Review: Techno hero Adriana Lopez follows up powerful releases on Modularz and her own Grey Report with this collection of mesmerising techno journeys for the ever reliable Stroboscopic Artefacts' sixth installment in their Totem series. "Embera" sees the Colombian artist venturing down a ghostly trail previously unexplored. Enter the void on the tunnelling freefall session of the title track, trance out to the strobe-lit hypnotherapy of "Saija" before the mental overdrive of closer "Awa" takes you further down the spiral with its intoxicating and droning motions. Exactly the type of sonic tools that you could imagine her deploying during one of her acclaimed and epic DJ sets - this one is serious!
Review: The well-established drum & bass label Circle Vision continues with its often mysterious, uncredited white label series. This third instalment comes under the Circle Vision alias, which could be one person, loads of people or whatever else. What we do know is that "Hollow" bangs - frazzled bass zips about under big jungle breaks, with sci-fi pads bringing a sense of futurism to this bassbin bothering banger. "Tings In Boots" hits just as hard with raved up, strobe lit chords and some brilliantly old school sub-bass. Dark, raw, physical, it is pure dancing music of the highest order.
Review: Sheesh! And the award for the swampiest, most mutated and wooziest 140 jam of recent times goes to Sibla & Teffa's "Bobby". Presented here on the a; proper sleazy, rolling, oily cosmic dub funk - with some fantastic vocal stamps from the master - it's quite remarkable for the pair's first ever collaboration. As is 'I Wonder Why' on the B. Taking a slightly more traditional dub route, here they dig deep into the roots and really get involved in the sounds and elements, gradually easing us deeper and deeper into the blend before we realise we're cap-deep in a pretty heady psychedelic stew... And we have no plans to swim to shore. Limited to 300, this won't hang around.
Review: Emotional Rescue turn their attention to Rare Silk and their sublime cult classic "Storm". It's one of those rare tracks with a wonderful otherworldly quality that manages to be smooth and accessible, and somehow not like anything you've ever heard before. It must be somewhere in the mix, between the dreamy harmonized vocals, lush instrumentation and curious sense of space. The original on the A side is a treat enough, but then throw in a mercurial dubbed out version by Arp on the flip and you've got yourself a 12 inch portal to a most delightful dimension.
Review: It's the release that recently moved Skream to tweet he'll make 140 music again, Rarefied dig deep back over the vaults for their first remix release. First up is the Skream co-signed remix of T. A. R.'s "Amplivagant" in which Navy Cut captain J.Sparrow flips the bassline into a steamroller of a mix where the groove has a technoid mind of its own and the demolished results speak for themselves. Flip for Crypticz twist on Primer's "Signals". Switching out the skittering two-steps for ghostly amen echoes while keeping the tone and vibe just as eerie and haunted, it's another remarkable remix. Absolute solid gold.
Review: This tasty 10" from Ukrainian label Muscut features skilled musicians Ganna Brizhata, Polina Matskevich and Ira Lupu. Together as Chillera, they make for an EP that is influenced by everything from psyche to soft rock, dub to funk. Each track brims with live and authentic musicianship that makes them that bit more essential: "Koblevska AR" is all twinkling keys and star-gazing chords while "Pro Fun" is a more propulsive bit of funky dub with knotted bass guitar and splashing cymbals. "Spielc" closes things down in romantic fashion with plenty of bendy pitches and wah-wah effects.
Dan Piu & Venus News Network - "Once A While Transforming Into Unity"
Freddy Fresh - "Take Your Time"
QWERTY - "26xm" (Canal Time Shift mix)
Brad P - "Theory Test Level 3"
Darren Nye - "Alienated"
Reedale Rise - "Capricious"
Cygnus - "Vega"
Ewan Jansen - "Space Bar"
Review: While the Childhood Intelligence label has previous form when it comes to offering up multi-artist EPs, little they've released to date is quite as epic, expansive and eclectic as this compilation style double-pack. There's sadly not room to list all of the highlights and subtle variations on offer - it's pretty much fire from start to finish - but our current favourites include the acid-flecked sci-fi techno of Brad P's "Theory Test Level 3", the sparse, bass-heavy shuffle of Dei Sub's "Through Flow", the dreamy but out there ambient dub flex of QWERTY's "26xm (Canal Time Shift Mix)", the 21st century clonk revivalism of Reedale Rise's ace "Capricious" and the glistening analogue electro-meets-Chicago jack pulse of Cygnus' "Vega".
Review: Fresh from delving into his ambient side on the pastorally-enhanced "Loom Dream" album for Whities, Leif revives his self-manned Tio Series with another double-shot of delicate but impactful cuts outside the conventional slipstream of modern techno. The rhythms fall crooked, the synths trickle, bubble and cascade around the groove and the atmosphere remains humid and heady, especially on ear-snagging B-side "Rumex". "Montpelier" sports more explicit dubby flourishes and a spread of sonic flora and fauna in the middle distance that truly brings the track to life.
Review: Throughout his career, L.I.E.S. regular Beau Wanzer has proved adept at delivering decidedly fuzzy, lo-fi workouts that variously draw influence from industrial, EBM, techno and electro. He's at it again on "Do The Spider Shimmy", a tidy ten-inch containing six wonderfully wayward cuts. It's a noticeably stripped-back affair, with most of the cuts existing of little more than sparse but heavy basslines, occasional electronics, minimalist electro beats and the odd droning, stylized vocal. Highlights come thick and fast, from the gently spacey synth-scape "Never Look Back" and the buzzing simplicity of "You Can't Stand On Broken Shoes", to the lo-fi no wave pop of "Choice Curve" and the raw, laid back electro sleaze of the title track.
Review: Jabesh and I David combine to great effect here for a selection of dubs that fuse the old with the new. There are classic guitars and drums on title track "Hold A Meditation" but the broad, smeared synth bass adds some contemporary cool that makes it suitable for a range of different settings. The "Dub" version has lush wet claps and mesmeric filter work before a tooting top line on "Rocktone Melody" gets you in a different state of trance. Closer "Rock To The Dub" sees I David show off his mastery of the studio buttons and rounds out a solid 7".
Review: Transhumanism is a collective of Dutch producers who first met on the dance-floor at Dave Clarke's Whip It party at Melkweg in Amsterdam, so that will give you a reliable indicator of their sound: it's brash, serrated electro that fires your synapses and awakens your every sense. Juan Atkins and Helena Hauff have been dropping it all summer and it's easy to see why. There is strobe lit action from Slaves Of Sinus, walls of high intensity sound from RXmode, rave tinged stuff from W1b0 and a more throwback jam from TFHats to round out a high impact EP.
Review: Berlin-based DJ and producer Denise Rabe has become something of a cult heroine since her first releases in 2015. The years since have found her operate in her own parallel techno world, where psychoactive sounds and heavy drones permeate your ears, then your brain, then your whole being. Now she steps away from her own Rabe label for a debut on Stroboscopic Artefacts, which finds her take charge of the Totem series. Opener "Manifesto" is a driving techno groover with ghoulish synth designs and keys from the 5th dimension, then "Don't Leave" will utterly trip you out with its panning pads and mysterious leads. "Clouds" completes the journey with doom laden and wide spread kick drums that lurch over and over through some ruined post-human world. Tip!
Review: Seleccion Natural is Oscar Mulero, Exium and Reeko, a techno dream team who have a new album on the way this autumn. Before that they offer up two tracks from it on a tidy 10" that brims with modular synthesisers, samplers and drum machines. "Split Didactics" will rewire your brain with squeaking lines and cantering kicks making for a real techno riot, and "A New Description Of Hell" layers up hammering kicks with howling synths into a rigid and unrelenting groove. Making this extra special is artwork by none other than Silent Servant.
Review: "Call Of The Righteous" is the latest in an ongoing series of releases by Indica Dubs and Chazbo. Once again it is a 10" that boasts the perfectly interwoven drums, chords and bass of Indica, with the chest pumping, uplifting and warrior style synth leads of Chazbo. The bass rolls deep, the tops are crispy as bacon and the frequencies can be felt in your chest while hits ricochet about to enveloping effect. The low riding swagger and infinite horizons of "Raw (Dub Mix)" has to be the pick of the bunch for us.
Review: It's now been two decades since Gallic producer Joan-Mael Peneau first donned the Maelstrom alias for the very first time. He's been in particularly fine form of late, offering up essential EPs on Cultivated Electronics, Central Processing Unit and Private Persons. Here he makes his debut on Craigie Knowes' hard-wired techno and electro offshoot C-Know-Evil with a formidably tough two-track offering. A-side "Spasm" is a riotous fusion of metallic percussion hits, high-octane electro drums, doom-laden acid lines and bass so raw and intense it was probably made in Scotland from girders. He opts for an even more doom-laden techno sound on fizzing flipside "Turbulence", wrapping increasingly intense electronic motifs around a surging rhythm track.
Review: Fernando Zapico AKA Z@p is one of those producers whose work is always worth a listen, primarily because his quality threshold is very high. This two-track missive on My Own Jupiter picks up where his recent EP for Japanese imprint Cabaret left off, delivering faintly foreboding futurist techno whose sci-fi inspirations are clear to hear. A-side "Brutalismo" sets the tone, with paranoia-inducing analogue bass, creepy synth stabs and swirling electronic textures rising above a punchy drum machine-driven groove. "We Control The Sound" is notably denser and a little darker, with sturdier beats, moodier chord sequences and a bone-chilling breakdown.
I Have Been Waiting For You (DJ Duckcomb Digimix) (7:19)
Review: Emotional Rescue serve up a balmy curveball cut perfect for the summer months. Glen Ricks "I've Been Waiting For You" was originally released back in 1983 on the highly collectible Seraff label and recently reissued by the label (ERC081). Here, as an accompanying release to that boogie version is a 1990 digital rework for the Xterminator label. With a distinctive swung riddim and smoothly incorporated dubbed out chords, Ricks' vocal channels the most soulful Jamaican deliveries, sealing the deal on this evergreen jam that sounds great in original and version forms. DJ Duckcomb steps up with a tender "Digimix" that retains the dusty crunch of the original with just a little extra bite in the beats.
Pimping People In High Places (Woodword Ave alternative mix) (6:50)
The Medusa Touch (6:52)
Review: Gary Martin is well known for his unique productions and his label Teknotika is surely a classic coming out of the famous motor city. This special 10" holds two sought after tracks that were found on a lost DAT tape by Yossi Amoyal and Gary Martin himself. On the A side we have a long time secret weapon, it's a hypnotic groove that was heard on many classic sets, Zip and Ben Klock to name a few. An extremely insane, hard to find Gigi Galaxy track that was changing hands for silly prices is on the B side, for those who know... massive release!
Review: Russian enfant terrible Pavel Milyakov aka Buttechno appears next on Gost Zvuk: an imprint dedicated exclusively to the Russian and ex-USSR scene and only releasing music of producers from these regions. The label's seventh release (known elsewhere as 'Swamp Tracks') showcases the diverse array of Milyakov's sonic repertoire, that has seen his release on labels as diverse as Cititrax, Incienso and Zodiac 44. The fierce sonar transmission of "Project Loop 1" or "Subsonic II" will no doubt bear comparisons to Berlin legend Sleeparchive, but still hold their own. Milyakov is really in his element when delving deep into electro mutations as heard on "Industrial Acid" or the tripped-out minimal techno cut (and our favorite) "2x Clouds".
Review: AKO welcome long-timer Madcap. Oxford-based and on the scene for a good 20 years, he's been slowly building up a powerful arsenal on the likes of Good Looking, Soul Deep, Fokuz and many more for the last 10+ years. With the backing of Stretch, on his fast-developing 10" label AKO 10, this is one of the biggest moves yet. "Out Of Reach" is big and breezy deep jungle, loaded with space for the pianos to smoulder and the echoed vocals to waft majestically in and out of the mix. Flip for "Sunshine Dub" where you'll feel you've heard it all before... In the best possible way. Don't sleep on this one, it's a cheeky one.
Review: Having soared us through the dense black marsh earlier this year, Portuguese deepsmith 3WA takes us through even swampier, intense territories with this Crucial debut. "Viagem" is like stepping into a deep boggy cave where the drips from the stalactites get heavier and the ground swallows you like quicksand. "Encanto" then hauls your keister out of there with insistent hang drum percussion and rolling kicks before blowing you dry with powerful flutes and pipes. Charmed.
Review: Prepare to fire! Skeppy's got a brand new cut and he's and everyone's allowed a cheeky buzz on it. Yes it's finally time to get your grubby paws on the long-awaited "Musket". One of the Exit Records artists' most divisive of tunes, unlike his darker deeper tackle it's a jaunty, spiky jump-up tune. Addictive, fun to mix and guaranteed to get the crowd all wound up, this has all the hallmarks of a festival D&B anthem this summer. Grab it while you can.
Review: Oh gosh. Scratcha's up to his old head-spinning tricks again on this super limited 10" white label. His remix of "Basstone" takes the lead. A cult 1994 Louie Vega classic, DVA's twist is unlike anything you've ever heard; all sirens and frequencies and bashy clattering beats over uplifting chords, it's both overwhelmingly heavy and absurdly soulful in equal measures and it will totally melt brains this festival season. Comes complete with two deep and fractured perspectives from the mysterious/anonymous/perhaps-new-alias Singlewhitefemale; the shadowy fractured "Dub" and the woozy dreamweaver "Secret Garden". All stunning... Grab this while you can.
Review: Running Back Incantations was created as a series of non-dancefloor releases and its fifth edition came from Austrian producer Daniel Meuzard aka Feater earlier this year. The "Socialo Bianco" LP utilised the EMS Synthi AKS, which he painstakingly recorded entirely by hand and straight on to tape. The track lifted from the LP entitled "Time Million" has already received remixes by legends such as Ricardo Villalobos and Pepe Bradock on the first volume of reworks, followed by current scene heroes Pangaea and Krystal Klear on the second. On this third volume, Jamaican dub/reggae drummer with a Jah given gift for music, Blood Shanti takes over the whole release and serves up four perspectives. Feel the pure elation of the "Main Mix", followed by three jamdown versions: "Dub #2" works those delays and echoes to full effect in true old school style, while "Dub #3" veers into similar sonic territory as legendary dub producer Adrian Sherwood.
Review: Rising 140 sculptor Samba proudly presents his own label 26.RAIN. Following a whole string of heavily supported releases on the likes of System Music, Deep, Dark & Dangerous and Encrypted, the label is a new outlet for a fresh synth-led fusion style he's been developing gradually. Deep, musical, not shy of an 808 or a two-step or two, there's a touch of UKG, wave and trap deep across both sides. "Acecloud" is the big neon dreamer of the duo while "Cookies" crumbles a little more delicately and introspectively. An excellent launch release, we're saving our rainy day money for 002.
Review: Following a couple of impressive collaborative releases last year, Bristol bass-head Halcyonic returns to action on debutant imprint Firmly Rooted. This time round, veteran roots-man Junior Dread handles mic duties, delivering a smoky vocal on "Can't Hide". The track itself is rolling, bass heavy and heady, with ricocheting electric piano notes and dub-wise horn lines rising above a riddim that sits somewhere between digi-dub and dubstep. On the flipside, Bristol stalwart Rob Smith dons his familiar RSD alias to deliver a dancefloor-focused deep dubstep revision that peppers a weighty groove with dubbed-out horn blasts, disconnected vocal snippets and mind-mangling angular electronic pulses.
Review: It's been five years since Truth & Soul's octet gave us the incredible Wu Tang version album. It's been two years since they last dropped a single, too. However the band is back and their trademark cinematic soul is richer and more emotive than ever. From the instant the trembling flute and guitar open with the cuddly, ultimately positive "Kiddy Ditty" we're whisked on a largely instrumental journey that flings us through the wild west ("Little House"), soul's early JB chapters ("This Song For You") and straight up NY low-slung funk ("A Little Sloppy"). Climaxing with a Lee Fields featured "By The Time I Get To Phoenix", Loose Change is a kind reminder of just how accomplished and creative El Michels Affair are. No change there, then.
Review: Don't fear this Reaper... Reaper Recordings is a mysterious brand new label with little information besides their dedication to the jungle craft. If this launch release from Ghosty (AKA Hungry Ghost) is anything to go by, they're not mucking around. "Dead Already" is a powerful subby slammer with eerie top lines and drums that could pierce concrete while "Forward" takes more of a sassy soul approach on the musicality but still drops deep into gully science when it needs to.
Review: Barefoot Beats is a series of EPs released on Mareh Music, a record label based in Sao Paulo whose people are also the curators of the Mareh music festival in Boipeba - a remote island in Bahia. For their label's ninth edition, Rio de Janeiro's Joutro Mundo (Midnight Riot/Outra) delivers an edit of a lovely neon-lit boogie down number on "Revele", while on the flip the man from New York City Jkriv (Razor-N-Tape) gets a deep, soulful and life-affirming number into the mix with "Povo De Zambi".
Review: White Peach / Fent Plates bossman Zha returns with another delicious naan platter. "Mumbai" is like a spicy roti - crisp in its flavour, a pepper packing punch in the twisted shehnai blasts and scorched bass grunts. "The Tale Of She" is more of a puran poli. Deep, sweet flavours but don't think you won't have anything to chew or digest; there's a lingering wholesomeness running through the whole dish. Best served warm and with friends.
Review: Church's latest release - a rather tasty, two-track ten-inch single - comes courtesy of South London sorts DJ Malcolm and Dabriel Garius. A-side "Lulo", a jazzy deep house cut smothered in expansive piano solos, dreamy synth chords and sampled female vocals, is particularly potent, with the duo expertly layering up the percussion to give the track a sun-kissed, carnival-friendly feel. Flipside "Guava" displays a similar jazz influence, with the duo trading electric piano and trumpet solos over elastic synth bass and swinging, semi-broken deep house grooves. It's what we imagine a contemporary collaboration between Phil Asher and 2000Black boys Dego and Kaidi Tatham would sound like, which is high praise indeed.
Review: Sleeper man Alex Fox debuted the GRAMZ alias earlier in the year via a two-track 12" on Sentry Records built around paranoid sonic textures, serious bass-weight and rolling 140 BPM beats. For this 10" outing on Crucial, Fox has taken a deeper approach, ratcheting up the smoky atmosphere while retaining sizeable low-end pressure. "Joken" and flipside "Get Them Bags" are hazy, ultra-deep dubstep workouts, with both doffing a cap towards hip-hop and grime (check out the manipulated MC vocal samples on the latter, in particular), as well as the crackling sonic textures of Burial. "Joken" rolls along nicely while remaining pleasingly subdued, while "Get Them Bags" has a little more sonic strut. Both, though, are excellent.
Review: Back in 2016, legendary Afrobeat drummer Tony Allen approached techno pioneer Jeff Mills with the idea of working together. A series of live gigs and off-the-radar studio sessions followed, with the first fruits of their joint efforts finally appearing on this must-have 10". As you'd expect, the duo's collaborative work combines Allen's traditional Nigerian polyrhythms, traditional Afrobeat instrumentation, and the far-sighted, sci-fi inspired electronic futurism that has always marked out Mills' work. The result is a quartet of cuts that could arguably be described as retro-futurist Afro-tech - all delay-laden beats, basslines and organs subtly sparring with gentle acid lines, Motor City electronics, beguiling deep space textures and shimmering, 31st century motifs. It's arguably Allen's stylistic contributions that dominate, but that's no bad thing.
Review: New to Claremont but certainly not new to composing; Denis Leonvich has been writing for screen for over a decade and has amassed an impressive collection of heavier floor friendly cuts on the likes of National Techno. If these two rather warm and woozy Balearic debuts are anything to go by, his future cosmic output will be just as impressive; "Sunset Sparks" sways with a balmy mysticism with folk singing, an alluring hang drum and hazy pads while "Boma" takes a slightly darker route with psych sinewy arpeggios and a subtle but unforgettable brassy bass texture and sleazy guitar plucks. We look forward to Alterleo's next adventures...
Review: One of the most consistent harbingers of the broken beat this year, Nomine Sound introduce a brand new project from Asif Kid and Slimzee in the form of E3 Breaks. Exploring the murky 140 waters between breaks, garage, dubstep and jungle, both cuts gel a whole host of soundsystem genres together with their caustic, barbed wire beats; "The Curse" is a moody halftime grumbler with roots in dub but its heart in jungle while "Backroads" is a rampant roller that's not dissimilar to the early Botchit releases around 20 years ago. Sparse, sci fi and slippery.
Review: 2013's Das Heise Experiment album was one of Robert Witschakwoski's wilder efforts under the storied Exaltics alias. This belated second volume is perhaps not quite as intense - there are less acid-fired workouts, for starters - but it is just as impressively mind-altering in tone. Although rooted in machine electro, the 12 obliquely-titled tracks draw on a myriad of influences, resulting in a largely dark, moody and clandestine mixture of dark and paranoid ambience, panicked IDM, punchy, Drexciya-style missives, end-of-days mid-tempo techno and fuzzy, L.I.E.S/Vatican Shadow style lo-fi murk. As you'd expect, the whole thing hangs together brilliantly, sounding not unlike the soundtrack to an imaginary sci-fi horror set on a haunted spaceship.
Review: It's been a long time between drinks for Present Sense, a Finnish combo helmed by experienced jazz bassist Jarno Lappalainen. Research confirms that the previous Pressent Sense single landed way back in 2004. For this return to the studio, American jazz vocalist Dean Bowman has joined in the fun. His Gregory Porter style vocals seemingly soar above the band's lilting, emotion-rich jazz on A-side "In The Present", with each musician getting solo space in the track's magical final moments. Turn to the B-side for "The Time", a more up-tempo jazz workout full of alternating horn solos and superb double bass playing by Lappalainen.
Review: You could say that Kodiak Bachine is Brazil's greatest ever Brazilian electronic producer. That would not be an overstatement, it's just a simple fact. It was 1982 when he first released this EP, and it's been a classic, and a favourite of ours, ever since. In fact, "Electricidade" is so powerful because it sounds like it could have been made today; its tenebrous synths filling the airwaves from every angle, giving the track a strange sensation of lust and wonder. The flip, "Espirito Das Maquinas", is another enchanting ride through broken electric cables and abandoned power plants, a place where Bachine clearly thrives and surpasses all expectations. Highly recommend reissue!
Review: Chevals, who brilliantly describes himself as a "French house producer, disco cutter and horse", came to our attention last year via a fine debut on Better Listen. You'll find further proof of his "rising star" status on this tasty, two-track contribution to Kolour LTD's 10-inch series. Both tracks are essentially re-edits, though there are enough additional touches and new musical elements to elevate them way beyond your average scalpel re-arrangement. The Frenchman kicks thing off with "I Can Prove It", a gently tooled-up and reworked version of a soaring, glassy-eyed disco-soul gem that will sound fantastic at this summer's open-air events. Flipside "Free Love" is an altogether more low-slung affair, with a fizzing, funk-fuelled groove building towards a rush-inducing Philadelphia Soul-goes-disco-house conclusion.
Review: Bruno E has plenty of history in the field of future jazz and downtempo, and now he's been snapped up by D3 to deliver some of that cold-chilling lounge business with some interesting remixers on board. Pat Van Dyke is up first, creating a blissful version of "Ventos De Outono" that feels as cosy as a warm fire and a glass of whisky on an autumn evening. The original version of the track is actually a peppier affair with a broken beat lilt that wouldn't sound out of place alongside the Dego and Kaidi Tatham crew. Kirk Degiorgio is a natural fit for another remix given his jazzy roots, and his swirling techno treatment is the perfection lotion to pour over Bruno E's excellent original ingredients.
Review: Stag O Lee's continuing Music From Planet Earth series is arguably the audio equivalent of a silly, space-themed 1950s B-movie. While the series' tongue-in-cheek eccentricity and kitsch celebration of vintage futurism is rather more knowing than your average B-movie, its every bit as entertaining and gleefully lo-fi. Happily, this third instalment is every bit as delicious as its' predecessors, presenting a bizarre but hugely entertaining mixture of '50s rhythm and blues, vintage easy listening, early experimental electronica, outer-space jazz, bonkers lounge music and, in the case of closer "Marty on Planet Mars", a cut-and-paste collage featuring all manner of retro musical treats.
Review: We're not sure who's behind the mysterious AC-EXP project, but the shadowy figure returns with more of that strange, submerged house music he's been tickling discerning DJs with over the past few years. After taking last year off, "1A" is a fine place to start things up again with a strutting jack track carrying acidic synth pulses that flirt with measured delay processing. It's a jam that sounds steamy and sinister all at once. "1B" maintains this restrained but seductive vibe with the slightly trancey throb of the lead synths pivoting around the snappy drums to great effect.
Review: Original Chicago deep house producer Vincent Floyd has enjoyed something of a career renaissance since the release of Moonlight Fantasy, a collection of previously unheard 1990s productions, on Rush Hour in 2014. Here the Dutch label dips into his vaults again and unearths another gem from the late 1990s. "Hard to Love" is every bit as warm, rich and loved-up as you'd expect, with Floyd providing a yearning, soul-fired vocal to accompany his rich Windy City grooves and cascading synthesizer melodies. On the flip you'll find a fabulous instrumental version that closely mirrors the vocal take. That it stands up on its own without the headline vocal is testament to Floyd's impeccable composition and production skills.
Review: Detroit/Houston based Kolour have had some pretty credible names feature on their new 10 inch series this year, such as Eddic C, Napoleon, Frank Booker and Lady Blacktronika. Now it is over to the Belarus based disco DJ Funkyjaws who serves up two irresistible jams on Vol 8 of the series. On the A side, we have the soulful and life affirming African boogie of "Them & Us". We have not heard the original but it sounds pretty seamless to us: a respectful edit indeed. On the flip, we have one seriously mad boogie-down jam in the form of "Peasant Dance" which is a truly exotic affair from god knows where! Accordions, wah-wah guitar and some super string arrangements clash wonderfully. This may sound like an unholy mixture but this is exactly the kind of disco deviance that truly floats our boat! The Grodno based producer last appeared for the label on Kolour LTD 22 a couple of years back, and in the meantime has also appeared for the likes of Shadeleaf Music and Austrian imprint Pusic.
Review: DJ Sotofett's Wania imprint closes a wild and entertaining 2017 off with a pair of masterful EPs, both of them showcasing the Norwegian's genre-crossing tastes and outlook. First up is this steely 10", spear-headed by newcomer Salik, out of London Town. Up until now, the imprint has predominantly focussed on the US styles of dance music, a rough and ever-quirky blend of house and techno, but Salik's "Inna Brixton" verges on much more UK-centric territories with its near six minute spew of moody energy, clicking and bouncing steadily to the sound of deep, treacherous sub bass. The flipside features DJ SO-PHAT himself, coming through with a beatless away of acid-tinged melodies that blend into a tight little rhythm, before dissipating into a loose pool of drones and bass - Sotofett at his most outlandish. An essential buy.
Review: The meandering and eccentric press release sent out to promote this release describes newcomer Serious A as: "a charming Parisian astronaut with a charming signature sound". It's a fitting description on a number of counts. Although rooted in smouldering late night deep house of the kind that French producers do so well, many of the electronic sounds and percussion elements showcased across the EP are more readily associated with original Detroit techno. We're particularly enjoying the yearning, early morning shuffle of "Dune 2" and gentle bleep techno influences of the chunkier "Aftermath", though jazzy and bumpy closer "A Festa" is also inspired.
Review: Hailing from the London rat race, MUX step forward with the first release on Teenage Father and lay their distinctive style out for all to witness. Their broad-reaching indie rock sound has undertones of electronica, grunge and a very British swagger that deserves to get them onto radio playlists and festival line ups aplenty. "MDMA" rumbles along somewhere between Soulwax, Kasabian and Queens Of The Stone Age, while "Teenage Father" ups the intensity with a punky thrum behind the raucous guitars and grinding synths, and then "Stray" finds the band mixing up the time signatures for the most adventurous cut on the record.
Review: The UK's Mica Levi is back on our charts and much like last time, we expect these five glorious slices of drone-laden experimentation to fly out of here in record time. The supremely off-kilter waves of this new EP land on Demdike Stare's DDS imprint, now something of an institution for the odder side of electronica, and they couldn't be better placed anywhere else. That said, the noisy ambient glows of "Delete Beach (Japanese)", and the sparse, aqueous drum machine loops of "Interlude 1" are perhaps a step further out into the ether compared to the label's usual bag of tricks. On the B-side, the instrumental cut of "Delete Beach" morphs and develops beautifully for the entirety of the waxplate while, stretching to disc 2, "Interlude 2" catapults us into a world made up of sporadic pianos and Vengelian synths, leaving the English version of "Delete Beach" to unravel what was said on the A1.
Review: Laurene Exposito is back on Amsterdam's Knekelhuis with a follow up to her well received debut album. This new record is said to be very personal - life changes and her love life are said to be central themes. All tracks have been recorded at Exposito's home in the Rennes, France using all analogue equipment. Starting out with the seductive coldwave tribute "Yellow Density" which features some inventive synth action that reaches near acid moments over her deadpan vocals. On the flip, title track "Cocktail Mexico" goes for some Dopplereffekt style electro shenanigans and "Go Forward" conjuring up comparisons to early Tropic Of Cancer on this hazy lo-fi goth journey.