Clone Jack For Daze Holland Vinyl & CDs

Review: Atlanta's leading purveyor of dusty, jazz-flecked deep house pops up on Clone's Jack For Daze offshoot with an expansive mini-album of raw, drum machine-driven workouts that sound like they started life as hardware improvisations (though they may not be). There's plenty of sonic gold to be found amongst the six tracks on show, with our current favourites including the sweat-soaked beat tool 'Kimora (Dub)' - basically jacking drums to get sweaty in the mix - the dubby, squelchy bass-propelled dancefloor psychedelia of 'BLACK (featuring Brandon Banks)', and the ultra-dreamy, late 80s Chicago deep house flex of 'Mr JX 8P'. 'Ancestors', a tougher and darker workout blessed with bags of percussive energy, is also superb.

Review: Legowelt is absolutely an artist unto himself. He makes a wide array of music always with equal skill and style, mostly designs his own covers and quite often devices weird and wonderful new aliases to do so. Here he returns under his most iconic moniker for A Field Guide To The Void, a superb sonic trip packed with great craft and subtle innovations. As always it's a fuzzy and fizzing kaleidoscope of retro-futuristic melodies, compelling grooves and proud analogue lines that soundtrack a cosmic adventure with happy moments, more introspective grooves and plenty in between.

Review: On-point Japanese producer Takuya Matsumoto returns to Clone's Jack For Daze label with a follow-up to his brilliantly executed 85-88 EP. He's not discovered a shoe-box of DATs under the bed, but rather is purposefully paying tribute to the early days of house and techno with specific explorations of particular eras and their attendant sounds. This time around we're taken to the early 90s, with some wonderful, varied results. There's lush, FM-embellished deep house on '01 90' and edgy, jackin' techno wormholes opening up on '02 91'. Meanwhile '03 92' retains a healthy bounce and some lush washes of synth, and '04 93' tips towards the kind of garage house you'd find on a Strictly Rhythm record 30 years ago. Crucially, it's all shot through with tonnes more personality than most 90s soundalike records, so full credit to Matsumoto for spelling his intentions out and delivering the goods.