Buscar:house of house

As Nathan Fake rises from the nocturnal subterranea and rave catharsis of his previous records, on Evaporator, he resurfaces into the domain of daylight, bringing a tangible sense of air rushing against your face, of big skies, and endless landscapes.

The idea of pop accessibility that trickled into 2023’s Crystal Vision is refracted here through the prism of sweeping ambient, deep electronica, and trance uplift. Evaporator is Fake’s idea of “airy daytime music”, with each track a different barometer reading across the album’s varying atmospheres, which range from vibrant sunbursts, bracing rainscapes, and fine mists of clement melodics. “It’s not overtly confrontational electronic club music,” states Fake. “It’s quite pleasant, it’s accessible. As I was progressing through making the tracklist, I called it a daytime album. It doesn’t feel like an afterparty album.” For the past decade Fake has been gingerly introducing collaborations with heroes and friends alike into his lone, idiosyncratic working process.

Border Community alumni Dextro AKA Ewan Mackenzie transmutes his ferocious drumming for Pigs Pigs Pigs Pigs Pigs Pigs Pigs into the blurred choral thump of ‘Baltasound’. ‘Orbiting Meadows’, meanwhile, is his second collaboration with Clark, an eerily idyllic duet where microtonal 18EDO piano clangs slowly twirl around wailing pads. Evaporator marks the junction point of old technology and ever fresh creativity for Nathan. The trusty “dinosaur” age software, particularly Cubase VST5, that has powered two decades of music is rarely updated. “I used to sort of feel a bit ashamed of using such old software, and then I kind of had an epiphany – that’s just how I work”, comments Fake. “That’s just how I play. I’m very fond of these old tools, and I get the most joy out of them, but now I’ve incorporated new technology too.” When an artist accumulates so much synergy with their instrument, music making becomes instinctual. By Fake’s account, much of Evaporator just fell into place. The album title arrived randomly in his head (“it felt completely perfect. Airy.”), ideas looped and developed until things locked into place and just felt right. ‘The Ice House’ is a fleeting glimpse of the sonic world he taps into in this creative state, its glassy FM synths built around a counterpoint between rough-hewn crystalline arpeggios and sparse yet gravitas-bearing bass. “That riff I just wrote out on the keyboard, I just played it forever and ever and ever.

The original track ended up being really short. Here you go, and it’s gone!” These unplanned channellings of sound call forth records from Fake’s past while he looks ahead, perhaps getting at the very essence of his musicianship. The opener ‘Aiwa’ (“the breeziest,” he muses) reminds of the introspection that characterised Providence, excited by the fire and grit of Steam Days’ textural experiments, its chunky slams and clatters surging into a flood of harmonic buzzing as they reach out for old wisdom. ‘Hypercube’ stampedes in a similar chronological confluence, infusing an incessant synth line reminiscent of the golden age of rave with the crackling, ecstatic energy of modern festival anthems. Like the vaporisation of liquid to particles, everything that Evaporator presents has a mutant desire to be amorphous. Sounds rarely settle; the irradiated garage beat of ‘Bialystok’ is pitched downwards to driving, rebounding effect, while ‘You’ll Find a Way’ warps static into shivering energy, cinematic synth strings building anticipation into a gradual gush of chords. This translates into a more expansive stereo field than Fake has explored before.


‘Slow Yamaha’ saves the wildest, most kinetic transformations for last with a cornucopia of crispy melodies and fried drums; a sibilance of cymbals on the left, a susurrus of shakers on the right, and kaleidoscopic lasers pulsing and fizzing all around. Evaporation culminating in pure excited atoms.

Bristol experimental band SUGAR HORSE are delighted to announce that their third album, Not A Sound In Heaven, will be released on 10th April 2026 via Fat Dracula Records.

To celebrate the news, the band are sharing the bruising lead single ‘Secret Speech’, available to stream on all good digital service providers from 12th February 2026.

Also announced today are a run of April 2026 UK album headline tour dates and an appearance at StrangeForms Festival 2026, with tickets on sale now (see below for full listings).

“We are fortunate enough to live in what is generally known as ‘The West’,” says front man Ash Tubb of the lyrical themes behind the new track. “I say fortunate with gritted teeth, because I know—as I’m sure the reader knows—that living in the West isn’t always rosy. The vast majority of people struggle everyday to feed, clothe and house themselves. Let alone receive adequate healthcare, schooling and workers’ rights.”

“We are, however, where all the world’s wealth is hoarded. We are at the centre of Empire. The people outside of this empire—those of the Global South—have had their resources extracted and their populations exploited by our own governments, with very little given back in return. This won’t go on forever. It will inevitably end, as all great empires do.”

“We in The West have a choice to make in the meantime; either help create a new, fairer world, or let the greed of our ruling classes become the undoing of all of us.”

The first glimpse of new material from the quartet, ‘Secret Speech’ starts as Not A Sound In Heaven means to go on—a politically-charged wrecking ball of a song that smashes its way through the often unbelievable chaos and brutality of the 21st century with vitriolic malice.

How do you capture the machinations of the geo-political industrial war machine—and all the horrors that go with it—in the studio, without seeming trite or crass? That’s the question that Sugar Horse have posed themselves on their forthcoming third album Not A Sound In Heaven, and they must surely be one of the only bands in existence capable of delivering on just that premise with both musical substance and cutting philosophical insight.

“Ever since I was born I can remember visions of war, famine, and death being beamed directly into my living room via the magic of television,” says Tubb of the record. “These visions were accompanied by newsreader narratives designed to either humanise or dehumanise the people involved. We humanise our government’s allies and dehumanise their enemies. This is taken as common sense, or even wisdom to some degree. People watch the news and accept it as fact, simple and true.”

“As a person gets older they move in one of three different directions with this acceptance of reality; They embrace what they’re being told, they fall into a kind of trust free nihilism or they learn that there are deeper narratives at play.”

“Not A Sound In Heaven is an aged acceptance of the latter. An acceptance of sitting at the centre of a global empire of both military and economic dimensions. An acceptance that the stories we’re told as a nation, or what’s generally in the zeitgeist, isn’t necessarily reality itself.”

“How does a person cope with the weight—and, frankly, the guilt—of a society that perpetuates such distinct inequalities? A society that thinks a bit of killing abroad is fine, as long as it improves the lives of people at home. You can see why so many choose to embrace it. Hell, nihilism seems pretty sensible. Once a person decides upon pursuing a degree of truth however, things get a bit depressing. Beyond depressing...maddening.”

“This album explores this kind of breezy, frivolous subject matter in a manner that will no doubt be uplifting to the listener and massively financially rewarding for the artist.”

The new album follows on from their standalone AA single ‘What’s Your ETA? Let’s Have A Tear Up’/‘Would You Like Me To Be The Cat?’ which was released late last year as a surprise double drop.

It seems almost inevitable that at some stage Blue Matter and The Green Ray would be working together, and we’re delighted to say that this is now about to happen. When Blue Matter co-boss, Nick Saloman, was living in Walthamstow, he sat in with The Green Ray many times at the late-lamented Plough Inn on Wood Street (now a mini-supermarket). In more recent times Nick’s band, The Bevis Frond has played live with them on several occasions, and without wishing to disrespect any former members, the current Green Ray line-up sounds as good as they’ve ever sounded, if not, dare we say, even better than before. The Green Ray was originally assembled in the mid-90s by Ken Whaley & Richard Treece, two key members of Walthamstow legends, Help Yourself. During the last 30 years or so, they have released 7 albums and one 12” single.

Sadly, the line-up has changed quite frequently due to the passing of several of their number. Ken & Richard passed away some years ago, and more recently bassist Jeff Gibbs departed this world. However, now under the all-seeing eye of guitarist Simon Whaley, the current line-up is continuing to fly the East London freak flag high. Not long ago Simon asked us if Blue Matter would like to issue their latest offering, and we came back with a resounding “yes please”. ‘Orchard House’ is a superb album, full of great playing and great songs. There are shades of Mighty Baby and Help Yourself (at their trippiest), plus a West Coast atmosphere which put us in mind of Quicksilver and The Grateful Dead. It’s taken some time to happen, but at last Blue Matter & The Green Ray have come together to issue an unmissable album. So don’t miss it.

Written in 1971 and read here by the author himself "Through the Billboard Promised Land Without Ever Stopping" is Derek Jarman's only known work of narrative fiction. Providing a prelude to some of the imagery Derek Jarman would use later in his career, particularly the alchemical dreamscapes in the film "Blue", it is a surreal, hallucinatory fairytale, signposted with elements of modernity, that has much of the mythic and archetypal about it. With tantalising autobiographical details and a panoply of chromatic landscapes and psychosexual symbols, this richly poetic story details a journey with no destination or purpose across a mythical America, undertaken by the young blind King Amethyst and his valet John. Previously only ever released on cassette (2022, Prototype Publishing, Ltd 80), this vinyl edition features facsimile images of the story's handwritten drafts from Jarman's archive and photos by the artist Michael Ginsborg, a close friend of Jarman's throughout the period of the story's writing. Licensed from House Sparrow Press / Prototype Publishing, and The Estate of Derek Jarman.
• Ltd x 500 copies on heavyweight 180gm black vinyl in gloss sleeve.

Now, Fantastic Cat has defied the odds—and their therapists’ strong recommendations—to return with their third and finest album yet, Cat Out Of Hell. Produced by the band and mixed by D. James Goodwin (Goose, Kevin Morby, The Hold Steady), the collection elevates Fantastic Cat’s trademark blend of craftsmanship and chaos to new sonic heights, capturing the freewheeling, lightning in a bottle energy of their must-see live show and channeling it into a ramshackle house party full of existential searchers, desperate romantics, and barstool philosophers.

Brighton-born, Cincinnati-based producer Marsh a.k.a Tom Marshall. ‘Lailonie’ is Marsh’s second studio album and debut Anjunadeep LP. After joining Anjunadeep back in 2018 via ‘Explorations 07’ with ‘Black Mountain’, Marsh has gone on to release a string of well received original EPs including ‘Prospect’ with label mate Nox Vahn, ‘Eu Topos’ and his latest ‘Lost In You’ as well as remixing some of the biggest artists in dance music including Above & Beyond and Armin van Buuren.

Marsh has previously released on Silk Music, where he released his debut album ‘Life On The Shore’ in 2017; and Enhanced Music’s progressive house imprint Colourize. Over the past 2 years, Marsh has become a firm Anjunadeep fan favourite all the while establishing himself as a future star of the electronic scene with a steady stream of tastemaker backing from Joris Voorn, Rufus Du Sol, Kölsch and BBC Radio 1’s Pete Tong and Phil Taggart. Recent years have seen him tour globally with Above & Beyond as well as share the bill with legends like Sasha & Digweed and Guy J.

GOLLIWOG is billy woods' first album in two years, preceded by 2023's Maps, his second collaboration with producer Kenny Segal. That nimble travelogue has little in common with woods' newest work, despite the fact that Segal shows up a couple times in the credits. GOLLIWOG is a haunting collection that weaves horror, humor, surrealism and Afropessimism into a cinematic tapestry, aided and abetted by a murderer's row of producers. African zombies, time traveling trap cars, malevolent ragdolls and a dying Frantz Fanon are just a few of the revelers in woods' danse macabre. GOLLIWOG features production from The Alchemist, Kenny Segal, EL-P, Conductor Williams, Preservation, Messiah Musik, Sadhugold, Ant (Atmosphere), Shabaka Hutchings, Steel Tipped Dove, DJ Haram, Willie Green, Jeff Markey, Saint Abdullah, and LA-based experimental jazz trio Human Error Club. Meanwhile, woods is joined on the mic by Backwoodz labelmates ELUCID and Cavalier, along with rappers Bruiser Wolf, Despot, Al.Divino, and singer-songwriter Yolanda Watson. GOLLIWOG is another triumph in the woods oeuvre, as layered and compelling as anything he has ever done. A black carnival pitched in a muddy field overnight, empty rides whirring and clattering in the dark.

'Squish' is the debut album from London-based Gretel, produced by Seth Evans (credits inc Black Midi, Geordie Greep, HMLTD, Shame). It is a grungy, hooky, expressive guitar record inspired by the likes of PJ Harvey, Sonic Youth and Smashing Pumpkins and features the singles 'Unbloom', 'Maybelline' and 'Darkness, be my friend'. 'Squish' is released on 180G Black vinyl housed in a gatefold sleeve and features an A2 poster.

Teddybears is a Swedish music group formed in Stockholm in 1991. The group consists of members Patrik Arve, Joakim Åhlund, and Klas Åhlund - with the latter two being known from their work with artists such as Robyn, Ghost, Katy Perry, Charli XCX, Madonna, Chrissie Hynde and many many more. Rock ‘n’ Roll Highschool was released in 2000 and was the band’s big breakthrough album, winning four Swedish Grammys and featuring the original “Punkrocker” version and “Yours to Keep”.

Since then, the band has been a household name in Scandinavia, but have also reached international success with hits such as “Cobrastyle” and most recently when “Punkrocker (feat. Iggy Pop)” was featured in the latest Superman movie, helping the track go viral and reach 80 million streams.

In 2026, Rock ‘n’ Roll Highschool is being pressed on vinyl for the very first time.

Teddybears is a Swedish music group formed in Stockholm in 1991. The group consists of members Patrik Arve, Joakim Åhlund, and Klas Åhlund - with the latter two being known from their work with artists such as Robyn, Ghost, Katy Perry, Charli XCX, Madonna, Chrissie Hynde and many many more. Rock ‘n’ Roll Highschool was released in 2000 and was the band’s big breakthrough album, winning four Swedish Grammys and featuring the original “Punkrocker” version and “Yours to Keep”.

Since then, the band has been a household name in Scandinavia, but have also reached international success with hits such as “Cobrastyle” and most recently when “Punkrocker (feat. Iggy Pop)” was featured in the latest Superman movie, helping the track go viral and reach 80 million streams.

In 2026, Rock ‘n’ Roll Highschool is being pressed on vinyl for the very first time.

The super rework magician Scruscru has been cooking up more goodness for Volume two of Blur's ReWax EP, and it's packed with disco-meets-jazz house class. First up, he tackles Sweet Fruity Brunch's 'Red Parrot' and makes it into a rolling jam with lush pads. Elsewhere, 'Rhythm Roulette' has punchy drums but plenty of piano euphoria, 'Matine' becomes a coy and funky number and 'Gift Of Love' is a romantic heart 'WalkToWalkIN' is a shuffling and jazzy vibe and 'Empyrean Jazz' closes with some spiritual percussion and gentle horns that will always seduce once the lights go low.

Andy Riley and Laurence Ritchie are Drop Music accomplices; the label is a natural outgrowth of yesterday's Smokescreen Soundsystem, one of the oldest and best-respected UK crews to endorse (sound-) systems thinking. In case you don't know, remember this: they were early 90s stanchions of pressure-dropping UK house heft. This rare new reissue hears their hugely in-demand classic 'Party Criminals' return to fully swung, gatecrashing mode. And boy, weren't they just. Their fourth ever Drop drop, it first surfaced in 1999 and turned instant heads for its crystalline blue inners and jacking, organic sound, not to mention a cameo from fellow duo Freaked on the A2's 'Rhythm By Nature'. But our favourite has to be 'Make Me Feel' with its soft-attack hi-hats, not tapping, more fizzing like metal leaf against the ears.

BIG reissue for a BIG record!

Support from Gilles Peterson, Natasha Diggs, Osunlade, Rich Medina, Skratch Bastid, Bobbito Garcia, DJ Koco aka Shimokita, and GUTS ( Heavenly Sweetness ), amongst many others!

This is a landmark release from Maleet, the Northern NJ Producer, originally signed to Kenny "Dope" Gonzalez's ( Masters at Work ) label in the early 2000's

Now fresh off of a feature on the latest TEYMORI ( Amin Payne ) LP, Maleet creates his own blend of Afro-Cuban Orisha based music and Soulful House with vibrant live instrumentation

Synthesizers, Fender Rhodes, Percussion and Horns are the chosen ingredients here, while the thumping drums communicate directly with the Highest energies above! The results are songs that lift your spirit and move your body, simultaneously

Right on time for the season, these songs will be populating dance floors around the globe, through the Summer and beyond

Two dance floor heaters, one direct link to the HIGHEST!

The Trip return for their first solo release of 2026 with four brand new club tracks. As always inspired by 90's and 00's electronic music. The new EP launches on their in-house label Tessellate March 2026.

Mate knows that you can't really beat the original deep house blueprint so the music it releases doesn't often try. Instead, it just tweaks and refines, colours a little around the edges, but always keeps musicality and soul at the centre. Toolate Groove is next up with a super tasteful offering that opens with quietly euphoric 'Librame' and also comes as a delicious dub. '97 Ride' (Club Mix) has a distinctly 90s feel with fun Rhodes jamming and swinging claps. The Destiny Dream Dub ups the heat with a smoking female vocal and more pronounced bassline then 'Fresh From Abidjan' brings some dusty breaks to a surging groove. As classy as it gets from front to back, frankly.

11 artists. 11 tracks. 1 city.

From the heart of the most vibrant French city, Marseille, comes a project that redefines the enthusiasm, energy and growing talents around the underground music scene.

Consisting of eleven djs/producers bound to the Phocaean city, this 2x12LP is not just an ordinary album: It is a cultural marker in a city deeply rooted in urban music, reasserting its young and strongly emerging electronic landscape. It is a celebration of Marseille’s musical identity through house, techno and electro.

Originally a record shop, Mindtrip has been promoting and advocating for the electronic movement for 4 years. Olivier aka HI.lo now invites you to deep dive into Marseille’s sonic uproar with his new born label, an extension of the music he has been playing and representing through his shop, putting marseille on the map with an essential first release gathering the city’s finest: MAN/IPULATE, TIBAHUULT, LAMALICE, PRINCE DE TAKICARDIE, JO’Z, CURTIS OD, DJONN BULL, BWI-BWI, DYNASTY OF DREAMS, NICO BELIC & AYO’B.

That time of the year has arrived! The next Various Artists is the prefect blend between old and new generations, including 2 new addition to the label and 2 familiar faces.

Opening the EP is MikeroBenics with “Julika (Original Mix)”. This track was officially released in 1994 on Harthouse and through the years on other labels in different versions. The version we are publishing has never seen the light before today. A deep melancholy trance journey characterised by driving acid lines and club-oriented rhythms. Followed by the return of Noboot with “Drive Control”. Made in 2022, this track bring us back to the sound of his first release. An immersive electro-acid track with a 303 melody that moves with punchy rhythms, letting our bodies move and our brains fly.

On the B side, Periferico is back with a new production made in 2021. “2804 A DEF12MIX” is an engaging journey into Livio progressive house world. Closing the VA, we welcome our dear friend CRL with “Breathe”. Composed in 2024 while trying new techniques and samples, characterised by its ethereal pads and a slow unfolding vortex of acid bassline, brings the minds into a deeper conscious state.

Glasgow, Scotland duo Thomas + James deliver their silky-smooth dub laced sounds for Federsen’s Alt Dub with the four-track ‘Realtime’ EP.

Thomas + James are a Glasgow-based DJ and production duo whose sound reflects a deep immersion in electronic music. Raised in the city’s west end and shaped by early exposure to techno pioneers like Luke Slater, Slam and Jeff Mills alongside the atmospheric legacy of ’90s drum & bass, their productions lean into a dub infused, forward-looking aesthetic.

Drawing equally from house traditions via influences such as St Germainand Laurent Garnier, the pair blur the lines between dub techno, deep house, acid and minimal.

Their new EP onFedersen’s Alt Dub captures that hybrid vision with a maturity that belies their years, being born in 2006,marking them out as a quietly compelling new voice from Glasgow’s next generation.

Leading the release is the original title-track ‘Realtime’, setting the tone with a sturdy yet pared-back rhythm section, oscillating synth flutters, bouncy sub-bass and hazy textures that subtly shift across the arrangement.

Label boss Federsen steps in next with his interpretation, reducing the track to its deepest foundations and recasting it as a delicately drifting soundscape of evolving spatial echoes, weighty low-end pressure and restrained, muted drums.

On the flip, Thomas + James return with ‘Armonia’, an ethereal, dub-leaning deep house cut propelled by billowing pads, delayed vocal chants, fluid dub chords and a heavily swung, minimalist groove.

The EP closes with ‘X-Intense’, further highlighting the duo’s groove-driven signature sound as reverberant, airy stabs weave through breathy vocals and shuffled percussion to bring the release to a hypnotic conclusion.