House Новости

A special tribute addition of Ellum Audio comes courtesy of Maceo Plex & Jon
Dasilva, who bring back a pair of bygone musical gems with their own modern interpretations. Featuring an astonishing guest appearance by house vocal sensation Joi Cardwell, Ellum delivers a late summer anthem with 'Love Somebody Else'.

Arriving 6 years after the release of his breakout EP, El Búho returns to Wonderwheel with a very special Deluxe Version of said Cenotes EP including 3 previously unreleased tracks: "Manana Tepotzlan (feat. Gotopo) Vocal Version," "Tecolotin (Chancha Via Circuito Remix)," and "Tecolotin (Dub Version)." The EP is also set to be pressed to vinyl for the first time with a special splatter 12" invoking the cover art.

"Cenotes" was originally released in 2015 to widespread fan acclaim, firmly planting El Búho in the upper echelons of the Latin Electronic pantheon. Recorded in Mexico City after relocating from Amsterdam, "Cenotes" marries his influence of Dub, IDM and Electronic vibes with the rhythms, traditions and melodies of Latin American & Andean folk and the organic sound of waterfalls, birdsongs and crackling leaves, resulting in a dreamy, deep, melodic journey that entrances as much through headphones as it does on the dancefloor. Having studied Latin American Studies in Glasgow, El Búho (aka Robin Perkins) spent time living, studying and working in Argentina and travelling throughout the continent. Alongside his music, El Búho is also an environmental activist, having worked for over eight years at Greenpeace, being a member of DJs For Climate Action and coordinating the non-profit project "A Guide to the Birdsong" a series of albums that raise funds and awareness for endangered bird species through electronic music.

"Cenotes (Deluxe Version)" hits all digital streaming services December 3rd, with the vinyl 12" to follow shortly after.

You can’t keep a good thing down: 99 marks the triumphant and long overdue return of Matthew Edwards’ Rekid project. More than just Radio Slave records slowed down, his alter ego preferably ploughs the field between ambient excursions, downtempo hypnotism, sample sculptures and the general space in between raves.

Since its first appearance with the Lost Star EP for Classic in 2004 and the still breathtaking follow up Made In Menorca opus on Soul Jazz Records, Edwards firmly established himself as a producer of many, if not all trades. Thought of, produced and conceived during the first lockdown of 2020, 99 is conceptual (with the tempo firmly set at that tempo), concise (34 minutes and 34 seconds long) and content with exploring the possibilities of limitation (one track a day, live takes, no editing).

Without departing the original Rekid ethos of glacial music, it presents a modernized and contemporary version of IDM tropes, chill out topics and a capturing sound of mesmerizing materiality.

After a while, it all made sense to Edwards as one piece, was presented to Running Back, where the A& R department thought the same and is now available as a continuous cassette mix and a separated vinyl single album as well as for streaming and downloads.

Jeep music for ballet dancers.

The original vibe is respected whilst new elements are added with the result being a progressive houser which retains a subtle groove and that all important new romantic sassiness and exuberance.

Phantasy is proud to introduce the first release from Polish-born, London-based experimentalist, PYTKO. ‘Save My Day’ and ‘Wife’ offer a tantalising introduction to a unique sonic world, remixed delicately by DJ Python.

Bristling and vulnerable, ‘Save My Day’ is an aching internal monologue reborn as a haunting melody. Led by guitar in the outsider spirit of This Mortal Coil or Dead Can Dance, PYTKO’s compelling vocals invite listeners to lean further in, conjuring dream pop textures within her personal but ambiguous songwriting.

A student of sound design and composition for moving images, PYKTO’s approach is more abstract but no less intriguing on ‘Wife’, a cryptic story told through ghostly sonics, establishing a sensibility somewhere between DIY indie and futurist pop visions.

One of the most creative and singular electronic musicians in recent years, DJ Python builds on his recent acclaim with a spectral and sensitive rework of ‘Save My Day’. Suspending PYTKO’s vocals atop a weightless bed of dreamlike percussion, the New York producer pushes his signature ‘deep reggaeton’ style to its psychedelic finest.

As a young person growing up in West Yorkshire, my experiences of true underground clubbing became intertwined with names such as Back to Basics, 20/20 Vision and Carl Finlow. That period in the early 2000's became a life-affirming time for my young self.

Frequent trips to Back to Basics, then held at the Mint Club helped forge my outlook on electronic music and how it should be played in a club environment. I would often hear stories about ""the Farm"" and the late night parties and studio sessions. The anecdotes and tales of US icons recording in the countryside with the local guys provided only a small insight into the creativity and fun that must have gone on during those years. Cut to now in 2017, whilst looking back to those times more than fifteen years ago, I can proudly say that the dots have been joined and the connections now formally established.

I'm immensely proud to say that Carl Finlow, the understated king of British electro, and I, have put together a selection of his works that provides a themed snapshot into his musical history. The music I have chosen with Carl may not be all of his biggest tracks but it is the music that is special to me. The selection has a vibe, one that is deep and emotive, music for the head as well as the feet - Hope you hear it in the same way (...)

Early support from Beatrice Dillon, Andy Votiel, Doug Shipton, Pete On The Corner.

Dislocation Songs was recorded over the past 3 years – on and off – in Chris Menist AKA Awkward Corners' home studio. It started as a reaction to the UK post-2016's Brexit vote and an emotional response to the negative direction the country is taking with regards to immigration, politics and social priorities. The record shifts between optimism and resignation. The recording process offered emotional catharsis, and a space to summarise feelings that can be hard to put into words. The record is a collection of textures, rhythms and tones touching on downtempo beats, devotional music and electronic sounds. Music you can even meditate to. Chris is joined for three tracks by Sarathy Korwar, who plays tablas in this setting.

Intriguing opener Drawing A Blank features a minimal, distorted rhythm around which filtered Balafons & Illimbas work. Straight Ahead employs a unique swinging rhythm composed of a single repetitive tone. Dream-like soloing synth lines float over Chris's conga percussion. I'll Do It Tomorrow is one of Dislocation Songs standouts: a beautiful composition of both organic conga and percussion sounds and electronic synth lines. Dub effects punctuate throughout.

Just Around The Corner gets its groove on with Sarathy Korwar's tablas taking centre stage alongside the exquisite sounding Shahi Baaja. A single repetitive tone is again employed to hypnotic effect. John Dillinger's Death Mask Parts 1 and 2 concludes the LP in epic style with 10 experimental minutes of delayed, flanged and distorted beats, tones, tablas and Shahi Baaja - a dark meditation on governmental failure and obfuscation.

Awkward Corners is Chris Menist, a musician, DJ and writer. It started life as a small project in Islamabad, where Chris was living at the time. Initial recordings were made with local musicians in Pakistan and then subsequently in Thailand. This culminated in the Sweet Decay LP that came out on Finders Keepers' Disposable Music in 2014, and in turn led to a limited tape release on Boomkat/Reel Torque of original compositions and re-edits of Thai 45s the same year.

Playing drums and percussion since he was a kid, Chris is the percussionist for The Paradise Bangkok Molam International Band.
As well as co-founding record label Paradise Bangkok (and hosting a monthly NTS Radio show of the same name) Chris has curated compilations for labels such as Finders Keepers, Soundway and Dust-To-Digital. He has been featured on the Boiler Room, Vinyl Factory Collections, played at the Four Tet curated Nuits Sonores festival, and recently put together an edition of Volumes which featured unreleased Awkward Corners compositions.












i 9 John Dillinger's Death Mask (Parts 1 and 2) feat. Sarathy Korwar

At the start of 2021 I realized I hadn't paid much attention to my own productions lately, rather spending time doing remixes
or mixdowns for others or like many others, worrying over what the future will bring.

I started going through tracks and ideas I had started on but not completed and now as another annus horribilis nears the end
I have 2 albums ready for release, entitled "8" and "9".

Although I promised myself to never say it I personally think they're my best work so far and I hope someone else will get the
feeling of "a light at the end of the tunnel" when listening to these tracks just like I feel when listening back to them.

There are contributions from the very capable hands of Bugge Wesseltoft("8") and John Carroll Kirby(on both "8" and "9"), besides that it's just me.
Prins Thomas December 2021

Much is made of Detroit techno progenitors proximity to the auto plants. Similarly, overlooked electronic pioneer Jeff Phelps was raised just blocks from a Western Pennsylvania steel mill—close enough to smell the sulphur and hear the roaring blast furnace. When Tascam released their ground breaking Portastudio in 1984— allowing multi tracking on the far more financially inclusive cassette tape—Phelps purchased one immediately, and quickly added a Roland SH-101 monophonic synthesizer, Fender Rhodes suitcase piano, Roland drum machine, and a basic Radio Shack stereo mic. Those basic tools were employed on his first commercial productions for his own Engineered For Sound label: 1985’s Magnetic Eyes LP and Antoinette’s “Now You’re Gone” 45. These DIY sketches generated few profits, and Phelps kept his day job in the energy business.

Die klingt genau so, wie sie heißt: farbenprächtig, schwurbelig, episodenhaft und manchmal richtig schön beknackt. Siriusmo nistet sich auch mit seinem dritten Album wieder an seinem ganz eigenen Plätzchen in der elektronischen Musik ein, indem er alle möglichen Stile und Vorlieben durch seinen persönlichen Filter schickt, notorisch tiefstapelt, maßlos übertreibt und immer auf dem Punkt landet. Siriusmo ist der Vordenker, der gar keiner sein will. "Comic" ist ein perfekt unperfektes Selbstportrait und enthält - in des Meisters eigenen Worten - "14 bunte Geschichten zum Selbstausmalen. Aber keine Bange, diese Geschichten erwachen von ganz allein zum Leben. Vergleiche sind überflüssig, nur einer drängt sich auf: Sowohl melodische Vintage-Electro-Romanzen wie "Dagoberta" als auch fuchsteufelswilde Arrangements wie "Bleat" ziehen Parallelen zu alten Squarepusher-Platten. Statt Jazz und Jungle bestimmt bei Moritz eben die Berliner Sozialisation den Sound.

Numbered Red Vinyl

Hear & Now’s 2018 debut album Aurora Baleare was undoubtedly one of the most magical full-length excursions to appear on Claremont 56 to date; a drowsy, mood-enhancing masterpiece full to bursting with tactile grooves, blissful guitar motifs, dreamy aural textures and seductive, slow-burn melodies. The culmination of two years of work by longtime friends Ricky L and Marco Radicioni – a pair of experienced deep house producers whose solo careers stretch back to the 1990s – the album was as finely crafted as it was musically stunning.

Two years on, the pair return to Claremont 56 with the hotly anticipated follow-up, Alba Sol, a similarly seductive and sun-kissed set that is every bit as beguiling as its lauded predecessor. Once again built around the pair’s trademark blend of colourful synthesizer melodies, ear-catching improvised guitar motifs, soft-touch grooves, enveloping chords and fireside-warm bass, the set’s eight tracks are vivid, vibrant and as memorable as watching the sun rise over the Mediterranean or Adriatic seas. This time round, listeners can expect a few more nods towards the kind of glassy-eyed ‘dream house’ that was once one of Italian dance music’s greatest exports – think Don Carlos, Sueno Latino, Keytronics Ensemble etc. – and synthesizer-heavy 1980s new age ambience, though the duo’s trademark sonic template is evident throughout.

These influences can clearly be heard on “Larus”, where jangling piano riffs, mid-80s new age synths and cascading David Gilmour style guitar solos rise above thickset chords and sparse beats, the eyes-closed, arpeggio-driven goodness of “Acqua Tronica” – which also features some of Marco’s funkiest guitar playing to date – and the head-nodding haziness of “Danza Delle Onde”. They’re there, too, within the mid-tempo rush of “Litorale”, an emotive and life-affirming mixture of metronomic beats, fluid piano solos, retro-futurist synths, locked-in bass and pads so sumptuous you almost want to reach out and grab them. While the subtle evolution of the duo’s sound is evident throughout, Alba Sol also contains a swathe of tracks that echo the slow-motion hedonism of their earlier work. Closing cut “Pioggia Sil Mare”, for example, is a beguiling and brilliant foray into kaleidoscopic ambient house territory rich in in slowly unfurling musical motifs, while “Polvese” chugs along on waves of stretched-out electric guitar notes, echoing percussion hits and the sort of stoned bass that was such a feature of Aurora Baleare.

Then there’s the album-opening title track, a gloriously epic, joyously blissful number that first wowed listeners on the recent Claremont Editions One compilation and already feels like a downtempo classic. It brilliantly sets the tone for a sophomore set that’s arguably even more wonderful than its stunning predecessor.

214 aka Chris Roman is highly regarded as one the most innovative electro producers on the planet following releases on esteemed labels including; Cultivated Electronics, Frustrated Funk, CPU, Klakson and Lunar Disko. 'Exposure to Winds' sees 214 return to the 20/20 Vision fold with his first full length album release in 5 years.

'Exposure to Winds' was inspired by Roman's love of the mountains that surround his native Washington State, living in North Bend where David Lynch's masterpiece 'Twin peaks' was filmed. It could be no co-incidence that 214 produces other worldly electronic music that always sounds out of the ordinary. This expertly balanced eight track vinyl release features a selection of styles and tempos from the laid back electro funk grooves 'Tongue Twister' and 'Ball of Straw' to dark room wobblers like 'Quick Start' and 'The Night's Shift'. AIt's a record that will live long in the boxes and crates of discerning DJ's but also provides an auditory adventure for the listener.

Our Starry Universe returns with it’s first release of 2022, the mesmerizing Mother Oak from Dan Wainwright & Elle Redding. The album is out on 12” vinyl and digital 22nd April.

An Acid House/Cosmic concept album featuring Elle’s spoken word on Dan’s production, Mother Oak is about the life cycle of an oak tree from the perspective of the tree. “As we dreamed up a rough outline of the story, the music was created to personify the seasons and the emotions that were to come through Elle’s words.” Says Dan.

It’s a deep listening experience. The kind of record one should listen to in one sitting on vinyl while you are staring at the lyrics on the back cover. “…it all just fell perfectly into place as Elle typed the story. It all came to life really quickly and was an emotional experience for me to enjoy something so beautiful as her creativity and it’s an honour to have that combined with mine.” Says Dan.

He continues… “We made an album that carries meaning and wisdom and at the same time conveys our wonder, awe and joy that we both experience by being in nature and feeling connected to the forever changing cycles of our planet.”

Dan Wainwright is a prolific producer in the underground with releases on Night Noise, Tici Taci, & Sprechen as well as a seemingly constant slate of releases on his own imprint Oddball Recordings.

KONTRAST ascends to cosmic spheres with their fourth release. This time it’s Italian producer Luca Piermattei’s cloudy sonic movements venturing effortlessly into the quirky universe the KONTRAST crew is known for. Delivering a four track EP, Piermattei’s misty sounds merge excellently with the radiant realm of the Belgium collective. Expect a bizarre ride through a strange yet contagiously fresh auditory world.

Killer Chicago inspired hardware jams.
Limited as usual.
Made in Borgerhout.

Sixth release of Moving Pictures Label comes from one of its founders - Täino. Three originals and a remix from Roman Rai bring a balance between dance-floor material and slow-paced rhythms.

"The white-sanded shore was filled with tranquility. Wind was calming too. From time to time she could hear a lonely wave, weakened and exhausted, washed away on the pearl-like sands. It’s been a while since surroundings sounded and felt so peaceful.

Only occasional flakes of ash were landing on the sand, reminding her of the recent events. She could still somehow spot the smoky trail of the Leviathan, dissolving in the distance. Her sight has quickly switched to the only two objects laying in front of her - a leafy branch and a broken compass needle..."

For Reflection 3 we give a warm welcome to Suddi Raval who has had releases previously as one part of Together on FFRR, Thumbs Up Magic, Gorgeous Records and his own imprint T-Wax Records. He has always been involved in the music scene over the years and although known for his love of Acid House, here we see him delve in to the world of Electro.

Suddi re-ignites his passion and serves up 2 Electro jams that are packed with heavy beats, bleeps, big basses, modulated leads and have that authentic original 1980s Hashim-like feel.

Scott works his magic on 2 Electro cuts with rich pads, reverses, modulated leads, crisp drums, panning keys, warm basses, eerie soundscapes, processed and gated vocal samples, Mantronix-esque bass sequences and rolling toms.

All 4 cuts reflect on how Electro was in the 80s and remain as pure as the stuff being made then.

German multi-instrumentalist and producer, The Micronaut has made a name for himself through his richly textured and enthusiastic compositions. His 2016 album, "Forms" has been described as a true melting pot of sounds and it caught the attention of the electronic music scene with its very playful and original amalgamation of rhythms and samples. Last year, The Micronaut released Olympia (Summer Games) - an album that continued to draw on his elaborate production style as well as on the values of camaraderie and solidarity of the Olympic Games. Continuing on this Olympic journey, the German producer now releases the second part to the project, Winter Games, containing a fresh twelve tracks that capture the essence of winter sports. Winter Games is an eclectic ride, but far from chaotic; transitions are fluid, the momentum uninterrupted and the direction cohesive. Behind the music's energetic flow are sophisticated arrangements and quasi-scientific constructions which crush stylistic boundaries and give birth to a new collage-based genre of music. The music is all the more impressive considering that every sound contained therein is crafted by The Micronaut himself, who has been called a one-man-orchestra for exactly that reason. In the EDM-influenced track Bobsleigh, which contains samples from a DJ describing the state of his own profession, The Micronaut seems to be drawing a line between what he's doing, a true Olympic feat in some regards, to a lot of the lazy productions around today. 'He thinks it's cool to just play with an iPod or a USB stick,' we hear a voice say over a hyper-synthetic beat. It's The Micronaut's critical statement on the superficialness that much of dance music has come down to, "Of course there are exceptions, but unfortunately there are only a few," he notes. At times, Summer Games veers towards techno and at others it seems to be inspired by electro-pop. Towards the end of the album, 'Curling' is a refreshing vocal piece filled with warm chord progressions. "Bernhardt's vocals are really touching, they give warmth to the minimalistic structure of the song," says the Micronaut. The track offers a comforting counterpoint to the high-energy feelings of competitiveness present in the rest of the album with lush pulsating synths and a laid-back groove. "Every time, when I wanted to continue working on "Curling" I was afraid of destroying its very fragile initial structure, but in the end, I think it worked," adds the producer.