Review: Holden's 2006 debut album was an astonishing one that gets a timely reissue on double crystal-clear splatter vinyl. A high watermark for proudly synthetic and computer made music, it was the bold arrival of an artist who endures as an innovator to this day. "The Idiots Are Winning" is a masterclass in unhinged grooves, glitchy electronic sounds and mutant sounds that set a new benchmark in experimental textures, sound design and dance floor clout. "Idiot" is the standout banger, "Lump" is more trippy and heat workout, and "10101" is the twitchy and mesmeric workout you cannot escape. Music as idiosyncratic as this doesn't come along too often, and even 13 years left it still sounds fresh.
Review: While he's continued to offer up occasional singles, Bonn-based producer Dominik Eulberg has not released an album for eight years. It's for this reason that "Mannigfaltig", the former Traum Schallplatten regular's new set, is big news. Interestingly, it's nowhere near as club-focused as you'd perhaps expect, with Eulberg combining his usual glitchy, tech-house influenced beats and sounds with a range of intricate electronic motifs, sumptuous melodies and atmospheric aural textures. There are one or two club cuts, of course, but majority of the tracks bob along at a more sedate pace, with Eulberg offering up cuts that draw influence from IDM and hazy electronica. As a result, it may well be his most coherent and "listenable" album to date.
Review: The second part of Omar S' You For Letting Me Be Myself album in vinyl form sees another 8 tracks across four sides of wax; aside from the '80s inflected sounds of the album's title track, the 303 workout of "Ready My Black Asz" finds itself with the dubbed out loops of "Messier Sixty Eight". As a bonus for those who already have the album, this part contains two vinyl exclusive tracks; the soothing deepness of "She's Sah Hero Nik" and the delayed organ weirdness of "Broken Bamalance Horn" - both more than worth the price of admission alone.
Review: Christopher Rau is a true stalwart of the German deep house scene, with releases on a who's who such as Smallville, Office, Mule Musiq and Die Orakel over the years. FME Hustle is the Hamburg native's new one, where he can count Berlin urban house heroes Money $ex to his list of credentials. Expect the same soulful and dusty deepness from the man, as he's been consistently pumping out for close to a decade from his new home in the capital. From the broken emotive groove of "Jetlag Alter", the neon-lit lo-fi hiss of "Uebelst Bekorbt House Mix" or the textured/dub-laden tech house of "Drama - Chamber" Rau further demonstrates exactly why he's still one of the most highly respected producers within the genre.
Review: After a two-year absence, Aline Brooklyn - New York's surprise home of Romanian style minimal techno adventures - has returned with a bang in 2019. They've launched the "Original Series", with March's debut release from Mihai Pol being followed by this eight-track album from Nico Laa and Juan Cristiani. The pair begins in confident mood via the melodious tech-house funk of "Drastic", before wrapping chiming lead lines and spacey electronics around a low-slung groove of "Mars". More warm, deep house style motifs can be heard on "Good Morning Brooklyn" and the bumpin' goodness of "New York", while "Loop People" is a hazy, minimalist jack-track. Elsewhere, "La Rose" is woozy, dreamy and quietly picturesque (despite locked-in tech-house beats) and "Senor Lopez" is snappy and funky in the best possible way.
Review: Parallel Dimensions was first released in 2000. Since then, this seminal LP has been reissued on numerous occasions, and it's easy to understand why. Much like the work of his Detroit compatriot, Moodymann, Parrish's early work helped to define the sound that we now refer to as 'Detroit house'. Through an intricate, soulful blend of the Motor City's infamous Motown funk sounds, Parallel Dimensions has been one of the albums to showcase a particular style of sampling, one which focusses on rhythmic concoctions and a palpable sense of the city's struggles. Don't get us wrong, this LP is very much playable on the dancefloor, but it can't possibly be reduced to being categorised as a 'dance' piece. Hip-hop, soul, funk and disco are important parts of the formula, and the house and techno nuances that do emanate from the tunes are strictly a filter for Parrish's more jazzy, musical tendencies. It's an album to get lost in, to enjoy in different scenarios, and one in which you'll find something new every time you approach it. Unmissable.
Review: Despite some FXHE releases containing playful artistic references to the films that undoubtedly referenced the titles, this Romancing The Stone double pack from Omar S is sadly lacking in any MS Paint renditions of the Michael Douglas and Kathleen Turner 90s vehicle of the same name. It does however contain four more fine examples of the fact no one does it quite like Omar S. Lead track "Leave" sets the tone, as ripples of percussion emerge from a pool of simmering sonic emotion and embarks on a masterclass in slow build dancefloor revelation at breakneck pace. "Romancing The Stone" pulls from the same palette of anthemic Omar S productions as "Here's Your Trance, Now Dance" and "Psychotic Photosynthesis" as a lead array of synths, keys and chords weave with supple grace over crunchy drums - watch out for the track finishing abruptly. On the second 12", "Frogs" dovetails from a simple disco guitar loop into fucked up abstract acid techno territory with little prior warning whilst "Surpass" finds AOS ending with some anthemic maximal piano house.
Review: The word 'legend' gets banded about rather a lot, but it is certainly applicable to West London scene stalwart Kaidi Tatham. Further confirmation of this elevated status can be found throughout "It's A World Before You", a staggeringly good album that marks the musician-producer's first solo set for some seven years. While rooted in the kind of warm, rich and life-affirming jazz-funk-fuelled broken beat workouts with which Tatham is most readily associated (and they're naturally superb), there's plenty of killer diversions dotted throughout. These include a couple of spacey, soul-flecked ambient rubs, a sublime collaboration with hip-hop/modern soul fusionists Children of Zeus, and a fine head-nodding hip-hop jam featuring rapper Uhmeer. In a word: essential.
Review: Having previously only appeared on WotNot Music in the past couple of years, K15 now slides over to Wild Oats to deliver a wholly appropriate slab of fluttering house romanticism rich in Detroit dreams and Chicago cheekiness, wherever the music might have been conceived. The cheekiness is no doubt most noticeable on "GWRH" with its homage to "Gypsy Woman", turning it into a fluttering Latino house jam, but before that comes the plush bump n rub of "The Story Of Her Life". "Insecurities" gets into a sexier kind of deep house funk, which "Gratitude" dutifully carries on until "Yellow" can round the record out with some largely beatless piano business.
Review: DJ, producer, multi-instrumentalist, singer... Kalabrese's talents know no bounds. Naturally his range is equally bountiful, but nothing in his past discography matches the colour, warmth and scope of this extensive second album. Ranging from the WhoMadeWho style lollops of the title track to the ghostly Blakey echoes of "Das Haus Am Fluss", the Zurich-based artist has polished his technique with finesse. With a delivery that's not far off a young Byrne, and an ability to conjure up some very interesting studio sounds (case in point: the fluctuating bass on "Makossa"), Kalabrese has hit a rich vein of form. Available as a special gatefold vinyl and CD package, this is a very wise investment opportunity.
Review: Having given keen listeners a healthy preview in his Fabric live mix last year, the artist formerly known as Stopmakingme delivers his full-length album for Erol Alkan's Phantasy Sound. It's a limber brew that channels a strong dose of analogue trickery through smart and snappy beat constructions, all bubbling, aquatic synths and troubled delays propelled by unfussy drum patterns so that the melodies can do the talking. Primarily this is a dancefloor album, moving from peppy breakbeat driven numbers to gently bumping house, but always the playful, ineffably warm synth work sets the tone, from "Naive Response"s robotic charm to "Drone Logic"s soaring grind. It's an album brimming in confidence and nailed with precision, and it's packed full of incredibly usable floor rockers to boot.
Review: Having spent the last seven years delivering impressive singles on a variety of labels - most notably Aus Music, Secretsundaze and Hype_Ltd - Ewan Smith has decided the time is right to unleash his debut album under the Youandewan alias. There Is No Right Time is a gently expansive affair, with the Scottish producer utilizing both electronic and acoustic instrumentation on tracks that perfectly showcase his diverse range of influences. Contrast, for example, the spacey jazz-house of "Be Good To Me, Poly", the dusty, pitched-down deep house warmth of "Time To Leave (Can't Mix)", and the sparkling, B12 style IDM/electro fusion of "Something Keeps Me Real Quiet"; all are immaculately produced and impressively melodious, but hugely different stylistically. He also joins forces with Huerta on album highlight "Left On Lucy", a glistening fusion of bubbly, synth-heavy deep house, Motor City futurism and sun-bright new age melodies.
Review: The masterful Sven Weisemann returns to the album format with Inner Motions, his second long player of a storied career as a producer of supple, genteel house music. It's released, naturally, on the Mojuba label whose sound has been defined by Weisemann and compatriot Nick Sole, and offers an extensive demonstration of the Berlin based producer's capacity to combine heart wrenching musicality with the crisp dynamism needed for club play. Arriving in some typically luxuriant packaging from Mojuba, Inner Motions is apparently "inspired by electronic music's classic and timeless albums of the early and mid 90s" and its 12 tracks form part of a greater whole. As intoxicating a listening experience it is, Weisemann has still ensured some of the music here can be equally powerful out of the collective context with "Rejection" and "Evolver" notable highlights.
Review: A cool piece of post-Apartheid South African pop history, and a major success for the blog-turned label Awesome Tapes From Africa. Originally re-discovered by the site in 2010, it's taken the label three years to track down Penny Penny - who is now a South African politician! Unashamed early 90s dance-informed pop music with a Shangaan twist, it's a fine balance of catchy chants, warm synth work and lush female harmonies. Completely of its time... But that's the idea. Stunning.
Review: Since the first pressing of Binh's Ship of Imagination double-pack sold out at the tail end of 2016, demand for the record has rocketed online. Happily, My Own Jupiter owners Edume and Nicolas Lutz has bowed to demand and quickly sorted out this re-press. It's a fine record, with the producer effortlessly blending elements of Detroit techno, electro and chunky deep house rhythms with the kind of spacey synthesizer sounds and razor-sharp TB-303 lines most commonly found in early '90s British "intelligent techno" records. In other words, it's sounds like the kind of set that could have been released around 1994 by one of the greats of our scene.
Review: Jan Jelinek has made many fine albums over the years, under both his given name and a handful of occasional aliases. One such pseudonym was Gramm, a handle he plucked out of thin air for the release of the now celebrated 1999 full-length "Personal Rock". Here that set is given a deserved 20th anniversary vinyl reissue, allowing a whole new generation to investigate the dusty nooks and crannies of one of the producer's most techno-centric releases. It is every bit as sample-heavy, glitchy and crackling as his other work, whereas other outings explored skewed hip-hop beats and downtempo grooves, "Personal Rock" was more informed by the steady pulse of dub techno, the deep space fluidity of ambient techno and the locked-in hypnotism of original era minimal techno. The results are out of this world.
Thank You/Dream State Of A Bellmaker/Big Sur (14:00)
Review: A mere four years after making his 12" debut on Fathers & Sons Productions, Samuel Andre Madsen delivers his debut album on Delaphine, the label he set up to release his music back in 2013. There's much to admire about Dream State of A Bellmaker, which attractively drifts between undulating ambient bliss, deep and melodious techno shufflers, evocative electronica, becalmed drone explorations, and atmospheric compositions that define easy categorization (see the electronic jazz/ambient/dream house fusion of "Better To Have Loved"). It's a hugely enjoyable and entertaining set, full of intricately programmed and life-affirming music.
Here Comes The Warrior (Super short Version) (15:00)
Discotico Sinetico (8:25)
Life Is Strange, Life Is Hard, Life Is Great (5:39)
Spacer Rainbow Woman (8:11)
Fears Come True (5:44)
A Numb Gas To The Future (6:53)
Pow Pow (6:39)
Discotico Estatico (8:14)
Dance Warrior Dance (10:37)
Here Comes The Worrior (Super short album version)
Life Is Strange, Life Is Hard, Life Is Great
Spacer Rainbow Woman
Fears Come True
A Numb Gas To The Future
Dance Warrior Dance
Review: Mexico's Rebolledo has played an important part in Comeme's development over the years, and his nutty strain of electronic dance music fit perfectly in line with the label's tone of voice. Never straight enough to be categorised as house but always too structured to be labelled simply as ambient, Rebolledo is one of the few artist's truly making 'outsider' music these days. This latest album, Mondo Alterado, is perfect for anyone wanting something deep and mystical but that still carries enough weight and shape to be played to other human beings. In fact, a big part of the tunes on this LP verge onto the 'dance' side of things, but the producer has a distinct knack for making that sound constantly surprising, a sort of perennial sonic morphing that steers clear of any concrete genres. TIP!
Review: Ninja Tune's relentless release schedule continues apace here with the much anticipated debut album from Romare. Under the name, London producer Archie Fairhurst first made waves with a couple of excellent 12" releases for the Black Acre label which revealed a quite distinct approach to production. Inspired by the collages of noted US artist Romare Bearden, Fairhurst's fascination with African-American culture is explored through his productions which deftly weaved in untold amounts of samples in an illuminating fashion. How Romare applies this approach to the album format is one of the most compelling thoughts you will have when listening to Projections. The resultant 11 tracks suggest Fairhurst has achieved it with aplomb.
Ich Schreib' Dir Ein Buch 2013 (feat Hildegard Knef)
Review: Though his career has taken many turns over the last decade, DJ Koze has remained that most illusive of creatures: a minimal-minded producer with an ear for a melody. This fourth full-length, packed to the rafters with big-name collaborations (Apparat, Caribou, Ada and Matthew Dear all feature), continues his move towards the home-listening sphere. So, while many of the heady rhythms and shuffling grooves hark back to his stripped-back past, Amygdala impresses with its woozy songs, genre-straddling fusions (see the modern soul meets deep house of "Homesick" or the steppy, tropical vibes of "Marilyn Whirlwind") and homely atmosphere.
Review: The grandly titled Sounds Of The Universe: Art + Sound 2012-15 sees the always excellent Soul Jazz compile together the series of limited 12" releases the label has issued over the past three years. The double CD release features both these cuts and a whole host of new productions from some like-minded artists, but this LP sampler houses just those previously released tracks. It's a great move by Soul Jazz too, given how rare the original 12"s were and any self-respecting fan of electronic music should check Art + Sound for the Kassem Mosse, Andres, Heatsick and Tenderlonious cuts in particular. Taking grip of the entire B-side, Mosse's heat treated track "Staat Aus Glas" is 13 minutes long but could easily go one for three times as long without losing any of its charm.
Original Nairobi Afro Band - "Soul Makossa (No 1)" (7") (4:20)
Sir Victor Uwaifo & His Melody Maestroes - "Jungle Beat (Mutaba)" (3:05)
Review: Jump 'N' Funk started life as a small event in New York, organized by Rich Medina in order to pay tribute to the genius of Fela Kuti. Since then, parties have been held across the world, with Medina and guests showcasing music by, or inspired by, the Nigerian Afrobeat legend. This debut Jump N Funk compilation follows a similar formula, delivering both purist Afrobeat cuts (see Fela's punchy "Stalemate", and "Na Oil" by son Seun and his band, Egypt 80), and tracks in other styles that draw heavily on the style. Highlights in the latter category include the hazy Afro hip-hop of Aquil, a tasty Afro-house dub of River Ocean's cover of Timmy Thomas' classic "Why Can't We Live Together", and the lazy, sun-kissed glory of Kutiman's "Bango Fields".
Lianne La Havas - "Lost & Found" (Matthew Herbert remix) (6:13)
Ada - "You & Me" (5:21)
Roman Flugel - "9 Years" (DJ Koze remix) (9:56)
Jackmate - "Pacemaker" (feat Nik Reiff) (7:57)
Axel Boman - "In the Dust of This Planet" (7:36)
Nasrawi - "Bump With You" (3:23)
Lawrence - "Glow" (6:25)
Stimming - "No. 17" (6:01)
Funkstorung - "I Does It" (feat Sensational) (3:07)
Josef - "I Wonder" (2:18)
Mount Kimbie - "Bells 5" (4:26)
Michel Cleis - "Un Prince" (4:47)
Die Vogel - "Everything" (feqa Sophia Kennedy) (4:16)
Isolee - "I Like It Here Can I Stay?" (6:05)
Jamie XX vs Kosi Kos - "Come We Go" (5:43)
Dntel - "Snowshoe" (3:36)
Acid Pauli - "Nana" (vinyl version) (10:07)
Gold Panda - "Black Voices" (5:18)
Roman Flugel - "9 Years" (4:23)
Review: The first compilation on Koze's Pampa label is a lovingly curated affair. It starts with the left field house of Herbert's take on Lianne La Havas and Ada's r&b-infused "You & Me", as well as DJ Koze's own hymnal take on Roman Flugel's "9 Years". Other Pampa regulars like Axel Boman are well represented and he provides the ultra-mellow "In The Dust of This Planet". Equally though, Koze also provides a platform for newcomers to the fold. There's the utterly bizarre, glitch-hop of Nasrawi and Funskstorung's contributions, and at the other end of the spectrum, wide-eyed deep house from Mount Kimbie and Jamie xx & Kosi Kos' pumping indie-dance "Come We Go".
Review: By the time he released debut album Bump Talkin' in 1995, Paul Johnson was already an established figure on the Chicago house scene. He'd already released all manner of bumpin', forthright fare on such legendary labels as Cajual, Dance Mania and Djax-Up Beats, leading UK label Peacefrog to offer him an album deal. While many of his early singles were undeniably slamming, Bump Talkin' was an altogether more musically rich affair, with Johnson offering up a selection of warm, rich, jazz-flecked deep house cuts that have stood the test of time superbly. This vinyl reissue - the first since the original album release - emphatically proves the timeless nature of the music. Relatively few copies are available so don't hang around if you want to snag one.
Review: It's the big, bad Joe Claussell, and the master reigns in the new year with this absolute stunner of an EP for the Sacred Rhythm label. This is Claussell at his most daring, however, and while you might be expecting some phat-ass house beats and groovy tribalism, the man goes far left of the field on here. The opening "Dungeon Maggots" is a translucent blend of crystal synths and subtle dub echoing, while "Matter Of Factness" injects a delicate house flow into the mix, propelled into motion by a dubby guitar riff. "Affect", "Nuances", and "Seciov" all act as beatless electronic tools, a trio of synth sways to add extra effect to your DJ mix. Yes, Joe!
My Body (Louie Vega remix/Synth Bass instrumental) (8:58)
My Body (Louie Vega radio version) (3:46)
Review: Luther Vandross originally wrote and recorded "My Body" in 1979, though his version was never released; instead, the song was re-recorded by Stephanie Mills and included on her 1983 album "Merciless". Here we finally get a chance to hear Luther belt it out himself, with Masters At Work man Louie Vega providing production and a dizzying number of remixes. There are two bumpin' and life-affirming "Soul House" mixes (the second replacing Vandross' lead vocal with some mazy Rhodes solos), a fluid and positive "Remix/Synth Bass Mix" that packs plenty of dancefloor energy, and warmer "EOL Mix" and "EOL Dub" versions that utilize a warm bass guitar part and some tasty chord progressions. Throw in a couple of edits and instrumentals and you have a suitably epic set of reworks.
Review: Manmade Science is producer Michel Baumann (aka Jackmate/SoulPhiction), engineer Nik Reiff and percussionist Benjamin Lieten (aka Phlegmatic). With the feeling of a raw live session, this masterpiece comes along in a variety between jazz and techno, soul and house. It also contains a live track from a Manmade Sciences Concert at the Jazz Open in Stuttgart. There are also collaborations with guest musicians like conductor, musical-director and multi-instrumentalist John Thrower playing the sax on the starter "Chicago Sidewalks" and the last song "Brown Sugar". There are some lovely vocals from Isaiah Femi Awonaike on "Turn down the Lights" and the garage feel comes with the stunning voice of Haldor Laegreid on "Just tell me when...". If you're looking for something with more flesh than just bones check this out!
Review: Riding high on the buzz he has generated in the last twelve months, Max Graef delivers this album to Tartelet as a man very much in demand. His style, fuelled on the foundations of sampling funk and soul to a brilliantly modern end, has more space to breathe on this LP, but still the fundamentals remain. "Itzehoe" struts on a lazy jazzed-out sizzle of drums and beautiful Rhodes notes while "Tamboule Fudgefunk" punches its way through woozy synth work and a righteous beat and "Drums Of Death" struts on a perfect disco groove replete with live instrumentation, but there's a wealth of other tempos and styles all shot through with the homespun jazz charm that Graef has made his own of late.
Review: Former Panorama Bar resident and local Berlin fixture Cassy Britton presents her first full length release since giving up her residency and leaving Europe's clubbing capital for the sunny shores of Los Angeles. The Donna LP features some dusty classic house sounds of the deeper spectrum, as heard previously on her eponymous imprint, Uzuri or Perlon sporadically over the last 10 years and her great vocals which veer from spoken word, haunting/monotone to high pitched diva moves are a constant throughout. Highlights for us were the uplifting deep disco of "All I Do", the soulful deep funk on her cover of Prince's "Strange Relationship" or the emotive yet tough techno of "Move".
Review: Innervisions bosses Frank Wiedemann and Kristian Beyer return as Ame, and present their first full length entitled Dream House - described as a home listening styled journey. The German duo spent three years working on the LP and it features collaborations with legends of German electronic music such as Roedelius and Gudrun Gut, as well as Bolivian singer David Lemaitre and Jens Kuross - who was a member of Wiedemann's other venture The Howling, with Ry Cuming. Highlights include their dramatic collaboration with Matthew Herbert "The Line", the upbeat disco number "Blind Eye" (featuring Planningtorock), the chill balearica of "Positivland" and the evocative/melodic dreamscape of "No War".
Ingrid Lukas - "We Are" (Manuel Tur remix 3) (6:47)
Rampa - "Necessity" (7:46)
Fred Und Luna - "Im Klanggarten" (Prins Thomas remix) (9:56)
Mosca - "In This Life Or The Next" (6:12)
Alex.Do - "Drenched" (7:35)
Eagles & Butterflies - "X" (7:19)
Davis - "Blind" (feat Cameo Culture) (5:53)
Denis Horvat - "Momak" (8:02)
Quarion - "Monolith" (6:24)
Dino Lenny - "A Certain Distance" (Dixon Retouch) (7:32)
Culoe De Song - "Judgement Day" (6:56)
Francesco Chiocci - "Nightmares" (7:30)
Review: Since launching back in 2007, Innervisions' Secret Weapons series has been consistently impressive. Its' various EPs and compilations feature tracks that have been doing the business in the sets of label chiefs Dixon and Ame, some of which have never previously been released. Part 8 is the most expansive volume yet, with 13 tracks stretched across four weighty slabs of wax. There's naturally plenty to enjoy, from the cinematic creepiness of Mosca's "In This Life or The Next", and the dreamy, slow-building wooziness of Prins Thomas' remix of Fred Und Luna's "Im Klanggarten", to the undulating, soul-flecked goodness of "Blind" by David, and the late night, broken techno brilliance of Culoe De Song's "Judgement Day".
Review: Max Graef, Glenn Astro and Delfonic's Money $ex Records has been providing consistenly high levels of FIRE ever since its inception back last year. The Berlin-based label is very much on course to become one of the new go-to labels for odd, rhythmic left field dance music, which is kind of the best way to describe the myriad of abstractions emanating from its catalogue on a monthly basis. IMYRMIND is back and this is his debut LP, stretching out further than ever before, and landing in some pretty dark corners in the process. Universum Luxus is a vast, diverse piece of work that manages to touch upon many different moods and styles, ranging from the utterly surreal to something altogether funky and jazzy. Think of it this way: if you're into boogie but need something a little bit more electronic, a touch more wayward, and considerably more screwed up then this is the gear for you. TIP!
As He Fell Through The Sunrise (feat Olivia Lincoln) (3:44)
Aurora (Siren Song Of A Counter Culture) (4:10)
Let Go (4:34)
Truffle Majic (3:32)
Rise & Funk (feat Olivia Lincoln) (6:51)
Lift Off (part 2) (7:12)
Comedown Cosmonaut (3:23)
Review: Theo Conrad (better known for his work under the Paxton Fettel alias) has long been one of Greta Cottage Workshop's most intriguing artists. His first full-length for the Devon imprint, Everything Stays The Same, inhibited similar territory to the classic deep house/downtempo/soul/jazz fusion of fellow West Country dwellers The Rurals. This follow-up is, if anything, even better. Described by the label as "instrumental contemporary jazz-funk", the album sees Conrad combining loose jazz breaks and jazzy synths with the kind of rich grooves, fireside textures and dreamy electronics more often found in vintage deep house productions. It's a formula that results in a string of brilliant tracks.
Review: It has been 16 years since Daze Maxim's last album, Same Place The Bot Got Smashed. Markus Manowki's new album is on his own Hello Repeat imprint that he runs with Jan Krueger. The title refers to meditative breathing exercises, something that he had begun at the same time as working on the LP. As you'd expect it is all fairly minimal, like most of his output since the label began. Starting out with the wacky ambience of "Diachronica" and the mellow piano led vibes of "Happy Collapse" it's soon business as usual like on the dubby deep house of "Melted Talk" or "On The Way Back", the druggy after-hours minimalism of "Darkness In Your Pocket" or "Shift Limbs" not to mention the several other interesting ambient and downbeat interludes throughout the album. All in all a strong effort.
Review: Having taken time out to deliver a range of home listening releases under the Road Hog alias, Galcher Lustwerk is back to doing what he does best: lo-fi deep house workouts with plenty of added fuzz. Dark Bliss is, of course, his debut album, and happily it's a rather strong collection of cuts that's arguably more aurally attractive than many of his releases. Highlights include the lo-fi Balearic deep house warmth of "What U Want Me To Do" (which, intriguingly, features his own Mr V style half-spoken, half-sung vocals), the chunky-but-dreamy dub house positivity of "Yeeno", the spacey synths and bustling drum machine beats of alien-sounding workout "Lithuanian Water" and the subtle ghetto-house and Seven Davis Jr influences of glassy-eyed peak-time treat "Red Rose".
Review: With a great emphasis placed on presentation and artistic statement, Swiss label Les Points has already established itself as a serious operator within the bustling minimal house and techno scene. This split release from Barbir and Nicola Kazmir is yet further proof of the ambitious intentions the label has in delivering the most creatively inspired music possible, and there is certainly plenty of music to get your teeth into here. There's twitchy house constructions aplenty to enjoy from both artists, as well as some intriguing remixes of STL loops at the end of each side in a nod to the inspirational power of the German producer, whose own leftfield leanings fit into the lineage of this release.
Review: One for the Sam Shepherd completists here; the 2015 debut Floating Points LP, Elaeina, now available in US import edition via David Byrne's Luaka Bop label. We've been waiting on this one since "J&W Beat" six years ago; there's something about Floating Points sound that instantly lends itself to full-length album immersion. It's clear he feels this way too; using the album to delve deeper into electronic deconstructions and delicate ensemble arrangements. At its most adventurous and contemporary classical "Argente" is up there with Frahm, at is dreamiest and jazz-influenced "For Marmish" is a deeply cosmic affair with disparate chords making more sense than they perhaps should. At its most traditional Floating Points we hit the finale "Perotation Six" where the brushed drums are buried under layers of sound and elements in a way that's not dissimilar to Radiohead. Well worth the wait.
Review: For a small label with minute sounds, An dromeda is a heavyweight when it comes to releasing the finest in experimental, sparse and dub-laden, extra-ordinary minimal techno. Vid inaugurated the label in 2012 and now provides the outlet with its first album via a triple 12". Should you find the early releases of Giegling appealing, its likely Vid's debut LP will be of interest too through its poppy beats, watery undertones, balanced percussion and dynamic piano manoeuvres. Productions plunge deep without the need of booming kick drums as demonstrated in "Pasul Unu", or the looped chords of "Tripusor", while rustic tribalisms form in "Landrum Bun". An intriguing album transforming how we perceive the micro-isms of danceable electronic music.
The Djoon Experience - "Old Landmark" (feat Kenny Bobien) (7:29)
2AM/FM - "Desolate Cities" (6:50)
Tom Of England - "Be Me" (4:23)
Invisible Conga People - "In A Hole" (6:22)
Christopher Deloach - "Snow" (feat Nick Hallstrom) (3:31)
Review: The outspoken pair that are Paul Nickerson and Francis Englehardt ran the Dope Jams record store out of Brooklyn until the pressures of rising gentrification in the area forced them to sadly close their doors in 2012. Featured on this compilation across three 12"s are exclusive tracks; reissued or previously unreleased. Highlights weren't limited to: Scottish tech house legend Funk D'Void: who delivers the hi-tech soul of "Thank You (Slowly)", Chicago hardware maverick Hieroglyphic Being on the relentless jack of "Kilometer Zero" and D'Marc Cantu and Tadd Mullinix aka 2AM/FM with the tunnelling acid techno of "Kilometer Zero". Comes with a 32-page booklet full of photos, staff profiles and various anecdotes from over the years.
Bobbi Purify Aka Shady P - "Making Me Better" (5:33)
Kraig 'love' Tertzag - "Roses" (4:39)
Kevin Teynolds - "Inward Breath" (5:05)
Mega Powers - "Breathless" (feat Daniel Monk & Kemeryn Ogden) (4:00)
Big Strick - "K Street Chronicles" (5:31)
Belmont Boys - "Ultramagnetic" (4:58)
Pablo R Ruiz - "H A" (5:45)
Lafleur - "Tibute To The Sun" (4:01)
Review: Magazine/label DEQ hit their 13th and 14th volumes and curate another exceptional V/A set to celebrate. Pure Detroit-related creativity, the EP runs the groove gamut right the way through from glacial pacers such as Big Strick's "K Street Chronicles" to deep smoky slo-mo soulful introspective house such as Mega Powers' "Breathless". Elsewhere we're dumbstruck by percussive wizardry on Lafleur's "Tribute To The Sun", taken down a metallic tunnel full of frogs by Belmont Boys' "Ultramagnetic" and given food for thought on Kraig Tertzag's off-kilter spoken word roller "Roses". Sublime as always from DEQ.
Review: Known most for his TC Studio work alongside Matei Tulbure, Traian Chereches has latterly taken to working in a solo capacity and demonstrated an equal degree of aplomb for unique rhythms and joyful sensations. Fans of the Romanian's work will delight in this double pack on his and Tulbure's prospering TC Studio label with the six tracks on Lobster Club really showing Chereches' full production range. Proceedings begin on an abstract note with "Wald 1975" memorable for some bold vocal sampling, though tracks such as the tumbling "A New Beat" and "Orchestra Rehearsal" will provide more than enough dancefloor satisfaction.
Losoul - "Love Supreme" (Its All In There mix) (9:57)
The Moul - "Love Supreme" (Drum mix) (4:40)
Metaboman - "Love Supreme" (Metabomix) (5:57)
Dave Aju - "Love Supreme" (A Dub Supreme mix) (8:10)
Ark Pit Spector - "Love Supreme" (A Rush Supreme) (6:14)
Ark - "Love Supreme" (Free mix) (7:06)
Review: Parisian oddball house legend Ark teams up again with fellow local and Prospector head honcho Pit Spector to inaugurate Ark Records. A longtime in the making no doubt but worth the wait. Love Supreme LP as the title suggests is a tribute to the legendary John Coltrane and the pair have drafted a who's who of deep house and minimal to lend some hands and ears. Highlights include The Mole's "Molemix"; a sublime serving on reductionist bounce, Frankfurt genius Lo Soul who is as brilliant as ever on the sublime and hypnotic "It's All In There Mix" and Ark himself with his "Free Mix" which is as dusted down and as funked up as we all like it!