House News

Next up from Mind Fair is a crafty cover of cosmic classic, That Thing, by That Thing. Originally released as a currently scarce 12 on AVI in 1977, That Thing was a one-off synth-pop project produced by Dutch musician Geertjan Lacunes – who worried the outer limits of various European hit-parades during the ‘70s and ‘80s under the alias Jerry Rix. German label Jupiter picked up the quirky curio and repressed it as 7 for wider distribution, no doubt envisioning that they’d licensed a novelty monster the scale of Chicory Tip’s Son Of My Father - which alas was not the case.

The track was however a firm favourite of pioneering Italian DJ, Daniele Baldelli, since its wonky bass riff can be heard spinning in and out of a multitude of his legendary mixtapes - where it`s twisted, almost inverted, by the maestro’s use of EQ.

Back in 2020, Mind Fair have fashioned a faithful but you-betcha beefed-up reworking. The crazy lyric - care of Chicken Lips cohort, Johnny Spencer - and cowbells accompanied by un-MIDI-ed Moog and modular synth twitches, italo arpeggios and fuzzed guitar tones.

Fabrizio Mammerella delivers a remix that's like a meeting of NYC’s Emergency Records, and Belgium’s Antler and Subway. Chris Barbosa and Morton, Sherman and Belluci. ‘80s New York and ‘90s New Beat. Dropping the chorus into devastating delay, chopping Johnny up into percussive Pop Muzik snippets. Sealing the psychedelic deal with a deft dose of analogue acid.

In comparison, Eric Duncan’s re-imagining, initially comes across as kinda muted, but that’s just to catch you off guard. While pitched down, and the drums for sure more sedate, it’s definitely the trippier of the two revisions - with all sorts of strangeness throwing abstract shapes deep in its detail. That 303 now sounding severely stoned.

It’s like that cat at the afters, the one who commandeers the drinks table in the kitchen and then bends any and every unsuspecting ear - spontaneously connecting the disparate dots in the universe, seemingly without stopping to draw breath - while endlessly shaking folks’ cocktails. The kind of nut that everyone knows, but can never work out how they make it home.

Tongue-in-cheek weirdness worthy of Eric’s Rub N Tug partner, Thomas Bullock, and his mate, DJ Harvey, too slow to disco, too high to stop dancing, it’s quality psyche gear for the experienced, discerning, dimensional traveler. There’s a dub for those that can’t quite handle the vocal (lightweights!).

Regno Maggiore is the debut album of Davide Meucci, Turin based artist, who released his first record Astroveliero on Gang of Ducks in 2019.

Esasummà is an intimate tale of the artist's life, who used the creation of this record as a tool to implement the shamanic Recapitulation technique. This technique was developed to remove the effects of the accumulation of memories related to our personal life and heritage into our physical and spiritual body, in order to allow a rebirth of life.

It has been produced with an instinctive matrix, recording with diy instruments, sounds and voices and without a fixed creative planning.

The album ended up with 13 tracks that smoothly run through one another, moulding a surreal world that's hard to place within a definite time or space, but which surely leaves you wanting to understand more.

In the words of the artist, "Esasummà is an earth rooted record taking inspiration from the cosmo, which dances with our planet and makes the stars' eyes shine".

All tracks written, produced and mixed by Davide Meucci

Mastered by Nick Foglia at Polo Studio

GODREC0030 – All rights reserved

Funkamental is a label of new releases and first-time-on-wax reissues curated by Funkamente, also behind the Edits Estrela and Lisbon's East Side Radio.

When a record collection starts to grow, some blind spots become very noticeable: records too hard to find, upcoming artists with music so good it deserves a nice record or old releases that have never been
pressed to vinyl. Yet.

That's how Funkamental was born: out of the desire – should we say "the need"? – to have a specific release on vinyl. How specific? Anything that'd fit in our bag.

The first Funkamental release is Sonic Fiction, the only album by Spaceboys, initially released on CD back in 2003 described as an interplanetary never-ending jam session between Sun Ra and Fela Kuti, materialized by the hands of Francisco Rebelo, João Gomes and Tiago Santos who first assembled as Cool Hipnoise in 1995 a prolific band recording a string of albums, singles and EPs revolving around Funk, Acid Jazz, Jazz Funk and Dub for the best part of ten years

Slightly trackier, more boring efforts from The Maghreban here. There is no press release.

Four tracks from French krautrock/psychedelic rock/synthwave/new wave band Vox Low’s 2018 debut LP, remixed by Pilooski, Tolouse Low Trax, French krautrock band Abschaum and composer/producer Orestt. They keep the original spirit of the tracks but take the songs into interesting and different directions - post-disco, acid, electro and left-field rock.

Cédric Marszewski aka Pilooski found fame with his “Beggin” remix and has also remixed Bryan Ferry, LCD Soundsystem, Tame Impala, Jarvis Cocker, Nina Simone, Alain Chamfort, Mark E. Smith Von Sudenfed, also Metronomy, Yelle or Joakim, Who Made Who (with Discodeine).

The German producer Detlef Weinrich aka Tolouse Low Trax has released music on labels such as Idle Press, Infiné, Karaoke Kalk, Kunstkopf, Neubau and Themes For Great Cities. His productions as Tolouse Low Trax explore Afrobaroque elegance through dark arpeggios leading to a slow and hypnotic liberation.

Since 2010, the French trio of Abschaum, led by Chris Poincelot, have been exploring krautrock and associate sounds. Their sound mixes hypnotic, synthetic loops, saturated riffs and voals, Abschaum have cradled their ears to the sounds of Spacemen 3, Ash Ra Tempel and Can. Orestt is the boss of the label Evrlst.inc and of the famous record store of the same name in Nice, his first “remix” is in the same vein as his productions: synthetic, dark and hypnotic.

Amanaz were serious, and they made a serious stab at an album. They titled their album Africa, according to original band member Keith Kabwe, “because of how it was shared and how its inhabitants were butchered and enslaved, its resources stolen… all the atrocities slave drivers committed. “ Thus, their “Kale,” a blues sung in Nyanja, that traced the continent’s arc from slavery to Zambia’s independence closes the album. Kabwe and rhythm guitarist John Kanyepa have a winsome softness to their vocals, which sit politely aside the feral growl of drummer Watson Baldwin Lungu, bassist Jerry Mausala and bandleader/lead guitarist Isaac Mpofu. Africa’s vibe ranges from anxious (“Amanaz”) to escapist (“Easy Street”) to straight-up pissed-off. On the “History of Man,” his voice whiskeyburned, his distorted guitar buzzing like swarming hornets, Mpofu indicts his species.
There’s a darkness to Africa not found on any other Zamrock records, and a melancholy drifts throughout, specifically on Mpofu’s more restrained “Khala My Friend,” which stands as an effective, bleak situation for the Zambian everyman, the average citizen of a struggling, new nation, who might have had relatives in conflict-torn countries on the horizon, who might have been struggling to find his next meal, who might have seen a bleaker future than his president promised. Then there’s the clear Velvet Underground-influence on the nostalgic “Sunday Morning,” which, as Kabwe
recalls, was the first song written for the album, back in 1968, when Velvet Undergound and Nico was a new release - and the underground funk of “Making The Scene.” The album also tackles traditional Zambian music and early-‘60s rock – punctuated, of course by Kanyepa’s wah-wah and Mpofu’s fuzz guitars. But every time Amanaz get too deep, too violent, they come back with an accessible song and woo their listener back to the groove. “Green Apple” is a civil song, featuring Kanyepa’s sighing guitar. It is a perfectly arranged album, from the dichotomy of Mpofu’s and Kanyepa’s lead and rhythm guitars, to the vocal harmonies, to the rhythm section’s sense of space and time, which allows Africa’s funk to build. Inexplicably, Africa was given two separate mixes and two separate presses: one version is dry, with the vocals and drums mixed loud, the other slathered in reverb, with the vocals and drums disappearing into the mix, and with the guitar solos mixed much louder. We’ve presented them both here as they each have their appeal: it’s up to the listener to pick the one he or she prefers. This is a highpoint of the Zamrock scene and we hope that this can be seen as its definitive reissue.

This album is the culmination of one idea to bring together a group of friends that produce music and are committed to pushing forward the idea of community and progress within the electronic music space.

Each of the artists on this release has engaged with and drawn from their experiences within the Detroit Electronic Music scene, and are excited and humbled to put forth this body of work. Showcased here are 12 tracks pressed on two 12" records, ranging in style from Techno and Electro to House and Minimal.

Brazilian producer Zopelar has been breaking necks since few years already with his distinctive brand of space funk!

In this particular release for Mother Tongue he comes across like Sao Paulo meets West London on the a side Entre Viagens and turns into a heavy Detroit influenced Electro Funk jam the b side Vista.

A match made in dancefloor heaven, as two worlds collide with LDN partystarters Make A Dance committing their official remix of indie rock four-piece, Django Django’s percussive bumper ‘Don't Touch That Dial’ to vinyl for a limited pressing, complete with vinyl only dub mix on the flip.

Already squarely aimed at the club, the Make A Dance duo take the original to stratospheric heights, flipping it into a body-popping, electro bomb which sits Japanese singer Yuuko’s vocals centre stage intertwined with glitching synth lines and acid armoury to turn this into a full frontal, downright infectious firecracker.

On the B, the vinyl only exclusive dub mix let’s those juiced up, electro grooves fly as deft hints of Yuuko’s vocals bounce around your brain.

DJ Feedback:

Moxie / NTS - love the dub version

Yu Su / NTS - hell yes

System Olympia - I like this

Apiento / Test Pressing - Yeah that's a fun one : )

Bill Brewster - Really nice

Josh Cheon / Dark Entries – wow not sure how i missed this. its pure dancefloor
bliss! ecstatic euphoria

Arveene - I love this harks back to Major Force meets the Nyc electro-funk. 1980’s
popping & Locking! Right up my street

MLiR / Magic Teapot Records / Studio Barnhus - Lovely stuff from a lovely duo!

Lipelis - Great version! Especially the vocal mix for me

Rohan Rakhit / Daytimers / Balamii - That dance dub is a vibe. Seriously infectious.

Good Block - Yes loved this one, it’s on the key

Hot Jams Straight out the 330XX !!

In collaboration with his Ritmo Astral label, Belters is pleased to introduce Orion Agassi from the Asturias region of Spain! Remastered for vinyl, this one has been a while in the making and seems to be reaching the right ears so far. It's very exciting to now share with yours too.

Who knew that classic house and boogie had been missing some reggaeton vocals?? Each track has been very effective on dancefloors around the world and counts support from people you've heard of. 'Dos Blokes' even got a notable mention in the New Yorker.

“a fluorescent EP that fuses reggaeton house and electro into unexpected but undeniably effective club tracks” - Resident Advisor

Already scoring huge support across a wide range of DJs and reaching #1 on the Beatport Indie Dance chart, Terr’s infectious ‘Only For Tonight’ gets appropriately physical on a once-and-done pressing of clear yellow vinyl. Featuring both the original track and a spacious, sensual dub, ‘Only For Tonight’ captures the chaos of contemporary hook-up culture with an instantly-recognisable bassline, rave sirens and Terr’s wicked narration.

Don’t regret not swiping right on this limited-edition pressing. Pre-orders available now.

“Querencia: a place where one feels safe, a place from which one’s strength of character is drawn, a place where one feels at home.” Garage Hermétique welcomes Jane Fitz on its sub label dedicated to non-dancefloor mixes on cassette.

Clear Vinyl



A long-awaited vinyl-only sampler showcases some of the most seminal and vanguard recordings from one of the finest minds behind the American electro and Miami bass scene. The four tracks listed here are all original recordings from 1984-85 fully licensed by the author himself James McCauley and accurately remastered via Omaggio Records. Thirty-five years later, its still the case to say: "Welcome to the Future".

Repress!

Elon Katz (White Car, Streetwalker) aligns perfectly with Diagonal in a prickling debut vocal
release, The Human Pet; his first original solo issue in four years, containing an intensely personal,
puckered perspective on electronic dance music and experimental pop.
Structured around a schizoid yet coherent juncture of EBM, IDM, curdled rock music and art school
techno-pop, The Human Pet is riddled with idiosyncratic notions on 'cryptic topics like rebirth,
nullification in stream speed adaptivity, dependence and wealth inequality' to portray a unique
intellect and sonic vocabulary operating at the crux of his expressive powers.
The project began circa 2012, around the time of Katz's relocation from L.A. to art school in
Chicago, and cocks a canny snook, both thru candid lyrics and obsessive edits, back towards the
megatropolis where he was born and spent much of his youth. It can therefore be considered an
attempt to better understand himself in relief of big city manias by channelling and parsing his
own stubborn outsider personality from the madness.
To our ears it feels like a concise dissection of Chicago's industrial history and Californian digital
psychedelia; probing at their twisted, fluoro guts with the inquisitive nature of a mad scientist
or psycho-analyst between the yelping, warped and hyper-piquant yacht boogie of The Rhino
Powder of New Sensitivity and a heavily affected dislocation of harmonised pop hooks and
whirring body mechanics in Clean Crash.
It all occupies a strange perch between introspective and exuberant, veering from mid-'90s
AFXian pop rephlexion in You Are Alone, to signature Diagonal tackle in the gas-chugging EBM-pop
force of The Human Pet, whereas Unarmed twists into fractal phantasia, all of which maintain a
thread of logic that belies the record's vintaging period of refinement and distillation.
There can be little doubt that this is one of the most complex, rigorous and distinctive in Diagonal's
catalogue. Closer attention is required. File amidst records by Luc Van Acker, Aphex Twin, Savant,
Powell...

After the release of "3.3 magnitude" and the remixes of the single "1.3 HDG" unveiled last February, H3 Records continues its musical exploration between rap and electronic music with a new release, "Music 4 Tesla".

This time, rapper Kaba joins forces with producer Hyas and unveils a slender and festive 6-track track, true to the label's identity.

Hyas started producing music in 2017 and released his first projects completely independently. Today, he has more than twenty releases on labels such as 99CTS and Casa Voyager. The Lyon native, resident of Le Sucre and Rinse FM, has a string of dates and festivals in France and abroad and founded his own label Bardouin Music in 2020.

For his part, Kaba has released three singles this year, including two featuring Karmen (formerly Tortoz) and Samy Ceezy, and a 10-track "Long Story Short", a joint project with the young beatmaker Keno.

The connection between the two artists was very natural: the rapper's ambitions and Hyas' influences complemented each other and led to a first draft of tracks, convincing enough to form the basis of a joint project. With influences from UK Garage, Acid House, Ghetto House and 2step, "Music 4 Tesla" is a high-flying, catchy, danceable, warm and sunny project. Throughout the tracks, Kaba borrows incisive old school flows (like on "4daMob") but also "DMV" (overlap flows where the phrases overlap like on "Original G") and enriches the musical universe of the project, which carries in it this fever of H3 Records' sounds.

Between pervasive house influences and bouncy bass, borrowed from funk sounds, "Music 4 Tesla" depicts throughout its 20 minutes a captivating gradation of festive ambiences, and proves again that the marriage of rap and house is definitely made to last.

Second Electro/micro-house/minimal-techno Release For The Parisian Label Increase The Groove Records ! Inspired From The Eastern Countries, This Second V/a 'from Da East' Includes 4 Groovy Tracks Of Central Europe Producers: 100hz (en), Mjog & Kizoku (fr), Munir Nadir (ita) & Mag0 (ita). Enjoy Your European Tour !

22Recordings pres. :

22 24/7 365 days a year in order to dance.

No Moon joins the roster, delivering four sleek cuts, ranging from modern trance to bleep electro

Lubree revisits the original motif of Hypress with luminous calculation, launching a series of new releases in the near future. Thus, the first release features electro ballads dipped in gentle rawness along with disco bangers and EBM-styled acid house. The original tracks are produced by "Volta Cab" and the remixes by Rotterdam's DJ Overdose and Venezuelan-born and Barcelona-based DJ/producer Cardopusher.

Comes in generic black cover.

“The doors are where the windows should be, and the windows are where the doors should be”. If you had been in one of the more open minded all night raves in the early 90s you are likely more than familiar with Earth Leakage Trip’s ‘No Idea’.

You could write several pages about the 'Psychotronic EP' and still not nail it as well as Discogs user covert_operative's description of 'urban, British psychedelic music.' The Acid House narrative is all about ecstasy, but for many, especially outside of London, there was a lot of LSD involved. Things were edgier, too, with parties in derelict, liminal spaces. By the time this record came out in 1991, the rave was properly diverging from its house music beginnings.

The Psychotronic EP was the first release on the legendary Moving Shadow label. Its lead track 'No Idea' is both the perfect entry point to the catalogue and something of an outlier. Neil Sanford had been writing music for a few years before playing some demos to Rob Playford in his car outside a nightclub in Wood Green. Simon Carter got involved, and the pair went to Playford's studio to manifest the madness they'd been sketching with rudimentary gear.

'No Idea's use of samples was wholly inspired and far more surreal than so many of the dark-side tracks that were to follow it. A friend of Neil's had given him a record called 'Happy Monsters' and the lead track, 'Adventures in the Land of Ooog,' lent the unforgettable children's vocals. Neil initially had his doubts. Had they gone too far? However, while working on the track, Rob Playford's girlfriend ran in shouting, "you HAVE to use that!" And so it came to be.

As a footnote, the track did prove to be strong medicine, with at least one documented account of a promoter having to be talked down by his friends after hearing it when psychedelically altered.

The Psychotronic EP is a truly visionary piece of work, standing poised on the edge of the rave's burgeoning future and entirely outside it. As such, it's never not been a cool record, as appealing to lysergic adventurers as it is to house heads, hardcore ravers, or experimental music pioneers. And it has now been lovingly reissued by Blank Mind, for which I'm eternally grateful, seeing as my copy is battered beyond belief.