Review: A² was the electro, breaks and tech house duo Andy Panayi and Alec Stone, and this outing on R.A.N.D. Muzik Recordings is a four-track collection that comes years after the tragic passing of Panayi so serves as a poignant tribute from his close friends and family. Honouring Andy's legacy, the release captures the duo's innovative electronic spirit and is both a celebration of their work and a touching farewell. Musically 'Street Renegade' is a lithe breakbeat sound, 'Upton Park Breaks' is more dark and textured and 'Electro Boogie' is just that while 'Reckless' closes on a more spaced out and cosmic tip.
Review: The Red Bul & Gyn label made a good impression with its first release and now the founders Thomas Bulwer and G Glynn step up with a second collaborative EP of fresh tech and minimal. 'Caffeine' is a shot of energy with its rising synth lines and dramatic sense of intergalactic space travel over a busy, acidic bassline. 'Like It Ruff' is an old school throwback with rap vocals and electro beats, then 'Acid Wash Conflict' is a thumping tech house sound with unsettling pads. 'Techno Talk' closes down with a mid-tempo electro sound and retro-future edge.
Review: The Distorsion camp offers up its first sampler as a way of teasing you with the sort of quality sounds and artists it has on its roster. First up is a three-way collab between Citybox, Hankook & Orebeat whose 'Dangerous Changes' is an intense breakbeat workout for the peak time. Orebeat & Alex Clubbers keep the energy levels high and inject early 00s video-game style synths, Orebeat & Citybox keep it dark and raw with 'Gangsta' and Orebeat & JottaFrank laced up their thrilling breaks with acid lines and sleazy vocals on "Noche De Paris.' This is potent stuff for strobe-lit floors.
Review: Marcel Deptford has been around a while and so very much knows a thing or two about rattling bassbins and exploding sound systems. The Sneaker Social label has always been about exactly that and now welcomes him for a pair of rude-boy garage bangers. 'Rock The Boat' gets things underway with some old school low ends and crisp drum programming all topped with a perfect r&b vocal hook. 'Make It Hot' is a nifty two-supper with sci-fi synths withering next to distorted bass bounce. Brilliant stuff.
Role Model (feat Dan Diamond & Luca Guerrieri) (5:31)
Role Model (Chloe Caillet remix) (5:25)
Role Model (dub) (5:26)
Review: Southern Fried Records celebrates its 500th single with the massive release of 'Role Model', marking the return of label head Fatboy Slim, causing fans worldwide to rejoice as Norman Cook steps back into the spotlight. After bonding on a South American tour, Cook invited Parisian DJ, producer, and multi-instrumentalist Chloe Caillet to remix the track. The result? A powerhouse remix that's already making waves, showcasing Caillet's flair and giving 'Role Model' a fresh, electrifying twist that's sure to ignite dancefloors.
Review: The limited edition Florence Funk sub-label returns with a ninth volume of steamy sounds, this time with a pair of rare gems pressed up to wax. 'Hey Mama' opens up with some psyched 60s guitar bringing a great lead to some raw instrumental funk beats while a guttural male vocal finishes it off up top. Flip it over and you'll find 'Gimme', a more celebratory sound with some big horn leads and plenty of percussion detailing the percolating drums. Both of these are sure to heat up any floor this winter and beyond.
Review: Handsonwax top up their esteemed repertoire with another four tracks added to their anonymous white labels series. 'Volume 3' continues the elusive label's preference for cheesy breaks lent to classic dance music motifs, leading the charge with a whomping breakstep version of Max Romeo's 'Chase The Devil', followed by a blissful dub techno excursion. The B-side rerubs Moodymann to delicious ends, while the star of the bunch reworks a rework; that is, Herbert's snappy version of Louie Austen's 'Hoping', except this time it's lent a swath of extra soulful house ornamentations.
Review: 'Loose Fit' isn't always the first song name that springs to mind when thinking about the Happy Mondays, but the immediately identifiable opiate guitar riff is up there with the band's most memorable and infectious. A highlight of the group's third album, Pills 'n' Thrills and Bellyaches, the track was already dancefloor ready before this pack of re-dos arrived on the scene. We're glad it did, though. Greg Wilson and Che Wilson open the scoring, keeping things thoroughly Manchester and acid-tinged, it's a trip through the blue lights and sweat of a warehouse at 2AM. The Grid's EOE Edit and subsequent Remix take the tempo down and the atmosphere deeper, almost druggier if that could humanly be possible given the wider context here. Topped off with a post-club overture in the form of the epic downbeat Perfecto version, and you might want to stick it in the shopping cart now.
Review: Ltd B's good recent run of form continues with another dive into lush deep house realms courtesy of ICTV. First off the mark is 'Hit The Floor' with its US garage-inspired drums and some old school hip-house vocals. 'Orange Mood' is a steamy one with romantic melodies soothing the soul and some smart vocals adding a tough of firey soul. 'Adrift' then picks up the pace with some high-speed jungle breakbeats and 'Dazzling' sinks back into loved-up late-night sounds with expressive vocal yelps. Last of all, 'Sunset Recall' takes things down into blissed out realms with dusty drums and wispy pads.
Review: We're surprised that the superhero league The Jazz Avengers aren't more spoken about: the idea seems so familiar yet uncannily unknown, we wonder if the notion of a superhero troupe composed of entirely of Black jazz musicians would've been too disturbing for the US Empire not to suppress. Taking after the idea, Bryan Hervieu's 'Jazz Avengers' EP is an elegant quadruplet of boat-rocking house beats, holding more sway in the domain of vibe than they do in the way of big generic ideas. Igaxx and DJ Dreamboy's 'Through The Night' and 'New Life' move at similar tempi yet vibe at different freqs, the former waxing cowbell and dusky padwork, and the latter serving a relatively purist, calculative 808 jam energy. Jarren's 'Summertime In The 323' segues quite seamlessly out from this session mood, though it does add some surreal, pitch-convected plucks; Hanna's 'Prayin'' is the only soul curveball, its syncopated, pre-one DX7 E-Piano chord preset mixed to an impeccable, gut-churning quality.
Review: Back in 2022, James Burnham aka Burnski started a White sub-series of his much-hyped Instinct label and the first one sold out as quick as a flash. Now he is finally back with a follow-up that will likely do the same. This limited one-sided 12" slab of sonic filth features just one tune, but what a tune it is. '02' is a house cut with elements of garage percussion, old-school dirty bass, and even some trance-infused chords that chime with what's going on in the dance world right now. Some return horns at the breakdown really send it into overdrive and it's not hard seeing this one blow the roof off many a club this summer.
Review: The idea of the 'Dreamworld' has pervaded all dance music since its beginnings, and 2024 proves no exception to this rule, with the latest astral projection of its kind coming by way of producer Jalil. Debuting 'Dreamworld' for his local label Stillwell, this is an acid house EP of carefully lucid exploratory proportions. Jalil builds a jocose yet driven palette from found samples against sombre backings, working a seemingly endless spate of transitional hits and impacts about a central acid line on 'Oberheimer'. He then dashes this intro's sense of withdrawal with an audacious pinch-point in the form of 'Moods Of Madness', a favourite of ours, adding aqueous chord-data to an already osmotic pulse.
A Thousand White Kites Flying High Above The Sea (3:43)
Review: Leo James is back on his own Body Language label with a sixth tasteful take on breakbeat-driven sounds. He shows his range here with different grooves all exploring different moments. 'Better Days' is one that has you gazing off to the middle distance, lost in the rueful pads. 'Olive Grove' is a slowed-down and dubbed-out sound with lots of lovely reverb and 'Burst The Gates' is a deep digi-dub style cut with angelic vocals. 'A Thousand White Kites Flying High Above The Sea' is the ambient laced downtempo closer for late-night dreaming.
Review: Originally released in 2022, Full Way Round has now received a fresh remix treatment. Featuring Grian Chatten of Fontaines D.C., the collaboration from the album This Is What We Do blends the duo's signature big and beaty electronic sound with a wonderfully stream-of-consciousness, conversational vocal from Chatten. His performance radiates with energy, giving the track an electric and energetic feel that the remixers were surely excited to work into their versions. On Side-1, Scottish producer Ewan McVicar brings his remix talents, following his success with recent EPs on the iconic Ministry of Sound label. On Side-2, Leftfield themselves deliver two alternate takes, giving the track fresh twists.
Review: FCLR revisits tunes from Joseph Malik's solo 2023 LP Proxima Ebony on this new 12", the originals of which feature co-writer Daniel Walls aka Digital Liquid exploring Joseph Malik's early memories of being brought up around sex workers. Here we get two cuts 'Front Room' and LoFi Back Room' which are both served up as vocals and then instrumentals and feature emotive lyrics delivered over compelling acid-laced leads with drums that will blow up any floor next to dark and gnarly synths.
Review: MmWave and Sound Synthesis step up to Doppler Shift here with a superb new split EP that explores acid, electro and breakbeat-infused sounds. MmWave takes care of the A-side firstly with 'Sequential Phonk,' which pairs nice elastic synth and basslines with snappy drums, while 'Signal' twitches with a more restless rhythm and 'Citadin' is a minimal, stripped-back electro rhythm that slithers through the night. Sound Synthesis's trio includes the cinematic 'Ambionic', starry melodies of 'Time_Rez_Bsline' and ambient atmosphere of 'Improv Landing 8'.
Review: Objekt's 'Chicken Garaage' serves up two tracks that redefine breakbeat with a fresh, inventive spin. Side-1's 'Chicken Garaage' unfolds with creative energy, weaving acid-tinged beats and a tribal rhythm that feels both raw and sophisticated. The track's melody is subtle but perfectly placed, enhancing the track's intensity without overpowering its intricate layers. On Side-2, 'Worm Dance' dives even deeper with crushing beats and a hypnotic progression that makes for an unforgettable listening journey. Equally intense and rhythmically compelling, it's a track that feels like a full-on "trip".. Both tracks combine to create a distinctive, edgy release that brings a unique sound to the breakbeat scene. Killer stuff!
Review: Rave R's 'Good Feelin'' delivers two tracks that tap straight into the core of UK rave and breakbeat. The title track, 'Good Feelin''. drives with piano-led, peak-time energy, blending techno with that unmistakable rave spirit. It's a hands-in-the-air anthem built to lift the crowd. On Side-2, 'Heart Break' ups the tempo with a high-energy house-breakbeat fusion. A classic rave breakdown and emotive piano lines give it a timeless feel, ensuring it hits the sweet spot for dancefloors. 'Good Feelin'' is a great choice for anyone craving that classic rave rush with modern punch.
Review: You can always be sure that whatever comes out on Unknown To The Unknown is worth adding to your racks. This new one is a seance instalment in the Rhythm Force series and it finds Shadow Child and DJ Haus going in hard on some throwback future jungle. 'Magic Waves' is pure 90s vibes with its busy breaks, twitchy sci-fi melodies and dousing of lush sustained chords that place you deep in the cosmos. It's a seriously big hitter. On the flip, 'Gravity Slips' has a darker edge and more broken blend of breaks with a menacing bassline keeping up the pressure down low. It's intergalactic, tumultuous, and brilliantly atmosphere.
Review: Fauxpas Musik taps into the talents of St Andrew for a fresh new techno outing, No Rain No Flowers. After the opening 'Prologue' things get serious with the well-constructed synth and groove layers of 'Apricity'. 'Better Days Are Coming' is more widescreen and ambient laced deep electronic bliss, and our favourite might be 'No Rain, No Flowers' with its unhurried drums and steely hits all softened by more dreamy pad work and a sense of emotional longing. 'Heaven is a Place on Earth' keeps the mesmeric synth work flowing and a tasteful Outro rounds out this most engaging of trips.
Review: Stones Taro's latest offering is a masterclass in the art of tension and release, where breakbeat rhythms meet house grooves in a seamless, almost hypnotic blend. 'Clutch' anchors the release with a frenetic bassline and chopped vocal snippets that feel precision-engineered for the dancefloor. Then there's 'Stealthy Meow,' a surprising turn into trance-inflected euphoria, its shimmering melodies wrapped around a sturdy rhythmic core. Christopher Ledger's remix of 'Clutch' takes a darker path, stripping back the original's energy in favour of a creeping, minimalist tech-house groove. It's music that feels alive, constantly shifting under the weight of its own restless momentum. Here, Stones Taro has refined his genre-blending formulai as well as perfected it.
Review: Earlier in the year, Transmission Towers delivered one of the debut albums of 2024, the vivid and kaleidoscopic Transmission One. Now Sheffield veteran Crooked Man (AKA DJ Parrot, formerly a member of bleep pioneers Sweet Exorcist and chart-bothering 90s eccentrics All Seeing I) has delivered his "crooked transmissions" - radically re-shaped revisions in his distinctive style. On this first 12" in a series, he first reworks 'Everything', turning it into a richly percussive mutant house workout piled high with mind-mangling electronic motifs, reverb-laden drums, punk-funk swagger and echoing vocal snippets. On 'My Shadow (Crooked Shade)', he re-imagines the track as a fuzzy, lo-fi and deliciously dubbed out breakbeat roller - all sweat-soaked drums, booming bass, dreamy pads and trippy vocalisations.
Review: UVX's latest offering is a hypnotic exploration of bass-heavy beats and intricate textures. The first track, 'Elevator (13 Floor Spectrum),' sets a driving pace with its deep, steady rhythm and intricate layers of synths that gradually build in complexity. The dub version on the second side, 'Elevator (Dubfloor Sub Bassment),' strips things down to a more minimal groove, letting the bassline take center stage. 'Elevator (Trancefloor Transporter)' shifts the tone again, injecting a trance-like energy with its sweeping synths and driving rhythm. The release navigates between styles with finesse, making it a standout for fans of both deep and progressive house.
Review: The Breaks and Beats label kicks on with a 31st instalment of magical sound that will inject soul and funk into any party and keep working DJs well stocked with heat this winter. First up on this limited 7" is The Webs with 'It's So Hard To Break A Habit', a slow and sentimental sound with aching v vocal harmonies and gentle rhythms laced with melancholic melodies. Gamith's 'Darkness' picks up the energy levels with some more bristling breaks and live drum sounds, funky vocal stylings and psyched-out guitar lines.
Review: Classy dancefloor-slaying action on 10" vinyl no less from West Norwood Cassette Library, combining a thumping four to the floor beat with nifty percussion, a fairly well known snippet of hip-hop vocal and ravey stabs. The results are as hard to resist as they are to classify, except to say it leaves absolutely zero prisoners. "This one had been previously doing the rounds as a 'dubplate only' exclusive," WNCS told us, "cut especially for the Futurepastzine tenth anniversary bash just on the cusp of lockdown ... so it seemed only appropriate to ask FPZ head honcho and fellow Cassette Librarian, Rawtrachs, to attend to remix duty." So flip it over for that equally excellent reworking from Rawtrachs and stand well back - we predict not only a riot, but an awful lot of spilt beer too.
Review: Stefan Schwander is known for aliases like Harmonious Thelonious, A Rocket In Dub and Antonelli Electr and now strikes once more with his third EP, 'While My Sequencer Gently Bleeps'. Entirely crafted on Elektron's Monomachine, this one delivers deep basslines, ravey bleeps, piano chords and synth melodies that evoke the sounds of Jamaica, UK and Chicago while looking toward the future. The EP opens with the groovy 'Title Track' followed by the minimal, dub-influenced 'Sublime' with shuffling beats and a smooth synth line. On the flipside, 'Definition Of ...' combines deep bass, lively percussion and subtle melodies that are both danceable and storytelling.
Review: Bristol-based dance native Wiles flexes his wits on 'Yellow Light', a wily breakbeat womper of an EP, straddling sunset-bathed sonics and hard rhythmic implants. Though he came up professionally as a sound engineer in Norfolk, Wiles knew the free party scene of the early 2000s, and here he evidences his absorption of those now-hazy times into an intuitive four-track mnemonic. The titular 'Yellow Light' washes us alight in jaundiced Reeses and weary vocal cries, as the unmistakable Lyn Collins break shout is heard reverberating repetitiously across the vista. 'Trashcan' ups the tempo to wound-up, rattling, melodic IDM proportions, while 'Missing Peace' fuses echoes of UK deep big house and analogical electro, not long before the obligatory amen splurge annuls the proceedings on 'Man Of The Future', on which a peaking Tin Man acid line is also heard to dance above.
Review: The Winston Brothers make a triumphant return with two new tracks, this time pressed on striking blue vinyl, following the success of their 2022 debut Drift. The A-side, 'Straight Shooter,' is a full-throttle funk workout, packed with gritty guitar licks, sharp horns, and head-nodding drum breaks. With a raw edge and plenty of analogue warmth from the Fostex 8-track recording, it's a b-boy anthem in waiting. On the B-side, 'Island Travel' shifts gears into a more laid-back groove. A smooth afrobeat-inspired journey, it blends spiritual jazz and ethno-funk, with Kimo Eiserbeck's serene flute solo gliding over the hypnotic rhythms. Perfectly balancing the A-side's intensity, this one's for the heads looking to kick back and vibe out.
Review: Stereophonk hit gold with volume one of this series so no wonder it now presents the eagerly awaited Bunch Of Funk Vol. 2. This one features 18 unreleased tracks making their vinyl debut, including two exclusive cuts created in collaboration with the talented Medline. Iconic breakdance figure DJ Marrrtin is known for his hard-hitting breaks played at major events and always makes sure he serves up music that invites listeners to express themselves on the dance floor. Here he infuses a powerful, organic sound that honours breakdance heritage while innovating for future generations.
Review: This project celebrates B-Boying, which is one of the core elements of hip-hop culture, with tracks inspired by spontaneous dance challenges-whether in the street, subway or at a bus stop. Featured in Marc-Aurele Vecchione's ARTE series Boys and Girls Africa, the collection includes tracks like 'Perkushun,' 'Latin Breakdown' and 'Tex Mex Breaking.' Limited to just 300 copies, each vinyl sleeve is tagged, numbered, and signed by street artist Golf which makes it an authentic and collectible record for hardcore breakdancers.
Review: "And the award for best named album of the month goes to..." No prizes for guessing, Rephlex alumni Bogdan Raczynski delivers yet another record as manifesto. A collection comprising warm melodic 'electronic sketches', to borrow from the official release blurb, You're Only Young Once But You Can Be Stupid Forever is complex lo fi businesses, and immediately engrossing. Short and incredibly sweet, the tracks here are cute and unconcerned with imposing themselves on the listener. Instead, they invite us in from the cold of pretentiousness to play and connect with our inner child. At times, it feels like we're bouncing along the levels of a platform video game. In other moments, it's less, more minimalistic. Those thinking of chip music should move on, though, as this is none of the above.
Review: While not as widely known or celebrated as those who came in his wake (and cite his work as an inspiration), Rephlex alumnus Bogdan Raczynski makes music every bit as alluring - and, like one of those he influenced, Richard D James, a fan of playful press releases and eye-catching interview quotes. He's variously described his amusingly new title as an AI-made attempt at EDM, the soundtrack to a rejected Tesla infomercial, a collection of ten-year-old tracks and a bid to crack "the lucrative coffee shop playlist market". Whatever the truth, it's a melodious, warm and ear-catching collection of cuts that flits between cheery electronica, off-kilter IDM, immersive and maximal club cuts, joyful ambient soundscapes and short, sweet numbers that refuse to outstay their welcome. Another winner from a master of his craft.
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