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: 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: Italian artist Paul Santangelo has been having fun messing with the sometimes po-faced traditions of the house music scene through a raft of home made productions on SoundCloud, but now with his Venetian Causeway label he's able to prove the clout to be found in his music. On this 10" the arch title "Generic House Traxx" actually does a disservice to the quality of the music contained within - Santangelo does a fine job of whipping up monosynth bass and ethereal pads astride an uptempo beat that, while familiar, has an atmosphere with considerable depth to it. "Please Him" on the B side goes further out on a mellow electro tip, plaintive leads and aqueous chords flirting with 808-style beats.
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: 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: 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: 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: 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: Dropping a searing double pack of 10" badness ahead of the forthcoming Angels & Devils album, The Bug is back in business with some apocalyptic gutter bass of the highest order. "Freakshow" matches the leering delivery of Danny Brown with the sinister croon of King Midas Sound's Kiki Hitomi over a horn-laden trap swagger to devastating effect. "Louder" pits Flowdan in the depths of a nauseating half-step march, while "Dirty" takes the London MC into a barrage of equally nerve-jangling drum rattles and alarm-clanging stabs. Long-time Bug collaborator Daddy Freddy rolls up his sleeves for "Kill Them", anchoring the dread stomp with a fearsome growl as anthemic as it is nihilistic.
Review: Naturally, there's been plenty of hype surrounding this new Hyperdub 10", which features Burial indulging his often-discussed ambient influences. It's a typically creepy and ghostly affair, with the lack of beats - if not rhythmic elements - only serving to amplify the shadowy producer's impeccable sound design and brilliant use of manipulated field recordings. A-side "Subtemple" is particularly paranoid in tone, featuring as it does chilling melody loops, curious vocal samples, looped vinyl crackle and all manner of layered background noise. Flipside "Beachfires" is, if anything, even more dystopian, with Burial basing the action around the kind of pulsing chords that gust back and forth like an autumnal breeze.
Review: A special release from Minimal Wave here as the uber rare Irene & Mavis EP from UK synth poppers Blancmange is granted a reissue! Those with a pub quiz winning level of knowledge of UK synth pop will no doubt be familiar with the 80s hits of Blancmange duo Neil Arthur & Stephen Luscombe, yet this debut EP dating back to 1980 will still sound revelatory. The self released Irene & Mavis EP marked Arthur and Luscombe to be fully willing to experiment with DIY electronics, impressing Mute founder Daniel Miller sufficiently to proclaim them "maiden aunts of electronic music," and thus more than suited as a subject of focus from the Minimal Wave label. There are definite similarities between this nascent stage of Blancmange and the output of Cabaret Voltaire from the same era, particularly in the masked and disembodied nature of the vocals, whilst "Holiday Camp" and "Just Another Spectre" are wonderful examples of instrumental synth music. Despite originally being released in 7" format, the six newly remastered tracks are presented here in 10" format by Minimal Wave with the distinctive artwork retained!
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: 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.
Review: Launched over the summer, the Rasta Vibez label looks to bridge the gap between drum and bass and classic dub and reggae that has grown somewhat since the heyday of Jungle. If you were swayed by the distinct charms of the debut drop Jungle On Broadway, it's highly likely you will be compelled to check out this second 12". There's no complex science to either "Ice Cream Sound" or "World A Jungle Music" just a well executed take on a formula that has worked perfectly well many times over; delay and fx meet classic dub strains and jungle rhythms uptown
Review: Spanish sound sorcerer Santana steps over to Porn Wax for a highly limited marble vinyl 10". "Disco Panorama" stomps with a beautifully sedate groove as clouds of synths cast a subtle spell over the beats. "Magic Words", meanwhile, is a more stripped back affair where the emphasis is focused squarely on the big lolloping bassline and a series of emotional chords ebb and flow over the top. Genuinely stunning. And with a guarantee of no digital and no represses, this really can't be missed!
Review: The mythical Transdance from UK duo Night Moves is given a much needed official repress by Domestica Records and the Barcelona label have spared no expense. A limited pressing of 400 10"s come housed in hand screen printed sleeves accompanied by a leaflet with complete biography of the band. Despite the paucity of Night Moves discography, it's clear the duo of Michael Guihen and John Davis have had an everlasting effect on the canon of synth music with their much admired debut. Transdance was originally released as a limited 12" white label in 1981, finding favour on the dance floors of Europe and New York City yet never really gained the wider exposure it richly deserved. Original copies of the GC1 pressing of Transdance still command slightly ridiculous prices on Discogs so kudos to Domestica for this rather special presentation which features a previously unreleased demo cut "Life Up" on the flip.
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: 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.
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: Leipzig's finest M Ono and Luveless are back on Houston via Detroit's Kolour with volume three of their new limited 10" series. Starting out with the deeply uplifting soulfulness of "Never Gonna Leave You 2K16" they are then into "Losing Memory" on the flip which gets more reduced, dubby and emotive, giving a nod to the kind of loopy deepness as heard on labels like Office or Slices Of Life. There really is something in the water out in Leipzig at the moment, great stuff!