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    Scalping have quickly established themselves amongst the UK’s most sensational acts, drip-feeding explosive shots of techno, punk and hardcore into the world and igniting venues and festivals across UK and Europe with a precise, unrelenting energy. The ‘Flood’ EP is a major milestone for the band and is the first proper holistic realisation of Scalping’s stylistic breadth and mastery of a unique boundary-blurring approach, along with a developed sense of the total control exerted over their music at all times. ‘Flood’ is undoubtedly the sound of a band seizing and maximising a singular vision.

    ‘Monolithium’ brings a pulverising gyrating intensity that unstoppably grinds through the gears to a riotous peak. The pneumatic crushing weight of ‘The Perimeter’ is constantly cranked up, increasing in volume, depth and power eventually forcing out a trance-metal hybrid gemstone, once again displaying Scalping’s remarkable ability to forge anything they choose to from whatever they feel like.

    ‘Cloudburst’s throbbing acid synth line provides a more straightforward dancefloor orientated sound whilst still maintaining dizzying energy and ruthless propulsion. ‘Empty Cascade’ is an epic mission statement, a perfect combination of rave fundamentals and straight up system blowing sludge that could legitimately only be pulled off by SCALPING.


    The Perimeter
    Empty Cascade

    Just after the start of lockdown, Hodge aka Jacob Martin released his debut album, ‘Shadows In Blue’, his first foray into the world of the long player. Gaining critical acclaim, and with clubbing on hold indefinitely, the album makes the most of that flexibility, building on his dancefloor sensibilities while making good on the experimental tendencies that have long lain just beneath the surface of his music. Fast forward a further half year and Lockdown 2.0 is in full effect in the UK but this time we want club bangers, a sense of release, the urge to dance. And with this, seven producers, six remixes from a collective of like-minded musicians being let lose to rewire tracks with the club space in mind.

    Manchester via London, DJ and producer Anz kicks things off her Hooover remix of ‘Lanes’, a bouncy rave reduction with an unremitting sense of energy. Bristol’s Facta & K-Lone take on one of the faster cuts from the album, ‘Sense Inversion’. Building on the sound they champion on their killer wisdom teeth label they turn in a melodic and hypnotic remix with a bounce perfect for opening sets. Shanti Celeste offers a master class in groove with her club ready rework in her remix of ‘Lanacut’, while Surgeon uses his trademark big room driving sound on the album’s title track - proper 4am business. AYA’s latest remix sees the Manchester producer flex her production skillz with screwed kicks, next gen sound design and mind gargling synths on ‘Ghost Of Akina’. We end with New York City’s Kush Jones, who closes ‘Remixes In Blue’ with lush strings with a minimalistic footwork print underneath.


    Lanes (Anz’s Hooover Remix)
    Sense Inversion (Facta & K-Lone Remix)
    Lanacut (Shanti Celeste Remix)
    Shadows In Blue (Surgeon Remix)
    Ghost Of Akina (AYA 2010 All At Once Remix)
    The World Is New Again (Kush Jones Remix)

    Penelope Trappes

    Eel Drip

      Summoning the great ghosts of vintage 4AD and Kranky, the Australian singer and producer makes inky dream pop that’s as heavy and welcoming as a weighted blanket in winter. ‘Eel Drip’ is referencing the Celtic Goddess of War and Death, Morrigan, The Phantom Queen. She is a shapeshifter known for being a goddess of war and battle, the cycle of life and death, and is also associated with wisdom and prophecy, magic and the land. Often portrayed as a trio of sisters who appeared as a crow, she was the keeper of fate, teller of secrets and purveyor of prophecy. “... In her tales and prophecies there were Crows, Ravens, Wolves, Vultures, Eels and Cows.”


      Eel Drip

      The aptly-titled "Raw Materials" sees Marquis Hawkes making a welcome return to the primitive house rhythms for which he became known via his early work for Dixon Avenue Basement Jams. Highly influenced by house originators Ron Hardy, Gene Hunt and Roy Davis Jr, "Raw Materials" updates the form with modern production techniques whilst preserving its authenticity. The title track sprawls over the A-side, making you move with a deep and hypnotic 808 beats and mesmerising dusty pads. Far deeper than a straight up banger, this is transportative club music of the highest order. The flip, on the other hand takes no prisoners, offering instead two cuts of raw drum machine clatter, strained vocal cuts and analogue tones in the form of ‘‘Ave That" and "Jerk U Later". All in all, this is a well rounded release, moving effortlessly from the immersive beauty of the A-side to the deadly dancefloor destroyers on the flip.


      says: "Raw Materials" sees the DABJ mainstay blessing Houndstooth with the sexiest, most sultry house sound you're likely to hear this year. Deep, warm and intimate, this is marriage material. The two B-side cuts on the other hand, are sleazy, raw and gritty basement bangers for all the hoodrats.


      A1. Raw Materials
      B1. ‘Ave That
      B2. Jerk U Later

      Call Super

      Suzi Ecto

        The fears and passing joys of the world pouring in through mouth, nose, eyes and ears. React against what we cannot stand: the co-opted postures, the gimmicks of aspirants, unconscious reactive strategies... Here now in the contradictory mix of the blissful, the panicked and the paranoid that thrives place to place. Drowning us. Veins, organs and mind are filled until we blur into these cities and skies and our reactions fade away.

        “Sublime and utterly timeless. A very special release.” - Mixmag (Techno LP Of The Month - 10/10)


        Sulu Sekou
        Hoax Eye
        Fold Again At Last
        Rosso Dew
        Coney Storm Drain
        Okko Ink
        Acephale I



          Mastered by Matt Colton at Alchemy and pressed on 180g grey wax with debossed cover and postcard insert.

          Sacred geometry, complex polyrhythms and clean sound design all collide in the work of Manchester outfit, Akkord. With their critically acclaimed, self-titled debut album receiving 4/5 in RA, Akkord are not resting on their success and are already planning their next assault with this new body of work.

          ‘HTH020’ consists of four tracks of much darker, moodier sounds, blending their sonic basslines with razor sharp production. The whole EP is centred around clammy, ominous atmospheres, underpinned by stomping beats, breaks and descending basslines, placing greater emphasis on the space in-between, and textured over with a doomsday ambience.



          Snow Ghosts

          And The World Was Gone - Inc. Roly Porter / Calibre Remixes

            Snow Ghosts is the collaboration between Throwing Snow and recent Phaeleh collaborator Augustus Ghost. Following the recent release of debut album ‘A Small Murmuration’, they’ve been The Guardian’s New Band Of The Day and Zane Lowe’s Next Hype, and have played a live acoustic session on Dermot O’Leary’s BBC Radio 2 show.

            ‘And The World Was Gone’ pins a sense of unease to an acoustic guitar riff, cello and Augustus Ghost’s most affecting vocal. Remixes come from Roly Porter (one half of bass duo Vex’d), who brings out the track’s darkness, whilst D&B maestro Calibre emphasises the melancholy in its melody. Finally, in-demand Bristol producer Kahn provides the most arresting cover version imaginable.

            The 12” is cut to heavyweight 180g vinyl by mastering engineer of the year, Matt Colton.

            Second Storey

            Margosa Heights

              Until now, Alec Storey has been known as Al Tourettes, the pseudonym under which he has released on labels like Applepips, AUS and Hypercolour’s offshoot Sneaker Social Club. He collaborated with close friend Appleblim on Underworld’s latest album, and on a remix for Luke Slater’s Planetary Assault Systems. A regular performer at both Fridays and Saturdays at fabric, and Bloc Weekenders and club nights, his greatest achievement to date has been soundtracking Natalie Portman’s first (fictional) ecstasy experience in Darren Aronofsky’s Oscar-winning movie ‘Black Swan’.

              Leaving the Al Tourettes alias behind, Alec now joins the Houndstooth roster as Second Storey, as he is to be known henceforth, with his unique brand of colourful psychedelic electronic music, rooted in bass-heavy soundsystems and festival culture.

              The ‘Margosa Heights’ EP is for fans of Drexciya, Appleblim, Shackleton, Pearson Sound and T++.

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