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    Tom Middleton is focused on the future in many ways. His new alias GCOM is an all-new, 21st century redesign of his original Global Communication concept and collaboration with Mark Pritchard. The new album E2-XO is some of the most advanced music he has ever made, both in sound and concept. signifying a technological, creative and philosophical evolution into the new era; from planetary communication and understanding to Galactic Communication.

    A decade in the making, inspired by themes surrounding anthropocene humankind’s impact on climate, what we’re doing about it, conscious AI, and the acceleration for interplanetary travel beyond the Moon, to Mars, and eventually intergalactic in search of potentially habitable exoplanets, the story of the hunt for Earth 2.0. As he continues to expand his sonic horizons, Tom has been concurrently exploring visionary applications of astrophysics, AI, cosmology, cube-sats and rocket science, alongside more esoteric ideas about the nature of the Universe and the human condition.

    Previously his interest in sleep science led Tom to expanding the instinctively beautiful ambience of classic Global Communication into something tailored to helping people with sleep problems using brainwave entrainment; scoring an iTunes top ten album with his Sleep Better project, a record that is measurably therapeutic in the truest sense, and has spawned many projects focused on supporting human problems like anxiety, stress, sleep disruption and human performance using sound design for wellness, but with no loss of brilliance in terms of musicality. E2-XO is an audio movie, a space opera, a psychic investigation of the human mind in space. It is a fully immersive experience, with all the dynamics that such an imagination-stretching voyage implies. Listeners will hear echoes of Tom’s whole creative life; from his childhood absorbing Vangelis and Tomita, through the white heat of discovery alongside Richard D James, Matthew Herbert and friends, right through to his collaborations with technological innovators today and his current research into neuroscience and sound design. E2-XO acknowledges the past, but make no mistake whatsoever: This is the future…


    1. Noctis Ultimus (Epic Mix)
    2. XO Transmission #1
    3. Anthropocene
    4. Ocean Dreams
    5. The Last Rains (V Mix)
    6. Starship Launch
    7. Beyond The Singularity
    8. Helix Nebula
    9. Noctis Reprise (For QEBRUS)
    10. XO 1 (Luyten B)
    11. XO 2 (Kapteyn B)
    12. XO Transmission #2
    13. XO 4 (Wolf 1061c)
    14. XO 6 (LHS1723 B)
    15. XO Transmission #3
    16. Planet B Awakening
    17. XO 7 (Teegarden B)
    18. Midnight Shore
    19. Beyond The Milky Way

    A1. Noctis Ultimus (91 Mix)
    A2. XO Transmission #1
    A3. Anthropocene
    B1. Ocean Dreams
    B2. The Last Rains
    B3. Starship Launch
    C1. Noctis Ultimus
    C2. Beyond The Singularity
    C3. Helix Nebula
    C4. Noctis Reprise (For QEBRUS)
    D1. XO 1 (Luyten B)
    D2. XO 2 (Kapteyn B)
    D3. XO Transmission #2
    E1. XO 4 (Wolf 1061c)
    E2. XO 6 (LHS1723 B)
    E3. XO Transmission #3
    F1. Planet B Awakening
    F2. XO 7 (Teegarden B)
    F3. Midnight Shore
    F4. Beyond The Milky Way

    For a duo whose youthful energy rejuvenated the world of house music at the start of the 2010s, it seems incredible that Disclosure are now into their second decade of musical life. The incredible vigour of those early records, the spark of invention and ever-onward musical thrust, remains with the Disclosure brothers, Howard and Guy Lawrence, to this day.

    The emphasis throughout DJ-Kicks is on motion. After a brief ambient introduction from Pépe’s Life Signs, Disclosure keeps the energy high, in a mix that showcases the wonderful malleability of a house beat in the right hands. From sub bass to disco samples to 303 tweak, all is welcome in Disclosure’s house, with the mix allowing individual songs space to breathe even as the pace remains harefooted.


    1. Pépe - Recollection
    2. Harry Wolfman - LOTF
    3. Cleanfield - Conflict With Clayton
    4. Disclosure - Deep Sea
    5. Simon Hinter - Wanna Make Love
    6. &on&on - Don’t Say A Word
    7. M-High - Harmony In The Distance
    8. Slum Science - Mezmerized
    9. Disclosure - Observer Effect (DJ-Kicks)
    10. East End Dubs - BRave
    11. Onipa - Fire (Disclosure Edit)
    12. Arfa X Joe - Recognise

    A1. Pépe - Recollection
    A2. Harry Wolfman - LOTF
    A3. Cleanfield - Conflict With Clayton
    B1. Disclosure - Deep Sea
    B2. Simon Hinter - Wanna Make Love
    B3. &on&on - Don’t Say A Word
    C1. M-High - Harmony In The Distance
    C2. Slum Science - Mezmerized
    D1. Disclosure - Observer Effect (DJ-Kicks)
    D2. Arfa X Joe - Recognise

    Various Artists

    DJ Kicks - Jayda G

      For Jayda G, joy is a state of mind. Whether she transmits it through her upbeat productions or magnetic energy at the decks, the Canadian-born DJ and producer, real name Jayda Guy, is a beacon of empathy on the dancefloor.

      It’s no surprise, then, that Jayda G’s DJ-Kicks mix, releasing on 14 May, captures the buoyant spirit of the music that has influenced her most. “DJ-Kicks has been a personal goal of mine for a really long time. I've been a fan for decades now. I remember there was one mix by Chromeo and it had some French disco on it that always stood out in my mind,” she remembers. Clocking in at just over an hour, Guy’s mix takes you on a journey that moves through loved classics and new bubblers.

      The mix contains Jayda's Brand new single "All I Need", the follow up to Grammy Nominated breakthrough single "Both Of Us", a slinky house tune co-produced with James Ford that fizzes with shimmering energy. A rallying cry for kinship and understanding, Guy’s insouciant vocals insist “all I need is you to hear me”, gliding across the perfectly swung house beat. “Because the mix was made during the pandemic, I thought, ‘What music makes me happy?’ I want people to feel like they know me. I wanted it to be approachable, still honouring the disco and soul music that I love. I hope that translates in some shape or form.”


      Matt says: K7 presents the eclectic electronics of one Jayda G. Unmixed for the purists, mixtape style for the party heads. What's not to love?


      CD (mixed)
      ** = Exclusive

      1. Light Of The World - London Town
      2. Aged In Harmony - You're A Melody
      3. Glass Beams - Taurus
      4. KOKOROKO - Uman
      5. Atmosfear - Invasion
      6. Universal Togetherness Band - More Than Enough
      7. Royale - I Want Your Body
      8. Don Blackman - Just Can't Stay Away
      9. Gerry Read - 90’s Prostitution Racket
      10. Naomi Daniel - Stars (Dos Cult Mix)
      11. LNS - Bitumen **
      12. DJ BORING - Gardenia **
      13. Jennifer Loveless - In 10,000 Places **
      14. HAAi - Good Ol'Fashioned Rugs
      15. Jayda G - All I Need **
      16. Fred Again.. - Diana (You Don't Even Know) **
      17. House Of Jazz - Hold Your Head Up
      18. 250 Lbs. Of Blue - Rejoice! (People C'mon) (Spen's New Vocal Mix)
      19. FIT Siegel Feat. L'Renee - Tonite (Detroit Mix)
      20. DJ Koze Feat. Ada - Homesick (feat. Ada)
      21. Benny Sings - Summerlude

      LP (unmixed + Mix DL)
      ** = Exclusive

      A1. Jayda G - All I Need **
      A2. Fred Again.. - Diana (You Don’t Even Know) **
      B1. LNS - Bitumen **
      B2. Jennifer Loveless - In 10,000 Places **
      B3. HAAi - Good Ol'Fashioned Rugs
      C1. DJ BORING - Gardenia **
      C2. House Of Jazz - Hold Your Head Up
      D1. Glass Beams - Taurus
      D2. Royale - I Want Your Body
      D3. Benny Sings – Summerlude

      Various Artists

      DJ Kicks - Kemistry & Storm

        To celebrate 25 years of the legendary series, KEMISTRY & STORM DJ-Kicks is re-mastered and re-issued for the first time since it's original release in 1999 on CD and 2LP.

        It all began in the late 80s: KEMISTRY & STORM had had enough of their hometown in middle England and moved down to London. Until then, Birmingham-born Kemistry had spent most of her tender years studying as a make-up artist in Sheffield while Storm was studying radiology in Oxford. The pair discovered acid house in London, partied at illegal warehouse raves, and at the end of the 80s stumbled upon ‘Rage’, Fabio and Grooverider’s legendary and influential club night at Heaven, which can be legitimately dubbed as the origin of the entire Breakbeat/Jungle/Hardcore/Drum ‘n’ Bass movement. This is where they decided to dedicate their future entirely to music – as DJs.

        The Who’s Who of 90's British Drum ‘n’ Bass producers abounds on DJ-Kicks, and with Goldie, Dom + Roland, Digital, DJ Die, Johnny L and J Majik, features old friends of KEMISTRY & STORM. Any trainspotter can see that with labels like Metalheadz, Full Cycle, XL, Test, Renegade Hardware or Formation, the duo work their way through a range of the most diverse styles, and make DJ-Kicks an exciting testament to contemporary Breakbeat culture.


        1. Dom + Roland – Trauma
        2. John B. – Olé
        3. The Architex + DJ Loxy – Submerged
        4. Test – The Fuse
        5. Digital & Spirit – Mission Accomplished
        6. DJ Die – Clear Skyz
        7. Bill Riley – Closing In
        8. Sci-Clone – Everywhere I Go (Remix)
        9. Decoder – Stash
        10. Goldie – Hyaena
        11. Jonny L – Uneasy
        12. John B. – Pressure
        13. Primary Motive – Venom
        14. J Majik – Space Jam
        15. Test – Static (K7 Mix)
        16. Absolute Zero & Subphonics – The Code
        17. Test – Tronik Funk

        Double LP
        A1. Primary Motive – Venom
        A2. Bill Riley – Closing In
        B1. Jonny L – Uneasy
        B2. John B. – Olé
        C1. DJ Die – Clear Skyz
        C2. Absolute Zero & Subphonics – The Code
        D1. John B. – Pressure
        D2. Dom + Roland – Trauma

        James Alexander Bright


          James Alexander Bright's music is as visual a voyage as it is a sonic one; a kaleidoscope of colours that swirl, swoon, soar and sing. Stepping into his musical world is a multi-sensory experience, one where smooth grooves, wonky rhythms, dreamy melodies and immersive atmospheres coalesce to form their own sphere. “Sound as vision,” says Bright of the audio aesthetic he relates to and aims for. “Music you can bite into.”

          Based in the Hampshire countryside and an illustrator by day, Bright’s world is often a dual one but one where elements overlap and inform one another. “I spend a lot of my day creating things visually and everyday life can be an assault on the senses, ”says Bright.“ Evening is my quiet time; time for my ears. Invariably I’m inspired by the things that people and creatures do in the dark.

          ”This creative duality extends beyond just the visual and the music too. It’s found deep rooted in the music itself, which explores a mix between lo-fi and hi-fi, possessing an intimate bedroom recording-like quality but with production that sounds glowing and golden. Similarly, the sunny sheen found in the music-via a kind of psychedelic pop meets electronic soul-is one born from dichotomy.“I feel at home in the deep south of England,” he says. “I’m in the middle of nowhere with lots of green land, fresh air and head space. I feel like the sunshine in the South in the summer months really reflects in my music. However, I tend to make music in the dark hours and winter months, so it’s almost like the music is my sunshine and happy place in these moments.

          ”The end result is also an album that exists in a dual world, one that at times has enough bounce and buoyancy to fill a dance floor-as on the disco funk strutting “Lead Me Astray”- and others feels perfectly suited to introspective headphone listening as on the breezy, woozy ambience of “Cala Llenya”.The latter track pays tribute to the Ibiza beach of the same name, whereas “Dancing with the Birds”- a delicate exploration of pastoral folk-is a nod to one of Britain’s most beloved treasures. “It’s based on a late night walk having just watched a David Attenborough documentary, featuring these beautiful birds that have a crazy mating dance. I love his documentaries and I was listening to a lot of Bert Jansch. The next night I had this vision of dancing birds come into my mind.

          ”Elsewhere Headroom touches upon, in Bright’s own words, 60’s sunshine doo-wop, mutant disco, and mystic mountain top vibes. It’s an album that explores a great deal yet even amidst its dualities it retains a sense of cohesion throughout. It’s a mixture that Bright feels pleased to have managed to juggle so seamlessly. “I think there is a good balance around experimentation on the record-a nice mix between fun and substance.”


          A1. Go
          A2. Outside
          A3. Lead Me Astray
          A4. Cala Llenya
          A5. Dancing With The Birds
          B1. Gold
          B2. Damn
          B3. 6AM
          B4. Kip On The Highline
          B5. Friends (Lovers Lost)

          When Saints Go Machine


            The Danish four-piece — Nikolaj Manuel Vonsild (vocals), Jonas Kenton (keyboards), Simon Muschinsky (keyboards) and Silas Moldenhawer (drums) — are a complicated mix of influences. There’s dance music in there, for sure, but also post punk, some experimental electronica in the Aphex Twin mould, and, crucially, a healthy dose of pop. You could describe the end result as a heady mix of Caribou, The Knife/Fever Ray and Arthur Russell. But, really, it doesn’t sound like anything else out there.

            The band formed in 2007. They started out making dance music, but quickly left four-four beats behind and started fusing electronics with pop melodies. They caused a local stir when Danish radio picked up on some tracks they’d uploaded onto Myspace. The buzz meant that their first ever gig was at Vega, one of Copenhagen’s leading venues. Then, last year, they opened the Roskilde Festival in front of 45,000 people, an experience Nikolaj describes as “fantastic”.

            The band’s debut album, ‘Konkylie’, (Danish for ‘conch shell’ incidentally), has been two years in the making. It sees them moving their sound on into new, uncharted territory. On ‘Parix’, Nikolaj’s spectral vocals, a mix of Antony Heggarty’s tremulous falsetto and Talk Talk frontman Mark Hollis, are pitched against a shimmering mirage of synths. There’s an echo of their clubland past on ‘Kelly’, which is underpinned by a chugging, mid-paced beat. It’s the jumping off point for four-minutes of electro pop perfection, like Empire Of The Sun with some added Scandinavian cool. Nikolaj’s vocals, meanwhile, are never more beautiful that on the closing track ‘Add Ends’, where they float over skillfully orchestrated strings and gently popping electronics. It’s an atmospheric reverie that transports you to another place. All told, it’s stunning stuff, esoteric, yet instantly accessible, the kind of underground record that everyone can buy into.

            One of the things that sets When Saints Go Machine apart from their peers is that there’s a warmth to ‘Konkylie’. Electronic music can sometimes sound rectilinear, like a Cubist painting. It was something the band were keen to avoid. They went to great lengths to inject an organic feel into the record, experimenting with new recording techniques and locations. All the vocals on the title track and opener ‘Konkylie’ were recorded outside in such unlikely spots as a tunnel and a forest. Then there was the assemblage of effects they created to inject a random element into proceedings. “We had this set-up of effects that we ran sound through to create an organic feel. Like tape echoes, other effects and synths. We’d control one element each and we’d mess around,” explains Nikolaj.

            The band make no apologies for the fact that ‘Konkylie’ is a dense, at times complicated record. It’s partly down to the fact that they’ve spent a lot of time on it. “If you spend two years on 11 songs then there will be a lot of detail and strange sounds in there,” confirms Nikolaj. But it’s also a product of the four members different music influences. “Our musical backgrounds are so different from each other. Jonas and Silas are from a clubby background and they still make house and techno together as Kenton Slash Demon; Simon’s is jazz and neo soul; and I’m somewhere in between, ’60s and ’70s breaks, bands like Broadcast and The Slits and White Noise. That’s why there are so many elements in there — dance, post-punk, classical. But it’s hard to pick out tracks and connect them to one particular song. I think that’s a good thing.

            And if it’s been a difficult, at times protracted process, the band are convinced it’s been worth it. “We’re really pleased with the album,” says Nikolaj. “All the songs fit together more than anything we’ve done up to this point. A lot of details we left in the songs from earlier versions. I think it gives the record a sense of many layers. The arrangements are bigger and better. It’s more evolved all round.”

            True enough. When Saints Go Machine: you’ve never heard anything like them.

            TRACK LISTING

            1. Konkylie
            2. Church And Law
            3. Parix
            4. Chestnut
            5. The Same Scissors
            6. Jets
            7. Kelly
            8. On The Move
            9. Whoever Made You Stand So Still
            10. Add Ends

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