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Belgian imprint Muzik & Friendz returns with the last release of 2019 featuring a 4 track various artist package with Joss Moog, Yusuke Yamamoto, Peletronic & Jakobin and Platzdasch & Dix.

With the forcus set on the deeper vibes this release kicks off with the A-side package of PlatzDasch & Dix’s ‘Pointillist’ a mellow workout sprinkled with melodies and deep vibes, followed by Peletronic & Jakobin ‘Etta Jamz’ a deep and soulful cut with a real dancefloor groove.
The B-side see’s Yusuke Yamamoto’s ‘Kick Ass’ combine an hypnotic pad, bumpy bass and punchy vocals with a wink to the old school, while Joss Moog ‘Oazar’ shows off his exquisite production skills with a grooving and bumping cut.

Rich NxT heads to FUSE to deliver his ‘Suburban Skool’ EP this November, backed by fellow London favourite East End Dubs on remix duties.

An artist that has remained a central part of the London electronic music scene for over a decade, FUSE residentand NxT records boss Rich NxT is an artist that embodies the sound of the city’s evolution throughout the years, taking influences from all pockets of the scene - from drum’n‘bass and jungle through to the minimal and tech house sounds that later took hold of the blossoming after-hours circuit.

Having touched down on the label earlier this year alongside East End Dubs as the pairing released the impressive ‘The Four Slip’ EP, whilst also recently providing two collaborative cuts on label boss Siragusa’s latest ‘A Decade Of Rave’ LP project, November sees Rich return to home turf to deliver his second solo EP on the label of the year, with Eastenderz head East End Dubs also returning to provide an energy-fueled remix on the flip.

Opening proceedings, title track ‘Suburban Skool’ offers up a trademark slice of rolling house music as slick percussion arrangements meet bumping bass stabs and scintillating electronic melodies swirl around old school rave samples, whilst the slinking ‘Rex Press’ keeps the energy high as echoed vocals ebb and flow amongst bright lead lines, crisp drum licks, intriguing breakdowns and builds throughout. Shaping up the package, East End Dubs steps up to offer up a dynamic interpretation of ‘Rex Press’, utilising punchy kicks alongside soaring synth lines and driving snare rolls to impressive effect.

A key player in the New York scene and boss of her own Dusk & Haze label, it was Francis Harris' Kingdoms that initially released Sophie Saze's standout two-part album, and that is where this forward looking package of highly original remixes lands. First up is German artist Roman Flügel, who’s responsible for a myriad of musical aliases and just as many different sounds. Here he is in experimental electronic mode and reworks 'Cure' into an elongated groove with twisted synth lines layering up over the shimmer, shadowy beats. It's a ghoulish track with a creepy atmosphere.
Swede Anthony Linell makes tripped out, heady techno on Northern Electronics, always with a stylish aesthetic. That continues here as he reimagines 'Aliens' as an absorbing cosmic soundtrack. Supple, rubbery drums bubble down low while broad pads and astral motifs colour the airways above and sink you into a state of trance. New York beat maker and Blueberry Records boss FaltyDL then steps up with a remix of 'Self'. It is a typically off-kilter groove that seems to float on post-jungle drums while distant synth details make for a dreamy atmosphere. Closing out this killer package is Saze's original track 'Dreams', an intense techno cut where coarse textures peel off the industrial clatter of the drums.

My Music is a stellar spiritual soul / jazz-funk gem, recorded by keyboardist-singer Samuel Jonathan Johnson in 1978. The epitome of a cult classic, it didn't do much upon its release but steadily found an audience over the decades that followed. It eventually worked its way into the culture, and latterly the wantlists, of wave after wave of soul aficionados.

This is music that shares the jazzy R&B DNA of contemporaries like Roy Ayers and is an intoxicating blend of mellow moments and more groove-heavy tracks. Spacey keys and lush production give it a luxurious, enveloping warmth.

My Music opens with the gorgeous title track: an indulgent slow jam opus. Introducing us to Johnson’s compelling musical vision, it features a rich mélange of production techniques. Dripping in strings, horns, backing singers, popping funk bass lines and swooshing synth waves, it’s an unusually structured cosmic two stepper that has an irrepressible groove. Accordingly, it’s been a favourite with the diggers and it was sampled by The Alchemist for Jadakiss’s “We Gonna Make It” (and it was also used on Ras Kass’s “Home Sweet Home”… but that’s a story for another time).

The up-tempo “Sweet Love” bubbles over with joy, its uplifting lyrics backed by infectious bass and jazzy Fender Rhodes lines. It follows a cover of “What the World Need’s Now Is Love”, taken at a funereal pace that transforms it into a heartfelt plea for love and understanding. Essential in these dark days.

After a full-minute-long opening of lush cinematic strings and horns, “Because I Love You” makes space for Samuel’s voice, accompanied by some keys and just a sprinkle of guitar. It builds back up and then mellows its way out to a jazz lounge finish (in all the right ways). The feel-good ebullience of the Stevie Wonder-esque “It Ain’t Easy” closes out the LP’s first side.

The second side bursts open with the heavy bounce and disco-funk basslines of “You”, a slightly off-beat string-laden dancer with insistent horns and a piano-assisted groove. Next up is “Just Us”, a legendary steppers track that could be heard oozing out of deep soul radios and funk sound systems back in the late 80s.

“Yesterdays and Tomorrow” is a moving original ballad that is followed by an exquisite high-stepping paean to mom in the form of “Thank You Mother Dear”. The thumping easy-glide of “Reason For The Reason” brings the album to a close.

Respectfully mastered by Simon Francis and cut by the master Pete Norman, this reissue of Samuel Jonathan Johnson’s sole LP sounds as sumptuous as that scarlet gown on the front cover. The sleeve artwork was lovingly restored by the Be With team. My Music is a luxurious and rare collection of songs that now has an opportunity to reach beyond its cult audience.

Voodoo Down Records presents the debut 12" of Melbourne-based techno producer JXTPS, who delivers here three powerful cuts of rolling big-room techno. The EP kicks off with a bang with some breakbeat fills that clear the way for heady hypnotic tension on "Become Nothing". The B-side opens with punchy acid stabs and distorted guitar chords on "Untitled 02", and closes beautifully with a creeping early-morning groover on "Mr. Pink".

Markus Suckut is a well known producer in the techno world, whose releases have found a home on such respected labels as Rekids, Odd Even, Hypercolour or Edit Select to name just a few. Suckut is also the founder of the SCKT imprint. The Düsseldorf producer has been a part of the 'made of CONCRETE' family for some time now and the pair up between the two on 'Voices In My Head' feels like an ideal match.

The title track 'Voices In My Head' may give off a tranquil feel but pay close attention and you’ll hear the psychosis bubbling below the surface. The synth scribbles that underpin the track would get the best of a sane mind in the right setting. '8' follows. It’s a smart, profound cut designed to raise the pressure on the dancefloor. On the flip, 'Drift' comes to life with fantastic mind-bending sweeps. Label bosses Rebar close the EP off on a quasi devotional touch with their rework of 'Voices In My Head'. The pair stays in the deep end with sublime synths and a stripped back rhythmic architecture. It’s a perfect counterpoint to Suckut’s original.

The Outer Circle drops a debut release full of flavour and grooves reminiscent of the golden era of UK/US tech house from Glasgow's Craig Hamilton, alongside London's tech house veteran Silverlining on remix duties.

"Let You In" a deep rolling sub laden groove sets the mood of the EP. Tight percussive elements drive the track, incisive from the offset as spacious chord stabs dominate over arpeggiated tones laced with an appealing fragmented vocal throughout. "Monday Groovin" the deeper of the cuts follows on with slick rhythms and choppy female vocals scattered over smokey pads and mesmerizing overtones.

Before continuing on the flip with the Silverlining remix of "Let You In". The tech house originators interpretation is a far darker bass driven analog work out. Upfront beats and spaced out atmospheric layers meander among rolling snares and peppered chord stabs with satisfying vocal elements, leaning this towards the deeper end of the spectrum.

For his return to Make Mistakes, Derek Russo ventures into the Belly of the Whale with three pieces of beautiful, retro future, dance floor chic.

Embryonic Speck opens up the record, evoking classic rave beats, in a crisp, clear, modern style. With this cut, Derek has crafted a late-night slayer for the discerning dance floor. A relentless groove drives the track along, creating the hypnotic, smoky dreams of rave’s past.

Night Sea Journey takes it down into disco depths. A wandering bassline swaggers through the track, crashing through dark waves of sound. Sexy and mysterious, made to drag the sweaty sea on the dance floor through the night.

Straddling, a piece of timeless, familiar house music, rounds things out by bringing in a touch more warmth and whimsy. Still for the darkness, but with a lighter mood, and booty wiggle bass. Deep, and grooving, with a playful sexiness, what more could you ask for?

“Consider the subtleness of the sea; how its most dreaded creatures glide under water, unapparent for the most part, and treacherously hidden beneath the loveliest tints of azure. Consider also the devilish brilliance and beauty of many of its most remorseless tribes, as the dainty embellished shape of many species of sharks. Consider, once more, the universal cannibalism of the sea; all whose creatures prey upon each other, carrying on eternal war since the world began.

Consider all this; and then turn to the green, gentle, and most docile earth; consider them both, the sea and the land; and do you not find a strange analogy to something in yourself? For as this appalling ocean surrounds the verdant land, so in the soul of man there lies one insular Tahiti, full of peace and joy, but encompassed by all the horrors of the half-known life. God keep thee! Push not off from that isle, thou canst never return!”

― Herman Melville, Moby Dick

Back with a vengeance, Cimm returns to the imprint with a highly anticipated succession to his Sentry debut from last year, stamped on a irresistible 2 x 12" vinyl release. Infernal halftime beats and top-notch Dubstep shells, firmly entrenched at the frontier of sound system music and its invaluable heritage. The London-based producer and DJ rose to swift and significant acclaim in the last few years with releases on institutions like Tempa, J:Kenzo's Artikal and Wheel & Deal as well as notable residencies at Rinse FM and the renowned Fabric night club, among other recent achievements. Now coming to a turntable near you, Cimm delivers four bespoke cuts, primed for the dance and your enjoyment, battle-tested by the scene's foremost tastemakers.

Diving into unidentified transmissions, 'Unknown Caller!!' sets the pace with eerie reverberations and filtered resonance. Amid the faint hiss of machinery, larger-than-life drums set up shop alongside subterranean pressure emissions. Hefty breaks, hold tight! Retro synth melodies keep us on track within the monstrous switch-ups and unquestionably meticulous arrangement, sure to shut down any dance in style. Cutting no corners with the B-Side, Cimm teams up with veteran vocalist Rider Shafique for a dystopian sub-bass onslaught, swaggering militant chants and the apocalyptic ambience to go with it. Steaming low-frequency oscillations bubble and hurl their weight, stripped of all restraints, coveted in freezing harmonies and ethereal atmosphere. Vibrating in a more uplifting spirit, the dedication to the Jamaican roots of sound system culture unfolds in the Londoner's signature style - dubbed out soundscapes ahead. 'Tosh Dub' keeps it a laid back, with vintage instrumentation, scattered skanks and swirling organ chimes. Taking an ultimate trip through unremitted grit and off-kilter grooves, 'I Am Jack Travis' lures us in with rainy undertones and hypnotic foley sampling. Promptly revealing its true nature with plenty of pressure and scrupulous syncopation, a ghostly heavyweight ensues and closes the deal.

Crepuscule presents The Scottish Affair (Part 2), a vibrant live album by iconic Scottish guitar group Josef K recorded at the historic Beursschouwburg arts centre in Brussels on 8 April 1981.
Pressed in a limited edition of 1000 copies in clear vinyl, the sleeve features original 1981 poster artwork by designer Jean-Francois Octave printed in black overlaid with metallic gold pantone. The inner bag includes period flyers and images, as well as quotes by Paul Haig, Malcolm Ross, Alan Horne, Michel Duval, Annik Honore, Allan Campbell and Bert Bertrand.
Best known for their association with Postcard Records, Josef K also recorded two singles for Belgian indie Les Disques du Crepuscule (Sorry For Laughing; The Missionary), and also taped studio album The Only Fun In Town in downtown Brussels. The group first performed in the city on New Year’s Eve 1980, playing a riotous show with Orange Juice and Marine at legendary warehouse venue Plan K, and resumed their ‘Scottish affair’ with Crepuscule the following April, cutting their album in a matter of days and performing at the Beursschouwburg as well as a small youth club in Lier three nights later.
 At the Beurs show Jokay rattled off 10 songs in just half an hour, with journalist Bert Bertrand noting “several good reasons to get excited” about the visiting quartet. Adds guitarist Malcolm Ross: “We played four dates in Holland on our way to Brussels and then recorded the album in about five days. So we were pretty tight and Paul was in good voice.”
 Recorded from the mixing desk, all 10 songs have now been newly re-mastered for issue as a vinyl only album, The Scottish Affair (Part 2).

In her most personally narrative work to date, A Fossil Begins To Bray is the follow up on Dais Records for NYC producer Hiro Kone, furthering the dialogue set forth on her 2018 release, Pure Expenditure. While the statements on Pure Expenditure rallied behind a point of dangerous excess and injustice, the material on A Fossil Begins To Bray embark upon a journey of discovery and selfanalysis, proposing a potential reorientation towards absence in hopes of illuminating potential futures.

In Mao’s own words, “This album considers the power of absence as neither a lack or deficit, but as a quiet, indeterminable force to cultivate in this time of looming and unrelenting techno-fascism. It asks that we take pause to consider our learned languages and actualities and to better consider how desire shapes our recollections and interpretations of this ‘existence.’” This allegory is expertly applied to every song on A Fossil Begins To Bray. Mao has established a long history of employing absence in her productions to maximum effect. With a vast assortment of diverse elements at play, no single track ever feels overly convoluted and further illustrates Hiro Kone’s skillful attention to dynamic tension and flow. Tracks such as “Fabrication of Silence” and “Submerged Dragon” perfectly represent the power of absence, utilized in a matter to create unique amalgams of decisive, cinematic techno rhythms from the electronic void. As the melodic elements contained within A Fossil Begins To Bray begin to unravel and slowly take form, the unaware are rewarded with a driving yet tangible refrain that offers resolve in contrast to the dense, textureladen backdrop that forms the album’s foundation. The first single, “Feed My Ancestors”, expands upon Hiro Kone’s signature take on electronic music structures. Seemingly free from the predictable contracts imposed by any one genre’s stereotypes, Hiro Kone throttles the foreboding bassline in favor of more calculated, abstract cut-ups that gracefully hold the track in place between hopeful utopia and something more ominous.

Livity Sound's final transmission of 2019 comes from the esteemed Freerotation resident and UntilMyHeartStops co-founder, Leif.

Quietly earning himself a well-deserved reputation for his outer-worldly production stance and forward-thinking approach to Dj-ing, Leif has spent the last decade refining his musical palette with a slew of releases including highly acclaimed LPs for Whities and UntilMyHeartStops. In 2017 he launched the TIO-Series label as a vehicle to showcase the more off-kilter rhythmical side of his own productions releasing contemporary anthems such as July V and Bluebird.

This new EP for Livity Sound continues in the exploratory TIO-series vein finding Leif in percussion mode, combining nimble rhythms, deep bass and hazy synths in his idiosyncratic style to dazzling effect.

This 12” vinyl release comes with brand new art direction from Tess Redburn in a full colour artwork reverse board sleeve.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground music.

All My Thoughts returns with DJ Heure who offers up a quality trio of electronic cuts for the dance floor.

'Spring Jam’ is up first in its ‘Elation Mix' form - a track built on warming pads, groove ridden percussive patterns and one hell of a bass line. Developing throughout, the energy simply rises as the hats become more prominent alongside the flurries of top line splashes.

The title track ‘Gradients’ features more intricate bass lines which take center stage, stepping aside only in the breaks where lush synth work swells around you before classic house rhythms return. ‘Make Sure’ makes a final appearance as an ‘easy mix’, featuring rich tribal grooves that partner perfectly around the hypnotic top line and bass patterns forming one fine journey.

Ross Ferraro is a seasoned producer from Australia that has been making waves as 1/2th of The Posse, - after a Posse remix on the Pulp side of things, Ross Ferraro now presents his first outing as Rosario on the Saft mothership. "Keep On EP" contains three originals and a remix by Adam Feingold's under his Ex-T moniker.

The title track is a breezy affair that combines crazed synth swirls with oddball disco FX and a tight section of drums which serves as the perfect opening track for this overall outgoing record.

"Ex-T's Phunqy Mix" starts off in a more timid way, but as the name suggests - quickly gets more extrovert and freakish. Vocals and experimental sounding blips and blops take over and cleverly come together in an original fashion.

"Lo" revolves around an tribal sounding chant, chord hits and an array of fx, and quickly becomes - while remaining quite stripped down - the most euphoric track in this collection. The chords sit beautifully with the bouncy drums and evolving arpeggiator that floats on top.

"Follow Me" is a silky smooth work with a soothing vocal and piano sample that work as the main sounds. Rosario is constantly altering the bass sound throughout this cut and creating a modern boogie ambience. The trance inducing synths suggest a relaxing evening atmosphere and cause for "Follow Me" to be the perfect farewell cut.

Detroit imprint My Baby returns with its third musical offering, a split release from two Motor City heavyweights, in the form of Rex Sepulveda and Acid Pimp.
This fledgling vinyl only label has got off to a superb start showcasing music from Detroit locals on its first two stellar Eps. With a focus on the underground sound of the city it resonates with global fans of quality house and techno and continues to do so here with four outstanding new tracks.
First up is Acid Pimp, a DJ & producer who has been an integral part of Detroit’s music scene since the early 90s. His distinct sound saw him release a string of classic twelves on the Cheshire imprint, whilst his DJing took him from the warehouse parties of the city to international clubs like Tresor. He founded the ‘Friction Detroit’ night in his home town, hosting the likes of Ben Sims, Regis and Chris Liebing, and he co-founded the M-Nus sub label D- Records with Richie Hawtin and two other friends. The first of his two offerings is the superb ‘Re-Ak-O-Pan’, seven minutes of intense, industrial tinged techno with taut drums working alongside panning synths and static machine noise to superb effect. This is complemented by the looped excellence of ‘Lupe 09’, a rolling groove that is sure to lock in any dancefloor.
The flipside sees another of Michigan’s sons in the shape of Rex Sepulveda. Rex has a musical history dating back to 90s, he was one of the aforementioned friends that launched D-Records with Acid Pimp and Richie Hawtin and has released original and remix material on a number of imprints. His first cut here is ‘Rex presents Dvda’ a deep, brooding affair populated by rubbery, acidic synths and razor-sharp percussion. This is a pure early-hours number that is sure to twist up the floor wherever it’s dropped. Closing the package we have ‘Rexie’s Orgasm’ a spacious, and understated track that perfectly captures the echoing sounds of a cavernous warehouse space.
This is a sterling package of quality underground sounds from the city that sparked the fire.

Featuring Prince Jazzbo, Dillinger, Dennis Alcapone, Lone Ranger, Michigan & Smiley and many more. Soul Jazz Records’ new Studio One DJ Party is the latest installation from the mighty Studio One Records catalogue, a wicked new collection of the finest DJs and toasters ever to inhabit the world of reggae – seminal Jamaican artists including Prince Jazzbo, Dillinger, Dennis Alcapone, Michigan & Smiley, Lone Ranger as well as a host of lesser known artists and rare cuts from Studio One. From the earliest days when Clement ‘Sir Coxsone’ Dodd ran his Downbeat soundsystem up and down the length of Jamaica, DJs and toasters such as King Stitt and Count Machukie were always a part of the sound of Studio One, introducing new records and exciting audiences with catchphrase lines such as: “No matter what the people say these sounds lead the way It's the order of the day from your boss deejay” King Stitt So when DJ emerged as a distinct reggae style at the start of the 1970s, Studio One was, as always, way ahead of their competitors. Legendary artists of the calibre of Dillinger, Dennis Alcapone and Prince Jazzbo all queued up to record for the equally legendary label. At the end of the 1970s, as dancehall exploded onto the island, Clement Dodd was once again able to maintain Studio One’s position on the throne as the number one sound in the Jamaica, fighting off upstart competitors such as Channel One and Joe Gibbs who tried to replicate Studio One’s unique sound. During this period Clement Dodd released a series of stunning dancehall releases from young DJ/dancehall artists at the label including Lone Ranger and Michigan & Smiley. This selection spans the early 70s up until the mid-1980s, from the earliest days of deejay toasting right up until digital dancehall, ground-breaking tracks over the finest selection of the ultimate Studio One rhythms and tracks. Who could ask for more? Studio One DJ Party includes specially commissioned sleevenotes by Chris Lane, founder of the legendary British reggae label Fashion Records, as well as fantastic original artwork commissioned by the illustrator Ski Williams. The album is released as double heavyweight vinyl (+download code), and distinctive Soul Jazz Records CD with slipcase

Influential Spanish artist Coyu is stepping out on his own Suara label with a long overdue debut album entitled ‘You Don’t Know’ that is going to shatter all conceptions about him. Due for release this September 23rd, the 16 track affair showcases his broad range and takes in collaborators like Moby, Lazarusman, The Horrorist, Thomas Gandey and many more.

Coyu quickly rose through the ranks to become one of the most prominent names in underground dance music. The Spanish man famous for his love of cats has established his Suara label as a go-to outlet for the most essential house and tech tracks, as well as releasing his own expressive grooves on Cocoon Recordings, Diynamic, Bedrock Records, Turbo Recordings and MORE. Now he really stretches his legs across a fantastic full length album that goes way beyond the dance floor and shows many new sides to his sound. The artist has been working on it since 2012 and aims to show people that whatever they think about him is wrong.

Says the artist himself, “the album is named ‘You Don't Know’ because many people have a preconceived idea of who I am. Until now, maybe I wasn't smart enough to show them my roots, what I love and what I can offer to the music. I'm not just a DJ or a producer who can play or make grooves – I love many different genres and many different kinds of music. With this album I want to change that preconception.”

The album kicks off with a dramatic spoken word from legendary vocalist Lazarusman before exploring low slung and sleazy grooves on ‘The Three Chimney’, floaty light melodic and dreamy house on ‘Out of The Pain’ and more club focussed but just as dreamy fair on ‘We All Try’ with Mike Leary.

Proving he can do everything from poolside gems to peak time techno, ‘Fear Is Gunna Be A Player In Your Life’ is one to get you in a trance with its sonar like synths and rolling deep space drums. Thomas Gandey aka Cagedbaby then steps up to guest on ‘1+1’ which is a hands in the air piano anthem to pump the party, and ‘Wanna Do Right, Wanna Do Wrong’ is a techno cut with brilliantly energetic drum programming and a big, perfectly placed vocal sample.

Switching up the vibe is ‘I May Be Dead, But One Day The World Will Be Beautiful Again’ with none other than dance legend Moby. It is a heavenly track with break beats, angelic melodies and a celestial feel that leaves you refreshed. The second half touches on raved-up drum & bass, gurgling minimal techno and harder techno with mind melting acid synths. The Horrorist contributes to the banging ‘My First Pill’, while the techno journey continues with ‘Unite’ featuring Gabriella Vergilov before the album finishes on the fluttering ambient track ‘Insania’, with mad church bells and manic percussion all bringing things to a close in style.

This is a broad, adventurous album that covers plenty of music ground and takes you on a true electronic trip from one of dance music’s most accomplished names.

The only cover tune on Carlton Jumel Smith's "1634 Lexington Ave." album is not really a cover at all, since it was first cut by Carlton himself already 10 years ago. The sultry 2009 edition of "I'd Better", that was put out on the short-lived UK Soulchoonz label, is a nice piece of programmed mid-tempo modern soul. The new version, now getting a 7" single treatment on Timmion, still sounds miles away from the polished earlier effort.

It starts off with a nice guitar led beat before settling into a sweet Tighten Up groove, a funky road which still has plenty curves to explore, even for Cold Diamond & Mink, who are certainly not lifting water from this particular well for the first time. What remains naturally is Carlton's ultra-soulful vocal performance, and a message of manning up to the max, staying true to your word in front of something divine.

It's not that often you hear a more recent version of a song sounding so that you would think it's the old version. Essentially, what you get is a beautiful piece of xover soul, with timeless swagger, and an instrumental with soulful legs of its own.

The Beartone label continues to make moves with a six superb release from the boss himself Bearface (A.K.A. Panasa from Afrobeat duo Bana Kuba). Renowned for his slick final house on a range of top labels, here he offers four more such cuts that will melt the mind.Opener Outers is a slippery and sleek number with icy hi hats and rugged basslines. It’s heady tackle that really gets under your skin.Veda ups the pace with more super well programmed drums and deft little hi hats and drum fills as well as some warped vocals that bring a brilliantly freaky feeling.Milenial then gets down and dirty, with kinetic kick drums and rasping synths, popping cow bells and a relentless sense of groove.Closing things out is Cause, a deep, bubbly number with underlapping bass, gloopy synths and a dry, catchy groove that gets you locked.All in all this is another first class EP.

Support from: Vlad Caia (SIT), Mahony, David Gtronic and Moskalus.