DAVE The Drummer & Phil Kershaw - "Bassline Sunset" (6:55)
Review: Hydraulix Records continues to push the boundaries of ravey techno with Va03, a four-track EP that transports listeners back to the early '90s warehouse scene with its infectious energy and relentless beats. Side 1 kicks off with Acerbic's 'Deep In Your Mind,' a heavy sci-fi pounder that channels the essence of early '90s techno rave vibes. With nods to the big Belgium sounds and a prominent Hoover sound, this track is an instant banger that commands attention on the dancefloor. Following suit, Minor Dott's 'What You Callin Acid' delivers a menacing and sinister atmosphere, characterized by its mechanical and demonic undertones. It's a track that exudes raw power and intensity, perfect for those craving an adrenaline-fueled sonic experience. On Side 2, Andreas Kraemer & Shadym team up to bring us 'Reflect,' a percussive and loopy journey through hardcore rave sounds. The track pulsates with energy, immersing listeners in a hypnotic groove that's impossible to resist. Finishing things are Dave The Drummer & Phil Kershaw's 'Bassline Sunset,' a big room rave techno anthem that hits all the right notes. With its infectious bassline and euphoric atmosphere, this track is destined to ignite dancefloors worldwide. Each track on this EP offers a unique sonic experience, making it a must-have for fans of the early 90s rave scene.
Review: Acid Sessions Vol. 3 is another white-knuckle journey into the world of acid with five top talents in the field all pushing their own limits. Acidulant opens with "Serpentacid' featuring hypnotic 303 grooves and relentless energy, then Sarufaromeo & Papaverhof deliver 'Acid Nihonshu' which blends atmospheric depth with chaotic acid vibes. G303 takes you beyond with 'Live Long and Prosper,' an interstellar anthem filled with cosmic acid and resonant grooves. Paul Renard closes with 'SO36' which is all about the fat rhythms and powerful dancefloor drive. Long live acid is what we say.
Review: The Danza Nativa label is fresh off the back of a fine fifth birthday celebratory 2 part compilation but wastes no time getting back to business. Alderaan is the man in charge with his second for the label and 'Transition' kicks off with some mad LFO business melting your mind. Psyk remixes it into a more paired back and spooky subterranean techno prowler. With 'Vortex' there is yet more nocturnal menace with ticking hi-hats seeing rhythm as squelchy, unsettling sounds peel off the beats. 'Futurismo' closes down with a gurgling lead line and distant sci-fi sounds that complete this most futuristic EP.
Review: Danza Nativa is rightly celebrating its fifth anniversary recently and now follows up the first part of its anniversary compilation with part two, featuring tunes from across a broad spectrum. The first side delves into tribal rhythms and strident synths with Amandra keeping it stripped back and minimal and Dino Sabatini going deep and dubby on 'Danza Tribale'. Polygonia and Plants Army Revolver then set your mind free to wander among lush sound designs and captivating rhythms that head deep into a humid and futurist jungle.
Review: Burnski's high-quality Constant Black is back with more essential club-ready sounds. Donnie Cosmo and Pascal Benjamin step up for one side of action each. Cosmo's 'Holo Glitch' is first and pairs balmy synth work that is colourful and silky with some punchy tech drums and rolling bass that pulls you in deep. 'Echo Drift' is another lithe and lively one to get you on your toes while the groove flows and 'Airplane Mode' is another stylish mix of lush synth design and great rhythm. Benjamin's trio on the flip is a little more gritty with industrial-space-tech many the most fitting way to describe these curious cosmic cuts.
Review: It would be fair to say that Roy Davis Jr and Peven Everett's "Gabriel" (originally written "Gabrielle" on early pressings) has become a timeless dance music classic - a track that both soulful house and UK garage DJs reach for in times of trouble. Should it not be in your collection already (and it should be), Large Music has decided to re-master and re-press the original 1996 12". It does, of course, contain the now ubiquitous "Live Garage" version - the groovy two-step, trumpet-laden mix that became popular with early UK garage DJs - plus a trio of lesser-known remixes. The Tambourine Dub, in particular, is something of a tough, warehouse-friendly deep house treat.
Alex Font - "El Velorio De Pedrito Navajas" (10:06)
Crihan - "Dark Times" (6:24)
Paul K - "Electro Fantomas" (6:48)
Review: ***B-STOCK: Slight surface marks ***
It has been seven long years since Acme Music introduced the first part of this series but now Mis Hermanos Rumanos is back with a third instalment. The three-track various artists' affair kicks off with Alex Font and his lean minimal tech house groove 'El Velorio De Pedrito Navajas" complete with wavy bass, twanging strings and an exotic vibe. Crihan's 'Dark Times' is dubby and unhurried, and again heads into steamy jungle worlds with watery droplets and organic percussion. Paul K's 'Electro Fantomas' is a final tripped-out closer with snappy snares and wavy drums.
Paul Maiden & Manwel T - "Unconditional Style" (3:46)
Review: Yi Mas Gan is back with a new and timeless roots 7" that will keep the summer vibes alive even as Autumn begins to bite. On the a-side, this one features J.A. singer Clive Hylton who was recorded by French producer Manwel T as he did his thing on 'Show Some Love.' Empowering warrior leads rise up out of the mix as the trad reggae rhythms roll down low and his impassioned vocals ring out. Flip this one over and you will find Paul Maiden & Manwel T flipping it into a version they call 'Unconditional Style.'
Junior Dell & The D-lites - "Just Can't Get Enough" (3:21)
Prince Alphonso & The Fever - "The Prince Of Port Antonio" (2:52)
Review: There are few better combos in reggae than Junior Dell & The D-Lites and Prince Alphonso & The Fever, and they are mainstays of the Original Gravity label. this endless treasure trove of timeless sounds turns up another fine double sider here in which Junior Dell's soulful vocals shine over The D-Lites' rich, vintage ska rhythms and rolling groove 'Just Can't Get Enough'. On the flip side, 'The Prince of Port Antonio' is a lively instrumental blending jazz-infused brass with a deep reggae swing. Both tracks nod to classic Jamaican sounds while keeping things fresh.
Review: Mr Bongo's Brazil 45's series brings us two Brazilian classics: Rita Lee & Tutti Frutti's 'Agora E Moda' and Pete Dunaway's 'Supermarket'. 'Agora E Moda' from Lee's 1978 album Babilonia is a psychedelic disco-boogie groove highlighted by squelching guitar licks, funk drums, and cosmic vocals. Rita Lee, the former lead singer of Os Mutantes and a key figure in the Tropicalia movement, left a lasting legacy upon her passing in 2023. On the flip side, Dunaway's 'Supermarket' is a rare groove/AOR gem with a standout bassline, swaggering guitar, and lush strings, showcasing his talent as a composer and multi-instrumentalist. This release celebrates the enduring influence of Brazilian music.
Prince Mohammed, Joe Gibbs & The Professionals - "Backway" (2:51)
Review: The fruitful relationship between Town & Country and Studio 16 continues once more here with a brilliant 7" packed with real reggae royalty. This double-sided dancehall release from the legendary 70s producer Joe Gibbs features vocals from the one and only Madoo. He is in singjay style on a-side jam 'Backway Mr Landlord' with deep drums and psyched-out guitars that bring the rhythm to life in a vibrant fashion. On the flip, it is the trio of Prince Mohammed, Joe Gibbs & The Professionals who step up and offer their own melon-twisting dub in the form of 'Backway Mr Landlord'.
Review: Fabric Originals releases the collaborative EP of Irish-born DJ, producer, and label owner Mano Le Tough and electronic musician and DJ Perel. This EP marks the second release in the label's new series, 'Future Memories,' which pairs a "legendary" producer with fresh talent, with the aim of safely bridging the ideas of generations (heaven forfend the new generation reject the old ideas!). 'Entertain Us' brings progressive house synth eighths to wonderstruck female vocals, while Perel and Tough share respective solo contributions on the B-side: 'Homage' is the self-described electrance love song written for a secret love object, while 'Infinite Scroll' indulges the contemporary screen-mirror percept, with sloshing sound effects and slow-burn builds suggesting that an embrace of the impending technological infinite need not necessarily amount to a doomscroll.
Review: This laid-back dub 45 offers a seamless blend of positive vibes and deep rhythms. Side-1 features a classic reggae track with a powerful, uplifting message of unity. Mundell's smooth vocals are complemented by a steady, groovy rhythm that captures the essence of roots reggae. Side-2 takes the message to a more instrumental and dub-infused space, with the track being heavily dubbed out, showcasing intricate rhythms, echo effects and atmospheric layers. The dub version allows the music to breathe, emphasizing its meditative and expansive qualities. A perfect pairing for dub and reggae enthusiasts.
Review: O aka Phase delivers a powerful punch with the 'Living Proof EP', a high-energy techno release that keeps the momentum strong from start to finish. The first side kicks off with 'Shape Shifter', an intense and hard-hitting track that drives forward with relentless beats. Next is 'Number Zero', which adds an eerie, futuristic vibe with its dark groove and sharp, addictive rhythms, pushing the boundaries of techno. On the other side, 'Living Proof' brings in more melodic elements, balancing the EP's energy with techy precision, while 'Deluge' closes things out with an unstoppable tribal pulse, offering a raw, primal edge. Each track has its own distinct personality, making this EP a dynamic, exciting listen for anyone into heavy, forward-thinking techno.
Review: REPRESS ALERT!: New York producer P-Sol has hit on a super effective formula for starting the party, stitching together a selection of familiar samples and hooks, adding some beautifully dusty breaks and adding a final sheen of shiny production skills. Both sides of this 7" have a touch of raw 'two turntables' action about them, while remaining impeccably constructed and tight, with the A-side 'This Way' proving to be the slightly speedier and slightly more funk/r&b-flavoured, while 'Breathe & Stop (Abstract Blend)' is the one for the pure hip-hop heads. Both, however, are dynamite in the box, needless to say.
Review: This little 45 is a brilliant dub release that showcases his mastery of the genre. Side-1 features 'Thunder Clapp', a smooth and atmospheric dub version of Bill Withers' 'Ain't No Sunshine'. The track oozes laid-back, reggae-inspired vibes, with Pablo's signature melodica adding depth to the mix. On Side-2, 'Lightning Clapp' takes things up a notch, delivering a tripped-out, raw dub version of the first track. It's a true dub lover's dream, with intricate echo effects, spacey atmospheres and experimental rhythms that push the boundaries of the genre. If you appreciate classic dub experimentation or unique cover versions, check this out.
Review: Aimed's return to its roots with Palmiz channels a familiar energy for fans of the label. 'Strange From 94' sets the stage, with euphoric, atmospheric vibes perfect for expansive, open-air raves. 'Chimera' follows, blending trance and house into a hypnotic groove, its smooth synths and rolling percussion creating a captivating intro for any set. On the B-side, 'Tropyc' offers a more utilitarian rhythm, moving away from melody and focusing on functionality, perfect for building momentum. 'Acid Washing' closes the EP with a driving bassline that intensifies the release's energy, adding an edge that pushes the vibe into sharper territory, capping off a well-rounded, nostalgic journey.
Review: The exceptionally named Panty Soaker Sound System bursts onto the scene here with a powerful debut EP on their own self-titled label. 'Hormones' marks the inaugural outing and is a track that ignites the floor while exploring self-empowerment and inner desires. It has picked up early praise from Honey Dijon and is a full-throttle and steamy, erotic house sound that is sure to become a bit of a winter anthem. The EP includes three acid-infused original mixes, followed by the Prosumer HorMoans Remix which is a dark stomper with prickly 303 lines and a heavy groove. For those craving a harder vibe, the LUXE Dark Room Remix delivers a broken-beat reimagining with high-energy that takes you to new heights.
Review: Floorbound body-occupiers from Papa Nugs and The Trip for Tessellate, blanching wildstyle hip electro and irky rave sounds. With the A-side totally taken up by 'Keep Rocking' in two versions, we've a modish street style version in 'Casa Nova' form and a 'Hip House' breakbeat rendition. Then come the underside dread ones: 'Fearsome' tilts in the direction of ever more raviness with tuned, sandstorming stabs and gated voxes, while 'All Night' takes a dash of speed garage to the mishmash, air-raid sirens sounding through held chords all around.
Review: Parade's 'Parade 004' bursts with high-energy, classic breakbeat vibes, perfectly crafted for fans of rave anthems. Side-1 kicks off with 'Austria', a high-octane track that fuses uplifting piano riffs with a driving beat, embodying peak 90s rave energy. It's the kind of track that fills a dancefloor, blending nostalgia with fresh, invigorating production. Side-2 dives deeper with 'Heartbeat' and 'Higher', both loaded with feel-good, jungle-tinged piano lines that bring a pure, euphoric lift. These tracks capture the essence of breakbeat's roots, while infusing it with a modern twist that keeps things exciting. Parade manages to be both a celebration of breakbeat's legacy and a re-energised take for today's dance sceneiideal for anyone looking to relive or discover that classic sound.
Still Waiting (Brian Not Brian & Piers Harrison 'Like A Version' Disco Dub No.4) (6:39)
Always Liked Scarecrows (7:16)
Eavesdropper (5:47)
Review: Hilarity ensues with Miles J Paralysis and his new 'Folktronic' EP. Brought to the Leeds-based label Crying Outcast, this is an authentic crock of real dancefloor experimentations by the debuting artist, furthering our sense that this West Yorkshire city's contribution to dance music history an indelible one. Here, one can really hear the admixture of humour and attention to detail gone in, with dark-comedic label name matching tongue-in-cheek-microgenre-used-in-title, which mocks the Four Tet populariser style. We were surprised to hear, then, a relative lack of dulcet arp twinkles set to tricky fidget-tech house here, as is the "folktronic" sensibility. Instead, 'Still Waiting' and its corresponding Brian Not Brian and Piers Harrison dub bring a much headsier, erudite, lettered sound, with trippy didgeridoo design marking the opener and wonkier speed-plods following on the remix. 'Eavesdropper' plays on the Leodian favourite that is chug music, with reverso-yearny pads alternating away in the back, while 'Always Liked Scarecrows' makes titular use of the kind of offhand, fieldside observation many daydreamers like us often use: uncanny mock 303s, dubbing martial arts.
Review: Paula Parfitt and Jeannie Dee deliver soulful magic on this split single. Paula Parfitt, who signed with Milton Samuels' Beacon label in 1969, made her debut with the single 'I'm Gonna Give You Back Your Ring.' Though initially overlooked, on Side-2, 'Love Is Wonderful' became a Northern Soul classic, lighting up dance floors for over five decades. After a brief stint recording for Beacon's UpFront label and later in Italy, Paula settled into Mediterranean life. Jeannie Dee, from Brixton, London, joined Beacon Records in 1968 as part of the duo Jon (aka Terry) and Jeannie. Known for soulful covers, Jeannie's solo rendition of the Supremes' hit 'Come See About Me,' produced by Donnie Elber, showcases her powerful voice. Often mistaken for her American namesake, Jeannie brought a unique British twist to classic soul, making her mark on the scene, and this release is respectful to both artists' enduring influence.
Review: Cut in Detroit in the late 1960s, 'I'm Gone' and 'Love You Baby' document the best of Eddie Parker's energies, at a time when soul took on a bluish yet backbeat-propulsive hue. Heron-like vocals strike a bold pose, representing an exeunt subject matter, as Parker consummates the experience of heartbreak with a belt-driven goodbye, at the climax of which we hear an incredibly intense pick progression in an eighth note pattern. 'Crying Clown' changes the subject entirely, capturing a subversion of expectations with the line "fame and fortune belong to me, but a happy man i'll never be..." Parker's self-concept as a 'Crying Clown' hears him end up lampooned by his own backing singers, whose high register is mocking, almost infantile in its (self-) depreciation.
Review: Neibiss and Pasokon Ongaku Club's collaborative single 'Flow Ya Mind' is a superb new single from an Osaka-based label themed around "baths." This marks their second release following 2022's On Rei/Froject A by EVISBEATS and Nagipan. The track combines a solid bassline with an ambient backdrop, snappy Amen breakbeats and Neibiss' relaxed, bath-themed rap. The song's calming composition is said to suit any hot spring setting and we can't disagree. Mastered by Naoya Tokuno and with artwork by Neibiss' rafitt, the is a fine new 7".
Review: Long-serving Italian producer Marco Passarani continues his newly minted Studiomaster label project with its second instalment, serving a quintet of typically floor-focused jams on 'The Temple' EP. Arguably best known for being one half of the looped-up disco duo Tiger & Woods, Passarani is also known and loved for the more techno-tilted offerings he turns out from his hometown of Rome. His latest work sits somewhere in between his two trademark sounds, starting with the throbbing sleaze of opener 'The Empty Temple', with its purposeful bass, paranoid synths and dirty vocal whispers. The fierce, snare-driven rhythms of 'Night Walker' power grubby bass and glistening synths, while the descriptively titled 'Rotten Disco' offers a brilliantly wonky glimpse of future Italo. The distorted percussion and jagged bass of 'Dirty Hands' are aimed squarely at the floor, while the storming closer 'Cheater's Smile' bangs as hard as nails to complete a suitably stirring and tightly produced set.
Review: There is a great sense of techno classicism to this new outing on From 0-1 by Jason Patrick. His Back Channel Communications EP draws on early pioneers like Jeff Mills to lay down sleek linear grooves that voyage non-stop through the stars as mind-melting synths and melodies peel off the beats. That is the case with the opener 'Amalgamation' while 'Conspire' does the same but in even deeper fashion with rubbery drums packed together tightly and keeping the pressure high. A JX-216 remix brings a little more texture and funk and 'Enveloped' then hunkers back down into a minimal techno landscape that has the energy of a frozen tundra in the dead of night.
Review: Planet Rhythm is a highly prolific label whose quality levels never dip, all while staying true to a signature sound that is classical and fad-free. The SP Series has furthered its reputation and now hits a tenth edition with Portuguese legend and 30-year scene veteran A Paul at the helm. His opening gambit is a mental deep techno workout with prying bass precision, 'Utopia' gets more unsettled with twitchy stabs and FX and 'Hardcell' unfolds at warp speed with tightly woven layers of synth and bass. There is no let up on closer 'Constrain' which balances minimalism with sophisticated sound design for a pure deep techno trip.
Review: Pauli brings some class to this tense and effective new EP on Shoyu, a young new label that has already made some great moves with its first two releases. 'FirstH' pairs a driving ow end with some nice sparring synth work and killer bass. 'Bodyrise' is another perfectly reduced sound with effective drums, sleek cosmic synths and a rasping bassline to counterpoint the smooth pads. Add in two more blends of physical drums and emotive synth pens and you have some smart and classy cuts for knowing dancefloors.
Review: Hope & Faith Records returns with fresh new sounds here featuring the "Standing Tall Riddim," a vital production in an early 70s roots style. This release includes two vocal cuts: 'Love Can Be So Sweet' has swaggering drums and guitar plucks with a lo-fi edge and a raw, pained vocal. 'So Sour Dub' n the flip has some whimsical organic chords and plenty of organic percussion over natty rhythm and tons of echo. Lovely.
Review: This 7" reissue revives a true funk gem from Miami-based Cuban rock band Pearly Queen. Featuring the infectious 'Quit Jive' In' and a fiery cover of The Rascals' 'Jungle Walk,' this 1974 release on Sound Triangle Records has long been a sought-after rarity. Introduced to collectors by DJs like Keb Darge and Jazzman Gerald, and later immortalised by DJ Shadow in his Brainfreeze mix, the record oozes groove. 'Quit Jive' In,' penned by Ray Fernandez, is a funk powerhouse, while 'Jungle Walk' brings a cinematic rock-funk flair, perfect for a Tarantino soundtrack.
Review: A lost gem of raw, heartfelt soul resurfaces with this blue vinyl 7", bringing back the stripped-down magic of Penny & the Quarters. 'You and Me' is a song that refused to be forgottenian unpolished, deeply emotional doo-wop demo that sat unnoticed for decades before finding its way to the big screen in Blue Valentine. Its warm, unfiltered harmonies and aching sincerity make it feel like a love letter from a bygone era. Originally recorded as a demo for Columbus, Ohio's Prix label, the track's simple yet powerful delivery captures a moment of pure emotion. Penny's tender, yearning vocals glide over a delicate guitar line, backed by harmonies that feel both effortless and intimate. The absence of overproduction only adds to its charm, making it sound like an unearthed relic from soul's golden age. On the B-side 'You Are Giving Me Some Other Love' continues in the same vein, with a rough-edged sweetness that perfectly complements the lead track. This release finally gives Penny & the Quarters their long-overdue spotlight, ensuring their music lives on.
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.