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.

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!

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.

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.

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!

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. 

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

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


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

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!

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.

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.

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. 

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!

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.

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:

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.

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! 

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.

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!

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.

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!

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.

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.

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.

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.

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.

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! 

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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Very sad to hear about the passing of one of the greatest singer songwriters: Scott Walker, 1943 - 2019. #legend
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