Inviting slow disco and spaced out ambient characterizes this new material from Golden Bug and In Fields on their collaboration-album ”Vibration Métallique”. Golden Bugs kind of extrovert and electronic sound is recognizable from his previous 7” release on Höga Nord Rekords and together with In Fields it gets dressed in a fluffier costume. This album is the result of two persons with tons of respect for one another musically, two musicians who have been floating past and sometimes in two each others projects for the last couple of years.
Their musical roots In ”Leftfield land” intertwine and reaches up above ground, connecting to different musical stems and holds together the sound; like sightseeing in a familiar town this album has outer limits but as unpredictable as the city can be, this record surprises you from one track to the other. The album has a springtime feel to it in all its’ brightness, but suddenly it shifts shape in a song like ”Lush”, picked straight from the factory floor.
This album is both a standoff and a board meeting in electronic music. Golden Bugs metallic excentricity meeting with In Fields darkness and live feel creates an unpredictability and the music goes on an exploratory trip far away!
For it’s second-release, Planisphere returns once more to the Berlin studio of Swiss-Turkish producer Mehmet Aslan, who has fast become one of the most fiercely individual and increasingly prolific emerging artists in some time.
This three-track EP is arguably Aslan’s most-refined work to date, aiming squarely at heads-down dancefloors, riding on sophisticated and hypnotic grooves. On ‘Comme II Faut’, a minimal beat unravels Aslan’s textural, traditional samples, delivering a woozy and intoxicating atmosphere.
Meanwhile, ‘Lobster Is Coincidence’ christens the EP with its title and a stop-start slice of unpredictable, cut-up psychedelia, utilizing obscure samples to generate esoteric funk. On the contrary, Aslan executes a tapestry of tightly-wound and no less entrancing rhythms on ‘Kakusui’, which evolves intriguingly with a subtle half-step and further echoes of Aslan’s unique musical heritage.
Written in Toronto and Montreal between 2017-2018, this debut LP from ex-terrestrial is in part the residue of long drives through Belgian countryside listening to shadow music. Gamma Infolded is a reflection of the fractured self, a culmination of distractions erected into intricate edifices. Dense foundations of dissonance support quirky, smile-inducing melodies in curious and odd states of being. All that can break is broken and all that is amplified is nullified.
2020 Officially marks the 30th anniversary of this legendary techno-classic, now curated by Dutch High Fashion Music. Funkerman was commisoned to make the official “30th Anniversary Remix” Stepping back into the ring and to mark its 30th anniversary, the classic DHS cut 'The House Of God' returns. This time around, Funkerman serves up his own take and hot off the back of recent releases on Saved Records, Glasgow Underground and Solä – and sets the track up to blow all over again.
The second EP on the Uncage Swap Series is another belter, with boss man Marco Faraone serving up a pair of originals while Traumer and Djebali both serve up superb remixes.
InDaClub is a pure piece of techno dynamite with a huge wall of rolling drums and icy hi hats making you move. A sleazy ghetto vocal that gets dropped over the top to make sure that hands go into the air. This Record Goes Right has more huge, pinging kick drums that are brilliantly analogue and powerful, while choppy hits and vocal stab add more fuel to the fire.
First to remix is Traumer, who takes things down a more silky late night road, with sci-fi pads and nice warm bass all getting you into a state of hypnosis. Last of all, Djebali then gets down and dirty with his late night mix, rubbery kicks and trippy synths all making it a colourful groove.
These are four high class, high impact tunes from this already vital label.
These tracks were proppa game changers n were pure classic anthems of the day and a time when we were nurturing the british hardcore sounds that pushed the boundaries.
A.Set Me Free - This track produced in 1992 by Noise Factory it was a big anthem of it's time back then a real game changer and has that ravy feel n piano stab filled. With strong hardcore and techno elements with the speeded up vocals n keeping in with the 4/4 beat.
AA.Bring Forth The Noise - This track from Noise Factory produced in 1992 this is when we found our british identity n stamped our authority on the hardcore scene. It has strong synth piano stabs n speeded up vocals with heavy sub bass resonating thru along with the hardcore n techno feel.
AAATo The Top - This was produced in 1992 by Noise Factory keeping in with the hardcore theme this track was more jungle techno. With its looping bass n hardcore 4/4 beat n sample vocals
This 3 track EP comes out of the Limited E's vault called Retro Vol 2 produced by Potential Badboy. Each of these tracks represents when we started to push the boundaries of Jungle and being more experimental back in 1992.
E. 4 Da Ladies - This track produced by Potential Badboy in 1992 was the crossover from hardcore elements into the early breakthrough of Jungle. With an iconic reggae sample laid down with live and R&B vocals n poppin bassline, a real choon for the ladies to get down to.
EE. Guiding Star - This track produced in 1992 by Potential Badboy who was evolving and creating his own style with using a strong soulful vocals mixed with the classic reggae n r&b samples n heavy basslines was game changing.
EEE. Hardcore Youth - This track produced in 1992 by Potential Badboy keeping with the strong hardcore ravy theme with strong reggae samples n vocals with a Jungle Techno ravvy feel to it.
This EP produced by Noise Factory in 1993 expresses the emergence of jungle n how it had evolved is
very noticable in these tracks driven by 4/4 beats n thumbing basslines 2 shake the dancefloor.
A. Breakage 5 -This track produced by Noise Factory in 1993 has reggae samples plus the speeded up
vocals. Some banging drum pattern with nice piano stabs n thumping basslines.
AA. Ladies Choice - This track produced by Noise Factory has some heavy basslines sitting between the
crossovers of the house n rnb samples. A proppa ladies choon back then n got the place poppin.
AAA. Wheel Up - Produced back in 1993 by Noise Factory with its rolling drum patterns riding the hip
hop n reggae samples. Along with the speeded up vocals n that strong jungle feel n wicked basslines.
This EP produced by Noise Factory in 1992 expresses the full on depths of Junglistic Hardcore at its best and these tracks being driven by the various elements of the sample patterns, typical Hardcore n Jungle Techno theme of the day that was changing the warehouse scene. The blending of the reggae, hip hop n r&b vocals interchanging with the various samples with that sweet sounding basslines thumping.
A.Futuriod - This track from 1992 comes from the iconic Capsule EP and was a game changer from day dot. With its strong reggae n rnb vocals n the rolling undercurrent basslines n various drum patterns up holding that hardcore jungle feel to the choon.
AA. Dance With The Speaker - This track from 1992 has some dominant basslines n with a 4/4 beat
riding the reggae n hip hop samples that were merging into what was being referred to as Jungle Techno that was taking the scene by storm with these banging drum patterns and sped up vocals
AAA. My Mind - This track also from 1992 is typical of the hardcore n jungle techno theme with rnb
vocals interchanging with the hardcore samples along side the heavy poppin basslines. This was the
early signs of jungle slowly taking its hold n causing waves from its popularity of these choons playing at the warehouses raves.
End to end, back to back solid gold SOUL & FUNK bombs are what's contained on this slab of wax! That's right, Gwen's 1979 LP has lashings of dope drums, wriggly bass synths, brass and of course, THAT voice! Absolutely stellar tracks on here - 'all this love that I'm giving' - famously sampled by Cassius on their infamous smash 'feeling for you' is actually the album opener! The whole album unfolds from this point and we're treated to the classy, string laden 'I can only think of you' next. All in all this album has always been one of those rare LP's that has soul fans frothing at the mouth, traditionally a very tough one to track down and always commanding high prices on the collectors market. Released on TK Disco's CAT offshoot label and produced by the equally legendary Betty Wright (!) this is one sure shot that you'll need on your shelf and on your turntable if you're into this kind of flavour!
Daniel Avery has announced details of the release of his debut album. Drone Logic will be released through Phantasy/Because Music on Monday 7th October 2013. The 12 track album was written and produced since the turn of 2013 and mixed with Erol Alkan at 'The Phantasy Sound', the label’s own studio in London.
A difficult trick to master but like Carl Craig’s ‘More Songs About Food And Revolutionary Art', Plastikman’s ‘Consumed’ or more recently the work of Four Tet, the album works as a cohesive whole rather than a disparate collection of tracks.
Innovative and forward thinking, Drone Logic manages todraw influences from beyond the dancefloor via My Bloody Valentine, NEU! and Chris Carter while still having the techno pulse to scale the walls of any club. The wide array of plaudits and early adopters of Avery’s music is proof of this, ranging from acid house legends like The Chemical Brothers, Andrew Weatherall and Richie Hawtin to the best of the new breed in Maya Jane Coles, James Holden and Factory Floor.
Firmly established as one of the UK’s most exciting new DJ / producers having cut his teeth in Weatherall’s Shoreditch studio bunker, Drone Logic follows up Avery’s universally acclaimed mix CD for London clubbing institution Fabric where he remains a resident, recent remixes for Primal Scream, The Horrors & Django Django and last year’s Need Electric and Water Jump EPs on Alkan’s Phantasy label. This summer sees him play at Bestival, Festival No.6 and the Green Man festival.
Adding a percussive and experimental edge to the current class of post-dubstep pioneers, Mount Kimbie, the duo of Dominic Maker and Kai Campos – have just released their highly anticipated debut album "Crooks & Lovers" on Scuba’s Hotflush label.
Mount Kimbie’s first two EPs – "Maybes" and "Sketch On Glass" – seemed like explorations of spaces so private that all within earshot were instantly turned into voyeurs. The experience was less like listening to music and more like eavesdropping on the machinations of a lone mind – albeit a lone mind surrounded by and retreating from millions of other minds. Difficult to categorise, the lush EPs caused a commotion when released last year with "Sketch On Glass" recently undergoing reworks from the likes of Faulty DL, SCB (Scuba’s darker techno alias) and their sometime collaborator James Blake.
With their own remixes (Foals and The xx) becoming hot property, Mount Kimbie have been a core part of the growing scene in London often associated with labels like Hyperdub and Hessle Audio. Dom and Kai met whilst at Southbank University, pushed together in a student halls that was previously a mental asylum – where the ceilings were still ridiculously high to stop patients hanging themselves: “a cold, joyless, concrete building – the sort of building where you’d drop a pen and the sound would just go on and on in an echo.”
Armed with found sound snips and a siege mentality, Kai and Dom set about turning London’s ambience into rhythm, its chaos into coherence. Traces of influence remain – the hard-earned spaces of Burial and The Bug vie with the berserk melodrama of Xiu Xiu and Grouper’s sad-eyed glow, D’Angelo’s pervert soul gets cleansed in the intimacy of Phil Elvrum’s Microphones, Angelo Badalamenti’s swollen ‘Twin Peaks’ atmospheres find a cradle in Madlib’s lax lope. The band’s sound and response to the dubstep moment is very much their own. Sceneless and untethered from etiquette and genre codes, "Crooks & Lovers" floats through dubstep and hip-hop, jazz, techno and ambient, post-rock, UK garage and film scores to startling effect.
One of the most eagerly anticipated electronic albums of 2012 is finally released! After a series of groundbreaking singles: ‘Pain In the Ass’, ‘I’m Week’ and ‘Ghetto Kraviz’ (featured here) Muscovite Nina Kraviz is set to release her eponymously titled debut artist album on Radio Slave’s superb Rekids imprint.
Nina’s album is a combination of stripped-bare house, deepest Detroit sounds via beautifully ambient pockets and more soul infused slo-mo jams, all coated with an authentic analogue finish and Nina exquisite vocals. The music is emotive and engaging, whilst being something truly original and inspirational. The album features collaborations with Hard Ton and King Aus. Playing out like a full artistic statement rather than just a collection of tracks, the odd time signatures, innocent and waify vocals, muted acid lines and hypnotic loops layered up by Nina all work subtly at pulling you into her world. A superbly, executed and accomplished debut album that has already set the bar high for electronic albums this year.
1 Walking In The Night feat. Hard Ton
2 Aus feat. King Aus on the mic
3 Ghetto Kraviz
4 Taxi Talk
Recondite marks his return to Hotflush with the epic, potentially summer-defining'Caldera' and a sequel to his 2012 hit 'DRGN'. The Bavarian artist has undergone a dazzling rise since that time, and one which is reflected in the increasing opulence of his music.
'Caldera', with its dramatic arpeggios and crescendos, is unabashed big-field decadence. Bearing all the hallmarks on which he's made his name - space, subtlety, build, attention to timbre - over the course of 9 minutes it raises the temperature to white heat. 'DRGN 2' picks up exactly where its 2012 namesake left off; that is, with an arching melody played out over droning tones of insidious intent. Dark, imposing and elegant - this is Recondite at his most wicked.
This edit of Mali's Amadou & Mariam "Ce N'est pas Bon" (originally created in 2008 for my dj sets) was supposed to be included on the recently released third Autonomous Africa 12". Unfortunately I didn't get permission to use it in time for that release but permission has now been given, so rather than wait for AA 004 in 2015 it is going to come out as a limited edition hand stamped 10" as soon as possible. All proceeds will once again go to the Mtandika mission in Tanzania -www.actioninafrica.org/about-mtandika.php
A big thanks to Ben UFO and Midland for championing this edit. The interest they generated directly led to the motivation for this release.
Young Marco stepped into the ESP Institute one day in 2012 with a handful of undeniably brilliant music, and has ever since maintained an integral role in the mission of the label. His unaffected instinct and sincere writing process are perfectly balanced by his meticulous craft—a rare quality among contemporary artists which promises a vast and fruitful oeuvre. This is universal music, transcending genre and taste level despite being wholly instrumental. Much like his ability as a DJ, pairing esoteric records to discerning dance floors worldwide, Marco's talent for producing the right voice in an emotive melody and dynamic arrangement is aspirational. Biology is a passionate album that will outlive the many fleeting wrinkles in electronic music, but will more importantly nest in your heart.
If we listen to the Higher Self, our experience of life is joyful and abundant. When you see yourself connected to something bigger than yourself, you no longer feel must do it all alone. Your sense of power becomes highly magnified and your fears are greatly diminished. With the Universal Energy on your side, you can learn to trust not only yourself, but the Universe as well. There is nothing to fear. You are tapping into your source of power. When people speak of being "on a path" or that "life is a journey," they're referring to the constant vigil required to listen to the lessons of the Higher Self. The path that needs changing is the one that's in your mind. It is your mind that has to be changed first, then all that's right will follow. As you begin to awaken, reach out and turn on your tape machine, lie with your eyes closed and let the soothing, loving message sink in, "I am creating a beautiful day."
A true techno auteur, Mathew Jonson earlier this year released his second solo album, ‘Her Blurry Pictures’ on Crosstown Rebels, encompassing a new evolution in his rhythmically complex and timeless approach over eight fluid and rich composition. Now soon to drop is a package of unmissable ‘Blurry Remixes’ featuring a trio of first class reworks by Dixon¨ Tale Of Us and Akufen
Innervisions boss and Berlin luminary Dixon turns in a storming reimagining of the atmospheric, electronic matrix of ‘Level 7’ where straight talking techno does the driving as layers build, get stripped back then steered onto a more melodic path underpinned by a rumbling deep bassline.
Next up, the unstoppable duo Tale Of Us transport one of the more playful ‘Blurry’ cuts ‘Kissing Your Eyes’ into a brooding dubby sound bed of live sounding drums combined with rippling echoing synth melodies. Berlin based Carmine and Matteo aka Tale Of Us, first rose to prominence on the Visionquest imprint in 2011 and have since released on Life And Death and M_nus.
Glitchy tech meets raw rolling drum beats in Akufen’s ‘Body In Motion’ remix. As hypnotic, as you would expect from the Canadian mastermind, Akufen lures you into a trance and keeps you guessing, progressing from dextrous minimal textures to full on fluid jazzy piano interpretations.
Apollo proudly presents a full release of the stunning debut album released by SW.
SW's lush sound design and hypnotic arrangements nestles snugly alongside the classic 90’s Apollo releases of Biosphere and Robert Leiner in all their balmy glory.
Originally issued on vinyl only via SW’s own SUED imprint, this Apollo re-release represents something of a coup in that it’s the first of the label’s music to ever be presented digitally.
As a label, SUED has formed a reputation for releasing some of the most vital and sought after contemporary dance-floor vinyl, from both SW and SVN, as well as collaborations and comradeship with other analogue obsessed auteurs such as Dynamo Dreesen (who teams up with SVN as Dresvn), DJ Sotofett, DJ Fett Burger, PG Sounds and Club No-No, AKA Snorre Magnar Solberg.
Ensconced in his studio in South West Germany, SW creates in isolation, exploring textures, dreamy melodies and mesmeric grooves within laid back 4/4 structures. ‘The Album’ was the first time anyone had experienced his music over a long player format and allowed SW to delve deeper into his influences.
In addition to the aforementioned sublime electronica 'The Album’ also takes its cues from the iconic house and techno of the mid / late 90s - SW manages to fuse these influences together to create a beguiling, modern take on classic sounds and rhythms that remains thrillingly unique and elusive. Resident Advisor bestowed a rare 4.5 out of 5 on the record, describing it as ‘a lesson in how to put together a dance music album'
Despite his comfort residing in the shadows, SW’s stunning debut album richly deserves the exposure that this broader release on Apollo should rightfully bestow.
Recondite returns to Hotflush with two unique techno narratives forged in his inimitable style. Since 2014’s smash, ‘Caldera’, the prolific producer has released two studio albums, as well as a string of notable EPs for the likes of Innervisions, Dystopian and Life & Death.
At once subtle and grand, ‘Phalanx / Warg’ sees Recondite exploring the full range of his distinctive voice. Deep, sinewy techno set with a genuine
sense of intrigue, both cuts flood the dance floor with an unsettling warmth.