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: "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.
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: Frankfurt record shop Gosu are back with the next instalment of their in-house label by OFFM regular Rob Amboule. The British producer has been making records for some years now, on labels like 20:20 Vision, Heidi's The Jackathon and more recently OSMAN and NorthSouth, initially starting out in London. A chance encounter led him to Frankfurt and after a short while he decided to relocate out to the Main area. A long-time friend of the label as well as Freebase (RIP), his skills developed with the encouragement of label bosses Manuel Schatz and Phil Evans. Amboule presents Gosu 9.5: on the A side we've got the funky and chunky all analogue electro futurism of "9.5 B", while on the flip things go in a more straight ahead direction on the classic techno excursion of "9.5 D" - taking the very best elements of Detroit and Yorkshire in its stride.
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: 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: Prolific producer Arno Volker AKA Einzelkind returns with his first outing of 2019, this time in cahoots with regular studio buddy and Point of View label founder Giuliano Lomonte. Between them, the experienced pair has conjured up a couple of exceptionally strong peak-time workouts. We're particularly enjoying A side "Civil Stretch", a bounding and melodically attractive affair where bubbly electronic motifs, alien chords and jaunty stabs rise above a rubbery, hip-swinging house groove. Flipside "This N That" continues in a similar hybrid tech-house/deep house vein, with the duo bolting woozy chords and eccentric vocal samples onto bustling drums and a thickset electronic bassline.
Review: Be With Records and Emotional Rescue team up to present a special release of US jazz vocal group Rare Silk and their cult song, Storm.
A diggers cut for many years, more recently it's become an algorithm "hit". Presented here as a stand-alone limited 10" release, the song is backed by a spellbinding echo-drenched remix by New York's exemplary electronic sonic explorer, Arp.
Originally formed when sisters MaryLynn and Gaile Gillaspie met Marquerite Juenemann in southern California in the late '70s, with the arrival of Todd Buffa the trio quickly expanded to a four-part harmony vocal group. Signed to Polydor, they rose to prominence over the ensuing decade with the release of three albums that gained them multiple Grammy nominations.
Taken from their 1985 album American Eyes, Storm is based on a Stanley Turrentine song of the same name, from his 1971 album Salt Song. With additional vocals written by MaryLynn, as with much of their music -underpinned as it is by an otherworldly exotica - the artisanal, crafted care of the instrumental and vocal arrangements, featuring lush, rich phrasing, is evident in their exquisite reading of the song.
When deciding how best of present the song it seemed right to ask a favourite of both labels. Having appeared on Emotional Response in 2017/18, Alexis Georgopoulos returned to his Arp project with last years' much-heralded Zebra album on Mexican Summer. Stripping out the vocals, the remaining instrumental is rearranged, rebuilt and then soaked in heavy tape echo. The result is a discerning dub to act as the perfect accompaniment.
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: Given a choice between raving or dying, almost all of us would grab a whistle, crack open a fresh pot of Vicks and head straight for the nearest warehouse. That's certainly the approach that would be taken by Rave or Die label boss Umwelt, whose releases continue to sound track messy nights out in fields and former factories the world over. His contribution to the label's tenth EP, "Requiem For A Haunted Warehouse", is fittingly titled: its spooky melody lines, unsettling low-end chords and bustling, house-tempo hardcore breakbeats could easily soundtrack an occult gathering of techno Ghostbusters. Fellow French producer I Hate Models takes a slightly different approach on the A-side, wrapping mutilated ice cream van chimes and intense acid lines around a thumping, kick-drum heavy rhythm track.
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: Following last summer's scorching anonymous first CV white label "War / Fan Dem Off", RDG's label returns with another mysterious never-to-be-repressed doublet. Fittingly cold and wintry for this time of year, both "Sly" and the much-coveted "Teardrop" are taken to glacial places. Deep, smoky, spacious and foggy, both cuts burn long smouldering fires both at home and in the dance. Grab them while they're ice cold.
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: 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: 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: 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: 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: Maya's "Lait De Coco", a deliciously glassy-eyed chunk of mid-'80s Gallic pop with a decidedly Balearic bent, has recently undergone something of a revival is serious selector circles. Since copies of original 1987 7" copies have been known to change hands for eye-watering sums online, Attic Salt Discs has done the decent thing and offered up this tasty 10" reissue. Particularly alluring is the flipside Dub, which in true '80s instrumental style flits between spine-tingling ambient passages, delay-laden vocal selections, twinkling piano motifs and an even more glassy-eyed take on the warm and loved-up backing track. That said, the sax-laden A-side vocal version, the epitome of soft-focus European synth-pop goodness from the period, is also superb.
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: 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: 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: 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.
Review: Tucked away in his Peak District hideaway, Jack Lever has been laying down sumptuous fusions of dusty ambience and lo-fi electronica for some time now. He first rose to prominence via a fine 12" on Apollo in 2013, before heading back to Derbyshire to self-release music from the archives on cassette and download. This return to wax is well worth a listen, if only for the drowsy, 6AM ambience of "Convair", which wraps shortwave radio crackle and yearning chord progressions around gentle acoustic guitars. "Torches" is a blissful and dusty outsider house shuffler, while lead cut "Roads" is a terrific, dancefloor-tempo trip-hop head-nodder rich in distorted guitars, cascading instrument solos and beefy dub disco bass.
When The Devil's Paid (Vanilla Dream DnB remix) (8:12)
Review: Here's a spot of unlikely cross-cultural collaboration, as Finnish jazz man Timo Lassy joins forces with veteran Brazilian soul man Ed Motta. The resultant cut, "When The Devil's Paid", is a summery and sun-kissed chunk of gentle samba-soul with Motta providing a typically breezy and emotion rich vocal. Lassy's old pal Jimi Tenor heads up the accompanying remix package, wrapping the original's snaking sax and heartfelt vocals over a hybrid electronic/acoustic groove. Elsewhere, Alex Trebo delivers a sensual nu-jazz rub and Vanilla Dream unfurls a pleasingly punchy and jazzy drum and bass interpretation. When the weather outside is grey and damp, stick this on and all will be well with the world.
Review: New label Tell Zero Records hits the ground running with a 10" ambient white label that really impresses. There is some lush, slow motion tribalism on the A side that dives deep into the exotic. On the flip, the second beatless journey features some sombre and evocative Olafur Arnalds style piano playing over some haunting field recordings assembled into a captivating collage.
Review: Minuendo calls upon Vincent Inc and Danijel Kevic to kick off their latest single, and they do so in fine style with the luxurious sweeping chords of "Space". Twinkling pianos, speech samples and a carefully measured set of deep house drums make this the consummate slice of pool-side dance music for those who can still find some sun at this time of year. Lola Allen steps up to the B side with something a little more sassy in the shape of "Afrofusion Jazz". As the title might suggest, there's a mixture of influences tumbling into this track, most notably with some wildly filtered jazz organ and funk licks stewing in the pot, and just when you think it's going to break it swerves off into submerged Moodymann territory. This is unpredictable house music at its finest.