Search:bubbles

Brous One is one of the best-known artists in the field of instrumental hip hop. So far his beats have been strongly inspired by the sound of the Boombap era, but on his latest release "Cityscapes" the producer from Saarbrücken goes in a more relaxed direction. Jazz is still the main inspiration, but the beats are much smoother. "Hasta Luego", for example, is carried by a dreamy piano melody and the soothing vinyl crackle is omnipresent. Thus the musician creates a perfect feel-good atmosphere for a nocturnal ride through the "Cityscapes".

Longstanding FUSE resident Rich NxT combines with fellow London favourite East End Dubs this June to release their debut collaborative EP ‘The Four Slip’, featuring two bubbling, heady cuts.

As one of FUSE’s original residents, Rich NxT’s evolution alongside the London brand has seen him become one of the scene’s most respected DJs and producers, releasing a slew of material via their renowned in-house imprints as well as via the likes of Tamango, Elision, Vatos Locos and his own NxT Records. This pairing sees him up alongside one of the scene’s most prolific and consistent producers, East End Dubs, who arrives fresh from a string of EPs via his own self-titled and anonymous imprints, and material on Eastenderz, Infuse and Moxy Musik to offer up the two-track ‘The Four Slip’ EP, marking the pairs debut collaboration, which was over a year in the making, whilst offering a concentric overlap between their own unique sounds to tell another fresh story for the 34th release of the rapidly maturing imprint.

The A side sees the paring combine to offer up ‘E3’ - a slinking and swing-fuelled lead cut that merges woozy, spacey melodies, chunky kicks and warping electronics, before employing crunchy percussion licks, rich chords and a glitchy, low-slung core groove throughout ‘Bubbles’ on the flip to close the package in fine fashion.

The album starts with 'St. Fabian Tower', named after the now demolished tower block in Chingford where Anthoney used to DJ for Rude FM. The track's lush detuned synths and syncopated drums are girded by stern low end frequencies. Drum and bass, jungle and hardcore are the touchstones here, but the forms he creates make no attempt to imitate the music of those eras. Take the rolling, bubbling, almost jazz-drummer patterns of 'Yeah, I Like It' and 'I Want You' where strange pops and bubbles seem to be forced through the grid almost like they're an effect of pressure. It's an odd juxtaposition next to the soulful vocals but an effective one. 'Edge Of Darkness' meanwhile, is an intense, rough ride of sliding rhythms and elephantine bass. Elsewhere, like on 'A New Consciousness', things are tempered into a more streamlined techno-like hybrid. He lets loose in the claps and kicks banger of 'Fi Di Gyal', but even here there are neat sonic tricks that sound like nods to minimalist composition.

On The Threshold is a balance of smart and energetic, non linear thoughtfulness and makeshift experimentalism that does away with boundaries, but is very much its own self contained world.

“Built By Humanoid” is Humanoid's second album, a mere 30 years after the debut, though Brian Dougans claims the first album wasn't really him anyway.
Humanoid's classic acid house single, ‘Stakker Humanoid’, highly regarded as one of the key tracks from the era (Richard James (Aphex Twin) sights the Stakker project as a major influence), enjoyed massive success in 1988. Reaching No.1 for 5 weeks in the UK dance charts, performances on Top of the Pops, a John Peel session for the BBC and European tours eventually led to an album deal.
Whilst all this was happening, Brian Dougans (one half of electronic legends Future Sound of London) claims he was returning to his squat in Kings Cross with no electricity or water. He not only became disillusioned with the business, but also became increasingly ill from the conditions he was living in. Around 6 tracks into the album, he left London and record label, Streetsounds, returning to Manchester to recover and regroup his thoughts. However, Steetsounds pressed ahead with the album and it was finished in Brian’s absence with guest performers.
Brian left Humanoid behind and went on to create FSOL with Gaz Cobain becoming leading lights in the burgeoning ambient scene, scoring a top 10 album "Lifeforms" on Virgin Records.
In 2003 Rephlex (Aphex Twin’s label) released a posthumous album of 1988 out takes compiled by Brian.
Recently Humanoid tracks have been popping up on modern compilation albums (Touched Music / Gasman, etc) signalling a possible return.
“Built by Humanoid” is a brand new nine track album of future acid cuts, breaks and electronics, a lot of which is credited to 2 synthesisers co-designed by Brian Dougans and English Electronics company Digitana. It is this innovation that has helped usher Humanoid back into the limelight and consequently the album has a rather new and unique sound and style.
The track ‘Polymath’ is created using a possibility / probability theory that results in a track which at no point repeats itself - 303 tinged acidic bubbles. Meanwhile ‘Traktion’ is a break beat, pulse laden, bass heavy monster. ‘Fu*k It’ is the future sound of 303. Fast, frantic and beat driven. Whilst ‘Post Humans’ combines thumping 909 and 303 into an acid hallucination.

With such a raft of quality music coming across the Summer from NuNorthern Soul, we thought we would put together an EP of some of the tracks featuring across the upcoming months...

We have taken our favourite tracks from various digital releases and present them on one vinyl 12" EP On the A side we take Nick J Smith's 'Waves Take Hold' from the Waves Take Control EP'
'Waves Take Hold', is a kaleidoscopic, life-affirming exercise in late 1980's style Italian Dream House, that's so warm and rush-inducing that it's likely to get the hairs on the back of your neck standing to attention.
Full of ricocheting drum machine hits, sun-bright lead lines, elongated chords and rich bass, it sounds like it was tailor-made to soundtrack sunrise in Rimini...

Bonnie & Klein 'Ocean Leap' taken from the Ocean Leap EP
There's a deeper and dreamier feel to the 'Ocean Leap' track, whose bubbly melodic motifs and synthesizer panpipe flourishes offer subtle nods towards 1980's Greek new age electronic composers such as Vangelis Katsoulis amd Dimitris Petsatakis.
Bonnie & Klein's synthesizer-heavy melodiousness comes accompanied by dub disco strength bass and undulating, off-kilter drums, but retains the rush-inducing bliss associated with the pioneering work of their Greek predecessors.

AA is given up to the 10 minute + track from Mirage: 'Endless Ocean' taken from their Reflections of the Sun EP.

'Endless Ocean' is a slowly building masterpiece. After a hushed, atmospheric opening, the track bubbles away on waves of hazy bongo beats, lapping water sounds and seductive chords before rushing skywards in a swarming swirl of trance-style synthesizer lead lines, echoing electronics and picturesque piano motifs.

The story of TodoTodo is one of the most incomprehensible and surprising in the history of Spanish electronic music. Without doubt it is, sadly, also one of the most ephemeral. The curse that has haunted them since their forming in 1980 and during their short year and half of life is already legendary. Domestica Records did justice to the group in 2012 with a comprehensive compilation and this EP joins this initial tribute as it reimagines some of these trailblazers most representative productions: Digital Dancer and Autoga´s.
Almost forty years later, Frigio is bringing some of their music to a fresh audience. Juanpablo with his extended edit of 'Digital Dancer.' A steady kick tethers a tripping mechanical melody, a melody that bubbles and simmers as toms, horns and daring funk collide for this seven minute odyssey into the world of Iberian underground synth. The original version from 81 closes the A, a brief and brilliant piece of proto-techno. The flip is introduced by Catalan Dj, journalist and author of ¡Bacalao! Historia Oral de la Mu´sica de Baile en Valencia, Luis Costa. Costa re-imagines 'Autogas' with his Tool Edit, reshaping the off-kilter keys and future highways and byways of the original. The finale is a true treasure from the annals of time. A live version of 'Autogas' from the legendary Rock'Ola club in Madrid, an unreleased work that is as audacious and bold as it was when it was first performed in 1981.

After the success of last year’s Mixbone EP, we once again invite four dance music experimentalists to remix Eric Copeland. Where 2017’s Goofballs was the first album recorded in its entirety in Eric’s current home of Palma de Mallorca, Spain, and the result of countless hours spent working in the studio, last fall’s Trogg Modal Vol. 1 pushed his ‘Freakbeat 4/4’ agenda even further, with a sense of humor that bubbles over and out through the speakers. Rife with chunky percussive layers and tweaked loopy vocals, these frenzied, self-described “rippers” are practically designed to be remixed. Parris (Trilogy Tapes, Hemlock) and RAMZi (RVNG, 12th Isle) both take on the singsongy rhythms of “Heads.” Parris’ take pares down the track, giving it room to glisten and expand, while RAMZi’s paddles along in a characteristically murky, laid-back manner. Lokier (Days Of Being Wild, Spirits) goes in for the jugular with an acidic rework of “321 Contact,” repurposing vocal samples as spooky EBM. Closing out the record is Gerry Read (Aus, Accidental Jnr), who pits the heavy stomp of “Electric Mud” against whizzing frequencies. Newfangled interpretations of tracks that were already out there to begin with.

'Sometimes you wake up and you've just lost the plot. Is life great or is it not Should I eat more fruit Is buying diamonds rude' Ca$hminus are asking all the wrong questions. After their debut on Bordello A Parigi last year and a recent appearance on Credit 00's Rat Life imprint, the Belgo-Australiana duo unleash a collection of their wildest works to date. The package opens with 'Atlandwehr', a jaunting affair that could have risen from the filthy Berlin Landwehr canal, only to dissolve again after six frenzied minutes, leaving nothing but a trace of bubbles on the skanky surface. The gritty 'La Foire', a grimy take on Belgian new beat, fuses raw, stepping drums with a playfully gnarly synth line. Luckily 'De Vlasmarkt' is lurking around the corner: this is the awkwardly joyous soundtrack to an annual phenomenon in Ghent, where young and old folks gather on the 'Vlasmarkt' square after a heavy night of boozing, to collectively gaze at at the sun coming up whilst drinking Irish coffees until they drop. G-funk meets electro on the flipside, where Cora from Chengdu showcases her vocal swag on '' to a backdrop of supreme subbass and rattling beats. Man of the moment Cornelius Doctor of HARD FIST fame (the adventurous imprint he runs with Tushen Rai) delivers a beast of a rework that both hypnotizes and elevates. The acapella leaves you in charge of your own destiny.

Mysterious white label release 'ALFA EP' coming from new kid on the block 'Alfa Cornae'.

This EP is all Italian, recommended listening: cruising through the Tuscany countryside, riding shotgun in a vintage Alfa. If the above is not at hand, then any local nightclub with a decent sound system will do.

Ok so you climb into your Alfa, a thing of beauty, you rev the engine, it sounds like your ex... in a good way.... This is a serious roadster, we're not talking Ford Mondao, we're talking all Italian smooth V8 engine, luxury leather upholstery, the real deal!

You're on your way to the best party in town, driving down the freeway toward Milan, 120 mph, roof down, a virgin Negroni in the passenger seat, casually smoking on a fat Toscano cigar; you're on the way to the biggest discotheque this side of the river Po.

Now you're in a hot tub. You don't know who's it is but it has bubbles. You turn to your right; next to you is Roberto Baggio. You take a big drag on your cigar and smile at him, he responds with a cheeky wink. Next thing you know you're dressed as a goalkeeper and everyone's dancing. Negronis all round, even for the reserves. Everyone is dishing out high fives; there's been one too many cigars smoked. Gerd Janson is dressed as a lama and the crowd is loving it.

London duo Damian Daley & Danny Dixon aka OdD return to FUSE sister label Infuse to follow up their breakthrough Cold Fusion EP with a four-track EP titled 'Tones Of The 90s'.

Lead track 'Tones Of The 90's' brings together the core elements of the London underground scene. Snappy hi-hats combine with subtle tones and garage-like vocal samples and plenty of bass. A2 'Phone Home' starts with the famous ET sample. Once again it's the snappy hi-hats that take centre stage, working alongside a well-programmed loop that bubbles throughout underneath the surface.

On the flip, loopy drum patterns dominate B1 'Yes Yes' before the EP comes to an end with the pick of the bunch 'Pressure'. Low-end frequencies combine with a dreamy synth line, signing off the release in typical Infuse style.

In the first part of a two-volume release, Eric Copeland (Black Dice) delivers Trogg Modal Vol. 1. It has been one year since releasing Goofballs and Eric has doubled down on his unique approach to crafting dance music, pushing a sort of 'Freakbeat 4/4' agenda even further than before. Where Goofballs was the first album recorded in its entirety in Eric's current home of Palma de Mallorca, Spain, and the result of countless hours spent working in the studio, Trogg Modal Vol. 1 is a bit less serious and more carefree, with tracks that are propelled forward by a singular, frenzied energy.

Chunky percussive layers, hard steady kicks, and tweaked loopy vocals create a playful vibe that is best described as a tropical-industrial hybrid. The final product comes together via seven succinct, self-described 'rippers,' music created both deliberately and accidentally, and always with a sense of humor that bubbles over and out through the speakers. With Trogg Modal Vol. 2 out in early 2019, this two-part release pulls into focus a vivid and unfamiliar new direction for Eric Copeland.

People Plus are CZ Wang and Joli B., signaling from a studio and or Hut in some remote location. Their debut EP consists of three trips into time in just as many styles.

Side A belongs to 'Olympus Mons', a song as big as the mountain its named from. Snake charmer synth lines and vocal roars backed by the baddest rhythm section in a while... wait for the solo! The B side holds 'Work It Out', with broken 4-off-the-floor drumz and revving echo effects. taking the coveted B1 spot is the always dancefloor smashing 'Second Cycle' - A verified banger that opens up with ground shaking acidish filter bubbles, and closes somewhere way up above the clouds.

The Secret Seapony debut E.P. with 4 pieces of varied cuts. Joined by Hillevåg dwellers: Afrahis JJ, Tom Ace & Ulli. Introduced with scattered morse codes pumped into deep turquoise oceans from the acidic dubmarine. Chiming lost triangles of Bermuda-trance w/ solid squared TB 303-bubbles and deep MS10 waves.

B-side greets nature with an uplifting melodic percussion session lead by JJ´s solid DX´ing and playful muranidaes. Last cut comes with full blesselse and merges into a bliss trip w/ Tom Ace & Ulli.

Norwegian Seapony Power!

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.

Crosstown Rebels deliver their next album in the form of a masterful offering from Chic Miniature. The cosmic duo, Ernesto Ferreyra and Guillaume Coutu Dumont make a welcome return to the label with eight tracks of melodic bliss.Fourteen years in the making, a thread of mystery weaves its way through the tapestry of this melancholic LP. It's a true journey through a sublime sonic soundscape. Opening track Adormecido is shrouded in mystery, closely followed by Miso Drunky with its tribal drums and dramatic synth stabs. Kaléidoscope bubbles up next, swiftly followed by Tilt with its genteel cowbell. Then comes Año Uno the first track created back in 2004 with its impressive church-like bells. Suki Ni is twinkling and sublime that flows into the delicate groove of Let It Slide, which samples an ambient rain storm. The album closes on La Sandunga gracefully littered with plentiful percussion.Of the album, the pair explain how they were 'raised on old technology and integrated the newer technology in our everyday lives as it was developing' a fact that is clearly apparent upon listening to the album. They give a sonic hat tip to their 'love of melancholic melodies....almost always rooted in the past, but to us, no time is attached. Are the new machines dreaming about the past, or are the new ones contemplating the future that lays ahead'. The album proves their ability to fuse the new with the old to create an album bursting with timeless tracks.Ernesto Ferreyra and Guillaume Coutu Dumont's partnership is a true meeting of musical minds. Their first release was gifted to us way back in 2005- the Conexio´n Califa EP released on German imprint Raum Musik. Since then they've released on Musique Risque´e as well as a previous EP on Crosstown Rebels. Individually, they've released a plethora of music with Ferreyra also heading up his own label Loosen Up Records and Guillaume signing music to Musique Risquée amongst others.

HESITATION is the culmination of a slow-burning penpal friendship between Reckno founder Chris Catlin (aka Yaaard), and Kit Records honcho Richard Greenan (sometimes Devon Loch). Meeting in London in 2016, the pair recorded a woozy slab of improvs, using a battered organ, guitars, a saxophone and whatever else came to hand. These takes were then stitched together into a seven track LP over the following two years.

Veering from shoegaze to crystal clear electronics and fuzzed out jazz, the results pull two ways: slow and fast, meditative and exuberant. Here is a place where time bends and bubbles, drunk synthetic choirs follow an endless skywards pulse, and plaited melodies hover in warm air like motes of dust.

Recommended if you like the heart-on-sleeve whistle alongs of Tenniscoats, Zappa's foggier guitar serpents or the creeping black magic of early Sebadoh. HESITATION is a joint release between Kit Records, Reckno and videogamemusic.

Dark Entries present the debut album from Bézier titled 'Parler Musique'. Bézier is Taiwanese-American musician Robert Yang who is also part of the Honey Soundsystem crew. A multi-instrumentalist, Robert grew up in Southern California then planted his roots in San Francisco in 2005. Over the years in SF he has built an impressive analog synth-based studio, which also serves as the creative hub for his riveting live performances.

Parler Musique clocks in at over 52 minutes with 8 tracks are spread across four sides for maximum loudness. The album title is a French transliteration on the phrase Parlor Music' and is evening music for a meeting of minds in a drawing room or a literary salon. To 'talk about music', the actual translation of the title, the album is a hotbed of ideas. Different genres are crisscrossed: punk, synthpop, jungle, new romantic, industrial and new wave. Airy melodies, surging arpeggios and symphonic breakdowns counterpoint cold digital drum sounds to convey beauty within inescapable and impending daily processes. The track titles for 'Parler Musique' zoom in on Romantic preoccupations with mystery, unknowns, depths--where themes combine to form an occult revelatory experience.

All songs have been mixed by Mark Pistel (Meat Beat Manifesto, Consolidated) at Room 5, San Francisco and EQed for vinyl by George Horn at Fantasy Studios. The vinyl comes housed in a jacket featuring a surreal circuit board pattern with pink bubbles flickering on an abstract horizon of water designed by Eloise Leigh. Each copy includes a postcard risograph-printed in fluorescent pink and dark blue with Dadaist text by Justin Aulis Long.

Is the drum the successor of human sacrifice or does it still sound the command to kill' Adorno, Motifs (1951)

Time for Colours, a new series with a playful sound and the world as inspiration. On Yellow EP, Lyssna invites the Italian producer Riciar Ghir to contribute on A1 with dreamy Cargo bubbles and tribal drums. A2 showcases the Italian duo, MINIMALAFRIKA. With several great releases on their resume, Drakma Queen takes you on a deep Sci-Fi house ride. On the flip side B1 yet another excellent Italian producer ROBOTALCO comes along. Involved in GetWet Records and one half of the Fake Congas duo. No More Disco takes you back to the old school 4/4 sound with playful and funky tunes. Last but not least is B2 with the young talented Stockholm duo Klubbhuset that released their debut album on the great NYC label Let's Play House. SS0817 is a classic house track with warm disco samples and hypnotic swirles that makes you wanna move your hips.

Bewitching Avant-Pop album from impromptu supergroup built around acclaimed Japanese duo, Tenniscoats. Featuring members of Notwist, Jam Money and Joasihno.

In these dark and uncertain times, there's an ever-growing collective of peaceful, loving types, bound together by an understanding of one peculiar word: Tenniscoats. Aside from being the name of an influential Tokyo-based duo, it represents fun, artistic freedom, experimentation and - perhaps most important of all - inclusivity.

A Tenniscoats gig is rarely the audience watching the performers. Instead, Saya and Takashi regularly shun the stage in favour of any particular spot that takes their fancy, whether it's an empty seat in the auditorium or the roof of a neighbouring cafe. In the world of Tenniscoats, music can happen anywhere, and everyone is invited to join in.

During the winter of 2016, the music happened in Munich. As a long-time fan, Markus Acher (Notwist) jumped at the chance not only to put Tenniscoats on the bill at the Alien Disko festival he was organising, but also to invite Saya & Takashi to a small apartment studio, together with Mat Fowler (Jam Money) and Cico Beck (Aloa Input, Notwist). This is where Spirit Fest was recorded over the following 14 days.

Tenniscoats are known for their collaborations - some of their finest work was done in conjunction with Tape, The Pastels, Jad Fair and many others - so making good use of the time and friends available was natural to them. For me, timing is important,' Saya said. We met in season, and the song flowers are now blooming!' Mat Fowler recalls the Spirit Fest sessions taking place in an idyllic, festive atmosphere. Every morning we'd all share breakfast, chat and learn about German Christmas customs. We'd catch the bus in the morning and walk home in the evening. The journey ran parallel to the beautiful flowing Isar River that bubbles, ebbs and flows right through the middle of Munich.'

While Tenniscoats sit at the heart of proceedings, it isn't their album alone. Markus, Mat and Cico also brought songs, providing a solid base on top of which the artistry could evolve. Mat explains that, a melody would begin, and slowly, each of us - in our own time - would find our way into the music.

Producer Tadklimp would sensitively set-up around us in this narrow window of time, so as to document that first and intuitive moment of collective discovery.' Nearly everything was recorded live,' agrees Markus, playing and singing together in one room with piano, guitars, percussion and some keyboards.' The collaborators came from Germany, Japan, the UK, Greece and beyond. That sense of inclusivity is palpable.

From the tender beauty of Markus's River River' and Saya's Mikan' to the electro-Merseybeat of Tenniscoat's Nambei' and the half-crazed pianica-reggae of Shuti Man', the resulting album is a testament to the manner of which these musicians are able to channel their songwriting through their spontaneity. It's also a snapshot of a gentle and intuitive moment in time - a beautiful meetup that expands this community, happily, even further.

Jon Willks (Grizzly Folk)

For our fourth release, we're pleased to welcome The Showfa inside the Excursions kitchen, to cook us up something sizzling for your mind, body & soul. Wielding a nifty set of disco scissors, he's selected the finest of gospel cuts and brought them neatly to the boil, serving up three delectable dishes of hot spiritual gumbo. Soul food of the highest calibre.

Taking us to church straight off the bat, 'Thankful' builds and builds along an infectiously uplifting piano-heavy hook, an edit that bubbles away effortlessly akin to a Moodyman-esque disco groove, perfectly crafted for the dancefloor.

'He'll Answer' drops the tempo and tone to something slower & lower, lending its sound to that of the most proficient beat-masters, incorporating moody synths and haunting strings, in a true future gospel style and pattern.

The last serving on the plate is 'Jus' A Little Talk' - a cheeky flip of a classic that's destined to make the AOR diggers and connoisseurs salivate profusely. This retro yacht rock bumper closes out this joyously ethereal platter perfectly.

Already finding its way into the crates of selectors such as Gilles Peterson, Horse Meat Disco and Patrick Forge, it's also received love in Mixmag and across the airwaves, from NTS to Mi-Soul to Rinse FM.

Another essential Excursion on wax, and one that will never leave the box.

It s time for Lewis Fautzi to introduce his first album on Pole Group, a collection of ten tracks of cosmic techno, carefully crafted making a soundtrack of the future, deep, intense and scientific.

Psycho path is the intro, made of granular textures, subtle drones and ambiences, stepping into Entering, pulsating sub bass, continuous sinoidal sequences, pads and tension.

Subconscious starts with the beat, opaque bass drum, micro hi hats, atmospheres and monotonous sequences at a low bpm rate while Diffracted speeds the tempo a bit with electric synths, flanges and twists creating an hypnotic number. Rentless pain follows, with resonant bleeps starring until assymetrical sequences appear and the synth lines evolve in a hi pass filter galore.

Seasick is humid and liquid, gummy sounds, clean drum programming, spaced out sounds and a lot of room. Then we come into Furrow, aimed to the intelligent dancefloors out there, synthetic bubbles, rolling sub woofer action , bleeps and noises. Cyclic Human reminds to the best scifi techno with bell like sequences, digital clicks, jazz harmonies and abstract progression.

Number nine is Optic Chiasm a direct number based on an obscure drum workout and filled with hi pitched relentless sequences, intelligently arranged to create a mental feeling as well as inducing to dance. Album closes with The Brain Revolution, like an evolution of Entering, beatless but still preserving the tension and the movement.

A coherent and complete collection of precise, surgical and futuristic music to be enjoyed as a whole adventure..

Boris Werner returns with 'Daymare Dreamer EP' featuring collaborations with noisemaker 'Gretz & Rival of Mars' as well as 'Cinema Royale' and two fresh solo tracks 'Dance of the Hump Back Whale' and 'Frustration (No Strings Attached'). This EP by Werner, known for his infamous 23 hour DJ set in Amsterdam, kicks off with the title tune 'Daymare Dreamer' riding it's way in at 7min40secs in total for a breezy welcome of classic Werner style house beats. This opening track bubbles with roots influence that fans will be familiar with as well as some slick vocal slices drifting in and out. Having previously realised mixes and podcasts alongside the likes of beat creators and funky jammers such as Dj Buck, Lazare Hoche & Malin Génie, William Djoko, and Dj Deeon this new release comes after many live shows and events including his live set from an old wine bodega. His summer calendar is booked up with international tour dates at some of the most spot on locales for dance floor showdowns. This wealth of tour experiences, inspiration and excitement can be felt from the jazzy Dance of the Hump Back Whale' through to the funky pulsations of 'Frustration (No Strings Attached). 'King Hassan a track created with 'Cinema Royale' features superb 80s style house/electro cow-bell samples, mysterious murky baselines and forward motion keyboard funk.

2016 reissue of an earlier album by Apparat, aka Berlin's Sascha Ring, who's also singing in Moderat, originally released in 2007.

"Apparat has had one hell of a year. His collaboration with Ellen Allien, the critically acclaimed album Orchesta of Bubbles, forged electrifying new connections between techno, electro and pop music. They developed the material into an electrifying live show that wowed clubs and festival audiences the world over. Apparat kept honing his solo show at the same time, delivering a powerful electro/techno laptop attack that would leave crowds twitching in its wake. And somewhere, in between all those activities, he managed to record Walls, his first solo studio album since 2003's Duplex. Despite its title, Walls isn't about dividing lines. Instead, it describes a circle that pulls many elements together into a protected, enclosed space where they jostle and roam free: strings and mallet instruments; rock guitar and gravelly sawtooth synths; stuttering digital percussion and muscular studio drumming."

Prolific Seattle producer Jon McMillion returns to Nuearth Kitchen with another crucial chapter in his epic tale of haunted house-music subversions. This EP offers four variations on a bizarre and engrossing theme. Don't It Make You (edit 1)' is a work of extremes: By some miracle of aural physics, it's at once one of McMillion's strangest tracks and one of his most accessible. He sets into motion a staunch, relentless house rhythm bolstered with congas, massed claps, synth-bass raspberries, and a badass male singer intoning, Don't it make you feel good, if you wanna get down/Just say it, say it again,' over which a miasma of enigmatic tones bubbles and swirls. Like Bohannon's disco-funk classics from the '70s, Don't It Make You' seems like a tease, even at 10 minutes duration, you wish it would roll on for at least 30. On Don't It Make You (edit 2),' McMillion strips things down to dance-floor essentials and erases some of the free-floating background weirdness.

The two remixes are revelatory. New York house icon Fred P. (aka Black Jazz Consortium) slides the track into a tighter pair of pants, but that just makes it swivel harder and slyer. He emphasizes Don't It Make You''s mysterious drones and then loops a female vocalist singing He keeps me' while dropping in some echoed male chatter to gently disorient. What a dreamy, soulful trip Fred P. conjures here. And rising German wunderkind Orson Wells layers and pitches up the original's cascades of bleeps, which becomes the dominant motif, and then subtly modulates said bleeps over the tune's seven minutes, while keeping that irrepressible rhythm strutting. McMillion's raw materials prove to be fertile ground for these two maverick remixers to flaunt their own fascinating quirks while maintaining the original cut's club-darkening and ass-moving functionality.

Concept e25 is back! Wax Classic 15 sees Concept e25's third release on the label in the space of just a year! The demand has been overwhelming for more garage house hits with that added subtle, French flourish. We heard those cries, so here we have another slammin' four track record from the man himself! The opening track of the EP, 'Sing!', is destined for greatness this summer on dance floors everywhere. For me, this will be the go-to track of the record for most DJs out there. On this track, Concept e25 combines a pumping Kerri style bassline with beautiful sustained chords, feel good vox cuts and the occasional sax line. Proper hands-in-the-air vibes here! 'Giving It' takes the EP into a deeper realm, one that evokes images of late evening summer sunsets. However, the garage swing and signature Concept e25 bass sound is still present. 'Lies' leads with moody chords before introducing a vocal that will be stuck in your head for a long time! Again, we have a smooth sax line to accompany the vocal up to the track's climax. Rounding out this solid release is 'Feel This Way'. Here, the punchy bass hits are united with an acid line that bubbles underneath, before being unleashed halfway through the track in a warehouse-reminiscent burst of resonance.

Audiojack's Gruuv label returns this October with a four-track package from French producer Okain, featuring a remix from Tuccillo. Parisian artist Samuel Thalman aka Okain has quite the standing in contemporary electronic music having been a prominent name as a DJ and producer for the past fifteen years. Playing at some of the leading nightclubs across the globe such as Fabric, Watergate, Space Ibiza, Rex Club and Electric Pickle to name but a few. Thalman's also built quite the respectable back-catalogue in his time, releasing material via the likes of Tsuba, BPitch, Memento and Cadenza, and here we see him add Gruuv to his affiliations.

Kicking off the release is 'Down the Block', seeing Okain offer up a rugged percussion and bass led house cut, fuelled by swinging rhythms, rumbling sub tones, sporadic sax licks and processed vocal lines, opening up the EP on an energetic tip.

'RZ One' follows this, retaining a similar aesthetic with an insistent drive and penetrative low-end, though Okain opts for a grittier production feel here, distorting the drum sounds, instilling expansive, atmospheric reverb tails and drawn out delays alongside hip-hop imbued vocal lines.

On the latter half of the release we have two versions of 'By Your Side', the first of which is the original mix from Okain, which takes on a more stripped-back approach in comparison to the preceding composition's, laying its focus on fluttering synth sounds, a stab-led bass hook and warm motown style vocal chops. 2020Vision artist Tuccillo then rounds off the package with his mix of 'By Your Side', turning in his signature percussive-led style on the mix with intricately programmed drums and a subtle underlying tension that softly bubbles away in the depths over the cuts seven minute duration.

Ovum's 20th birthday celebrations continues with the return of Itamar Sagi. Itamar Sagi debuted on Ovum in 2009 with the amazing Fiona/Agnes Blue. After a five year hiatus from the label, he triumphantly returns with the Invisible Key EP. Raised in the hot spot of Tel Aviv, with his artist roots deep in the techno underground. Itamar is from the new breed of the current techno wave. Already well respected, Sagi's reputation continues to grow with his unique floor filling productions. His productions have caught the attention of legends such as Laurent Garnier, Josh Wink, Carl Craig, Francois K and others. It wasn't long before he found recognition on a worldwide scale, including reviews and interviews with many of the world's most popular dance magazines and radio stations. With releases on Ovum, Be As One, Soma, Drumcode and more, Sagi has shown that he is here to stay. The Invisible Key EP kicks off with the title track 'Invisible Key", which is classic Sagi. The track slowly brings you in with it twists and turns. The track bubbles and builds and creates a tension that will keep the dance floor wanting more and more. The second track from this EP 'New Order' harkens back to the sound of Basic Channel, G-Man, and John Ciaffone. Sagi once again builds the tension with vocal samples and effects that deliver an absolute massive punch without being over done. For the final track 'Dub Superstitions", Sagi brings us a proper techno workout. The track percolates and builds and once again Sagi's amazing use of tension deliver a proper massive finish to this stellar EP.

Having kick off 2014 in spectacular fashion with their Episode #5 collab, Superfiction label chiefs Italoboyz and Blind Minded join forces again to deliver the next instalment from their popular label series.

Lead track Paradise Adventure effuses a sense of mystery with its psychedelic guitar rhythmically tripping between beats and electronic blues licks heightening the intensity while never reaching boiling point. This adventure bubbles brilliantly.

Christian Burkhardt is drafted in on remix duty and takes us on a march with his strong groovin' bassline. The German allows the sweeping atmospherics to play their part and brings the stunning guitar riff to the fore, allowing us to get lost further in the rhythmic groove.

Champagne Kisses closes the release and the bassline rule again as Blind Minded fly solo, weaving a heavy slice of bottom-ended funk. The vocal playfully chases the key changes to create an excellent sing-a-long club cut that could easily have lead the release.

Two strong originals and an excellent remix make this an Episode not to be missed!

Idiot Savant Masterpieces is the 3rd release and the first full solo EP by Amir Alexander on the Vanguard Sound record label. On display is Amir's somewhat off kilter take on U.S. dance music. An approach so different that one critic described the work of Amir and his crew as Idiot Savant Masterpieces. All bases are covered, acid, deep, big room, and banging techno with a little hip house thrown in for good measure. Vanguard Sound is quickly establishing itself as a label to watch so serious collectors should buy this one on sight!


The Realest of the Real! - An acid/ hip house hybrid banger that draws influence from the classic acid and hip house vibes. With vocals written and performed by Amir himself, this track combines 303 808 and 909 sounds with Amir's "street chants" to create a vibe that looks back to classic Chicago while pushing it forward and into the future.



Sonic Weaponry! - An insidious techno groove that grabs you by the neck on the first note, and never lets go. Tough banging drums combine with a staccato analog synth passage that charges like an advancing army. The rubbery bass line joins the fray to incite utter madness as this deceptively minimalistic track whips the floor into a mad frenzy.



Rebel Music (Version One)! - A big room Banger lead by a phrenetic sine wave bass line that never lets up. Deliberate, yet, stuttering percussion anchors the track. The accompanying synth ostinato continuously shifts as huge lush chords blow through like gale force winds. Black Panther's H. Rap Brown and Stokely Carmichael drop science about the nature of rebellion in the U.S.



Who are You - The "Deepest" track of the four opens with a beautiful ascending/ descending flute like synth passage that instantly sets the soul adrift. The hard and jumpy kicks interplay with a throbbing rhythmic bass that bubbles like a boiling cauldron. About halfway in a driving synth ostinato comes in to push the track forward. In the middle there is a dreamy