Review: Illegal Alien continues its 16th anniversary celebrations here with another volume, the fifth, of its limited edition Illegal Alien XVI series. Across all eight volumes once they are out there will be a total of 44 exclusive tracks and 46 great artists all tracing the evolution of techno over the last decade and a half. This edition is a superb one that fins plenty of innovation in techno, from the paranoid and warped synth energy of DJ Shufflemaster's 'Bizarre' to the tightly woven and intricate synth layers of Urban Groove's 'Aftertouch' via Unkle Fon's dry, stepped back techno funker 'Violet.'
Review: The most sought-after release from the entire Sounds catalogue, Gemini and Unit T's 1995 release, 'Sideburns', finally gets a much-needed reissue. A1 track, 'Trip', is a prime example of deep house if there ever was one. An infectious, encircling melody meets the deep groove of the bassline to create a finished product that is in equal measure sun-soaked and cosmic. 'B Trip', the A2 track, is a gloriously shifted, off-beat reimagining of A1, pummeling percussion reverberates across the track, left alone to enjoy moments where everything is stripped back, before the body of the track returns. On the B-side, 'Mystery Tones' arrives with the kind of groove that instantly makes its way across dancefloors - a unifying track that feels precise in its simplicity, whilst still retaining exactly the right degree of looseness to get a crowd moving. This is a must-have record for any deep house aficionados, and you can now save yourself the hefty Discogs price tag!
Review: Reinforced legends Underground Software and the Immortal Minds have been digging in their DAT tape archives and turned out some previously unreleased tunes which now make their way to this heavyweight 12" n ALO Major Defence. 'No Stopping' opens up with a dark and dystopian jungle sound that is dense with whirring snares and drilling basslines as the choppy amen motor on, while 'Moves You' is a beautiful roller with blissed out synths and a sense of d&b serenity.
Queen Omega, Chezidek & U-Brown - "Three The Hard Way" (4:13)
Lone Ark - "Inity Riddim" (4:11)
Review: Next up for the Irie Ites label, which is a real favourite for reggae heads, is this dynamic collaboration featuring Queen Omega, Chezidek and U Brown with production by Irie Ites. This original A-side track 'Three The Hard Way' brings together powerful reggae and dancehall vibes while blending each artist's unique style into a compelling anthem. Queen Omega's soulful voice, Chezidek's conscious lyrics, and U Brown's classic dancehall delivery create great synergy and the production means the track pulses with heavy rhythms. The flipside is Lone Ark's dubbed-out and nicely horizontal 'Inity Riddim.'
Review: Kulture Galerie is back with more wax and the third time proves a charm here with Doc Sleep, Rambal Cochet, The Jaffa Kid, Mesmerist, Jack Bags and Undsidedly all coming correct under the stewardship of label head Filippo MSM of Metropolitan Soul Museum. Cochet kicks off with some trance-infused prog techno, Doc Sleep offers jacked-up and analogue house, there is lithe cosmic tech from The Jaffa Kid and twisted machine sounds from Jack Bags, while Undsidedly's dreamy electro and The Mesmerist's peak time synth techno close down in style.
Review: Seafront International returns with some classic roots sounds from U Brown with a dub from Jah Warrior. Recorded at Conscious Sounds studio in London 2001, the sounds are stripped down to raw bass and drum dynamics by producer Jah Warrior who was clearly intent on allowing his work to be a personal platform for U Brown to offer up his own lyrical expressions and his musical messages. It's a track delivered with energy and serious focus and will sound best nice and loud.
Review: The Cosmocities label keeps it class with another deliciously deep house outing. This one comes from You Udagawa who opens up with 'Into The Rapture', a melodically rich cut with twinkling keys, lush pads and icy cow bells all detailing a steamy groove. 'We Become' is a loose-limbed sound with live-sounding chords and percussive bringing a Detroit vibe. Francesco Tristano remixes with a signature jazzy touch and nimble key work. 'Flows Forever' then keeps the jazzy, dance vibes flowing with more live drums and louche hits, 'Radiance' exudes cuddly warmth and late-night feels and Atjazz dubs it to perfection.
Review: While this may feel like a reassuring relic of a bygone era of house - there's a real mid-to-late-'90s San Francisco deep house-meets-Fila Brazillia vibe going on here - '$10 Rework' is actually brand, spanking new. It's a remake of' $10 Heel', which first appeared on Ultramarine's 2019 set 'Signals Into Space'. This version is warmer, looser and far more groovy, with Anna Domino's stylish vocal, echoing guitars, snaking sax and Dubtribe-esque organ sounds riding a deep, dubby bassline and swinging drum machine beats. Arguably even better are the two flip-side dubs (the first vocal, the second instrumental), both of which see the veteran British duo reach for delay-doused hand percussion, echoing instrumentation and the killer instrumentation. They're the kind of spaced-out dancefloor dubs that make most sense as the sun's coming up at an open-air party.
Review: Omar Garcia's synth enchantment is a great invitation to get lost on a dancefloor. He has been perfecting his craft on his trusted machines since 1997 and has always been influenced by the electronic landscapes of 1980s Italy. Now, Ultron unveils his latest EP, which is another testament to his unmatched expertise. This release elegantly blends vibrant energy with mesmerising melodies and makes for a delicate balance of intensity and allure. There is a timelessness to his beats, as well as hints of electro, disco and Italo, all of which add to their lasting impact.
Review: Under Black Helmet is a Lithuanian artist with an intense take on techno that has helped him to establish a respected position in the modern electronic landscape. His latest outing on Tempio Omega kicks off with 'Breakage' which is built on solid, linear drums and tripped out with some rising synth scales that bring extra movement. 'Naughty Control' fizzes with static and flashes of acid then 'Grit' pairs things back to a more deep and dubby soundworld. 'Chatterbox' shuts down with more dystopian vibes and deep, supple techno rhythms.
Review: Undercurrent is an artist based in LA and a New Palm resident who shows his studio skills across a trio of new cuts here. 'Beliefs' is a loopy breakbeat roller with jittery rhythms that lock you into their loops and keep you there. 'No Data' is similar but more punchy, with real edge and drive in the breaks while fat bass stabs power things along from below. The same track then gets a remix from Charlie Edward that is more spaced out with searching synths and a more rubbery bassline. Last of all is a floating ambient cut that eventually has a jungle breakbeat rise up through the mix to take you into the next dimension.
Review: The Looking In EP marks the return of Brooklyn-based quintet Underground System to local imprint Razor-N-Tape, with a stunning five track release of originals and remixes. It offers a fresh and unique blend of Balearic grooves, left-field funk and up-tempo backbeats that respectfully showcase the US sound. The tracks are complete with the band's signature use of flute and synth soundscapes, driving percussion and catchy vocal hooks that are sure to get you moving. On the B-side of the record, RNT mainstays Nenor and Clive From Accounts deliver two club-ready remixes that take the tracks into even more dancefloor-friendly territory.
What's Next (GU vs CVO Project Stone Age Techno mix) (7:43)
Review: When Glenn Underground goes digging in his vaults, you want to be there to see what treasure he comes up with. He has done that for a fifth time here and the reuses make up this new 12" on his Strictly Jazz Unit Muzic label. 'Platinum' (Tech Jazz Sessions) is pure Mid-Western house music - a sublime marriage of soulful and jazzy pads with deep, smoky beats. It has a devastating impact and the flipside 'What's Next' (GU vs CVO Project Stone Age Techno mix) is just as much of a mind-altering experience with its whispering cosmic leads conveying a message of great importance.
Review: No retreat, no surrender! The legendary foundation jungle label Kemet welcome Uneak. Armed with a sound and style that's straight out of 93 (and a birth certificate to match too by the looks of things), Uneak is proof you're never too old to breakthrough with a slamming debut. All four of these cuts hit with clarity and breakbeat authenticity as we bubble and bump to a range of flavours; 'Roll Thunder' hits like an old V release circa 94, 'No Retreat' would have burnt Roast down, 'Wicked Jungle' is all about the sunnyside horns while 'All Be Free' brings the euphoric hurricanes. A highly accomplished debut release.
Family Of Intelligence (Agony mix - Uneak mix) (4:57)
Shootout (4:54)
Review: Keme is a rather legendary foundation jungle label that proudly welcomed Uneak to its roster for his debut back in 2021. It showed great praise and he has more than backed that up since with his mix of raw energy and influences taken from '93 jungle. He is now back once again and each of the four tracks brings authentic breakbeat vibes and clarity across a spectrum of flavours. 'Witness' has some dramatic strings and spoken word smacks to kick off, while 'Bless Dem' has lush, golden synth chords and jostling breakbeats and 'Family Of Intelligence (Agony mix - Uneak mix)' brings a trippy top line full of hope to some drilling low ends. Closer 'Shootout' unleashes precision drum programming and ragga vocal energy.
Review: United Disco Organisation have been tapped up by the ATA label for its first voyage into the world of disco. The band is made up of producer and bassist Neil Innes and guitarist and singer Chris Dawkins and here they head off to the cosmos with a classically inclined sound that comes with lashings of Philly soul influences. 'Send The Rain' opens things up and features a fine flute lead from label-mate Tony Burkill. Dawkins's vocals then take the lead over a nice woody, organic groove and an instrumental is also featured. 'Funky Thing' is a glossy, vibes-heavy tune with big melodies and chunky drum funk.
Til You're Back In My Arms (Coyote 7 remix) (4:58)
Review: Universal Cave and the Street Road Band pay tribute to Dan Strimer's cult classic '(Till You're) Back In My Arms' here many years after it was originally released on Lost Nation Records in 1977. After Universal Cave spotlighted the track on Soft Rock for Hard Times Vol 8, the label embraced the idea of a fresh cover 47 years later. The Street Road Band reimagines the tune as a mellow, southwestern-Balearic ballad featuring Andre Ethier's vocals, Charles Simon's guitar, Jesse Spearhawk's pedal steel and more musical riches. UK Balearic maestros Coyote take the multi-tracks further by transforming it into a lush, dubby groove that is perfect for Cafe Del Mar.
Review: Mega-chromatic soul-jazz with a dash of weirdness from The Universal Togetherness Band. 'I Want You' and 'Call For Love' were recorded between 1979 and 1982, and were subsequently shelved until one of the duo's members began doling out cassette versions, which led to an unearthing in 2014. Subdued and laid-back drums, clack-guitar and toothy bass all poke through this release's sexy soul snark.
Review: Universe City's 1976 12" promotional release, showcasing 'Can You Get Down' and 'Serious,' achieved legendary status in the disco realm. Produced and arranged by John Davis, its limited availability and enduring demand, amplified by spins from influencers like Sean P and Dave Lee, underscore its lasting impact in the disco community. Davis, a pivotal figure in 1970s disco, significantly shaped its sonic landscape as a composer, arranger, and producer. Now, officially reintroduced after 48 years, this exclusive Record Store Day reissue is a must-have for disco aficionados that won't break the bank like an original would.
Review: Nanel keeps things anonymous again here but delivers another fine release with a brace of tracks that cater to both DJs and discerning listeners. On the A-side, 'Farfor' brings groovy basslines with punchy breakbeats and atmospheric pads while a hella catchy piano melody brings some colour and emotional uplift. It strikes a fine balance between classic and modern sounds and then on the flip is 'Ready' which dives into deeper, dub-influenced territory with a big fat bassline, crisp percussion and hypnotic vocal cuts. Its layered rhythms and immersive textures reveal a more introspective side that makes a lasting impression.
Review: Only Music Matters keep it real once more with another superb EP from an unknown artist featuring loads of untitled tracks. And those tracks all operate in the world of minimal and tech house with fresh ideas and forward-thinking sound designs. 'AAA001A' is a dark one with paranoid vocals looped over churning beats and steely metallic hits. 'BBB001B' is more smooth and free-flowing with a dubby undercurrent and bumpy pads over a deft rhythm. 'BBB002B' adds a third and final different look - a more warped and elastic rhythm with some brighter melodic touches that will help shift the floor up a gear.
Review: It has been three full years since we last heard from Unknown Assailant. Their debut EP came in September 2020 and offered four different techno cuts aimed at the club. The mysterious producer is now back on their own outlet with another four stylish offerings. 'Ancient Beauty' is all jacked up drums and mysterious chords. 'Isolated Mechanics' then keeps up the pressure with more raw percussive patterns and analogue drum sounds and 'Rude Awakening' layers in vast icy hi hats to dramatic and hypnotic effect. Last of all is 'How Has It Come To This', a dark and dubby, moody and minimal techno piece for 5am.
Review: Welcome back to Planet Rhythm, the most groovy of all the astral bodies and one that deals only in seriously high-spec techno. Unknown Code is the one cooking up the goodness here and does so with a real focus on weighty low ends. 'Jede Dunkle Nacht' has just that as well as starry synths flashing across the face of the tune. 'Paranoid' is a darker cut with more grainy texture and scraping hits then 'Vision' thumps out a linear groove embellished with panel beaten loops and 'U-bahn' gets edgy with more strobe-lit synths. These are tools, but tools of the highest quality.
Review: Everything about this new marbled vinyl 12" is unknown - the artist, the label, and even the track titles. It is the purest way to put out music and avoid the cult of personality and in-built bias that comes when hearing an artist's name or seeing the label they release on. Thankfully the music has plenty to say as it traverses myriad different club-ready styles from lithe minimal bass music to icy electro that makes the heart flutter via more slow, twisted, dubby rhythms for late night back rooms, while the crushing breakbeats of 'Track 5' also stand out for their sheer forcefulness.
Review: The Unknown-Untitled gang is back with an eighth mysterious outing from the self-titled production outfit behind the label, whoever that may be. Again this is a limited edition 12" and again it is pure fire. 'rack 1' sounds like techno from a distinctly UK perspective, if you ask us - the bass drills deep, the synths fizz like static and chopped up vocal fragments bring the hype. The rest of the EP is a varied one that takes in clanging loop pieces, industrial tinged workouts like 'Track 3' and futuristic rhythmic explorations such as the tense, textured sounds of 'Track 5'.
Review: The Peppermint Jam label is buzzing to be serving up a true house music classic from 1991: Urban Soul ft. Roland Clark's 'Alright!' is an iconic track that was originally written and produced by house legend Roland Clark. It now has been revamped for today's house lovers with some modern production heft. Vocal credits go to Roland and the late Ceybill Jeffries of course as both voices remain prominent here but the remixes are massive, with DJ Spen and MicFreak delivering a soulful masterclass featuring fresh chords and an irresistible bassline. Mellow Man, one of Peppermint Jam's early artists, adds a jackin' groove that takes things back to house music's glory days. These mixes are vinyl only so do not snooze.
Felicie - "Shadow Works" (Cleric 3/10 Years remix) (5:56)
Review: The Clergy label celebrates ten years in the game by serving up another of its vital techno sermons. This one comes with the sub-head 'Charlie' and sure is a charged-up various artists affair that kicks off with the anxious synth designs and nimble drum funk of USAW's 'Kokedama'. Red Rooms coats his beats in dusty and scruffy hi-hats on 'Imaginary Pleasures' while Bidoben gets more deep and eerie with the melodic howls of 'Mimic.' SLV's 'Ohne Sonne' keeps the tension levels high with paranoid synths peeling off an unrelenting groove and two further offerings explore more paired back sounds that tunnel deep into the future.
Review: UZOO brings their raw energy and smart lyricism to new this new single which comes on Ill Adrenaline Records from the US. This project highlights the collective's dynamic sound which blends gritty beats and sharp, thought-provoking lyrics which add up to a refreshing take on hip-hop while staying rooted in the genre's golden era influences. 'Attack' hits hard with heavy, precise drums and gravelly vocals next to a mix of string samples, dark soul synths and eerie melodies that float way up above the drums.
Review: A stunning album of big band music from Finnish composer, Kerkko Koskinen, featuring Linda Fredriksson on saxophone and the UMO Helskinki Jazz Orchestra, Agatha 2 is a sequel of sorts to their original Agatha album released in 2007. Tracing Koskinen's signature immensely emotive and dramatic approach to composition, this album sits beautifully between moody atmospheres and fully immersive rushes of cinematic sound. It is clear that Fredrikkson and Koskinen share a clear vision with her solo performances shining against the undulating orchestral backdrop. Taking on a distinctly melancholic and nostalgic mood, especially with the pieces 'Promenade' and 'Piana', the drums are positioned at a purposeful distance to the driving dynamics of the composition, adding a hint of melodic colour to the overall piece rather than being a central force. An inventive project that journeys forwards and backwards in time.
Review: In the 1970s, UK reggae band The Cimarons were an in-demand backing act who worked with then-iconic Jamaican artists like the Wailers and Jimmy Cliff. During a 1975 tour of Japan with the Pioneers, they found time to hook up with guitarist and vocalist Toshikatsu Uchiumi of the rock band The Carol. This is the result - a fusion of different reggae perspectives that also folds in mid-70s Japanese rock and blues, with Uchiumi singing in Japanese and contributing lead guitar. Produced by Sidney Crooks, this one-off release showed how adaptable and brilliant the The Cimarons' were and has a broad appeal to fans of both reggae and rock.
Review: PPU is one of your favourite labels when it comes to dusty and lo-fi soul and related sounds. Now the DC-based crew delivers another gem with Grand Hotel, a collection of ten rare tracks from Estonian funk legend Uku Kuut, who they have released several times before now. The instrumental album traces Kuut's journey through the Soviet Union, Sweden, Los Angeles, and Estonia and is a window into his excellently eclectic style. Highlights include his first home recording from 1982 and a track produced in Herbie Hancock's studio. After more than 30 years of travelling across borders, these precious masters have found a permanent home and means that Grand Hotel is a fine tribute to Kuut's international influences.
Review: Unchained is the longstanding solo project of Nathaniel Davis. Gabbeh is his latest offering to the world, a suite of blissfully introspective tracks that envelop the soul in a blanket of soft, delicate moods, their sole purpose to comfort aching heads. Remarkably, dedicated fans will know you can trace the artist's lineage to noise mix tapes on CD-R, although more recent excursions into Bossa nova influenced tones perhaps help bridge the gap between then and now. Recorded at home over a three year period, from 2020 to 2023, Grenoble, Switzerland, played a big part in end results here. "I think certain songs reflect, in ways, Grenoble's natural surroundings. 'Drac' is named after the river that flows from the mountains down to the city - 'Dru' is the name of a well-known peak near Chamonix," Davis has explained. That as may be, nevertheless there's something more transportive than that here - songs feel as though they would be at home anywhere green, slow and thoughtful.
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