Search:classic acid house

Sea Blue in Coke Bottle Clear Vinyl.

Because Hold, Jack Tatum's fifth album under the moniker Wild Nothing, was written in the aftermath of new parenthood during the pandemic, it was probably inevitable that it would be searching and existential music. But during the recording process, the artist known for synth-pop tastefulness used it as an opportunity to reach for a new sonic maximalism and wider set of influences. With contributions from longtime collaborator Jorge Elbrecht, Tommy Davidson of Beach Fossils and Hatchie's Harriette Pilbeam, first single "Headlights On" features an acid house-worthy bass groove and breakbeat that prove Tatum is playing for the rafters. Tatum produced the rest of the record on his own, partially out of necessity, due to the challenges of the pandemic. The songs were eventually brought to Adrian Olsen at Montrose Recording in Richmond to begin recording drums and filling in the gaps. While largely a product of isolation, Hold also reflects the things Tatum has learned from collaborators, both on previous records and during his acclaimed work with Japanese Breakfast and Molly Burch. The rest of the record was mixed by Geoff Swan, who listeners might know for his work with Caroline Polachek and Charli XCX. Swan put Tatum's vocals high in the mix, and throughout the album, he embraces playful vocal processing like never before. Tatum moved from Los Angeles back to his home state of Virginia about five years ago in search of a scaled-back lifestyle. The relatively suburban environment - and the occasional regret it inspired - proved to be great artistic fodder. It's the paradox of modern America - the suburbs are supposed to be stultifying to art, but they are so full of human desperation perfect for dramatizing. On "Suburban Solutions", he presents an anti-jingle with an acidly bright synthesizer melody, imploring you to sign on the dotted line, put your feet up, and embrace sweet oblivion. Adding to the song's menacing cheeriness is a chorus-sung bridge, made with assistance from Molly Burch and Tatum's wife, Dana, It was loosely inspired by the classic Martika song "Toy Soldiers" and the long-ago pop craze for children's choirs, and he embraces the trend's less-than-stellar reputation. By design, Hold dwells in uncertainty and fear, but in a package that encourages meditation and a bit of fun. "In the face of the pandemic, I think being a parent really forced my hand," Tatum said. "I felt that I had no other choice but to have a positive outlook on the world. Because if I were to give in at any moment and say, "Oh, everything is horrible," then I'll feel as if I've lost and I've given up on my son being able to thrive in this world."

Sea Blue in Coke Bottle Clear Vinyl LP + artist signed art print. Only 200 available.

Because Hold, Jack Tatum's fifth album under the moniker Wild Nothing, was written in the aftermath of new parenthood during the pandemic, it was probably inevitable that it would be searching and existential music. But during the recording process, the artist known for synth-pop tastefulness used it as an opportunity to reach for a new sonic maximalism and wider set of influences. With contributions from longtime collaborator Jorge Elbrecht, Tommy Davidson of Beach Fossils and Hatchie's Harriette Pilbeam, first single "Headlights On" features an acid house-worthy bass groove and breakbeat that prove Tatum is playing for the rafters. Tatum produced the rest of the record on his own, partially out of necessity, due to the challenges of the pandemic. The songs were eventually brought to Adrian Olsen at Montrose Recording in Richmond to begin recording drums and filling in the gaps. While largely a product of isolation, Hold also reflects the things Tatum has learned from collaborators, both on previous records and during his acclaimed work with Japanese Breakfast and Molly Burch. The rest of the record was mixed by Geoff Swan, who listeners might know for his work with Caroline Polachek and Charli XCX. Swan put Tatum's vocals high in the mix, and throughout the album, he embraces playful vocal processing like never before. Tatum moved from Los Angeles back to his home state of Virginia about five years ago in search of a scaled-back lifestyle. The relatively suburban environment - and the occasional regret it inspired - proved to be great artistic fodder. It's the paradox of modern America - the suburbs are supposed to be stultifying to art, but they are so full of human desperation perfect for dramatizing. On "Suburban Solutions", he presents an anti-jingle with an acidly bright synthesizer melody, imploring you to sign on the dotted line, put your feet up, and embrace sweet oblivion. Adding to the song's menacing cheeriness is a chorus-sung bridge, made with assistance from Molly Burch and Tatum's wife, Dana, It was loosely inspired by the classic Martika song "Toy Soldiers" and the long-ago pop craze for children's choirs, and he embraces the trend's less-than-stellar reputation. By design, Hold dwells in uncertainty and fear, but in a package that encourages meditation and a bit of fun. "In the face of the pandemic, I think being a parent really forced my hand," Tatum said. "I felt that I had no other choice but to have a positive outlook on the world. Because if I were to give in at any moment and say, "Oh, everything is horrible," then I'll feel as if I've lost and I've given up on my son being able to thrive in this world."

Semi Delicious return for their 16th edition with the impressive ‘Asylum Of Love’ VA inviting faces old and new to the imprint. A label noted for bringing together impressive collections of talent, SEMID016 is no exception with contributions from Krywald & Farrer, Gallegos, Tattie Dee, Omar Smadar & DJ Gear, Scarlett O’Malley & label boss, Demi Riquisimo.

The A-side welcomes Krywald & Farrer, Gallegos and Tatie Dee. The release kicks off with ’Seize The Source’ from the aforementioned Krywald & Farrer. A classic house beat with modern, psychedelic flourishes, the track sets the tone nicely for an EP loaded with club ready heaters. Up next is label regular Gallegos with ‘Asylum of Love’, in keeping with the
house-centric motif, Gallegos delivers an acid laden, Chicago inspired weapon. ‘For My Niece’ by Tatie Dee wraps up side one on dreamy, Balearic tip.

Omar Smadar & DJ Gear’s ‘Check One’ opens up the B-side. A cruising progressive jam that's certain to be heard throughout the autumn and for the duration of 2023’s club season. Next Rinse FM resident and Club Cowgirl label boss Scarlett O’Malley makes her Semi Delicious bow with the grooving percussive ‘Hey Party People’. Demi himself puts the finishing touches on SEMID016 with a 2023 interpretation of his own ‘Rocking You Internally’ from his own ‘Mirage Over’ EP, released on the same imprint.

“Pumping, vibrant, and packed with energy”: Iconic duo Dam Swindle deliver once again with their ‘Minor fools’ EP.

Last year, Dam Swindle celebrated their 10 year anniversary with the ‘Keep on Swindling’ series. The hard-hitters ‘All I want’, ‘Good woman’, and ‘You’ showed various sides of that much loved Swindle sound as well as some steps into a more leftfield electronic area. Now, they’re back on Heist with a 3-track club EP full of that recognizable upbeat energy.

‘That’s Right’ has Dam Swindle in full live mode, not unlike their timeless classic “Call of the Wild feat. Jungle by Night”. Live keys, bass, percussion, and horns (the latter by the Jungle by Night’s trumpet guru Bo Floor) give you the feeling like you’re on stage with a full band, hearing them give their all to record this heartwarming piece of music. Over the course of its 7 minutes, the duo takes you on an electrifying feel-good trip through the Swindle sonic universe.

On The EP title track ‘Minor fools’, Dam Swindle go into classic US house mode. Shuffling hats, a bouncy bass and male vocal chops lay the foundation for some crunchy jazz chords (think Underground Resistance with a Swindle touch). The track builds tension with haunting organs, looped vocals and smart modulation in the keys. Add to that the bouncy synth section at the heart of the track and you’ve got a jam that slaps hard in the best way imaginable.

The EP ends with the dreamy & contemplative ‘Soul’s lament’; A slow burner that builds and builds on a relentless rhythm of bells and skipping hi-hats. Slowly, a massive string section takes control of the track, after which, an acid line takes over that gives the track its driving electronic touch. It’s a welcome deep note to an EP that shows you exactly why Dam Swindle are such well respected and versatile producers.

Grab this record while you can and dance, dance, dance!

It's the one you've been searching for....new white label action from Klasse Wrecks in the form of BOY1. The boy-wonder behind the music is none other than Seoul's favourite soulful son, Mogwaa. It's dubbed out pianos, forget-me-not vocal hooks and classic breaky House with a sprinkle of acid to sweeten the pot.

Introducing the eagerly awaited second instalment of Fabio's meticulously curated collection of liquid Drum & Bass classics - 'Generation Liquid.'

Fabio, a true legend in the music industry for over three decades, kickstarted his illustrious career as a Pirate Radio DJ in the mid-80s. Throughout the years, he masterfully evolved his style across various musical genres, ranging from Dub and Hip Hop to House, until he ultimately solidified his position as one of the pioneering forces behind Jungle and Drum and Bass. Fate played a remarkable role in Fabio's extraordinary musical journey. Serendipitously, he landed a pivotal spot on the pirate radio station Phase One, all thanks to a connection through a close friend. This opportunity allowed Fabio to showcase his raw talent and hone his early skills. As destiny continued to guide him, Fabio formed a powerful partnership with Grooverider, and together, they soared to fame, headlining numerous major outdoor raves and orbital M25 parties during the late '80s acid house boom. The duo's magnetic presence and innovative sound captivated audiences, setting them apart as trailblazers in the electronic music scene.

As club culture blossomed, Fabio and Grooverider became the distinguished residents at the iconic club night RAGE, hosted at Heaven in the heart of London. Their influence was immense, as they were credited with moulding the early Jungle sound and orchestrating the world's first-ever weekly Jungle night. Fabio's unwavering passion and dedication to music have not only left an indelible mark on the industry but have also inspired countless aspiring artists. His boundless creativity and willingness to push the boundaries continue to shape the ever-evolving landscape of electronic music, solidifying his status as a true pioneer and a living legend.

After the Jungle scene declined and underwent a distinct shift in sound and style, Fabio took the initiative to establish London's first dedicated soulful deep Drum and Bass night, known as Speed. Week after week, Fabio shared the decks with LTJ Bukem, and their skilful sets eventually garnered immense popularity, drawing in not only junglists but also celebrities, club kids, record label A&R representatives, and the who's who of the West End at that time. When the curtain fell on Speed Fabio's legacy continued to flourish with the inception of his legendary Swerve weekly residency at The Velvet Rooms, which later relocated to the iconic club, The End. The influence of Swerve was profound, serving as a catalyst for the creation of influential labels like Hospital Records, Tony Coleman (also known as London Elektricity) became a regular attendee, further contributing to the scene's growth and innovation.

The term 'Liquid', was born out of Fabio's deep admiration and support for his protégé, the talented Northern Irish producer and DJ, Dominick Martin, famously known as Calibre. This inspiration led to the creation of his acclaimed 14-year radio show on BBC Radio 1, 'The Liquid Funk Show', which drew from Calibre's masterful productions that Fabio likened to "liquid gold" for the ears. Through this show, Fabio played a crucial role in breaking numerous iconic records, and artists such as Chase & Status, High Contrast, and many many more.

Now, 'Generation Liquid' takes the baton from the legacy of Speed, Swerve, and 'The Liquid Funk show', capturing the essence of the era and the soulful, deeper music that Fabio has championed throughout his illustrious career. This meticulously curated collection celebrates records that embody the spirit of soulful D&B, making it a must-have for anyone who has followed Fabio's musical journey since the vibrant days of the 1990s up until now.

The second volume of this immersive exploration into the soulful realm of Drum & Bass is just as indispensable as its predecessor. It boasts a curated collection of rarities, timeless classics, and straight-up anthems from the vibrant liquid D&B scene. Esteemed artists such as DJ Marky, Calibre, Calyx & TeeBee, and dBridge all contribute to what is undeniably becoming a seminal anthology of the subgenre. The track selection and seamless programming are expertly guided by none other than Fabio himself, providing listeners with a nostalgic glimpse into the electrifying atmosphere of being right on the dance-floor at iconic events Speed and Swerve.

For his debut solo release on Not An Animal, label co-pilot Andy Bainbridge serves up a raw, late-night house dub, accompanied by sizzling remixes from Donald’s House & Komodo for good measure.

Up Too Much starts simply, evoking house classics of old. Dubby percussion sets the genre but don’t be fooled, the Buchla synth wobbles that form the track’s melody, delicately placed acid sprinkles and a vocal garnish A-typical to the host label bring the track squarely into the modern day to form a tough yet gentle roller.

Next off the pass is the Donald’s House remix, finely weaving the essence of the original mix into a proggy sidewinder, highlighting the acid arps previously lurking in the background and slowly melting the track into a delicious trancey mess.

Meanwhile Komodo kicks things off in a classic Chicago style; claps, stabs and all, with vocal samples adding that extra texture for the knockout punch.

Slacker 85 is the new label from the mind of one of the world’s biggest DJs & most recognised personalities, Seth Troxler. The first release, SLACKER001, brings together Seth and four more artists with their own takes on modern electronic music, to introduce fans to Slacker 85's remit for the oddball, esoteric & diverse sounds that are forthcoming from a wide range of artists and genres.

The label launches with the long awaited release of ‘Pills’, a a low slung acid groove that has been an in-demand staple of Seth's DJ sets around the world over the past year. It will be followed by the effervescent jacking house of ‘Let’s Go’ by Jackmaster – destined to be a mainstay of global dancefloors throughout this summer – before the fast-rising UK talent Ghoulish drops ‘Forever Ugly’, a romantic filter house earworm that harks back to the halcyon era of Fred Falke and Alan Braxe.

Rounding out the first batch is Cesar Merveille’s collaboration with André Baum (People People / Beyondré). ‘The Finish Line’ sees the Cadenza-affiliated Parisian’s building a melodic analog groove while NYC’s Baum invokes classic 80s electropop with his understated vocal.

Lower-case and higher-vibes, loket is the saxophonic alias of Tahl Klainman, a versatile presence in Berlin’s alternative and underground scene, whose diverse productions have traversed ambient, trance, techno and jazz on labels such as Mama Told Ya, Hot Concept and Tax Free Records. More recently loket also guested on Massimiliano Pagliara’s LP ‘See You In Paradise’, which received the 2023 German Record Critics’ Award, as well as establishing Klainman as one of the few saxophonists to have jammed live to a peak-time Panorama Bar dancefloor.

Reigniting the languid futurism of trip-hop and downtempo, ‘All Ages’ ably delivers the most inclusive distillation of loket’s sound thus far, paying respect to the influences such as William Orbit and Moby, as well as fourth-world innovator Jon Hassell’s philosophy of blending traditional instrumentation with contemporary electronic experimentalism. Mixed in collaboration with Angus Finlayson, aka Minor Science, each of ‘All Ages’ four pieces transmit the wonder and free-spirited optimism reflected on photographer Jordan Kirk’s wide-eyed cover art.

Title track ‘All Ages’ prizes open a saxophonic wormhole to beckon an infectiously baggy groove, unexpectedly referencing the optimistic rhythm of acid-house inflected Madchester, only with gnarlier guitars to contrast a seriously insistent bassline. ‘Afternoon at Bärenquell’ boldly teases out sonic pleasure from even more idiosyncratic means, melding baroque strings and twinkling new-age melodies to loket’s emotive brass, culminating in a neo-classical finale that seems to suspend itself mid-air.

‘Sanders Groove’ sees loket’s sax step back on a bed of soft, jazz-inflected percussion and unpredictable electronics, melting as one into a slow-motion riff that’s equal parts indie jam and musique concrete. Finally, ‘Soft as Moonlight’ makes good on its romantic namesake with a swelling arrangement that free floats into deft percussion, dreaming and teeming with positive energy.

Heavenly Recordings release the next two volumes in their series of remixed classics and unreleased versions. ‘Heavenly Remixes 7 & 8’ sees the label going back into the archive, as well as picking off some more recent remixes, and both albums primarily feature either previously unreleased versions or re-workings available for the first time on vinyl and CD.

Heavenly have always seen immense value in the remix, a value way beyond what it might bring commercially. Since their first release in 1990 (where Andrew Weatherall overhauled a one-off single by club kids Sly and Lovechild) Heavenly remixes have been carefully curated and treated as a key part of the A&R process. It’s an opportunity to view an artist through a different prism, to play out a musical ‘what if’ scenario. It’s the kind of exploration that’s happened consistently through the thirty plus years the label has released music.

The ‘Heavenly remixes’ series continues to showcase the very best remixes, versions, meditations, re-rubs and dubs from all around the world of artists right across the roster of the country’s most exciting record label. In most cases, the albums offer the first physical release for a remix, elevating them from streaming playlists to their rightful, spiritual home on super heavy vinyl (or shiny, super-packed compact disc).

Heavenly remixes 7’ heads to Belfast, where David Holmes - a producer who first appeared on Heavenly in 1994 amping up the acid on Saint Etienne’s ‘Like A Motorway’ - appears as solo artist and as one third of Unloved, who get a lift right to the heart of a Vauxhall sweatbox by Horse Meat Disco. It draws a line between Amsterdam and Frankfurt as Ludwig A.F. amps up the electronics on Pip Blom’s ‘Keep It Together’. It stops off in a south London studio where super producer Dan Carey plays the desk with Toy, then relocates LA psych rock band Fever The Ghost to an Ibizan shoreline as the sun sets on the horizon. It cements Sheffield’s reputation as the home of modern British techno with the return of true originators Forgemasters. And it pitches up in front of a renegade soundsystem late night at Glastonbury as Erol Alkan’s mighty rework of Con Man gets its third rewind of the night.



‘Heavenly remixes 8’ opens with Space Afrika’s lush, ambient reimagining of the Orielles’ ‘BEAM/S’ before Justin Robertson stretches Amber Arcades’ ‘Turning Light’ into eight minutes of electronic dub. Elsewhere, Baxter Dury’s peerless ‘Miami’ becomes a string-laden electro skank in the hands of French producer Pilooski; Edinburgh’s bedroom techno genius Eyes of Others’ ‘Safehouse’ turns into an East End bathhouse courtesy of disco deviants Decius; Ashley Beedle’s Black Science Orchestra turns Unloved’s heartworn torch song into seven minutes of glimmering dreamlike percussive house and Katy J. Pearson’s freak flag is flown high thanks to The Umlauts’ throbbing filtered electro mix. It ends similarly to how it began as TONE takes

Fran Lobo’s ‘All I Want’ on a gorgeous slow motion spacewalk.

After an extended disco nap your friends at rong music have awoken from our slumber and just in time to celebrate our 20th year of doing this rong thing. How will we celebrate? The only ways we know how. Put out a bunch of new music, unearth some weirdo classics, and DANCE & PARTY.

For our first new single to be released in celebration of our 20th anniversary, we bring you some bangers for the club, rave, your ride, warehouse, the playa, or home disco. The title track, Love’s the Meditation is a classy piece of melodic acid funk (?@$!wtf) whatever that means, with an epic extended mix by our fearless leader DJ Spun... We could hear some of our favorite new techno DJ’s playing Spun’s mix of SSM and Do You Feel the Love and 303 & me have a classic acid HOUSE vibe that is our type of thin. Enjoy!

This time Best Record Italy presents an Italo masterpiece from 1983 produced by the duo : Francesco Paolini (Pasta DJ) and Alessandro Novaga that became a massive dancefloor classic in Chicago House with the likes of the "Hot Mix 5" on cult radio station WMBX and regularly played by the legendary Ron Hardy at the infamous Muzic Box. It was very influential at it's time on the early Chicago house and acid movement.

Tibi Dabo unveils his long-awaited full-length ‘Vista’ on Crosstown Rebels this September, with the kaleidoscopic nine-track album showcasing his diverse and rich sound palette.

Born in Barcelona, DJ, producer, and musician Tibi Dabo has proven himself adept at mixing the classic and the cutting-edge. From his early days touring Europe and the US with a band in which he plays the drums, the foundation for his experimentation for his work within the electronic sphere, he has since grown to become an exciting and much-loved DJ and producer, adding to his growing reputation as a Crosstown Rebels favourite. Stepping things up once more, his spirited new album ‘Vista’ is a perfect fusion of futuristic synths and compelling house grooves, all of which are masterfully designed and full of character. Following three well-received singles across the summer, the full-length is a complete sonic statement that explores deep house, leftfield sonics and widescreen cosmic vistas.

Opener ‘Water Is’ layers up fresh sound sources and playful melodies on nimble basslines that soon make you move. ‘Somewhere Beach’ is then a silky groove layered up with diffuse pads and aching synths that convey real romance, while ‘Licht’ is another masterful display of original drum programming with bursts of cosmic synth and elastic bass. ‘Useless Ideas’ then gets deeper on more low-key drums and bass. Instead, the focus is on the deft percussion and well-treated vocals that swirl and smudge around the mix to a woozy late-night effect.

The elegant ‘Mundo’ channels the machine soul of early Detroit techno, before ‘Mangabeira Manifesto’ featuring Dudu Bongo layers up wonky drums and bass with curling, soft acid sounds and a playful vocal line. ‘Triple Frontier’ picks up the pace and heads out on a high-speed cosmic house journey, all before ‘Overture’, another far-sighted astral trip with starry melodies and rich, rubbery bass, closes the package in fine style.

An expressive and adventurous yet coherent long player with a range of moods, feelings and grooves taking you to all corners of the house world, ‘Vista’ showcases Dabo’s most in-depth project to date and an album which provides the perfect platform for him to display his rich sonic universe.

Amy Dabbs might be one of the hardest working artists in the game right now. Making it in the current electronic music landscape is not an easy thing, which might be why this talented artist is so heavily invested in her musical output. With releases on Aus Music, Shall not Fade and her own Dabbs traxx, a monthly residency on Rinse FM and a tour schedule that seems to get busier by the minute, we’re happy to see her hard work is paying off. Add to that some support by artists such as Special Request, The Blessed Madonna, Jaguar and Cinthie and you know this Berlin-based artist is right where she belongs: in the spotlight.

With a love for all things high energy – including, but not limited to house music and breaks – Amy knows how to set fire to a dancefloor (or record for that matter). Her music has been described by Resident Advisor as “Elegant and soulful drum & bass, that’ll still catch the ears of house heads.” So here you go, house heads: Amy Dabbs on Heist. The ‘Only breaks can love your heart’ EP is packed with feelgood energy and comes with a Dam Swindle remix that has the duo laying down some pleasantly unexpected breakbeats on an altogether rush-inducing record.

Right from the start, you know you’ve got an anthem on your hands with ‘Everything alright’. The gorgeous vocals by Aika Mal give you that right amount of emotive, ravey energy and come wrapped in a package of solid breaks and mesmerizing chords. With a hint of acid and a couple of meticulously crafted breakdowns you’ll be singing along with this track before you know it.

The Dam Swindle remix drops the tempo a little bit, but with its 140 bpm, warm broken beat and UK bass, the duo delivers a curveball of a track with a lot of crossover appeal. They went for a more stripped back approach that combines introverted percussion with bouncy keys that complement the vocals perfectly for an altogether irresistible remix.

‘Crush’ is a signature Amy Dabbs tracks, with driving 909 percussion, female vocal chops, ethereal pads and classic strings. It’s a warmhearted affair laced with Amy’s feelgood DNA. On the flip you’ll find ‘Eleven eleven twenty two’; a classic deep house track with subtle hints of UKG in its sampling and bass. The pads and leads are moody and the skippy percussion gives this track the kind of energy you’d welcome when pulling an all-nighter.

Rounding off the EP, we’ve got the ep title track ‘Only breaks can love your heart’; another showcase of Amy’s knack to make house aficionados dance to drum and bass. There’s a certain contrast in pace – raging drums versus dreamy chords that makes you feel at ease listening to a fast-paced track like this. The vocals are equally hazy with a subtle 90’s and 00’s RnB feel. Bassface guaranteed on this one!

LIVE & DIRECT from Miami Beach, FL… EZ Dee weaves together a fine-tuned contemporary fusion of classic dance music influences ranging from bassline-driven proto-house, deep slick electro, downtempo club music & plenty of acid…

You may recognise his signature touch from our Club Tools Vol.2 12” where he was featured as Bong Soup… an alter-ego lurking deep within the depths of Villa D’Otto

Keep your eyes and ears peeled for more from this cat… he’s only just getting started..

The last time Canadian underground techno tastemaker Rennie Foster had a record on a French label it was the historic F-Communications. Back then Rennie’s penchant for bringing warehouse nostalgia together with hi-tech futurism was a consistent theme and in 2023 this fusion based musical concept is realized further toward the future through a new EP release, Cryptic Layers on Parisian imprint Skylax Records.


The record opens with Let It Go, a simple title for a complex and dreamy piece of lo-fi rave house featuring clattering breaks, ear worm vocals and a drastic bassline driving the whole custom vehicle. Then the similarly, simply titled Just Do It explodes into action with an inspired mix of Detroit inspired dub techno chords, fierce amen breaks and a hip-house energy akin to both current urban style and authentic musical roots. These tracks sound like they could have been released at any time during the past decades but still sound current, or even futuristic. Apparent is craft, design and an understanding of dance music from the perspective of obsession, experience and passion.



The remixes come from absolute legends in the world of techno, representing Rennie’s other home-base territories, the techno cities Detroit and Tokyo. Japanese electronic music icon Ken Ishii provides a storming acid remix of Just Do It with liquid 303 bass, anxious and trip vocal snips, and punchy drums that will sound absolutely ace in a club. Detroit third wave pioneer Sean Deason closes out the record with a crisp dose of hi-tech funk that is sure to be a DJ weapon with it’s hypnotic energy and timeless production style.



The digital only portion of Cryptic Layers begins with a second version from Ken Ishii, this time sans vocals leaving the acid stripped down and bare. Two more original tracks by Rennie Foster are also on offer. Sadlands is an organ laden deep house, synth-wave, contrasting piece of melancholic dream dance while I Say Peace signs off the project in a layered classic house style with early rave stabs and grooving after-hours appeal.

Vienna-based producer and 303 maestro Tin Man returns to Acid Test for his first solo EP for the label in over 5 years. It's another impeccable outing of romantic acid variations, especially tailored for unforgettable dancefloor revelations.

Tin Man has been setting the pace for forward-looking acid lovers for close to two decades now, and on his 15th Acid Test appearance he takes the vibe back to early and proto-house roots, stripping back the musical elements while layering in the euphoria with four perfectly crafted slices of feelgood 303.

Opening track Hidden Acid already sounds like a long lost classic, with strings draped over bouncy acid and motorik drums, stretching out over nearly nine minutes, and beautifully capturing the feel of house music circa 1991. Swaying Acid comes in all propulsive, toms and congas setting the foundation for melodic acid lines to weave through your heart strings.

On the B Side, Running Acid is fully optimized for the autobahn fast lane - a gradual, slow-filtered acid meltdown that builds and releases in tandem with driving hats and vaporous pads that hang over the track like early morning mists. Wrapped Up Acid brings the EP to a fitting close, slowing the tempo for a low-key easy dance excursion par excellence - smooth yet spikey 303 riffs punctuate the chords that drift through with a hint of Badalamenti in the progression.

With the Hidden Acid EP Tin Man might hark back to more vintage times, but the emotive power is as strong as ever. The naivety of the ‘90s is instead replaced with a conviction behind the musical choices that brings even more weight to the heartwarming vibes. This is acid in some of the best shape it's ever been, enhanced and upgraded specifically for the dance.

Madben's superb Troisième Sens album is remixed again, as new mixes from Josh Wink and AVNU join previous offerings from Alinka and Avision on this standout EP.

Kicking off this fantastic package is Ukraine-born but Berlin-based Alinka. She is now right at the cutting edge of the scene after big releases on the likes of Rekids and Live at Robert Johnson. She is a regular at iconic spots like Berghain/Panorama Bar, Circoloco and Smart Bar and flips 'Addicted' into a heavy house cut with thumping drums and lithe baselines. Acid sprays about over warmer synths to make for a real peak-time weapon. Next up is Josh Wink, a legendary electronic artist who heads up the Ovum label and has consistently crafted some of house and techno's biggest tracks. He flips '1AM At A Rave' into seven-plus minutes of scintillating electronic deepness with trippy leads and real synth intensity building to an explosive peak.

NYC DJ and producer Avision has released EPs such as ‘Innocence’ on this label while also getting support for his new school techno from Adam Beyer and Chris Liebing. His remix of 'Circuit Breaker' is a chunky and textural affair with seriously weighty drums. Stark synths rise up through the mix next to bubbling acid to make for a heart-of-the-dance-floor classic. Scottish artist AVNU is another label regular who dropped his ‘Tough To Love But Worth The Effort’ album here last year. He flips '1AM At A Rave' into a dark and atmospheric cut with flashes of strobe-lit synth and zippy leads that rip up the crunchy electro-tinged drums.

This is a vital package of varied reworks that bring plenty of new direction to the superb source material.

London label Mysticisms knows how to dig out some truly lush house grooves whether that's in the form of unreleased house meets IDM, classic reissues or debuts from new school artists. N-GYNN falls into that latter camp having started to make waves on the likes of Hamam House Pleasure Club and his Superlux Records label. He explores a dreamy and cuddly house world here with rolling analogue drums, wispy new-age percussion and whimsical cosmic melodies that all make for otherworldly grooves. 'Journeys' has the feeling of an ancient ritual in the sky, 'Alistera' is a kaleidoscope of colour and 'Kebaya' has a more earthy Afro feel. 'Funk Break Beat' closes with a jumbled groove peppered with dial tones, string loops and bulbous acid.

The latest single from The Kevin Fingier Collective, 'My Heart Is Burning’ is an astounding dance floor bomb, and the culmination of Kevin’s three year journey on Acid Jazz. Featuring the three singers - Diane Ward, Jo Ann Hamilton and Josi Dias - who have helped make the Fingier 45s so in-demand. Its an uplifting R&B track which combines an infectious rare-soul beat with a classic girl-group vibe. It will be a must have for any DJ session or house party during these sultry summer months.