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: Fresh in the chem trails of his Bandulu release, the inimitable Bengal Sound crash lands back into our psyches with his disarming, not-of-this-world take on 140 music. "Young Skeleton" arrives just in time for Halloween, scaring the dickens out of us with its warped humanised tones, dusty atmospheres and distant chimes. "Coroners" takes us from the graveyard to the morgue... But with these hazy arpeggiated trinkles and eerie shimmers are we stepping towards the light or simply waking up? That's for you to work out.
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: 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: 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: 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: 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.
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: 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: 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: 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: For the latest single on Umwelt's essential Rave or Die label, the Lyon-based producer finds himself sharing vinyl space with Perc Trax regular Ansome. The South London producer handles side A, assaulting the senses via distorted breakbeats, chilling, held-note horror strings and gory electronic riffs on the industrial techno insanity of "Vakuum". Umwelt's track, "Affres", explores similar sonic territory, though his use of macabre audio loops, redlined electronics and rapid-fire, ray gun drumbeats gives the track a much more rolling and hypnotic feel. Both cuts are wild-eyed and aggressive in tone, even if they are every bit as sci-fi as classic Detroit cuts.
Review: Hot on the heels of "Mission" earlier this year, Shuya Okino's Kyoto Jazz Sextet troupe present another gem from last year's Unity album complete with a remix of the highest calibre. This time the cascading, Latin rhythm and frenetic horn leads of "Rising" are given the midas dancefloor touch by none other than Ron Trent. Maintaining the wily spirit of the original while coating in warm organ blasts and subtly bumping kicks, it's a precision translation that brings the original into a whole new context.
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: 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: 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: 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.
Review: Miltiadis Merentitis is one of the greatest exponents of the underground Greek scene. After several releases on Nous, Echovolt and Synapsis he joins Jose Rico's Spanish imprint Freebeat with the Epitome Of Things EP. Miltiades explores the driest of territories through his characteristic chords, kicks and percussion which will transport you to another world. Take the first cut on the A side for instance: a deep hypnotic techno cut that creates perfect trance induction by relying on the most basic of analogue elements. On the flip, the second track is a gothic lo-fi house jam reminiscent of New York City's Patricia while the final offering channels the spirit of early '90's Detroit on this fine serving of hi-tech soul.
The Devil Made Me Do It (The Invisible Cosmic Echoes version) (4:51)
The Devil Made Me Do It (The Invisible Astral Wave version) (4:30)
Review: Like many drummers, Alex Puddu has long been inspired by the work of Tony Allen. He pays tribute to the legendary Nigerian sticks-man on "The Devil Made Me Do It", a sumptuous dose of groovy downtempo Afrobeat laden with Allen-style polyrhythms, Africa '70 horns and lashings of eyes-closed electric piano solos. On the flip you'll find two different interpretations from Puddu. The first, subtitled "The Invisible Cosmic", doffs a cap to the Afro-cosmic world of Daniele Baldelli while retaining much of the warmth and musicality of the original mix. "The Invisible Astral" version is an altogether more spaced-out dub, with Puddu smothering the drums and horns in copious amounts of tape echo.
Review: Bristol's finest Jules Smith aka October is back with more reduced EBM mutations following up the dusty and rusted experiments ts as heard on his great Death Drums cassette on No Corner just last year, not to mention 2015's wicked Black Body Radiation. It's the second edition of his new eponymous imprint here. On the A side we have "Repentant (version)" a grotty acid slow burner that squeals away menacingly above the seething dirt of vintage drum computers. On the flip "Judgement Dub" goes for an early Chicago vibe somewhere between Jamie Principle and K. Alexi with its haunting pads and funk bass supported by spitfire rhythm patterns and morose atmosphere that's geared for the early morning hours of a sweaty Berlin basement party.
Review: This is Adam Wickens' - aka ADMIN - first appearance for Kolour LTD, and we're happy to see the UK deep house producer continuing his steady path to maturity. This two-tracker is part of the label's 'LTD 10s' series, and this particular one is the fourth instalment; we love it not only for the quality that has graced the releases up till now, but also because we're fools for the ten inch format. "Reach For Love" sounds like it could be on Moodymann's Mahogani, a sensual house charmer complete with gorgeous piano keys and assembled with pure hypnotic delight. Side B's "You've Got Me" is similarly cool and laid-back, but the beat is speedier here, the percussion more floor-centric and the vocals sexier than ever. What a gorgeous little tip - cop it!
Review: There's a truly unique story behind this latest discovery from DJ Amir. Another great find from his Strata master tapes licence acquisition, TJ was written on the label of an undated, unmarked demo reel. No other information besides the beautifully raw soul on tape. Literally nothing is known about who TJ was (or were). Similarities with Shuggie Otis or perhaps Darondo are strong as the stripped back lightly treated guitars and his hazy, yearning vocal technique come on strong throughout. From the full bodied soul funk of "Love Flower" to the looped faraway harmonies and simple guitar backbone of "Time Is Wasting", the music is as strong the mystery itself. Beautiful.
What's Going On (original mono single version) (3:57)
God Is Love (original mono single version) (2:48)
What's Going On (feat BJ The Chicago Kid) (5:03)
What's Going On (Coffeehouse Mix) (3:59)
Review: One of the most important and influential records in both Marvin and Motown's history, "What's Going On" celebrates 45 years with a revisit that includes some of the oldest mono versions of "What's Going On" and "God Is Love" and brand new twists including a superbly mixed posthumous duet with BJ The Chicago Kid which truly feels like they're in the same room together and an Elevado-mixed acoustic Coffeehouse mix where Marvin's vocals and sentiments are given even more muscle due to their forefront position.
Review: Moscow's Arsenii is up next on New York City edits imprint Razor N Tape. Following up the great Allegria on Basic Fingers last year, he's back with some more obscure oddities spliced to perfection once again. He takes the razor to "Son of the Sun," which the label themselves describe as "the Shaft-in-outer-space drama" (and we agree completely) to the 'proto-balearic lilt' of "Jungle Melody" by Pierre Dalmon and of course the big band funk of "Fool Like A Child"; more commonly known to some as Christian Gaubert's "Sweet And Fool Like A Child" from 1979.
Review: Italojohnson has clearly decided that less is more, having limited their output to one self-released 12" a year since 2013. Volume 10 in the mysterious threesome's self-titled series predictably contains more twisted, tried-and-tested material. The untitled A-side sounds like a modern update of a breakbeat-boasting Frankie Bones classic, with hectic bursts of percussion, surging sub and a classic riff taking it in turns to impress. There's more of an acid house feel to the similarly untitled flipside workout, with booming, mangled vocal snippets and sharp electronic stabs riding a thunderous groove, '80s electro hits and a classic Chicago bassline. There's little subtle about either track, but they sound like guaranteed floorfillers.
Review: A faceless producer, rumoured to be from Scotland and getting his 'revenge', appears here for the seventh release on Razor-N-Tape Reserve after great sessions by Caserta, Dirtytwo and Pools. On "Backchat" it's a looped up, boogie down affair complete with synth sax and pan pipes which support an obscure Steve Winwood sample. Absolutely electric and you're sure to get some hands in the air moments with this one. On the flip is a dub version that forgoes all the bells and whistles and works a razor sharp (mind the pun) arpeggio instead, for a more serious and late night version.
Review: Brooklyn label Razor-N-Tape get in on the Record Store Day action with this 10" edition of Beatin Tha Breaks from Nashville-based Magic In Threes. It's the remixes that come first, with Dutch artist Fouk going into similar house territory to Kenny Dope with plenty of live instrumental touches blessing the bristling percussion. It's a totally different vibe on the Freddie Joachem remix, with the Californian opting for some midtempo funk breaks that stay closer to the sound of Magic In Threes' original version . This closes out the RSD release on the B-side and is an easy-breezy affair dripping with soulful guitars and harmonies.
Review: Firecracker Recordings' Unthank label has been a decidedly intermittent concern since it's eye catching arrival back in 2010 with the Parris Mitchell mangling antics of Berlin dwelling Estonian producer Bakey USTL. It makes for somewhat poetic reading that the label's sixth release should usher in the return of a producer whose last apparent production credit was a contribution to the Fudge Fingas cut "Fidgety Friends" way back in 2007! Quite what the West Yorkshire based Denaji has been doing in the subsequent years is not clear, but your focus should be on his contributions here, with the Wuhti 10" quite sublime. The title track and "Dharma Dharma" are the sort of star gazing boogie and fizzing deep house that fit snugly into the overarching Firecracker sonic canon and do check the wondrous remix of "Wuhti" from Norwegian Sex Tags mastermind DJ Sotofett.
Review: Destination mid 70s Nairobi where Madagascan guitarist Jimmy Mawi was laying down some serious vibes... Signed to EMI's Pathe imprint, he released three singles during his career which have all since faded to obscurity. Until now. Dusty, garagey and steaming with raw blues fusion, it's hard to deny any parallels to Hendrix as Mawi expresses himself with a rough heartfelt frenzy. Highlights include the Zep-level smoked out soul of "Blue Star Blues" and the insistent drive and reverbed out faraway vocals on "Black Dialogue". Another exemplary Afro-funk find from Soundway.