emergent russian producer legit trip is the next up on jack s house, serving up four slices of sleek, crisply produced tech house to work across a variety of scenarios. -answer- keeps things simple and effective, letting the bassline take the weight of the track and keeping the beat locked on course for maximum dancefloor efficiency. -organic- has a lighter, more rolling feel to it that nods to the outdoor, day time terrace crew, while -what- has a deeper bump that yearns for dimly lit basement vibes. -you got me- has an easy going house flavour to it that should slot nicely into the warm-up, but don t be fooled - there s plenty of weight in that low end to do the damage at any time of night.

opening track in the b kicks off proceedings in no uncertain fashion. it s 100% wall shaker material, the type of techno music best paired with strobe lights and towering speaker stacks. it mesmerises with its low-slung undulating bassline and detroit rhythms before giving way to some riotous old school essex stabs and sharp claps. no messing, this is a certified 3 am red light burner! track 2 chocolate biscuit accelerates proceedings! beginning with unfussy drums and a robotic, bleep-heavy melody driving it off into a wonderfully off-kilter direction. its arpreggio d rhythms may be brutish and wrestle a growling sense of menace out of the track, but the overall feel, however, suggests considerable care and attention has been paid to make it sound this way. there s clearly an uncommon musicality at play here to make something this complex feel so simple. the bpm drops next on jenny s hall but from the offset, there s enough funk and thrust in the motorised synth line to get bodies gently grooving without the beauty getting lost in the slower loop. this is blissed out, psychotropic techno - the kind of track where it feels like you re floating and falling at the same time, but all the while making sure you still remain fit for purpose on the dancefloor. ian blevins takes on remix duties this time and the berlin-based dj/producer offers up a sleek peak-time banger that fizzes, bubbles and percolates. he gives the rhythm on jenny s hall less space to swing and ties it to a tight motorik beat turning it into a slice of shiny, modern techno but with extra shoulder-checking force. its vibe drawing from a sense of outsider-party fun with a wry smile, and a knowing wink running throughout before bringing the package to a suitably left of field crescendo.

back to some old school classic summer vibes with japanese yusuke yamamoto.

seth troxler continues to showcase the work of chicago great k’alexi shelby: after an ep on his other label tuskegee music and a remix for sean miller on this imprint, shelby now steps up to play it say it with a trio of excellent club cuts. k’alexi shelby is one of the windy city’s most venerated heroes. he’s put out six albums and almost 60 eps since the late eighties, all of which have helped evolve and establish the chicago house sound around the world. next to remixing acts like the pet shop boys and derrick may, he runs his own k klassik and 321 labels and remains as vital as ever. the perfectly titled ‘groove with us’ opens up with a cut and paste style, funky disco loops and plenty of filters all bringing the loose house funk. it’s a playful and timeless tune that is designed to blow up the ‘floor and most certainly will thanks to its unbridled energy. the dynamic and driving ‘so chicago’ then slips into a slick house groove, with great percussion, more big string samples lighting up the track and a knotted bassline that keeps you on your toes. suspenseful and explosive, it’s filled with authentic party vibes and a real sense of fun that will ignite any set. last but not least is the excellent ‘black sunday’, which takes uplifting preacher vocals from a church sermon and backs it with gospel singing, an old school baseline and raw energy that will get hands in the air. it’s a definitive piece of authentic house music with real heart and soul. this is an expressive ep of house tracks that embody the instinctive and emotive spirit of the genre to perfection.

support from dj s – hype, goldie, randall, calyx & teebee, marky and many others. *** symmetry is excited to present the first debut e.p. from vocalist and producer kyo. writing and creating the songs in her studio, kyo then developed the ideas of the e.p. further by teaming up with some of her favourite producers, break, total science, mikal and onemind. “who decides” is reminiscent of past break and kyo colab s such as “gave too much”, a soulful, punchy, uplifting and techy roller, weaved around a backdrop of floaty vocals and elevating pads. “murder tonight” with it s jungle backbone was the perfect choice for collaboration with total science. rare groove flavours and weighty bass, melded with cutting vocals and steppy old skool breaks, murder tonight has all the elements of a modern day jungle classic. “where i stand” brings jazzy liquid vibes to the e.p. leading mikal down a recently untrodden path of musical dnb was a fruitful excursion. this journey into a bittersweet and rhythmic production has created a deep and brooding song. “play to lose” is one for the headzy listener, with it s long atmospheric intro, abruptly cutting into a heavy and deep groove. morphed and echoed vocals combined with unsettling stabs, cinematic effects and trademark onemind engineering techniques, takes you on a voyage from beginning to end. released on a full artwork 12” vinyl.

the patchouli brothers strike back with a second edition of their edits for basic fingers. on the a-side we get a big dancefloor bullet with piano luxury, euphoric vocals and 110% party vibes. on the flip there s more of that uptempo feel-good business, just take your pick.

international deejay gigolo records are releasing a remix compilation of dj hell produced experimental track wir reiten durch die nacht, taken from his 5th studio album zukunftsmusik. this release features remixes of internationally renowned artists adriatique and coyu. first up is adriatiques remix, a reflection of their own interpretation of electronic music with a strong and playful vibe. coyus remix is a dancefloor ready interpretation of the original cut, with a decidedly more pumped up and dark atmosphere.

the „here & now ep” is the second instalment of a three-ep-series coming up in 2018. christophe salin is taking us on his musical journey and paves the way for cooperation with future artists on his very own imprint „salin records” that he runs with his wife daria salin as a platform for electronic music and art.

no intro needed as „dreams sometimes come true” instantly takes us on the groove line. „astra perle” keeps the groove alive with some heavy jazz samples. you maybe remember sitting in your first car (christophe’s first car was named „purple pearl” and was an „opel astra “) and just cruising thru the city. imagine to be suddenly overwhelmed by a creative hole, „ohh no, not you “… turn over to „can you pay my bills” the journey continues with more jazzy vibes to end up with a downtempo lounge-dub-work which is indeed „different but sweet“.

spoon’s first minimal aesthetic two tracker with different moods. only vinyl.
“kindness” (a-side) takes you directly to an afrobeat-trip of 9 minutes driven by some interesting drums, definitely a peak time track that will deliver the afro-american vibe into the crowd. “looo” (b-side) is the early morning tune / stripped-back track with a pitched voice and rising production.

nice price deal !!! nofitstate is the new label project from simon baker and geddes. having been a hugely successful london based party over the past few years the duo have now branched out to present their take on contemporary house music. the inaugural release kicks off with mr baker in solo mode with the arpy ep, a highly energetic affair with simons sharp production nous in fully effect, arpy 1 features a killer synth lead whilst arpy 2 keeps the vibe deeper, negating the synth in favour of an emphasis on groove. skudge provide the remix on the flip, intertwining elements of the original mixes in their now signature sound.

fina records welcome jad & the for a new ep that shows off the australian-born, berlin-based producer’s majestically melodic house sound. a special dub from 6th borough project makes this another essential release. before now jad & the has served up tracks of the year (‘strings that never win’ - mixmag 2017), fronted four piece live act mitzi—who played alongside the likes of nile rodgers—and also produced as jad & the ladyboy, all the while picking up fans like moxie and bradley zero. sonar kollektiv and toy tonics have put out his charming sounds before and this new one is another joyous offering. the feel good ‘2 getha (4 eva mix)’ kicks things of with old school drum breaks and loved-up vocals. big smeared pads, a new age melody and classic bassline line finish it off and carry you away to summery house heaven. ‘twist club’ then drops into lush deep house with a long legged bassline tumbling beneath organic drums. it’s a dreamy and romantic cut before ‘disco hold down’ has live sounding jazz drums, choppy vocals and rough edges that take you to the heart of a vibe-fulled basement party. delusions of grandeur’s 6th borough project serve up a dub that’s more stripped back and built on a big rubber bassline. jacking drums and a more rapturous vocal make it a truly steamy jam.

alek lees second 12inch on antinote starts with an uptempo opening to a rather downtempo record. playing with some of the genre (namely, deep house) codes like the use of a politically-aware speech or vibes, alek lee cant resist to give time his special treatment nonetheless: using some of his dubby tools and bringing in a warm trumpet he takes the song onto a rather windy road. dont fall for it though: time is a red herring

after the first two 12inches from label founder deep88 himself, ascii records turns to a whole host of different characters to remix those tracks with some stunning and varied results. luis cl is up first, taking a decidedly mellow approach to harmony that tips into a heavy lidded early 90s deep house mood perfectly, while rnr take the robert owens-featuring believe in you and make it into a stirring, tense but ultimately emotional acid-laced floor track. rhythm 2 soul do a gentle job on la beija, mhcrew take a larry heard-esque approach on rotation and jimini lets the space in the mix tell its own story.

after launching last year with who, get your copy returns to the fray with a little help from italian powerhouse steve murphy. the producer gets plenty of action on labels like hot haus, chiwax, lobster theremin and more besides, so you know you re going to get a solid dose of tuff house business delivered with that gutsy roman attitude. -everything u know- channels an abundance of 90s vibes, from the nagging chord stab to the understated speech sample, while -infiltrator- takes a tribal direction without losing the old-skool flavour. both cuts are perfectly shaped for the dance, whether you want to hit a peak time note or take the crowd deep into the groove

digital releases his second lp within 2 years called -total control-. &#8232,,,,its not a massive collab fest like his 2016 lp ‘synthesis’ although, there’s a few on there with artists nomine, john b, villem and digital’s phantom audio partner, spirit. a strong jungle vibe runs right through this lp. the opening track, ‘motherland’ has crisp breaks, a bassline to die for and a haunting unforgettable vocal. other highlights are seba’s lush remix of digital & response’s, ‘silver lining’. ‘on the rockz’ sounds like a solid piece of 1998 drum and bass, ‘total control’ is superb and certainly one for the hardcore ravers, ‘dreamer’ takes you on a journey you’ve never been before. this is the first of 4 records, pressed on red vinyl.

digital releases his second lp within 2 years called -total control-. &#8232,,,its not a massive collab fest like his 2016 lp ‘synthesis’ although, there’s a few on there with artists nomine, john b, villem and digital’s phantom audio partner, spirit. a strong jungle vibe runs right through this lp. the opening track, ‘motherland’ has crisp breaks, a bassline to die for and a haunting unforgettable vocal. other highlights are seba’s lush remix of digital & response’s, ‘silver lining’. ‘on the rockz’ sounds like a solid piece of 1998 drum and bass, ‘total control’ is superb and certainly one for the hardcore ravers, ‘dreamer’ takes you on a journey you’ve never been before. this is the second of 4 records, pressed on yellow vinyl.

get in the car, we re goin to the cirque du freque, starring normal ones, deepchord, and lost lake. a journey from the murky depths to the boogie caves, from your pals at make mistakes. on the a side, deepchord crafts a driving, shifting, wall of noise. melodic stabs and resonant fuzz coat a pulsing beat and bass. hypnotic and divine, deepchord s take on the original is a potent, psychedelic tool for the late night warehouse dance floor. the original shines bright, a playful groove with an undercurrent of menace. with that sweet, sweet growling bass, and tip-a-tap percs, skittering all about, cirque du freque brings the dirty heat. cirque du freque carries an old school vibe, with modern sensibilities, a memorable jam for sweaty frantic, nights. every time the label features lost lake, he delivers an original, compelling dance floor jam, while retaining a warm, familial vibe. you ll know it when you hear it, as lost lake s pure electro funk works its way through your soul. one of those tracks you drop down into to relieve some pressure in the room, a deep sigh of release in preparation for the next round. as always, make mistakes brings high quality and varied content to the table. cirque du freque is another versatile, high quality record, that any dj can stick in their crate knowing it ll find a way to fill a special moment in any nigh

local talk are honoured to welcome trevor lawrence jr. with a cv that reads the who s who in the music scene today, lawrence s performance and recording credits include herbie hancock, stevie wonder and quincy jones to name a few. tiptoe is taken from trevor s debut solo record, relationships , released in 2017. on this 7- - the very first on local talk - we re re-releasing the original together with a remix by dj spinna. on the a side the brooklyn legend applies his magic touch to tiptoe , combining warm and soulful vibes with a house touch. a must-have for not only for the soulful house heads but also anyone that loves quality in music.

label news from our label. a bit of perspective: this is fun, sincere, serious, unambiguous and friendly - unlike politics today. a bit of press-pective: central wants these black and white records with club music on ’em, so we do another one. this one homes 4 takes on vibes for the floor. how do we keep bs at bay?

around 6 months after the success of the first lateral fragments vinyl, pjotr g & dubiosity return for part two. they continue where they left off, serving some deep, melodic vibes on tabula rasa and outage. with turmoil, the duo takes a bit of a different approach. the warm synths make way for some more hypnotic, raw vibes. petter b delivers a truly grand remix for turmoil, which is as fitting to lateral fragments as it is to your sets.

since his appearance on soccer96s jupiter masterdrive edits ep (alongside danny krivit and glenn astro flips, also on wotnot ) in 2015, and subsequent eps on wotnot, monologues and sgol, danvers has swiftly become a name to pay attention to. as a regular appearance on co-ops selectors assemble, both live and on their recent comp vol. 2, he s established himself as a new and original voice on the broken beat scene. his recent the future is broken mix series highlights his ear for unconventional dance music, something that makes him extremely at home on the wildly creative wotnot (thanks dj mag). the opening two tracks are strongly in the broken beat vein. mason opens with dreamy, rhodes jazz over a bruk beat with rolling snare fills, lulling us into a false sense of security before switching to an offbeat but irresistible squelchy synth groove. similarly, in aye ata the pulsing chord that slowly grows out of the beat suddenly turns the track around with a rhythmic twist, showing the playful broken beat in a whole new light. there s a house touch throughout the ep, none more so than in 1997, where a bouncing kick, soulful claps and a booming sub provide a steadier basis for laid back rhodes chords and dreamy spoken word samples. as a big influence on danvers music, frits wentink is welcomed onto remix duty with open arms. the wolf music regular brings an otherworldly vibe to his take on 1997 , with enchanting but almost disorienting chord swells and spiralling vocal fx punctuated with crisp snare rolls. the ever-busy danvers recently launched 38 east , a studio space and music community, with warren xlnce . warren s remix of 1997 was a surprise gift to his business partner and collaborator, and is a deeper house cut, joe armon jones (brownswood) rhodes jam over the track bringing a distinct peckham flavour. dj support from ig culture, andwot (touching bass), neue grafik & evm128 (co-op) t williams

its taken almost 3 years to get the man like medlar back on delusions following his 2015 release with dan shake but finally its come together. that release, along with his regular output for wolf, riverette and for discos only has helped cement medlars reputation as one of the leading uk underground house producers and led to official remixes and approved edits for legendary labels tk disco and west end no less! the medlar seal of quality has led to support from such influential heavyweight selectors as dj harvey, gilles peterson and dj koze. kicking things off we see medlar in straight up dance floor mode on title track nrg, coming through with a drum-heavy workout that utilises a gnarly bassline, echoing synth stabs and rasping hats to excellent effect. flip over for his own dub version which strips things back further placing all the emphasis on the bassline and going heavy on the space echo for a tripped out, dubby warehouse vibe tailor made for the freaky hours. closing the ep we have the aptly named tripped which drops the bpm’s for a low-slung mood-setter to warm up the floors with. a simple groove lays the foundation for a rolling bassline while chiming synths weave in and out of the spacious mix.

acid pauli and nico stojans ouïe label acts as home for left-of-centre music from disparate sources - somehow connected by a thread of hedonism with a melancholic edge. welcoming kerela dust to the imprint, this four tracker showcases the different dance floor shades the label always reaches. kerala dust are a london based trio that owe as much to tom waits as they do to four tet or dj koze, but somehow tread a fascinating line between genres and moods. mixing jazz, indie and the sharper end of the club sound, francescas frames is the perfect introduction to their vibe. ‘maria is augmented with a thick, mid tempo kick and sparse, effective percussion. the clever vocals provide the topping - showcasing the bands pop writing prowess. the track will appear as a single release on 6th aprila accompanied by a music video. acid pauli and nico stojans remix picks up the pace a little, while dubbing out the elements into deep, late night dance exploration. ‘nyla brings a new vibe, deep, pulsing synths and a bubbling baseline accompany the crisp, compressed rhythm track before eds iconic croon arrives to take the track to a new level.

bridging instrumental tact with melodic mysticism, live act and dj duo hidden empire present their debut album mind palace, the fruit of their labour of one whirlwind year. on stil vor talent they find a welcome home, having already gained traction with several releases on the label as well as other renowned imprints such as suara and filth on acid. ranging from downtempo electronica to iterative techno with groovy house incursions, the diversity of the genres explored across the 12 tracks mirror the cologne-based artists’ own sonorous influences as well as their diverse musical sympathies. fluid, atmospheric tracks set a consistently lush vibe overall, from the esoteric kickoff track journey into self to subtle warm-up tools like the oriental-instilled hummus and fafnir, or the couple’s first vocal collaboration pure

somewhere between dub and space lies the work of unknown wonders, like the one created by normal stage. a1 starts like part of a typhoon taking everything in it’s path. the pounding sub will crunch the dancefloor vibeing towards the core of the nervous system. the tunnel is open: b1 will open a star gate through precise push and pull movements. there is light at the end, but the trip is long. it’s a time travel where senses are altered. b2 takes us back to the ground where it all started. heavy basslines and lush pads are chanting in celestial ambiance. the drum of earth is the heart of the dance, a ritual for all things normal.

concrete welcomes his lastest resident sweely, his ecceclistism pushed concrete music to split the tracks on two seperate sublabels : 3pm for the house cuts and 7am for the more minimalistic/electro tracks : the first part of “les chroniques de monsieur montana” is made of 3 house music bangers, produced by our resident some time ago. raw house vibe, obssessing vocal, “take me to my house” is a strong dancefloor hitter. while “house is home”, with is beautiful piano chords improvized by sweely himself, is an irresistible soulful but modern deep house track.
but, hang on, “les chroniques de monsieur montana part ii” is coming too very soon!

the latest release on francis harris scissor & thread label out of brooklyn is another exercise in deep and meditative atmospheres. the label, comprised of a tight knit collective of multi-faceted composers, vocalists and instrumentalists, always strives to develop new projects based on a shared aesthetic, and this five track ep is both boundary pushing and fully synchronized with the labels approach. with melquiades blue caves melbourne based composer and sound designer alexander albrecht presents his solo debut ep following on from the tidal river album he released as part of the albrecht la’brooy duo. the title track blue caves is a skittering, weightless exploration of space, seemingly built around lush field recordings and fragments of melody developing out of the ether. avlemonas flows from a similar source, but crystallizes around an off kilter rhythm and occasional subby bass, balanced against swooping pads and piano motifs. morning breeze seems to revel in the evocative nature of its title, with hand played percussion backing more wistful, emotive piano sketches and wandering bass notes, before the track settles into a hypnotic groove. label head francis harris provides another take on the track for his re-form version, a more dancefloor aimed excursion that draws deeply from the classic deep house of the new york and detroit masters. ending the relases is patio, which drifts back towards the ambient territories of the opening tracks, with exquisite, understated instrumentation and a melancholic yet elated vibe.

demuja joins the madhouse roster this march with come to me, a four track ep featuring french/australian singer ladybird and a folamour remix of the title track. after various releases on the likes of nervous records, rtct records, and his own label muja, austria’s bernhard weiss aka demuja joins madhouse with some fresh material following last year’s output on house puff and freerange. the release opens with title track come to me, a rough and ready lo-fi number featuring a soulful sample, and blissful stabs of horns and strings. following is the folamour’s lost in eden remix, twisting the original into a balearic, sun-drenched vibe, contrasting the original and bringing a more funk-infused, melodious feel to things. up next is the second original on the release take which employs classic house tropes with a nod to the 90s via catchy horns and a new jersey garage/house beat. free me feat ladybird then closes the package, taking you on a silky smooth house journey, with ladybirds dazzling vocals taking center stage.

here come the james hunter six! ser ving yet another delicious dish of what you wish with the premier single off their upcoming lp, whatever it takes (dap-051). and ill be a monkeys uncle ifjames hasn’t delivered two of his most compelling sides to date on this one. i dont wanna be without you is a graduate level course in the three rs of r&b: rhythm, rhyme, and romance. a sultr y rumba sets the mood, as hunter swaggers in donning his finest voice like a crisp tuxedo, complete with ruffled vibrato and rhyming cuff-links and proceeds to lay on an absolute hear t-stealin, deal-sealin, panty-peelin gem. on the flip, i got eyes loosens the collar and brings the metronome mark up a few clicks for a punchy tightened-up workout, edged-up with vibes and street corner backgrounds. bring your talcum powder and a change of clothes cause its another jaw-droppin showstopper by that finger poppin pond-hopper, james hunter

richard sens sound has always been influenced by black dance music and european electronic music and these two tracks carry on the vibe dark, electronic funk! flow master is inspired by old school new york house combined with european industrial body music. sen calls it muscle house. bad meaning good is a lighter, deep groove that takes inspiration from african percussion artists like kongotronics.

fresh from his lets roll ep on radio slaves rekids, hopeworks curator lo shea further cements his status as a true innovator of the uk underground with the iterations ep on duskys 17 steps. leading the charge, iterations is 8 dark twisted minutes of tripped-out melodic techno that will sweat the walls of warehouses from london to tokyo drawing a lineage from the omen, atomic jam and the orbit through to berghain, de school and hopeworks itself. on the remix, stockholm’s peder mannerfelt takes it down an industrial rabbit hole of terror-core synths, rave sirens and sonic paranoia. across rest of ep, lo shea flexes his sonic diversity with ornithurae offering an intruiging mix of bruising bass, twitchy layer loaded percussion and sinister soundscapes - somewhere between d&b don dillinja circa 96, early claude von stroke, radioactive man and fellow sheffield legend oris jay. dark, soulful and ravey, higher closes things off with a uniquely uk hybrid that traces lines through militant tresor-heyday techno, vintage strictly rhythm diva house and hardcore vibes.

new addition to shir khan s disco series: welcome t.u.r.f. t.u.r.f. are two dutch friends, dj s and producers joined by their love of old records from a wide range of genres. last year they released their debut ep on apparel music, which got support from artists like roy davis jr, soul of hex, frits wentink, black loops and many others. after such an amazing start, they are very excited to take their music into new directions with this new ep for black jukebox, consisting of three diverse tracks that will bring the feel good vibes back to the club.

four tracks of ny-flavoured boogie and house goodness - quality is the key word from copenhagen based music for dreams and here is another home run. willie graff splits his year between dj residencies in new york and ibiza. in this new outing with studio partner darren eboli, the influence is, as the title suggests, clearly ny-based. over only four tracks, the pair manage to craft a stunningly comprehensive exploration of the essential elements of dance music. opening track -love flight- staggers into a lush string-driven groove that recalls the glory of metro area meets wally badarou vibes. minimal yet playful, it lounges somewhere in the depths of the house tradition, calling on familiar sounds while throwing in odd details along the way (harmonicas?). it takes both skill, devotion and a sense of humor to pull this track off, making for a strong opening. -moon tan- lingers on a metallic hook that drags you into a plethora of percussion followed by a rubbery soft baseline. dubby key work would suggest this was a new wave band jamming at compass point, while the icy chill of the xylophone transports you into 80s italo territory. -second sun- pulls out the bag of boogie tricks, relying on a firm but humble baseline and smattering drum machine claps. nile rodgers-style guitar licks guide us onwards into a well-orchestrated jam that builds up and breaks down with perfect timing while dreamy chords reach for the sky. -first light- keeps the groove tight while dipping over towards more balearic temperatures. steeped in a watery atmosphere and gentle organic percussion, it focuses in on a trance-inducing arpeggio that lulls you in to the swaying badarou-style synth swirls that intercept it.

here come the james hunter six! serving yet another delicious dish of what you wish with the premier single off their upcoming lp, whatever it takes (dap-051). and i’ll be a monkey’s uncle if james hasn’t delivered two of his most compelling sides to date on this one. “i don’t wanna be without you” is a graduate level course in the three r’s of r&b: rhythm, rhyme, and romance. a sultry rumba sets the mood, as hunter swaggers in – donning his finest voice like a crisp tuxedo, complete with ruffled vibrato and rhyming cuff-links – and proceeds to lay on an absolute heart-stealin‘, deal-sealin’, panty-peelin‘ gem. on the flip, “i got eyes” loosens the collar and brings the metro- nome mark up a few clicks for a punchy tightened-up workout, edged-up with vibes and street corner backgrounds.

few authentic electro producers from the uk can wear the badge legend with the same level of justification as phil klein aka bass junkie. active since the late 80s, phil has been peddling his own take on electro almost constantly, either as a solo artist or as part of numerous collabs with the likes of dynamix ii, keith tenniswood (radioactiveman) and si brown (dexorcist). dj, remixer, live act, and the man behind the killer battle trax label, there is nothing this junkie hasn’t done.
with essential releases on labels such dmx krew’s breakin records, andrea parker’s touchin bass, and billy nasty’s elektrix, the bass junkie sound spans the old school beats and vibes of the electro genre’s origins, to the borderline industrial. from funky to ferocious, bass junkie’s discography is a must have for anyone claiming passion for the genre - influential, individual, and infectious with every beat.
his low frequency fugitive ep is a welcome return for his bass junkie project, after several years working primarily on collabs. the ep brings four new tracks that maintain the bass junkie sound that brought him such success and notoriety in the first place, with a healthy dose of evolution too.
this is one fugitive everyone should try and track down...

part 2 of darren allen’s discobar debut takes us on four more precision mindtrips, exploring further the technological influences found in part 1. on ‘atonement’, clattering percussive and plunging bass come laced with a stinsonesque synth line, creating a flightier vibe. the distorted hum of hardware-gone-haywire introduces ‘scanners’, a convulsed tribute to the cronenburg classic that rounds out this ep in typically trippy style.‘tv sickness’ is a post-perlon prowler, the softened shuffle of its first half returning with renewed vigour after a woozy mid-track breakdown, then reprised in a beatless coda.

ant orange’s third 12&#8243, for karaoke kalk forms something resembling a trilogy for the label. “right there” is built on a familiar rhodes-n-bass aesthetic, combining the lo-fi jazz of 2017’s “arkupe” with the soulful vocal motifs of 2015’s “s/t”, while introducing more electronic ingredients and taking an increasingly exploratory approach to rhythm and composition. the opening title track clocks in at over 8 minutes, growing slowly from soft tickled keys to a full-bodied groove circled by airy synths and fragmented rnb vocals. “drunk in the trunk” then shifts down a gear, looping another vocal cut over a lazy, stripped-back wahwah vibe. side a closes with experimental jazz skit “let that sink in”, its jerky tempo and flashes of light reminiscent of a late-night subway ride. the b-side takes a more contemplative tone, with the meditative arpeggios and sparse drums of “comfort zone” leading into the dusky west coast stroll of “muscle beach”, before “rudis goes offline” picks up the tempo for a last shimmering dance. the closing track “a frozen lake” sounds just like it sounds – chilled by name and by nature.

our next record comes from south african producer bluesoil. a low-key artist whose output is definitely quality over quantity.
this 4 tracker takes influence from classic garage grooves, soulful, deep and funky house all delivered with an impeccably raw vibe.
old school charm with a modern twist.

another root ready to bloom has been found in yann polewka. his opener is a filter laden, vocal drenched affair that holds the ever present rfb groove. all i dooo is next and holds that similar french filter style this one focusing on heavy strings and driving drums. the b side sees up ramp up a gear, luv me baby is looping and relentless. the piano and bass loop is short and repetitive but is constantly changing with filters vocals and interweaving percussion, this one works great on the dance floors. with b2 we see rfb take an unusual path for the label. all around is reminiscent of drum and bass almost liquid vibe with seductive vocals and ramped up tempo.

t-coy s carino - an all-time uk acid house classic from 1987. fusing the industrial clicking and whirring of the uk s post-industrial landscape with the lush, melodic, balearic inspired piano lines of the white isle and sucking us all in in the process. a true masterpiece courtesy of mancunians mike pickering, simon topping and the late ritchie close who s combined projects included quando quango, m-people, annette, a certain ratio and more. it s truly hard to believe this record is 30 years old. it can easily stand shoulder to shoulder with anything being released today. the b-side regret is also an amazing, minimal slice of punk-funky 808 driven niceness. super stripped back and with an innocent charm and poppy vibe it is the perfect foil to the latino house chaos of carino on the other side. one could argue that the a-side will take you up, and the b-side will bring you down (in the best possible way!). this classic has been legally reissued by above board distribution in conjunction with the legal rights holders sony music entertainment. this high quality repress features original 1987 deconstruction records label artwork and has been remastered from sony s original sources by optimum mastering, bristol uk.

guede remixes is a remix compilation of dj hell taken from his 5th studio album zukunftsmusik. the release features two remixes by joyce muniz and one by paul nazca. guede’s soundscape is acidic yet minimal, with its distorted vocals and raucous instrumentation lending the track an eerie and at times ethereal vibe. each artist brings a uniquely different perspective on the sound of the original cut, whilst never completely abandoning the track’s core identity. paul nazca infuses it with trance, joyce muniz keeps the acid and adds the deep.
early support by: kölsch, nicole moudaber, guy j, mar-t, affkt, tiefschwarz, mandy, marcus worgul, rino, just her, less hate, joris voorn, audiofly, kiki

acid paulis album bld dropped earlier this year and was a superb reminder of martin gretschmanns unique place within the electronic music. breathing musicality and adventurousness into everything that he does, the album covered a number of moods and emotions, from dystopian carnivalesque vibes to moments of high intensity, through to deep melancholia and synth laden ambience. following on from the a remix package, b brings another huge selection of producers into the fray to reinterpret the originals. first up, hamburg hero stimming works over ‘amadou - flipping the original, into a techy bomb. a thick kick underpins a shuffling, off kilter rhythm and beautifully treated melodics. stimmings feel for gently pushing the dancefloor into new places shines through. ‘rené is reworked by roman flügel, the ongaku/klang/playhouse boss whose influence on the european electronic music scene has been immense. always willing to experiment, ‘rené is the perfect canvas - arpeggiated blips and beeps echo primitive electronic explorations by the likes of francis bebey, and a huge subby kick drum take this track into space. alex boman sets to work on ‘jeanne, locking into his signature groovy, tribal approach to working the dancefloor. the swedish producer adds dubby elements, an irresistible percussion track and disruptive, random sounds to the thick, heady mix. dutch wunderkind satori tackles ‘jorge - twisting the original into a psychedelic groover that finds room for backwards vocals, marimba-like melodies, fat basslines and shuffling breakbeats.

sometimes he sounds like the euphorigenic warmth of a spring wind, sometimes he send us on a fluorescent roller coaster ride through the bends of our brain: mollono.bass creates a world of sound that has many different climate zones. his remixes are probably the most vivid proof of this characteristic feature. they cover quite all aspects of electronic dance music, but frequently they also come from genres that are surprisingly remote. somehow he manages to merge all these different vibes and inspirations into one compelling flow of danceability. thats why the fourth part of the mollono. bass remix collection is like a panoramic view of all these different layers of mood and atmosphere.

as ever, the next project on opilec music is one with a rich back story this time paying homage to a very specific disco scene of the early 80s: it finds label boss i-robots turning out one of his brilliant reconstructions, namely of a classic and cult track by one hit wonders ahzz. this track was first released on land of hits, a label run by peter brown (who also wrote -material girl- for madonna) and michael campbell and has now been officially licensed for this reissue by opilec music. the track, new york s movin was huge on the new york disco scene and was played by the likes of david mancuso at the loft, larry levan at the paradise garage and by nicky siano at studio 54, but continued to be a big hit with modern new york tastemakers kenny dope, dj spinna, danny krivit and his body & soul party crew well into the 90s, as well as with stars like motor city drum ensemble and bulljun. i-robots is a notorious producer and record collector with a vast understanding of the history of house and disco and his version combines an original vocal and instrumental version into something really magical. new york s movin (i-robots reconstruction take i) is a jangling, organic and lose limbed disco number with a funky drum line, soul in its bones and plenty of lovably rough percussion, clicks and drums. a retro and impassioned vocal line adds flair to the track at the midpoint just before that groove kicks once more. this version is featured on the new i-robots - reconstructions 2007-2017 10th year anniversary release. new york s movin (i-robots reconstruction take ii) is then just as emotive and outgoing but after the break has more of a focus on funk. this is a huge party starting track filled with feel good vibes and once again proves opilec music work on only the most special projects.

cervo is no stranger to producing high quality dancefloor ready house cuts. released on 13th october, ‘deyo / kasoa’ is no exception to this rule. after a tough period mentally and a formative trip to ghana, cervo combines his love for field recordings with his well known take on the classic house structure. the end result is slighter harder than his previous work but signifies his growth and development as an artist. the lead track, ‘deyo’, starts as it means to go on. straight away the punchy and energetic percussions draws you in and remains captivating for the entire track but it’s the melody that stands out. the sense of urgency is soothed by looping bass and piano riffs, complimenting each other perfectly throughout. ‘kasoa’ is approached differently than the flip ‘deyo’, more care and consideration is taken. it slowly builds up with field recordings as the backdrop providing context before allowing a clear and definitive vibe to be established.

adam beyers drumcode is growing from strength to strength, year after year, with a non-stop release schedule showcasing both the labels new and most established artists with cutting edge techno beats. after 20 years since its inception, drumcode continues to push the boundaries, firmly grounding their position as the worlds no.1 techno label. drumcodes youngest rising star, layton giordani, exploded on to the scene after his debut album >where it begins< back in february, after scoring some of the biggest festivals in europe this summer, he now returns with an exciting collab titled live again. ny born and bred, danny tenaglia has always been a true inspiration for layton since his teenage years, so when the opportunity to collaborate with the fellow ny legend was on the cards, it was a dream come true. danny and layton join forces for the lead track live again . its deep and dark with a slowly building pad wrapping around a modulating synthetic hook. the dark and effected vocal echo takes the track into a hypnotic vibe. ‘take it back delivers a pumping drive the moment it fires up. snapping percussive force and an infectious rhythmic groove will unhinge dance floors nationwide, whilst secrets of vibration has a rattling, yet blistering low end presence to it. the new yorkers unite on this energetic and exciting collab

moscow based multi-talent impish presents the hush lp, his latest album project that will be released through all quality physical electronic music outlets around the world october 20. working through labels such as program, c.i.a. and his own fast rising occulti music imprint impish is quickly establishing a name for himself in the global drum & bass scene. in a world that consumes more and more music in a superficial way impish manages to take a halt on the hush lp with timeless songwriting, arrangement and production inspired by live music and drum work. from effortlessly rolling tracks such as can’t feel and shadows towards more introspective vibes on changing colours and the lp’s title track a common thread runs clearly throughout the album: the aim for perfection, true craftsmanship and a drive to combine to high-quality beats and breaks with musical elements. to aid the budding artist in spreading his ethos uk based female vocalist kate wild and irish drum & bass producer zero t feature on the album for vocal appearances and remix work.

lie of the land debuts on porn wax with an appropriately subterranean take on the acid house formula, amping up the delay feedback and weaving accomplished waves of melody in between the floor-minded components of the music. chapparal is especially deep diving, tapping into a late night mood for backroom beauties and beasts to sway rhythmically to. navigator has sharper edges, but is no less hypnotic and subliminal in its approach. the porn wax stamp is a trusted destination for left of centre tackle for stranger dancefloors, and lie of the land understands their unique vibe innately.

the uks best kept secret chocky returns to dessous recordings after the success of his first outing, the well received self knowledge ep. here we see the talented dj / producer drop four tracks via the playtime ep - yet more sublime house music for steve bugs imprint. ‘double dip is a chunky, stripped down vibe, reduced the vitals that will slay dancefloors - firing percussion over a shuffling groove and a cut-up vocal reminiscent of pepe bradock. ‘organism is a deep affair - spacy pads provide the counterbalance to the tough drum track, softening the edges but keeping the vibe high. ‘soul alive taps into chockys clear appreciation for the 90s, with a strong vocal, atmospheric strings and a loose yet crispy beat. ‘playtime (dub) brings the whole ep home with yet another stormer - beginning as a driving basement jam but then introducing an unexpected piano riff that flips the script and takes things in a welcome jazzy direction.