The Great Marmalade Mama In The Sky (Yage remix) (5:15)
Wooden Ship (Yage remix) (5:37)
Review: This package of remixes of tunes from Translations is a real gem for lovers of Future Sound of London. plenty of familiar samples and textures are worked into the five Yage remixes as are cosmic overtones, sitars, drones, backward guitars and more. 'The Big Blue' is a woozy intergalactic sound on slow-mo beats, 'Requiem' is a worldly dub, 'The Lovers' has psyched-out lead riffs that bring prog energy and 'The Great Marmalade Mama In The Sky' has drunken tabla drums and mesmeric strings for a perfect retro-future comedown. 'Wooden Ship' is a spine-tingling sound with choral vocals bringing the celestial charm.
Review: Under The Radar present 'Coconut Rice', emanating forth from the old demo music vaults of Yagya, dating back 15 years to the summer of 2008. Having solicited the tracks straight from the horse's mouth, the label are more than proud to repackage the track alongside its two original remixes by the artist, the Q and Z variations, while also bunging in a special ambient Derridean dub Deconstruction by none other than Octo Industrie. Expect heavy immersings in texture, rainfall, chord stab and subnautical bass, but with Yagya's signature twist of extra fullness.
Review: Five years in, are we any closer to working out who exactly is behind Yama Music? All we know for sure is they deal in reductionist grooves with one eye on the Berlin after hours scene, and beyond that it's all down to the music. The eighth drop in the series deals in some absolute gold, leading in with the freaky, finely chiseled beat track 'Monomeros' which sounds like it was carved from a huge tree stump and set to work propping up the dancefloor. 'Oddies' meanwhile deals in smudged and surreal sounds from the outer edges of minimal house, with some cheeky synth flex adding some colour in between cloudy pads in the middle distance and plenty of dirt on the drums. 'Hide & Seq' slips into something slinkier as a comparatively crisp, bouncing beat worms its way into your subconscious accompanied by faint wisps of late morning melodies - true magic for discerning heads at the roll-on.
Review: When Tatsuro Yamashita first released 'Christmas Eve' in 1983, it didn't receive a huge amount of attention. It was only when the track was picked up for an advert in the late 80s that it caught on became a seasonal favourite in Japan, going on to become one of Yamashita's biggest hits. Now it's being repressed in this 40th anniversary commemorative edition right in time for the impending festive season, featuring a bonus version of the B-side version of 'White Christmas' recorded for the Happy Xmas Show. If you want a quintessential ingredient for the Japanese Christmas experience, look no further.
Review: Yamen & EDA return after two years with a five-track offering that pushes minimalist house to its most refined form. The 'Giseigo EP' opens with 'Possibly Possible', a buoyant yet minimal track that relies on its sharp synth work and punchy rhythm to set a forward-driving tone. It's upbeat, understated, and perfectly designed to get the feet moving without needing too many layers. Then comes 'Technologie Tropicale', a funkier number, cleverly stitched together with playful sound clusters and effects that give it a quirky, infectious energy. It's a groove-heavy selection that feels tailor-made for those laid-back but still energetic sets, where simplicity wins over complexity. Flip to the B-side and 'Tournure 2000' delivers a soft, soothing melody. The beauty here is in its restraint, with just the right balance of elements to keep it light and breezy while still anchoring itself in the groove. This one's all about feel - simple yet captivating. 'Mickey Mousse' is the heavyweight of the release, with its chugging bassline and direct appeal to the dancefloor. It's a bass-driven force that stands firm without feeling overbearing. Wrapping it up is 'Clicker Of The Year', where funky basslines meet acid undertones, creating a track that plays with texture and depth without ever losing its cool. There's a laser focus on keeping things stripped-back, yet each track is detailed enough to hold its own. For anyone dialled into the nuances of minimal house, this EP has all the subtle power needed to carry a dancefloor without ever showing off.
Review: Impressively inventive techno from Amsterdam's Yanamaste, who insists on us dancing while working in juddering vocal samples and rumbly low-end movements. Erring on the no-fluff - while still indulging some of the more experimental and lesser-heard production techniques of techno, such as rapidfire glitchings - opener 'Dance' makes a surreal dreamwork out of its shifty upfront lead vox, against which techy tics and kicks skitter across in a style reminiscent of precursors like Barnt or DJ Koze. 'All Night' shifts the vibe slightly, more into reverberative warehouse rave territory, whilst '8 Tone' fleshes out the long-decayed hi-hat, and 'Trojan gets increasingly broken and syncopated with things.
The Trench Coat Museum (Arthur Baker remix) (9:55)
Review: Setting the stage for their as-of-yet untitled sophomore full-length, Leeds based indie darlings Yard Act have unveiled their eight-minute opus-like standalone single The Trenchcoat Museum. Channeling a new wave promiscuity and frenetic synth-laden playfulness into their pre-established sound, while tip-toeing a fine line between scathing self-analysis and reliably humourous absurdity, the piece serves as an indicator of their current sonic trajectory, while showcasing an introspective look at their sudden meteoric rise over the past few years. Complete with an accompanying Black Mirror-esque music video directed by James Slater, and a B-side flip remix by the incomparable Arthur Baker, anticipation is rife for where the band are leading their myriad of avid followers. Serving as both an extension of the narrative set in place by last year's exceptional debut LP The Overload, and a bridging point to their next aesthetic era, this new single offers newcomers a welcome chance to play catch up before the mayhem commences all over again.
Review: Lviv native Yaroslav M helps Chat Noir launch its newest V/A series in full force, bringing four acid house vinyl slab-segments to their so far alkaline, and thus wanting, repertoire. Somewhere in the gap between dark tech house and new-beatific trance come 'Hit It' and 'Affairs', whilst the anime namesake 'Champloo' is a comparatively bleepy one, easing up on the human side of things, and letting the automatons run their course, by way of more arpeggiations and cyberspatial FX. Finally, 'Things Between' rounds things off on a dark acidic prance-off.
Review: Yatut's Vahue EP on Minor Notes Recordings is a nostalgic journey through early 90s techno and breakbeats, capturing the essence of a vibrant era. Side-1 opens with 'Vitamin,' delivering a classic UK techno sound that transports listeners back to the golden age of rave culture. Its pulsating beats and retro vibes set the tone perfectly. Following this, 'Learn The Code' continues the homage with melodic techno reminiscent of early 90s UK scenes, blending harmonious layers with driving rhythms. Side-2 begins with 'Natural,' a standout track that fuses early 80s electro rhythms with rave elements. This unusual combination works remarkably well, creating a unique and engaging soundscape. The EP closes with 'Yokamon,' an uptempo house track interwoven with breakbeats. Its sweeping, breezy melody makes it a perfect end-of-the-night anthem, leaving listeners on a high note. Vahue EP showcases Yatut's skill in blending nostalgic influences with modern production, making this a gem for fans of classic techno and breakbeats.
Review: TRMNL takes you to the end of the line once more with a barrage of high impact tech house from Yaya. Title cut 'Para Siempre' opens up this red slab of wax with irresistibly fulsome and bouncy kick drums under raw perc. 'Umbrella Corps' is another funky thumper with a smattering of congas and toms tumbling down loosely up top. It's a sweat inducing cut that will lock in any hungry crowd. On the flip is a tightly coiled and bubbly Fabe remix that is full of liquid synths and elastic bass and a Vito remix of 'Umbrella Corps' that is prickly, and kinetic future tech.
Review: If you like your tech-house off-kilter, spacey and rich in quirky, glitchy percussion programming, we'd suggest checking out this collaborative EP from Italian tech-house star Yaya and fellow countryman Nacho Bolognani. Opener 'Flan' is high-grade early morning tech-house, with deep space pads and gaseous electronic textures floating across gltch-laden late-night drums and a fine analogue bassline, while 'Tastic' is a funkier slab of intergalactic tech-house warmth. Over on the flip we're treated to two rock-solid re-rubs. First Mahony gives 'Tastic' a slicker, smoother feel (it reminded us of late 90s, Wiggle style tech-house) before Steve O'Sullivan provides a tougher, darker and more analogue rich revision of the same track.
Review: Yellowman is Winston Foster, a Jamaican born reggae vocalists with a long and storied relationship with the genre. He was raised in an orphanage and had to deal with being an albino but still became a superstar of the scene and is celebrated as one of the rudest dancehall toasters of the 1980s. He has had many detractors as fans of his unique, witty style and slower singing delivery and 'Workie Workie' is one of his man classic jams. It comes here in original form as well as an instrumental and B-side version.
Review: After making his debut alongside Avangart Tabldot on Crib Records earlier in the year, Yet More - the chosen artistic alias of Paris-based Syrian-Iranian producer Teymour Khalatbari - has been handed a solo debut on Dixon and Ame's popular Innervisions imprint. It's an opportunity he's grasped with both hands. Check first the pleasingly heavyweight (and accurately titled) 'Bounce', where mutilated rap vocal samples, rave-igniting stabs and pots-and-pans percussion fills ride a tough, sub-heavy groove that sits somewhere between Kenny Dope and late 90s Danny Tenaglia. The Sound Factory/Twilo vibes continue on dark big room roller 'Tryna Jack My Style', while title track 'Back 2 Feelin' is a warming, dreamy and lusciously kaleidoscopic blend of shuffling breakbeats and sun-bright deep house nous. A wonderfully assured and impressive EP all told.
Review: The king is dead, long live the king, as they say - except in this case the late king is DJ Bone's legendary Subject Detroit label, which has now been shuttered after 25 years, and the newly anointed king is his new outlet Further, taken from his Amsterdam parties of the same name. It kicks off with a pair of new EPs on the same day and this is the first from Yeti Mind Tricks. 'We Ain't Like Them' is a hammering Motor City techno cut for the peak time which Bone remixes into a more stripped-back but no less edgy and potent cut. On the flip are 'Bimini Road' and 'Vandelay,' both of which bring stylish techno drenched in machine soul.
Review: Planet Rhythm's third transmission is another various artists' affair that takes no prisoners. This is straight-ahead techno that is proud of its perfect planed linear loops and ability to get you in a mediative head space. Erdem Yetim kicks off with the seriously weighty 'Perfect Silence' and its panel-beaten loops. Simone Tavazzi's 'Pyramid' is another hefty kicker with icy hi hat ringlets and fleshy drums while 'Das Ego' is as good as reductive dub techno gets. Dave Simon hits the nail on the head with his 'Dubby Stomper.'
Sade - "Nothing Can Come Between Us" (2001 Tokyo House mix) (7:30)
Sade - "Love Is Found" (House dub) (6:18)
Jill Scott - "Think It Better" (dub Yinja re-edit) (6:36)
The Bongo Jam - "Love Disco Dub" (Yinja re-edit) (6:50)
Review: There will also be space in a real DJ set for a cheeky edit or playful mash up. This latest volume of just that from Yinja covers plenty of ground so is a brilliantly useful 12" to have in your bag for when you want to pump the party. First up, The Bongo Jam's 'Love Disco Dub' becomes a shuffling, vibey and deep cut soulful house sound, then Jill Scott's 'Think It Better' (dub Yinja re-edit) gets a late night make over for smooth sessions. On the flipside are two reworks of classic Sade tackle, and both come with signature r&b vocals and well worked drums.
Prof Jah Pinpin 4tet - "The Final Bird (Le Temps D'une Vie)" (3:18)
Review: There is scant little information out there about Yoanson & Karamie. What we do know is that they were young artists from the French African diaspora who met with Nessim Saroussi and his label Ness Music in the late 80s and were encouraged to record the music presented here. It is their only official EP and it is a brilliant mix of Afro-tropical percussions, disco, electro and vocals that call to mind the likes of Arthur Russell. Philippe de Lacroix-Herpin is the man festered here as Prof Jah Pinpin and he brings some of his signature saxophone brilliance to flipside jaunt 'The Final Bird (Le Temps D'une Vie)'.
Review: Clommunity is a label from the good people of Kyiv club Closer, which is one of the most revered and respected in Europe right now. This third outing deals in the sort of deep and intimate sounds you can expect to hear in the club on any given night and it comes from Closer resident Yone-ko, who is a techno maestro from Japan but currently based in Berlin. There is a melancholy to thee tunes, with their wispy pads and dreamy chords, while the rolling, scuffed up drums lock you into a state of trance. Minimal in design yet maximal in impact, this is high-grade stuff.
Review: Yoo Doo Right's third album delivers a great blend of post-rock epics and emotionally charged sonic explorations. Opening with a droning guitar barrage, the album unfolds through mantra-like repetitions, abyssal tones and carefree saturation that all serve to cement their status as Montreal post-rock royalty. Inspired by themes of patience, art commodification, AI and unconditional love, this LP draws influence from Wes Montgomery, Rachmaninoff, Neurosis and Russian Circles and was written during a snowstorm retreat in early 2023 which meant the trio aimed for cinematic, experiential significance.
Review: Get your 'Freak' on! White Peach are reissuing this doozy of 12" from Yoofee and not before time, too. Originally released in 2021, and still sounding years ahead of the pack, 'Calibration' takes the lead in all its bouncy, steppy glory. It's backed up by plenty more heat... The four-to-the-floor switches on 'Freak', the depth plunge subby funk of 'OK Cold' and the super creepy graveyard gravy finale 'Negative Released'. Positive release.
Review: Following her awesome Sneaker Social EP earlier this year, Amsterdam rave queen Yorobi returns with another wonderfully wide-armed collection on her own label On My Own Terms. Entitled 'Projection Palace', the title track undergoes two renditions; the Blue Lines-era Massive Attack inspired Reflections mix and the much heavier junglised Night Terrors mix. In between we have two other beguiling bumpers - 'Mico Aggressions' is a brain rattling electroid buzz fest while 'OIC' takes us on an abrasive trip up and down the hardcore continuum. All four grooves are exceptional.
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