House News

For this striking 7th EP, we are lucky to have Mr. Ho back for another massive delivery. This time complete with fully versatile house music.

A1 “Burrow” storms out the gate with an acid attack. The spooky bassline, punchy drums, and acidic atmosphere makes this the complete peak time bomb.

Then the EP smoothly roles into the A2, “TCB2”. A loopy, repetitive drum pattern that is guaranteed to feature for many on repeat mode.

For B1’s “Shoplift” Mr. Ho brings out the melody. This is a feel-good tune featuring an old school jungle-like drum pattern that makes this a great summer outdoor weapon.

Finally, Mr. Ho’s Klasse Wreck partner in crime Luca Lozano provides a silkier twist on “Shoplift” for a vinyl only remix.

This EP provides a whole spectrum of tools for house heads. Groovy, melodic, banging, or loopy, Mr. Ho has got them all covered.

Multi Culti conjure Calypso Cult once again with this split ep from Iñigo Vontier & Thomass Jackson.

Fresh off back-to-back seasons of Tuluminati rituals, these two well-worn chug warriors of dark disco have kept Mexico dancing throughout the pandemic, maintaining a prolific release schedule on top of a world-leadingly busy calendar of gigs.

Thomass Jackson turns in a pair of wonky eyes-closed bangers with the modular-flecked ‘Big Plastic Room,’ and the restrained ecstatic power of ‘Slow Train.’ Iñigo fires back with the twerky, tribal madness of ‘Jungle Tungle’ and the meandering mushroom-inspired-madness of ‘Hipocampos.’

DJ Feedback:

Dude that is a fucking brilliant ep. I can use every track. There’s a Paranoid London track, a Sworn Virgins track, a Mister Deltoid track & a Decius track. It’s fuckin ace!!
- Johnny Aux / Paranoid London

Edgy, Obsessive, Trippy and a bit crazy. I love it (Slow Train the most)
- Jennifer Cardini

I like it in a funky Plastikman big room way.
- Ivan Smagghe (on Big Plastic Room)

Cool one. Trippy… mysterious… solid… positive.
- Rebolledo

LOVING Hipocampos and Slow Train
- Zillas on Acid

The collective mind of SIKU delivers its third concoction of dancefloor stompers. You know the deal.

(Ricardo Villalobos, Ada & Tolouse Low Trax Remixes)

This EP is more than your usual remix package—»Remixed« is a meeting of kindred, idiosyncratic spirits. Ricardo Villalobos, Ada, and Tolouse Low Trax each give a new spin to one track from »You're Super In Diagonal«, the latest album by Ant Orange. Their versions of »Monogome«, »Flutter«, and »Cracker« are complemented by the brand-new track by the elusive artist, »FFF«.

Villalobos keeps it short and sweet—at least by his standards. His rendition of »Monogome« translates the mutant jungle vibes of the original into an entirely different dialect while maintaining its psychedelic qualities. The chugging, nine-minute-long »Siebhouse Remix« is at once rhythmically intricate and positively disorientating. Ada proves to be as imaginative as ever with her first remix in three years. Her take on the album opener »Flutter« extracts the track’s warmth and transplants it into a laid-back downbeat track. She also incorporates the vocals from »Monogome«, but gives it a very different spin and adds a healthy dose of autotune to it in the process. Dreamy, hazy, blissful.

On the flipside, Detlef Weinrich approaches things very differently. His »Bo Bo Zy Remix« of »Cracker« offers industrial at its most inebriated, dub riddims after a bottle of hard liquor instead of a spliff. Ant Orange’s »FFF« then seems to mediate between those three very different approaches: danceable yet melancholic, challenging yet restrained, it picks up on the underlying concept of »You're Super In Diagonal«, combining IDM’s penchant for complex rhythmic structures and a directness inherent to hip-hop music since the early days of the genre up until the age of UK drill.

Bakked is back on his own impint...

Jessica Winter is the queen of sad-bangers, a purveyor of dark glittery synth-pop and a truly unique artist, as well as an acclaimed producer and writer (The Big Moon, Jazmin Bean, Phoebe Green, Walt Disco & more). Growing up on a diet of Nine Inch Nails and Siouxsie and the Banshees, her music is just as likely to channel Madonna, trap, pop, and indie disco. Much of her childhood was spent gazing out of the window from her hospital bed due to hip dysplasia, which led to a very vivid imagination to grow.

Across Jessica Winter’s debut EP ‘Limerence’ for new label Lucky Number, Winter shows her versatility as an artist, from the cinematic-pop aesthetics present in ‘Choreograph’, to a more raucous, dance-heavy approach with ‘Funk This Up’. Grounded within her unique, unmistakable style, Winter delves into everything from synth-pop, punk, and 80’s glam and cements her glimmering pop vision.

“Limerence was written during a time when I was trying to understand my relationship to love and my behaviours around it.” says Jessica; “Love confuses me so much and I think this EP demonstrates that.”

Tracks for astral projection. Levon creates his own tonality using his original pitch designs to take the listener to a place that did not yet exist, whilst maintaining priority dance floor focus. The Niresa tracks are using such unique musical intervals that every listener can decide where the music is taking them, and there is no wrong answer. Levon says, "These are tracks for astral planing. The beauty of creating your own tonal dialog each time you work is that you can literally take the listener somewhere new and un-discovered with each new release

Berlin-based French selector Shonky adds a new dimension to his music career with the launch of his brand new label, Stoned Pilot. Inspired by his love of collaboration, the platform will focus exclusively on collaborative projects with each new release. At his studio in Berlin Shonky has assembled a mouthwatering array of equipment; vintage synths, drum machines and sequencers. The set up allows him to cultivate a highly creative atmosphere - a playground for those who visit - and the resulting productions exude the kind of energy that you typically find during liberating jam sessions. Shonky cites the studio, and its many playthings, as a key part of his growth as an artist. While everyone he invites to join for a session leaves feeling invigorated by the experience.

On the first release he appears with Otis, an Italian producer who lived in the same building as him. Through lockdown the two men became better acquainted and they decided to hit the studio together. The result is the Humanizer EP, featuring four cuts that encompass the merging of Shonky and Otis’ individual styles into one cohesive body of work. On the EP the duo delve into the deeper side of the dance floor, utilising bass, rhythm and energy to explore varying styles and tempos, tinged with an air of mystery.

So the stage is set, Stoned Pilot heralds a new phase in Shonky’s career, from global tours, to his exemplary back catalogue and now label owner with a core ethos centred on creative collaboration.

Full Dose kick your door in with this prime selection of cuts from a new name on the label: Tuck Chains. Who is Tuck Chains? Who knows! But with a crew known for their futuristic and dub-inflected sound, "Tapes" manages to take the label to new heights.

Serving as a masterclass in the sacred art of sample chopping, Tuck Chains offers up a platter of instrumentals that wouldn't sound out-of-place coming from LA in the late 2000s. True to its name, FD013 feels like a mixtape in its delivery, but has a depth and refinement that's difficult to find. Instrumental hip hop of this quality may well have disappeared from the underground but Tuck Chains has successfully iterated on a style guaranteed to bring blunted energy.

"Lock Down", the opening track, quickly sets the scene with metallic and saturated drums. Interspersed with surgical sample chops, the track oscillates between lively and chill after an almost musique concrète sounding intro. This contrast between straight and faded becomes a theme of the album, with moments of intensification punctuating the mellow.

Tracks like "Chrome and Glass" balance fizzy snares, rumbling low end and stabby piano hits to take you on a slow motion coastal journey, while "Ewan Hughes-Army" has an erratic and head-nodding feel that demands your attention. Warbly, downtempo tape vibes feature throughout the release, a combination ripe for repeated, couch-bound listens. With this in mind, "Spanish" feels like the perfect closer - the type of track that oozes sun and THC. Let this be the soundtrack to your hazy holiday.

Arriving directly from the plant and mastered by the label's own Lvcchesi, this could well be the beat tape you knew you were missing! "

Oráculo Records joins forces with Banshees Records to release the vinyl debut of the spaniard act JG OUTSIDER. In between futuristic industrial, electro, ebm and new beat sounds, JG OUTSIDER sound is harsh and fresh, as well as rhythmic but experimental, you could expect all that at the same time. This debut EP comes with four original tracks plus one blasting remix by our berlinese partner in crime SKELESYS, a darky plastic bomb ready to fire up any darky dance floor. Comes presented in a one-off truly limited edition of 300 copies lacquered pressed on 180gr. high quality solid black vinyl. All tracks have been specially remastered for long cut vinyl by Daniel Hallhuber at Young and Cold Studios.

‘(Earth in) Blue’ by rogue Japanese producer Hiroshi Matsui aka Royal Mirrorball. Including a previously unreleased instrumental! Comes with obi.

While still in high school, Matsui started studying multi-recording synthesizer composition. His fascination for electronic music quickly became an obsession and in 1985 the eighteen year old Matsui took part in The famous Parco department stores-organized Organ-Zaka competition to win the grand prize, beating such luminaries as Towa Tei (of Deee-Lite fame) and Zabadak and kickstarting his career as a professional musician scoring jingles and commercials.

In 1992 Matsui’s ‘Samba de Howa Howa’ was released as a Japan-only promo. The song nevertheless garnered the attention of Tony Humphries, became a fixture on Kiss FM and was eventually featured on the first volume of King Street’s infamous ‘Sounds of Far East Dance Music’ compilation.

At the end of the nineties Matsui established his own Royal Mirrorball production company and label, kicking off with the EP that featured the wonderful ‘(Earth in) Blue’. Matsui: “the name ‘Royal Mirrorball’ was inspired by the gay clubs of the 80's. That’s what I had in mind whenever I made music, whether it was house music, J-pop, noise or contemporary music.” Quantities of the EP that spawned ‘(Earth in) Blue’ were extremely limited as they were originally intended only as a gift for friends and colleagues. Matsui: “But it was also an issue of cash on hand and production costs. Funds were limited back then.”

Fully remastered from the original tapes and available on vinyl for the first time in 42 years, and CD for the first time in 30 years.
Sleevenotes by Jon Hassell and Brian Eno. Back in record shops on the day of the 2020 vernal equinox, the second release on Hassell’s own Ndeya label.

Hailed as one of the 50 best ambient albums of all time by Pitchfork, Vernal Equinox was the first commercially released work by Jon Hassell, originally put out by Lovely Music in 1977.
It's also the debut of a pioneering new form of music that would become known as “fourth world”: a subtle blend of field recordings, electric jazz, ambience and global music influences.
Hassell’s trademark FX-soaked trumpet is carefully embellished by a studio ensemble including the master Brazilian percussionist Naná Vasconcelos and David Rosenboom on synth.

The result is a quiet, meditative and highly original work of outstanding beauty. Vinyl version is housed in a reverse board outer sleeve with printed inner sleeve. Includes download code.

recut and repress !

The 10010 Records is born tonight.

The man behind the label is Ksky, a Dj and a synth lover from Saint-Petersburg.

His unfabled vinyl-only ‘Underwater Tales’ are gathered on this debut-release.

Main track ‘Underwater Tales’ is pulsing dreamy 130 bpm house with cold 808's rhythm-section and warm Prophet 6 analog synthesis. Just like Gulf Stream, this combination creates something imperfect and vivid.

‘Bad Philly’ is a great banger. There's something epic in this simple track. The portal straight to the morning dancefloor.
The story told in one breath.

‘Metromono’. Loopy house track with 909's and 303's atmosphere. Listen to it and dream while the pictures are rapidly changing behind the window. You’ll never dream alone.

‘Look Back’ is an outro for this release. Because every tale needs an ending.

REN005 brings us 3 unreleased tracks from the SJ vaults along with a new production from 2020.

The EP opens up with the out of this world cut ‘Supernova’, featuring vocals from the man himself along with a spacey blend of beats & bass. ‘Bag Full Of Sess’ marks the return of the Stalker alias with co-producer Johnny C, first used all the way back in 2000 this one features a chunky breakbeat rhythm with plenty of smooth pads and string samples.

On the B-side, ‘Dumbo’ is a delightfully wonky and unconventional UKG cut for the afterparty. ‘Voyage’ gets straight to the point with some darker vibes and distorted basslines.

repressed!

Hits from your favourite era, transported into the future with 2 JJAAMM HOT electro reworks direct from the PXUniverse.

BLEEP was the hype par excellence at the beginning of the techno movement in 1990/91. BLEEP – inspired by the beeping sound of small toy robots – stood for a phase of good mood and sounds that had never existed before. LFO with their groundbreaking track of the same name and Tricky Disco were two protagonists of those happy days.

More than 30 years later, Jürgen Laarmann (editor of the legendary Frontpage Magazine 89-97, promoter of Love Parade and Mayday 91-97, Bash Rec. 91-94) had the thought that nothing is missing in current electronic dance music as much as bleep.

The idea came about when discussing how to create a soundtrack for the art and techno hype of the day and the crypto art moving currenting stirring up the art market. The comeback of bleeps in a new guise is surely a tried and true remedy: the Bleep Gigaverse makes the blockchain shake.

With his old friend and Bash Records buddy Mijk van Dijk, Laarmann developed the NFT anthem with the striking Fazer bullet intro and a fat 2022 bleep that has been extensively tested on post-Corona dancefloors. Club legend Justus Köhncke (Whirlpool Productions among others) himself a big Bleep fan and Laarmann’s neighbor, contributed a house mix. Most recently, they managed to bring the great Michael Wells – the Godfather of Bleep into the Bleep Gigaverse. He contributes as Tricky Disco with all new bleeps and also with a Hardstyle mix, so the EP offers a spectrum with really different mixes.

May it bleep forever now!

By Mijk van Dijk & Jürgen Laarmann
BLEEP war für wenige Monate zum Beginn des Technomovements in 1990/91 der Hype schlechthin. BLEEP – angelehnt an das fiependen Sound von kleinen Spielzeugrobotern – stand für eine Phase guter Laune und Klängen, die es nie zuvor gegeben hatte. LFO mit ihrem bahnbrechenden gleichnamigen Track und Tricky Disco waren zwei Protagonisten jener glücklichen Tage.

Mehr als 30 Jahre später hatte Jürgen Laarmann (Editor des legendären Frontpage Magazins 89-97, Veranstalter von Love Parade und Mayday 91-97, Bash Rec. 91-94) den Gedanken, dass nichts der aktuellen elektronischen Dance Musik so sehr fehlt wie der Bleep.

Die Idee entstand, als man darüber diskutierte, wie man einen Soundtrack für den Kunst- und Technohype dieser Tage erschaffen könnte, jene Kryptokunst, die den Kunstmarkt aufwirbelte. Das Comeback der Bleeps in neuem Gewand ist das probate Mittel: das Bleep Gigaverse lässt die Blockchain erbeben.

Mit seinem alten Freund und Bash Records Kumpel Mijk van Dijk entwickelte Laarmann die NFT Hymne mit dem markanten Fazer-Geschoss Intro und einem fetten 2022er Bleep, der auf den Post-Corona Dancefloors ausgiebig getestet wurde. Club Legende Justus Köhncke (u.a. Whirlpool Productions), selbst großer Bleep Fan und Laarmann‘s Nachbar, steuerte einen housigen Mix bei. Zuletzt gelang es ihnen, mit dem großen Michael Wells den Godfather of Bleep ins Bleep Gigaverse zu holen. Er steuert einen NFT Tricky Disco mit ganz neuen Bleeps und einen Hardstyle Mix bei, so dass die EP ein Spektrum mit wirklich unterschiedlichen Mixen bietet.

May it bleep forever now!

By Mijk van Dijk & Jürgen Laarmann

Placid aka Paul Wise is the leading light behind ‘We’re Going Deep’ – an online community and record label, born out of a lifelong affair with the many shades of electronic rhythm and obsession for collecting records since 1988.

Known to many in underground House and Techno circles, he’s spent the last few decades moving heads and feet at select venues, parties and fields across the UK and beyond. On a mission to share and release new music via his imprint: only the best in Acid, Electro, Techno and Deep House for the dance floor, front room or even just your headphones makes the cut.
For the latest We’re Going Deep solo series edition, Paul welcomes the mysterious talent and touch of Dircsen. Whilst little is known about this impressive producer hailing from Germany, his superbly rounded set of releases for the Hague’s Soundtravels and Croatian outfit Beef Records have certainly captured the ear and the imagination. With a penchant for the purest sounding waves of TB-303, soaring synths and punchy percussion – there’s nothing but magic when it comes to his work.
Kicking off with the hypnotic, dubby tinged tones of ‘Nothing Remains’ on A1 – the stripped back shuffle of percussion and shimmering stabs evolve in ghostly fashion as an evocative mood prevails: a purist exercise in restraint and calm. Balanced with gnarly intent of ‘Artificial Mind’ on A2, he lands the cutting SAW of his trusty synth to an unfaltering 808 groove. That simply grows in intensity and growl – burying itself in your psyche in the process.
B1 ‘Nervous Disorder’ drives on even further into twilight zone, unleashing a soaring lead to the punch of a swinging 909 that’s designed for pure pleasure – an ode to Chicago’s finest. Ending out on the mellower, house inflected tones of ‘Imminent Flow’ on B2. The cyclical roll of the melody and gentle sub compliment each other perfectly as airy pads lift the atmosphere and bring the EP to a dreamy conclusion.