Review: Nite Fleit has had a barnstorming couple of years with drops on Planet Euphorique and Unknown To The Unknown, a team-up with Mall Grab on Looking For Trouble and now this rabid electro stormer on Helena Hauff's Return To Disorder label. Compared to some of the grungier, punk-inflected electro you'd expect to find on the label, this is bright, bold, big-room stuff with plenty of ravey motifs to move large masses of bodies. "Empty Nest Syndrome" is hyped up to 11 while "Naive" pivots around a hard as nails electro beat. Watch out for the mad arps on "Can't You See" and "Rebel Faction" too - they're gunning for your cerebellum and you should take heed.
Review: Matasuna's latest must-have release comes courtesy of Dubben, an artist whose tasty, dub-fired mid-2000s reworks of Afro-Cuban and Latin tracks remain some of G.A.M.M.'s most potent moments. This is the producer's first release of any sort for nearly five years and continues in a similar vein. Check first A-side "Jesus Boogie", a samba-soaked, dub-funk fuelled revision of what sounds like a mid-1970s Brazilian MPB workout. Sweatier flavours are provided on B-side cut "Cachaca", where he dubs out and tools up a punchy affair that boasts a killer horn part reminiscent of The Champs classic "Tequila".
Review: Long time disco diva Gwen McCrae is an eternally in demand artist whose music reconnects with each new generation. "All This Love That I'm Givin'" is one of her biggest hits and for good reason. Now it gets a special 7" release on stunning yellow vinyl. The soaring vocals do most of the work but the tentative stabs help bring the funk. It's a totally different vibe on the flip with "Maybe I'll Find Somebody New", a much slower and more sensuous tune with luxurious strings and wind instruments complimenting her smooth and seductive vocal work.
Review: **REPRESS** Another album from the amazing mind of Heinrich Mueller (aka Gerald Donald). Originally released on DJ Hell's Gigolo label and apparently only licensed after Gerald crashed Hell's BMW and had to come up with a means of paying him back. All the tracks first appeared on the very obscure Dataphysix imprint from Detroit, with some releases only reaching the 500 copy mark. Now brought back to life for 2007, "Gesamtkunstwerk" could be one of the best electro albums ever made. Yes that's right, I said it...the best ever! This is almost as important for the techno generation as Kraftwerk's "Computerworld" and "Autobahn" were for many in the 80s. The tracks are all pretty simple, made up of only two or three analogue instruments each, but they seem to hold these timeless melodies that you can never tire of. Other moments are eerie, menacing and downright strange, but still pure genius. You know how a lot of the time when you buy a new record it becomes your favourite for a while, and then it starts to lose a little life? (Of course it's still good, but just not as fresh as the first couple of weeks when you listened to it on repeat). Well guess what? That doesn't happen with this record. I must have listened to some of the tracks on here over a 1000 times and they still send shivers down my spine. It's one of those special albums that just don't seem to age.
Review: Fabrice Lig on DJ Bone's Subject Detroit label backed with killer remixes from Aaron Carl and DJ Bone! Allegedly stored in the Subject archives for some time, "Hmong Dignity" is finally unleashed and the original will be familiar to anyone that's witnessed a DJ Bone set in recent years. Eminently raw, but filled with melody thanks to those chords and restless riffs, "Hmong Dignity" is a fine example of how Detroit influenced European techno. A remix from the late, great Aaron Carl opens the B Side, lending the track a familiar dose of murkiness thanks to some stomach churning bass, whilst that instantly recognisable central melody is wisely retained. The accompanying remix from DJ Bone glides along on a tough techno meets electro vibe, superbly slicing up the melodic element to form an entirely different refrain.
Review: Given The Primitive Painter would go on to become Alter Ego it should come as no surprise to anyone that this self titled debut from 1994 still sounds incredibly polished, and manages to hit a multitude of electronic notes in one very impressive swoop - some melancholic, some otherworldly, others punchy and direct. Re-releases like this are enough to convince even the most cynical first-pressing militants of the value in re-releasing. Why shouldn't a new generation of heads be won over by the beautiful acid ravescape painted by 'A Pagan Place', the slamming toybox percussion of 'Click Song', the emotionally charged euphoric downtempo joy of appropriately-titled 'Hope' or the retro futurism of electro-stepper 'Levitation'? As essential today as it would have been 25 years ago.
Review: Brawther's Negentropy label has already carried gold star material from Ron Obvious and the man himself, and now it's the turn of debutant producer Zweizig to show off his wares. This assured 12" leads in with the ambient intro "Gewissen" before the crisp minimal funk of "Rhythm Tension" kicks in with its shimmering and shuddering sound design pinging around the dexterous beat. "Zephyr" is a smoky affair with a snappy broken beat and lots of subtle organic matter writhing in the middle distance. "Rehash Repeat" takes things deep and dubby to complete the set, all mellow hiccupping rhythm accents and hazy melodic phrases.
Review: Back in 1998 Groove Chronicles took on Myron's "We Can Get Down", delivering a hard-stepping breaks-y version which was dazzlingly fresh for the time, and still sounds effervescent now. DPR continue their incredible service to archival garage holy grails by digging this one out of the dust and offering up some newly aired versions to take you even deeper. This is the sweet and smoky side of the UKG scene, not least on the spacious and dubby "2step Re:re:refix" that kicks off the B-side. Mellow, moody and oh so smooth, but with bass pressure where it counts. Don't sleep on this one - it's guaranteed to fly out.
Review: From his appearances on Aesthetic Audio and Ornate through to his own Atmospheric Existence label, Miles Sagnia continues to be one of the best kept secrets of British deep techno, and that's no more apparent than on this stunning release for Common Dreams. There's a looped up insistence to "Heal", but it's offset by emotive movement in the synth lines and an overall spiritual quality that escapes much cyclical techno. "Plight" takes a slightly slower path, amping up the early UK electronica tones for an immersive experience shaped out by interlocking rhythms and snaking melodies. It's a truly classy statement that stays true to techno while saying something original.
Review: Back in 2010 composer and Latin jazz specialist Claudio Passavanti put together a scaled-down ensemble of Latin musicians and percussionists to record a salsa cover version of the Jackson Sisters disco classic "I Believe In Miracles". The seven-inch single was a riproaring success, with jazz and Afro-Latin DJs around the world turning it into a bona fide scene anthem. Happily, Passavanti has decided to reissue it on red vinyl to celebrate the track's tenth birthday. It's a superb cover all told and, somewhat surprisingly, "I Believe In Miracles" actually works really well as a Salsa record. Full of fiery horns, sing-along, Boogaloo style vocals and infectious percussion, we actually prefer it to the over-played Jackson Sisters take. Recommended!
Review: Here's something to set the pulse racing: a bumper collection of fresh remixes of tracks from Kraak & Smaak's superb 2019 album "Pleasure Centre". The Dutch combo's varied choice of remixers is notable, though it's the fact that they've all delivered the goods that makes the set so impressive. The plentiful highlights include Yuksek's driving, dub disco-inspired tweak of "Sweet Time", a deliciously dusty and drowsy downtempo soul revision of "Soul Liberator" by Karem Akdag, Atjazz's lusciously jazzy deep house version of "Say The Word", an acid-fired Turbitto re-wire of "Pleasure Centre" and a frankly superb boogie-house update of "24Hr Fling" by Mr Reliable himself, Opolopo.
Get Out Of My Way (Retro Roland Riso Eterno Regroove) (3:47)
Review: Earlier in the year, Matasuna Records reissued two rare and exceedingly hard to find tracks by Peruvian band Bossa 70. They'll soon be offering up more original cuts from the band's sought-after debut album, but before then they're treating us to two dancefloor-focused re-edits of Bossa 70 classics by American DJ/producer Retro Roland Riso. On the A-side he delivers a DJ-friendly "Perfecto Edit" of Think, a horn-heavy slab of Peruvian funk rich in rubbery beats and hazy bass. Just as cheery and life affirming is his interpretation of "Get Out Of My Way". This is an altogether heavier, faster and more stomping revision, though it's the vibrancy of the psychedelic era Latin funk backing track that really sets the pulse racing.
Review: According to the South American music specialists at Matasuna Records, Ralph Weeks' 1971 single "Let Me Do My Thing" - recorded alongside backing Los Dinamicos Exciters - is arguably the most sought-after Panamanian soul record around. As this reissue proves, Weeks' original version is rubbery, heavy and rousing, with the singer's rasping lead vocal soaring above a weighty backing track that sounds like a breezier take on the New York boogaloo sound. On the flip, Voodoocuts tools it up for modern dancefloors, underpinning his club-ready edit with punchy new drums that give the cut more of a breakbeat style swing.
Review: One of disco's biggest divas gets served up on a red hot platter here by Vinylators. "Extended Woman" is eight plus minutes of bubbling, piano laced and string happy disco with the iconic "I'm every woman" vocal taking centre stage over nice clipped drums. It's a tasteful edit that brings all the key parts to the fore. "Piano Woman" is more stripped back, with plenty of emphasis on some busy piano playing and the soaring original vocal left in place up top. "Dub Woman" is more paired back and built on the leggy drums, while plenty of golden strings add real colour.
Review: Last year Victor Ruiz hit the headlines by signing to Drumcode - ample reward for a producer who had spent almost a decade building up his reputation via releases on a string of credible underground imprints. The Brazilian's second EP for the Swedish picks up where its predecessor left off, with Ruiz offering up a string of wonderfully weighty, full-throttle techno stompers tailor made for massive rooms and gargantuan festival stages. Our picks of a strong bunch include the bold bass and razor-sharp riffs of opener "Freedom", the more melodic, warm and sunny loop techno roller "Senses", and the buzzing, constantly rising techno/trance fusion of glimmering closing cut "Existence". If you dig Drumcode's rigidly defined brand of big room techno, you need this in your bag.
Review: Tech-house is one of those genres that has been pulled in multiple different directions of late, with producers peppering typically glitchy, bass-heavy grooves with all manner of alien-sounding or pleasantly attractive musical elements. There's plenty of that kind of subtle eclecticism on Niko Maxen's latest EP, with the prolific producer bouncing between acid-fired tech-house funk (striking opener "Twist"), imaginative re-inventions of UK Bleep & Bass for the tech-house generation ("Bleep Test"), quirky, vocal-laden, Villalobos-influenced dancefloor eccentricity (the ace "Minimal Minds") and wonky, sample-heavy early morning jazziness (the hard to pigeonhole but undeniably impressive "Strung Out").
Review: Four Tet is back with a new album of shimmering wonderment on his own Text label. As ever, it's the way that Kieran Hebden tugs at the heart strings so artfully that makes him so well-loved, and he's not holding back one iota as "Sixteen Oceans" opens up with the ineffably pretty "School". There's some advanced garage ruminations on "Baby", classic ambience on "Harpsichord", and so the eclectic and extremely soul-cleansing vibes continue across three sides of wax. In addition to this wonderful new album, Hebden has also held back the fourth side for a bunch of locked grooves so satisfying you could get lost in them all day.
Dimensional Shift (feat Paris The Black Fu) (3:27)
Microwave Photon (3:31)
Closing The EPR Bridge (2:53)
Review: Solar One Music's cofounder Robert Witschakowski and Dopplereffek's Gerald Donald return with another sauced out electro offering that takes you to another dimension. Their trademark sounds jump out of the speakers across four glorious sides of vinyl. The slipper baselines, the sci-fi motifs, the feeling of high speed space travel all define these cuts as you guide n bumpy beats or get lost in glistening synths. The duo first worked together a number of year ago but are still finding fresh new forms that make them as essential as ever.
Peter Abdul & The Abeng Musical Box - "Inflation" (2:55)
Russ D In Front Room Studio - "Inflation" (Dubwise) (2:57)
Review: Italian label Dig This Way serves up a third sizzling offering, this time featuring Nigerian singer Peter Abdul. He does his heart aching work over a solid rhythm from Abeng's Musical Box and the results are steeped in romance and yearning. A flip side dub from Russ Disciple is also well worth checking for its smart effects and fathom deep bass. Abdul is a relative unknown but for his 1984 album Get Down With Me, which head in a more boogie and funk direction. Regardless, this is a tasty dub, make no mistake.
Blood Moon (Dawl & Sween Tone DropOut remix) (7:17)
Blood Moon (Violet remix) (5:56)
Review: Kim Ann Foxman takes a break from her own Self:Timer label to pop up on [Emotional] Especial. Her track "Blood Moon" hinges around rolling breaks and a globular monosynth bassline, but it's Foxman's vocals that give the track an electric, mystical energy that will cast a spell over the dance. Roza Terenzi takes the original and jacks it up, sharpening the focus of the rhythm section without losing the crunchy breaks. Dawl and Sween channel some bleeps n' breaks vibes of their own with a version that keeps things darkside and wiggy for the old-skool crew. Rounding things off, Violet's remix emphasises the acid as it plunges into the depths of the dungeon in a hooky, hard-edged style.
Franne Golde - "Here I Go Fallin' In Love Again" (3:30)
Martee Lebous - "For David" (4:07)
Lonette Mckee - "The Way I Want To Touch You" (3:11)
Kristle Murden - "I Can't Let Go" (3:48)
Janis Siegel - "Lovin' Eyes" (4:00)
Linda Tillery - "Womanly Way" (6:17)
Ullanda Mccullough - "I'll Just Die" (3:41)
Nicolette Larson - "Baby Don't You Do It" (3:35)
Valerie Carter - "The Story Of Love" (4:01)
Elkie Brooks - "The Rising Cost Of Love" (5:00)
Holly Near - "Back Off" (3:56)
Review: It would be fair to say that 2016's female-centred instalment of the "Too Slow To Disco" franchise was one of the series' strongest compilations to date, so this belated sequel is more than welcome. Naturally the mix of blue-eyed soul, yacht rock and AOR disco is attractive and on-point, with highlights including the Steely Dan-ish "Pretty Bird" by Terea, the string-laden disco swoon of Sheffield cabaret star Marti Caine's "Love The Way You Love", Franne Golde's country-twinged, early Dire Straits style "Here I Go Fallin' In Love Again", the super-smooth vibes of Janis Siegel's "Lovin' Eyes" and the low-slung, bluesy, country-fried AOR disco brilliance of Nicolette Larson's "Baby Don't You Do It".
Review: Cedesciu Wax is a vinyl only label, owned and curated by the Miami based DJ and producer Lulla, that is dedicated to showcasing underground minimal house music. For their fifth release, they are showcasing the Argentine Szyszko's debut vinyl release. Mesmerising and ethereal tech house is the order of the day here, with tracks like "Reloj" calling to mind the work of Sublee, Alci or Camelia, while the lean and subtle mood music of "Sei" definitely takes it cues from the Rominimal scene. Speaking of which, two champions of that sound get onboard for some remixes of the tracks; Nu Zau's moody rework is one of his best pieces of music we have heard in a while, while the ascendant Triptil ventures into arcane territory.
Review: In line with the timely reappraisal of all things R&S related, the resurgent Apollo have seen the opportunity to bring one of their most celebrated records back for another round. Aphex Twin's ambient recordings mature magnificently with age, sounding ever richer and more emotive as the rest of electronic music continues to play catch up all around. From the gentle breakbeats of "Xtal" to the aquatic techno lure of "Tha", the airy rave of "Pulsewidth" to the heartwrenching composition of "Ageispolis", every track is a perennial example of how far ambient techno could reach even back then. It's just that no-one quite had the arm-span of Richard D. James.
Review: Viktor Talking Machine are back on Monaberry, only this time their limber, discofied house music is getting the remix treatment from two choice operators. "Joko" is up first, getting a buoyant seeing-to by Andhim who injects the track with all kinds of nerve-jangling excitement. There are MIDI brass stabs, lush pads and a percussive workout to get people working the floor with all their might. "Line" gets a more tender touch from Till Von Sein, whose playful approach is imbued with sunshine and good vibes while sporting a little Balearic slouch in its easy tempo and airy atmosphere.
Review: At long last. While world events have left his last certy gold bangers like "Rikers", "Jungle Kitchen" and "Dyrge" seem like they're now from a whole other age, the enigmatic Commodo returns with more essential dark dreams. Each cut hits with that uneasy sense of mystique and soul; "Loan Shark" flings out strange but strong rays of light so it can skulk along in its own deep shadows, "Contraband" lures us deeper into the shadows with a fantastical narrative. Part Orient, part theatrical, there's a power in these unhurried, restrained hooks. Finally the heavier piece of the set; "Hot Pursuit". Much more brazen in its kicks and scattered industrial percussion shots, there's an off-grid funk rumbling away here and a western guitar twang strong enough to have you demanding duels with your nearest and dearest.
Review: As swathes of DJs and dancers get ever more into classic and niche electro from the 90s, Groovepressure has reformed to bring back some of its highly sought-after releases and keep the Discogs sharks at bay. With a fresh re-master and some new mixes to boot, the label makes a wise choice for its third reissue by picking up the record they first put out, Resonators' "Shuzzbuzz". The original mix and its B side "Booma" sound better than ever with a bit of modern spit 'n' polish, but then Robin Ball's electro and house versions of "Shuzzbuzz" push the classic into exciting new realms without losing that all-important old-skool flavour.
Review: After a blazing series of sounds across the likes of Idle Hands and his own co-run label Wisdom Teeth, London-based K Lone reveals even more of his musical depths with his debut album Cape Circa. Beautifully subdued, warm and hypnotic, K Lone carefully crafts a whole narrative using minimal instruments and textures throughout. Vibrating with a timeless style that nods to dub techno and the deeper side of Detroit, highlights include the sweet harmonics of tracks like "Honey" and "Cocoa" to the dreamy lullaby-like charm of cuts such as "Bluefin" and the delicate, trembling finale "Happened". A perfect, ultimately calming soundtrack to these strange, turbulent times.
Review: UK IDM stalwart Luke Vibert presents part two of a trilogy which sees him delve deep into his floppy disc collection for a glorious ride through familiar motifs. Much like its title would suggest. 'Modern Rave' is a mish-mash of early '90s dance music cliches, revisited and reinterpreted in delightfully infectious and entertaining fashion. He refernces classic Todd Terry style house, D-Mob and the glory days of early UK hardcore on tracks like "Beef" or "Feel One", while homages to Detroit and evident, particualry Underground Resistance who meets orbital under the M1 circa '92 on "Dream" while jungle meets ghettotech on the frantic "Ladies". Have fun guessing and joining the dots on this wonderful audio collage of electronic music's recent history by quite the historian.
Review: Having debuted on Altered Moods earlier this year as one of the contributing artists to the Rotate Freely vinyl dedication to Freerotation festival, Crawley-based Mick Welch is granted the full space of a 12" to show off his wares. And boy does it take it the chance. Octaves of Energy is a fine 3-track addition to the Altered Moods canon, demonstrating an innate understanding of what deep house truly stands for. "Conscious Fields" sets the tone, with wavering high hats and tambourines easing in and out of focus amidst rich pad work and a wistful vocal sample. Complementing this, the B-side houses two truly deep excursions with "Octave 50" particularly satisfying.
Review: The third missive from crate-digging reissue specialists Discs of Fun & Love offers up a new pressing of a suitably obscure and hard-to-find private-press gem, Maggie Epting's sole single as Mandisa, 1981's "Summer Love". The song itself is superb: a wonderfully breezy and sun-kissed slab of dewy-eyed soul that sees Epting deliver an emotive lead vocal over a jazz-funk influenced smooth soul groove and plenty of spacey, intergalactic synthesizer sounds. Over on the flip you'll find original B-side "Love's Dream", a quirky, sax-laden slab of electric jazz that features an even bolder and more ear-catching Epting vocal. It's very good, though the real killer resides on the A-side.
Review: It would be fair to say that the Egyptians are not one of the more celebrated soul acts from Cincinatti, Ohio. They released a smattering of seven-inch singles on tiny labels during the early-to-mid 1970s, none of which made much of an impact outside of their local scene. In recent years these 45s have become collector's items, with "Thanks To You" - a super-sweet soul slow-jam rich in harmonic group vocals and effortlessly fluid and jazzy guitar parts - being the most in demand of all. Here the record is finally reissued, with facsimile labels and the same track listing (vocal version on the A-side, instrumental take on the flip). If rare, life-affirming 1970s soul loveliness is your thing, it's well worth a listen.
Review: After making a splash with releases on Twig and Lumbago, Raphael Beneluz brings his classy machine music to Cartulis with the P 12". Things get off to a pumped-up start with the dynamic, detailed thrust of "Xzomet" before the night draws in around the tastefully creepy workout "Darkanethesie". "Hostile Planet" opens up the B-side with more eerie atmospheres and stout box jam beats, and then "System Down" completes the package with another thumping tapestry of nervy acid and old-skool jack. For all the familiar touches, this is music dripping with personality and attitude, bottom-heavy and sure to devastation in the dance, real or virtual.
Review: Yet more classy techno emanates from Paris' hotbed of talent as the mysterious Who decides to launch Get Your Copy Records after 15 years spent slaving away in the studio. Making a statement with his first release, the long serving background artist has chosen to dig out an archival track and drop it as a single-sided 12", the biggest compliment a track can surely receive. There's no doubt that "Make My Love" is worthy of such treatment, sporting a punchy set of techno rhythms that meet with sexy vocal licks and a deadly lead synth that truly marks the track out a crowd pleaser.
Love Is Enough (Jamie Paton Cloudy dub-out) (7:41)
Love Is Enough (Luke Solomon dub) (7:03)
Love Is Enough (Khidja dubstrumental) (6:27)
Love Is Enough (Alphonse dub) (5:57)
Review: Previously spotted on Emotional [Especial] with the fantastic Love Is Enough 12", Plus Instruments get the remix treatment in a classic '80s style with the Dub Is Enough single. The producers tasked with delivering versions vary wildly, but they make for a strong combination. Jamie Paton's "Cloudy Dub-Out" is masterful, simmering the elements down to a sensual bassline and delicate ripples on top, while Luke Solomon brings his bumpy, off-kilter house style to the table. Khidja has a more dramatic, synth laden approach and Alphonse creates a dusty, funky roller out of that killer bassline groove.
Review: If heavy and fuzzy funk is your bag, we'd heartily recommend checking out this straight-to-tape live session from Bjorn Wagner's long-serving Mighty Mocambos outfit. It was recorded at an in-store live performance at German store Groove City live December and comes complete with atmospheric crowd noise and a raw, heavyweight sound that only enhances the band's live credentials. Vocalist Nicola Richards makes her soulful presence felt on loose-limbed, breakbeat-driven deep funk opener "Something's Missing", before returning to lead the party on the wonderfully fiery and funky flipside "Keep It Movin". Sandwiched in between you'll find the slower, crunchier and more bass-heavy instrumental jam "St Pauli Second Line".
Review: Nina Walsh was Andrew Weatherall's long time studio partner. Together they worked as the Woodleigh Research Facility and one of their last projects was the tracks that make up the first release on this new label by Moton Records Inc's Dave Jarvis and Darren House. Weatherall wrote the four tacks with assistance from Walsh and of course they are chugging, sparkling, dark disco groovers for the slow motion lovers and astral dreamers out there. "The Moton 5" sets a darkened mood while "Slap & Slide" is all about the trippy lead riff and cosmic synth sounds, "March Violets" is then riddled with twitches, flashes and speaks of brightness before "The Moton 5.2" sinks into a shuffling dub disco swagger.
Review: After spending so much of their career to date releasing on Jazzman, it's interesting to see The Greg Foat Group make their way over to Athens Of The North for this cool and deadly new record. "The Dreaming Jewels" keeps the grooves simmering low down - all the sweeter to sink into. Just lock in on "Eric's Breakdown" and ask yourself if the track needs any more than that sweet conga flex. "The Door Into Summer" is a beautifully mellow jam too, all sultry Rhodes and sax to signal the start of lazy days. There are more tender moments and some breezier affairs, but the vibe remains chilled throughout this wonderful set from an accomplished band.
Review: Three years in, Blackhall & Bookless' Jaunt label is becoming a serious force for forward thinking, fractured techno exploration. On this split EP with Chad, the duo take the A-side and present two different versions of "Links". The "Battle rework" is a tense and dramatic tumble through dub techno soundscapes, while the "Bleak remix" pares the elements down to a more focused, minimalist thrum. Chad presents a wholly different vibe on the flip, using rich, warm synthesiser tones to draw you in to "Afters", and then Scenery regular ASOK takes up remix duties on the track with an immersive version that borders on breakbeat.
Review: In the 11 years that have passed since they made their debut on SK Supreme Records, NTFO have become one of the most consistent tech-house duos around, with a trademark sound that couples typically tactile, smooth grooves with the kind of dreamy and melodic elements more often found in European deep house. This trademark sound comes to the fore on this EP, most notably on superb opener "Overdose" - check the headline-grabbing bassline, bittersweet chords and bubbly lead lines - and the more hypnotic, bass-heavy flex of late night/early morning workout "Aculeus". That track is also given a more robust makeover by Barut, who cloaks a bouncy tech-house group in mildly foreboding chords, angular riffs and trance-inducing sounds.
Review: Braiden's material has been slow to come out since he first landed with a bang on Doldrums back in 2010. A turn on Rush Hour confirmed his status as a producer in command of the chops necessary to get a dancefloor shaking, but this year's X Years In London OST cassette was a chance for him to expand into more experimental pastures. Not so on this new 12" for his Off Out label, which finds Braiden turning up the heat with some fiercely modern tech house workouts. "V.O.L.A.T" has the same kind of dangerous earworm armour that made Paul Woolford's "Erotic Discourse" so potent all those years ago. "Hydroplane" meanwhile takes some of the crisp but playful tropes of Pearson Sound et al and straps them to a thrumming motorik beat.
Review: Fresh off introducing the Bulb project from William Burnett and Crimes Of The Future bosses Tim Fairplay and Scott Fraser, the label adds to its growing roster of artists with the introduction of Tapan. Steeped in Belgrade's club scene as residents at Disco Not Disco, Tapan are evidently well equipped to the Crimes cause on the basis of the two productions presented here; both "Volumes" and "Who's There?" are creeping, slow techno numbers rich with psychedelic qualities with the latter featuring some fine guitar work from Vladimir Djordjevic. Willie Burns and Drvg Cvltvre have been collared to remix the title track and both opt to up the tempo whilst taking "Volumes" in distinctly different directions. The former reimagines the track as heavily processed shoegaze techno that could feasibly have surfaced during the Hacienda's pomp, whilst the latter mutates "Volumes" into an exercise in dank acid.
Review: Attention all DJs seeking that crowd-rocking curveball to get the people freaking out. This cheeky one-sided 12" from Digwah is guaranteed to fly out thanks to its canny sampling of Destiny's Child's "Jumpin' Jumpin'". These iconic hooks are strapped to a rolling minimal tech groove with pattering machine drum beats and a mean bass synth that gets right under your skin. Fun on top, serious underneath, this is one of those unmissable club 12"s that will always do the damage when you want to liven up the party.
Review: Destination 78/79: Expansion take us deep into the illustrious back cat of revered boogaloo fusionist Willie Bobo for two of his many fiery delights. Side A is his feel-heavy cult instrumental take on Ronnie Laws' disco classic "Always There" while Side B throws us into the heart of his 1979 album Bobo with gutsy raw soul power (and just a few cheeky funk slap bass twangs for good measure) Two stone cold classics together for the first time on 45.
Review: When rapper and multi-instrumentalist Mac Miller died of an accidental overdose in 2018, he left behind an unfinished two-part album project: "Swimming" (released last year) and "Circles", which has now landed on wax after getting a digital release earlier in 2020. It's a musically diverse and mostly introspective affair, with Miller shuffling between styles wearily and switching roles (singer-songwriter, rapper, multi-instrumentalist, beat-maker) seemingly at will. While such role hopping could have resulted in a sonic mess, the set sounds surprisingly coherent, not least because the thread running through it all is Miller's painful soul searching and well documented mental health issues. As a posthumous full stop to a life ended all too soon, "Circles" certainly hits home hard.
Review: Rejoice all serious disco edits heads, we have another batch of highly sought after treatments from the mighty Danny Krivit available here for your delectation. First up is "One Step Back, Two Steps Front", a powerful '80s jam that splits the difference between prime-time soft rock, disco and soul - the power lies in the stirring impact of the vocals to create a truly spellbinding dancefloor moment (as soon as you have the chance to experience one). "Funk It" is a more classically funky work out with a smattering of Hi NRG histrionics to match the heavy boogie of the rhythm section.
Review: Mannheim's Sukhumvit returns after a little time out to focus on brother imprints such as NCSS and Yaji Project, with a release by Mancunian Josh Baker who's on duty for this orange beauty, delivering four fresh cuts for the dancefloor - no remix needed! Four strong cuts on "EP Y": from the ethereal hypnotism of A side cut "In Two Minds" followed by the tough rolling funk attack of "Barge Deluxe" and its subtle French touch (think Djebali!). On the flip, standout track "Laid Back Trax" with it bumpy and swing-fuelled groove hammers the message home in style. Tip!