Scienza X - "DLC" (Steve O'Sullivan SOS Deeper dub mix) (7:17)
Scienza X - "Decoding Signals" (Pedro Goya Acid remix) (7:45)
Scienza X - "Decoding Signals" (San Proper's Weird Samurai mix) (10:34)
Review: Apollo hammer down four new ones from Scienza X, the Portuguese duo whose shocker 'ARL001' release flung itself hard at our ears in 2023. Embodying associations of "heavyweight machinery, minimal influence and an outlaw spirit" as enthused in their bio, 'DLC' and its Steve O'Sullivan SOS remix strut an omnipotent variety of influences, from bleep techno to dubby minimal, as we relish the surplus joy embodied in the gaming concept of downloadable content. Then 'Decoding Signals' provides a licked EBM-esque weight and a slick, twinkling breakdown from Pedro Goya to top things off.
Review: Few tracks capture the icy allure of early 80s electronic experimentation quite like this underground classic. Originally released in 1981, this Swiss post-punk/coldwave classic has transcended its era, becoming a cult favorite across underground scenes and DJ sets of various genres. Now reissued on limited blue vinyl, its influence remains undeniable. 'Eisbaer' is a track that bridges stark, minimalist electronics with the raw energy of post-punk. The hypnotic bassline and cold, robotic drum programming lay a foundation for jagged guitar stabs and eerie synth flourishes, creating an urgent, mechanical pulse. The disaffected, almost mantra-like vocalsideclaring "Ich mochte ein Eisbar sein" ("I want to be a polar bear")iheighten its existential detachment. Echoes of Throbbing Gristle's industrial edge and Cabaret Voltaire's abstract electronics blend seamlessly with the emerging synth-pop movement, helping to push new wave into more danceable, electronic territory. Side B's 'Film 2' takes a more abrasive approach, a pounding, near-industrial instrumental that pulses with motorik intensity. 'Ich Lieb Sie' is more restrained but equally unsettling, its sparse arrangement and ghostly atmosphere reinforcing Grauzone's unique ability to evoke emotion through minimalism. Timeless and still chillingly modern, this reissue ensures that Eisbar and its B-sides continue to inspire. A crucial document of coldwave's evolution, reaffirming why this track remains a DJ favourite decades later.
Review: No, this is not a long-lost jam from popular British songsmith David Gray, but a sought-after underground Italo-disco anthem from 1987 fronted by an uncredited Italian singer and produced by a duo called Scarface. In typical Thank You/Sound Metaphors style, this fine reissue boasts all three versions from the original 12": the glossy, synth-pop 'extended mix', a vocal-free instrumental, and the 'special mix'/DJ friendly dub mix style 'extended instrumental' - a version that sounds like a tweaked and extended backing track to a Shep Pettibone produced Pet Shop Boys album track from 1986. We also get a fresh, effects-laden 'Bonus Dubeats' take from label affiliate Castro which is arguably the best of a strong bunch.
Move Your Body (A Fire House Chicago Classique) (6:01)
Marisa (GU edit) (5:33)
Tell You (Today) (GU edit) (6:40)
Hurry Up & Wait (GU extended version) (6:34)
Review: GU (which is of course an alias of Chicago favourite Glenn Underground) is back with a 20th volume of his Classiques series. It once again finds him adding his own special studio magic to come stone-cold classics from the funk and disco world. First, he flips Le Cop's 'Move Your Body' into a funky percussive sound with steamy vocals. Then Machine's 'Marisa' becomes a jazzy and expressive sound with busy leads and funky guitars and Loose Joints's 'Tell You Today' is a wild horn-led sound with a busy arrangement and pumping drums. Last of all are the sunny and soulful sounds of The Isley Brothers's 'Hurry Up & Wait' with cool house drums.
Review: Focused on artists from the great anatine peninsula that is South America, Mirror Vinyl Series reflects the techno-house multi-talents of many an artist from Argentina to Bolivia to Ecaudor to Peru to Suriname to Uruguay to Colombia to Venezuela to Brazil... there are simply no limits on locale, except for the featuring artists' ancestries themselves, and that to hail from SA is a must. Here, after a stellar set of digitals recently from Sofia Duz, Zolbaran, Atemporal and Marcos Coya to name but a small few, we're now heard hearing the Uruguayan ur-builds of Marcos Coya ('Sabes Que Si'), the chord-smeared minitech funk of Colombian boheme Donnie Cosmo, and/or the hoarse breaks, seedy acids and "what do you wanna take tonight?"s of guileful Brasiliera, Guile.
Devante Embers - "When You Focus On The Good The Good Gets Better" (7:02)
Review: Marking out ten years of Monologues Records, label CEO Ben Gomori proposes a wide-ranging retrospective, bottling the label's ethos as a border-bending housebreaker. This sampler 12" complements the full 35-track digital release, which latterly mixes deep house, disco, Balearic, kwaito, breakbeat, jazz house, Afro house, melodic techno and more, these are the label's most slept-on cuts and utmost personal favourites, charting past releases by Gilles Peterson, Kerri Chandler, The Blessed Madonna, TSHA, Colleen Cosmo Murphy and Kamma & Masalo. The MO is to buck trends, and simply "sign and support good sh*t, wherever it comes from."
Review: FABRICLIVE's artist-focused label continues to shine with a new gem from rising star Kiana Li aka Gyrofield. The tracks 'Akin' and 'Mother' are rooted in drum & bass and deliver a fresh, detailed sound that captures both atmospheric and melodic vibes. First up, 'Akin' offers balmy breakbeats and celestial propulsion, while 'Mother' combines big vocals, precise low-end brilliance and a twisted mix of techno. Reflecting on her work in accompanying notes, Gyrofield describes these tracks as free-spirited and transportive and they really do embody a journey of self-expression. Having been released on Critical and Noisia's Vision, gyrofield's music continues to cut through.
Review: Grenoble DJ and producer The Hacker, known for his dataphile dark trance excursions, teams up with newcomer Endrik Schroeder for a full-blown creative grand slam, 'Puissance 4', betraying decades' worth learnedness in the knob-twiddling manual arts. The title track here builds from a classic beat into a euphoric hoover-rave crescendo - luring dancers in with hypnotic acid textural decoys - but then finds mercy on said prey, giving the dance what it needs: a rave riff on loan from heaven. 'The Voyagers' contrasts with an 808 soul slapper, its sensuality and understated heavenliness recalling obscure 7th Plain releases.
Review: Big Love's popular compilation-style A Touch Of Love series returns for a sixth instalment, with boss man Seamus Haji once again showcasing a quartet of tried-and-tested treats. Fittingly, he kicks things off with 'Serious', a kind of hbrid heavy garage-house/disco house affair featuring organ solos aplenty and vocals from Chicago legend Mike Dunn, before Moon Boots joins the dots between sweet 80s soul and nu-disco on the synth-powered vocal number 'In My Life'. Heavy, French Touch-inspired disco-house vibes are provided by DJ Fudge ('Escapade'), before Dutch rising star Danou P - with a little help from pal Jamie 3:26 on vocals - delivers the organ rich deep house/garage-house fusion of 'Fly'.
Review: New York label HandsOnWax are said to confer to the digging DJ strange bouts of alien hand syndrome: when confronted with any one release, we simply cannot keep our hands off, no matter how much conscious control is exercised! Here the label clutches its fourth release with a tightly honed set of four house tracks built for peak functionality; each cut on number four is manually engineered for clean arrangements, tough low-end and sharp rhythmic details calibrated for optimum mix pressure. No pressure! That being said, we don't know the artist behind this one, only that 'Rumor Mill' and 'What A Dayb' are creamy, broken jazz come post-bassy club incursions, well worthy of consideration in themselves, not for the charismatic aura of person that made them.
Review: If we had a pound for every hush-hush Sade remix or re-edit we'd heard over the years, we'd likely have enough to fund a night out - or at least a light lunch at an overpriced London restaurant. This one comes from - surprise, surprise - a mystery artist, on the freshly minted Illegal Paris rework imprint. It sees our shadowy hero give his, her or their take on 1984's 'Hang On To Your Love', re-framing the classic cut as a smooth, subtly nu-disco tinged slab of warming deep house excellence built around a rising and falling bassline, crunchy drums and tech-house tinged electronic flourishes. The superb full vocal A-side version comes accompanied by a dancefloor dub style 'instrumental'. This features occasional vocal snippets and loads more spacey synth sounds.
Review: Brighton-based producer Pierson brings a refreshing diversity to his deep house and disco house offerings, blending multiple influences with an ease that keeps his tracks exciting and unpredictable. 'Forget It Mate' starts off with a slow groove that feels like a nostalgic nod to vintage deep house, but it's much moreithis track is a skillful blend of old-school vibes and modern energy. It seamlessly moves between different styles, creating a dynamic and infectious vibe. 'Mr Miami' follows with a lively piano-driven melody, uplifting the listener with its ambient house feel, where lush chords and smooth transitions create a feel-good atmosphere. On Side-2, 'Spank Dat' is a funky standout. With its rich groove and rare disco aura, it's a killer track for any dancefloor, offering a unique fusion of genres. Finally, 'Just No!' dives into a tribal, electro-driven territory. Its organic yet robotic funk takes on an 80s electro feel, offering a quirky, dynamic sound that pushes boundaries. This EP delivers something for everyone, effortlessly blending styles while staying rooted in deep, groove-driven house. A true example of the producer's range and creativity.
Review: Milton Henry was a key figure at Wackie's in the early 80s and he left behind a legacy anchored by his acclaimed album Who Do You Think I Am?. Now, a long-overdue single release celebrates his work anew for both those who have always known and fresher ears keen to get a taste of his early authenticity. The A-side features a standout track from the album in its previously unreleased single mix and it is paired with a never-before-heard dub version. On the B-side, a fresh 2024 remix of Henry's mid-80s tune 'Make It Right' makes its mark, having originally featured on the Digital Dawn compilation. Wackie's producer Lloyd Barnes revisited the track and added a powerful horn line from Jerry Johnson, who also shines in the instrumental dub that follows.
Review: After a top first appearance in the series, Dutchman Tammo Hesselink returns to the Mantis project with another deep, immersive release full of his signature hi-fidelity sound design and meticulous drum patterns. Blending dub's echo-laden atmospheres with industrial percussion and the sparse textures of minimalism, his sound design is as distinctive as ever as once again, rather than relying on melody, he sculpts emotion and intensity through texture, space and rhythm. Metallic hits and reverberant effects create a physical, tactile experience that is both abstract and structured, designed for powerful sound system delivery while rewarding close listening. Hesselink offers a cerebral yet visceral trip here.
Everything Is Illuminated (Andre Kronert remix) (7:48)
Everything Is Illuminated (7:42)
Still, The World Is Dark (9:43)
Review: For those who crave dark, detailed, and tightly tuned techno, check this one out from Stephan Hinz. He lands on Odd Even with four cuts packed with tension, immersive atmosphere and precision-crafted sounds for peak-time floors. 'Beneath The Roses' begins with potent kick drums tightly stacked under sizzling synth work and 'Everything Is Illuminated' and 'Still, The World Is Dark' ring more dark, grainy moods for the dead of night. On remix duty, Andre Kronert flips 'Everything Is Illuminated' into a relentless, stripped-back roller that locks you in from the first bar. This one's built for heads who like their techno raw.
Review: Techno tachyons Midi Mode, based in Ireland, provide a home for "warped and twisted" sounds and those who create them. After five vaporwave-tinged, reality-bending debut EPs from the likes of Ikeaboy and Power, they now present their very first selectors V/A EP on a gooey green wax edition. It's quite the assembly of Eireann techno royalty, with a host of seasoned players lead by probably the country's most esteemed DJ, Sunil Sharpe, as well as Kerrie and Wexford's Lee Holman. Quality is, naturally, at a consistently high label - with closer 'Phase-One' proving an especially computational, objectivist, mad, pitiless track.
Review: Ah, Hot Creations, home to the hippest house music that cites disco and 25 year-old club anthems as its inspirations. Here, label head honchos Jamie Jones and Lee Foss revived their Hot Natured project for a sweet stroll through smiley vocal house territory in the company of one-time electrofunk revivalist Ali Love. "Benediction" is good for what it is - a vaguely deep, pleasant Hot Creations record - but the real killer here is the remix of former single "Forward Motion" by crusty old US garage head Mark "MK" Kinchen. He recalls those glory days of tough but groovy MK dubs with a rework straight out of 1993.
Review: Hastings-born prog/tech veteran Danny Howells' latest foray into the world of house music proves once again why he's a staple of the scene. Lead track 'Powershow' is a sprawling 12-minute exploration that encapsulates everything great about houseideep, soulful, yet endlessly driving. Following that is 'Stereodrama,' which shifts gears slightly, upping the ante with a raucous, percussive workout. It's a perfect reflection of Howells' deft touch for crafting emotionally resonant yet unrelentingly danceable moments. Finally, there's 'Earthlings X,' a track that might have been created years ago but still feels entirely of the moment. Despite being Danny's first release for Selador, it's aged like fine wineiits ever-present freshness matching its ability to still sound like a future classic. It's the kind of cut that seems to embody everything Howells stands for, the perfect intersection of intelligence, energy, and soul. Sounding both timeless and cutting-edge this is another feather in his already many-feathered cap.
Review: A genius firestarter of jazz-funk and disco, Hudson People was a short-lived alias and band/group project of producer Reginald Derrick Hudson. Though Hudson's credits stretch way back to 1979, Backatcha Records recently hosted a brilliant recent record by Johnny Davis, 'Life's A Party/Expand Your Mind', with Hudson on co-prod and rights-holding. Signalling the first stirrings of a potential comeback, The Outer Edge now reissue Hudson People's most galvanic, debut singular moment, 'Trip To Your Mind', in the form of two xtra-special hi-NRG remixes. Though it hardly blew Hudson as an artist, the track has since been recognised as an originator of the Brit-funk genre. But it's the disco edge that really cuts into us here. LTJ Xperience brings Hispano-disco delight to a dubby "freakout", as the lyrics on the original intone, while Delfonic's version is relatively horn-led, boxy, kettle-drumming, terrific.
Review: Detroit native Ideeyah is a singer, songwriter and performer whose soulful vocals and lyrical storytelling touch the heart. Born LaKeisha Johnson, who you may remember from featuring on Theo Parrish's superb DJ-kicks mix. Here she steps up to his Sound Signature label with a new solo EP produced by Meftah. It begins with praise-giving spoken words and cosmic synths on 'Invocation (feat Maimunah Baqui)' then takes in deep and jazzy broken beats on 'Align', heavenly keys and vocal coos on 'Light' and slow motion grooves on '2020' where Ideeyah's effortless smooth and seductive tones melt the heart. 'Eat The Plants' and 'Sweet Chariot' are two more magnificent vocal pieces with gentle live drums and meaningful pads.
Review: Five acts that each exists in their own sonic world but are bound by an unseen thread of musical energy. Ildec's 'Calling the Police' pulses with deep, cerebral synths, while Adrien Calvet's 'Spray Time' crafts rhythmic structures that echo the heartbeat of urban life. Ragwa's 'Kings of the Road' weaves dreamy melodies that feel like fleeting moments suspended in time, imbued with a dreamy, escapist quality. Charleze's 'Do it Right' effortlessly blends vinyl's past with the present, creating a sound that feels both nostalgic and new. Karaba's 'Bye 2002' manipulates rhythm with kinetic energy, turning beats into pure motion. Though these artists operate in different corners of the globe, their shared sense of musical intensity has brought them together on the same record, proving that distance is no barrier when the sound is this powerful.
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: Infinity Plus One channels the murky heat of 90s Detroit into four cuts that throb with machine soul and analogue bite. Based in the UK, the producer debuts with a raw but focused blend of electro, house and technoihis nod to the Motor City filtered through a distinctively UK lens. 'Innocent Beginnings' pairs chunky kicks with haunted synth washes, laying the groundwork with a bass-heavy strut that feels both grounded and widescreen. 'Dusk And Darkness' leans darker, stitching 808s and breaks into a rolling, rave-adjacent groove, all tension and propulsion. On the flip, 'Stand For Love' dips into classic deep house mode, slowing the pace for a moment of emotional clarityigentle pads circling a tender vocal loop. Closer 'Ubiquity' rides a twisting bassline into atmospheric club gear, its big stabs and lurking low-end pulling dancers into a heady zone. A full-spectrum debut that honours the roots but refuses to settle in them, this is warehouse music made with reverenceiand a sense of forward motion.
Ahnonghay (Kevin Saunderson original Reese mix) (7:04)
Review: Inner City's time on Network Records produced a run of timeless recordings that merged their signature vocal soul with the underground grooves of Detroit. This reissue of 'Ahnonghay' highlights that early golden era and finds the legendary Kevin Saunderson return to his techno roots in some style. The tune was originally released under his seminal Reese alias and marries that raw Motor City energy with sleek electronica that embodies the early techno blueprint. This 12" pressing includes the original mix alongside two standout remixes: Carl Craig's atmospheric reimagining and Dave Clarke's gritty UK techno take. All in all, a vital snapshot of techno's early evolution.
Review: Established in the UK in 2009 as master-builders of disco-house builds in the late naughty noughties, Instruments Of Rapture first cut the red tape with Ilija Rudman's 'Part Four' and lasted for just three years until 2012. And while the early axing was a shame, we think real works of art are those which are short-lived but profuse in quality. Now kicking back into gear after almost 15 years, the label now return to double up as both label and moniker, humorously titled 'You're Cured Mate'. Described as a "soundtrack more hypnotic and deadly than ever", this new one follows 'The Formula' of cut-short, hypno-loop lyrics and carnal felid whispers (especially in '7 Grams Of Funk'), marking an EPs' worth of subtle libertinage in 2025, the year of the snake.
Review: Emmanuel's ARTS is a Rotterdam-based indie techno label that quietly pushes at the boundaries. Introversion has released here before with his 'Hush' 12" back in 2022 and since then has landed on the likes of Fundaments and Makatoo, always adding to his reputation. This one opens with 'Laeddis', which is cantering, full-throttle techno funk with big, oversized hi-hats. 'Found Footage' is a scruffier cut with underlapping kicks and muffled trance chords up top, then 'Tesseract' gets slicke and turbocharged for a fresh future assault. 'Signs' closes with supple, mind-melting synth patterns that intertwine with wispy percussion and thudding rubber kick for pure techno perfection.
Review: Manifest drumcode signee Mha Iri shares her latest 'Neon Storm', where geometric blitzes and "get-down" vocals excoriate the dancefloor. The lead track screams with colossal, sinking-feeling synth design, as though a War Of The Worlds tripod were heard stomping on skyscrapers a city away, and that this could possibly an exciting, not terrifying experience. 'Moving Machines' firms the bio-mechanoid vibe, with its added chord crimps, glottal mids and ultra-processed kick centres.
Review: Berlin's Exit Strategy began their 12"s game releasing EPs in browned sleeves, shortly before branching out into digital-vinyl combo releases with original artwork in the 2020s. Now with over ten years of experience under their belts, they welcome five new artists for a playful bricolage in deep and minimal techno, privileging elite, razor-sharp additive sound design and future-soulful vocal tasters. Ivory's opener 'Rain' epitomises this, while Jimi Jules squelchifies the same formula, and Aera's 'Future Holdings' rolls out the same logic to its ultimate conclusion, veering towards complex, 3D-graphic melodic techno composed entirely of climbing saws.
Review: OG business! Majik and his label Infrared have been charming the dance since the very roots and he's back once again with this superb trio that originally ran last autumn. Fresh to wax, 'Ghost Train' charges along with real old school hardcore vibes, especially with those booming detuned synths. Things get deeper as we skip further into the EP; 'Above The Clouds' is goes all icy and introspective while 'July' closes with a nod to Detroit. Powerful.
Review: The late great Whitney Houston has many hits in her back catalogue and plenty of them are ripe and ready for club-ready reworks. J& E Project do just that here by reworking her belting diva classic 'So Emotional'. First off they extend it with more drums for the dance floor, some 90s piano house chords layered in and splashy cymbals to make it all the more immediate. The vocal remains iconic and is sure to be sung back whenever this one gets played. A radio edit and instrumental also feature on this flashy pink vinyl.
Review: How many Italo disco records leave you saying, "now *this* is where it's at!"? Even many classics miss the chi-spot, but oh do ZYX Music know where to look for such satiate sounds. Originally released in 1986, JD Jaber's Don't Wake Me Up gleams in new citrusy light: the new 12" maxi single recirculates a genius work by Gianluca Bergonzi, whose clattery percs, rattly sweet melodies, and spandex stabs leave our breaths taken. The hard-to-find original versions feature on the A, while the B-side stirs up two new exclusive remixes mouth-to-mouthing new life into the track (and we're not talking CPR): Flemming Dalum's is steeped in retro finesse, while Dstrtd Sngl takes a more modern route, injecting darker textures and punchier dynamics.
Review: Last year, Home of House Records founder - and the producer responsible for the first release on the admired Kalahari Oyster Cult imprint - delivered his first new EP of music in over five years. The creative juices now flowing again, he's landed on another admired imprint: Hamburg stable Smallville. He begins in confident mood via the new age house-meets-vintage-Italian house hustle of 'Move Your Body', where Enigma style synth-flutes and elongated chords flutter around a squelchy bassline, before opting for a dreamier and more thickset classic deep garage-house sound on 'Feel The G'. The Italian producer reaches for more sublime ambient house chords, jazzy bass and eyes-closed melodies on flip-side opener 'One Kiss One', while 'Isola 89' sounds like his tribute to the 'paradise house' of Don Carlos and Sueno Latino.
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