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Two classic cuts from the Kaoz Theory vaults get released for the first time on vinyl, with a fresh remaster for the modern mind, body and soul. First up, Dam Swindle ‘Ballin’ a sumptuously smooth, groove-laden yet chunky house heater with the flip housing a late-night deep delight from Ben Rau titled ‘Be Who You Want To Be’.

The dance-floor attack of Mr Mangiadischi continues with the 3rd episode of the label.

On the logo side, A1 with a hip-house interpretation of a late 80’s classic hip hop bad ass tune, and on the A2 with a perfect fusion between early 80’s electro synth-pop and early 90’s minimal tech.

On the back side, an early night/afterparty/umbrellacocktail/ poolside smoother, to complete and add an extra hint of diversity to the release.

Akumandra’s newest release, DIGITAL WATER by German producer, Coss, offers a neat, rhythmically fluid sound that, like water, is both dreamy and soothing as well as energetic. In the first of the EP’s four tracks, ENTRY POINT OBSCURING, a syncopated beat exudes rhythmic energy as watersounding synths plunge us into the track’s intricacies, opening the possibility for rapturous introspection.


Track number 2, ESCAPE FROM PELOG SELISIR, contrasts a deep bass with modulated synth-progressions, to deliver a sound that calls for motion as well as reflection. LOVE LETTER FOR YOU emphasizes bright, upbeat progressions to maximize the ecstatic energy built up
throughout the track.

The currents of emotions stirred by the EP culminate with TWOWORLDS, the smoothest track in the EP. A hi hat groove sustains the rhythm as a bassy synth gives amplitude to the track, creating a subaquatic feeling of depth and wonder.

Josh Butler joins Kerri Chandler’s Kaoz Theory imprint with the ‘Piranha’ EP, featuring a collaboration with Josh Daniel and two further original compositions.

Northern England’s Josh Butler has been at the forefront of the contemporary house scene over the past decade, racking up releases for the likes of Defected, Rejected, Solid Grooves, Hot Creations, Crosstown Rebels, MÜSE and many more. Here though we see Josh returning to Kerri Chandler’s Kaoz Theory following 2023’s ‘Sunday Club’ with some fresh, dub house leaning material.

Opening the release is ‘Be There’, a collaboration with Josh Daniel, laid out across five and half minutes with dubbed out piano chords, crisp drums, a bouncy bass line and Daniel’s soulful vocal stylings.

A dub mix is offered up to follow, laying focus solely on the groove. On the flip side we have ‘Piranha’ up first, a hazy journey through dubbed out synth swells, airy vocal chants, skippy low-slung percussion and snaking sub bass tones.

‘Chess’ then rounds out the EP, laying down heavily swung minimalistic percussion, fluttering low end pulsations and ethereal atmospheric textures to create a subtly unfurling, cinematic dance floor groove.

DJ Feedback:

Junior Sanchez – Dope freshness!

Dennis Quin – Nice EP, feel the tracks

Lele Sacchi – All good deep rollers

Alexander Maier – Superb deepness in all

Ruff Stuff – Great EP! Love it!

Danny Howells – Loving this, all four tracks totally worth of support

Milos – Amazing EP, great tracks

Chris Brennan – Supremely smooth tunes, lovely lovely

Mr V – Straight fire

After three so elegant, as well as successful EPs on the mother ship, you can sometimes get cocky. Jonathan Kaspar invites himself to the Speicher Party and really lets his hair down. “Topper” may or may not refer to Charlie Sheen’s epic performance in ‘Hot Shots’. It certainly takes no prisoners either. The track rattles and squeaks like an old feather bed while… oh, let’s leave that to your imagination. After such an exhilarating burst of exuberance, comes “FEZ” to smooth the waters. An arpeggio that seems quite serious at first glance doesn’t quite manage to get past Jonathan’s riotous mood unscathed. Half he pulled it, half it sank into him. Nobody gets out of here without a hangover.

Nach drei so eleganten, wie auch erfolgreichen EPs auf dem Mutterschiff, kann man schon mal frech werden. Jonathan Kaspar lädt sich nun selbst zur Speicher Party ein und lässt so richtig schön die Sau raus. “Topper” nimmt vielleicht Bezug auf Charlie Sheen’s epische Schauspielkunst in den ‘Hot Shots’ Filmen. Er nimmt jedenfalls auch keine Gefangenen. Der Track rattert und quietscht wie ein altes Federbett beim… ach, überlassen wir das Eurer Fantasie. Nach einem derart erquicklichen Ausbruch von Übermut, kommt “FEZ” um die Wogen zu glätten. Einem auf den ersten Blick recht seriöses Arpeggio gelingt es nicht ganz, ungeschoren an Jonathans Krawall-Laune vorbeizukommen. Halb zog er es, halb sank es in ihn hinein. Ohne Kater kommt hier keiner raus.

On this second delivery of Uruguayan Sound, Mephis presents us with two like-minded producers with a love for machines and their sound.

On the A side we have Elias Sternin, with his particular nostalgic, mysterious and trance-inducing sound. The EP opens up with Wah Wah y Phaser, evoking the feeling of a spaceship lifting off, into the big Other. Bass rolls into the stratosphere, whilst sharp and poignant synths push us past the space rubble that surrounds our planet. The second Track is a proper mood work, landing us in an uncharted yet familiar alien landscape. You can breathe the mystery in, whilst closing your eyes and embracing the unknown.


On the B side we continue travelling through a path of esoteric and questioning vibes. Artesano Titer delivers an ominous mind trip with Science to Music, an utterly mesmerising soundscape to question yourself and your Umwelt. Closing off the EP, we have White Rabbit, a profoundly narcotic trip to the centre of our own perception. Slides, breaks, smooth lines and an acidic bass that spiral down to the core of the self.

Detective of Perspective; Need to try and get a bigger eye, Open wide.

After six illustrious vinyl releases behind them, Forbidden Dance takes this one deeply close to home. As a rising house name from Croatia, Laseech signs this harmonic and creamy house release iced with stellar vocals by Desney Bailey and backed up by two of the house heavyweights – Dego and Patrice Scott.


A1 The title track “Hey Love” is packed with effortless deepness in and out topped with smooth Bailey’s vocals dancing elegantly over chords and strings. Dazzling tuneage that resembles airy summer jam at your favourite beach spot.
A2 Dego is a man with a thousand sounds. And all of them are rich and impressive. His disco-funk spin on “Hey Love” is ploughed with heavy synths and sharp drums that culminate with a lush keyboard frenzy in the end.


B1 Patrice Scott’s ability to infuse introspective soul into machine sound is second to none. “Hey Love” goes through melodic morphosis which Patrice delivers so smoothly and tinges it with floor-oriented moves.
B2 Bailey’s vocals are the soul carrier of this release and it shows pretty much on “You See”. Hazy and melancholic, the track slowly burns under her looped vocals. Stripped, heart-aching and beautifully dimmed.

"Superstar" by Bob Mc Gilpin released in 1978 was a great
success in all around the world’s dance floors.The title
track was the only 12-inches single released from the
album. "Superstar" soon managed to enter the Top Ten of
all dance charts and radio programming. Among these
new versions remixed by Marco Fratty (F.P.I. Project) the
Smooth Paradise Remix is suggested for a relaxing
listening experience and the Extended Remix are noted for
clubs.

Recut & Repressed!

Kharkiv label Trance Pandemic did not have to wait long for the announcement of the next release and already in september plans to release a new work Komponente and Kurilo, known for their love of trance and acid. The album "Lord Of Destruction", consisting of four dashing tracks, justifies the name with its energy, which quickly brings to consciousness from summer drowsiness.


"Lord Of Destruction", which opens the pawn - the real master of
destruction, an extraordinary track, which is designed to conquer the
dance floor with its non-linear bass lines and smooth pedal
arrangements, including the singing of Elina Elian and the voice of
Kurilo. "Magnifico" is a mysterious trance xenomorph. The multifaceted "Etat" starts from a state of ecstatic joy, and then carries to the depths of the subconscious. "Oblivion" is an acid forgetting of this record, a message in which vocal samples and acid stuffing, seasoned with good bleep techno are intertwined.

On April 7th electronic luminary Nathan Fake presents the new longplayer ‘Crystal Vision’ on his own Cambria Instruments imprint, which features collaborations with Clark and Wizard Apprentice.

This is music for music’s sake – recorded without angles, agendas and themes – so Fake was free to simply continue honing his craft and express himself non-literally. Aptly titled, there’s a clarity of execution and ambition, and a peak effectiveness to the record that just sounds right.

Continuing to set a personal bar higher and topping his own best, the mark of master craftsperson is everywhere, but that doesn’t mean it’s polished; There’s plenty of rawness evident, with spiky sonics keeping ears on high alert – full of endorphin-flooded rave energy.

Following a short, scene-setting ‘Arrival’ – a simple major chord arpeggio played on a Jupiter 6 which sounds like curtains opening at dawn, things begin apace with ‘The Grass’, which hurtles like a precision-tuned bullet train through Arctic tundra. The undulating effect of compression is emphasised by the classic techno trope where 2 rhythms jar yet interlock, creating an exquisitely disorientating strobe-like flutter. On the track’s guest, Fake comments, “I fell in love with Wizard Apprentice's ‘I Am Invisible’ and felt our musical styles were similar. Their vocals are smooth and clear and sharp at the same time. They’re like a calm within the storm.”

Inspired by Italo disco but sounding wholly alien and futuristic, ‘Vimana’’s fizzing buzzsaw arpeggiated bassline, popping snares and bright whirling melody are equally an electro trance melange, with an effervescent major chord Arp that kicks in midway.

Reminiscent of what used to be called ‘funky techno’ but with sparklier sounds, ‘Boss Core’ blinds like sunshine bouncing off ice. Using his trusty Boss DR550 drum machine, and inspired by Autechre's ‘Vose In’, the track peaks by reaching that melancholic/euphoric axis for which he is loved.

With chugging slow breakbeats not a million miles from Board Of Canada or trip hop, ‘Crystal Vision’ rolls along, with the melody opening up, revealing more hidden notes as it progresses, building into a fractal, kaleidoscopic mosaic.

An emotional outpouring with serotonin surging through the circuitry, classic breakbeats and layers of lazers, ‘Bibled’ has all the hallmarks of a classic. This is a bonafide festival-set closing, hugging-your-mates, moment – or, with its guitar solo, “a power ballad” – as Nathan calls it.

A minimalistic moment of calm midway through the album, ‘CMD’’s gently comforting dreamscape is conjured with FM stacked and detuned sine waves which are left to breathe, whilst the chunky Chicagoan house jack of ‘Hawk’ brings to mind classic Relief records, but even more detuned and wibbly, and laden with synths.

As the title suggests, ‘Amen 96’ is in Fake’s own words, “me having a go at jungle. I grew up listening to it, and I remember as a teenager it sounded like the most intense and otherworldly music ever. It still does. This track is an experiment to see how my melodic style works against amen breaks”. Closer to the braindance end of the spectrum than ‘proper’ jungle (and all the more interesting for it), Fake channels the spirit of Squarepusher but makes it his own, brimming with melodious twinkle.

A collaboration with Nathan’s close friend and genuine musical hero Clark. ‘Outsider’ finds this dream team alchemising pure gold that’s bigger than the sum of their parts. Skittering, intense, far-reaching end epic, the pair close proceedings on a grandly dramatic note. In 2020 Nathan released the album ‘Blizzards’, which was described by The Quietus as “his best work”, and “his best LP yet” yet by Resident Advisor. The equally well received ‘Blizzards Remixes’ EP which featured Afrodeutsche and Irene Dresel followed in 2021, as did a nationwide UK tour.

An in-demand remixer, Fake has added his magic to tracks by Radiohead, Clark, Perc, Jon Hopkins, GoGo Penguin, Dominik Eulberg, Christian Löffler and Damian Lazarus, working for labels including Ninja Tune, Domino, Warp, Blue Note and Kompakt.

Zurich’s Elvis Cassetta delivers a dazzling four-track debut EP to his brand-new WhyNot imprint. Complete with a refined deep house sound, this is an expertly crafted body of silky smooth grooves to get floors shaking.

'Down With Us' instantly displays Cassetta’s effortless ability to create a hot house swing using just a handful of elements – subtle groove, skittish percussion and a sultry vocal sample. The whole track is thrown out wide in the breakdown, but then as the bassline is brought back in, Cassetta draws it all back in close for an intimate dancefloor moment. Definitely one of those hands-in-the-air peak-time scenes.

Dreamy synth pads steadily build under a thunderous kick drum pattern on the EP’s second track, 'Focals Finest', which takes the tempo up a notch for a real sweat inducer.

Finally, it’s all about a raw bassline on the metallic and techy 'Jupiter Groove'. Contorted slices of spoken word dip in and out throughout to create another level of leftfield, danceable percussion. While the low end is the main focus on the original, in Silat Beksi’s remix, we hear a brighter take on the deep groove. There’s a swirling sample, more prominent key stabs, eerie vocals and a teasing smattering of melody. Percussive elements are thrown from all angles, and they pulsate up into the rafters of the lofty house track, leading you further into a state of hypnosis.

Overall, these are house tracks made right – a classy release fit for warming in crowds in style.

High Focus Records are excited to share a new full length offering from prolific Brighton based producer Mr Slipz, this time with a fresh label signing, Australian rapper Nelson Dialect. A landmark release and signing for High Focus with Nelson being the first international signing on the label. UK listeners might have first heard Nelson collaborating with Verbz & Mr Slipz on the song ‘Hope’ from their acclaimed LP ‘Radio Waves’ released on High Focus in 2020. Nelson has a cult following in his own right in Australia, and previously released music on the legendary U.S label Fat Beats to great acclaim. Now teaming up with one of the most exciting and respected UK producers, Nelson & Mr Slipz deliver ‘Ever Since’. A statement piece by two artists with well over a decade spent on their craft which sounds as urgent and refreshing as if it were their first time releasing music. The album’s title is a reference to the endless quest for a timeless sound, reflecting the creative partnerships which spark from a seemingly forever existing thread of music. The two artists crossed paths whilst Nelson was on tour in Brighton, and a chance introduction to Slipz made this album a reality. As fate would have it, due to a cancellation of plans and changing of schedules during Nelson’s tour, the pair ended up in the studio for 8 days straight together which is when the bulk of the album was created. They each saw this as a cosmic alignment and thus played into the albums astrological artwork themes and overarching concept. Striving to capture the lightning in a bottle moment, what resulted musically on this album was an inspired surge of energy and intense creative output that is felt across the entire LP. Equal parts personal and lyrically dextrous, Nelson explores a multitude of concepts over the hard hitting drums and jazzy samples producer Mr Slipz is renowned for through his previous work with artists including Verbz, Kofi Stone, Vitamin G & Datkid among many more. The album features a slew of impressive guest verses including label mates Vitamin G & Verbz on the emphatic ‘Oxford Scholars’. Two legends Jehst & Confucius MC combine on ‘Smooth Ride’. Bronx pioneer & D.I.T.C legend A.G delivers a show stopping verse on ‘Trembling the Marrow’. There are hypnotic singing performances by Indira May on ‘First Date’ & ‘Open Book’ as well as Hiatus Kaiyote back up vocalist Jace XL on the soul stirring anthem “Figure Out What’s Right”. U.S rappers SickInTheHead & Cazeaux O.S.L.O round out the impressive guest list on the album with their inspired verses. Listeners caught their first glimpse of the duo with their debut single ‘Only Just Begun’. A whirlwind 3 verse tune showcasing the relentless wordplay and imagery Nelson is regarded for over a moody, hard hitting Slipz production. With a buzz already around what Nelson Dialect & Mr Slipz are brewing, the duo have just released their second single ‘Oxford Scholars’ featuring label mates Vitamin G & Verbz

It was in the year 1981 when Belgian electronic musician Michel Huygen and his Spanish colleague Carlos Guirao, both better known as Neuronium, met with Evngelos Odyss as Papathanassou, better known as Vangelis, to record a joint session in London.

Michel Huygen remembers: "The music we played together starting from my score, was flowing, flowing so fast and smoothly between the 3 of us, that I can now, many years after, say: We recorded all the music's parts in one single "shot", since the result was absolutely what we all wanted and Vangelis told us: "Don't touch what we have recorded, it is lovely " and so we did."Now, after some rather unofficial releases, the opus "In London" is finally released for the first time in its entire length, titled "In London - The Platinum Edition", fondly reworked, remastered and sonic refined to perfection exactly 45 years after Neuronium released their first album on the famous Harvest label.

Michel Huygen had intended to celebrate this anniversary with Vangelis in Paris. But fate had other intentions, on May 17, 2022, Vangelis died as a result of a Covid-19 disease.
Huygen: "I feel honored to have been able to meet him, to play music with him and to have him as a funny friend too. And mainly to have been able to meet a huge musician, a classical composer for the forthcoming generations, without doubt. R.I.P, dear Vangelis."

Presented together for the first time, American composer John McGuire’s Pulse Music series (1975-1979) blurs the popular narrative that Minimalism was a reaction against Europe’s angular, intellectual, inscrutable high-modernism. McGuire, born in California, studied at Occidental College in Los Angeles and UC Berkeley before going to Europe to study with Karlheinz Stockhausen, Krzysztof Penderecki, and Gottfried Michael Koenig. His compositions lock serialism’s warped geometries onto an evenly spaced grid, perfectly preserving serial music’s multi-dimensionality while smoothing its wildest disjunctures and sharpest angles. If serialism is Montreal’s Habitat 67 modular housing complex, McGuire’s Pulse Music compositions are the primary-colored grids of Le Corbusier’s L’Habitation apartment complex — an exuberant expression of the same materials and principles.

Every layer of pulses is made distinct through its timbre, register, and tempo. We hear them as a plurality, organized like stars in the sky. Every so often the sky rotates and the stars appear in a different arrangement. Our ear naturally starts to draw connections and, as it sweeps between one layer and another, what was discrete becomes continuous. Pulses become flows; quantitative reality becomes qualitative experience.

Originally recorded by D-Train, some might say this is one of the most important post disco records from the 1980’s, which appeared on the legendary Prelude records originally. What makes this version particularly special, is the fact it features another important artist from the post disco era Colonel Abrams, who is most famous for his cult classics ‘Trapped’ and ‘I’m Not Gonna Lie’ which both topped the charts in the mid 80’s. Aussie disco lord Dr Packer, who is currently on tour across Europe teams up with newcomer Sonic Soul Orchestra, who flip this into a fresh disco house cut that includes all new instrumentation whilst respecting the smooth vocal stylings of the Colonel. Plus remixes from Ross Couch, & Ricky Morrison (M&S).

Early DJ Support:
Jamie Jones, Mark Knight, Michael Gray, Roger Sanchez.