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Cromie's bubbling, spacious house sound first drew critical acclaim last year on the sold out 12" Vines / Pyrex (Peach001), a collaboration with fellow LA producer Sage Caswell. Now, Peach is thrilled to present Cromie’s solo debut EP Inner Knows, a revved up set of idiosyncratic dancefloor weapons.

How to Stop a Bulldozer, a rotating helix of synth stabs, warped vocals and low-end torque warrants it's epic title. Elsewhere, Flan functions like a potent concentrate of 22nd century funk. Inner Knows kicks off side B with a swirling late night house jam that flirts with the deeper corners of the genre. Another fixture in LA's electronic scene, Suzanne Kraft (Running Back, ESP Institute, Pharoahs) closes out the record with a cubist reading of Flan.

On his solo debut, Cromie's creative depth and attention to detail belies his freshness to the game. Regular sets at LA’s Club Called Rhonda and various underground happenings in the sprawling Southland have taught him some valuable lessons. If he can deliver this many distinct sounds on a single record, we can’t wait to hear what’s next.

"Tangerin" serves as a coda to the qualities that have established Celeste as one of the most instinctive and generous underground DJs in the current landscape of dance music. Beginning as a record store assistant at Idle Hands in Bristol and now a fixture of some of the world’s most acclaimed clubs and festivals, Celeste’s instincts and curiosity have forged a musical space that is very much her own. Here, whether in sweat-drenched basements or to vast numbers, she strikes a common cause between the melodic richness of the legacy of the music of Detroit, alongside the natural ease with which she carries across tempos that embody UK Soundsystem traditions. "Tangerine" is Celeste’s most fully-realised contribution thus far to this continuum of musical culture.

More than that, Tangerine is an innate extension of Shanti’s self, telling stories beyond her record box and delving into her personal history. There is her manipulated voice serving as a bedrock in tracks. There's a kalimba, recorded at her father's home in Chile.

There are, of course, her rich synthesizers that wrap her tracks like velvet cloaks, providing the familiar warmth and colour we know from her work so far on labels such as Idle Hands and Future Times. There’s even her characteristic paintings on the cover. Here, on her very own Peach Discs, the label she co-runs with goodfriend Gramrcy, Celeste naturally delivers her most impressive and wholly personal work.

'When I made music for EPs, sometimes I felt restricted,' she says. 'I would think too much about creating the moments on the dancefloor I love - seeing visions of ecstatic people hugging, I didn’t give myself free reign to express all of myself. Writing an album made me feel free of all this because it seemed like an open-ended project. I could just keep creating until I felt like stopping'.

Peach Discs kick off a white label imprint although with a printed centre label displaying the producer's face, and heavy mastering, I think they're clutching at straws with the whole 'white label' concept (at least the tracks are unnamed..!).

Thankfully the music is cutting edge and with the aforementioned expert mastering, these two cuts bite hard on the club rigs. Two techno tracks full of squally, lysergic sfx & swirls, powered by some percussive, drum-box techno beats delivered at a smooth and steady tempo. Perfect for getting the club bubbling early doors before deploying some tuffer and harder stuff later on.

Limited copies, mega vibe - move quick! 


Sil says: Exactly as I like it. Totally drenched in drum beats and bathed in all kind of mind blowing effects. Mega tool that you should carry to all your sets. Tops!

L.A. Peach

Come On Over And Test Me

    L.A. Peach delivers ‘Come On Over and Test Me’, a sun-kissed and soulful indie pop EP with a startling power of storytelling. James John Davies is waltzing through this set of songs with a dreamy lilting satirincal stance, mixing the sinister with the sanguine, creating hauntingly beautiful love songs to soothe. 

    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.

    Mano McLaughlin lead singer of Manchester's Meadow was approached by Distilled Records earlier this year and asked for 10 tracks, stripped back, simple, the songs laid bare along with his heart and soul... he delivered 30 with a note that read 'pick 10'.

    Mano has a witty, easy natural style of writing, as likely to make you laugh as it is to cry, here he is on Peach Got Bones his debut solo album, raw and alone. It doesn't come more authentic than Mano McLaughlin, his songs are sad but dryly funny, the English pop sensibility of Ray Davies meets the introspective folk of Elliot Smith. Mano McLaughlin is so unassuming in both his playing and production that you can't help but love what you hear. His imagery is simple but unexpected, and delivered with irresistible musical phrasing. An effortless knack for words and tunes; what more can you ask for?

    “one of Britain’s best songwriters“ Guy Garvey (Elbow) in The Guardian newspaper.

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