The Daily Bugle

Mosca - Done Me Wrong/Bax (NMBRS016)

2011-09-15T10:06:00.000-07:00

The Numbers collective welcome Mosca for the imprint’s 16th outing with two cuts primed especially to move your feet. The Glaswegian imprint has been working up quite a storm in 2011, with high profile releases from Deadboy and Jamie XX, as well as being awarded a bi-weekly (every other Tuesday) show on Rinse FM. When looking at the label’s young but colourful back catalogue it soon becomes evident that there is no trend or single mould that unifies their output, a trait NMBRS16 pays testament to. ‘Done Me Wrong’/’Bax’ is unashamedly grounded in older forms of 4×4 garage and bassline, with Mosca delivering potentially his strongest material since his debut Square One EP on Night Slugs. Both tracks are clearly formed with the intention of setting dancefloors on fire.

The less hyped ‘Done Me Wrong’ sets the tone for the single on the A-side. The 4×4 kicks pound, unfurling into a skittered jacking rhythm with the help of sporadically arranged hats and alternating claps. Classic female vocal clips wail “you’ve done me wrong”, ascending in progression alongside those beautifully warm and ever rising synth lines. Then comes the bass drop on the minute mark, which is soon complete with an automatic spin back included for your very own convenience. The swamping bassline combines brilliantly with the shuffling rhythm and emotive vocal snippets, presented at its infectious best once the ambiguously shimmering synths subtly reprise towards the track’s conclusion.

The B-side is no filler, and in most cases, will be the track which most people remember this release for. It’s rough and ready, a seemingly far more upfront effort in comparison to the record’s opener. Consistent driving kicks set things off, swiftly joined by intermittent claps and tentative hi-hats. Smooth melodies are produced by the spacious chord arrangement, complemented by the memorable cries of the disembodied diva. A series of nervy, intricate chord stabs arise, taking full control of proceedings. However, it’s the drop that really does the damage on ‘Bax.’ On the MCs’ shout of “my DJ is live in the place” the punishing bassline goes to work, powerful and uncompromising. It’s a feature which dominates the airwaves for the track’s continued duration, adding suitable balance to the wonderful key stabs and soulful calls.

Very highly recommended.

Written for Sonic Router

Mosca - Done Me Wrong / Bax (Out 19th September on Numbers) by Numbers

Blawan - What You Do With What You Have (Forthcoming RS1108)

2011-08-26T10:18:00.000-07:00

Of the plethora of young producing talents currently operating, none excite as much Blawan. 2011 has been a vital year for the man whose debut on Hessle Audio back in May of 2010 instantly turned heads. Fast forward a year and Blawan is seemingly established and much in demand, with a less than prolific but no less crucial catalogue of work. His work is dark and unrelenting, characteristics which have become all the more apparent in his recent exploration of acid and techno. Intricate drum patterning is forever at the heart, forceful and coarse with unremitting power.

The producer’s forthcoming 12” on R&S is sounding like his most refined work to date, an indication that he’s really found his ground. The title track, ‘What You Do With What You Have’, promises to be a modern classic, a dark and rough affair that will have floors shaking. The pounding rhythm is persistent, whilst menacing synth stabs pierce on the surface. Complete with an ingenious vocal sample, lifted from Moodymann’s RBMA lecture and pitched up to sound as ominous as the aforementioned stabs. On the flip will sit a track entitled ‘Vibe Decorium’. I’m yet to hear what the B-side has to offer, but I expect a further practice in uncompromising acid-tinged techno. A full review will be made after the 12”s release on the 26th September.

It’s what you do with what you have, you understand?

Instra:mental/Boddika - Vicodin (Skudge Warehouse Mix)/Grand Prix (NL010)

2011-08-24T07:42:00.000-07:00

The resurgence of acid tinged electro in 2011 undeniably stems from the work of Instra:mental. Al Green and Damon Kirkham have been prolific both in terms of their collaboration work as well as their flourishing solo projects which have inevitably taken great strides over the past few months. It’s fitting then that this split release on [nakedlunch] should be dedicated to a slice of both, with a Skudge reworking of Instra:mental’s brooding ‘Vicodin’ accompanying Boddika’s first effort since the outstanding 2727 EP on Swamp81.

Boddika’s inimitable sounds have drawn a number of deserved plaudits since his debut 12” on [nakedlunch] back in October 2010 (‘Boddika’s House’ b/w ’Syn Chron’), and ‘Grand Prix’ is testament to just how developed and refined Al Green’s production work has become. Quick fire drum machines align, generating a series of persistent kicks, rapid yet faint hats and powerful alternating toms. It’s the signature acid tinged bassline that sits upon the rigorous beat which really transforms the track. A flurry of dark corrosive lines build with severe energy, developing sounds not to dissimilar from engine’s revving on the start line of the grid. The red lights go down, and the harsh rhythm is reintroduced completed with 808 rim shots to complement the gruelling bassline; the race is underway. It’s relentless, carefully wearing you down and working you into an endless groove.

Skudge give Instra:mental’s ‘Vicodin’ the late night warehouse treatment on the 12”s B-side. The tempo is dropped to allow for the Swede’s to work their routinely monochrome magic. The rhythm patiently shuffles, defined by raw 4×4 kicks which are set against scraping hats and distant snares. ‘Vicodin’’s haunting hook is retained here, although it’s presented in a far more rasping and raw fashion compared to the original, matching the strict drum progressions as the track advances. It’s quite a contrast in style and tone to ‘Grand Prix’, but fits as an apt addition in terms of quality.

Written for Sonic Router

Boddika / Instra:mental - Grand Prix / Vicodin (Skudge Warehouse Mix) [NL010] Naked Lunch by Surus

Recondite - Plangent #002

2011-08-14T02:56:00.000-07:00

Berlin-based producer Recondite impressed with his opening release in the aptly named Plangent imprint back in February. It was an affecting record, displaying a menacing brand of techno filled with melancholy and dejection. However, this isn’t to say the record wasn’t designed to be heard on dancefloors. In fact, quite the opposite was intended as it appears. The effectual use of drum machines allowed for precise and deep rhythms that provided tracks with an extra groove, endowing the tracks with undeniable dancefloor potential. As suitable to home listening as it is to dark clubs. The follow up to Plangent #001 has arrived, bestowing a similarly despondent and pensive tone in what is an arguably more refined release.

The A-side holds the far more joyful and upbeat ‘Haptic’, the sound of which is rare in the production work of Recondite. Deep kicks set the marker, soon united with off-kilter toms and astute hats. The filtered synth lines are warm and lofty and neatly align with burly rhythm, leaving the rolling subs to do real damage. It’s a competent track, not outstanding, at least not in comparison the truly brilliant B-side this 12” has to offer.

‘Backbone’ opens proceedings on the flip. An unbending 4/4 beat is immediately established, with a storming bassline filling empty gaps. Incisive snares and pointed hats add a sense of uncertainty in their somewhat timid appearance, especially due to their juxtaposition with the driving kicks and bass. Delicate and downhearted synth chords superbly convey bleak emotions, offset by a raw and insistent drum patterns. The best is left to last on this record, with ‘Yield’ constituting Recondite’s finest work to date. From the off, we are presented with the early base upon which the track measurably progresses. The kicks this time around are less intimidating, with lasting snares and cushioned claps granting a smooth groove. This is suitably in line with the tender, yearning chord melodies which develop and advance with aching beauty. The bassline beats away, simmering just on the surface whist the chords overwhelm.

Plangent #002 details more evidence of the talents Recondite holds within his armoury. The first two tracks are sound efforts, but it is ‘Yield’ that really stands out as the records outstanding track. It isn’t as complete as #001, but the quality of the two tracks on the B-side is speaks for itself and suggests the producer has plenty to offer in the future.

Scion A/V Presents: Omar-S - High School Graffiti EP

2011-08-12T07:02:00.000-07:00

It’s safe to say that this week has been an improvement on most others for followers of Omar-S. On Monday we were treated to his new and free EP High School Graffiti curated in conjunction with the Scion A/V imprint, which was soon to be followed by news of Alexander “Omar” Smith’s forthcoming album It Can Be Done, But Only I Can Do It.

The union of Toyota’s Scion A/V project and Omar-S is especially fitting given the producer’s roots in the Motor City, a trait which has left a longstanding mark on his production work. His back catalogue work is extensive, and in many ways can be seen as a metaphor for the 313 itself. His work is characteristically rough and raw on the edges, constructing rigid and uncompromising rhythms, whilst yet retaining real beauty and soul at its very analogue heart, often evoked through expressive chords and poignant vocals.

High School Graffiti is just as inimitable as his previous work, delivering intricate beats which are drenched in 303 acid line excursions and well as those introspective key melodies that are so damn effective. The highlight perhaps comes from the collaboration with Theo Parrish, Who's In Key, which generates a wonderful keys motif against a backdrop of tough kicks and Omar’s nippy and slight hats. You can download the EP by clicking here; it's quality material.

The legendary Detroit house producer will also be unveiling his follow up to the 2005 album Just Ask The Lonely with It Can Be Done, But Only I Can Do It. It will be release via Smith’s very own FXHE label which is by consensus one of the strongest house labels operating at the minute. You can preview clips of each track and pre-order now over at Phonica.

High School Graffiti EP:
1. Got The Drop On Dem
2. Gunup Runup
3. My Naffew Randy
4. Unitarian
5. Who's In Key feat. Theo Parrish

It Can Be Done, But Only I Can Do It:
1. Solely Supported
2. Supported Solely
3. Look Hear Watch
4. I Come Over
5. Ganymeade
6. You Wish
7. Over You Too
8. It Can Be Done, But Only I Can Do It
9. Nite’s Over Compton
10. Here’s Your Trance, Now Dance
11. Skynet 2 B
12. Bobien Larkin

Cabin Fever Trax Vol. 18 (RKDS018)

2011-08-11T14:42:00.000-07:00

The Rekids imprint has marked the 18th edition of its retro-house series of 12”s, Cabin Fever, by drafting in revered producer and label associate Mr. G for an outing. The Cabin Fever run has provided a number of class productions over the past three years since its conception in September 2008, staying true to its roots in straight house and techno experiments with each of its 17 previous releases. The latest addition doesn’t waver from this tradition, with label associate Mr. G delivering a record that is a perfect match for the sound Cabin Fever has carefully developed.

The record opens with ‘They Say They Play House’ on the A-side, immediately evoking a deep and soulful vibe. A firm four to the floor beat kicks away, uncompromising in its persistence. The tough rhythm is juxtaposed suitably by the alternating two key notes that tentatively gain ascendancy, timidly working beneath the pulsating rolling bassline. The rhythm contains subtle variations to keep things interesting, intermittently incorporating razor sharp hats and unremitting snares. It’s not so much the presence of these deviations that are so valuable, but their timing that renders them so effective. This is especially true in the case of the introduction of supple claps which delivers the track its full groove, timely in the moments leading up to the central vocal sample. The voice of an older African-American man resonates (as previously heard on Efdemin’s ‘Just A Track’), preaching the importance of the style he defines as “a feeling”. This is an altogether all too familiar component of many house records, but ‘They Say They Play House’ avoids such cliché in the manner it presents the voice, backed by an imposing rhythm and a stirring melody.

Whilst utilising a similar formula, the resulting sound on the flip is quite a contrast from the opener. ‘The Thin Blue Line’ is a more tense and upfront affair, closer to the analogue techno of The Analogue Cops at Restoration rather than the deep house induced on ‘They Say They Play House’. Raw 4/4 kicks are met by a determined bassline that continually wears away. Pointed hats contribute a sharper edge, a feature which is matched brilliantly by the nervous motif the incisive chord stabs generate. The track patiently develops in such fashion, building in anxiety with every clashing snare and the repetitive yet indecipherable vocal sample.

Cabin Fever Trax Vol. 18 represents what we’ve all come to love and expect from the Rekids series. Some may lament the distinct and unchanging direction; however, Mr. G delivers an impressive two track 12”, warming you up with deeper sounds on ‘They Say They Play House’ whilst making you restless with the edgy and raw B-side. Pressed on white marbled vinyl and completed with a thin blue line.

Chicago Damn - Let's Submerge (CHICAGODAMN001)

2011-08-07T12:39:00.000-07:00

Anonymous producer Chicago Damn presents the Let’s Submerge EP on his newly formed imprint. The release follows his fine debut on Mark E’s MERC label, as well as his excellent contribution to Wolf EP 8 with ‘If I could’. Let’s Submerge is no slouch either, and displays the array of talents the artist in question has to offer. In terms of sound, its house music with soul and feeling, a pastiche to deep Detroit styles whilst retaining an original and sole edge to each record.

The title track opens up on the A-side. A firm 4/4 beat sets the tone almost instantly, laying the strict format upon which dark arching synth lines unfold. Tight hats align as the inimitable synths continue to tease, soon pressed into motion by irregular claps and an underlying bassline that will do the damage on dancefloors at peak time (in a similar fashion to Levon Vincent’s flawless ‘Man Or Mistress’). It’s an epic tense and patient builder that carefully crafts an indelible synth hook, one which leads the track throughout its 7/8 minute duration.

On the flip sits the slightly faster ‘I Cry’. As well as being quicker in tempo the track’s air and mood is of noticeable contrast, with the B-side carrying a far more pensive tone. A solid rhythm immediately hits, with 4/4 kicks matched on every second hit by crisp claps and completed by a flurry of gentle rim shots. The track swiftly develops into its full stride, marked no end by the beautiful melodies induced by undeniably effective key arrangements. The chords shimmer, coated by lofty synths that only help to evoke the soft yet contemplative sound. The ambiguity is wonderful, an element which really characterises the track. Deep subs add further complexity, enhanced by the repetitive and unequal whispers of ‘I’ from an indecipherable female. ‘I Cry’ is a brilliant effort. One listen and those melodies will forever play on your mind.

It’s an excellent house record, a 12” that will continue to be played for months and months to come. The A-side is upfront and enduring, whilst the serene ‘I Cry’ steals the show with the beauty it generates from its warm analogue construction. Killer 12” of late night house from the gifted upcoming producer.

Chicago Damn 001 - "Let's Submerge // I Cry // Let's Submerge (Max Essa Remix)" by Chicago Damn

Visionist/Lorca - W.M.I.D/Hold Back (LB002)

2011-07-29T09:26:00.000-07:00

The recently formed Left_Blank imprint returns for its second outing in August, presenting two of the hottest prospects around at present. The promising label impressed on its debut with the ‘Nylon Sunset’ EP provided by newcomer Vessel, accompanied suitably by strong remix work from Bristol’s Peverelist. Stepping up for the follow up are Visionist and Lorca, young artists that have been growing in stature over the past few months. It’s a perfect fit for both artist and label, combining to produce a striking 12”.

Visionist (92Points, 502 Recordings, Diskotopia; his killer 'Mr 67' is now available for pre-order) opens things on the A-side in distinctive fashion. ‘W.M.I.D’ begins tentatively, with a carefully formed 808 rhythm gradually taking shape whilst downcast synth lines and vox’d sample (crying “what must I do”) craft a sound somewhat caught in the doldrums. This morose atmosphere changes almost instantaneously as the bass drop kicks in. The 808 rhythm takes dominant force, with deep kicks aligned by those inimitable cowbells, staggered claps and deft hats. Warm synth pads ascend with the increasingly prominent vocal loop, and surging subs work away beneath the surface. The rhythm is deadly efficient, and supplemented brilliantly by considered sampling.

On the flip Lorca takes full control with a track titled ‘Hold Back’. In contrast to Visionist’s opener which combines energetic 808’s with quick fire vocals, Lorca’s effort is far more relaxed, characterised by its spare rhythm and poignant chords. ‘Hold Back’ is a real stepper, built on spacious kicks which are balanced duly by supple claps and low-key hats. The open rhythms are complemented beautifully by soulful synth arrangements and a wailing vocal which tenderly rises and recedes throughout. Really strong work from Lorca on this one.

The two aforementioned tracks make up the 12” which will be released on 15/08/11. The digital release comes a week later, and will feature two additional tracks. The first is a remix of Lorca’s ‘Hold Back’ from fellow newcomer Valentin Stip. The French/Canadian producer offers a seductively warm refix, with glistened synths evoking dreamlike qualities alongside the filtered vocals and shuffling downtempo beat. Visionist and Lorca combine for the second addition, with the resulting work forming ‘Slapstickk’. The collaboration undoubtedly fits, combining frenetically shifting 808s with a shimmering synth key melody. It’s a very strong second EP from Left_Blank, one which demonstrates the talents of two fine producers.

LB002: Visonist / Lorca (Preview) - Forthcoming August 2011 by left_blank

Instra:mental/Trevino - Pyramid/Chip (3024-015)

2011-07-25T05:05:00.000-07:00

3024 Recordings marks its 15th release with a split 12” featuring new material from incomparable duo Instra:mental and the lesser known Trevino. Martyn’s creative imprint has been invincible of late, releasing three original 12”s that suitably accompany the 3024 aesthetic Erosie has so distinctively established in conjunction with each sound. Addison Groove and Julio Bashmore offered the best of the West Country, whilst Damon Kirkham debuted his solo project under the alias Jon Convex last month.

Kirkham returns to 3024 once again, this time for a workout as Instra:mental alongside Al Green (Boddika). The duo curated the brilliant Resolution 653 LP back in April, and each has been carefully mapping their fledgling individual work over the past few months. The weight of this work is so great, and as displayed on the A-side of this release, it shows no sign of declining anytime soon.

‘Pyramid’ is a real electro stepper, relentless in the power of its analogue tools. Resounding kicks directly pave the way for subtle metallic hats, immediately forming a rigid and uncompromising rhythm. Quick fire toms intermittently feature, and Boddika’s corrosive 303 acid lines delicately warm beneath the surface, rising with every stab. The drop is forceful, a characteristic that undeniably defines this record. The driving kicks are met by hammering toms, whilst the abrasive acid synths carefully weave a succession of notes which construct a sound perfectly suited to the ruthless rhythm.

On the flip, Trevino marks his debut with ‘Chip’. Although the 12” may gain more attention due to its A-side, Trevino provides an impressive track for the split 12”. Syncopated bass kicks are interspersed with sharp claps, lending the track the swing and tuck of 2-step. However, the sound does not differ too greatly from the aforementioned ‘Pyramid’ with ‘Chip’ deftly building a surge of dark acid lines that ascend beside glistened synths.

3024 can do no wrong at present, consistently providing 12”s that are high on quality control as well as experimentation. It’s fast establishing a 3024 sound, one which is brilliantly matched by Erosie’s unique vision. Instra:mental have really delivered on this one, and Trevino aptly backs the brilliant opener.

3024-015 Instra:mental & Trevino by 3024world

Unknown - Sicko Cell/Knock Knock (SWAMP014)

2011-07-23T07:00:00.000-07:00

Six months after what can only be described as a relentless domination of the circuit, this year’s most anticipated and discussed record arrives. Talk has abounded the much documented A-side ‘Sicko Cell', relating to various issues and establishing fractions in the track’s reception. The most persistent question has seemingly been the identity behind the producer of the track, a subject which in all honesty shouldn’t have much too much of a bearing on the interpretation of music. However, it always has and always will. Has the anonymity of the producer contributed to the hype surrounding 'Sicko Cell'? Undoubtedly so, but I strongly believe a similar height of attention would have been paid to the track had the producer in hand revealed himself, purely based on the draw of the record.

Discussion of the tracks themselves have somewhat been underplayed due to the prominence of the previous matter, unfairly so as well. There is undeniably something special about this 12”. It’s not the fact an ‘unknown’ producer is behind the work, or the fact that Ben UFO and Oneman have been spinning the dubs since late 2010; there’s a real distinctiveness to the release. These are two memorable yet minimal killers, a fact proven by their 6 month sticking power.

This is particularly true in the case of ‘Sicko Cell’. It’s seemingly contradictory, combining challenging rhythms with the popular awareness of its sampling. The track’s introduction alarms, with various bleeps and razor synths providing layers for the eminent hypnotic vox’d line “I’m the information. Cocaine powder”. The bass kicks hit home earlier than anticipated, soon joined by shuffling hats and the Page sample. The track finally forms its full intricate 808 rhythm, with deep kicks offset neatly by padded toms and soft rim shots. A cold chord arrangement forms a deadly Detroit-esque melody, whilst cries of “too much” resonate in frenetic repetition. This measured build up leads to the track’s climax, a wonderfully twisted breakdown which provides its pinnacle. The vox’d sample directly repeats the opening line, whilst poignantly yearning synthlines provide the perfect foil for Neyo’s bewail “I’m so addicted”. It’s a brilliantly constructed track, causing damage on dancefloors through subtle rhythms and superb samples.

The B-side has been criminally overlooked for me due to the attention directed to ‘Sicko Cell’. ‘Knock Knock’ is an altogether warmer track, whilst still incorporating an introspective element to its sound. Sharp toms immediately align and set the order, whilst the beautiful brooding synthlines tenderly assemble a melody characteristic of this artist’s talents. Pounding bass kicks provide depth to the 808 rhythm alongside quick fire hats, and carefully cut vocal snippets contribute a lamenting tone alongside the ever rising and receding synths. This may just be the stronger of the two tracks in my opinion, skilfully balancing the strong rhythm with emotional melodies.

It’s a very strong release, one which will no doubt be remembered for a quite a while. The A-side will be for crowd pleaser for months to come, and rightly so. I do hope the underplayed ‘Knock Knock’ is given the attention it deserves in the near future. As per usual full marks to Swamp81 who provide yet another outstanding release, finished with typically flawless artwork and pressed on 180g vinyl. Purchase.

Vakula - Mama Said Go Slow/Deaf World (Dub) (SHEV001)

2011-07-19T09:31:00.000-07:00

Ukrainian Vakula may just be untouchable at present. The young producer has patiently been building an impressive discography over the past few years, crafting a hypnotic and affecting sound with releases for Quintessentials, Uzuri, 3rd Strike and Firecracker Recordings. His distinctive brand of deep house is delightful, and was demonstrated at its strongest on his latest effort for the promising Unthank label. The three track EP was of the highest quality, combining shuffling house templates with expanding and altering melodies that overwhelm. His most recent release for the newly formed Shevchenko label, one named after the great Ukrainian poet Taras Shevchenko (although I like to think it was rather named in honour of Andriy Shevchenko, my favourite football player of all time - I'm an AC Milan fan), follows in a similar vein, with a hand-stamped white label providing two tracks of equal measure.

The A-side of the Shevchenko release is the glowing highlight on this 12”. The track titled ‘Mama Said Go Slow’ opens with a driving 4/4 beat supplemented by a flurry of sustained hats and deft snare hits. Minor acid synths bubble gently beneath the surface, gently rising and receding before being outdone by the introduction of absorbed chords. The sensuous melody induced by the Detroit inspired keys leads the line, subtly altering throughout whilst a low key soul sample is left lying in its wake. It really is a beautiful endeavour.

‘Deaf World’ (Dub) on the flip is a decidedly downtempo effort, somewhat subdued and tentative. A slow mo driving beat centres events, intermittently joined by quick fire hi-hats, lingering snares and sporadic crashing toms. Arcing synthlines emerge to claim dominance in the first half of the track, only to be gradually displaced on the track’s journey. A light and perhaps smoother arrangement of soft keys grows in stature, thoughtfully matching the previous synthlines with equal intensity. It’s a carefully constructed beatdown track, one which characterises the unique sounds Vakula initiates.

‘Mama Said Go Slow/Deaf World (Dub)’ is a fine effort, and further evidence of this flourishing producer’s talents. The A-side is very special, finding a perfect balance between fine tuned rhythms and introspective melodies that lend the track a further groove. Limited hand printed 12”; don’t sleep on it.
Mama said go smoothly by Vakula

Jason Fine - Menage At Trois (FXHE)

2011-07-12T09:19:00.000-07:00

FXHE continues build upon its impeccable reputation, one which will only be enhanced by the latest offering from Omar-S’ Detroit-based imprint. ‘Ménage At Trois/Jack Yo Bodda’ marks producer Jason Fine’s second outing on the label, and it’s an excursion in which he revisits the distinctive sounds of 90s US house/garage. It’s a sound to which he pays homage and yet updates, producing a 12” perfect for late nights and deep downtempo dancefloors.

The title track sits on the A-side and demonstrates the upbeat half of the release. A skittered pattern initially emerges, with incisive hats and pointed snares laying essential foundations for a seductive female vocal to softly arouse. The introduction of resonant kicks gets things moving nicely, assisted no end by the initiation of charming keys. The track builds nicely, with the booming kicks and on point hats forming a shuffling rhythm, whilst the smooth keys and whispered vocal sample contrast in their sensual sound. The track reaches its pinnacle once the vocal descends and the chord arrangements develop, incorporating further notes into the buoyant melody.

‘Jack Yo Bodda’ is an altogether moodier affair, a perfect fit for FXHE. Deep kicks are separated by light hats, underscoring the diva cries of “jack yo body all night long” over a wonderfully morose chord melody. Those signature jagged skittering hats mark a turning point, signalling the arrival of clashing snares, reserved claps and a grumbling bassline only Omar-S could produce. And don’t worry, that bassline takes full control. Jacking rhythms, soul drenched keys, and diva vocals emerge again, comprised to form a brilliant house record with a helping hand from Omar-S the best.

On the flip of the record you find the words “More Bang For Your Buck!!!”. A Statement couldn’t be more fitting for the quality etched on this 12”. Once again it’s another damn impressive record from the FHXE camp.

Funkbias - Last Forever/Heaven Sent (SWAMP012)

2011-07-08T08:22:00.000-07:00

Swamp81 continue their exceptional run of releases with the debut release from Funkbias. The imprint's twelfth release presents the collaboration work between Zed Bias and Rinse FM’s Funk Butcher. The duo’s production work neatly fits the Swamp81 aesthetic, combining vibrant rhythms and neat chords with clipped vocal snippets. There’s something distinctive about the two tracks on display here, a sound quite unique and inimitable.

The A-side is the more identifiable, receiving regular play from Swamp head honcho Loefah, Boddika and Oneman over the past couple of months. ‘Last Forever’ is also most certainly the more upfront track of the release. A rugged rhythm pounds away, with bottom heavy kicks providing the base for precise layers of intricate percussion. Striking synthlines sporadically pierce the surface, whilst an unrecognisably frenetic vocal sample is scrupulously ordered. The elements combine with great efficiency, and the further additions of swelling basslines and sharp claps lend the track its full groove.

Switch to the flip and you’ll find ‘Heaven Sent’. There’s an infectious quality attached to this track which has led me to place the needle on the B-side more often than not. From the initial opening arises a series of soft piano chords that warm the high pitched vocal snippets and subtle toms. The drop takes things in a different direction, introducing the track’s shuffling polyrhythms against a backdrop of surging subbass. The tougher sounds of the multifaceted percussive arrangements take precedence, although it’s soon juxtaposed by the reintroduction of the uplifting chord melody. Crashing toms grow in power, and crisp claps fall on every fourth beat.

It’s an impressive debut from the duo; buy on sit material as per usual from Swamp81. Pressed on 180g vinyl with exceptional artwork from the gifted Will Bankhead (Trilogy Tapes, Honest Jons, Doldrums etc), it’s another essential Swamp 12”.

Addison Groove - Bad Things

2011-07-07T14:24:00.000-07:00

Addison Groove is on fire. 2011 has marked an important year for Addison's production, prolific both in terms of quality and numbers. ‘Work It/Sexual’ set the tone, with Swamp81’s ninth release marking his strongest work to date. Shortly followed up by first-rate releases on Tectonic and 3024 (not to mention the white label remix of Photek’s ‘UFO’), the supply of Addison material has met its demand. The most recent signs indicate the Bristol-based producer has no intention of letting up on the works under his inventive moniker at present. Last month, Jackmaster included a new Addison dub in his mix for an audio/visual collaboration alongside Plomp&Clout, a track which demonstrates progression and experimentation with the ‘Addison sound’. Next up, a track entitled ‘Bad Things’ has begun to surface.

‘Bad Things’ is straight up killer, primed for the dancefloor. Rolling 808s weave with undeniable effect, deep bass kicks reverberating whilst rim shots sit somewhat closer to the surface. The rhythms progress and evolve throughout, proceeding to incorporate sharp hats and the legendary 808 cowbell. Strands of electro glistened synth stabs open every 8 bars, while invariable sub bass and quick fire Spank Rock vocal samples lend further weight to the precise beat. The sampling on this one cannot be underestimated, it’s a perfect fit.

Whether or not it will see a release remains to be seen. The only thing that is for certain is the fact that Addison’s stride will not be stopped.

ADDISON GROOVE - BAD THINGS by addisongroove

Martyn - Masks/Viper (BF024)

2011-07-02T04:05:00.000-07:00

Martyn is back with a single and sophomore album forthcoming on Flying Lotus’ Brainfeeder imprint. Martijn Deykers is undoubtedly one of the most talented producers around, with a consistency of quality demonstrated throughout his multi faceted back catalogue. His debut album ‘Great Lengths’, released on his very own 3024 records, provided one of the highlights of 2009, with a sound much more ingrained in dubstep coming to the fore whilst simultaneously crossing over with garage and techno. ‘Vancouver’ and ‘Hear Me’ still sound as fresh as they did 2 years back, a trait which demonstrates their value. Since his debut LP, Martyn has carefully managed the release of following singles, maintaining the high standards that have gone before. ‘Miniluv’, included on Ben Klock’s Berghain 04 mix, may just mark his strongest work to date. The track is based around pounding kicks and skipping percussion, whilst dark basslines grind beneath the surface only to be overwhelmed by the beautiful melodic chords that develop in the latter stages.

The head of 3024 recordings will present his new material in October on an LP entitled ‘Ghost People’. On the subject of what direction the new material would take, Martyn commented, “People just like a certain sound and then they want more of that. But then when you give them more, they suddenly think you’re boring or one-dimensional. The best way to handle it is to not really listen to people, and just dictate what you want to do. Everyone has their angle, and puts on their mask forward. People use a shell to show who they want to be.” The earliest we’ll be able to perceive the new material will be in the form of a 3-track single, featuring ‘Masks’ as well as two variations of a track titled ‘Viper’. If ‘Masks’ is an indication of where Martyn has taken things with the forthcoming LP we could be presented with his finest work to date. A 4/4 beat thumps, the weight of which is balanced by crisp hats and timely claps. The pulsating percussion is suitably accompanied by a bassline that will delight dancefloors, whilst the progression of intricate key stabs generates an uplifting arrangement that places the track into full fruition.

‘Masks/Viper’ is will be available on 12” on 5th September with a digital release set for 1st August. Invariably, Martyn will deliver quality.

Tracklisting:

1. Masks
2. Viper (Ghost People Edit)
3. Viper (London’s Arches Edit)

Teeth - Shawty & CNT/Lowcut Champagne

2011-06-30T11:01:00.000-07:00

Matti Pentikäinen is very much on top form at the minute. The Finnish producer who operates under the moniker Teeth is responsible for a couple of the strongest releases to see the light of day in May and June. His debut came last month on Oneman’s 502 Recordings, a release which has firmly placed Teeth on the map. The eminent ‘Shawty’ was a real statement from the Finn, presenting an inimitable sound that cannot be defined through placement in an umbrella genre grouping. His second 12” was released at the beginning of the month, with CNT/Lowcut Champagne forming his follow up to ‘Shawty’ on Noppa Records. Two tracks of real quality were on display once again, sharing similar characteristics which helped to endear his debut. The sounds are introspective and brooding, yet simultaneously retaining features which endow the tracks with dancefloor compatibility, a quality Addison Groove has mastered on his latest releases. However, there is undoubtedly something special about Teeth’s early sounds.

Oneman copped an absolute killer in ‘Shawty’, and the risk taken on signing the track has justifiably paid off. After first listening, you realise there’s something definitive about the track. Its sensuality absorbs you, whilst shifting percussion underlies a sense of difficulty and anxiousness. The seductive vocal sample (Beyonce’s whisper of “shawty what your name is”) and stunning synthlines bring the heat, supported by deep pads and frenetic hats which lie beneath throughout. The tough garage rhythm that occupies in stages and surging sub bass bestows the track club suitability, albeit an uncomfortable one. The track sits at 147 bpm, a fair distance from the plentiful 128-130 somethings that have risen to prominence over the past 12 months. It’s an unusual tempo, one which lends to the track’s brilliance. A bold move on paper, it undoubtedly facilitates success. Backed by a powerful Falty DL remix, one which gives the original a run for its money, and a genius VHS inspired video, the overall package is excellent.

‘CNT’ makes an immediate impact through its razor sharp percussion, vibing off jukes kicks whilst hard drum hits weave a syncopated rhythm alongside the uncertain snares. A quick fire vocal sample intermittently pierces, gaining more prominence as the track progresses, sitting wonderfully atop the supple kicks. It’s the breakdown that marks the significant element here though, with the mood changing in an instant. Warm, hazy synthlines ascend and take dominance, juxtaposing the harsher sounds of the sharp beats. On the flip, ‘Lowcut Champagne’ is the more appealing of the two, pensive and melancholic in tone. The percussion is buoyant, recalling the intricacies of Joe. A heavy off-beat garage rhythm takes centre stage in phases, reminding us of the strength of Teeth’s percussive arrangements. However, the vocal clips and synths are utilised once again to produce an ominous atmosphere. A yearning diva cries “feel it”, softening the blow of every drum hit. The break allows beautifully morose synthlines to construct a melody of wonderful proportions, providing the track’s finest moment.

Two excellent releases from Teeth, with the promise of more quality forthcoming on Ramp, 502 and Noppa.

502:003 Teeth - Shawty/Shawty [FaltyDL Remix] by 502 Records

Teeth 'CNT' / 'Lowcut Champagne' NOPPA008 by stholdings

Kyle Hall - Down!

2011-06-24T10:26:00.001-07:00

Kyle Hall takes it deep down for the latest 12” release on his Wild Oats imprint. The young producer heralding from Detroit has made some of the most affecting house music of the past couple of years, and his sound shows sign of development and maturity over this period. From his remarkable debut on Omar S’s FXHE to soulful control of the “Sun Goddess” EP, his work exudes quality. “Down!” demonstrates no sign of letting up on the quality control, with the infectious A-side constituting one of Hall’s finest productions to date.

“Get Down” builds with a solid 4/4 rhythm kicking away at 126bpm, each hit accompanied by the spacious clash of a snare. A deadly effective chord melody is the main drive behind the track, complemented beautifully by the recurring female cries of “let’s get down”. These elements continually filter in and out, recalling the disco-edits of Moodymann. On the flip, “Xero” is constructed with percussion as its very heart. Hall adopts Latin styled percussion here, composing a rigid hypnotic beat which is drenched in soulful keys characteristic of Detroit house. Hand stamped 12” on a limited pressing. Fine effort from KMFH.

Endian - Two Chords Deep (EMINDS020)

2011-06-21T13:51:00.000-07:00

Electric Minds have delivered a fine 12” with a debut from a new producer operating under the alias Endian. Two cuts of deep house/techno occupy each side, downtempo and emotive efforts that bring with them a distinctive sound, one which presents the talent this previously unfamiliar artist possesses. It’s an extremely impressive debut, a release which marks by refined and considered tracks. After initial listening it becomes apparent as to why NonPlus+ have signed Endian to a release in the coming months (one of which one of the tracks can be heard in Paul Woolford’s recent FACT mix).

‘Two Chords Deep’ is patient and progressive on the A-side. A supple 4x4 beat is set out from the off, reserving the static synth for the backdrop. Hats soon collide between every deep kick, and the efficient two note chord arrangement begins its enduring journey. The addition of claps on every second beat completes the sum, giving the track its full lease of life. The two chords persistently work their way into your memory, effectively working up a groove in union with the driving rhythm.

‘Doze’ on the flip is a much more downtempo affair, with closer ties to deep house. Once again it’s a track which retains the patience of house, tentatively building over the near 7 minute duration. A consistent beat pattern is immediately established, low slung and polished with rounded kick drums. However, it’s the warm gazing chords that really strike, sitting beautifully above the more structured rhythms. The introduction of claps adds a further dimension, as do the latter supplements of crisp hats and the timid snare hits. Throughout all of this percussive development, the soft chords remain constant, ensuring the serene atmosphere engrained in this measured track.

This is a really strong debut release from Endian, confident and assured. Next up for the producer is a 12” on the accomplished NonPlus+ imprint, a release which will undoubtedly, and deservedly, introduce Endian to a wider audience.

EMINDS020 - Endian "Two Chords Deep" by electricminds

Marcellus Pittman - Nyrobi Knight

2011-06-21T12:09:00.001-07:00

Rough and ready Detroit house from none other than Marcellus. His first EP on Omar S' FXHE imprint is one I've been lucky enough to track down on 12" after its original release back in June 2005. Member of The Three Chairs, Marcellus is unquestionably one of the finest house producer’s around, and his impeccable record of astounding releases is testament to such an assertion. I was first introduced to his work with the Unirhythm Green #1 release, a 12” which instantly initiated my adoration for his production. Raw, stripped programmed beats against soulful melodic progressions. His most recent efforts have delivered just as devastating results, with The Eastside Story EP and ‘On A Beautiful/By Your Side’ providing two of 2011’s strongest records. All this is established before giving the slightest mentioning the magnificent Midwest Advocates EP, a 12” which has the small matter of ‘Chicago Nights’ on its A-side.

His first self titled EP for FXHE is no less impressive, and in particular one track really displays the quality Marcellus has to offer. ‘Nyrobi Knight’ may just be my favourite Pittman track, and that is an achievement that really takes some doing. A meticulously programmed beat hammers with padded kicks, complete with persistent hats matching each hit. The track takes off once the rich one note chord works a progressive captivating melody (work that recalls the sounds of Theo Parrish), one which defines the track and leads the way for the introduction of afro-rhythmic percussion in sporadic intervals. It’s a beautifully raw and soulful track, one which displays his innate quality to produce house music that works the soul, body and mind. First class material.

Ben UFO Interview - Intruders

2011-06-19T04:01:00.000-07:00

The guys at Intruders recently held an eclusive interview with Hessle Audio co-founder Ben Thompson, discussing everything from the '116 & Rising' compilation to Ben's personal feelings towards giving tracklists and the importance of vinyl. Ben's a really interesting and well spoken young man, and the interview is more than worthy of 15 minutes of your time.

Vakula - 'Unthank 2' (UNTHANK002)

2011-06-19T03:37:00.000-07:00

The somewhat promising Unthank imprint (a sub-label of Firecracker Recordings) delivers its second release, and confirms that its opening wasn’t a one off. Faced with the challenge of following up Bakey USTL’s wonderfully deranged 'A Tender Places', you’d be forgiven for thinking that the second 10” would be underwhelming in comparison to its predecessor. However, Ukrainian producer Vakula delivers a 3 track EP of equal measure. Vakula’s effort may not be as unpredictable and challenging as Bakey USTL’s introduction, yet it exhibits a distinguished sound that borders on the lines of house and techno, weaving stunning contemplative melodies around uncompromisingly robust rhythms.

'Track 1' steals the show here, providing arguably the most striking track of the release. A steady underlying 4x4 beat pushes things along, whilst heavy bass kicks adds weight to the structured beat. Meticulous chord stabs soon accompany the aforementioned beat, soon displaced by in prominence by introspective synth arrangements, signalled by the introduction of a flurry of cowbells. The two melodies wonderfully interplay for a period, before the stunning arching synth lines take full control, flourishing in the absence of the beat. 'Track 2' is no less delightful, an altogether slower and shorter affair. A slow motion shuffling beat provides the direction for uplifting chords to dictate, backed by analogue fuzz in the distance. The B-side lifts the tempo as well as the mood. The beat is simple yet effective, playing second fiddle to the delicate melody that constitutes the opening half of the track. Drifting synths patiently rise beneath melody, receding as gradually as they appeared.

Each clear 10” is once again delivered in a silk-screened Japanese poly jacket, ensuring the release is an essential purchase. With more releases along these lines, Unthank will unquestionably become one of the most reputable independents around, especially with more tracks along the lines of the superb opener.

UNTHANK002 by Firecracker Recordings

Addison Groove - Unknown

2011-06-14T16:58:00.000-07:00

2011 has quite simply been a faultless year for Anthony Williams under his Addison Groove pseudonym. Three releases of real quality have surfaced in the space of a couple of months, providing material for a wide range of DJs whilst amassing superlatives from numerous music journalists and peers alike. From Swamp81 to Tectonic to 3024, Addison has always delivered excellence, perhaps the pinnacle of which is the sublime ‘Sexual’, a track that combines frenetic 808 rhythms with a sensual chord melody and hypnotic vocal sample. Addison’s sounds has continued to develop, becoming more refined whilst managing to explore further mutations, a progression ‘Make Um Bounce’ indicated on the Tectonic release.

The likelihood of Addison releases in the near future is unlikely after his prolific opening to the year. However, dubs seem to be surfacing, and will undoubtedly generate the same interest and excitement that predecessors ‘Sexual’ and ‘It’s Got Me’ sparked. The latest Addison track appeared at the end of the recent audio/visual collaboration between visual artist Pomp&Clout and Numbers head Jackmaster. The audio/visual mixtape itself is quite something, blending eclectic videos with outstanding mixing track selections from Jack Revill. Nonetheless, the highlight comes in the form of a new Addison Groove track that kicks in from 8:30 onwards.

This new track signals further experimentation, with Williams seemingly exploring sounds more indebted to house and techno, whilst retaining raw 808 patterns and quick fire vocal samples. A rolling 4x4 rhythm slowly transpires, with hi hats subtly filling the gaps in between. The 808 pattern gradually develops, patiently initiating bass heavy kicks and razor sharp toms. Delightful synth arrangements create a melody that harks back to Drexciya, forever keeping the cutting acid synths at bay. And the vocal sample completes the track, with the indelible female vocal reiterating “we like to fuck, yo ass up”. It may just be Addison's best work alongside 'Sexual'.

If that wasn't enough, Addison's remix of Martha and the Vandellas 1967 soul track 'Jimmy Mack' is quite simply something else. Williams' production under the Addison moniker is growing in strength if these tracks are a sign of things to come.

Blawan - 'What You Do With What You Have'

2011-05-29T09:54:00.000-07:00

More heat coming from Blawan, just at a time when you'd be forgiven for thinking the young producer had given the best he had to offer for a while on the last two releases. 'Potchla Vee' - featured on Hessle Audio's '116 & Rising' LP - and 'Getting Me Down' represented the latest efforts in an almost faultless back catalogue from Barnsley born Jamie Roberts, a factor which he seems to take great care and detail over, quality over quantity. However, new material is surfacing, with a track titled 'What You Do With What You Have' according to Ben UFO aired on Hessle Audio's previous two Rinse FM shows. And my word it hits hard.

'What You Do With What You Have' follows a similar construction to that of 'Getting Me Down', yet somehow it seems to do with more bite and efficiency. Once again, we see a wonderfully lifted vocal sample acting as the heart of the track, with all other elements carefully weaved around Moodymann's distorted statement. This sample was founded in Moodymann's RBMA lecture, and the way in which Blawan has adopted the lines is nothing short of brilliant (click here to view the lecture - clip at 18:00). The track sets the vocal sample in a 4/4 house rhythm, built in signature style with interplay between various percussive layers - a feature prevalent in much of his previous production. 303 acid lines submurge the rhythm, complementing the manipulated vocals and driving beat with the dark melody each stab works to generate. It's the way in which the vocal sample is arranged that resonates, however, hypnotising you into a groove. Blawan on his finest form. Whether or not we'll be seeing this on 12" is unknown at present, but I'm hoping an R&S release is in the pipeline.

"But I’m going to tell you something. It ain’t what you got, it is what you do with what you have. It ain't what you do, it is how you do it, and that goes with anything. I don’t care if you are out here selling dope, do it well. I don’t care if you are out here selling pussy, fuck it well. It is not what you do, it is how you do it. Who gives a fuck what that motherfucker say? Who gives a fuck what that motherfucker say? You have to be comfortable with yourself at the end of the night. ‘Cause that motherfucker over there isn't paying your bills, that motherfucker over there, you don't know that motherfucker from Adam Scratch, you have to be comfortable in what you do. And whatever you do, do it well. When you leave here, what you do, do it well. It ain’t what you got; it is what you do with what you have." (Kenny Dixon Jr aka Moodymann)

Hessle Audio - 116 & Rising (HESLP001)

2011-05-25T16:57:00.001-07:00

For the past couple of weeks I have been relentlessly absorbing Hessle Audio’s latest addition to an already accomplished back catalogue. Hessle first LP comes in the form of the 166 & Rising compilation, a project which unties the label’s past with its present. The first CD and 3x12” is dedicated solely to new materials, the majority born from previous contributors to the label – although Addison Groove, D1 and Randomer all make their Hessle debuts here. The sheer volume of quality the label has fashioned since 2007 is quite remarkable, and when situated in a single release you begin to realise just how far the Hessle label has developed since its 2007 inception.

Label co-founders Ben Thompson, David Kennedy and Kevin McAuley have been at the helm, carefully mapping the direction of the imprint over the past four years. A total of 18 releases over the space of four years is less than prolific, however this in turn defines the Hessle way. In fact, it is quite remarkable that the trio have put together such a number of strong and innovative release, only pressing sounds they are thoroughly impressed by. The quality of each and every release is something to behold, a feature this compilation underlines in abundance.

The release is essentially split into two separate parts, although each is unquestionably related to its opposite. The 3x12” release points us in the direction of Hessle presents and futures. The vinyl pack is comprised of 12 new releases, with a varied mix of material selected. The A-side opens with Elgato’s sensual Music (Body Mix), a measured track which knocks away at 121bpm weaving weird and wonderful melodies around deep kicks and recurring percussive arrangements. Elgato’s opener is a real statement, contrasting Pangaea’s You & I on the second CD. The latter is more inclined to acknowledge roots in dubstep and 2-step, with a swinging rhythm drenched in anxious tones and layers that lend the track a strong sense of spatial atmosphere. This atmosphere doesn’t escape Elgato’s Music though, as track seemingly retains the stripped and distinctive ambience characteristic of numerous Hessle releases.

Blawan’s ‘Potchla Vee’ deserves special attention – although many would argue that is the case for all eleven tracks. It signals the work of a man on top form at present, perhaps even topping Getting Me Down. A pounding rhythm formed from extensive drum programming, complete bass heavy kicks and timely snares, is wonderfully offset by brooding synths that over roar beside an emotive female cry. It’s quite simply a contemplative killer. Addison Groove is testament also to the importance of electronic drum programming music, a trait that has become all the more apparent over the past 6 months or so – sounds pushed particularly by the likes of Swamp81, 502 Recordings and Hessle themselves. Fuk Tha 101 is very much situated in the current age, with Addison working a deadly 808 groove that will make dancers bounce. The quick fire Juke-infused sample repeatedly asserts “Fuk Tha 101”, a powerful combination which Williams manages to balance with a signature introspective melody, providing the track with room to breathe amongst the pounding 808 business.

Whilst acknowledging the new sounds and mutations that have descended upon the debated UK bass/dance scene in recent, the vinyl edition makes room for the D1’s Subzero, one of the most underrated dubstep dub’s out there. Its percussion is simple yet unquestionably effective, with an intimate interplay between snares and hi hats between the spacious left by each drowning kick. The track’s location in the centre of the new material is telling, and suggests the impact the style has had on this new generation of producers and sounds.

This concept is further explored when you compare the works of certain artists who have produced material situated on both sides of the release. Cosmin TRG may just be the strongest example of a producer whose sound has developed with current trends and mutations. Put You Down (released back in June 2008) harks back the low swung 2-step/garage of El-B et al - a style that obviously retains strong ties to the dubstep scene. The track’s propulsive 2-step rhythm acts as the focal points, around which sub lines forever simmer beneath a persistent vocal sample. Cosmin’s most recent addition is provided by Bijoux, a track with deeper ties to more recently explored house sounds. Bijoux carefully constructs effortlessly smooth rhythm that borders on the fault lines between house and garage, whilst a blissful chord melody induced, providing arguably one of the most soulful moments on the LP – although James Blake and Joe have just as strong a case.

I could go on discussing my love for the tracks featured on this compilation. I haven’t even yet mentioned the brilliance of James Blake’s efforts, or the refreshingly original efforts Joe has savoured for the label – new track ‘Twice’ is a highlight from the LP. However, it really isn’t about the individual tracks or artists featured here. This is a compilation, and something more is required than collating a number of tracks from various releases a label has put out, a facet one too many compilations have suffered from in the past. 116 & Rising evades such downfalls, and provides one of the most enjoyable listens you will experience in 2011. It is a fitting representation of the label, a unique imprint which in dictates a strong sense of identity and unity within its releases, a correlation which can established in relation to the first and second CDs. It’s a compilation which documents Hessle’s best work to date, but goes further in ensuring that the organisation of such material is structured to underscore the very distinctiveness of one of the UK’s finest independent labels. The 3x12 and 2xCDs are simply indispensable.

Praise should also be reserved for Will Bankhead (Trilogy Tapes), who has designed Hessle's finest artwork to date. If you're not familiar with Bankhead's work, get to know it. He's a regular on artwork for Honest Jons and the previous Doldrums releases (002, 003), the latter of which as so beautifully presented. It's the perfect meeting of art and music.

Tracklisting

CD1
1. Elgato – Music (Body Mix)
2. Untold – Cool Story Bro
3. Blawan – Potchla Vee
4. Pearson Sound – Stifle
5. Joe – Twice
6. Randomer – Brunk
7. Pangaea – Runout
8. Cosmin TRG – Bijoux
9. D1 – Subzero
10. Addison Groove – Fuk Tha 101
11. James Blake – Give A Man A Rod
12. Peverelist – Sun Dance

CD2
1. Pangaea – You & I
2. Untold – Test Signal
3. Blawan – Fram
4. James Blake – Buzzard And Kestrel
5. Untold – I Can’t Stop This Feeling
6. Joe – Rut
7. Ramadanman – Blimey
8. TRG – Put You Down
9. Joe – Level Crossing
10. Pangaea – Why
11. TRG – Broken Heart (Martyn’s DMC Remix)
12. Ramadanman – Don’t Change For Me

Jon Convex - 'Convexations' EP (3024-014)

2011-05-24T03:05:00.000-07:00

2010 saw the emergence of Alex Green‘s (one half of Instra:mental) solo project Boddika, a trend which has continued with great success into 2011. Now the time has come for Instra:mental’s other half, Damon Kirkham, to launch his very own solo work under the alias Jon Convex. His debut EP has been signed by Martyn’s 3024 Recordings, a label which has grown in stature over the past few months, with strong releases from Julio Bashmore and Addison Groove firmly asserting the label’s glowing reputation. It’s quite a coup, and signals the second meeting of Damon Kirkham and 3024 after the former provided the backing vocals for Martyn’s ‘Natural Selection’ on 3024-002. Kirkham’s debut on 3024 induces a sound which differs from Instra:mental’s past work, whilst it shares the raw and distinctive analogue programming in terms of production style. Kirkham describes the Convex sound as “EPM (Electronic Party Music)”, a seemingly apt description in regards to the ‘Convexations’ EP.

The release opens with ‘Convexations’ and immediately establishes Kirkham’s intentions. A strong rhythm is built from the off, incorporating low slung kicks and firm pads, whilst trailing synths stream along in the distance. The track is forced into full effect by Yamaha acid tones, with subtle tom hits contributing further to the tracks impending momentum. The shuddering bassline is relentless, and the vox'd vocal sample provides a fitting supplement to the arching synths.

The B-side takes things in a very different direction with 'Falling Again'. A razor sharp 2-step rhythm kicks things off, soon to be ordered by the inserted heavy kicks. Vocal snippets recall the chopping and cutting of Todd Edwards, lending the track further garage traits, whilst faint keyboard stabs generate a metallic melody in the background. The track also explores more grounded territory during the break. The 2-step rhythm continues to roll, however things are rather mellow here. The vocal snippets are irregular and more reserved, whilst the melodic stabs are replaced by pensive synth lines It's a lovely effort, possibly the strongest of the three.

The final track is exclusively available on the digital release and will not feature on the 12" sadly. The quality on this one most certainly isn't lacking though. ‘Order into Chaos’ is the “first Jon Convex track the 3024 imprint heard and is responsible for their dogged pursuit of his signature”, admiration the track more than deserves. It’s the track which aligns most with the work of Instra:mental and Boddika, yet entertaining shrewd alterations. Rigid rhythms are encapsulated by corrosive acid synths that bubble and simmer throughout, with underlying TR1000 kicks driving the action for the track’s duration. It wears you down into working up a groove, deadly efficient.

Strong work once again from 3024, with fantastic artwork as per usual provided by inimitable Erosie. Convex delivers a beauty with his first effort, a sign of things to come. Out on 12" and digital on 13/06/11. Purchase.

3024-014 Jon Convex - Convexations EP by 3024world

92 Points - Visionist 'Mr.67' (PNTS001)

2011-05-23T10:19:00.000-07:00

A new imprint is born. 92 Points is a label established by the Brixton-based We Are Dubist collective, conceptualised with the intention of joining "the dots between the rapturous heights of 1992 golden-era jungle, turn of the century champagne-bubbly garage, and the modern day mongrel forms that have been shutting down dances of late." Strong artwork and uncompromising experimental bass music is almost assured, undoubtedly so if the label's forthcoming first release is anything to go by.

The imprint will debut with Visionist's indelible 'Mr.67', a track much desired over the past few months after Oneman dropped the future anthem at Boiler Room #45. The hype surrounding the track has been heightened by extensive air time from the likes of Blackdown and Dark Sky, hype which the track promises to justify. Aligned with pounding 808 kicks 'Mr.67' is a driving force, with anxious cowbells and crashing toms working in conjunction with restless synth lines to evoke darker tones, completed by the instantly recognisable "It's the six-seven" vox'd vocal. It's an absolute killer, so make sure you keep your eyes peeled for the 12".

Visionist will also have releases coming on 502 Recordings, Left_Blank and Diskotopia following his debut on the newly formed 92 Points. To mark PNTS001, Visionist is offering 'A.E.O.M.' for free download from the 92 Points tumblr page. 'A.E.O.M.' is one of Visionist's strongest production's, a track combines strong rhythms with introspective breakdowns. The first half of the track is dominated by a powerful rhythm, filled with deep kicks, crisp cowbells and a repetitive vocal clip. However, as the track progresses, it takes a different turn, leaning towards a breakdown that moves things in a different direction. From beneath the sound 808 arrangements rises a soft female vocal, accompanied by sharp chord stabs that work an uplifting melody. 92 Points and Visionist in full control. It's the six-seven.

Blawan - 'Getting Me Down' (DOWN001)

2011-05-20T04:07:00.000-07:00

Blawan's 'Getting Me Down' has been doing the rounds for a good few months now, ever present in the sets of Ben UFO, Pearson Sound, Joy Orbison et al. There's good reason too. It may just be Jamie Roberts' best work to date, although in all honesty both his debut on Hessle and his latest EP on the legendary R&S were outstanding, not to mention the sublime 'Potchla Vee' recently featuring on Hessle Audio's '116 & Rising' compilation, a track which gives this 12" competition in terms of quality. The vocal sample taken from Brandy's 1994 track 'I Wanna Be Down' both helps and hinders the track. A sample Roberts manipulates wonderfully, fitting perfectly alongside the pulsating rhythm, yet the element preventing the track from full release. Thankfully this one has seen a white label release, limited copies so act fast.

The track begins with a relatively understated introduction, with crisp hi-hats frequenting, whilst the vocal sample wails 'Down' repeatedly and acid synths slowly wear down the tone. The drop is something else. From here on in the beautiful Brandy sample takes over, structured through a typically up front and kinetic percussive arrangement from Blawan, a signature we have seen him produce on both 'Iddy/Fram' and the 'Bohla' EP. The uncompromising beat constantly kicks away, soon given real intention by the corrosive synths, which give the previously blissful vocals a darker edge. Blawan's been on fine form recently, and this 12" indicates that his continuing strides will not be stopped.

Huge 12". Don't sleep on this one.

4th Measure Men / Omar S - 'Given(MK Dub) / Sarah' (FXHE001)

2011-05-12T09:01:00.000-07:00

FXHE brings the heat once again with cuts from 4th Measure Men and Omar S The Best. FXHE have consistently provided quality control in the form of Detroit house 12"s for a number of years, showing no signs of holding up anytime soon. From label head Omar S to Marcellus Pittman and Kyle Hall, each release offers the best to come from Detroit. The imprints latest release sees an MK Dub of 4th Measure Men's 'Given' from 1993, whilst on the flip Omar S works his magic once again with a track titled 'Sarah'.

The A-side revisits 90s house sounds, building up a real groove in the process. A steady house rhythm is patiently constructed, with snares filling the gaps between the deep kicks. Claps and ever present snares interplay alongside the infectious diva cries of 'Given'. These elements are soon encapsulated in the strong 4x4 rhythm, with a lofty chord melody arising, acting as the track's hook when combined with the soulful vocal sample.

'Sarah' sits on the B-side, and it demonstrates Omar S in full control. A rigid house rhythm is firmly established, with pulsating kicks initiating the precise 808 arrangements which progress fluidly throughout. Trailing synths leave a mark, soon to be displaced by signature keyboard tones that animate the foreground for long periods, evoking a smooth melody that perfectly complements the rough and ready rhythm. Cowbells alarm intermittently, whilst crashing toms and hi-hats work their way in and out of proceedings beneath those wonderful keyboard stabs. Omar S on fine form as per.

Available now on 12". Essential FHXE print.

Doldrums Presents - Panorama Bar

2011-05-11T02:43:00.000-07:00

On Saturday 21st May Doldrums will be presenting their third club night, descending upon Berlin to host Berghain's famous Panorama Bar. Peter O'Grady, Impey and Paddy O'Neill have really pulled the stops out for the label's third night, with arguably their strongest line-up to date. Although there won't be any heads from Detroit on this occassion, the night will include sets from none other than Floating Points, label head Joy Orbison, Pearson Sound, Ben UFO, as well as the prospect of a live set from the outstanding house master Kassem Mosse. Doldrums best yet.

It's quite simply unmissable if you find yourself in Berlin next Saturday. Will Bankhead delivers as per usual; quality work. Doors open at midnight, with no advance sale tickets.

Doldrums Presents:
Floating Points
Joy Orbison
Pearson Sound
Kassem Mosse (Live)
Ben UFO

The Analogue Cops/Restoration Records - Mix/Interview

2011-05-09T11:34:00.000-07:00

I have been a long time admirer of the Berlin based Restoration Records. Vinyl only limited releases pushing forward some of the finest efforts in house/techno over the past 4 years after being founded in 2007. The label was created by the Italian vinyl junkies Marieu and Lucretio, who produce both independently as well as collaboratively under the alias The Analogue Cops. Since the label's conception, there have been 12 releases, keeping the quality control high throughout. Of particular quality are the 7th and 12th releases, the former including to wonderful tracks from both Marieu and Lucretio ('Roots' and 'Where Are You'), whilst the latter signals the finest of the duo's work as The Analogue Cops (a killer 4-track EP which includes the outstanding 'Why You Love Me' and 'Wait A Second').

Vinyl records and analogue production are the only way for Restoration. The use of analogue machines in their production gives their sound a more interesting and unique feel, adding to the raw and ready atmosphere of the records. It's an approach that looks to the past, in particular Detroit artists such as Jeff Miles, Robert Hood, Theo Parrish, Omar S, Underground Resistance et al, in order to move forward, confidently leaving a mark of their individual sound. The label and it's artists are only growing stronger with time, with more releases to come in the near future, as well as new labels and collaborations being initiated by Marieu and Lucretio as detailed in the interview. The Analogue Cops have kindly put together an exclusive mix/interview, which you can download by following the link below. 1 hour and 9 minutes of pure, raw house and techno. All vinyl. Download. Undoubtedly one of the finest label's around.

The Analogue Cops/Restoration - Daily Bugle Mix

Interview:

Hi guys, could you quickly introduce yourselves and the label.

Hello there, we are Lucretio and Marieu a.k.a. The Analogue Cops. We are the founders of Restoration records. We also run another label called Appointment together with the guys of Live Jam (Emg and John Swing). Recently we have started two new labels focused on our solo projects: Enlightened Wax (Marieu) and Machines State (Lucretio). We have been buying vinyls for a lot of years. We are Italian but we are living in Berlin, after a couple spent in Barcelona. We play vinyl only, we make music only with machines.

The label’s been running strong for a good few years now. What originally motivated you to start the label?

Basically, back in 2006, we felt a lack of good new music, and we decide to try to do something better, to do something like THEY used to do. So we bought a few machines and we started to learn.

How much of an impact if any has Berlin had on your sound and the label itself?

In Berlin, some people built a bridge to Detroit. And as we love the music from Detroit, this was the place where we had to come. Also, the things coming from the Basic Channel camp. Nowadays, the connection of the city with Detroit is not as strong as it was, but a lot of good artists live and produce their music there. Also there are a lot of great record shops and a lot of people who love electronic music. Furthermore, it's a great thing to have the possibility to listen to your own records in places like Berghain or Panorama Bar, because these places have a proper sound system, and so you can test your works there and improve yourself every time.

You obviously like to keep things analogue based when it comes to production, something I respect greatly and that adds a raw and unique quality to your work. What’s your production set up like?

No computer. A bunch of drum machines and synthesisers from the 80s, some more recent groovebox, a big sampler. Everything connected via MIDI with a hardware sequencer. We record our tracks live only on tape.

How are things developing with Restoration? Have you got any releases coming up over the next few months?

Having started two new labels for our solo works, we have focused Restoration on the release of our other projects. So, we will mainly release tracks by The Analogue Cops and by Third Side, our project with our talented friend Steffi. The next 12" on Restoration will come
out at the beginning of June and it will be a maxi single by Third Side and nd_baumecker. We have recently started to jam with nd and the result was great; we had big fun with him in our studio. We can do great stuff with Steffi and nd, we share a raw musical taste and we have a lot of common influences.

I’ve recently heard of plans of collaboration with Blawan, and I’m really excited by this prospect. Is this going to happen? If so, are you looking forward to working with him?

We have known Blawan since the Flash Forward party in Venice. He really likes our records and he really enjoyed the DJ set of Marieu when playing there with him. There was a connection with him since the beginning. He is one of the most talented youngsters in the
U.K. ...we think. So, we told him to come here in Berlin to jam with us at our analogue studio. He got very fast into our production style. We made 10 greats track together in 3 days. Some of these tracks will come out on some very good labels, we can´t announce where yet... :)...we can only tell you that it is a UK based label.

You've also recently started operating as Appointment and founded the label with the same title? What have you got planned for this project? The Moodymann remixes were brilliant.

Thank you, we are glad you like it. I think we made a very functional remix. Appointment is Marieu, Lucretio, and the guys of Live Jam (Emg and John Swing). They are good friends of us. EMG lives in Berlin and John Swing lives in London. But we are all Italian. We started releasing tracks on Live Jam, then, Decks Reworkx asked us for this remix. So we decided to start a label for the Appointment program: raw, minimalistic, experimental tracks. No information on the record, no name for the track. Only a stamp and powerful music. We do
music together on very quick intensive sessions when John visits us here in Berlin. Appointment 004 came out at the beginning of May. It is a very strong record.

What 12"s do you rate most highly at present?

Our favourite Restoration is always the latest one :). We are always reaching out.

Theo Parrish - 'Musical Metaphors' EP

2011-04-26T15:36:00.000-07:00

Theo's first Signature Sound release has been thankfully been re-pressed, and copies won't be around much longer. The first in a line of faultless releases on one of Detroit's most influential labels, Parrish's 'Musical Metaphors' EP really is a wonderful 12". Slow moody house rhythms that will warp, leaving you to carelessly nod your head for the duration of the patient builders.

Although an EP comprising of three tracks, it's all about that A-side. 'Carpet People Don't Drink Steak Soda' is Theo at his best, bringing things downtempo with a raw rhythm and melodies that quite simply take you to another world. The track slowly builds over the lengthy 3/4 minute opening, with a looped vocal sample filtering through a retro disco groove, with characteristically rugged percussion sitting beneath the surface. Heavy kicks continually hammer away, forcing movement. But it's when the track reaches its watershed, with deep drones of chords slowly gaining a dominance of proceedings over the disco sounds. In full fruition piano synth chord melody is beautiful, the defining element of 'Carpet People'. Deep kicks and uplifting melodies, it's dance music to work the mind, body, and soul.

'Shadow Dancing' and 'JBs Edit (Wait A Minute)' are make up an excellentely B-side, particularly the wonderful former, but nothing can quite match the indelible 12 minute opener. Theo's best alongside 'Dance Sing' and 'Moonlight' for me, although his back catalogue is so extensive you could sit here for days discussing a list of Parrish's finest. 'Carpet People Don't Drink Steak Soda' is reason alone to purchase this 12". House music with real soul.

Addison Groove - 'This Is It/Make Um Bounce' (TEC049)

2011-04-19T03:20:00.001-07:00

Addison Groove arrives on Pinch’s Tectonic imprint for his third release. ‘This Is It/Make Um Bounce’ represents both signature Addison production work as well as exploration of new sounds, which prove to be ever so effective on the indelible ‘Make Um Bounce’. Following the ‘Work It/Sexual’ 12” released on Swamp81 back in March, which marks his strongest work to date, his latest release goes someway to reproducing that sort of form. Addison is an extremely talented producer, and nobody can work an 808 like him, as evidenced on ‘This Is It/Make Um Bounce’.

‘This Is It’ is the heavy stepper on this two track affair. Opening with juke’s pounding 808 bass hits and flurry of alternating beep tones, the track shows closer ties to previous works such as ‘Footcrab’ and ‘Work It’, a trait further endowed by the repetitive female vocal sample stating “k y’all this is it, kk y’all”. The signature Addison break soon dawns, and it produces the real defining moment and turning point of the track. The frenzied opening is instantly turned on its head, with a mellow and introspective sound arising. A blissful synth chord melody plays alongside warm diva vocals, elements quickly adapted for the dancefloor by the pulsating 808 bass kicks.

The B-side entitled ‘Make Um Bounce’ is likely to be the track turning most heads on this release. It’s set at a tempo much slower than anything Addison has produced before (133bpm). The style is also different, with a sound that seems to combine elements of the electro and classic Chicago house. A rolling 808 pattern echoes Chi-town’s past, with energetic acid synths bubbling beneath the surface whilst the incessant resonance “y’all gonna make um bounce” hypnotises. The 808 rhythm continues to hammer away in a fashion comparable to the vocal sample, working up a formidable storm in the process.

As per usual a heavyweight release from Addison, going some way to confirming his status as one of the most talented producers around at the present. Give him his 808 and he will undoubtedly create sounds that delight. The 12” is out now, be sure to purchase. Also keep a keen eye out for his wonderful 12” forthcoming on Martyn’s 3024 imprint, due for release on May 2nd. Make Um Bounce.

Boddika - '2727' EP (SWAMP011)

2011-04-16T03:51:00.000-07:00

2011 is Swamp81's. Their 11th release comes in the form of a 4 track 2x12" from the prolific Boddika, who can claim an equal hold over the year's proceedings to date. Since the release of Addison Groove's 'Footcrab/Dumbshit' the imprint has been outstanding, delivering each and every time in terms of both the quality of music and the artwork in which the 180g vinyl is packaged in. Limited vinyl only releases provided in the finest sleeves curated by Ashes57, Swamp81 have set themselves apart. Boddika's strongest work to date on the '2727' EP further reinforces this ever developing reputation of quality control, proving to match the quality of Addison Groove's 'Work It/Sexual' (SWAMP009).

‘2727’ forms the EPs A-side, and it develops into a real electro stepper. The introduction is intricately programmed, with machine percussion delicately knocking away, whilst toms clash and the repetitive vocal sample sounds. The drop is quite something, with muscular kick drums and heavy subs drowning out the previous tentative percussion. Signature gritty acid synths arise during the break, with hi hats setting a rhythm of their own in the shadows. Bass kicks soon dominate once again, alongside the resounding vocal sample and sharp tom hits. ‘Sometimes’ on the B-side takes a different route, adopting a style close to jacking house. A steady 4/4 rhythm is immediately set, built upon by ever so slightly off beat claps. Acid chords soon loom whilst lofty synths ascend, set into a structure by the jacking beat, deep subs and precise claps.

‘Soul What’ is the track with real soul on this EP. Jarring bleeps and sharp percussion set things off, with female vocal murmurs replacing the latter. This leads up to pulsating bass kicks, installed with perfectly programmed 808 rhythms, intermittent claps repetitive vocal samples. The break is what makes this track special though. A beautiful synth chord melody is established alongside the infectious soulful cries of “oh yeah”. Delicate percussion is smoothly incorporated, preparing for the development of the track under heavy kicks and sub bass. ‘Rubba’ provides the highlight of the four here though, with a delightful synth chord melody progressing alongside 4/4 808 rhythms that transform over the minute long introduction. Heavy bass kicks and razor sharp toms battle away with the flowing synth melody working away on the surface. Coarse acid lines contrast the lighter melody, gaining real prominence in the second half of the track. Fully formed percussive arrangements batter away whilst the acid slowly decays, hesitantly replaced by the wonderful earlier melody.

Quite simply an essential 2x12". The double gatefold pack is beautiful, the perfect accompaniment to four killer tracks. Ahses57 adds the wonderful details and finishing touches once again. Swamp81 and Boddika on top form. You know what to do.

2727 EP
a - 2727
b - Sometimes
c - Soul What
d - Rubba

Palace Promo

2011-04-14T13:21:00.000-07:00

GANGBANGING AT GROUND ZERO from Slam City Skates on Vimeo.

VHS. Excellent tracklist (particularly the clip of Fat Joe and Keith Nut's freestyle). Brillaintly shot and edited. Ridiculous skating. I could watch this on loop for hours.

"I got you a Pepsi."

SCB XLR8R Mix

2011-04-14T10:56:00.000-07:00

Paul Rose (aka Scuba/SCB) is at it once again, following his sublime release under the SCB alias with a mix of equal quality for XLR8R. The head of Hotflush, now based in Berlin, provides 1 hour and 8 minutes of pure house and techno. Tracks are wonderfully mixed, with seamless transitions and a tracklist full of exclusives and less obvious deep cuts that sit nicely in Rose's collection. The mix travels between deep house, jacking house, dubby techno and acid trips throughout, sounds which undoubtedly complement each other as evidenced here. The opening chord melody of Recondite's 'Yield' immediately draws you in, and new 12"s from Braille, John Spring, Instra:mental, Jon Convex, and of course SCB's recent effort 'Loss', retain your attention for the following hour. Three turntables and a mixer.

Tracklist:
01 Recondite "Yield" (Plangent)
02 Sven Wiesemann "Emphasized" (Mojuba)
03 Terence Fixmer "Comedy of Menace" (Electric Deluxe)
04 Braille "Leavin Without You" (Rush Hour)
05 Obsolete Music Technology "Relapse" (Machining Dreams)
06 Unknown "Untitled"
07 John Spring "Drummachines" (Airdrop)
08 Shifted "Untitled" (AVN)
09 Sigha "HF029B1" (Hotflush)
10 Deadbeat "Vampire" (Echochord)
11 SCB "Down Moment" (Ostgut Ton)
12 SCB "Loss" (Aus)
13 Instra:mental "Pyramid" (3024)
14 2 AM FM "Desolate Cities" (Mos Deep)
15 Ness "Ancient Crackle" (Sonata)
16 Patrice Scott "2000 Black" (Sistrum)
17 Mike Denhert "Unknown" (Fachwerk)
18 Jon Convex "Order into Chaos" (3024)
19 Rod "Malmok One" (Klockworks)
20 Sigha "Politics of Dying" (Our Circula Sound)
21 SCB "Overlay" (SCB)
22 Portable "Inside Your Mind" (Karat)

Download by clicking here.

Hessle Audio Presents '116 & Rising'

2011-04-07T10:19:00.000-07:00

Hessle Audio will be releasing a label compilation titled '116 & Rising' on the 16th May. The release will feature 2xCD, 3x12" and a digital release, representing past and unreleased materials surrounding the reputable label. Hessle, the imprint co-founded by Ben UFO, Pangaea, and Ramadanman/Pearson Sound, has consistently been one of the strongest on the scene over the couple of years, with the label's 18th release unveiled last week in the form of Peverelist's 'Dance Til The Police Come/Fundamentals'.

The compilation is purely within keeping with the Hessle family, with every producer to release on the label featuring alongside a couple of exclusive guests. The first CD is dedicated to new releases, with 9 coming from artists with previous releases on the imprint. New efforts from Elgato, Pearson Sound, Blawan, and Joe's exquisite 'Twice' excite, and indicate the quality that is behind '116 & Rising'. This is further supported by exclusive releases from Randomer and Addison Groove, the latter whose 'Fuk Tha 101' has been proving a killer in the sets of Loefah and Kennedy.

CD 2 is firmly focused on revisiting the label's previously released 12", exploring the high standards of their ever growing back catalogue. Selecting tracks to construct the CD would have been one hell of a task in itself, but it looks as though Hessle have been well represented here. Ramadanman's 'Don't Change For Me', Martyn's beautiful remix of TRG's 'Broken Heart', and Blawan's 'Fram' provide the strongest, although I could have selected almost every tack to feature on the second CD here. Pure class.

The 3x12" edition of the compilation will be formed of the new releases, presented in artwork created by the excellent Will Bankhead (Trilogy Tapes), who has regularly produced work of an identical quality for Honest Jons and Doldrums. With a tracklist so strong, and artwork so aesthetically pleasing, why wouldn't you purchase the release? 16.05.11. Buy on site material from Hessle as per usual.

'116 & Rising' Tracklist:

CD1
01. Elgato – Music (Bodymix)
02. Untold – Cool Story Bro
03. Blawan – Potchla Vee
04. Pearson Sound – Stifle
05. Joe – Twice
06. Randomer – Brunk
07. Pangaea – Run Out
08. Cosmin TRG – Bijoux
09. D1 – Subzero
10. Addison Groove – Fuk Tha 101
11. James Blake – Give A Man A Rod (Second Version)
12. Peverelist – Sun Dance

CD2
01. Pangaea – You & I
02. Untold – Test Signal
03. Blawan – Fram
04. James Blake – Buzzard & Kestrel
05. Untold – I Can’t Stop This Feeling
06. Joe – Rut
07. Ramadanman – Blimey
08. TRG – Put You Down
09. Joe – Level Crossing
10. Pangaea – Why
11. TRG – Broken Heart (Martyn’s DCM Remix)
12. Ramadanman – Don’t Change For Me

The Drone Interview With Tyler, The Creator

2011-04-07T09:59:00.000-07:00

Maurice Donovan - 'Babeh/Satisfied' (SSSSS002)

2011-04-06T11:03:00.000-07:00

David Kennedy (aka Ramadanman/Pearson Sound) intimates his Chicago house alter ego with a 12” release for the Untold’s house imprint SSSSS. Kennedy is killing it at present, with this deep, swinging Chicago house release coming off the back of his excellent Fabriclive 57 mix. The release really looks back to 1980s Chicago house, with Donovan updating the sound and look of the past to the present and indeed the future. The sounds are as fresh as the sleeve, which is clearly a homage to the 80s ‘House Sound of Chicago’ covers. With ‘Babeh/Satisfied’, “you kitties bout to get sum cream in yow bowl” (Maurice Donovan's twitter).

‘Babeh’ gets things rolling on the A-side. Soulful cries of ‘babeh’ slowly rise with snare hits, soon ordered into a fixed rhythm by the stripped down beat. Heavy sub accompanies the claps and hi-hats, developing a deep and soulful, yet rugged and structured Chicago house rhythm. Lamenting synth lines soon arise from the ashes of the diminished beat during the break, providing a weight of emotion. However, this interlude is only brief, with the sub heavy rhythms quickly reintegrated, stirring up quite a storm with every hit.

‘Satisfied’ is downright killer; real house music. The straight house beat begins affairs, with rolling 808s building up a tempo as synth chords work their way into the foreground alongside the wonderful female vocal sample. Things are soon kicked into action here though, with the drop signalling its deep intentions. 808s relentlessly kick, robust toms hammer away, and subs reverberate.

Strong stripped house rhythms, with sub so heavy and soulful vocals so infectious you can’t help but be pulled in by Maurice Donovan’s magic. Outrageous Chicago vibes, essential 12". “MUTHAFUCKAS IMA BACK NOW!!!!!!!!!!!!!!”

Cosmin TRG - 'A Universal Crush' EP (RH-DC8)

2011-04-06T07:59:00.000-07:00

Deep house/tech rhythms from Cosmin TRG. His third release on the Rush Hour imprint sees his development of a house flexed sound further encapsulated, producing his strongest work to date. The double 12" pack for the Rush Hour Direct Current series explores affectionate and harsher sides to house and techno, whilst Cosmin stamps his mark on proceedings. Rush Hour and the Romanian producer have really served up a strong 4 track EP here.

The title track begins affairs, with intergalactic strings sounding, soon given direction by the driving 4/4 beat, with claps tenderly on alternate hits. Glitch-infused synths work in tandem with the soaring strings, and unrecognisable vocal samples linger in the shadows, contributing to the other worldly feel the track evokes. ‘Negligee’ is similar in its sound and feel, although with a more composed and relaxed aura. With a rhythm indebted to Detroit, the track sides with house and builds around a soulful uplifting chord melody which directs the track’s progress, whilst frantic bleeps frantically hold on the surface.

‘Magnetic Bodies’ takes a slightly different direction, exploring deeper house sounds that please no end. A firm rhythm is fast established, progressively accompanied by claps that kick things into action. However, it’s estranged synths and beautiful chord melody which really impact, marking the track out as a highlight of this double pack. The exquisite melody really comes to its fore during the break, free to reign without the presence of the structured house rhythm.

The best left until last? I believe that is most certainly the case with ‘Sirop’. The track manages somehow to sound futuristic whilst looking back to older styles, in particular drawing from Chicago house and NYC garage. His talent for drum programming is displayed here, with a solid 4/4 rhythm providing the base for percussive complexities. An understated, smooth chord arrangement slowly arises with a cutting vocal clip and sharp synth lines. ‘Sirop’ constantly changes direction, building and in turn declining, taking you on a 6 minute journey through wonderfully constructed house music. Very strong release.

'A Universal Crush' EP:
1. A Universal Crush
2. Negligee
3. Magnetic Bodies
4. Sirop

Jackmaster Fabriclive 57

2011-04-06T05:03:00.000-07:00

Fabriclive 57: Jackmaster (Due 18.05.11)

Jackmaster has been confirmed to produce the next installment of Fabriclive's mix series, and thankfully so. I've been meaning to write about Glaswegian Jack Revill (aka Jackmaster) for quite some time now. The young DJ is first and foremost exactly that, a DJ. It's a rarity these days to find a DJ who has purely built his flawless reputation on his technical excellence as a DJ, rather than relying on production work or numerous dubplates. He has the dubplates, but these exclusives are only a small fixture of his eclectic sets. Visiting a range of era and experimenting with varying styles, his sets never fail to amaze, and are unique to his own personal tastes. If you're yet to hear him DJ, I 'd recommend checking out his URB mix as well as his Sonar 2010 mix, the latter has become the stuff of legend.

The man behind the brilliant Glasgow based Numbers imprint (alongside Rob Mordue, Richard Chater, Calum Morton and Neil Morton) will follow up the recent Fabriclive mix from Ramadanman/Pearson Sound on #57. Beforehand, I would have asserted that nobody would be able to match the quality of Kennedy's mix, however, I'm confident Jackmaster will compose a mix of equal quality. The tracklist for Jackmaster's Fabriclive mix has just been unveiled, and it promotes an extensive list of wide-ranging genres and style, typical of his sets. House classics, techno, ghetto house, and unreleased dubs: due 18th May 2011.

Fabriclive 57 Tracklist:
01. The Fantastic Aleems – Release Yourself
02. Inner City – Big Fun (Magic Juan Remix)
03. Gregor Salto – Classic Beat Tool
04. Model 500 – Night Drive (Thru-Babylon)
05. Kim English – Nite Life (Retail Club Mix)
06. Anthony Shakir – Plugged In
07. Martyn – Alldayallnight
08. Geiom feat. Terrible Shock – 2 4 6
09. Doug Willis – Dougswana (Audiowhores Beats)
10. Jook 10 – Emotions
11. Larry Heard presents Mr. White – The Sun Can’t Compare
12. Addison Groove – Make Um Bounce
13. SBTRKT & Sinden – Seekwal
14. Splack Pack – Shake That Ass Bitch
15. Mad Mike featuring Davina – Don’t You Want It
16. Sia – Little Man (Wookie Remix)
17. CLS – Can You Feel It? (In House Dub)
18. DJ Deeon – The Freaks
19. The Outlander – Vamp
20. Splack Pack – Scrub Da Ground
21. Underground Resistance – Jupiter Jazz
22. Thomas Bangalter – What To Do
23. Fix – Flash
24. Hudson Mohawke – Fuse
25. Machinedrum – La Bomba
26. DJ Funk – Pussy Ride
27. AFX – VBS.Redlof.B
28. Skepta – Doin’ It Again
29. Radiohead – Idioteque

Scuba - 'Feel It' (HFLP005)

2011-04-05T08:50:00.000-07:00

Scuba - 'Feel It'

Paul Rose (aka Scuba/Scb) provides a killer jacking house number with 'Feel It'. The Hotflush compilation, 'Back and 4th', released earlier in the week contains some excellent previously unreleased material, but 'Feel It' undoubtedly proves to be the highlight of those 10 tracks. The jacking style of the track is something of a new sound for Rose, whose previous work has been much more connected to dubstep and techno, as evidenced in the brilliant 'Triangulation' LP, released a little over a year ago on Hotflush.

'Feel It' makes its intentions clear from the outset, with the track's pounding four to the floor beat and deep acid chord melody immediately making their impact alongside the contagious vocal sample, repeating "feel it" throughout. The track progresses impressively, with an added synth chord layered on top of the grumbling acid melody, as well claps and hi hats adding further structure to the tracks percussive arrangements. The break functions wonderfully, with a soft synth chord melody and vox'd vocal murmurs resonating. The jacking rhythm and acid chords soon tentatively work their way back, until the track's euphoric drop, where the elements coalesce. The lofty synth chord gains prominence, whilst the gritty acid chords and repetitive vocal sample hammer away beneath the surface. Quality control from Scuba.

Rose evidently explores a new avenue with 'Feel It', and it's one which he pursues with great success. If the track is an indication of what is to come from his work under the Scuba alias, then more excellent material in unquestionably on its way. It's an essential purchase, along with the brilliant 'Back and 4th' compilation celebrating Hotflush Recordings recent work. Fans of Joy O and Braiden, enjoy. Feel It. Feel It. Feel It.

Joy O Debut US Dates

2011-04-05T06:16:00.001-07:00

Joy Orbison will be heading stateside this month for a handful of exclusive debut US shows. He kicks of the mini tour with two shows in New York, then proceeding to the West Coast for nights in San Francisco and finally Los Angeles (where he shall appear with Ramadanman/Pearson Sound). If you're in and around these cities whilst O'Grady is appearing, attendance is a must. He is distinct as a DJ as he is a producer, refining a number of different sounds within his sets. I last saw him at Crazylegs in Bristol 3 weeks ago, and his headline set unduly delivered. Sporting his usual blend of the blissful and the bastard, he progressed from deeper house and Detroit sounds through garage, house, and techno bits at 130-140bpm, alongside dubplates of the highest quality as per usual. 'Ellipsis', 'Sicko Cell' and further unknown Joy Orbison material are just a few reasons to attend. NYC, San Fransisco and LA; you have been warned.

Joy O US Dates:
09.04.11, New York, NY, Mister Saturday Night (with Eamon Harkin & Justin Carter), 341 Scholes
11.04.11, New York, NY, Deep Space (with Francois K), Cielo
15.04.11, San Francisco, CA 1015 Folsom (with Kode9)
17.04.11, Coachella, CA, Coachella Music Festival
19.04.11, Los Angeles, CA, Roxy (with Ramadanman)

Julio Bashmore - 'Batty Knee Dance' EP (3024-011)

2011-04-04T12:51:00.000-07:00

Julio Bashmore provides the goods once again. Martyn's 3024 imprint as really come into it's own in the past couple of months, and it's biggest 12" of the year has arrived in the form of Bashmore's 'Batty Knee Dance' EP, although it could potentially be surpassed by Addison Groove's upcoming release on the label in May. The EP is very good in its own right though, a sign of how far Matt Walker's (aka Bashmore) production has developed in the last few months. The 'Everyone Needs A Theme Tune' EP, released in January, was Bashmore's best to date, with the delightful house numbers 'Battle For Middle Ground' and 'Ask Yourself'. However, I can't help but feel the title track here eclipses the two previous efforts.

'Batty Knee Dance' is most definitely the highlight of the 12", marking Bashmore's most refined work. A track built on patience and repetition, its infectious sound resonates. Soft 808 pads set up a slick deep house rhythm, with claps aligned with every passing hit. Deep bass kicks give the track a darker side, one which is contrasted by the beautiful synth chord melody and recurring vocal sample. crying "oh yeah, we should get married". The latter two elements provide the tracks most soulful moments during the break, when the smooth beat and bass kicks are absent. These factors are soon reintroduced though, returning to the track its well constructed rhythm. Killer.

'Ribble To Amazon' functions in a similar way to 'Batty Knee Dance'. The house rhythm is brilliantly constructed once again, with cowbells neatly animating in spacious gaps. Synth pads create long periods of build-up alongside the chopped-up vox'd vocal sample. A strong b-side to the simple excellent 'Batty Knee Dance', which undoubtedly steals the show here, and rightly so. 12" available for purchase now, with brilliant artwork characteristic of 3024 releases. Buy. Buy. Buy.

Swamp81 x 502 Recordings at Cable

2011-04-04T10:00:00.000-07:00

We Fear Silence presents Swamp81 at Cable on the 23rd April, and the night they have in store promises to match the quality of the label's recent releases. Loefah's Swamp81 imprint has gone from strength to strength over the past few months, with killer 12" releases from Pinch, Boddika, Addison Groove, and most recently FaltyDL. And, of course, there's the small matter of the signing of 'Sicko Cell/Knock Knock' for the label's 14th release. The night at Cable is a sign of the growing Swamp brand.

Swamp81 will head up the main room, with a line-up that will bring many to tears. Shortstuff and Reecha will warm the crowd, building for the arrival of Ben UFO, FaltyDL and Boddika. Joy O will then provide his wonderful blend of the blissful and the bastard, with an exclusive 2 hour mix from head honcho Loefah in the midst of this talent. Excellent.

If that wasn't enough, room two will be hosted by the increasingly reputable 502 Recordings. Oneman's imprint has two 12"s in it's back catalogue to date, from Fis-T and Jay Weed respectively, with a huge 12" from newcomer Teeth to be released very soon. 502 will be displaying it's array of talent, with the brilliant Visionist, Fis-T, Jay Weed and Teeth all playing in the second room. Oneman will also be contributing another of his revered sets with the help of everyones favourite MC Asbo.

23.04.11. 10pm-6am. £9 advance tickets/£12 OTD. Attendance is vital.

Scb - 'Loss/Future Unknown' (AUS1132)

2011-04-01T10:52:00.000-07:00

Scb - 'Loss/Future Unknown'

Paul Rose (aka Scuba/Scb) brings the heat with a new 12" for the Aus Music imprint. The Hotflush head honcho adopts his techno alias for this 12", which delves deeper into house/tech territory. Rose particularly explores a house sound which breaks the tech mold of his previous efforts, falling in line with recent works by the likes of Joy O, whom released his latest 12" on Rose's imprint last month.

The highlight here is undoubtedly 'Loss', the more house flexed track of the two. Rolling at 125bpm, the track is a smooth emotional house number which indicates another dimension to Rose's talent in production. A solid four to the floor beat drives, with alternating handclaps incorporated after the track's opening. After the 1 minute introduction, cut vocal samples rise beautifully in tandem with a repetitive low slung chord arrangement and uplifting synth melodies. It's pure bliss during the break, as wailing vocal samples and wonderful synth chords come to the fore. The structured rhythm soon grounds the track once again, returning to the track it's dance floor sensibilities alongside a deep chord melody. Emotional deep house.

'Future Unknown' is more aligned to Scb's past work, a steady tech/house track which steadily works its way to fruition. A fast tempo structured 4x4 beat hits away, whilst a repetitive dub-chord melody which acts as the heart of the track, central to all its development. The 7 minute track is a patient builder, one slowly progresses and alters its percussive arrangements. A very solid b-side to the excellent 'Loss', one which finds its beauty in soft synths towards the track's end. Quality 12" from Rose.

Boddika & Joy O - 'Swims'

2011-04-01T05:01:00.000-07:00

Boddika & Joy O - 'Swims'

As far as collaborations go, this may well be one of the most exciting I've come across. Boddika (aka Alex Green) is making his mark as with his solo material, flourishing under the guidance of Non+ Plus and Swamp81 with driving drum machine arrangements and crippling acid synths, a sound purely his own. As for Peter O'Grady (aka Joy Orbison), everything the man touches turns to gold. An impeccable back catalogue is met with numerous unreleased killers, and his recent turn to house infused production has proved particularly promising, with tracks 'Wade In' and 'Ellipsis' further cementing his growing reputation as one of the best producer's around. Work between the two can only provide good results.

Aired on Oneman and Loefah's Rinse FM cover show on Wednesday, 'Swims' is the product of Boddika and Joy O's collaboration. It is instantly recognisable as a sound that the two have refined. A driving 4x4 beat is firmly set, with hi-hats tentatively rising after every second pounding beat. The rhythm is soon accompanied by a wonderful acid chord arrangement that acts as Boddika's signature, with a quick fire vocal typical of both artists' sound, falling neatly alongside the dynamic beat and energetic chords. The result is a simply excellent collaboration, clearly evincing elements of Boddika and Joy O's more recognisable sounds.

Rumours are that a release on Swamp81 is almost certain. Considering each artists' connections to the brilliant Brixton based label, I wouldn't argue against it. With any luck we shall be seeing this on 12" soon, carefully provided in another impecablly produced sleeve by Ashes57. Don't sleep.

Tyler The Creator - 'Goblin' (Forthcoming XL)

2011-03-31T05:17:00.000-07:00

The leader of the Odd Future Wolf Gang collective is at it again. Tyler The Creator's second album, the follow up to his acclaimed raw debut 'Bastard', is titled 'Goblin' and will be released through XL Recordings on the 10th May. Dark punishing beats, haunting melodies, intelligent rhymes. Tyler's refining a strong sound, one which isn't going unnoticed. His 2009 debut studio album made quite an impact, with Tyler controlling production as he will be for 'Goblin'. 'VCR', 'Inglorious' and 'AssMilk' are all essentials from 'Bastard'. The first single from 'Goblin' is titled 'Yonkers', and both the video and the track itself have indicated a great development in the 20 year olds work. His strongest work to date? I would suggest so, and if it's a sign of things to come on 'Goblin', then we could be in for one of the albums of 2011. The album will see release on vinyl, CD as well as digital. The tracklist is below. 10th May 2011.

Goblin Tracklist: 01 Goblin 02 Yonkers 03 Radicals 04 She 05 Transylvania 06 Nightmare 07 Tron Cat 08 Her 09 Sandwitches 10 Fish 11 Analog 12 BSD 13 Window 14 AU79 15 Golden

Addison Groove - 'It's Got Me / Minutes Of Funk' (3024-012)

2011-03-22T03:04:00.000-07:00

New Addison Groove material forthcoming on Martyn's 3024 recordings. A year between his first and second 12" releases, it seems as if Tony Williams has been refining the 'Addison Groove sound' over the past 12 months, and this is something which will be evidenced in a prolific run of releases over the next couple of weeks. 'Work It/Sexual' (Swamp009) asserted the development of the Chicago juke-infused UK bass sound that Addison has been slowly but surely perfecting, with frenetic drum programming, pounding 808 hits, constantly shifting synth tones, infectious vocal samples as well as beautiful introverted breakdowns that delight upon every listen. 'Sexual' demonstrated Addison's strongest work to date, but this may just be outdone by two forthcoming releases.

Addison's next release is for Pinch's Tectonic imprint, with the 12" due for release on the 18th April. Two tracks feature on this single, titled 'This Is It/Make Um Bounce'. Previews of the tracks are currently unavailable, although both tracks are filtering beneath the surface in select mixes. I've only had the opportunity to experience a brief clip of 'This Is It', and it undoubtedly rivals 'Sexual' in terms of quality, Addison providing a wonderful balance between blissful and the bastard.

Addison's following 12" will be released through 3024, with release date set for 2nd May. This will be another two track single, featuring 'It's Got Me/Minutes Of Funk', forming yet another killer release. These are two tracks which Addison has been sitting on for a good while now, with 'It's Got Me' featuring in his mix for Mary Anne Hobbs back in April 2010, and 'Minutes Of Funk' included in Jackmaster's URB mix in October.

The A-side ('It's Got Me') is the stepper, with intricate drum programming that forever builds and progresses, with each snare initiating varying synth chimes. A repetitive vocal soon accompanies, leading up to the brilliant breakdown, in which repetitive cowbells sit comfortably alongside a soft synth melody. These elements are soon joined by pounding 808s, handclaps and a hypnotic vocal that forces movement. The B-side is an equally brilliant effort, a smoother track more along the lines of 'Sexual'. 'Minutes Of Funk' situated around a rolling 808 rhythm, with flickered hi-hats filling the gaps in between. Looped vocals samples feature throughout, and resonate in the mind along with a lovely synth melody which emerges from beneath the breakdown. Listen the the track preview's in the bar below.

Undoubtedly two of the finest track's you'll hear this year, with Addison further cementing his reputation for creating what 3024 themselves have termed a 'one man genre'. 'It's Got Me/Minutes Of Funk' are evidence of Addison's strongest work yet, challenging the quality of his previous release which itself has made a huge impact. And this is without full exposure to his next release, 'This Is It/Make Um Bounce', which promises to please likewise. Three killer releases within the space of three months. 2011 is the year of Addison Groove.

3024-012 ADDISON GROOVE EP by 3024world

Press Release:

'3024's West Country themed takeover climaxes with the 2 previously unheard tracks from one man genre Addison Groove. Marrying hyper kinetic drum programming and dusty-crate dwelling loops to gauzy electronic textures and introspective breakdowns has marked the artist formerly known as Headhunter out as exactly the kind of resolutely unclassifiable Producer 3024 set out to support, and the below tracks are the strongest evidence yet of the increasing refinement of the Addison Groove sound.

Wrapped around the physical version is probably Erosie's most elaborate sleeve design yet, with the chromatic splicing a perfect partner for the contents it flamboyantly protects.'

Introducing Visionist (Mr.67)

2011-03-18T06:02:00.000-07:00

Introducing Visionist (Mr.67). The 21 year old producer is one of the most promising artists around at the minute, with his unique take on UK bass music making quite an impact. Visionist is part of the ‘We Are Dubist’ crew, a collective of MCs, DJs and producers who run a series of dubstep nights. Visionist isn’t a dubstep producer though. ‘Mr.67’, the track which featured in Oneman’s set at the Boiler Room #45 (Standard Place), demonstrates the young producer’s unique sound, one which I can only draw comparisons to in relation to Addison Groove (especially ‘Footcrab’), and still there are notable contrasts.

‘Mr.67’ is infectious. The tracks intricate percussive arrangements, distant synth, recurring cowbells and repetitive vox’d vocal sample combine to form a track which will soon dominate sets, in a similar fashion to ‘Footcrab’ and ‘Work Them’. The track has been receiving a great deal of support, with plays on Rinse FM from Blackdown and Oneman, as well as backing from the likes of French Fries and Dark Sky. It has also been recently announced that Visionist has signed to Oneman’s 502 Recordings, and he will also be working on releases for another couple of releases which should hopefully be surfacing soon.

Visionist (Mr.67) has kindly put together an exclusive mix of his own productions for us, demonstrating his promise as an artist. The mix contains some excellent material, with highlights including the ever growing ‘Mr.67’, 'A.E.O.M', 'Can’t Handle This', and ‘Come In’. If this is an indication of what’s to come from Visionist, he will undoubtedly emerge as one of 2011’s most promising producers. You can check out Visionist’s sounds by clicking here, and the mix is available for download below (follow the link to download).

Visionist (Mr.67) - Daily Bugle Mix

Tracklist:
- Mr.67
- A.E.O.M
- W.M.I.D
- I Don’t
- Sweepstake
- Can’t Handle This
- Tropic Thunder
- Rock The Flock
- Temptations
- Come In

Joy Orbison - 'GR Etiquette' (Pearson Sound Symphonic Mix)

2011-03-17T13:37:00.000-07:00

Joy Orbison - 'GR Etiquette/Pearson Sound Symphonic Mix'

24th September 2009 was the first time I heard Joy Orbison's 'Gr Etiquette', the second track in his guest mix for Mary Anne Hobbs. It has always since remained my favourite Joy O track; it even outdoes 'Ellipsis' for me. On the surface it is a seemingly simple track, but I think this is also the factor that lends such quality to its production. As in line with earlier material from O'Grady, a strong garage influence can be heard in 'GR Etiquette', with a smooth syncopated percussive pattern structuring the track. The two note organ melody and the beautiful Jamie Foxx vocal sample ("do you like I want to. Kiss you like I want to" - taken from 'Can I Take U Home') provide the heart of the track, and it's most certainly these elements which have resonated in my mind. It is simply excellent.

David Kennedy (aka Pearson Sound/Ramadanman) has refixed the track under his Pearson Sound moniker, with the track featuring on his forthcoming Fabriclive 56 Mix (released on Monday). Kennedy's impact on the track is well conceived, staying true to the track's original mix. The track's tempo is decreased, and the overall feel sound is understated, with the melodic organ arrangement gaining real prominence alongside Foxx's exquisite vocal samples. He strips back the tracks percussive elements, reducing it to the outlined skipping garage beat which progressively comes to the fore. Kennedy handles the remix duties superbly here, giving a new take on the track whilst retaining its key original markers.

Questions of a release will inevitably arise once again after the symphonic mix surfaces in Pearson's Fabriclive Mix. Whether or not we will see a 12" featuring both tracks is impossible to tell. All we can hope is that Doldrums may just be preparing this for their next limited 12" run.

Pearson Sound - 'Working With/Deep Inside' (NSWL007)

2011-03-17T09:57:00.000-07:00

Pearson Sound - 'Working With/Deep Inside'

David Kennedy's first release of 2011 has arrived, and unsurprisingly the young man has produced an absolute killer. The release will come on the Night Slugs white label, an offshoot of the main label which specialises in upfront remixes, most notably the outstanding Jam City 'Refixes' EP. The release, now available form various online stores now, comprises of two Pearson Sound edits, the first his take on Rod Lee's Baltimore house track 'Let Me See What U Workin With', the second Hardrive's 1993 classic house effort 'Deep Inside'.

Both tracks are recognisably Pearson Sound refixes from the off. 'Working With' carefully weaves an intricate juke-infused percussive arrangement, soon accompanied by devastating bass kicks, a simple acid synth melody and the infectious vocal sample from Rod Lee's original. 'Deep Inside' thrives off a wonderfully constructed percussive arrangement that nods to 90s hardcore and chicago juke, with cowbells resonating in the spaces in between and the Hardrive vocal sample hypnotising in its endless repetition. These refixes are undoubtedly closer to 'Blanked/Blue Eyes' in relation to Kennedy's past material. Brilliant as per usual. Vinyl only, so act fast.

'Working With/Deep Inside' also coincides this week with the release of Pearson Sound/Ramadanman's Fabriclive 56 Mix. You can preview the first 30 minutes of the mix below, it doesn't disappoint (the inclusion of Pearson's 'GR Etiquette' symphonic mix most certainly helps). Be sure to purchase both, they're absolute essentials.

Ramadanman FABRICLIVE56 30minSTREAM by The FADER

Addison Groove - 'Work It/Sexual' (SWAMP009)

2011-03-16T16:32:00.000-07:00

Addison Groove - 'Work It/Sexual'

If I could convey my sense of joy at receiving this 12" through the post last Friday morning I would, but I'm afraid words just wouldn't give the feeling justice. Originally due for release on the 28th February, the date was pushed back, but thankfully only two weeks. It's been 8 long months since I first heard and fell in love with the wonderful b-side 'Sexual', which surfaced at the end of Ramadanman's mix for Mary Anne Hobbs back in August. Ever since, endless repeats of a short two minute clip have been endured much to my dissatisfaction, however, such a prolonged wait has made ownership of the 12" all the more satisfying.

'Sexual' sounds beautiful in its full duration on wax. 808 beats drive the track along at 144bpm, with the sensuous subs, infectiously looped sample and Detroit house pads creating an effortlessly smooth rolling vibe. For me it's the track of 2011 so far. 'Work It' is another excellent production from Addison, more inclined to fusing elements of juke and straight electro, with pounding 808s, rousing acid basslines and a killer vox'd vocal sample. Two killers from Addison, and you'd expect no less. The quality of the 12" and the artwork is second to none also, a mark of Swamp81's work recently. Fine 180g vinyl delivered in the sleeves and artwork by the brilliant Ashes57. I couldn't ask for more.

Swamp81 and Addison provide the best to date in 2011.

Joy O - 'Jels' (HF027)

2011-02-27T16:13:00.000-08:00

Joy Joy Joy. It is only 2 weeks until the release of 'Wade In/Jels', and I'm struggling to contain my excitement. 'Wade In' is the most anticipated of the two, receiving wide play on the DJ circuit as well as radio time on Rinse FM and Benji B's radio show. 'Jels' on the other hand is little known, only being gaining radio play last week, whilst a one minute clip has been uploaded to soundcloud. First indications are that O'Grady once again keeps the quality control very high. Notably 'Jels' is quite a contrast in tone and atmosphere from 'Wade In, whilst retaining a similar classic house format and style.

'Jels' begins tentatively, with the shuffling rhythm creatd from Roland drums steadily setting the tempo, whilst acid basslines gradually surge in the background, gaining prominence as the introduction wears on. After 1 minute 40 the vocal sample, which seems to wail “turn”, indicates the introduction of a first piano chord melody, one which is uplifting in sharp contrast to the to the rolling acid basslines and structured house rhythms which take hold after this short interval. The beat swells, forcing you to move. As the track progresses further layers are built, most notably the final melodies on which the track climaxes. Whilst the track’s well formed rhythm continues to flourish, a wonderful repetitive chord melody slowly arises and takes dominance from the bleak basslines. This melody is beautifully arranged, bringing a sense of bliss and delight to the track, contrasting the former basslines. Unashamed excellence.

'Wade In/Jels' will be released on 12" on the 14th March, with a digital release coming on the 21st. Both are once again necessities, with Joy O providing arguably his strongest work to date, although that is an argument which could be put forth for any of his 4 releases to date. You can listen to 'Jels' by following the link below.

Joy O - 'Jels'

Boddika - 'Electron/Underground' (SWAMP008)

2011-02-27T07:27:00.000-08:00

Instra:mental’s Alex Green provides his second 12" release under his solo project Boddika here for the label of the moment Swamp81. Green builds on the success of his debut ‘Boddika’s House/Syn Chron’ with two steppers in the form of ‘Electron/Underground’. The A-side, ‘Electron’, is a raw effort, created at 136bpm to give full effect to the driving 808 hits, vox’d vocal sample, polyrhythmic synths and the swelling sub-bass. ‘Underground’ brings the tempo down, still vibing off 808’s, with sparse cowbells and dark synth chords accompanying the well formed beat alongside vocal samples not to dissimilar to those used on ‘Electron’. Brilliant 808 action, with the track’s featured evidently as strong as the brilliant artwork of the sleeve and label (artwork by Ashes57). If not for the music, I'd buy the record because of the work by the guys at Ashes57 alone. There's more to come from Boddika on Swamp81 in the next couple of months or so, don't miss it.

Boddika - 'Electron'

Kassem Mosse - 'Workshop 12' (WORKSHOP12)

2011-02-27T07:24:00.000-08:00

Kassem Mosse unveiled his third 12” release on the established Workshop label this month, and duly delivered his best work to date. Over the past year or so he has built a strong reputation as one of leading producers of modern house/techno, creating deep styles which nod to past trends whilst pushing the present forward. The A-side of the EP is simply astonishing, a devastating 8 minute track that hypnotises. The looped vocal sample that establishes the track anchors its progression, with raw percussive arrangements, deep underlying sub-bass and tentative strings that alarm, forming hauntingly beautiful house music. The tracks on the B-side are more typical and standard house tracks, with a steady 4x4 rhythm, rough and ready percussive layers and a bassline which shudders throughout. The EP is a killer. The A-side is really something special.

Koreless - '4D/MTI' (PICT005)

2011-02-26T05:44:00.000-08:00

"Remember when you first heard James Blake and Ramadanman? Well, remember this is where you first heard Koreless". (Gilles Peterson, Radio 1)

That is quite a statement from Gilles Peterson, and one that should not go unnoticed by fans of UK bass music. 19 year old Lewis Roberts is a Glaswegian producer who has been quietly building himself a solid reputation over the past few months, with radio exposure in particular raising his ever growing status in the underground scene. In particular, Jamie xx's selection of 'MTI' in a mix for Benji B's radio one show confirmed this air of excitement surrounding the young producer.

Koreless's remix of Jacques Greene's 'The Look' is the track which first caught my attention, outclassing the track's original mix with his characteristic soft, atmospheric sounds. His first release is much anticipated, with each tracks receiving great support from DJ's on the circuit. '4D/MTI' will be released on Pictures Music on the 21st March, both on limited hand-printed 12" as well as digital download. This is a really strong debut effort from Koreless, featuring lovely soft melodies, strong rhythms and emotions that are the young producer's forte.

The A-side '4D' sets things off here. The track begins with a beautiful chord melody, which is soon neatly matched by the wailing cut-up Kelis vocal sample that backs the former sound rather than diverting attention from it. A smooth 2-step rhythm is soon incorporated, built upon with soft pads and persistent hi-hats. 'MTI' provides the brilliant B-side of this release, and is arguably the slightly stronger of the two. The track begins with a jarring static sound,
with an effortlessly exquisite pad melody and precisely manipulated diva wails soon balancing the harsher static sounds. The drop is wonderful, with the static sounds omitted and replaced by a driving 4x4 rhythm that is equal in prominence to the the pad arrangement, whilst vocal clips fill atmospheric gaps. A brilliant debut, one that points to a bright future for young Lewis Roberts.

Emotional dance music perfect for late night listening. Fans of Joy O, Jamie xx, Burial, George FitzGerald and Sepalcure, you have been notified.

Koreless - '4D'
Koreless - 'MTI'

Unknown - 'Knock Knock'

2011-02-25T08:12:00.000-08:00

Unknown - 'Knock Knock'

Swamp81's 14th release is without doubt the most anticipated of 2011, and rightly so. 'Sicko Cell' has caused a massive storm over the past few months, with it's beautiful production, addictive sample, and the anonymity of the producer being discussed by anyone who takes a passing interest in the scene. The b-side to ‘Sicko Cell’ is titled ‘Knock Knock’, and my word does it provide strong support.

The track adopts a similar format to that of 'Sicko Cell', although it is slightly more reserved in it's style. The track is comprised of a syncopated beat, one which really drives once the succession of 808's hits. The percussion built around this is understated, and sits well in the background behind the throbbing rhythm. Cut up vox'd vocals are incorporated once again, with a tone similar to that of 'Sicko Cell's enduring vocal sample. This is effective, especially when the wonderful wailing synthlines rise, gaining prominence from the beat in multiple intervals during the track, an element which provides a dark emotion to the track. 'Knock Knock' is brilliantly produced, building the quality and reputation which 'Sicko Cell' had originally established.

'Sicko Cell/Knock Knock' will definitely be seeing a release on Swamp81, all that remains now is a question of when? I have a feeling we'll see Swamp014 surfacing on 12" in April/May, not too long to wait now. And as to the identity of the producer, 'Knock Knock' confirms my previous thoughts. He continues to raise the quality of his releases, and 'Sicko Cell/Knock Knock' sits very near the top of an almost flawless discography.

Fold - 'Deployming'

2011-02-13T04:07:00.000-08:00

This one has been on repeat for the previous 72 hours. Fold produces a simply brilliant track here in the form of 'Deployming', which you can stream below. The man behind the Fold alias is Rob Glassett, also one half of the London-based deep house duo HomePark. This project sees him explore a quicker tempo, experimenting with both house and garage sounds whilst retaining select elements of deep house. You can stream Fold's tracks by clicking here.

'Deployming' has really impressed, a garage-house hybrid which Glassett produces with a great deal of composure. The track slowly builds, with intricate syncopated percussion backed with reasonable sub-bass establishing a swinging rhythm, which is soon accompanied suitably by a garage-infused beat. Ascending synthlines and a soulful diva vocal sample progressively rise throughout the duration of this introduction, gaining dominance once all percussion is paused. The drop is effective, with the well formed percussive arrangements kicking into action alongside a grumbling bassline. The break, in which a delightful synth chord melody is developed, recalls Glassett's HomePark duties, especially once the underlying bassline shadows the chord melody. It is after this that the track enters it's full fruition, with each of these elements combining to create a soulful killer.

The quality of 'Deployming' displays the talent Fold's has to offer, and I have no doubts we will soon be hearing a lot more from the London producer. Keep an eye out for the release of 'Deployming', I have a feeling we'll be seeing it on 12" in the next couple of months, it's an essential purchase. High quality control.

DEPLOYMiNG (clip) by FOLD!

Joy O - 'Wade In/Jells' (Forthcoming Hotflush)

2011-02-10T07:29:00.000-08:00

Joy O
'Wade In/Jels'
Hotflush Recordings

Peter O'Grady is back with his first release of 2011, under the shorter alias of Joy O. His new two track 12" is to be released on Hotflush (the excellent label which released 'Hyph Mngo/Wet Look') on March 21st, and the tracks are titled 'Wade In/Jels'. This will be O'Grady's first release since 'BB/Ladywell', which was released though his own Doldrums imprint back in November. That release was credited to J.O. rather than his well known Joy Orbison moniker, and with this release credited to Joy O the indication is that the Joy Orbison name may be becoming less prominent. What this means anyone can guess, but most notably different styles can be attributed to each of the individual names, suggesting he will be operating under a slightly altered alias according to which style he is producing (contrasts can be seen in his work under each of the Joy Orbison, J.O. and now Joy O monikers).

'Jels' is still to my knowledge unknown to most, and hasn't been floating around in the sets of Oneman, Ben UFO, Loefah, Ramadanman et al. However, 'Wade In' has been building a quiet interest over the past couple of months, previously titled as 'Kissmequik' before information of this release had surfaced. As soon as I first heard 'Wade In' in Ben UFO's 'Gimme5' mix back in December I had fallen in love. The track fits closer to his previous single 'BB/Ladywell', adopting similar house characteristics. The introduction establishes the track's surging rhythm, with a pounding 4x4 beat, raw Detroit inspired percussive arrangements and the steady integration of handclaps. This leads up to an eerie air of silence at the 1:30 mark, with a lovely drop following the deep sample which exclaims 'ummm'. The original beat and intricate percussive arrangement is reintroduced, accompanied by a simply sublime melody of piano stabs, one which seems to continue to rise in stature as the track progresses. It is a beautiful arrangement, one which contrasts the raw sound of the percussion brilliantly.

I obviously can't give any details on 'Jells' as of yet. This is most likely a track unheard by most, as was evident with 'Ladwell' on his last 12" release. However, 'Wade In' was known to most as 'Kissmequik' being signed to Hotflush, so could 'Jels' in fact be Joy O's recent production 'Ellipsis', which was notably credited to Joy O on Benji B's radio one show when Boddika contributed his guest mix. I guess we're just going to have wait patiently to see what Joy O provides with 'Jels'. The single is essential for 'Wade In' alone. Do not miss it. 2011 may well be O'Grady's finest.

Joy O - 'Wade In'

'Sicko Cell' Forthcoming on Swamp81

2011-02-08T09:47:00.000-08:00

After months of speculation we are still no closer to confidently knowing the identity of the producer of the simply excellent 'Sicko Cell'. However, confirmation of it's release on Swamp81 in the very near future is assured, and thankfully so. 'Sicko Cell' has caused quite a stir over the past few months, dominating the sets of Oneman, Ben UFO, J.O, Loefah, Ramadanman and Jackmaster. It is a wonderful track. It's a heavy 808 driven track, with deep bass kicks, a retro synth chord melody which is brilliantly arranged, as well as a vocal sample that is outrageously addictive ("I'm the information. Cocaine powder."). The words 'I'm the information. Cocaine powder" will stay with you indefinitely upon listening, trust me. The break is also stunning, with beautiful synthlines combining wonderfully with the infectious vocal sample. The status of the record has been no doubt heightened considerably due to the producer's anonymity, a factor which has led to endless blogging/discussion of the identity of the track's creator. We can continue to speculate, we all have our ideas, but I doubt we will be learning of the producer's identity anytime soon in all honesty.

The picture above was posted on Swamp's tumblr yesterday, and confirms four future releases. In the foreground is 'Sicko Cell', which will be release #014 on Swamp81. It will also be backed with a track which is titled 'Knock Knock'. Swamp #010 is a single from Falty DL, which will be followed by Boddika double pack that will make up release #011, definitely including the killer '2727'. Swamp81's 12th release is still unknown, and just too far in the distance in this photo to make out any details of the release. Before these quality releases, Swamp81 will also be unveiling Boddika's 'Electron/Underground' and Addison Groove's 'Sexual/Work It' in the next few weeks. This makes for an incredible catalogue of 12" releases. Swamp81 is most certainly building itself an impeccable reputation with releases of such quality.

I'm the information. Cocaine Powder. Loefah's providing the goods.

Forthcoming on Swamp 81: 008 – Boddika ‘Electron/Underground’; 009 – Addison Groove ‘Sexual/Work It’; 010 – Falty DL ‘Unknown’; 011 – Boddika ‘Unknown’; 012 – Unknown; 014 – Unknown ‘Sicko Cell/Knock Knock’.

Addison Groove - 'Sexual/Work It' (Forthcoming Swamp81)

2011-02-06T09:10:00.000-08:00

Back in August 2010 Ramadanman included a track titled 'Sexual' at the end of his one off mix for MAH which contributed to the final 6 weeks of her Radio 1 show. As soon as I heard Addison Groove's latest effort I knew I'd become obsessed, and obsession most certainly hold (endless repetition of Kennedy's mix and low quality youtube videos has ensued). Thankfully, 'Sexual' will be seeing a 12" release on Swamp81 on the 28th February, backed with a dancefloor killer in the making in the form of 'Work It'.

For those of you unfamiliar with Addison Groove, it is the juke influenced alias of Tony Williams (aka Headhunter) who puts his unique stamp on the cult Chicago sound. The Addison Groove sound first came to prominence a year ago with the release of 'Footcrab/Dumbshit' (Swamp81 005 - March 10) on Swamp81, 'Footcrab' becoming ubiquitous the sets of taste makers such as Oneman and Loefah. This is the only release from Addison Groove to date, although over the past 7-8 months numerous tracks have appeared in a number of mixes, suggesting Williams is sitting on a number of brilliant tracks at the minute, waiting for the right time to release them. Tracks such as '5 Minutes Of Funk' (Jackmaster's URB mix - 1:15:00), 'Fuck The 101' (listed in Ramadanman's forthcoming Fabriclive mix), 'It's Getting Harder' and 'This Girl' all point towards a strong supply of 808 magic material I hope we'll be seeing released on 12" sooner rather than later.

The release of 'Sexual/Work It' is fantastic news though, and could prove to be one of biggest releases of 2011, just as 'Footcrab' functioned in the 2010. 'Sexual' is the real killer track here, formed by pulsating 808 juke percussion, a warm synth melody that continues to rise, and a smooth vocal sample that wonderfully repeats 'we sexual' throughout, gaining further emphasis as the track progresses. This is the most soulful Addison Groove has produced as of yet, and it's a style very much uited to the juke format. 'Work It' is much closer to 'Footcrab' in it's sound. A track created unapologetically with the dancefloor in mind, 'Work It' surges with a pounding 808 beat, occasional cowbell's, polyrhythmic synths and a strong vocal sample irregularly repeating 'work it'. Whilst retaining similar styles, the tracks are relatively distant in their tones and feel, and the quality here confirms to us that the success of 'Footcrab' was no fluke. Two absolute wonders here, ghetto house beautifully adapted to a equally suitable 130-140 tempo. 'Sexual' may just be the track of 2011 to date.

Addison_Groove_Sexual_Out Feb2011 by Headhunter

Addison_Groove_Work It_Out Feb2011 by Headhunter

HomePark - Wolf Music Podcast 002

2011-02-01T09:03:00.000-08:00

A simply outstanding mix from HomePark. The deep house duo are undoubtedly one of my favourite upcoming artists, and have shown a great progression over the past 12 months or so in their own productions. Their last effort, 'What A Day' EP released last month (available to purchase here), was brilliant, an example of the excellent works which Rob Glassett and Sam Fussell have been producing of late. The title track of the EP is brilliant, with a strong downtempo beat, smooth chord melodies and a lovely vocal sample. Essential listening.

The duo's mix for Wolf Music is just as excellent. A smooth 1 hour mix, with seamless transitions and a selection of late night underground house tracks that will make you cry. It's by far one of the most enjoyable mixes I've heard in the past few months, consistently providing deep cut after deep cut, the best in underground house. There's no tracklist available here, so a long and frustrating search is inevitable after the first few listens. But that's just part of the fun. Paris Underground Trax's 'Sexy Thing' wraps things up brilliantly, followed by an equally wonderful track, the identity of which I'm yet to discover. One hour of pure bliss. Listen below.

Ramadanman Fabriclive 56

2011-01-30T03:46:00.000-08:00

The tracklist for the highly anticipated Fabriclive mix from Ramadanman (aka Pearson Sound) has recently been released, and it has served only to escalate interest and excitement for the 56th mix CD from Fabriclive. The mix CD will be released on March 21st, and it sees Kennedy explore a variety of sounds, predominantly house orientated although incorporating elements of garage, grime and dubstep. It is this focus on the more house focused sounds that really excites me here.

If the tracklist for the mix is anything to go by, this should easily be one of the highlights of 2011. There are no fewer than 10 of Kennedy's own productions featured, alternating equally between his Ramadanman and Pearson Sound alias'. A few of these are completely unknown also, so it will be very interesting to gain a first listen of tracks such as 'Hawker', 'Project' and 'Picon'. The stand out element of this tracklist is surely Kennedy's symphonic refix of J.O's stunning production 'Gr Etiquette'. The prospect of Kennedy refixing such a wonderful track is a brave move, but he has always delivered simply excellent results. New Addison Groove material (titled 'Fuck The 101' to join the unreleased brilliance of '5 Minutes Of Funk'), an unknown Elgato track as well as a special mix of J.O. and Ramadanman's 'J.Doe' and 'Work Them' respectively also cause quite a stir in this tracklist. Not to mention the support provided by Levon Vincent, Pangaea, Jam City et al.

The tracklist is brilliant, and I have no doubt Kennedy's mixing of such material will be second to none. Dubplates. Anthems. Deep Cuts. This promises be an outstanding listen. If not for Kennedy's own production, the 'Gr Etiquette' remix must entice.

Fabriclive 56 Tracklist:
1. Pearson Sound – Hawker
2. Levon Vincent – Late Night Jam
3. Elgato – Music (Body Mix)
4. Marcello Napoletano – Everyday Madness
5. Tiyiselani Vomaseve – Vanghoma
6. Pearson Sound – Wad (fabric Edit)
7. Julio Bashmore – Battle for Middle You
8. Ramadanman – Grab Somebody
9. Ramadanman & Appleblim – Void23 (Carl Craig Re-edit)
10. Pearson Sound – Project
11. Joy Orbison – GR Etiquette (Pearson Sound symphonic refix)
12. J Kenzo – Ruckus (Martin Kemp Remix)
13. Fugative – Bad Girl (Lil Silva Dub)
14. A Made Up Sound – Demons
15. Jam City – Night Mode
16. Mr Mageeka – Different Lekstrix
17. Pangaea – Inna Daze
18. Pearson Sound – Stifle
19. MJ Cole feat. Wiley – From the Drop
20. Pinch – Qawwali
21. Joy Orbison vs. Ramadanman – J. Doe Them
22. Pearson Sound – Picon
23. Burial – Pirates
24. Die Barbie Musik Kollektive – Face (Junk)
25. GIRL Unit – IRL (Original / Bok Bok Remix)
26. D1 – Subzero
27. 18. S-X – Woo Riddim / Ramadanman – Glut
28. Addison Groove – Fuck the 101
29. Mala – City Cycle / Joe – Claptrap (Tease)
30. Sigha – Light Swells (In A Distant Space)

J.O. - 'Ellipsis'

2011-01-29T16:29:00.000-08:00

I've recently written on the surfacing of O'Grady's new track 'Ellipsis', however, it's of such a quality I feel it would be wrong not to dedicate another post to the track.

As to whether 'Ellipsis' will see a release we are still unsure, one can only hope such a track will be given a release in the near future. The gorgeous keys and Source Direct vocal sample provide the vital elements in this killer, backed by a strong Detroit house rhythm and acid basslines. It's those ethereal keys.

Resident Advisor says "he's only released four singles, yet he's revered as one of electronic music's most sacred prophets". This perfectly sums up J.O. for me, and 'Ellipsis' is testament to the truth of this quote. He is undoubtedly one of the most promising producers around at present, and I'd go as far as saying that his armory of unreleased and as of yet unknown tracks is very possibly stronger than his previously released material, which has already proven to have been a great highlight of music in the past 18 months. Pray for a release of 'Ellipsis'. It needs a 12" release desperately.

Joy Orbison - 'Untitled'

2011-01-21T05:55:00.000-08:00

I eulogised about this man countless times in both 2009 and 2010, his exceptional work standing out from the crowd of releases that had been surfacing before and after. Peter O'Grady's production over the past 12 months has been nothing short of excellent, without doubt the most promising I've heard over this period. The steady flow of outstanding releases seems to be continuing, with 'Kissmequik' having just been signed to Hotflush, the b-side yet to be confirmed. J.O's quality control is of the very highest standard, something evidenced in his latest effort which is currently untitled.

The track was first played in Boddika's mix for Benji B's Radio 1 show just over a week ago, a mix which also featured the forthcoming 'Kissmequik'. As soon as the track begins to arise from Boddika's 'Basement', the mark of J.O. instantly impacts. A spoken sample comments "We just used to like, do our own thing, just used to like, and all that sort of thing". This is accompanied suitably by a piano chord arrangement that is so heart tearingly beautiful. This marks the wonderful introduction to a track which soon shows it alliances to deep Detroit house (as Orbison's last release signalled). A steady house rhythm begins to flow, with claps alarming on every second beat. This warms the track up, helped by the grumbling acid basseline works beneath the smooth beat and raw Detroit sounding percussion. Blissful chords once again dominate in the break, providing a brilliant foil to the deep bassline and steady beat. One other notable element within the track is also a recurring bleep sound, one which recently has characterised all J.O's work. If you listen closely the same sound can be heard in 'Kissmequik' and also 'Sicko Cell', although I can't say 'Sicko Cell' is definitely J.O's (although the signs are there).

Whether or not this will see a release almost impossible to tell. I've been waiting over a year now to get 'Gr Etiquette', 'Smother' and 'Tentative Bidding', so you can never be sure with J.O's material. However, the excellent 'Kissmequik' has been confirmed as forthcoming on Hotflush, with the b-side to the track still currently unknown at present. Perhaps this 'untitled' track will provide the flip side, especially with similar Detroit vibes and euphoric chord arrangements to 'Kissmequik' that amaze on every listen. If both tracks feature of the forthcoming release on Holtflush we may just be witnessing J.O's finest release to date. Undoubtedly so in my opinion.

Paris Underground Trax - 'Vol. 1'

2011-01-18T10:38:00.000-08:00

This EP is one of the best I've heard in a while, and how I wish I had come across it upon it's immediate release back in October 2010. The EP is simply labelled 'Vol. 1', the artist remaining anonymous under the title Paris Underground Trax. It is the second release on the independent Parisian label My Love Is Underground, which is slowly but surely building a strong reputation with quality house releases. Even more impressive is the fact the label is strictly vinyl releases only, so passionate is label owner Jeremy "Underground Paris" about the format.

Classic/deep house seems to be the labels forte, with underground house releases forming the labels initial sounds. Paris Underground Trax 'Vol. 1' is a wonderful release, and clearly demonstrates an affinity to underground/classic house sounds, particularly of the early-mid 90s. The 4-track EP is smooth house at it's best, updating the sounds of 90s East Coast to present day, a transition which is so brilliantly worked. The tracks are composed of similar elements; swinging rhythms, deep kicks, diva vocal samples, heavy basslines and old school keyboard melodies. Each track playfully arranges these elements carefully, providing infectious listening. 4/4 beats and joyous keyboard melodies kick things off, and will keep dancefloors shuffling all night long. 'Sexy Thing' is probably the highlight of what is an excellent EP, with a soulful female sample, beautiful synth melodies and a forceful beat. A killer 4-track EP. Essential listening.

Paris Underground Trax - 'Vol. 1'
A - 'NYC Underground'
AA - 'Sexy Thing Remix'
B - 'Hardcore Deep House'
BB - 'GTFO!'

The Daily Street 009: Raffertie

2011-01-17T13:14:00.000-08:00

The 9th installment of The Daily Street's mixtape series sees the talented producer/DJ Raffertie steps up to the decks, and he provides a wonderful 50 minutes of listening pleasure. The co-owner of Super records provides an exploration of fresh and classic house and UK garage sounds, aptly filling the gaps in between. The tracklist displays his talent as a DJ, blending diverse sounds in a smooth progression. Track selection is of a high quality also. Distal, Cajmere, Kelis and Untold provide absolute killers. You can stream the mix or download it by clicking here.

The Daily Street have been developing an excellent mixtape series over the past 9 months, one which continues to develop at a resounding pace. The first mix from Oneman was flawless, and one filled with brilliantly selected UK garage rarities and classics. xxxy, Blawan and Hackman have also more recently shone, and show the ever growing reputation this series is developing in the UK bass music scene. You can check out these mixes and download them now by clicking here. Enjoy.

The Daily Street 009: Raffertie Mix Tracklist:
01. Photomachine – Technicolour (Optimum’s 808 Reduction)
02. Distal – Apple Bottom
03. Malente & Jay Robinson (Unknown Remix)
04. Cajmere – Brighter Days (Underground Goodies Mix)
05. Tanka – The Movement
06. Throwing Snow – Align
07. Taylor – CMB (Girl Unit Remix)
08. Photomachine – Sine Language
09. Raffertie – Folly
10. Unknown – Supplement
11. Kelis – Brave (Dark Sky Remix)
12. Untold – Stereo Freeze
13. Girl Unit – I.R.L. (Bok Bok Remix)
14. Mr Fogg – Answerphone (Raffertie Remix)
15. Raffertie – A Breath That Finds You
16. Skinnz – TurnUOn
17. David Lynch – I Know (Skream Remix)
18. KLIC & Article.01 – Mustard Tiger (Pixelord Remix)
19. Andreya Triana – Lost Where I Belong (Flying Lotus Remix)
20. Alex Clare – Up All Night (SBTRKT VIP Mix)
21. Randomer & Foamo – Pull Up

2562 - 'Aquatic Family Affair' (doubt000)

2011-01-16T12:26:00.000-08:00

2011 sees the return of Dave Huisman's work as 2562. Almost a year on since his last production under the 2562 alias, he is back with new production work, with his first release of 2011 titled 'Family Aquatic Affair'. 2010 was the year for A Made Up Sound, with Huisman's techno/house production work gaining much attention through the brilliant releases 'Rear Window' and 'Demons'. However, concentration seems to have returned to his more dubstep influenced 2562 monicker.

'Aquatic Family Affair' signals the return to form of 2562, a track characteristic of the melodic dubstep that complied the brilliant 'Unbalance' LP back in October 2009 ('Lost' being a particularly suitable example of this sound). A syncopated beat opens things, creating a stepping rhythm with outer space synths drifting distantly in the background. This provides a steady 40 second introduction, but it's after the drop that this track finds life. A heavy bassline works up a storm, but one in which a heartwarming, beautiful synth chord melody arises from. The wonderful arrangement seems to forever rise and in turn retreat, providing a layer of soul and emotion to the strong and intricate structure of the beat. The melody warms, and will leave you yearning for repetition of the sound after every listen, a heart felt low slung production. Listen to a clip of the forthcoming track in the player below.

The track will see release on 7th February to mark the launch of Huisman's new In Doubt label. It will be limited to 300 copies worldwide on blue vinyl sealed in hand printed sleeves. There will be no digital release or repress of this track, so make the purchase of the 12" quickly upon its release. An album from Huisman should also be surfacing for release in April. 2562 is undoubtedly back, don't miss out on his return.

2562 'Aquatic Family Affair' When In Doubt (doubt000) a side by stholdings

Elgato LWE Mix

2011-01-05T16:46:00.000-08:00

Outrageously good. The relatively unknown producer/DJ (of whom very little background information exists) Elgato provides a simply wonderful mix for the Little White Earbuds 70th podcast. Elgato has been djing on the underground scene in Bristol for quite a number of years now, building a great reputation for his seamless mixing of rare and classic UK garage cuts, many of which originate from the mid 90s, considered by many as the heyday of the genre. This 55 minute long mix displays his talent perfectly, blending and excellent selection of deep cuts from UK and US garage and house. As soon as I saw the tracklist, I knew the mix would be nothing short of excellent. When you see artists such as Mood II Swing, Underground Solution, Groove Chronicles and Anthill Mob listed you know the DJ in hand can select, and very well indeed. A brilliant mix, which makes for essential listening. Enjoy. The tracklist follows after the video. Download the mix by clicking here.

Elgato's LWE Podcast Mix - Tracklist:
01. Classic Man, “Here’s The Sample” (Bassment Jam Mixdown)
[Nervous Records]
02. Norma Jean Bell, “Dreams” [Peacefrog Records]
03. Kerri Chandler, “Downtown” (Dark Mix) [Downtown 161]
04. Oscar G, “Movin’ On” (Original Vocal Mix) [Kumba Records]
05. Janet Rushmore, “Joy” (Choice Mix) [Released For Pleasure Music]
06. Rick Wade, “Harsh Thoughts” [Harmonie Park]
07. Underground Solution, “Paradise ‘97″ [Quench Recordings]
08. Mood II Swing, Do It Your Way” [Groove On]
09. A Baffled Republic, “Sweetness (I Wanna Ho)” [Catch]
10. Tuff & Jam, “Track No Name” [Unda-Vybe]
11. DJ Disciple, “Keep On Movin” (Laid Back And Funk Mix) [Interstate Records]
12. Anthill Mob, “Promise Of…” [Confetti Records]
13. US Alliance, “All I Know” (N.Y.S.C. Dub Mix) [Locked On]
14. Groove Chronicles, “The Beginnings” [Old Dog Recordings]
15. Indigo, “Fly To The Moon” (The Mood II Swing Sentinal Dub) [Defender Music]
16. Jovonn, “Don’t Wanna Let U Go” [Goldtone Records]

HomePark - 'What A Day' EP (ER 0005WL)

2011-01-01T04:41:00.000-08:00

The first release of 2011 that I have purchased, and what an excellent way to start the year. HomePark really made an impression on my tastes last year, with strong releases on both the Bliq ('Estimated' EP) and 3rd Strike ('Forever Walking' EP) imprints. The duo, comprised of Rob Glassett and Sam Fussell, produce deep house, with the results being effortlessly smooth. This is displayed in the 'What A Day' EP which is released on Monday on the Enterbt imprint, an example of their best work in my opinion.

The 4-track EP begins with the title track 'What A Day', providing undoubtedly the highlight of the record. This is their best track to date, showing signs of maturity and progression in their work. As ever patience is and progression are vital in this 7 minute killer. The track slowly builds, with a steady 4x4 beat immediately established, with a flurry of synth chords arrangements slowly growing in prominence as the track's introduction advances. It isn't until the introduction of the snares and the hand claps around the 1:10 mark that the track really kicks into life. The wonderful synth chord arrangement soon takes dominance from the reserved beat, with the soulful female vocal sample crying 'what a day' lying perfectly beside such chords. Soulful and deep, you wouldn't have expected any less. A beautiful track.

Alongside 'What A Day on the a-side of the record is 'You Tell Me'. This is a strong follow up to 'What A Day', adopting a similar template to create a deep, soulful house sound. The house rhythm is smooth, with a slow, fluid beat which sits beside a soft chord arrangement and intermittent synth lines, whilst the diva vocal sample wailing 'you tell me' frequents. The b-side is composed of two unknown tracks which I haven't previously heard. You can listen to the track briefly on Juno in the preview. And if the previews are anything to go by, the quality control on these two is very high. HomePark's best yet, simply purchase it by clicking here.

What a day (enterbt) by HomePark

You tell me (enterbt) by HomePark

3 For 2011

2010-12-31T05:16:00.000-08:00

I obviously have very little clue as to what will be released in the entirety of 2011, but of those records I know will see a release, here are the 3 tracks which I rate most highly. Note them. Purchase them. You won't be disappointed.

Julio Bashmore - 'Battle For Middle You'

Over the past 12 months Julio Bashmore has really asserted himself as one of the most exciting artists working on the cusp between house and UK funky with releases such as 'Batak Groove/Around' (Soul Motive) and 'Chazm/Footsteppin' (Ten Thousand Yen). His next release comes on the PMR imprint on the 10th January in the form of the 'Everybody Needs A Theme Tune' EP. The man from Bristol may have produced his finest work on this with 'Battle For Middle You'. The smooth as house rhythm, shuffling percussion, deep vocal samples and ever rising synth stabs culminate to create a track that will no doubt keep feet moving.

Addison Groove - 'Sexual'

It feels like I've been waiting for this track for an eternity. I first heard this one back in Ramadanman's MAH mix back on the 5th August. From the first minute I heard the pounding 808's, lofty synth chords and a vocal sample repeating 'we sexual', I knew this one was special. Addison Groove's juke influenced work has provided one of the highlights of 2010, and I think this success shall only grow in 2011, alongside the expansion of Chicago juke in the UK itself. The release of 'Sexual/Work It' in February on Swamp81 will unquestionably be one of the biggest in 2011.

Untitled - 'Sicko Cell'

I don't think there's much more I really need to say about 'Sicko Cell'. It could probably be the track of 2010 for my past month's obsession with it. However, if it does see a release in 2011 (touch wood), it will most certainly be the release of 2011, unless a very special record is produced to usurp it of such a status in the next 12 month. Everyday the addiction gets greater, so much so that I would say this track is equal in importance to my life as both Football Manager and Ben's Cookies (it's getting serious). Thanks to James Blake's boiler rooms mix, you can now listen to the track from it's beginning, and my word it is excellent (download the mix by clicking here - the track's intro begins at 3:19). Best of 2011? I'd put my house on it if I owned one.

i'm the information. cocaine powder.

Marcellus Pittman - Unirhythm Green #1

2010-12-30T15:01:00.000-08:00

Rough and reaDetroit house at its very best. Marcellus Pittman, a member of the 3 Chairs production team (one which also includes Theo Parrish, Kenny Dixon Jr and Rick Wilhite), has made his name with brilliant production work over the past few years, alongside the development of his Unirhythm label and a growing reputation as one of the finest, most intense Detroit house DJ's around. Pittman's sound is unique and very distinctive, adopting a more stripped back and rugged production style, whilst incorporating the raw lo-fi signature sound of Detroit vibes.

Marcellus Pittman's first release for the Unirhythm Green series is one of his best to date. Released back in October 09, the orignial pressing was limited to 500 copies worldwide. It really is an exceptional Detroit record, with two sides of smooth as ice house from the Motor City man. The a-side to the release, which remains 'untitled', is the one which really got me excited here. The 4x4 beat pulsates, percussive arrangement provide a raw ragged sound, one which is smoothed over by the poignant, soft synth lines. The b-side, titled 'If The Earth Could Talk', is also an excellent effort by Pittman, a slightly more polished attempt in comparison to the very stripped down a-side. The beat provides a rigid structure, upon which polyrhythmic synth lines dazzle, overbearing the lo-fi percussive elements that fluidly enter and exit the track at various points. A brilliant record, one which undoubtedly asserts Pittman as one of Detroit's finest. You can still find a few copies of this release floating around online. My recommendation would be to secure the purchase of these very soon, or run the risk never owning such a wonderful record. Enjoy.

Pariah's Old Blue Last NYE Party Mix

2010-12-28T12:52:00.000-08:00

A new mix from young up-coming producer Pariah to promote Vice Magazine's new years eve party at The Old Last Blue pub on Great Eastern Street in London. The mix is an example of Pariah's talent as a DJ, and if you ever needed any reason to be persuaded to attend the party, this should should satisfy any negative preconceptions. The mix begins with a series of wonderful deep, Detroit house records which warm things up. The divine 'Dance Sing' brings a touch of class, a Theo Parrish record which immediately shows Pariah is an artist who knows his records. The inclusion of John Swing's 'Check It Out' is nothing short of brilliant, but the real magic is displayed when mixing the track into 'Day', a record released by Omar-S on his own FXHE label back in 2004. A wonderful selection, so warm and soulful in its manner, and one which slowly works up a tempo, leading the way perfectly for recent releases and dubplates from the UK bass/dance music. Blawan's 'Bohla', Boddika's 'When I Dip' and Pearson Sound's 'Blanked' provide the best of the recent and unreleased, providing a nice contrast to the earlier patient and soul infused Detroit records. A well formed mix that displays Pariah's brilliant taste and technique as a DJ as well as producer.

The party is being headlined by Girl Unit and Pariah, and if this mix is anything to go by, Pariah will be going deep. Tickets are £8-12 in advance, and will be £15 on the door. 8pm-8am. You can download the mix by clicking here. Enjoy.

Pariah's Old Blue Last NYE Party Mix -
1.TIM HECKER – “SHIPYARDS OF LA CEIBA” [ALIEN8]
2.THEO PARRISH – “DANCE SING” [HARMONIC PARK]
3.LEVON VINCENT – “WOMAN IS THE DEVIL” [DECONSTRUCT]
4.DJ KOZE – “BLUME DER NACHT” [PAMPA]
5.JOHN SWING – “CHECK IT OUT” [LIVEJAM]
6.OMAR S – “DAY” [FXHE]
7.PEARSON SOUND – “WAD” [HESSLE AUDIO]
8.UNKNOWN – UNKNOWN [UNRELEASED]
9.MAURICE – “THIS IS ACID” [TRAX]
10.KARIZMA – “SO BEAUTIFUL” [ILLEGAL LEOPARD]
11.BLAWAN – “BOHLA” [UNRELEASED]
12.JEREMY SYLVESTER – “NEED A FIX” [WHITE]
13.BEN KLOCK – “WOLF” [OSTGUT TON]
14.BODDIKA – “WHEN I DIP” [UNRELEASED]
15.MOSCA – “SQUARE ONE VIP” [NIGHT SLUGS]
16.JESSIE’S SONG – “TELL ME” [WHITE]
17.PEARSON SOUND – “BLANKED” [HESSLE AUDIO]
18.INSTRA:MENTAL – “VOYEUR” [DISFIGURED DUBZ]
19.ALIAS – “GLADIATOR II” [WHITE]
20.ASHANTI – “HAPPY (D’N'D VOCAL MIX)” [DEF JAM]
21.LOEFAH – “THE GOAT STARE” [DMZ]
22.MIDLAND –”PLAY THE GAME (PARIAH REMIX)” [UNRELEASED]

Flying Lotus - 'Fall In Love' (J Dilla Tribute)

2010-12-25T12:29:00.000-08:00

After what can only be described as a Fly Lo obsession back in January, I'm finding it extremely difficult to understand how I let this track slip through my hands, all the more inexplicable as I'm huge J Dilla/Slum Village fan. In tribute to the late James Dewitt Yancey, Fly Lo remixed Dilla's production work with Slum Village, taking the track 'Fall In Love' off the album 'Fantastic, Vol. 2'. The original itself is a wonderful work, with Dilla's legendary status proven worthy here with an excellent beat, an incredible sampled melody that I will never tire of hearing, as well as the vocals of Baatin and T3. Fly Lo's refix is equally as satisfying as the Slum Village original. The LA beat master takes the original beat and sampled melody, bringing the tempo down and manipulating these elements with his own glitch sound. The result is a stunning, laid back track which takes you to another world, a feature Fly Lo seems to excel in. A fitting tribute to Jay Dee. You can listen to both of these track in the videos below. Merry Chrismukkah.

Smokin Beats - 'Times Are Changin' (Smokin Dub) (SMB011)

2010-12-24T13:44:00.000-08:00

95' garage/house special for you here, delivered by Smokin Beats. The track entitled 'Times Are Changin' (Smoking Dub) is one of the smoothest I have come across, comparable to the likes of R.I.P. Productions, D.E.A. Project, and Groove Chronicles in style. The Smokin Dub version of the record is undoubtedly the highlight here, a polished track that flows effortlessly for the entirety of it's 6 minute duration. The skittery garage beat set things rolling, soon supplemented by a smooth bassline and intermittent synth stabs which balances things out. It isn't until the track reaches the 1:30 mark that it enters its full swing however. Here the aforementioned elements are joined by a delightful house styled synth chord melody, one which brings soul to the track alongside Conroy's powerful vocals. Soulful underground garage at its best, no question about it.

Theo Parrish - 'Dance Sing' (Harmonie Park)

2010-12-23T15:52:00.000-08:00

Soul control from the man Theo Parrish. The master of Detroit house/techno has a catalogue of high quality production work so wide that just when you think you've heard it all from the man, another wonderful piece soon surfaces, a track which you were before deprived any knowledge of. This week I have for some reason only just come across the 'Twin Cities' EP (Harmonie Park) which was released in March 2004. It is the track 'Dance Sing' which really caught my attention here, epitomizing all that is great in Parrish's work.

It's a raw but utterly soulful track. It makes an instant connection. The opening is dominated by an interesting percussive beat, one which sounds very rugged and rough round the edges, gaining further layers throughout the duration of this patient introduction. The track's real beauty shines through after 1:3o, where the heart and soul is created. A stunningly warm synth chord arrangement slowly rises as the harsher intricate percussion recedes, with a determined 4x4 beat patiently building as the track progresses. Add to the lo-fi synths the looped sample which repeats the words "dance sing", and this track bleeds soul. It's a track which you can't help but nod along to, it's hypnotic in its 13 minute duration. Absolute killer from Parrish, from start to finish. You can listen to 'Dance Sing' in the video below, as well as his recent refix of Amerie's 'One Thing' entitled 'Just 1 love Bug', printed on a limited edition clear red vinyl. Enjoy.

"Love of the music should be the driving force of any producer, performer or DJ. Everything else stems from that core, that love. With that love, sampling can become a tribute; An expansion on ideas long forgotten, reconstruction, collage. Using the same understanding openly and respectfully can turn DJing into a spiritual participation. It can turn a few hours of selection into essential history; Necessary listening through movement." (Theo Parrish)

Oneman XLR8R Podcast

2010-12-23T08:44:00.000-08:00

Oneman (aka Steve Bishop) steps up with a very strong 52 minute long mix for XLR8R. The Rinse man is highly regarded, and rightly so. Very few others have the talent that this man has for mixing, a talent which have gained him a reputation as an exceptional DJ and the respect of all in the community, without being a producer or being armored with exclusive dubplates. Instead he built his reputation on flawless skills, something which has also come to provide him with dubplates over the past few years. This mix for XLR8R is testament to such technique and track selection, with impeccable mixing backed by a tracklist so full of unreleased exclusives it brings tears to my eyes, especially in the case of the wonderful 'Gr Etiquette', 'Sicko Cell', and 'Mellotroid'. Boddika, Falty DL, and the French Fries remix of Amerie's 'One Thing', also prove to be highlights on this superb tracklist. You can download the mix by clicking here. Enjoy.

Oneman XLR8R Mix:
01 Bad Autopsy "Callback" (Ramp)
02 Instra:mental "Talkin' Mono" (NonPlus+)
03 Joy Orbison "GR Etiquette"
04 SBTRKT "2020" (Brainmath)
05 Unknown "Sicko Cell"
06 Boddika "When I Dip" (NonPlus+)
07 El-B & Juiceman "Buck & Bury" (Ghost)
08 Unknown "Mellotroid"
09 FaltyDL "Doo Wop"
10 Pearson Sound "Blanked" (Hessle Audio)
11 Girl Unit "IRL" (Night Slugs)
12 Amerie "One Thing" (French Fries Remix)"
13 Ill Blu "Pull It (Instrumental)" (It's Funky)
14 The Touch "Bodies Waiting (French Fries Remix)"
15 Redlight "MDMA" (Polydor)
16 SX vs. Ramadanman "Woooo Glut"
17 Desto & Jimi Tenor "Doorlock Riddim"
18 Shortstuff & Mickey Pearce "Tripped Up (Ramadanman Re-edit)" (Ramp)
19 Jay Weed "The Naos" (502)
20 Benga "Skank" (Big Apple)
21 Toasty "Skinny" (Destructive)
22 Mala "City Cycle" (Tectonic)

James Blake - Album Tracklisting and Artwork

2010-12-21T05:02:00.000-08:00

Excitement most certainly embroils around this young man. The promise of his self-titled debut album on Atlas/A&M on 7th February is one of the most anticipated works of 2011, one that will be accompanied by an intriguing live show. The young 22 year old has come a long way since his debut 12" on the Hemlock print in the form of the indelible 'Air & Lack Thereof/Sparing The Horses' (June 2009) which immediately marked the producer/vocalist/DJ out as an artist who had great things ahead of him. Although the album is thought to contain very different sounds to those we originally heard in Blake's work, the album will undoubtedly contain the same grace, soulfulness and unique structuring that can be heard in records such as 'The Bells Sketch' and 'Klavierwerke' EPs.

Blake is doing something truly unique here, and after the release of the first single from the album, 'Limit To Your Love', it's no surprise he is being touted as one of the UK's most promising artists. You can find the tracklist for the album after the videos below. Most of the tracks named are previously unheard and unreleased, guaranteed to entice you further.

Tracklisting:
1. Unluck
2. Wilhelms Scream
3. I Never Learnt To Share
4. Lindesfarne I
5. Lindesfarne II
6. Limit To Your Love
7. Give Me My Month
8. To Care (Like You)
9. Why Don’t You Call Me
10. I Mind
11. Measurements

Out 7th February 2011 through Atlas/A&M.

2010's Top 15 EPs/Singles

2010-12-19T14:53:00.000-08:00

2010 has proved a fruitful year in terms of releases from the world of UK bass/dance music. New styles have come to the fore, as well as a handful of extremely talented producers beginning to build themselves solid reputations. As dubstep slowly branches out in an ever diversifying scene, house, garage, funky and juke have really made an impression on my tastes in this past year. Labels such as Hotflush, Hessle Audio, Planet Mu, Swamp81, Ramp, PTN, Doldrums, Well Rounded and R&S amongst others have been pushing interesting sounds, some of which occupy this list.

To mark the end of 2010, I thought I'd gather a list of my 15 (originally I planned 10 but couldn't cut the list down) favourite EPs and Singles from the year. There are many brilliant releases which haven't quite made the cut, but I believe these are the releases that have made the biggest impact on myself in the past 12 months. The list is arranged in no particular order. I had a tough enough time cutting the list down to the final 15, and I believe such an ordering would be aimless and limiting. However, I do have a top artist for the year. Although by no means a prolific year in terms of release, Peter O'Grady (aka Joy Orbison) has without doubt been the focal artist in my world this year. The man doesn't make bad records. Both his releases feature in my top 15, and if more of his unreleased workings were available, I get the feeling this list would be dominated by J.O. Doldrums are on it.

Top 15 EPs/Singles of 2010 -

Joy Orbison - 'The Shrew Would Have Cushioned The Blow' (Aus Music)

This EP still sounds just as good as it first did when released back in March. It guaranteed that J.O. wasn't here just for the one single, but that he has a collection of wonderful records that make for beautiful listening. 'The Shrew Would Have Cushioned The Blow' is more minimal than what has gone before, with a driven stripped beat, grumbling bass, accompanied by rising synths and a distant vox'd vocal sample. 'So Derobe' is outstanding. Incredible intricate percussion that leaves you completely bemused, aquatic sound synths that satisfy with every listen, and an excellent choice of the soulful Boys II Men vocal sample that compliments such elements. Essential.

Martyn - 'Miniluv' (Ostgut Ton)

A work of pure brilliance by Martyn. 'Miniluv' is almost a meeting of techno and deep house. The track begins a strong 4x4 beat and skipping techno patterns, something which animates the first 3 minutes of this track. The turning point and real beauty of this track comes just after the 3 minute mark, as a 4-note chord arrangement that wouldn't sound out of place in the realm of Detroit house begins to take dominance from the surging beat. It is without doubt one of the warmest and most alluring melody's you'll hear this year.

Addison Groove - 'Footcrab/Dumbshit' (Swamp81)

A release which announced the arrival of both Swamp81 and Addison Groove. Headhunter's juke alter-ego made one of the biggest impacts of 2010, and 'Footcrab' will be up there as one of the most played records by underground DJ's. Comprised of juke styled 808 percussion, adapted to the more UK bass friendly tempo of 140bpm, the track pounds away, continuing to keep feet moving. The rapid-fire sample that repeats 'footcrab' an innumerable amount of times will seep its way into you unconscious, and you'll soon find yourself repeating the word in very ordinary situations. 'Dumbshit' provides a strong b-side. This takes the edge ever so slightly over 'Work Them' for me.

Deadboy - 'Fireworks' (Well Rounded)

One of the most beautiful records I've ever heard, let alone in 2010. Deadboy's remix of Drake's 'Fireworks' is simply astounding. A low-swung house rhythm slowly develops beneath a soft piano arrangement, one which continues to patiently build over the six minutes. The distorted vocals provide an extra emotional layer in this soulful track, one which really does pull at the heart-strings. A thing of real beauty.

Breach - 'Fatherless' (PTN)

Who would have thought Ben Westbeech would have been responsible for one of the underground UK bass anthems of 2010? 'Fatherless' sounds like a tribal anthem, and it has certainly acted as the linchpin of many a DJ's set over the past 3/4 months or so. The rhythm is contagious, with devilish beat working up a storm, one that is dictated by swarming looped flutes and the cold vocal sample that so effectively states 'fatherless'. The b-side 'Man Up' is a very strong track that has been overlooked due to the status of its a-side. Doc Daneeka also provides a very strong remix, one which proves far more bass heavy than the original mix.

James Blake - 'CMYK' (R&S)

James Blake was always going to feature on my list, it was just a matter of which release I would select. As much as 'The Bells Sketch' and 'Klavierwerke' are worthy of places, it was always going to be the 'CMYK' EP that would get the nod for me in what is probably his most upbeat and dancefloor friendly work. The title track steals the show. Featuring a typically complex Blake beat, the track combines a rough and ready rhythm with with a repetitive piano chord arrangement. His vocal sampling of Aaliyah's 'Are You That Somebody?' and Kelis' 'Caught Out There' is almost as impressive as J.O's sampling, a selection that makes this track even more soulful. 'I'll Stay' (track 3 of the EP) is also a very impressive effort by the 22 year old, a track which his own wonderful vocals, manipulated in such a way to evoke maximum emotion, in keeping with the tracks construction.

Elgato - 'Tonight/Blue' (Hessle Audio)

What a debut release on Hessle Audio from the revered DJ, and now producer Elgato. This came out of nowhere in October to become one of the highlights of 2010. It really is an example of emotional dance music at its best for me. Both 'Tonight/Blue' are brilliant efforts, and can be placed under the house/funky bracket, although they are very considered and reserved tracks. 'Blue' is a patient 8 minute builder. Deep synth organs sit alongside a soulful vocal sample that constantly wails 'my dreams', backed by a rigid 808 drum beat and reverberating subbass. Great debut. I expect we'll be hearing a lot more from this man.

Jam City - 'Refixes' (Night Slugs)

I don't even know where to start with this one. I had an extremely hard time choosing which track to feature in the video, with each of these Jam City remixes being absolute killers. There's no two ways about it, this is one of the best EPs I've heard. Combine the brilliance of the remixes with the audacity the artist had in choosing the tracks to remix, and you can come someway to understanding why this EP is held in such high regard. Ecstasy's 'Engames', DJ Deeon's 'Let Me Bang', and Devil's 'Shut The Lights Off' all go under the Jam City refix here. And wonderfully so. You need this.

Joy Orbison - 'BB/Ladywell' (Doldrums)

Deep Detroit house vibes from J.O. I doubt there was a release in 2010 I had waited longer for (just over 8 months), but my word was it worth the wait. With this release, the second on O'Grady's Doldrums label, J.O. moves away from his previous garage/dub-house attempts, progressing towards a more Detroit house influenced sound (Parrish and Omar-S notable influences here). 'BB' is excellent with it's rolling percussion, structured 4x4 beat, dirty synth stabs and a vox'd vocal sample. However, my love is for 'Ladywell', a track so smooth and filled with emotion that you can't help but feel a connection to it. The beat swells, supported by deep kicks. But it's the retro 80s sounding chord arrangement that is introduced later, alongside the Usher 'Burn' vocal sample that really gets this track moving, something which enters full fruition once the handclaps are incorporated after 3 and a half minutes of patient build up. An absolute dream of an EP. Will Bankhead's artwork for it is almost as lovely as the music itself. Essence for you.

George FitzGerald - 'Tell Me' Remix (White)

George FitzGerald is a talented lad, something he has already proven with his debut release on Hotflush earlier in the year ('The Let Down/Weakness'). However, it was the recent white label 10" release of his remix of Groove Theory's 'Tell me' that impressed me most. FitzGerald's remix is a superb reworking of the classic 95' R&B track. The only recognizable feature left from the original is Amel Larrieux's soft vocals, which are manipulated in terms of tempo to fit the needs of FitzGerald's production. Add to the angelic vocals a swirling subbass, smooth garage rhythms, and tidy chord arrangements. George FitzGerald has a formula, one which has worked on all works as of yet.

Braiden - 'The Alps' (Doldrums)

Braiden's debut release on the Doldrums imprint has proved to be one of the biggest releases of 2010, one which obsessed many for the 4/5 months that we had to wait for it's arrival. The track first gained attention in J.O.'s Sonar set, and led to MAH pushing the track as one of the best of the year. After years of working as a reputable DJ, Rinse FM's Braiden has now taken to the production game, and he does so in a big way with 'The Alps'. The track is almost a cross between UK funky and techno, showing the wide raging styles which occupy Steve Braiden's eclectic sets. A pounding 4x4 beat, keyboard tones that range in both sound and length, playful cowbells, an ice cold sample and bass so enormous that the dancefloor will erupt each and every time this 12" is dropped. A huge debut, haunting yet forcing your feet to move. and one which is supported by a big remix from the excellent German house/techno producer Kassem Mosse.

DJ Spinn and DJ Rashad - '4 The Ghetto' (Ghettophiles)

2010 had been a vital year in the world of Chicago juke/ghetto house, finally expanding past its previous Chicago boundaries, and slowly working itself over to the UK. A lot of credit must go the Addison Groove (aka Headhunter) who has been pushing this sound for over 18 months now in DJ sets, as well as in his production work over the past year ('Footcrab/Dumbshit' as well as future release 'Sexual/Work It'). Juke is a simple but effective genre. Composed mainly of 808/909 four to the floor kick drums, minimal use of short sharp synth arrangements, dirty vocal samples and intermittent claps, I really shouldn't enjoy the sound as much as I do. DJ Spinn and DJ Rashad in particular manage to make my head nod every single time, there is something so enchanting and contagious in their 160bpm tracks. With labels like Planet Mu promoting the sound, as well as the Ghettophiles label itself growing ever stronger, expect to hear much more of these sounds in 2011.

Bakey USTL - 'A Tender Places/Nose Candy' (Unthank)

An astonishing limited 10" release that seemingly came from nowhere. Bakey USTL is a relatively unknown deep house producer from Estonia (now based in Amsterdam), so a debut release of such quality was going to rank high in my books. So original and unique, so impressive. 'A Tender Places' begins in the format of a smooth as deep house track, with a flowing house rhythm, elevated keyboard synths and a soulful sample crying "all night long". This takes a turn after 2 minutes, with a brief pause of silence, a series of differing drum beats that clash followed by a pause and the hiss and crackle of a needle being placed upon a new record. A couple of seconds later the track is reintroduced, with a similar format to above with the soulful sample repeating "clap your hands if you wanna fuck. stomp your feet if you wanna suck". It's a devilish yet soul infused turn, that you can't help but move along to. The b-side is not of a lesser quality. 'Nose Candy' is simply brilliant, an effortless track that screams high quality control. As the sample repeats after the break, "its special". Get to know it.

Pearson Sound - 'Blanked/Blue Eyes' (Hessle Audio)

David Kennedy has had quite the prolific year. He could feature numerous times on this list due to his production work under the alias' of Ramadanman and Pearson Sound. It was between 'Work Them/Fall Short' and 'Blanked/Blue Eyes', and the latter just gained the edge for me, representing the great year that Kennedy has endured in production terms. 'Blanked' sounds like a meeting of Chicago juke and hardcore drum and bass in it's percussive arrangement, with an 808 drum arrangement that intrigues. The occasional outlaying synth chord rings, a booming bass kick keeps things moving, and the sample ("the love. the love") brings an emotional edge to the seemingly rigid format. It's moment of class comes in its middle arrangement, where we are left only with dark and ranging synthlines that agitate alongside the mourning vocal sample. 'Blue Eyes' presents a match on the b-side of a release which epitomizes everything good about David Kennedy's work in 2010.

Joy Orbison - 'Gr Etiquette' (Unreleased)

Although technically unreleased, I must put this track in my top 15. It is possibly my favourite of the whole lot, even though I've never had the opportunity to listen to the full version of the track (I've been exposed to listening to 2 minute clips over the past 12 months in mixes from Oneman, xxxy, Ramadanman, Martyn and J.O. himself). There are very few things that I want more at the moment than a copy of this track, only a couple of things come to mind in fact. It really is that good, and sadly will never see a release. I can't exactly put my finger on what it is that makes this track so special. The smoothness of the track is something you can't help but notice, with an incredibly well formed garage rhythm, intricate layers of percussion and house synths that delight. These elements combine magnificently, however, for me it's the sampling of Jamie Foxx that completes the track. Every time I listen to 'Gr Etiquette' the repetition of the lines 'do you like I want to, kiss you like I want to' never fail to impress and provide the heart of the track. J.O.'s garage/house/dubstep coalescence at it's very best, and that is really saying something.

Top 15:

Joy Orbison - 'The Shrew Would Have Cushioned The Blow (Aus Music)

Joy Orbison - 'BB/Ladywell' (Doldrums)
Joy Orbison - 'Gr Etiquette' (Unreleased)
George FitzGerald - 'Tell Me' Remix (White)
Jam City - 'Refixes' (Night Slugs)
Elgato - 'Tonight/Blue' (Hessle Audio)

Pearson Sound - 'Blanked/Blue Eyes' (Hessle Audio)
Addison Groove - 'Footcrab/Dumbshit' (Swamp81)
Breach - 'Fatherless' (PTN)
DJ Spinn and DJ Rashad' - '4 The Ghetto' (Ghettophiles)
Bakey USTL - 'A Tender Places/Nose Candy' (Unthank)

Braiden - 'The Alps' (Doldrums)

Deadboy - 'Fireworks' (Well Rounded)

James Blake - 'CMYK' (R&S)

Martyn - 'Miniluv' (Ostgut Ton)

Ben UFO - 'Gimme5' & 'Acetate' Mixes

2010-12-16T10:35:00.000-08:00

Ben Thompson in the mix. The Hessle Audio co-founder has built a strong reputation for high quality control over the past few years with his strong love for vinyl shown in his genre spanning sets, an exploration through the garage/2-step, UK funky, house, techno as well as dubstep on occasion. Such work has led to his emergence as one of the scene's most loved DJ's, the best I've experienced alongside Oneman (whose brilliance is displayed in the fact that they have become highly reputable DJ's without having produced music). His mixes for XLR8R, Why Not? and LuckyMe had me enthralled for weeks, so naturally when I saw two brand new mixes available from the Hessle head honcho I couldn't contain my excitement, especially upon seeing the tracklist for his 'Gimme5' mix. His recent 'Acetate' mix for Red Bull Music Academy is also excellent, although the two are quite a contrast in styles.

Issue#027 By Ben Ufo by Gimme5 on Mixcloud

Ben UFO's 'Gimme5' mix is very very good. A mix of unreleased dubs, as well as old school rarities, this mix never fails to interest. Once again an example of technical brilliance in terms of his mixing, Ben UFO effortlessly switches between garage, techno, funky and house. It's real strength comes in the form of his track selection, especially with the inclusion of a couple of unreleased/unknown gems. Listen out in particular for J.O.'s 'Kissmequik', Blawan's 'Bohla' as well as 'Sicko Cell' which I have recently written about. Each are highlights in this wonderful mix. You can stream the mix above or download by clicking here.

'Gimme5' Mix - Tracklist:
1.Kym Mazelle – Big Baby [Rafmat mix] (White)
2.Ms. Dynamite – What’s Mickey Talking About (Unreleased)
3.LB Dub Corp – It’s What You Feel (Ostgut Ton)
4.Joy Orbison – Kissmequik (Unreleased)
5.Logos – Kowloon (Unreleased)
6.Blawan – Bohla (Unreleased)
7.EQD – Equalised#003 (Hard Wax)
8.Steve Poindexter – Work That Muthafucker (Muzique)
9.Funkystepz – Bubbly (Unreleased)
10.Randomer – Brunk (Unreleased)
11.? – Sicko Cell (Unreleased)
12.Pearson Sound – Blue Eyes (Hessle Audio)
13.Slyerpaul – Crazier (Dubs 4 Klubs)
14.Emptyset – Red Sun [Peverelist mix] (Unreleased)
15.M Dubs – Body Killin’ (White)
16.Boddika – 2727 (Unreleased)
17.T++ – Anyi (Honest Jons)
18.Becoming Real – Like Me feat. Trim (NotEven)

For the 'Acetate' mix Ben UFO spins a strong collection of rarities and classics, a collection of deep cuts. This is real evidence of his skill as a DJ, and undoubtedly proves his reputation as one of the best around. Smooth transitions between some wonderful deep house, playful old school garage, and recent techno releases provides listening pleasure. Any mix that begins with Theo Parrish should be taken very seriously. Pure brilliance. You can stream the mix now by clicking here.

'Acetate' Mix - Tracklist:

1.Harmonia and Eno '76 - When Shade Was Born - Grönland
2.Theo Parrish - Only The Beginning - Peacefrog
3.Appointment - 001 - Appointment
4.Brand New Heavies - Close To You (MAW Old School Hardcore Dub) - FFRR
5.Hashim - Al-Naafiysh - The Soul - Cutting Records
6.Da Posse - Searchin' Hard (Mike Dunn's AC mix) - Dance Mania
7.STL - Space Warriors - Something
8.Third Side - Andy - Restoration
9.Marcellus Pittman - There's Somebody Out There - Unirhythm
10.Norma Jean Bell - I Like The Things.. (KDJ Mix) - Prescription
11.Chez and Trent - 054 - KMS
12.Jamie 326 - Welcome To The Dub - Basement Edits
13.Happy Trax #4 - Rock Ya Body - Happy Records
14.Baby Ford - Built In - Force Inc.
15.House Of Jazz - Hold Your Head Up - Club Swing
16.Todd Edwards - Winter Behaviour - i! Records
17.DJ Disciple - Keep On Movin' (Laid Back And Funky Mix) - Interstate
18.Tuff Jam feat. Xavier - Tumblin' Down (Marimba mix) - Mucho Soul
19.Ramsey & Fen - Style (Bug Dub) - Bug Records
20.Groove Chronicles - Hold On - GC
21.Grain - Untitled - FatCat
22.Wax - 10001 - Hardwax
23.Marcel Fengler - Enigma - Ostgut Ton
24.Anthill Mob - Bring It On Down - Jam Jam
25.Chris Mac - Plenty More - Confetti
26.NCA feat. Robbie Craig - Lessons (Steve Gurley Vocal Mix) - Public Demand
27.Unlimited Touch - Carry On - Epic

Untitled - 'Sicko Cell'

2010-12-16T06:01:00.000-08:00

I'm the information. Cocaine powder.

If these words don't resonate in your mind after listening to this track 4/5 times, then I'm afraid you're in the wrong place. I haven't felt as much excitement after hearing a previously unheard track in a mix since Martyn's 'Miniluv', or I could even stretch as far back as October 2009 when I first heard J.O.'s 'Gr Etiquette' in his mix for MAH. Ben UFO's 'Gimme5' mix notified me to the song's existence, and since my first listen I have spent a vast amount of time repeating the 3 minutes of the mix which the track occupies (22:31-26:48, yes I do have a slight strain of OCD). Oneman has also been spinning the track which is believed to be named 'Sicko Cell', most notably in no.30 of The Boiler Room sessions as well as on his Rinse FM slot over the last 3 weeks (Sunday's 11pm-1am for those who fancy listening in). The identity of the artist is currently unknown, although I have a feeling I know who the artist is, and if my suspicions are correct, my love for this artist has grown ever greater, just when I thought he couldn't improve much further on previous releases.

As soon as you hear the words "I'm the information. Cocaine powder" pay very close attention. The words are repeated by a vox'd male vocal sample until the 4x4 beat is introduced, accompanied by looped vocals stating "too much" and a kick drum which threatens to erupt at any minute. The kick drums are momentarily excluded, synth chord stabs form in a wonderful arrangement, one that recalls the work of Detroit house heads Theo Parrish, Marcellus Pittman, as well as newer generation producers such as Iron Curtis and Kassem Mosse. The interlude lasts around 20 seconds, right up until the kick drum is reintroduced, far more bass heavy than its previous inclusion, dominating the track with synth stabs taking a more reserved position in the background. The element of the track which really made an impression on me however is the break. It is quite simply beautiful. The beat and synth stabs are completely excluded in a moment of bliss, one which is occupied by wonderful swarming hazy synths, understated percussive ringing as well as an interplay between vocal samples (the presence of the orginal vox'd sample "I'm the information. Cocaine powder", with another vocal wailing emotionally "I'm so addicted"). This provides the track with a weight of emotion, contrasting the surging 4x4 beat and formulated chord stabs that are swiftly established once again. Absolute killer. If it sees a release, and my lord I pray to God it does, this will undoubtedly be one of the tracks of 2011. Leave it one repeat for a good hour or so. The words "I'm the information. Cocaine powder" will soon leave their mark.

FACT - XOYO (03.12.10): J.O. B2B Ramadanman/Pearson Sound

2010-11-24T05:01:00.000-08:00

Seeing as my previous couple of posts have been in part eulogies to the brilliance of the releases from each of these artists, I thought it would be perfect timing to inform you of a world exclusive 2 hour back to back set between the two virtuoso producers/DJ's. J.O.'s 'BB/Ladywell' brings a new interpretation of Detroit, applying his wonderful trademark sounds to the deep house format, whilst Pearson Sound's 'Blanked/Blue Eyes' encapsulates all that has been successful in his long list of 2010 releases.

A stroke of genius from FACT magazine has brought J.O. and Ramadanman together for what will an outstanding night of music. The FACT night will take place on Friday 3rd December at the Shoreditch Club XOYO (32-37 Cowper St, London, EC2A), doors from 9pm-3am. Tickets are £8 students/advance, £1o on the door. In addition to the headline set from J.O. and Ramadanman, there will be appearances from Fantastic Mr Fox (expect Jamie XX dubplates), LHF (Keysound), Jam City, Dark Sky as well as the FACT DJ's. Brilliant support. Not quite J.O. and Ramadanman, but the promise of Fantastic Mr Fox and the elusive Jam City (his 'Refixes' EP released on white label earlier in the year is one of the top 12" from 2010 in my opinion) should also entice.

The headline set will persuade most alone. This may be one of the only times you'll ever have the opportunity to see the artists of 2010 play back to back, something which can't be avoided. J.O. may even drop the wonderful 'kissmequik' if we're very lucky, and if he does the £10 door fee will be instantly defined a bargain. Peter O'Grady meets David Kennedy. Yes please. Here are 3 reasons to be at XOYO on 03.12.10.

Room 1:

Joy Orbison b2b Ramadanman/Pearson Sound (2hrs)

Fantastic Mr Fox

LHF (Keysound)

FACT DJ's

Room 2:

Jam City

Dark Sky

SOPHIE (Live)

J Saintil

attend.

Pearson Sound - 'Blanked/Blue Eyes' (HES016)

2010-11-23T11:24:00.000-08:00

Quality control once again proves to remain high on Hessle Audio releases, and was it ever in doubt with the knowledge that the prolific David Kennedy (aka Ramadanman, Pearson Sound) was producing release 016? Not for one minute. 2010 has been an outstanding year for the young producer/DJ, who seems to progress with each release, keeping standards high whilst experimenting with styles. Already to his name this year is the 'Ramadanman' EP, 'Your Words Matter/More Than You Know' (Midland), 'Down With You/Higher', 'Glut/Tempest' as well as the killer juke influenced 'Work Them/Fall Short'. Now under the alias of Pearson Sound, the first time he has worked under this name since 'Down With You', comes the release of 'Blanked/Blue Eyes' on the ever transcendent Hessle Audio. This release seems to combine elements of both his work as Ramadanman and Pearson Sound, combing similar sounds to what has gone before in 'Work Them' and 'Glut' as well as 'Gambetta'.

'Blanked' is the track which has been making the most noise, finding itself in the hands of the taste makers weeks/months before its release (Ben UFO, Oneman, J.O. and Blawan have all been strong supporters of the track). 7 minutes 13 seconds long, 'Blanked' slowly builds, patiently building a wonderfully worked break beat created on 808's that recalls breaks from the old school days of early 90s drum & bass/jungle. It's a resolute stripped back beat that forms the basis of the track, which after 1 minute is accompanied brilliantly by an Untold style reverberating bass kick. Progressing under this format, male vocals slowly work their way into the foreground of the track as do the every swarming synthlines that work in tandem with the aforementioned vocals, eventually drowning out the delicately built percussion. This adds a weight of emotional intensity to 'Blanked', a darkness in tone yet beauty in the way on which the male vocals and vox'd female wails interplay. This has become a marker of Kennedy's work over the past few years, excellently crafted tracks designed for the dancefloor that still evoke certain feelings and emotions. The break beat is re-introduced after the 4 minute mark, a move marked by a surging bass kick to kick the track back into a mode of progression. Vocals slowly fade away into the distance, breaks moving the feet of those that care.

'Blue Eyes' is equally adept to the A-side, and although it builds similarly to its partner, the style is slightly different and more playful in my opinion. A wonderfully laid out 808 percussive beat is set up early on, almost like a slowed down juke beat, a genre which has left its a mark on the work of recent producers including Kennedy himself ('Work Them/Fall Short' as well as previous and future Addison Groove material). The creation of such percussion dominates the opening, with the track finally kicking into life on the minute mark, signalled once again by an enormous Untold-esque bass kick which thumps to say the least. Playful synth arrangements (almost sounding as if they are produced from a type of game console) and beautifully soul drenched female vocals provide a nice foil to the more rigid percussion, slowly encapsulating the foreground of the track whilst the rolling percussion is pushed into the shadows, but only briefly. The bass kick once again asserts it's authority, reclaiming dominance whilst the vocals still float tentatively in the background, giving that soulful edge to a stripped down beat and heavy bass.

You can preview/purchase 'Blanked/Blue Eyes' now by clicking here. It's a big 12" release, one not to miss. Pearson Sound x Hessle Audio. A combination that was only going to produce high quality.

DLDRMS 002/003

2010-11-23T06:17:00.000-08:00

A year on since the young Doldrums label's first and last release ('Brkln Clln/J.Doe'), plus 8 months of silence O'Grady's superb 'The Shrew Would Have Cushioned The Blow' EP, both are back this week, and with real intention. J.O. has kept this new release very quiet, with the new singles being relatively unknown before yesterday's unveiling. The A-side is named 'BB' a track I had only previously head once in Joy's Sonar set. The B-side is labelled 'Ladywell', a number which hasn't been featured in any DJ sets at all to my knowledge. After initial listening, it becomes clear you're listening to something special here. Quality control is high, and this is a very different J.O. to what's gone before (especially 'Hyph Mngo/Wet Look' & 'Brkln Clln/J.Doe') in terms of style.

'BB/Ladywell' are without doubt his most house driven tracks to date, taking greater influence from a heritage of Detroit work that seems to have had some impact upon J.O., especially artists such as Theo Parrish, Omar-S, Marcellus Pittman, and a crop of new producers that includes the brilliant Kassem Mosse. Both tracks contain patient stripped 4/4 beats that provide a steady and uncompromising pulse, built upon with deep basslines, wonderful chord arrangements and vox'd vocals. It's a nod to Detroit house, yet done in such a way that it is truly original and is in keeping with a recognisable J.O. sound.

You can get 'BB/Ladywell' now on 12" from Honest Jons, although I would hurry as these are in huge demand and will be released in limited numbers. There is still no news as to whether they will be given an MP3 release. I shall keep you informed. You can also check out previews through the Honest Jons website, the only place you may do so. Sleeve artwork by Will Bankhead from The Trilogy Tapes, excellent work as per usual.

Doldrums 003 is a release that needs no introduction, with Braiden's 'The Alps' one of the most highly rated tracks of the year. Steve Braiden (Rinse FM/DJ/Photographer, and now producer) has been renowned as one of London's most promising DJ's for quite a while now, and he makes the progression to an exciting producer with ease on the basis of the quality of 'The Alps'. A track which seems to seep between boundaries of UK funky, house and techno, it's impossible to define. It's a dark affair, something which the manipulated disembodied vocals and synth chords contribute to alongside a bass heavy 4/4 funky beat. This atmosphere is reflected brilliantly in the video for the track which you can view below. Edited black and white archive footage of what seems to be an industrial nuclear power plant helps to establish a dark, structured tone, a feeling which 'The Alps' evokes in many ways. 'The Alps', also backed with a well received Kassem Mosse fix, can now be purchased at Honest Jons, but make sure you invest sooner rather than later. Previews can be heard on the website as well as in the video below (although the actual mix is over 7 mins long). Thank you Doldrums.

Also, last night I heard new J.O. material in a brand new Ben UFO mix. The title is 'kissmequik'. The production is out of this world. Tear jerking, trust me. Well it was for me at least.

Marcellus Pittman - FACT Mix 201

2010-11-15T01:54:00.000-08:00

Detroit's Marcellus Pittman provides FACT Magazine's 201st mix, and what perfect timing for such a mix. Released a week before the 2nd Doldrums label night, which Pittman is headlining, the mix proves the excellence Pittman brings in his DJ sets. The mix, which pleases for a good 55 minutes, shows both Pittman's talent for brilliant track selection as well as undeniably technical mixing, evidence that he will set the Doldrums night alight. The mix incorporates Chicago house classics from the likes of Ron Trent, Lil Louis and Larry Heard, as well as more recent cuts from the much discussed Kyle Hall and Omar-S. These deep tracks intertwine beautifully with Pittman's own soulful efforts, which provide a slightly more minimal and rigid sound, as displayed in the fantastic 'Razz 09'. Seamlessly effortless from Pittman a member of the revered 3 Chairs. If you were thinking of missing Doldrums on Saturday, think again. Download the mix, and attend. If you didn't already know, J.O. will be providing a helping hand, an offer which nobody in their right mind can refuse.

Tracklist:
Scott Grooves – ?
Larry Heard – Washing Machine
KC Flight- Planet E(loop)
Marcellus Pittman – Loneliness Leave Me Alone
An-2 – Lazy Sun
Louie Vega ft. Arnold Jarvis – Life Goes On
Daniel Wang – Like Some Dream I Can’t Stop Dreaming
Chez & Trent – KMS054
Marcellus Pittman – Razz 09
ESG – Moody
John Consemulder ft. Lex Express (Piranhahead remix)
Marshall Jefferson- Step By Step (Ron Trent remix)
Lil Louis – ?
Theo Parrish – Space Station

Fourtet - Love Cry - Joy Orbison Remix by WeAreBlahBlahBlah

Download the mix by clicking here.

George FitzGerald - 'Heart On Sleeves'

2010-11-12T05:43:00.000-08:00

New George FizGerald (Hotflush) material is something not to be missed. A clip of 2 mins 30 secs of a track titled 'Heart On Sleeves' has just been uploaded onto his soundcloud page, and as once again early indications are high quality control from the young producer. The track has a stronger house influence rather than the usual 2-step/UK garage approach that FitzGerald usually adopts, although their influences can still be heard in the track. A 4/4 beat comes to fruition in the opening stages, accompanied by intricate percussive arrangements as well as polyrhythmic synth chords which help to provide a smooth emotional sound in contrast to the structured beat, which comes to dominate the track after the interlude of soulful male vocals after 1 min 15 secs. Chords and vocals slowly re-integrate alongside the bass heavy beat, ensuring this as an emotional track made with the dancefloor in mind, a style which seems to be a marker of FitzGerald's production work ('Don't You', Weakness', 'The Let Down'). Listen to the track in the bar place below.

FitzGerald also recently put together a 50 min mix for URB, and my word it's good. Any mix which begins with 'Crazy' by Seven Wonders gains instant respect from myself, but from here on in FitzGerald carefully selects a wonderful variety of excellent tracks, which are beautifully mixed. Unreleased material from FitzGerald animates a fair part of the mix, something which can only entice you to listen, especially in the case of his wonderful refix of Groove Theory's 'Tell Me', without a shadow of a doubt one of my favourite remix's of 2010. You can download the mix now by clicking here, the tracklist is as follows:

George FitzGerald URB Mix - Tracklist:
1. Seven Wonders – Crazy (DJ’s for Life)
2. George FitzGerald – Friends In High Places (CDR)
3. WAX – 30003 B (WAX)
4. Will Saul & Mike Monday – Sequence (Scuba Remix) (forthcoming AUS)
5. KMA – Cape Fear (Groove Chronicles)
6. George FitzGerald – Fernweh (CDR)
7. Surgeon – Floorshow (Counterbalance)
8. George FitzGerald – Don’t You (forthcoming Hotflush)
9. Scuba – Three Sided Shape (forthcoming Hotflush)
10. xxxy – This Much (CDR)
11. Pariah – The Slump (R&S)
12. Groove Theory – Tell Me (George FitzGerald Remix) (CDR)

Hearts On Sleeves by George FitzGerald

HomePark - 'Made Me Happy'

2010-11-12T05:22:00.000-08:00

I'd planned to write quite a bit on this excellent duo, however due to an essay which I am yet to start (which probably won't go anywhere in all honesty) I can only recommend listening to one of my favourite of their tracks, although I will cover them in greater detail in the coming days and weeks. Rob Glassett & Sam Fussell make their own brand of deep house under the alias HomePark, creating a unique sound which still manages to bear a resemblance and shows influence from Detroit masters such as Kenny Dixon Jr. (aka Moodymann) and Theo Parrish, as well as more recent producers such as Ethyl & Flori, BLM, Kyle Hall and Iron Curtis. The balance between their own sound and inspirations are just right, pushing things forward without loosing touch with the music's past roots.

'Made Me Happy' is a brilliant example of what the boys are capable of when it comes down to production. It's a deep cut, one which patiently builds, and in doing so satisfies so wonderfully well. The first two minutes of the track establish a driving 4/4 beat, which gradually incorporates hi-hats, short chord arrangements as well as short clips of clapping towards the end of each beat. Once the track reaches the two minute mark, we're taken in a very different, but undoubtedly beautiful direction, a transition marked by a swarming synth. The only reminder of the first two minutes is the stripped down beat, which is now overshadowed by heart-tugging female vocals and a synth organ which provides the perfect foil to the polished vocal and beat arrangements. These elements go on to dominate the track for it's remainder, completing this wonderful track. Patient, smooth, effortless, deep. This is what HomePark produce. What more would you want? Listen to 'Made Me Happy' in the bar below, and also be sure to visit their Soundcloud and Myspace pages.

Made me happy by HomePark

Kassem Mosse/Doldrums/Trilogy Tapes - Mixtape 20.11.10

2010-11-11T05:11:00.000-08:00

No more needs to be done to persuade me to attend the 2nd Doldrums night. The promise of Marcellus Pittman, J.O, Braiden, Nookie & Krystal Klear, plus the limited availability on the night of new Braiden and J.O. 12" records had done more than enough to guarantee that myself and numerous others would attend what will undoubtedly be a fantastic night. So the addition of an exclusive mixtape for the night tops things off in all honesty, and what a mixtape this could be. Kassem Mosse, the deep techno/house producer (who displays shades of Detroit house as much as he does Berlin techno) who appeared at the first Doldrums night, has created an exclusive mixtape with artwork from Trilogy Tapes for Doldrums.

The mixtape will be released in limited numbers on the night, they won't be available for long, trust me. We can expect a beautiful blend of deep techno and house cuts in the mix, with potentially unreleased material from Mosse featuring. If you are unaware of Kassem Mosse's brilliant work, I'd recommend an introduction starting with 'A1' of his 'Workshop 03' EP, it's a fantastic example of the potential this artist has. Trilogy Tapes has also contributed the artwork for the 2nd Doldrums release, Braiden's 'The Alps'. Also available on the 2nd Doldrums night, along with the next J.O. 12". Words can't begin to explain my excitement for the latter record. All this is simply unmissable. 20.11.10. Plan B. Doldrums. Don't miss it.

Rick Wilhite - FACT Mix 198

2010-11-11T01:57:00.000-08:00

Over the past week and a half since its release, Rick Wilhite's mix for FACT magazine has been dominating play in my listening hours. 69 minutes of pure bliss. This mix goes deep, I can't begin to explain how much soulful, emotional music is purveyed by Wilhite in this beautiful mix. The integral 3 Chairs member (alongside Theo Parrish, Kenny Dixon Jr. and latterly Marcellus Pittman) constructs a set full of emotional Detroit house killers, which patiently works it's way into a deeper, faster groove. Cuts from Theo Parrish, Moodymann, Wilhite himself (aka The Godson) can all be heard, but the tracklist has yet to be released, which has left me in the cold concerning a couple of wonderful tracks which I was yet to hear before the mix. If anybody can knows the track which begins at 31.30 and ends at 34.30, please don't hesitate to get in touch, I've been searching for days to find it. The vocals 'I'll find you' are repeated, with a slow 4 to the floor beat which is by beautiful polyrhythmic synth chords which provide that emotive element when combined with the soulful vocal clips.

This is undoubtedly essential listening. House with real feeling. Stream/download the track by clicking here.