Review: Deeper shades of a finely sifted pedigree. Irish label Appian Sounds, helmed up by Al Blayney, champion only winnowed techno sounds, not threshed. A welcome international team huddle in, with these six artists from locales as far-flung as Amsterdam and Valencia contributing the likes of 'Tsuneo' and 'Persist'. The tunes verge melodic as they move through and beyond jankiness, distending die-cut acids and subtly synthetic humanisations, especially in the percussion department. 'Fuego' is the zen roshi's choice, its gaffered, glass-smithed pads topping off a naturalistic percussive surging forward, one best experienced with your eyes closed.
Spectrums Data Forces - "Darkness In My Head" (6:04)
EC13 - "Profundo" (Interludio) (0:49)
Wicked Wes - "X1000" (feat Space Frogs From Saturn) (5:48)
Review: Granada's Cosmic Tribe know the definition of "electro" in its broadest sense; their new Xtrictly Electro comp keeps the dystopian sound endemic to the genre's most present incarnation, but refuses to restrict itself to one tempo: the standard 130-ish that has sadly infected the otherwise genius genre as a necessity. An international splinter cell of spec-ops and mercenaries are recalled from retirement here, as we hear Calagad 13, Nachtwald, EC13 and many more mechanoid ilk lay down all manner of slick utilities, making up a morbid multi-tool. 5zyl brings further lasery Lithuanian steeze on 'Vilnius Bass', whilst Spectrums Data Forces betrays the existence of a sinister corporate entity, whose business model works towards the object of instilling 'Darkness In My Head' through giant, killer mozzy basses.
Happy707 - "Where Does That Noise Come From" (4:28)
Review: Menacing EBM and dark synth billows from a Netherlands hinterland; our heralds speak of an esoteric encampment by the name of Espectro Oculto, said to be the remote incantators of an unstoppable curse in sound. Six shadowy emissaries have been sent to spread the pestilence; Trenton Chase, Martial Canterel, DJ Nephil, Exhausted Modern, Fragedis and Happy707. Clearly, the faction have recruited only the best, trusted and yet most nefarious of spies from as far-flung regions as Czechia and Argentina in the administering of such a sordid sonic plague. We're left most quivery at the centrifugal doom drones of Exhausted Modern's 'Fear Of Focus', across whose breakdown banshees are heard wailing and snarling, and Fragedis' 'Landing In Reality', a lo-fi techno freakout and sonochemical anomaly, channeling militant two-way radio samples and hellish FM synthesis.
Review: Oozing with slippery sound design and euphoric exudate, Andrey Djackonda, Etzu Mahkayah, and TooRare team up for a next-gen talent demo in EP form, well and truly showing any other upstart how trancey-prog-minimal house is and should indeed be done. Said to have been designed to create a feeling of uplift and positivity - and yet in our opinion, the record touches on relatively more neutral and trancier moods, ones which could go either way - the likes of 'Que Le Jour Se Leve' and 'Sunrise In Amsterdam' are highly maximised, entelechic tech-trance progressors, highlt reflective of the verve and dedicated so far enshrined in the work of Saint Petersburg label MixCult.
Review: Since emerging from Thessaloniki's underbelly in the mid-2010s, Endlec has carved out a reputation for punishing, no-frills techno rooted in the discipline of the 90s. A regular on Mord and MindTrip, he's long been a reliable source of dancefloor artilleryibut this one marks a shift. Self-released on his Renegade Methodz imprint, this debut album spans a full decade of experience, pulling together tracks made between late 2023 and October 2024. 'Omicron' and 'Clockmaker' are classic Endlecirelentless and tactileiwhile 'Sunday To Monday' and 'In Negative' draw from a deeper well, brushing up against melody and restraint. 'Mechanizer' grooves with mechanical tension, and 'No Return' rides a punishing loop without ever losing momentum. More refined than anything he's done before, it's a brutalist record with emotional depth, capturing an artist at a point of hard-won maturity.
Det Blaser En Vind Genom Varlden, Och Det Har Det Alltid Gjort (6:54)
Review: An experimental techno hexagram in LP form from Stockholm artist Evigt Morker. Without so much as a hint of context, the techno dark-shooter here drops his third LP for resident label Northern Electronics as a surprise, and the result is rather stunning. A bleary set of impressions, some tunes on this record clip the top edge of the mix, chinking our emotive armour. The effect is gastric, dehiscent, exuding bile: 'Hemilga Eldar' leaves us dumbstruck by its ambient eventidal winds and strangely sprawled drum shapes, while 'Sokaren Hittade' combines nyctophile cantos with electric twangs. The closer 'Det Blaser En Vind...' is a headland of humility, letting in much longer gusts of tuned air.
Review: Travel back to the golden era of electronic music with The Eyes of Goa, the latest release from the Danceopolis planetary system, capturing the essence of early 90s Goa trance while adding a modern twist. This EP pays tribute to the iconic sounds that defined the era, blending hypnotic rhythms with contemporary production to create a hybrid sound that feels both nostalgic and fresh. It's a perfect homage to the spirit and energy of Goa, transporting listeners to all-night dance floors and immersing them in a timeless trance journey reimagined for today's audiences.
Review: EC Underground is back with more inquisitors of low-end heavy sounds on Bass Scene Investigation vol 1 and again digs deep into the worlds of electro, techno, breakbeat and IDM. The compilation kicks off with the skittish percussive patterns of Illektrolab's 'Making Heads Dip', then heads into moody ground with ADJ, Pablo Funk brings some menacing synth work and Errorbeauty gets all weird and trippy with some mad electronics. Francois Dillinger offers a dystopian electro sound full of irresistibly jacked-up drums. A fine investigation indeed.
Review: Eight further sonic spirits are conjured on the seventh edition in Damian Lazarus' annual compilation series. Emphasising deep house and techno grooves with a hypnotic flavour, the procurement here is exemplarily brooding; Dino Lenny's 'I Have Sampled Father' marks a sure turn away from the openers' cleaner-cut mesmerisms with a smoky, funk-inflected haze, bringing rhythm guitar and paternal murmurations to a surreal montage. The monologuing mood continues on the equal highlight that is Upercent's 'Where Are You', whilst Enamour's 'Jackpot' rounds out the show with the record's only brightly-lit minimal triller. The record is marked by sensuous, distant, familiar voices throughout.
The Masters At Work (Keep It Comin' Now) (One take Tito mix) (5:08)
The Masters At Work (Keep It Comin' Now) (Masters At Work dub) (4:59)
The Masters At Work (Keep It Comin' Now) (bonus beats) (3:35)
The Masters At Work (Keep It Comin' Now) (The Kenlou mix) (5:38)
The Masters At Work (Keep It Comin' Now) (Eddie Mood dub) (6:33)
The Masters At Work (Keep It Comin' Now) (LP version) (4:21)
Review: Rather significant as old-school house releases go, the chain of influences behind Masters At Work’s ’The Masters At Work (Keep It Comin’ Now)’ is an elusive one. In 1991, Louie Vega and Marc Antony remixed new jack swing titan Keith Sweat’s own ‘Keep It Comin’, a timeless B3 side to round out Sweat’s original Elektra Records release. The track was a snowballer indeed, as it evolved into a standalone B-side in its own right, complementing the garage house classic release ‘Ride On The Rhythm’ on Atlantic Records. Now promoted once again to an A-side, we hear three new and exclusive mixes of thee original dub as well as two variations: Latinesque backing fills and programmable melodics twaddle away in the background of One Take Tito’s mix, while Kenlou and Eddie Mood bring twin yogic, myofibril relaxations to an already contracted sound.
Review: Oren Ambarchi and Eric Thielemans' latest collaboration emerges from a recorded performance in Poitiers, France, in November 2023, showcasing their extraordinary duo chemistry. The single continuous performance, spanning over 45 minutes, encapsulates their shared language and willingness to push boundaries, blending meditative calm with unexpected melodic and rhythmic moments. 'Kind Regards' (Beginning) opens with Thielemans' entrancing tom patterns, which provide a steady undercurrent for Ambarchi's guitar, transformed into swirling tones by a Leslie speaker. As the music unfolds, it moves between introspective calm and more forceful bursts of energy, with Ambarchi's guitar eventually taking on an electric organ-like quality, echoing the soulful depth of Alice Coltrane. Later, 'Kind Regards' (Conclusion) takes on a more jazz-oriented direction, as Thielemans' delicate rhythmic shifts showcase his mastery of accents and cymbal work. Ambarchi counters this with jittery delayed tones, and a more active use of his fretboard, weaving through dissonant harmonics before concluding with a massive, yet detailed, climax of distorted guitar and crashing cymbals. The performance, free from any flashy tricks or filler, draws power from the deep intuition between the two musicians, and their shared commitment to exploring the limits of their instruments.
Review: Ehua treads into new territory with her debut full-length, Panta Rei, arriving via 3024 after an extended period of experimentation and self-reflection. Over 18 months, the London producer and DJ - originally from Italy - fused deep bass mutations with live percussion, acoustic textures, and, for the first time, her own voice. The result is a humanistic record, with glassy sonic abstractions, vocal reversions and rhythmic interruptions serving plenty space for intimacy and contrast. Ahead of a launch party scheduled in South London on April 24th, hosted by 3024 and Planet Wax, the likes of 'White', 'Bumju' and 'Albicocca' are propulsive, driving integrators of brain and body, perfect for imminent deployment in the divey New Cross establishment.
Review: In the last few years, Livy Ekemezie's sole album - a private-press Nigerian Afro-funk and Afro-disco gem from 1983 - has become a genuinely in-demand item within the record collecting community. It has been reissued once before - back in 2017 - but even that pressing has become highly sought after. This edition, then, is well worth picking up. Putting a distinctive Nigerian swing on disco-funk, it boasts a string of insatiable, floor-friendly highlights - not least opener 'Get It Down' (where William Onyeabor style Moog synth sounds hit the ear), the down-low heaviness of 'Holiday Action', Afro-disco anthem 'Friday Night' (which has been re-edited on several occasions in the past) and the decidedly heavy 'Night Party'.
Review: Madrid-based collective Danzon El Gato channel the city's restless creative energy into a vivid fusion of jazz, funk and roots music. Formed within Madrid's experimental scene, the group revolves around Javier Adan and Santiago Rapallo, longtime collaborators whose past projects range from jazz fusion to avant-garde film scores. This latest release sees them sculpt a kaleidoscopic sound, pulling from North African, Latin American and Mediterranean traditions while staying locked into the groove with a rhythm section indebted to 70s library music and golden-era hip-hop. Across the record, they explore an array of moods and textures. 'Ronda' pairs intricate guitar lines with a propulsive swing, while 'La lucha'ifeaturing Marina y su Melaoileans into percussive Latin jazz. 'Twangy Morocco' lives up to its name, weaving surf-rock guitar into an East-meets-West instrumental, whereas 'Chapoteo' ripples with aquatic, freeform interplay. 'Amambay' and 'Fuimos invencibles' showcase their knack for evocative storytelling through sound, shifting effortlessly between cinematic tension and unbridled release. Danzon El Gato craft music that reflects Madrid itselfidense with influences, rich in movement and ambiguousiin the best way. Their sound captures a city in flux, where past and present collide to create something unmistakably fresh.
Review: Viaje Sideral is a cosmic journey led by El Leon Pardo and his ancestral instrument, the kuisi, which is a pre-Colombian flute that traditionally symbolises resistance and survival. This second album from Pardo explores humanity's connection with the stars by blending Caribbean percussion, analogue synths, deep bass, electric guitars and the distinctive sounds of kuisis and trumpets. The tunes channel the tropical psychedelia of the 70s and 80s while incorporating ambient and electronic influences from artists like Terry Riley and Kraftwerk. Viaje Sideral is a great mix of dreamlike astral sounds with tropical rhythms that mean both the earthly and the cosmic are explored.
Review: Ammar El Sherei's 1976 instrumental gem is one of those cult albums that record collectors love to have in their arsenal to, well, show off with. It finds the legendary Egyptian composer reinterpreting seven classics by Mohamed Abdel Wahab and in doing so he waves traditional Arabic melodies into funky arrangements and electric keyboard experimentation. This hypnotic fusion highlights El Sherei's unique perspective and knack for bridging heritage and innovation. Curated and annotated by Arabic music expert Mario Choueiry from Paris' Institut du Monde Arabe, this reissue features newly remastered audio and original Soutelphan artwork so is a no-brainer for fans of vintage yet adventurous Arabic grooves.
Review: If you don't know (well, even if you do know it is still true), Californian multi-instrumentalist Brian Ellis is Egyptian Lover's keyboard player, and is also a member of Campus Christi with Peanut Butter Wolf. He steps out alone here with a new and outlier funk album that shows off his idiosyncratic style. It is a raw and dense sound that mixes up bold funk and gritty psychedelic soul while embracing the darker edges of both styles. Along the way, Ellis explores themes of truth, authenticity and the pitfalls of wealth while reflecting on the cost of giving away one's heart. Tracks like 'The Real Deal' and 'Money Drives Me Crazy 'capture these ideas with unfiltered emotion.
B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition
Lifetime Supply (3:40)
Lonely Wealth (3:28)
The Real Deal (3:34)
This Is For Real (4:31)
Money Drives Me (Crazy) (3:54)
Comfort Zone (3:10)
First One's Free (2:28)
Empty Bed Memories (4:27)
Blurred (3:32)
Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***
If you don't know (well, even if you do know it is still true), Californian multi-instrumentalist Brian Ellis is Egyptian Lover's keyboard player, and is also a member of Campus Christi with Peanut Butter Wolf. He steps out alone here with a new and outlier funk album that shows off his idiosyncratic style. It is a raw and dense sound that mixes up bold funk and gritty psychedelic soul while embracing the darker edges of both styles. Along the way, Ellis explores themes of truth, authenticity and the pitfalls of wealth while reflecting on the cost of giving away one's heart. Tracks like 'The Real Deal' and 'Money Drives Me Crazy 'capture these ideas with unfiltered emotion.
Review: California multi-instrumentalist, Egyptian Lover's keyboard player and experimental producer Brian Ellis follows up his Quarantine Tapes with his first full-length solo album in four years. Unfortunately, we'll never have a lifetime supply of Brian's music, although that's forgivable since recorded music media also incorporates the genius invention that is playback, which means even one purchase can last for a lifetime as long as you keep your record in good nick! This one is a swirling bomb of bombast funk and dodgy-output psychedelic soul, one that is unafraid of the murkier ends of each sound. Ellis muses on the nature of truth, authenticity, dirty money and the consequence of leasing one's heart out, as on 'The Real Deal' and 'Money Drives Me Crazy'.
Review: Lawrence Englsh's new album was born out of a commission by curator Jonathan Wilson to create a sound environment for the Naala Badu building at the Art Gallery of NSW. It is a deeply atmospheric album that explores the relationship between sound and architecture and reflects the building's design, with its name meaning "seeing water" in the Gadigal language. The piece was crafted with a collaborative spirit by incorporating contributions from a diverse group of artists including Amby Downs, Claire Rousay and Jim O'Rourke. The resulting composition blends ambient textures and long-form sound prompts that capture the essence of place as an evolving, subjective experience. It's a work that highlights the porous nature of sound, and as a standalone work also succeeds in sinking you in deep.
Review: Roger and brother Brian Eno have already assured their legacy as pioneers of experimental ambient music. Mixing Colours was their first album on Deutsche Grammophon and this reissue reminds us why the par are so well known for revolutionising music-Brian through innovative pop treatments and Roger with ambient synth/piano works. This collaboration reflects their shared genius and guides you through rich soundscapes blending mood and place into immersive auditory experiences. Crafted over several years, this poetic collection highlights the brothers' mastery and is a deep dive into ambient sound.
L'Enfant Sacre De Belevue (feat Abd Al Malik) (3:17)
Le Message (4:06)
Bibang Et Les Allers Retours (3:40)
375 (3:04)
Charlie (interlude) (1:02)
Shoe Box (feat Conway The Machine) (4:06)
Le Juene Moi (3:49)
La Fayette (1:55)
Rose Des Vents (3:37)
Nakata (Interluide) (1:45)
Le Dernier Garcon (3:37)
Spect (3:24)
Review: Benjamin Epps sharpens his craft with L'enfant sacre de Bellevue, the successor to La grande desillusion, amounting to the second of two records to excavate the French rapper's history and personal growth through self-reflective, fine-tipped lyricism. This is a record driven by ambition and vulnerability, tracing the contours of personal struggle, pride, and purpose; Epps balances tight productions with a fierce bravado, one not considered counter to introspection or emotive soul-bearing. Epps operates with clarity and control, further solidifying his status as one of the most technically gifted voices in French hip-hop today.
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