Review: No whimpers, all bangs... Monika Kruse's Terminal M brings another four Richmonds our way, as the label celebrates its silver anniversary (25 years) of releasing. Ignacio Arfeli and Kaspar bring Portuguese fire and German glaciations to a unipolar techno A-side each, with 'Never Look Back' shooting a hideous glower at Orpheus especially with a "don't you ever look back" jet-breakage of the sound barrier, precipitating a massive techno drop, of course. A felt sense of continuation is heard on the strobing 'Masterpeace' by Chris Bekker, before 'Alhalma', where Drumcomplex and Frank Sonic lead us to a cruddy close.
Nathan Haines - "U See That" (feat Vanessa Freeman & Marcus Begg - Atjazz Love Soul mix) (5:12)
The Realm x Atjazz x Kelli Sae - "On The Road" (vocal mix) (7:58)
Review: Back ion 2021, the relaunched Foliage Records imprint offered up a killer mix from NYC house legends Mood II Swing, the must-check Deep Rooted. Soon, the revitalised label will release a sequel, with long-serving British deep house don Atjazz at the helm. This sampler EP boasts six of the highlights from that set - all remixed and reworked by Atjazz himself. There's much to enjoy throughout, from the tense, slowly building deep-tech shuffle of Halo''s 'Glorty (Atjazz Galaxy Art Remix)'and the sun-splashed 6am bounce of Atjazz's remix of Dominique Fils-Aime's gorgeous 'Sun Rise', to the dreamy dancefloor wooziness of Ralf GUM's 'AWA' (re-imagined by Atjazz as an Osunlade-esque spiritual house workout) and the jazzy, bass-guitar-propelled broken house excellence of 'On The Road (Vocal Mix)', a three-way collab between Atjazz, Kelli Sae and The Realm.
B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition
Shining Of Life Flutemental (unreleased version) (11:01)
Shining Of Life Flutemental (Lambros Jahmans remix) (5:15)
UNDUB (Space Ritual dub) (10:40)
Shining Of Life Flutemental (Space Ritual dub) (11:15)
Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***
Some 20 years ago, Japanese producer donned the K.F alias (the initials of his given name, Kiyotaka Fukagawa) and delivered the astonishingly good 'Shining of Life', a sun-soaked Balearic house treat shot through with Japanese nu-jazz musicality, gospel-influenced vocals and expansive, life-affirming piano solos. This EP offers up previously unheard 'Shining of Light Flutemental' takes. Calm's own 'unreleased mix' retains some of the key elements of the 2004 original while adding morning-fresh flute solos and starry sounds seemingly inspired by Detroit techno. The 'Lambros Jahmans Sunset Mix' is a dreamy and immersive interpretation underpinned by an Afro-house style beat, while the 'Space Ritual Dub' is an almost entirely beat-free soundscape. On 'Undub (Space Ritual Dub)', the same producer wraps echoing flute and piano motifs around a tactile, hand percussion-driven rhythm track.
Border One - "Organoid" (Jeroen Search remix) (5:47)
Review: Binar's fifth outing looks to a selection of talented remixers to add their own spin to some stylish techno originals. First, it is Decka's 'Alignment' that gets reworked by Efdemin, who we haven't heard from for a while but are glad to do so now. He flips it into a straight-up and smooth techno pumper with fuzzy pads softening the edges. Next, Amotik brings some urgent synth pulses and hunched-up drum funk to 'Remains Mystery' and The Lady Machine remix of 'Run' is all fat, drunken synths tumbling about with jacked-up drums and analogue hits. Jeroen Search brings some signature future cosmic energy to his take on Border One's 'Organoid.'
Review: Japanese talent DJ Koco aka Shimokita is a hardcore 45rpm devotee. They are his chosen tools as a beat-juggling DJ who can do logic-defying things with his grooves. He is a regal on Bloom and already dropped serious heat in January with 'World Famous'. This time he is back with a fresh take on 'Made In New York' which is a 1985 classic by renowned Brazilian funk and jazz pianist Tania Maria. He brings his signature hip-hop flair and creativity with his trusted crew, 45trio, and enlists the dynamic saxophonist King TJ (DA-Dee-MiX) to elevate things further.
Review: What would it take to universalise disco so that every brain sandwiched between two ears could hear and take to the sound like glue? Eddie C and Keita Sano continue a protracted research study in the pursuit of an answer, bringing three new dream-heaters to contrast to their original two in the series' debut, 'Disko Universal' and 'Joy Joy Joy'. Here, 'Not This Time' stands out among a trifecta of well-doused house rousers, steeped in the attenuated, bubblier deep end of a soulful disco-garage-house tradition.
Review: Swedish label Borft has been digging in its archives again to assemble another volume of what it sees as its most classic cuts. And we don't disagree with these, which are taken from releases that originally landed between 1998 and 1999. Egglady's- 'Prinsessan Och Agget 1' is well-swung and deftly dubbed out with lovely analogue drum sounds cutting through. Nikolas Rowland's 'Headspin' is another smooth one with molten chords and a firm low-end drive. 'Puffy Nipples' from Kord is a wonky number with an unhinged charm and stomping groove that will stand out in any set while Crinan closes with the classy and raw house, dub and tech fusion that is 'Suit 61'.
Review: A record that explores deep, hypnotic rhythms with a strong tribal and mystical undercurrent, the latest Siamese Twins records pushes the boundaries of what is possibly in eastern influences underground techno. Side-1 opens with 'The Golden Triangle', an atmospheric introduction that feels cinematic, setting the stage with ambient textures before giving way to movement. 'Lens of Time' follows, locking into a deep, primal groove where rolling percussion and rich low-end create an entrancing effect. On Side-2 'Mekong' leans into tribal mysticism, blending ancient rhythmic patterns with a modern pulse. The production is detailed yet raw, drawing from rich percussive layers. 'Ruak' closes the EP with pulsating bass and deep, rolling rhythms, channeling Eastern influences into a hypnotic techno flow. A powerful release from Siamese Twins Records, driven by Sunju Hargun's distinct vision.
Review: Techno tachyons Midi Mode, based in Ireland, provide a home for "warped and twisted" sounds and those who create them. After five vaporwave-tinged, reality-bending debut EPs from the likes of Ikeaboy and Power, they now present their very first selectors V/A EP on a gooey green wax edition. It's quite the assembly of Eireann techno royalty, with a host of seasoned players lead by probably the country's most esteemed DJ, Sunil Sharpe, as well as Kerrie and Wexford's Lee Holman. Quality is, naturally, at a consistently high label - with closer 'Phase-One' proving an especially computational, objectivist, mad, pitiless track.
Nordhouse (Luke Hess & Brian Kage Reference remix) (5:51)
Galaxian (Max Watts remix) (6:02)
Review: Detroit's Brian Kage is back with more Motor City goodness, this time as a remixer alongside a fine selection of peers. It is his Timeless Times album that gets reworked here and for his remix of 'Nordhouse' he works with fellow Detroiter and dub techno don Luke Hess to cook up a warm, shuffling sound. Elsewhere Delano Smith brings his signature smoky loops and plaintive keys to 'Detroit Techno City', Milton Jackson steps up with a buddy deep house roller and 'Galaxian' gets an electro remix from Max Watts to make this a classy, quality collection.
Review: Planet Trip Records calls Millos Kasier one of their favourite DJs on earth so they are buzzing to have him next up. He is a Brazilian talent who brings plenty of the energy and style of his homeland to this EP. 'Te Quero Perto' has woody, knocking beats and an old-school Chicago bassline setting the tone before glistering and retro-future keys arrive to bring light and hope. A Latin vocal and Italo chords then take things to the next level and make this a real summer sizzler. A Paco Cabana is more percussive and Lipelis & Orion Agassi offer two different versions that rework it for the club.
Review: Naming his latest tunes 'Target Practice' and 'Improv', Spanish electro producer Kalcagni is determined to flaunt his care-less, unruffled streak, implying that the production of electro floor-haulage is a cakewalk. After all, the best among us eat bangers for breakfast! The A-siders rattle out like inexhaustible mags, as we hunt down bullet-holed cardboard cutouts of mortal enemies, spied in the reticle. It's only until after such an opening bloodbath that we find a moment to catch our breaths and put on a 'Clean Shirt', where rejuvenative acids resound between roomier beat. Finally, 'Drift N Shift' hears Kalcagni pack in his shift at the shooting range and steal away into a misty, chord-laden night, though the sense of urgency is not lost on us.
Review: Warsaw producer Kampinos delivers a knockout trio of tunes for GAMM here that collide soulful drum & bass with deep musical roots. The standout opener is 'Good Looking Pepe,' which flips Pepe Bradock's seminal house love-in 'Deep Burnt' into a lush, jazzy roller a la LTJ Bukem. On the B-side, 'Joi' explodes with gospel fervour and raw amen breaks to make for an irresistible jungle anthem built for dancefloor uplift. Rounding things off, Kampinos offers a rich, emotive refix of Little Simz's 'See You Glow' which is both warm and intense. This is rather unexpected yet effective outing for GAMM with a fine mix of soul and roughness.
Review: Shalom Aber's Be As One label has done a one job of evolving from its earliest sounds in the tech house realm into a place for more refined and sophisticated techno. Kashpitzky's new offering very much fits in with that MO and opens with 'Elevate' which is a trip minimal cut with rising synths that make it feel as if you are forever speeding up. 'Silver Ball' is like a hall of mirrors with synth reflections everywhere and the Phase remix lays it down with a more rooted low end. 'For The Vision' is an unpredicted but brilliant jungle closer.
Review: Still riding high from the success of his superb re-make of Manuel Gottsching on Test Pressing ('A Reference to E2-E4'), Alex Kassian returns to Pinchy & Friends - who released his similarly popular 2021 EP 'Leave Your Life' - after a three-year break. Beginning with the lusciously languid, Balearic, effects-laden and sonically layered title track ('Body Singer', where Jonny Nash style guitars and tumbling sax motifs rise above a sparse drum machine beat and shoegaze-esque aural textures), the Berlin-based producer offers up a loved-up mix of weightless ambient bliss (Kinship), kosmiche soundscapes (the sun-flecked 'Skinship'), revivalist Krautrock (the Can-after-several-spliffs headiness of 'Trippy Gas') and immersive, cinematic excusions (the gorgeous 'Mirror of the Heart').
Review: Domingo Dark makes his solo vinyl debut as Kaxtelian with an EP that really finds him stretching his legs across a mix of electro, UK hardcore and techno with a smattering of Belgian influences and the authentic sound of Valencia also peeking through. Created between the ghettos of Albacete and Badalona, the release marks a fine new chapter in Dark's career. 'Hardcore Motherfucker' is just that with its blistering drum funk and acid brightness. 'Ghetto Cyberpunkers' has booming low ends and caustic synths and 'Hardcore Boys' is a dense melange of ghoulish vocals and synth intensity that rides a slamming electro-techno rhythm.
Keller - "That Kind Of Girl" (The Dukes original mix) (5:13)
Mark Funk - "Here To Stay" (5:48)
Danny Cruz - "Waiting (For You)" (6:55)
Makito - "Jackin With Millie" (6:31)
Review: If you're reading this you will probably already know that this Cruise Music series has been full of gold over the previous instalments. Whoever is in charge for curation has pulled it off again with four more funky and disco infused house gems. Keller's opener is a classy mix of filtered vocals and drum loops with an aching soul edge. Mark Funk offers a more party starting disco bumper with classic vocal hooks and Danny Cruz takes things onto a summer terrace with glorious horns and uplifting grooves. Makito shuts down with the dusty deep house shuffles and party atmospheres of 'Jackin With Millie.'
A top value for money opportunity here, as Moiss Music deliver the latest in their sweet and sticky Jam series of various artist 12" line ups, bringing you no less than six bubbling, vivacious disco triumphs from six artists. Khemir's 'Disco Bandit' kicks off proceedings, a production that sounds like it was made by a band of around 45 musicians, a proper cavalcade of strings, brass, brazen disco thump and beautifully bold vocals. Wurzelholz's 'Prince' goes for a bit more economy but with a slinky funk bassline like that - not to mention the occasional exclamation from the purple overlord himself - it's equally devastating in dancefloor terms. Among the other highlights, 'Golden' by I Gemin has the feel of a lost Daft Punk flip tune and Cosmocomics' 'Glamorous Garcon', boasting 70s-style synth bubbles that are as cute as they are retro. Tasty as ever.
Review: A tribute to who, you may ask? "J Dilla" is the immediate answer on Kidzblock's latest fidgety A-side, and their first to manifest as a 7" on their very own Kay-Dee Records. The house production duo may be new kids on the block, but their handicraft betrays a much abler quad of ears than the "up-and-coming house production duo" might suggest to the undiscerned. 'The Tribute' riffles with gospel tremolos in the back and parping filter-saw bounces in the front, bringing a real heat that holds truly to the essence of the word "bounce".
Review: A little slice of rock history for RSD 2025, taken from the encore from US indie faves The Killers' encore at New York's Madison Square Garden on October 1, 2022, when a certain Mr Springsteen joined them to Boss proceedings. We get versions of two of Springsteen's calling cards - 'Badlands' from his Darkness on the Edge of Town album, often cited as a proto-punk classic - and the ubiquitous 'Born To Run', with The Killers' raucous 'Dustland', seemingly heading up and up in intensity without ever quite hitting the ceiling, as the meat in the musical sandwich. The clear parallels between both acts are laid bare, as is the spontaneity and excitement of a true one off moment.
Review: Returning with their second EP on their self-named label, the Kilotoni series is said to be the work of renowned techno artists, plucked from the archives, but whatever, it's a a fierce resurgence of headstrong acid techno that feels both classic and vital. Side-A opens with 'Track , a minimal yet powerful stormer driven by a thick, rolling acid bassline that commands the floor. 'Track 2' follows up with a heavier, more stomping affair i a dangerous, sci-fi-inflected ride where the acid line buzzes with an incessant, hypnotic edge, pushing the energy to the brink. Turn to Side-B and 'Track 3' hits with alien sound design and raw 90s acid techno energy. It's a slice of nostalgia, yet the strong modern production keeps it razor sharp and club-ready. Closing things out, 'Track 4' shifts gears into a groovy, fun techno jam that retains the otherworldly atmosphere but brings a lighter, more playful bounce to the mix. A heavyweight EP that perfectly captures acid techno's gritty essence while pushing it into new, futuristic spaces.
Review: System warmongers Moonshine Recordings brew their own methanol murder beats, this time enlisting master home brewer King DuBear and toaster/taster Junior Dread for an apocalyptic system smasher, of epidemic proportions. In characteristic throaty baritone, 'Keep The Faith' hears Dread caution his fellow youngers against folly - "stay away from they food and the lies dem a spread" - while snares and noir bubbles come ensnared in intense, pop-out reverb. The dub goes surprisingly in on Dread's vocals, hamming them up with extra preamp body.
Review: The still-aptly entitled 'Money Run Tings' is a sought-after classic from East London's King General and Bush Chemists that was originally released in 1996. The original Conscious Sounds 7" has been out of print for nearly 30 years but is now getting a much-anticipated reissue. This version comes with a previously unreleased dub version that offers a fresh take on the standout London dancehall track. Produced by The Bush Chemists in the mid-'90s, it remains a top-tier example of the genre with its stepping beats and stylised vocals still sounding futuristic 30 years on.
Review: Soul-Direction presents the first legitimate re-release of this bona-fide soul rarity which has been licensed courtesy of Resnik Music Group. The track was recorded by King George and The Fabulous Souls and was originally released in the late 60s and early 70s in Los Angeles, where it became a quick favourite on the soul scene. 'I Need You' and its counterpart 'Baby I've Got It' were both written and produced by lead vocalist "King" George Renfro. Despite little information on Renfro or the group, the song became a sought-after gem after being championed by DJ Ion Tsakalis in the 80s.
Review: MessenJAH Movement is on a roll after its first three outings and this fourth is just as momentous as it explores conscious dub. The A-side showcases the unmistakable voice of King Lorenzo on 'Down Ya Inna Babylon', which is a heartfelt collaboration years in the making. It's backed by a militant yet soulful MessenJAH Movement riddim and a heavy dub version mixed in-house with stepping rhythms and shiny digital leads. On the flip, Black Swan marks a long-anticipated link-up between Locks MessenJAH and EverestDub, who has been a key figure in Bristol's dub scene since 2008. The track pays tribute to the roots and legacy of Bristol dub and is named after the iconic venue that shaped UK sound system culture.
Review: The Japanese label Black Liberation Sound System has made an impressive start to life over its first three outings. The fourth is another strictly vinyl-only 7" featuring vocalist King Stanley. His tones are buttery and full of yearning as he delivers gentle patois and well-articulated lyrics over a sleek, future-facing dub rhythm. Plenty of studio effects make for an absorbing atmosphere and on the flip is a dub that allows them more room to shine. Two killer tunes as sound system season fast approaches, and another big moment from this ever more essential label.
Review: American label Deep Bow makes a notable vinyl debut with this heavyweight 10" featuring King Stanley and Prince Jamo, both voicing over a thunderous riddim crafted by producer Dub Sev?. This roots-driven slab stars with King Stanley's passionate cries over sleek drums with shiny digital synths and neat guitar licks. It stays true to the deep, meditative spirit of sound system culture and becomes much more roomy and spaced out in the hands of Dub Seva. Prince Jamo's 'Joke' has a cleaner vocal and some natty keys, and also gets dubbed out by Dub Seva. A strong introduction from Deep Bow that showcases talent from both sides of the Atlantic.
Love Come Down (Ezel & DJ Spen Reproduction) (7:39)
Love Come Down (Ezel & DJ Spen instrumental Reproduction) (7:39)
Love Come Down (Ezel & DJ Spen R&B Reproduction) (6:14)
Love Come Down (Ezel & DJ Spen R&B instrumental Reproduction) (6:13)
Review: Evelyn 'Champagne' King's 1982 boogie jam 'Love Comes Down' is one of the most familiar and much-loved club anthems of the era. Ezel and DJ Spen are clearly fans, because they've decided not to remix or re-edit it, but 're-produce' it, adding her iconic vocals to their own fresh backing tracks. As the EP-leading full vocal 'Reproduction' vocal shows, they've done a terrific good job too, re-creating many of the original 1982 elements while re-framing the track as a piano, horns and guitar-rich slab of soulful disco-house joy. As well as an instrumental of that version, we also get vocal and instrumental 'R&B' takes. These are closer in tone and feel to King's 1982 original while feeling as fat, warm and groovy as you'd expect from a 21st century Ezel and Spen production. In a word: classy!
Peace, Love Not War (Kenny Dope extended mix) (5:35)
Peace, Love Not War (Kenny Dope instrumental) (5:19)
Review: New York City was the early block city foment of The Fatback Band, who would, on the official account, see their names written into history as some of the pioneers of funk at large. Aside from their disputed four-to-the-floor point-sourcings with 'Oops Upside Your Head', The Fatback Band were equally known for many a hit, including 'I Like Girls' and 'Yum Yum (Gimme Some)', and the formula for such repeated successes has been expertly localised by some as resting in the charismatic wiles of one Johnny King, the founding member whose proud, biped posture and wicked vocals brought to the group a firm and charismatic leading presence to the group. This originally 2004 cut by working Master Kenny "Dope" Gonzalez hears us lean into the funkier ends of the latter's remix-craft, as 'Peace, Love Not War' is given a profound kneading and planing across an excoriating final funk beat.
Review: From the nebulaic dusts of 1960s Kingston came the Kingstonians, a tight-knit vocal trio built around the songwriting of Cebert "Jackie" Bernard, joined by his brother Lloyd "Footy" Bernard and Lloyd Kerr. Their early work with producer J.J. Johnson yielded the breakout hit 'Winey Winey', but it was under the guidance of Derrick Harriott that they reached wider acclaim. Before their dissolution in the early 70s, and a later solo spit by Bernard which included a striking collaboration with Lee “Scratch” Perry as Jack Lord, ‘I’m Gonna Make It’ appeared as a mid-tempo rocksteady salve, with tightly-buoyed, gospel-inflected harmonies backing a core lyric line about perseverance and self-belief in the face of adversity.
Review: Culture Club legend and pop maverick Boy George makes a triumphant return for Record Store Day with an exclusive coloured 12" of a long-lost gem. Originally produced in the '90s and revived as a dancefloor hit in 2007, the wonderful 'You're Not The One' now receives its first proper vinyl release, having previously been CD only, with copies on second-hand markets fetching upwards of L450. Reimagined by original producer Kinky Roland, this version features standout remixes including a sleek Vocal and Dub version by house legend Eric Kupper and a genre-blurring rework by Grammy-nominated UK talent Paris Cesvette. Superb club-ready pop nostalgia.
Review: French techno DJ and producer Klint has forged a long, panhandling utility belt of digital and physical for himself - Truncate, Planet Rhythm and Molecular Recordings outputs among them - and now he makes his debut on the milestone Rotterdam label Arts with a definitive attestation to his own creative drive. The Greek "dynamis" simply means "power", and its etymological link to "dynasty" is meaningful, not least since Arts are among the foremost families to do it right now. 'Subculture' and 'Time Flies' stand out on this release as the best gurgling, weirdo sound design cuts to typify both artist and label, mingling undeniable heaviness and impish experimentation.
Review: After a wild Hyperdub stopoff shared with Tim Reaper, Kloke (Andy Donnelly) now goes solo. Described as a case of "jungle vitality" by the releasing label, this is an artist playing Mindgames: 'Supernatural' and 'Rorschach' ascribe silkiness and scratchiness to the drum & bass shellout shape respectively, proving the breadth of this guy's sound. An essential emphasis on memory is invoked, with its yearning cry poking through skeletal mixes, and otherwise oppressive sci-fi sound design. 'All Worlds' is the closing experiment, where water-falling, melodi-cascades sizzle over and about pocket-sized, but still huge beat-punches.
Review: Amazing, goblin-mode minimal techno from Klon Dump aka. Mark Klon, a human klondike of fidgety sonics and jokey tech house from Australia. It's as if divine powers intended for Klon to join My King Is Light, the label owned and operated by fellow producer Melchior Productions. MKIL focus is on extra-special minimal tech, shunning the genre's often unfortunate capitulation to floor-perfunctoriness for the sake of idiosyncratic indulgences of the artistic kind, the kind we minimal fans actually want to hear. Praise individuality, for it is not lost! 'The Long 2016' harks back to the year in which humanity stood at the precipice of everything-everywhere-all-at-once-ness; endless shuffles, pops, bass slaps and overhand riffles burble from this track like a volatile electro-ball, evoking the informatic ease of the time. 'Go Wahreit' contrasts with harsh alien vocodes and kitchenware percs, and titularly plays on the German word for "kernel of truth". The B-siders render the record weirder and weirder, 'Blind Tim' summoning UK flavours with a skweeeing swing, and 'It's Only My Body' serving to desensitise the trance.
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