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Review: Minimum Chips are an Australian five piece, and after a slew of Aussie-only releases, they have finally joined the loving Moteer family. "Lady Grey" is a collection of tracks taken from the "Sound Asleep" EP and "Kitchen Tea Thank You", and gives the perfect introduction to one of down-under's best kept secrets. The first thing you hear from these tracks is the band's deft and undeniable ability to create classic pop music; in the same way that Stereolab and Broadcast have wowed us with their 60s swooning and lilting analogue pop sensibilities, Minimum Chips are the next in the line to win over our hearts and souls. We can only assume it's the perpetual sun that does it, but there's a baked, warming vibe present on this album that their contemporaries can only hint at, and a home-cooked feeling which makes it so much more honest, so much more real than you could ever believe was possible. These days it is a breath of fresh air in a music scene populated by idle trend following sheep and naïve onlookers dazzled by haircuts and ripped jeans, Minimum Chips have sidestepped all the scenesters and sculpted something timeless. Starting as they mean to go on, the five-piece kick off the record with "Cold Afternoon"; a slice of pop perfection if ever there was one, with nods to Low, Francoise Hardy and Serge Gainsbourg in it's smouldering and sultry half-tempo swing. Organs slice through heartbreaking vocals and tape saturated percussion to create something memorable and quite simply gorgeous. By the time the record is half-way through we're onto another high point, the dream pop excess of "Know You Too Well', which squashes the influence of Stereolab and the Concretes into a carefree ode to brighter days and lighter moments. Another incredible addition to the already reliable Moteer catalogue, this is an album to re-affirm your love of life, and to take you singing and dancing into the Autumn months.

Review: "Ekvilbrium" is the debut album of the most talk about and acclaimed producer, Valgeir Sigurdsson. His producer credits including working with Bjork, Bonnie 'Prince' Billy, Cocorosie and more. Sigurdsson decided that it was time to strike out in new directions, hence this Bedroom Community release.

Review: A giant leap for Punch Drunk, this debut LP by Bristol producer Guido could lead to an avalanche of fans for the burgeoning "purple sound" of young Bristol producers like Guido, Joker, and Gemmy. After only a handful of singles and remixes, Guido has fashioned a perfect album that drips with freshness and originality. Combining post-dubstep styles with a pop sensibility and the production clarity of The Neptunes, there's a host of unlikely sounds thrown into the mix that strangely end up working - check the Kenny G-style sample flipped perfectly in the appropriately named "Mad Sax" as an example.
While the album starts off on an exclusively instrumental tip, "Beautiful Complications" bucks the trend and features a deliciously warped female vocal that works a treat with Guido's sparse and gritty beats. As the album steadily grows in energy, tunes like "Way You Make Me Feel" and "You Do It Right" pack more beats into the bars and the album really feels like a journey, not just a random collection of songs. Not only is it an accomplished debut, it's fiercely original and exciting, and comes very highly recommended indeed.

Review: Compilation with exclusive tracks from: Legowelt, Bangkok Impact and more.

Review: A hugely impressive debut here from French beatsmith Helixir. A richly textured, droning soundcsape is created in the introduction and this careful, lush vibe is maintained throughout Undivided. "Summertime" has the shimmering quirks of a Flaoting Points but on a more overtly dubsetp tip, while tracks like "Atlantis" bring to mind the muddy, compressed work of Actress. Such comparisons miss the point to an extent though, as Helixir has very much cultivated his own sound, which is at times, at times dark, but always fascinating and deeply rewarding. Listening from track one to the twinkling lullaby close of "I've (Never) Wanted To Hurt You" is a magical experience. Thoroughly recommended stuff.

Review: "Be Yourself" is the first release on the newly founded Slottet (The Castle in English), a record label for timeless music and sounds, curated and run by Maria Eriksson (The Concretes), Conny C. Lindström (Ugglan Jazz Club, Stockholm) and musician/producer Mats Gustafsson (The Thing, Jim O'Rourke, Peter Brötzmann, Sonic Youth). Dräp En Hund are two 13 year old girls; Alva Melin (on bass and vocals) and Gabbi Evrén (on drums and vocals). With inspiration drawn from (among others) The White Stripes and PJ Harvey as well as Sonic Youth these girls have amazed the club and rock audience in Stockholm and Oslo during their short lived existence since august 2005. Distorted bass, burning vocals with an energy and dedication for the music that wipes away all doubts about the capacity for such a young rock combo making hard hitting and uncompromising music. Dräp En Hund kicks serious ass with original compositions and sometimes a White Stripes cover, all stripped down rock 'n' roll played with fire and joy. Have Dräp En Hund just made the most punk record of all time? Well apparently ESG are already fans and want to collaborate, so watch out!

Review: Though the name Gouseion may be unfamiliar to you, you may well have heard his work in the past. Cassidy Demarco, as he is known to his friends, keeps himself busy by recording under an astounding eleven aliases, including C++, Monodec and Minijack, as well as participating in three collaborative projects. "Puisne" is a record that blends and bastardises electronica with hip-hop, breakcore and more. Using lofi 8-bit sounds with seriously heavy production techniques, every sound cuts through the mix and forces you to fall head first into the body-moving rhythms and jarring synth lines on offer.

Review: Although "Halfway Between The World And Death" is Jean-Louis Huhta's first solo album, he has already become a hugely respected musician and composer in Sweden and beyond. Having been a member of the eighties post-punk band Cortex, as well as acting as percussionist for grindcore legends Anti Climex for three years, Huhta was already a familiar face in the Swedish underground scene, even before going on to work in a huge variety of projects including The Stonefunkers, Audio Laboratory, Skull Defekts and Lucky People Center. He even found time to create some deep and unorthodox techno as Brommage Dub with prolific techno producer Jesper Dahlback, as well as playing in Ocsid alongside Carl Michael Von Hausswolff and Graham Lewis, former bass-player for The Wire. So what does this album sound like? Does the fact that underground filmmaker Bruce LaBruce insisted on using it in his upcoming 'melancholic gay zombie flick' give us an idea of what it sounds like? Well, yes, it does. "Halfway Between The World And Death", as the title may suggest, is a morbid and dark album, taking influence from grainy horror film soundtracks and murky b-movie sleaze. Rhythms are submerged under layers of dirty guitars and eruptions of degraded noise. An exceptional Slottet release.

Review: Long-serving experimental folk band Tunng reportedly put a lot of thought into the subject matter and lyrics behind their new album, Dead Club. According to their label, the set is part of a wider project the band have started in order to spark wider conversations about death and grief. Given all that has happened in 2020, it's arguably more relevant than ever, and the fact that the London band is able to tackle the subject is a surprisingly positive and musically ear-catching way is particularly impressive. As usual, the album delivers a blend of traditional, acoustic, electric and electronic instrumentation, with vibrant vocals providing the ear-catching focal point atop an attractive and imaginative musical mixture. We can't decide whether it's their best album to date, but it's certainly hugely enjoyable.

Review: Compiled by noted disco digger Al Kent, The Men In The Glass Booth explores the early days of the re-edit and the remix. Specifically, it looks at the scalpel and production work of some of the disco era's most influential DJs - Walter Gibbons, Tom Savarse, Jellybean Benitez, Tee Scott, Francois K and John Luongo included - in a bid to chart the rise of the dancefloor-friendly extended version. Naturally, the material on show is top notch, with far more obscurities than well-known cuts. The three-disc set is also accompanied by a superb booklet, which contains archive interviews and detailed histories of those involved. If you dig disco, this is an essential purchase.

Review: Here we find Office-R focusing on improv and free jazz sounds, and make a wholly respectable racket doing so. The band is comprised of six members playing laptops and regular instruments, creating a marriage of the acoustic and electronic. The saxophone and oboe flourishes are held down by the struggling laptop squelches, squeals and samples before they break free in all their screaming glory only to become shot down by a stray string of binary. Comparable to the work of John Zorn and the Tzadik label, or the less noisy end of Mego, "Mundane Occurrences & Presentations" is best heard on a large soundsystem or a damn good pair of headphones, it's crystalline detail and thick buzzing sounds needing to be heard loud and clear. The musicianship and craft (of software use as well as classic instrumentation) on this record are what stands out most.

Review: Belgian artist Jerome Deuson at last follows up on his Intr-Version debut with another super collection of brittle laptop pop. 'The Sea Horse Limbo' is essentially made up of heartfelt song craft gently obscured somewhere along the line by the wires and circuitry of avant-garde electronic production. Of course it's that elusive quality that makes the album all the more beguiling. Beneath the surface of 'Hit My Country' and 'Oh! Le Zeppelin' lie remarkable, epic pop songs. Anyone who plugs a guitar into their laptop will inevitably run the risk of being compared to Fennesz but the quality of writing and the nuanced arrangements of 'The Sea Horse Limbo' confirm Amute's voice as very much his own.

Review: Montreal electronic stalwart and Intr_Version label boss Mitchell Akiyama and chanteuse Jenna Robertson produce haunted vocal music, the music of lost tapes and dusty gramophone records. The album kicks off with the porch-folk of 'Between Our Pages' which actually bears most relation to the Digitalis catalogue or the work of Wooden Wand and the Vanishing Voice. 'The Weight Of Hours' is more classic Avia Gardner material, which takes the tape-recorded sound of some kind of zither or autoharp and allows Jenna Robertson to simply sing over the top without any other distraction. However, straight after this beautiful, quiet interlude we are thrown headfirst into the distorted electronic funk of 'Winter's F*cking Over'. As you can probably imagine this is jarring to say the least, but don't worry we're back to the sublime before too long and when we reach the penultimate track, 'Please Write When You Can' we hear the record's peak-again giving Jenna Roberson room to breathe with subtle and sparing production keeps as subtle as it needs to. 'Mill Farm' is like a glorious antique, the disc you're looking for beneath piles of dusty relics and in amongst all it's creaking and groaning there is a beauty pure and simple.

Review: "Bhang Ragga", by Kush Arora, is fourteen tracks of burnt and warped bhangra and dancehall ruptured from the underground in a dark dub style.

Review: Bunghole [UK] live BBC Radio broadcast showcasing Shadow's random rap crates blended
with breaks & exclusive freestyles. If you liked 'Funky Skunk' then this is for you.

Review: Now-Again Records presents Carolina Funk: First In Funk 1968-1977. The fourth CD in the UK-based Jazzman Records series that produced the landmark Midwest, Texas, and most recently, Florida Funk compilations. For this instalment we’ve moved up the Atlantic coast to look at the vibrant and original scene in the two rural states of North and South Carolina. Curated largely by resident North Carolina researcher and collector Jason Perlmutter, Carolina Funk presents 22 of the best, rarest and most sought-after heavy funk songs ever recorded, with break-beats to spare. Without any large urban centres much of the musical output of the Carolinas has been limited to single towns, with bands and their records seldom venturing further than the state line. From inspired percussive instrumentals to heartfelt slabs of soul; from rediscovered tapes in the garages of retired musicians to funk 45s so raw that they were blessed by James Brown himself, this is Carolina Funk.

Review: Zelienople (named after a borough in Pennsylvania) is the moniker of Chicago based musician's Matt Christensen (guitar/vocals), Mike Weis (percussion) and Brian Harding (guitar/clarinet). Between them, in a desolate suburban basement, they have come up with "His/Hers", a record of pure psych-rock sludge. There is certainly no shortage of acts willing to throw down waves of experimental guitar noise and clattering percussion, but with the benefit of focus and experience, Zelienople sound like something totally out of time and almost impossible to place. Residing in a hazy drunken world in-between slowcore pioneers Low, psych-folk outsiders Charalambides, Japanese overlords Boris and Dead Man era Neil Young, "His/Hers" is a faded photograph of rock music past, yet still manages to keep a firm footing in the present. Guitars echo like disappearing ghosts and vocals moan and wail mercilessly while percussion bubbles up in glorious waterlogged waves.

Review: Love Monk started four years ago. Their main idea is to release the music they love without being constrained to any specific style. "Discos Buenos" is a selection of tracks that represent the quality and diversity of this great label.

Review: Pramod Tummala's Morning Recordings project has got to be one of the best kept secrets in Chicago and "Music For Places" really is a special record. Fusing the ambience of Brian Eno, the production lightness of John Brion and the vocal harmonies of Elliott Smith, Tummala has made an album that truly does what it says on the tin. It was important that multi-instrumentalist and vocalist Tummala had the right kind of support, so he drafted in help from Zelienople skin-beater Mike Weis, Barry Phipps of The Coctails and Deanna Varagona and Lindsay Anderson from Lambchop. This is an amazing Better Looking release.

Review: "III", by Skallander, is a collection of ten devastating pop-songs guaranteed to appeal to fans of Sufjan Stevens and Jose Gonzalez.

Review: Leapfrogging conventional rock sounds and hop-scotching conformity, these unassuming young gentlemen yell "Up your pigeon-hole!" to an industry obsessed with format and repeated musical templates. In the humble surroundings of a quaint English seaside village, the members of Odd Shaped Head reside in chaotic harmony: Paul (bass/vocals), Ricky (guitar/vocals), Rob (drums) and Andrew (guitar); from childhood chums to grown up geeky misfits. The quirky quartet release their new single "Egomatic Annie". Their eclectic brand of energetic, rhythmic, funk-punk, jerky bass popping, powerful scatterbrained drumming and stabbing guitars bursting into vibrant melodies draws more fans along to venues already packed with a collage of characters. This is not to be missed.

Review: Kankick has been chopping drums with fellow Oxnard legend Madlib since Junior High, and was an original member of the Lootpack. Raised by a single mother, Kankick immersed himself in music from childhood. He developed his ear for music, ranging from Bruce Springsteen to RUN DMC. Fiercely independent, Kankick broke off from the Lootpack to form his own "Funk Farm" crew, whose members included DJ Babu and God's Gift. Honing his own unique sound over the years, Kankick's production is still light years ahead of today's contrived and static hip-hop scene.

Review: Dollboy is the pseudonym of British musician Oliver Cherer, and on the frivolously titled 'Casual Nudism' he has drawn together a merry band of collaborators to help him on his quest for the sublime. Playfully and wilfully disregarding trends and fashionable stylistic movements, Cherer has constructed an album of childish innocence while nudging it's way into the instrumental folk sphere. Perhaps it's no surprise that Cherer has been associated with Birmingham's nu-folk superstars Tunng, but it would be wrong to so quickly categorise 'Casual Nudism'. Through the twinkle of glockenspiel, kalimba and xylophone we can hear something possibly with more connection to Benjamin Britten's 'Peter & The Wolf' than to Pentangle; this is an album with huge scope and a genuine narrative feel. Throughout the duration you feel that you could almost be walking through a dense forest, discovering life with every carefully measured movement, the best example of this being 'Odd Man Out' which takes an almost Steve Reich-sounding repeating clarinet as it's backbone and builds up a sense of mystery and awe around it. 'Casual Nudism' is an album brimming with a sparkle for life, a sense of amazement and a deep understanding of the reasons why we get excited about music in the first place, and should be handled delicately as a result. Dollboy's 'Casual Nudism' is refined and mature, yet you won't find a more whimsical collection of lullabies this year.

Review: 4 easy stages including: Simple & concise explanation of CD turntable equipment; Dropping in a track in time & mixing tracks with different BPMs. These are the simplest self teaching methods available to take you towards your dream job. Approved by Carl Cox.

Review: Project Perfect were the tricksters of Portland's music community during the days of their frequent and strange performances (2002-2004). Appearing live in costume or with exotic dancers on stage, the group's deadpan humour was at odds with their profoundly introspective, abstract music. Following from their membership in Fontanelle, the two long-time collaborators came into their own with a reputation for consistently dextrous live performances, a distinctively insular sonic vocabulary, and a fluid, telepathic improvisatory rapport. Project Perfect's mastery over sounds takes them jump-cutting from squiggles, squonks, and blurts of random (yet eerily on-target) radio broadcasts, to moments of austere, dry guitar and piano interplay. Hopping between tender and bombastic moods, introspection and extroversion, delicacy and jarringness, the band's sense of variety within a narrowly defined sonic palette is unmatched. Their approach comes from some oblique musical reference points (Runegrammofon label, Cabaret Voltaire, Conrad Schnitzler and Cluster come to mind), but this was a group that truly did not sound like any other. "PM+" adds additional tracks to the original recording "PM", a CD that was essentially privately released by conceptual arts group Red76, in 2002. Completely undistributed, and never exposed to local or outside press, "PM" came to us as a crucial piece of lost Portland music, along with additional recordings the band made in 2003. Andy Brown was a founding member of the celebrated early kranky band Jessamine, as well as of its less-understood successor, Fontanelle. He has also been part of the drone group Southerning, and is now of the audio/visual trio Paint & Copter. Charlie Smyth (also ex-Fontanelle) has worked in everything from skronking jazz-rock (with Seattle's Laundry in the 1990's) to free improvisation (in the early 2000's) and most recently, as a folk-rock songwriter in Chicago, Berlin, and Seattle. Please share our enjoyment of this singular, intimate, and cosmic recording.

Review: Maria Eriksson is Santa Maria. She is mostly known as guitar player, singer and songwriter in the Swedish pop constellation, The Concretes. Even though the forthcoming Santa Maria album is crammed with brilliant pop songs, the musical content is not quite related to the pop music of The Concretes. Santa Maria is significantly more multi-faceted; she mixes intricate singer/songwriter tunes with deeply progressive pieces, intelligent and distinctive dance anthems with stunningly beautiful tracks. The musicians involved in Santa Maria are some of the most creative and sharp ones Sweden has to offer. Bass player, as well as the producer of the album, is Johan Berthling. Besides being a member of the internationally acclaimed electronica act, Tape, he also plays with artists like Nicolai Dunger, Tenniscoats and Bill Wells. On guitar, keyboard and vocals, we find the frontman of Laakso, Markus Krunegård, and on drums, another member of Laakso, Lars Skoglund. He also plays with Moneybrother - and is rightfully considered to be the greatest talent of the new generation.

Review: "This Is My Home" is the stunning debut from New Zealand-born, Melbourne-based producer Lanu (aka Lance Ferguson). Brimming with future soul and broken beat flavours, forward-thinking production and intuitive jazz sensibility, this long player marks a distinct departure from the raw, deep funk sound of Ferguson's other project, The Bamboos.

Review: One of the defining albums of 2007. Born and bred in downtown NY, Team Shadetek deal with street music on a global scale, innovating by connecting the dots between hip-hop in all its contemporary forms, east coast, bounce and crunk, the upstart UK hybrid grime, dancehall in both bashment and ragga permutations and even electronics in unexpected ways. They've tested their sound out on systems across Europe, honing it for the serious dancefloors. Warm horns and ice-cold synths ride huge basslines and skittering snares. Following several self-released singles, a mini-album on Warp, and the massive "Brooklyn Anthem" single, Shadetek have readied their debut full-length. An army of guest MC's were enlisted to deliver the mandate, including Predator, Jammer, Baby Blak, Red Dragon, Skepta, and Ruste Juxx. Electronic beats and rhymes are cropping up planet-wide and Shadetek weave those connections to devastating effect on "Pale Fire".

Review: The success story of the two guys from Karlsruhe Kristian Beyer and Frank Wiedemann (aka Ame) is showing no signs of waning. Having led the annual charts of Groove and De:Bug magazines, provided Pete Tong with a single of the month and even making a DJ mix for said DJ's BBC show, the Essential Selection. Their hit "Rej" has been christened by Louie Vega and Danny Krivit (Masters At Work) as the "Plastic Dreams" of the new millennium. So here is their first official mix-compilation! Their DJ sets are currently being celebrated everywhere from Miami to Paris and Helsinki, so it was only a matter of time until they immortalized one of their kicking mixes for home use on an official mix album. Sonar Kollektiv label bosses Jazzanova delivered the first in this "...Mixing" series and in so doing earned worldwide thanks for making one of their eclectic DJ sets available in digital format for the first time. The duo from Karlsruhe selection is no less varied as they switch from old to new, through house, disco, minimal and techno. Synth pioneer Laurie Spiegel, who already presented a prototype of the Detroit techno sound in the 70s, sets things off with her "Appalachian Grove 1" which was written in Fortran (an old computer programme, long before Basic or C). The unusual track "24 Hours From Culture II" from 80s Dutch wave band New Musik is to this day a favourite of DJs like Daniele Baldelli and DJ Harvey. He later also used the classic "Woman Of The World" by Swiss group Formation Double on his legendary "Sarkastic Disco" mix. "Stand Up" from Nexus could easily be mistaken for a Metro Area number. Besides Ame another name that is often being mentioned with regards to the deephouse renaissance is Henrik Schwarz. His most striking remix to date is also his most timeless. The way he accentuates the voice of Robert Owens with opulent strings on Coldcut's "Walk A Mile" means it'll still give you goose bumps in ten years. Ben Westbeech is the star of Gilles Petersons new label Brownswood Records. His track "So Good Today" unites the typical Yoruba style with analogue Chicago sounds. God of remixers, Carl Craig's version of Jonny L's This "Time" was previously only available as a promo so for some the search for this jazz, house and techno hybrid ends with this release. The latest addition to the Innervisions label which Âme started with Dixon is Gilb'R & I:Cube (aka Chateau Flight). Their wide tune "Baroque" makes the perfect bridge to Luciano's "Stone Age" which has been a central part of the Ame DJ set for over two years so could not have been left out of this collection. "Flashback 86" sounds, as the title suggest, as though it might have been made in the late 80s, however actually it is produced by Jonathan Burnip who can otherwise be found behind the counter of London's Soul Jazz record store. Derrick May's Funtopia featuring Jimi Polo remix was also previously only available as a promo. It was given to Ame by Dominic Capello, manager of Glasgow's Sub Club. Of course Ame's own breakthrough track, "Nia", must be celebrated once more before it gets slightly quieter, although no less exciting, with Jump Cutz "Deep Introspection #5". This track is another true classic and favourite of Needs Crew that has long been almost impossible to get. And as true Manuel Gottsching fans Ame of course had to include an Ashra number in the mix. Their track "Sunrain" has been a big influence on the club music of today. As a whole, Ame's "...Mixing" is not just a bridge between old and new, club and home stereo. It also serves as an interesting connection between various musical genres which are currently dominating the good metropolitan clubs.

Review: You might remember German musician Carlo Friedrich Oesterhelt (also known as the drummer from Ms John Soda) from his incredible "Collision" album on Hausmusik not so long ago, and now he's back with a collection of incredibly detailed orchestral works destined to slip into the current modern classical scene quite perfectly. The first ten tracks were written in tribute to Italian composer Nino Rota and are just as moving as you would hope, taking in the best of Max Richter and Michael Nyman to create widescreen paeans to a hero. The rest of the record collects other tracks he composed, the clear highlight being the last four tracks which were recorded as part of a movie soundtrack. Fans of Ryan Teague, Sylvain Chaveau et al should check this without delay.

Review: Strountes is the new band of Maria Eriksson (The Concretes), Mats Gustafsson (The Thing) and Argentinean mystic Anla Courtis (who studied under Robert Fripp). How to label Strountes music? Hard nut! Folk-noise? Ghost music? The great late Swedish poet, Gunnar Ekelöf, used the title Strountes when he wrote about nonsense (Strunt). The music Strountes plays is in a way non-sense-music, music out of mind, but it is strong and beautiful. Maria Eriksson from the Swedish rock/pop group The Concretes, Anla Courtis from the Argentinean cult band Reynols and master saxophonist Mats Gustafsson, has created an album full of brutal and dirty sounds, but the music is at the same time sweet and tender. Maria's voice sounds like an angel in a midst of a hurricane. The tunes she sings on has a kind of horror-soundtrack-style. One come to think about Rosemary's Baby or The Shining, but only the scenes before it starts to get chilly or violent. Maria sings and plays acoustic guitar & toy piano. Mats Gustafsson, who's amazing saxophone playing can be heard with free jazz champions like Peter Brötzmann and Ken Vandermark, but also with rock maestros like Sonic Youth, Jim O'Rourke and David Grubbs. In recent years Mats, together with his companions in the trio The Thing, has carved out his own form of love music, consisting of elements both from free jazz and garage rock. In Strountes music he is free to work with all his "styles" - and he does! Strountes sees Mats host the saxophones, flutephone & live electronics. Anla Courtis, from Buenos Aires, plays electric guitar, homemade violin, contact mic & pocket Theremin. Courtis has an enigmatic musical presence. A musical mystic, who once studied with Robert Fripp, and also played with minimalist queen Pauline Oliveros together with his band Reynols, completes the trio with his rawness and energy.

Review: A new dance journey into the energy & eurobeat world!

Review: In the last four years, Dominik Eulberg has been releasing on his native label Traum. His previous nine 12"s have made him quite a hotbed for music, which has lead to an international following of his unique style of "wild life techno" To copy him seems impossible, as there is no other DJ/producer who can represent this style so authentically. The influence of nature and his domestic grounds, the bird twitter and nature sounds in general have made his music easy to identify with. The "Heimische Gefilde" (native habitat) LP takes the concept of his debut album "Flora & Fauna" a step further and at the same time is a retrospective of his major hits. Dominik Eulberg's music is much more that just a straight bass drum enriched with samples. Every track is presented and each animal is introduced by Dominik, expressed in a lyrical, almost poetic form. Nature does it all by itself as Dominik states.

Review: Aerial are back from Sweden with a second album of perfectly executed post-rock expeditions that rise above the majority of similar bands around today. They are four people who live and breathe crushing dual-guitar melodies and emotionally-crippling structures, inhabiting a middle ground somewhere between Explosions In The Sky and an angrier Death Cab For Cutie. The poignant impact of both bands is matched and outdone here as Aerial take you through nine tracks which seem more like fierce declarations of youth than just a bunch of songs, playing each as if it were there last. The intensity of Aerial's live show is perfectly captured here, allowing you to relive the energy and veracity of their performances from the safety of your home. When lyrics emerge from the wall of noise that this four-piece create, they add a melancholic overtone to the exhilarated and expertly performed examples of everything that is good about post-rock (and music in general) at the moment. You cannot help but enjoy the ride of "The Sentinel", and despite feeling somewhat exhausted upon first listen, you know there is no other logical option except to press play and relive it all over again.

Review: Mark Farina's talent for mixing tracks together and showing us possibilities we might not have been previously aware of is in full effect here, on 'House of Om', released on Om.

Review: "Crane-Grief" is the second full-length recording from twenty-six year old Swedish eccentric pop poet Filip. A while back he distributed his homemade CDR's of Charles Bukowski-poems put to music, followed by the exciting instrumental single "Tobacco/Sad Autumn Roses". These two releases got a lot of attention in the media, both in Sweden and in the UK. Later in the year, Filip, together with Einar Heckscher, made a short tour around Sweden in celebration of the late, great Charles Bukowski. "Crane-Grief" is something completely different - It's the self-released debut album proper from Filip. Recorded in the spring of 2006, during two charged days in a Stockholm located basement. With just guitar, piano, pump organ and autoharp, Filip performs his simple and beautiful songs all by himself.

Review: Michael Heilrath is one of the most important musicians out of the so called "Weilheim-Scene". Complex structures and a wide variety of sounds make "Shoppen" an engaging and exciting listen, with tracks beginning in a beautiful, ambient haze and ending in funky, dancefloor grooves. This is a lovely release from Hausmusik.

Review: Shortly after his introduction to the audience the Fluxion project presents its first long play release which consists mainly of the previous 12" releases on the label. Influences of projects like Maurizio (aka Basic Channel) or Substance are present, but Fluxion manages to bring in enough additional aspects and the depth of its productions are at least impressive.

Review: Blackalicious' debut into recorded hip-hop has come to be acknowledged as a seminal album of the 1990's. Chief XCel (in collaboration with DJ Shadow at times) does what should be unthinkable (as he does on Nia and Blazing Arrow as well somehow), and provides beats that match up to the aptly-named Gift of Gab's sensational flow. Guest appearances by Asian Born and Lateef the Dread Piper (known these days as Lyrics Born and Lateef the Truth Speaker respectively) round out the album. This is the double vinyl Mo Wax version, containing an extra mix of the classic "Swan Lake". Don't miss!

Review: Joint venture by the two masterminds behind Planet Mu and Rephlex.

Review: This track was originally released a couple of years back but never got the exposure it deserved, so thanks to Paul Van Dyk we get to see this brilliant summery trancer return featuring a massive DJ Shah remix that takes the whole melodic content of the original to an entirely higher level.

Review: A stripped down underground house cut from the Code Red stable produced by Master Kev & David Tobon with some help from keyboard player John Crockett. "Twisted" in its original form features choppy percussion, driving high hats and pulsing synths (that quite literally embody the title) to make this a release with plenty in common with Thommy Davis' "Nightrain" track from earlier in the year, and one that showcases the versatility of the label's sound (from soulful vocals to late night groovers). Remixes come from Thommy Davis himself in partnership with label boss DJ Spen who fattens up the bassline and streamlines the drums. Deep house hero, Jovonn then takes it smoother and more trippy, with Spen's long time studio partner Karizma (under his K2 guise) twisting the percussion tribal style, offering something for a variety of floors.

Review: Ellen's third studio album follows hot on the heels of the pre album taster 'Magma' and we dare say is even bigger than the mighty 'Berlinette'. Co-produced with Smash TV's Holger Zielske (her partner on the previous albums 'Stadtkind' and 'Berlinette') 'Thrills' sees Ellen combining some newfound vintage synth gear with more modern electronics that give these tracks a more devastating dancefloor punch than ever before, coupled with her trademark vocals and bass, bass everywhere. Techno has been redefined!

Review: Interstellar Fugitives 2. Classic Detroit electro techno from the UR posse. A Must have. Respect!

Review: Om Records heralding in the summer with this superb 3-disc set of house grooves. One mix each from The Groove Junkies, Chuck Love, and DJ Fluid, with a healthy helping of Om-related goodies intertwined with productions from the trio, including cuts from the likes of Ann Nesby, Alexander East, Copyright, Bryan Jones, Troydon, PC Synergy, and many more.

Review: Within a few years, Lynn Standafer became a well-recognized artist in the breakcore-related scene. His output is tremendous - not too long after 'The End', he presents his' new fulltime release, featuring guest appearances by DJ Hidden, Speaker Wrath, Somatic Responses, Submerged and Silentkiller. 'Form Without Function' might follow what started with 'Comparing Paths': a direction's turn from the raw sampling - and breakbeat madness of his earlier works to a 21st century version of drum and bass with added breaks, ragga vocals and tight-fit sample work. The basic of most tracks on this album is a continuation of what started with acts like Panacea in the 90s - straight-forward d'n'b with mighty, pounding basslines. Combined with the styles mentioned above, it's not only a 'mixture', it's a style on it's own - 100% Enduser. The rough moods of many breakcore acts cannot be found here - 'Form Without Function' is a straight and tight release without causing eardrums to shatter. When the speed is turned down as in 'Keep Telling' it's time to relax a bit before 'The Choke' will keep you moving again. The slightly melancholic 'By A Thread' with it's bright piano is the perfect conclusion for this album. A truly fine example for a well-done work of art by one of the challengers of break-based sound.

Review: Diastole, from Bury St Edmunds, play rock like a less frenzied but more metal Be Your Own Pet, the tribal percussive thump of 'Little Things Die Fast' a thrilling insight to their eloquent, dark manner. 'Small Measures' place them further into an early 90s, post Riot Grrl, alt rock mode, Ellie Langley intoning like a teenage Polly Harvey. There is a blackness, an earthiness and some expressive songwriting from this impressive young rock band.

Review: The album title says it all: here's where brutally full power blasts till your ears bleed and on the dance floor sweating bodies twitch in disorder. The Core offers definitely the best from hardcore, darkcore and gabba. Protagonist's like Orphidian, Lenny Dee, Hellfish and DJ Promo guarantee the most outspoken and most violent sound that ferments current time, thus "The Core" of this style. This compilation CD is perfect for those days when there's just too much energy in the air to sit down bored out of your mind.