports us to an alien kind of hell, instantly reminding me of those scenes in "Event Horizon" when the camera cuts and everyone's screaming and bleeding in an alternative universe (!!!). Freestyle electronix / noise / space frequencies executed with a dizzying, apocalyptic brilliance. If you're into this sound, then this is the record for you! If you're not - prepare to run for your life!


Ltd 12" Info: Japanese import 12". Limited copies

Thoma Bulwer returns with "Jandaze", his latest EP on Parasol Culture featuring long-time partner in crime Anna Wall. It follows Parasol 001, their first joint vinyl release, that sold out on the shelves gaining support from the likes of Mood II Swing and Cab Drivers plus on the airwaves via NTS. Their "Jandaze" EP has already been doing the rounds on the DJ circuit in Hackney Wick and beyond.

"Patience" was the result of a late night jam session with sync boxes, groove benders and the classic TR-909. After much fine-tuning, it’s been tried and tested by Cinthie on her recent Australia tour and is set to be a staple club cut for this summer.

Although "Insouciant" means a casual lack of concert, a lot of work went into making this one tick. It’s the most laid-back of the bunch, with Smallville-esque Juno 106 melodies perfect for the afterparty or warm up session. This goes out to the post-NYD loft party crew in The Wick where it was played for the first time. Try pronouncing this one at 7am in the morning…

"Fridge Speed" is a minimal house cut influenced by Thoma’s garage roots. Think rudely placed analogue synth stab melodies, ‘tuff’ skippy drums and big subs ideal for early hours and the capital's penchant for upfront house tackle.

"Egress" was made with long jam takes from Thoma’s modular system. Deep, dubby beats, evolving synths and textures make up this track that’s been road-tested on the world famous Fabric Room 1 sound system by Voigtmann in his extended set before Ricardo Villalobos.

Current support comes from Maya Jane Coles, Archie Hamilton Franck, Roger, Cinthie, Voigtmann, John Dimas. 


Tropique - Inc. Kenneth Bager Edit

Every once in a while a record comes along that defies any sort of conventional explanation and transcends today’s numbed-out consensus beats - “Tropique”, the latest offering on Copenhagen’s Music For Dreams is one of them. Cosmic disco, neo-Balearic, retro-Italo-futurism – get as creative as you like trying to peg it but one thing is for sure, Doctr’s “Tropique” is undoubtedly an excellently crafted tune, an irresistible crowd-pleaser. As if magically appearing from the untouched realms of electronic music, the soundtrack to some quirky, exotic floating party at the centre of the Bermuda Triangle, “Tropique” is a simple concept, a seemingly innocent loop which rolls along and sneakily picks up more effects with each rotation. The production is near faultless, perfectly structured and fine-tuned to draw the maximum drama out of its infectious bass and tasty keyboard hook. Its creator? Well, little is documented about the producer who simply goes by the name of Doctr, but it’s clear that he operates to the beat of his own drum and knows how to rock a party with rollicking flair judging by the dubby yet joyous vibes he brings to this eclectic and high-sprited offering. “Tropique” sounds like its gestation was characterised by years of crate-digging and wild, balmy nights. Having played only a handful of acclaimed shows so far, it appears Doctr is that rare find; a crowd-pleasing DJ whose musical skills trump his proven ability to move bums.
‘Tropique” is the tune this summer’s been craving and will no doubt become virtually inescapable throughout 2016 and for years to come - a future classic for sure.


Matt says: Music For Dreams take a house excursion with this piano driven terrace tonker from Doctr. Hedonistic shizzle which comes backed by a Compass Point styled rework from Mr Bager himself.

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.

Come all ye weary ravers, cotton-mouthed and parched after a night's chemical imbalance, for this is the draught to quench your thirst. Once again it's time to drink deep and long from the Cosmic Pint Glass, filled with a craft brew of steamy synths, machine funk and locomotive house. Duke Slammer's been all up in the hops on volume three, utilising futuristic techniques to balance flavour and tone into the perfectly fermented chug of "Bangkok Skytrain". Humid, lush and wearing the fragrance of the Orient, this hypnotic machine funk groove slides nicely into the same post-Italo / proto house sweetspot as "Problemes D'Amour" or "Bostich". Rolling along through glassy chimes and sweeping pads on the chrome undercarriage of wriggling 303 and metronomic 707, the "Bangkok Skytrain" bears us right into the midst of a retro futurist dancefloor. If anybody out there still harboured doubts about the man's machine mastery after that mindblower, the irresistible rattle of massive percussion track "Just Drums" should settle the matter. Beaming into your life from the same dancefloor dimensions as a Gherkin Jerks classic, this zero gravity jacker rivals any Maurice Fulton madness you've feasted your ears upon - Heavy scenes! On the other side, CPG invite Piccadilly favourites Simple Symmetry to swap the vodka bottle for a hand pump and treat us to a frothy, psychedelic brew. The Lipski brothers duly oblige, reshaping elements of the original around a musty tribal beat and augmenting the track with weird and warped South East Asian vocal snippets and melodies. The result is a sticky hit of trippy synth house for moonlit parties where the smoke machine pumps out opiates. If all that excitement has left you feeling comfortably numb, Tony G's "Cosmic Commute" should suit your mood perfectly. A muffled kick beats on like a collective heart while the soft swell of ambient pads holds you suspended in space. Glittering hihats shimmer with a gentle junglist vibe, before the hypnotic sequences and undulating 303 sends the whole thing widescreen. I can see the Starchild from Space Odyssey bathed in cosmic rays...and he's dancing.

A fractured and emotive suite of hissing electronics and industrial technoid excursions, centred around Jesse Osborne-Lanthier and Bernardino Femminielli's hardware manipulations and droning atmospherics.

We kick things off with 'Felicitations Éphémères', beginning with atonal plate-reverbed synth sweeps and echoing insectile drones, before being tactfully augmented with clanging industrial drones and foreboding echoing plate reverb. It's a slow but steady growth into the realms of outsider techno, with drones morphing and writing into a steady percussive march, and synths only letting up their relentless experimentation in the closing minutes. 

Things get a little more cohesive on 'Jeunesse Dans La Discothèque', though I can imagine if the youth did in fact hear this in the disco, they'd be either completely baffled or in the wrong disco. It's percussive and propulsive, but without adhering to the norms of 'Dance' music, opting instead to take the elements of outsider club culture and warp them into oblivion, with bouncing basslines and sidechained melodies compressed and saturated into a fuzzy miasma of atmosphere, all topped with nigh-imperceptible whispered vox and syncopated rhythmic backdrop. 

Move onto the flipside, and things start to get a little more frenetic, with 'Pisseur (Rapide)' sharing elements with the more rhythm orientated earlier pieces, but (as it says on the tin) taken up to +8 on the fader. Again, brilliantly measured and noticeably claustrophobic but as propulsive and immersive as you'd expect from a production team as talented as these two. As a standalone piece, it definitely leans towards the heavy end of the spectrum, but much like it's follow-up 'Fianchettoed Hustle', makes complete sense in the narrative arc of the album as a whole. The latter stepping up once again, but with choral pads sweeping in and out of the stereo image acting as a highly effective tranquiliser, numbing the shattering highs and cooling the throbbing sub-bass drones. 

This is by no means a walk in the park, but for those who choose to pay attention, it rewards endlessly. A richly layered euphoric journey, littered with moments of relative bliss which temper the undeniable abstract noise. Percussive and propulsive but without treading the well-worn path of dance music tropes, or adhering to the impenetrably obtuse nature of drone. 


Barry says: A skilfully balanced suite of increasingly frantic industrial dance music, tempered with moments of euphoric stasis and visceral, filmic gothicism. Brilliantly rewarding and undeniably visceral.

Att Lämna Tellus (in english: To Leave Tellus) is a journey between the planets Tellus (Earth) and 55 Cancri e. It starts on Tellus with a feeling thatyou might not be where you are supposed to. A search for a peace of mind and a place in the universe where you belong. Travelling through deserts, dark forests, emotions, space and time. Giving up and moving on at the same time. A revelation. An awakening. Suddenly there is no fear anymore and that is when you find love and the courage to start over. Leaving home for another home. 55 Cancri e - a new beginning. 
On her debut full length album for Danish label Music For Dreams, Sara Hausenkamp lets her dreams of space travel come to full fruition. With a steady hand on her guitar, the Swedish artist steers us through the desert at night, through cosmic noises of space, and finally to the distant planet 55 Cancri e. Ranging from melancholic to hopeful, the music of 55 Cancri e is perhaps an expression of Hausenkamp’s longing for a better home planet, and for the possibility of escape. In creating these kinds of science fiction lullabies, she is preparing us for both the beauty and the sadness of a looming future. Using her voice mainly to hum or whistle along, she does however break the silence on a few tracks to sing in her native tongue. On "Rävjakt" she imagines a turning of the tables, where the fox hunters are chased out of the forest by the animals. "Alltid Du" is a tender and straightforward love song that has become the centre of her recent live performances. And on "55 Cancri e I (We Ran Away)" she switches over to English for the first time, where we find her in a slightly different voice. Often working with variations of recurring musical themes, Hausenkamp allows for subtle changes over a number of tracks to create a linear progression that unfolds as a whole in a hypnotic brew of folk-inspired pop. Saturating it all in a glistening atmosphere of both electronic and acoustic sounds as well as samples and field recordings, this album comes as a natural format for Hausenkamp to explore her ideas. 

Japanese import business here from the Catune label, who giddily present the first material from Balearic dancefloor supergroup Flying Men. The collaborative vehicle of Japanese import Max Essa and Italian duo Leo Mas & Fabrice, Flying Men touch down on your nearest turntable with a two part 12" special, featuring four sublime mixes of the mighty "Only Love". We're right in the pudding from the get go on this first EP, speeding through the strobe lit underground to the sounds of the "Flying On The Dancefloor Dub". A heads down trance dance reminiscent of The Backwoods or DJ Kaos, this cut flies into the peaktime on the back of a jet propelled acid bassline, full of menacing synth stabs and phasing white noise. Almunian guitar and synthetic brass provide hands in the air melodies before space age synths make a notable appearance in the latter stages. If any of us are lucky enough to see the Idjut Boys play in Japan, I'm certain they'll deploy this rave weapon. Things take a calmer, cooler but no less killer vibe on the flip, as Max, Leo and Fabrice serve up the humid house vibes of the "Jingumae Rooftop Extended Mix". Cicadian guiro adds a tropical touch to the chunky drumtrack, while the vintage house bassline shakes the windows and the wall, locking everything in sight into its timeless groove. Glassy keys deliver some deep dancefloor texture while the synth brass returns to tie the whole thing together. If you dig on early nineties Larry Heard or those recent Far East Recordings reissues, then this is very much the one! Deep and discoid Balearic house tackle already approved by Weatherall, Coyote and Pete Herbert - join the club.

The bells sounds for round two of Catune's Flying Men double header, and we find Max Essa, Leo Mas & Fabrice in imperious form with two more mixes of the mighty "Only Love". Once again we're thrust straight into the smoke, strobes and sweat of the peak time on the A-side as the "Balearic Militant Acid Spirit Dub" soars out the speakers with a menacing roar. Powered along by a fierce acid bassline, this stripped back mix drops most of the guitar and brass from the other mixes, opting to keep things dark and deep via trippy echoing percussion, whispering slo mo vocals and occasional bursts of laser guided synth. Skip to the flip and it's a different kettle of fish - specifically, big fish, little fish, cardboard box. The Flying Men top a shoulder rolling Balearic house bassline with fluid piano, spacey synth and rippling guitar while the exuberant percussion rattles away. Sounding a whole lot like a collective memory beamed forward from the second summer of love, this sunkissed dancefloor moment should have ravers of any age smiling and swaying.

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.

Gathering (Chris Carrier, Jeff K, Chez Damier)

In My System

Reissue of this deep / tech house hybrid from 2010 featuring an all star cast of house producers. Hammered at the time by one Ricardo Villalobos, the track went onto become a micro-anthem of the sweltering and heady summer of 2010. It's tough and chunky and blends the serene with the melancholic wonderfully. Obviously there's plenty of old school house flavour residing in its grooves, but it's also consciously a record that'll find as much favour on the outdoor terraces of DC-10 and in the sweaty basement clubs of Berlin. The perfect balance of techy production and soulful vocals. Ace. Comes with a dub mix which shuffles up the percussion elements, strips back the vocal and adds a bucket load of synth juices to the blend.


Sil says: Massive deep house tune just arrived with the grooviest bassline we have heard this week so far. Back in 2010 this bad boy was a killer anthem much hammered by Villalobos and the like in case you need convincing of the high quality in here. It is simple and effective that brings to mind labels like Prescription, Classic or Balance Hot repress that will swiftly fly off the crates!

General Purpose (Len Leise And Salvador Ricardo)

Blow In The Bag - Inc. Anton Klint Remix

After opening their account with the whacked out art-funk of Len Leise's "Ing", Antipodean groove-peddlers General Purpose (Len and Salvador Ricardo) team up with Sweden's Anton Klint to offer new rhythms for midnight movement. Packing the Ute with their tie dye safari gear, acid washed overnight bags and encyclopedia of psychoactive wildlife, Len and Ricky jump straight to third gear, fourth base and fifth dimension to roar up the rainbow road into the infinite jungle beyond. Surrounded by the immersive echo of exotic wildlife and humid rhythm of primitive percussion, the General Purpose duo get spiritual with moonlit pads, lysergic sequences and rubberised bass. Grab the incense and body paints, it's "Suck Of The Sav". The A2 sees Tryck & Ton associate Anton Klimt hop in the back of the truck, tearing up the tarp and cackling like a madman as he savages the original with horror show bass-work and psychodelic techno thrust. If you swapped Reese's monochrome Detroit for the neon hues of a Star Trek landing scene, you'd be lost in the musical magic of this tripped out gem. Screeching to a halt in a cloud of Strzelecki Desert dust, our adventurers ditch the jalopy and wrangle a little of the local wildlife for the next leg of their legendary journey. As "Slim Dusty" lurches past the billabongs and coolibahs I can see Len atop a kangaroo while Ricardo rides a cassowary, harnessing the prehistoric bass rumble and rhythmic bounce as they beat around the bush. Fairlight vocal idents add a little acid-laced charm to proceedings while the weird and warped groove gives us all the fun of pronouncing Australian words (so bouncy!) in musical form. WTF in the best way, this is the 12" equivalent of a duck billed platypus - inexplicable, incongruous and completely irresistible.


Patrick says: Len Leise and GP buddy Salvator Ricardo go wild in the country on their second release, treating us to a tour de force of analogue psychedelia and Antipodean charm. Acid laced rainforest business glides through weirdo disco territories to arrive in the shimmering heat of the desert. Bonza!

Copenhagen’s Music For Dreams delivers another strong package with the debut from Danish artist Emil Germ. A sensitive artist overflowing with creativity and personality, he comes across like a mix between Arthur Russell /Royksopp meets Vini Reilly but stands firmly on his own feet combining falsetto vocals, beautiful guitar playing, and powerful keyboards with slow disco grooves: "I just play and do what feels natural" says Emil Germ. This Music For Dreams 12" features two tracks from his forthcoming album "Adult Party" - first single "Tease and Burn" is already gaining international recognition - on the playlist of 28 international radio stations and getting support from the likes of Yam Who, Ame,, French Rivera, DJ Nori etc. - while "Give" is another quality slice of slow disco with pop sensibilities - a very catchy groove and an irresistible melody line that will creep under your skin and stay there for months. On the remix tip, Messalina edit maestro Lucci Capri delivers a housed up Larry Heard inspired remix of "Tease and Burn" with a great jazzy sunset feel and looped guitar hooks - essential for lovers of the White Isle. Athens-based duo Bonnie & Klein take on remix duties for "Give" and the result is a modern Chic/Talking Heads style affair not far from Erol Alkan’s recent remix of Kindness. Emil Germ has recorded new David Byrne-esque guitars  especially for this mix, which alongside the repeated saxophones and a superb breakdown make this a serious dancefloor contender. A great introduction to the hotly-anticipated new album. 


Patrick says: Ahead of his forthcoming LP, Music For Dreams' latest signing Emil Germ hits us with this tasty 12" sampler, pairing a couple of his Arthur Russell meets Vini Reilly originals with a sunset house remix from Lucci Capri and a Chic-esque interpretation from Bonnie & Klein. Already selling like hotcakes so act fast.

Kensuke Ide With His Mothership Featuring Pongsapon Upani Vs Hair Stylistics

Otemoyan Isan

This is the third 12" release in support of the film "Bangkok Nites"; this time it's Kensuke Ide with his Mothership teaming up with Pongsapong Upani, a renowned young khaen player from Kalasin province. Songwriter/Producer Ide, and Upani, who accompanies molam greats such as Chawiwan Damnoen and Angkhanang Khunchai, fuse J-pop with luk thung-molam in a cool, catchy confection, accompanied by an instrumental version, a manically percolating remix by Hair Stylistics (the artist formerly known as Violent Onsen Geisha), and two groovy locked grooves. A sweet J/Thai meeting here, with a great feel, a summery melody, clever lyrics based on a Japanese folk song, attentive production and fine playing.

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.

Another Record Store Day and another Banoffee Pie to mark the special occasion! Blowing out the candles this year is Jase and Adam Stromstedt who bring a surprisingly tough and techy side to festivities. New signing Jase gets us underway with the cerebral and highly rhythmical "Sail Away". Possessing an unnatural glow and sliding in on a wave of electricity, the track bubbles with analogue goodness before being finally decorated by a twisted and dark vocal part. Adam Stromstedt graces side B with a tight and direct techno blaster. If anyone was left scratching their head as to the track title, then it's quickly dispersed as that killer vocal refrain rides the rampant hats and squelchy perc. Top stuff.

Passport to Paradise continue their winning streak with an exclusive release from man of the cloth, digger extraordinaire, John Zahl / Jaz. If you've seen his video for Thump, you'll know that Jaz and his works are weird, wrong and wonderful: in a word, the ethos of PTP is alive and kicking in this release. First up, Geisha chugs along in the cosmic dust of 80s synth assortments and flourishes of koto. Scatter-brained brilliance from the deepest of Osaka basements. A2, Move to the Beach, heralds a sleeker, sleazier side to Jaz's episcopal offering.

It builds itself out from a latent groove that ushers in the end of the night, carrying you to the empty seafront just before dawn, where a breeze ruffles the palm trees as you dig your eyes into the moon. Turning the page, we have a rework from the same post-Kraftwerk heritage, but this one is more potent synthpop roller, a straight-up, no frills edit for the toughest of dance floors.

The final track, Twin Theory, is a lofty affair from the outset, its arpeggiated bass holding the track to ransom: it is playful yet very serious, sublime and sarcastic. This is what Passport to Paradise are bringing to your homes and dancefloors. Don't miss out.


Barry says: Proper laid-back glitz here, in the form of this stunning tetralogy from Jaz. Thudding beats, throbbing Italo pulses and a wide variety of vocal additions, all pulled together with subtle saturation and perfect production. Ace stuff.

Ron Trent's iconic Music And Power imprint continues in earnest; we're up to release number six and there hasn't been a duff moment yet! Carrying on from where Electric Blue left us, we get those highly stimulating electronics paired with Ron's deep spiritual / tribal mentality. So far, everything on the label has been a Trent-penned solo outing, so it's quite exciting to see this, the first alternative artist to grace the label. Reno Ka has previously worked with Terrence Parker, and has performed as a vocalist all over the world. Here, we get a sexy and syrupy sweet vocal delivery on "Where Is The Love". Not a million miles away from our own Dani Moore (of Crazy P fame), her voice immediately encapsulates the listener with its effortless beauty. As for the instrumentation - you know what to expect now. Unfathomably deep electronic textures, big gospel vocal choruses, a genius helping of live instrumentation - congas, shakers, keys, hand claps etc etc and a gloriously long arrangement that never loses touch with the floor. It's another winner folks! On the flip we get a tasty dub version, allowing a few choice vocal snips to reverberate through the echo chamber as extra lead lines and (I think) a few extra percussion elements are added to boost the mix. Sublime stuff as always from Mr. Trent and his Music And Power label; and a promising artistic statement from Reno Ka - look out for more from this cat in the future I reckon. TIP!

Ray Kandinsky takes time out from tweaking the club kids on E-Beamz to drop some stone called authentic proto house business on cult label Arcane! Sure to set the cat amongst those pigeons that were quic to label this guy as simply 'lo fi house' - across four tracks we see there's much more to Ray K's skillset than simply pitch shifting r'n'b accapelas to mid-range house beats. The title track, "Faking Love" has emotive vocal content that recalls classic 90s Chicago, while the mechanized beats and powerful low end hint towards the clever constructions more familiar to his output on E-Beamz. "Do You Love Me Too" is clean, crisp and clear, a subdued, shadowy deep house number with melancholic vocal inflections and a stylishly programmed drum palette. On the flip, Barry Helafonte provides an alternative, freestyle / new jack swing reduction to "Do You Love Me Too", slowing things down and turning up the channel fader on the Jomox, making for a deep, sensual rub-down for the after party session. Excellent stuff.  

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.


Sil says: Tokyo's finest Kareem Kool brings you a delicious offering on this promising U.S. label Arcane. With a steep price tag (US imports are becoming prohibitive, folks!) but worth every groove on it. 'Degenerate' is a relentless driving killer with industrial beats, obscure tonalities and majestic melodies. 'Redundancy' is a lo-fi slow techno number that bears some 1990s Detroit nostalgia ....
On B side you find 'Within Range' and 'Town', both fully dedicated to the discerning listener, being a notch more abstract, less polished and dancefloor friendly than the A side.To wrap up, this is a diamond in the rough that will always draw dancers to the booth. Extremely limited, vinyl only and no repress.

Fleeting Wax hits its third release with this bout of sinister, sleek disco for the darker dancefloor that finds Bucharest-based duo Valeriu Borcos and Eduard Gabia getting remixed from a strong cast of characters. The ever prolific Khidja is up first, turning "Choose Your Colour Gypsy Dark" into a brooding, almost-rocking affair with an irresistible noirish tint to it. The label heads then get busy with a version that ups the arpeggios in a nod to Italo amidst plenty of dubby FX, before Mehmet Aslan stretches out across the B-side with a more yearning version that lets a little light in on the situation. It's a diverse, potent bag of versions that do credit to the original while saying something new as well.

The last of Public Release’s single-digit records is the first from the West Midlands’ most famous DJ and producer, Mark E. This shouldn’t come as a surprise. If anything, the fact it didn’t happen earlier should; Mark appeared as a remixer on Jeffrey Brodsky’s 2014 Public Release EP, which has earned him the status of esteemed member of the outfit’s inner circle and prime candidate for an extended play of his own.

The 12” kicks off with the titular track, an abrasive number built around a meaty, sawtoothed synth line that sits snugly atop a hypnotic beat. Happy Family’s remix (Happy Family, for the uninitiated, is Eric Duncan and Justin Van Der Volgen) is a more psychedelic reimagining of the original cut that’ll knock you into an exhilarating stupor. Speedy and demented, it’s an explosive, tantalizing cap to the first record.

The second begins with “Midnight Equatic”, a tense yet propulsive number that’s somehow paranoid industrial, tropical disco, and prototypical synthwave all at once. The duo comprised of Dennis McNany and LCD Soundsystem’s Pat Mahoney, Museum of Love, wrap the four-tracker with their remix of the song, which zeroes in on the electro component so elemental to the original and runs with it, taking it into Depeche Mode Violator territories- before making a sharp left turn and exploring the wild sounds of the early 90s UK rave scene. A final hoorah for the party that is this record.

Wolf Music introduce a new addition to their roster: Neue Grafik. With previous releases on labels such as Beat X Changers, Slime Recordings and S3A Records, French producer and DJ, Fred Bwelle aka Neue Grafik, has quickly risen as one of the most promising acts to come out of the new French electronic scene. This EP presents a perfect blend of dusty, MPC-driven house jams, broken Beat, and sublime, soul-fused beatdown. Clearly an artist confident in exploring different styles with the talent to draw them together in order to produce a complete record, it has tracks that are dancefloor focused and tough, alongside soulful melancholic meanderings laced with sultry vocals, It should appeal to anyone who's enjoyed the sounds of Jay Daniel, Seven Davis Jr or Garth Be, as well as existing fans of the killer Wolf catalogue.


Misfits - Emperor Machine / Autarkic Remixes

    The latest installment on Roam Recordings features Nozz aka Damon Jee aka Jérôme Da Silva. Mostly known as Damon Jee for his widely acclaimed remixes, he has been branching out with outstanding originals under this new Nozz alias. In his "Misfits EP" for Roam, Nozz delivers two excellent new productions. The title track is a cool, rock infused, guitar-laden stunner with class and attitude while "Hippy Home" is a dreamer of a tune perfect for greeting the sun or losing yourself in a closed eyed dance session. Included is two top remixes from The Emperor Machine and Autarkic. The Emperor Machine deploys his usual assortment of goodies - squelchy, dubbed out delays, laser beam blasts, and superb ALFOS-friendly chug. Autarkic’s version of "Hippy Home" adds an sublime. electronic edge to the EP with a melee of orchestral, exotic and quirky sounds that somehow perfectly keep inline with the stripped down feel of this remix.

    Odeon here on the exquisite Edizioni Mondo. "Rocket Launch" is epic on many levels. Beginning life as a proggy, 80s jazz rock collage with more than a hint of Stanley Clark to it; it soon transforms into a sprawling druggy cosmic-rock chugger, complete with rotating acid lines, huge guitar parts and Weatherall-patented groove. Panoram Partial get seriously wigged out and wild on their version; conjuring up something entirely unique and very difficult to cross reference. Tuneful yet highly metallic and processed to buggery whilst being somehow quite fluid and wholesome. It's left me scratching me head completely which is only a good thing! Edizioni Mondo mainstay L.U.C.A contributes two mixes, the first is a disco-not-disco midtempo reshape of "Rocket Launch". Carrying on like Eric Duncan mid mix, he retains the AM radio snippets of the OG before laying down a killer live bass and disco drum rhythm onto which various cosmic elements are placed on top. Finally, he touches up another new track, "Earth Polar Axis" into a breath taking magic carpet ride of shooting synth washes, ethereal pads and infectious bass. If you like expansive, wide-screen sounds which touch on the Kraut and the cosmic, with a nod to the dancefloor as much as the mind, then this my friends, is the record for you.

    Emma Ogosi has worn a lot of different hats in his career: former air force officer, guitarist with Benin-based Pogo Limited, and husband and manager of Nigerian reggae superstar, Evi-Edna Ogholi. In 1981, he donned a sequined cowboy hat and released "Nobody Knows". "Nobody Knows" is Nigeria’s best – and perhaps only – Disco Country album. Country music has always been influential in the country and Ogosi managed to channel Jim Reeves via the bright lights of Lagos’ burgeoning disco scene to produce an album of sparkling mournfulness. The album starts brightly with "You And I" and ends with "Orindo," a horn-driven dance floor filler. "Nobody Knows" and "A Lonely Child" venture into ‘you done me wrong’ territory. And you can imagine Kenny Rogers covering "Give A Little", albeit wearing flares and platforms and a moustache instead of a beard. Overall, though, Nobody Knows is as disco as the sharp suit and gull-wing collar Emma is wearing on the cover. But don’t be fooled – there are rhinestones on that there glitter ball.


    Patrick says: Though he may look like a cool dude on the cover, Emma is actually an expert in the naffest musical genre around - country! But, rather than croon his way through the usual cowboy crap, the Nigeria fuses Americana with disco grooves to create a blue-eyed soul masterpiece.

    Heads may not know it, but Olmos (real name Oliver Graham) has been one of the busiest influencers on Australia’s underground music culture this side of the 90s. Through family-run operation Paradise Loft Records, he has quietly imported thousands of dead stock disco, boogie and early house records into crates across the country - affording tastemakers a slice of digging culture only a trip to NYC would previously have allowed.

    Thus Ol’s arrival at Gulf Point gleams with the jewels you’d expect from a producer with such inspired tastes. These are set free on “Luna’s Groove”, a star-chasing collection of nouveau post-disco works, crafted in earnest with dancers in mind. Raised on a healthy diet of Levan mixes and M+M dubs, his own use of juicy Moog basses, progressive arrangements and glittering melodies have bought forth an EP which modestly harnesses the New York Garage aesthetic he loves so dearly. Three Olmos originals are teamed with an astral mix by shop favourite, Benny Badge, reigniting his Freekwency namesake to redo the title with cosmic pads and the gravitational pull of a timeless 808 sequence. Jack Doepel, known for his work with Melbourne's rising Krakatau, also makes an appearance on sax - landing this interstellar mission somewhere on Jupiter’s fifth moon, Rhea.

    This is Ollie and Benny’s second meeting, the first being Freekwency’s “Flip The Coin” on Voyeurhythm. Recorded in 2011, their collaboration fuelled a simmering boogie revival and remains in high demand alongside similar transmissions from Tom Noble, Psychic Mirrors and PPU. Since then, Olmos’ evolution has scored him some deserved points of his own - “Luna’s Groove” however, may have just hit the bulls-eye.

    From the calm and dreamy lands of Oregon arrives this majestic EP. Luscious and gentle yet dark and deep electronic music inside this beautifully presented 12". On the A side we have been gifted two dancefloor friendly house numbers. A1's 'Every Moment' is a frolicking gentle affair that has elements of immersive Detroit techno embedded. A2's 'Reach Out' leaves the techno element out and focus on straight deep house 90s style with catchy vocal sampler included and infectious bass. Solid number, folks. My favourite on the package. Flip this diamond to the B side and you have first a funked up, chill out number which starts simple and ends up with more complex layers of seductive notes. This one will empty the dancefloor but will do wonders in your living room. One for the discerning listener. The closing act on B2 is a refreshingly cute drum 'n' bass tune. It will make you think of LTJ Bukem and pals. Time travel back to mid 90s again. I effusively recommend 'Select Gestures' as long as you do not expect any groundbreaking genre pioneering exercise. Buy on sight? Resounding yes.


    Sil says: A seriously good 4 tracker EP containing a bit for everyone. The discerning listener will be surprised by the quality exuded here. Not just the music, Select Gestures comes packaged in a matte black sleeve complete with sticker and A6 insert! Great debut.

    After his turn in Conga Radio, Roberto makes his debut on Good Timin' with four-tracks of classy bangers. Leading the charge is the shuffling "Junk Rudder," a piece of flanged out club gear that has the grace and grit to take any party to "that next level." Meanwhile, "Atomic" is a not-quite peak-hour stomper, while "Oceanic" is the sound of Goa Trance if the drug of choice was high-end coconut water. Finally, "Twilight" sounds like something Bruce Hornsby might cook up if he got arrested and could only talk to his lawyer through a broken Moog.

    Rocco & Esquival are next to join Cosmica's roster. The duo comprises of Rodrigo Desentis (México) and Eduardo Esquivel (Uruguay). Esquivel is a well know name in the Latin American electronic music scene, since he started his residency at the mythical club Extasis in Montevideo. After 25 years of extensively touring through Uruguay, Brasil and Argentina, Eduardo has settled in México city with residencies in the acclaimed Blanco Colima and Casa Disco. "Palta Con Crema" ('avocado cream'!!!) is a buoyant, holiday-friendly house jam. It's elastic b-line is first to raise its head, set amongst an electric, proto-house drum palette. Tropical flurries of wobbly marimba and coastal bleeps complete the package, a no nonsense slice of hedonism for the party islands to enjoy. Dubmasters are first on hand with a tasty dub, turning on the echo units and making the whole thing more languid, tripped out and most, importantly, 'very Balearic', tipping it's hat to some of the Idjut Boys finest re-rubs as it does so. Canadian slo-mo maestro, Eddie C contributes the second remix which, I have to say, is totally twisting my melon! Taking the iconic b-line off Chantell Curtis' "Give It All My Love" then mixing it with elements of "Palta Con Creme"! The two tracks gel so well together you'd be forgiven to thinking that one was a cover of another, but no, it's just good ol' Eddie spotting a killer mash-up opportunity and pulling it off with aplomb - get in! 

    The Black Booby reveals himself on this stacked wax, adopting his given name (Richard Rogers, since you asked) and treating us to a trio of original productions. That's right folks, no edits here, just good old fashioned studio works from your main man Rich. The A-side expands with the stately grace of an aging universe, drifting through delicate piano motifs, bleeping new wave synths and sturdy club beats on its way to Sprinkles-esque house serenity. Deep, immersive and ever so lovely, this is house music for the smokers and tokers, thinkers not drinkers. Over on the B1 Richie treats us to an extended mix of the Suzanne Vega sampling BB-05 bonus track. Crunchy, bit crushed and jacked up beats meet Vega's vocals, trilling chip sounds and hallucinatory pads in a prime bit of dream house. Finally, "We Trust" sees Richard channel a little Kaseem Mosse madness for a deep and jacking journey into the post peak warehouse. Syncopated rhythm idents, booming bass sounds and soaring strings come together for a complex flavour you just gotta savour.


    Patrick says: Black Booby leave the edits on the shelf this time round, opting instead for a trio of original productions from label boss Richard Rogers. House is more than a feeling here as Rich offers a sophisticated and sensitive take on the 4/4 form with three deep dreamstate diversions.

    Sentrall Records returns with another emotionally-charged full length album from Los Angeles native Rollmottle. From the motorik opener, to the near-Balearic closer, “Fear Ritual” bristles with an electric energy as the producer showcases his multi-instrumental prowess. Live basslines give the LP an organic foundation upon which his New Order guitar melodies and mercurial modular synthesizers thrive. Well wrought beats incorporate motorik, dub and Balearic rhythms, swaying occasionally into the off kilter territory of the leftfield but always driving forward. Rollmottle's dense, expansive worlds are infinitely explorable and reward repeated listening with each song standing as a microcosm of the larger piece - you start in one place and end up in a completely different one, uplifted from the experience and hopeful for what comes next.


    LP includes MP3 Download Code.

    Iilija Rudman

    Front Era Remixes - Inc. Pete Herbert / A Vision Of Panorama / Greeen Linez Remixes

    Juicy collection of remixes of Rudman's "Front Era" track, also released on Chit Chat records, but included here just in case you've missed it. In OG form we get an electronic disco number reminiscent of Jago's "I'm Going To Go". Lashed with funky guitar riffs, perfectly executed B-line, muted picks - everything for a modern day disco masterpiece really - backed up with a speaker tickling electronic drum kit for extra umph. Pete Herbert is first to tackle the master stems, bringing that killer B-line to the fore and generally offering up a tougher, housier edged beat whilst leaving most of the original elements in place. I'm now convinced that the B-line is ripped directly from Jago's proto house epic, but that's no bad thing! Flip the disc and A Vision Of Panorama do what they do best - soak the whole thing in tidal energy and coastal breezes, taking the whole thing to the beach for a sun-blushed shuffle in the Adriatic which should also appeal to Australia's Caravan, Andras Fox and co. - lovely stuff! Finally, Chit Chat save the ultimate curve ball till last, Greeen Linez offering up a fully authentic garage refix, dropping a hefty 2 step rhythm on the glowing melodies and funky synth stabs. This really works! - and should ensure to track sees plays outside of the immediate disco / Balearic circles. Bad boy remix!

    Another Raw Elements re-ish courtesy of our good friends at Flash Forward. "Back 2 Basic Six" was made in 1992 and is one of Mateo & Matos' more sought after productions, regularly fetching upwards of £60 secondhand. Stripped back, minimalist house music with big weighty b-lines, loads of swagger on the drums and deeeep melodies! All four tracks work within that simple formula, but the moods and energy are different. There's occasional flurries of male vocal and saxophone on a couple, but the arrangements are deliberately sparse and penetrating. A strong addition to any deep house collection and nicely pressed to boot. You need. 

    Tserg is a 25 year old producer from Singapore. Written over a period of 4 months, "Forgotten Times" is an emotive and scintillating EP. Half modern classic, half tribute to Detroit's Transmat Recordings. Opening with the beatless introduction of "Synthesis", recalling some of Derrick May's timeless refrains, and then moving into the EPs main feature - a trilogy of "Forgotten...." tracks: all resplendent with heart-wrenching leads, voluptuous pads and twinkly, star-aligned melodies. It's hard not to reference the Motor City demigod, but at the same time this ain't no uninspired re-hash. The perc sounds are new and fresh, the arrangements somewhat smoother and more delicate than his Detroit contemporary and there's an ethereal quality to all the sounds which gel everything together in Tserg's own unique way. Absolutely gorgeous and stunning, all the way through, anyone into the melodic side of techno and house music needs to get on board.

    Limited to 150 copies pressed at Deepgrooves' own vinyl pressing plant, this will surely end up as a collectable classic for the global techno heads. Don't sleep!

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