Review: A² was the electro, breaks and tech house duo Andy Panayi and Alec Stone, and this outing on R.A.N.D. Muzik Recordings is a four-track collection that comes years after the tragic passing of Panayi so serves as a poignant tribute from his close friends and family. Honouring Andy's legacy, the release captures the duo's innovative electronic spirit and is both a celebration of their work and a touching farewell. Musically 'Street Renegade' is a lithe breakbeat sound, 'Upton Park Breaks' is more dark and textured and 'Electro Boogie' is just that while 'Reckless' closes on a more spaced out and cosmic tip.
Review: Plenty of neologistic fun can be had with the work "break", but we must admit that "breakflow" is a new one on us. Lisboa produtor b0n impresses such sonic and titular genii with a new, green-goo-hued four-track EP on Portgal's fantastical Magic Carpet label, spanning clean future progressive and garage-acid tempos. The title track and 'Sasha Palomal' only tease the unortho-breaks with tricky garage beats and straighter but admittedly still formative breaksteps; it's only by the point of the B-siders 'Positive Morph' and 'Fractures' that any such fluvial breakbeat is properly put back together and course-corrected. Be warned, the latter track moves through the nicely rare variants of freestyle and "electrance"; careful not to dance yourself to breakdown.
Review: Brooklyn is not often somewhere you think of when it comes to minimal, a sound more usually associated with European artists these days, unless of course, you're talking about early US originators like Dan Bell and Robert Hood. This release suggests that view is wrong with a trio of classy cuts. Mike Berardi's 'Helicopter Ride' is lively and jazzy and rides a nice broken beat. Samuel Padden's 'String Theory' is more icy and paired back to a minimal cosmic trip and Jay Tripwire's 'Floorboards' a wonky late-night charmer.
Review: Bristol producer Borai (Boris English) and London's Denham Audio (Peri Ashwood) pulled off a remarkable feat with 'Make Me/No Good', an unequivocal release put out on Higher Level Records in 2019. Repurposing the unmistakable hookline from Donna Allen's g-funk jacker 'Serious' from 1986 into a fully re-recorded sample all their own, 'Make Me' set alight the feet of the breaksy raver, striking serious gold in the classic formula of easily-recognised old-school-soul vocals and sculpted tearout heft. As anthemic as its original B-side, 'No Good', the original latter half of the record now comes substituted by Big Ang's Rave To The Grave mix, whose blooping trooper sound design and mains-hum Reeses provide an ecstatic alter. A can't-go-wrong reissue by the Room Two camp.
Review: Dance music is rife with megalomaniacal personalities eager to carve their names in, well, whatever the techno equivalence of blue-plaque posterity is. Here, however, the producer Brother Nebula (Lance DeSardi), from Texas, flips the desire to delusively status-climb for such trifles on its head, inverting the idiom "delusions of grandeur" in naming their EP 'The Grandeur Of Delusion'. Informed by delusion or not, this is a grand EP, rendering the problematic of grandiosity somewhat moot: from dark future garage faceoffs ('Ice Giant', 'God's Green Earth') to brooding halftime ice floes ('The Grandeur...'), Nebula has thoroughly honed his craft since relocating to London, not failing to blur genre categories across borders, nor to compel with huge, still technical broken beats.
Review: In the summer of 2023, Upgrade Records launched via a nostalgic, party-starting EP from the previously unheard artist In 5 D (likely an alias for someone a bit better known, but don't quote us on that). For the label's return, long-serving DJ/producer Buckley Boland (best known for his releases on Made To Play, Black Riot and One Records) is the man at the controls. What he's delivered is a nostalgic, sample-rich affair that combines the angular wonkiness and mind-mangling noises of early-to-mid-2000s tech-house with nods towards vintage acid house, electro-house and the hard-to-pigeonhole house filth of the (long gone) Music For Freaks label. Basically, it's all fun-time, party-starting fare, with the bump-and-squelch of 'Daft Sandwich', the bustling brilliance of 'Nude Night' and the break-sporting hustle of 'S/A/M Real Man' standing out.
B-STOCK: Slight surface marks, record slightly warped
Buckley - "I Like" (5:13)
Buckley - "Nude Night" (5:08)
Buckley - "Daft Sandwich" (5:19)
S/A/M - "Real Man" (4:34)
Review: ***B-STOCK: Slight surface marks, record slightly warped***
In the summer of 2023, Upgrade Records launched via a nostalgic, party-starting EP from the previously unheard artist In 5 D (likely an alias for someone a bit better known, but don't quote us on that). For the label's return, long-serving DJ/producer Buckley Boland (best known for his releases on Made To Play, Black Riot and One Records) is the man at the controls. What he's delivered is a nostalgic, sample-rich affair that combines the angular wonkiness and mind-mangling noises of early-to-mid-2000s tech-house with nods towards vintage acid house, electro-house and the hard-to-pigeonhole house filth of the (long gone) Music For Freaks label. Basically, it's all fun-time, party-starting fare, with the bump-and-squelch of 'Daft Sandwich', the bustling brilliance of 'Nude Night' and the break-sporting hustle of 'S/A/M Real Man' standing out.
Review: Analogue pressure from Bufobufo, who stops over in Japan for Cabaret Recordings after earlier international stints with Art Of Dark, Partout and Furthur Electronix. His second single for the label, founded by So Inagawa and DJ Masda, proffers a hypnotic blend, binarising the mood with the sliding melodes of 'Watercourse' and 'Armour Plated' with comparatively sparse and gritty perc-slaps of 'Wood Ant' and 'Cinnabar'. That strange but difficult-to-nail split between of hypnotic intrigue and immediacy is well and truly nailed.
Review: The Distorsion camp offers up its first sampler as a way of teasing you with the sort of quality sounds and artists it has on its roster. First up is a three-way collab between Citybox, Hankook & Orebeat whose 'Dangerous Changes' is an intense breakbeat workout for the peak time. Orebeat & Alex Clubbers keep the energy levels high and inject early 00s video-game style synths, Orebeat & Citybox keep it dark and raw with 'Gangsta' and Orebeat & JottaFrank laced up their thrilling breaks with acid lines and sleazy vocals on "Noche De Paris.' This is potent stuff for strobe-lit floors.
Review: DIGWAH marks its tenth release in style, maintaining its signature mystery while delivering two standout cuts that embody the British label's underground ethos. Side-A's 'Wayside' is a clutch tech-house banger that has finesseiclean, classy and an irresistibly groovy. A crisp breakbeat underpins a funky rhythm, while a strong vocal hooks you in, giving the track a timeless yet fresh feel. This is underground house at its best, effortlessly balancing sophistication with dancefloor heat. On the flip, 'Demeanour' leans into ghetto tech-house territory, with a weighty bassline and infectious r&b vocal samples. The groove is deep, the funk is undeniable and the track's raw energy makes it an instant mover. Another essential release from DIGWAH - stripped-back, hypnotic and built for those who know.
Review: New York City-based DJ, producer and impresario DJ Spun aka Jason Drummond has been involved in many different live bands over the years but also knows how to kick out the jams in solo electronic mode. 'Tribal Toilet' is a twisted, percussive techno tune with abstract motifs, bells, warped bass and layers of vocals that make it evocative and unhinged. 'Hear My Mega' is a throwback tune that rides on dusty breakbeats with old-school rap samples, whistles, helps and everything you need to get the party going off.
Review: Dogpatrol returns to Sneaker Social Club with four more tracks of gritty, genre-bending rave damage. Despite hailing from Offenbach in Germany, his sound blends UK influences like breakbeat hardcore, dubstep and garage and that results in a mutant style that's uniquely his own. '1200kcal' features jagged UKG drums and cosmic bass arps while 'Baby Flame 'channels warehouse electro with a heavy synth splat. 'Ya Playin Yaself' delivers a dubstep roller with playful keys and 'Offgenbach HBF Riddim' adds a breakbeat twist with echoes of The Blapps Posse. Dogpatrol's irreverent, misfit approach to rave shines again here.
Review: Double B is Barry from 2-X-Treme and is surely the most famous rave producer to have come out of Portsmouth. The dance floor don wrote this one at the same time as his celebrated 2-X-Treme EP so brings back plenty of the scone pleasures of that ear. Now pressed up once more it blends breakbeats and UK hardcore across five unrelenting cuts that very much chime with the current leanings of the underground scene towards harder, faster sounds.
Review: The cornerstone of a certain (unforgettable) trance moment in time, Eden Transmission's 'I'm So High' was *the* tune to peg the LA and San Fran rave scenes indelibly to the PI's corkboard of dance music. Eden Transmission were only one alias of an ever-evolving, planarian duo - Michael Kandel, Tom Chasteen - whose works as Voodoo Transmission, High Lonesome Sound System and Up Above The World could equally have been deemed just as significant projects. But we prefer 'I'm So High'. One of the best to do it with breakbeats, the 'Ubud' mix of the title track hears what sounds like a bazaar gathering of psychic townsfolk, set against urgent whispers, which hydrolyse against a reso-peaked lead. And by far the best tune is 'Powertrance', which startles us with its wireless charge of mega-heavy breaks and robotic C-shell sendups, whisking us into psycho-cyberspace.
Review: Diagonal Records gives itself over to Australian rising star Jonus Eric, who is sure to have a big year if this is anything to go by. His new EP follows on from a fine recent outing on Gerd Janson's Running Back and once again it finds him serving up six tracks of sample-rich, psychedelic house music with a loveably rase aesthetic. it; shard not to hear the sounds of Theo Parrish echoing through the mechanical house sounds of opener 'Darkwhirl' then the funk-driven 'Crimewave' cuts more loose, the gnarly 'Shapeshift' contorts body and mind and 'Polarity' is a 90s IDM-infused finale. What a trip!
B-STOCK: Sleeve split at the top but otherwise in excellent condition
V/Eight (6:52)
Equiponderance (5:10)
Engine Vibration (6:38)
Enfield (6:04)
Review: ***B-STOCK: Sleeve split at the top but otherwise in excellent condition***
The man best known as Convextion assumes his ERP aka Event Related Potential alias for four more next level cuts that find him pushing his electro electronics ever more into the future. 'V/Eight' opens with a melancholic bassline under busy drum programming to get things going. 'Equiponderance' is more complex with squirming electronics, more hefty bass notes and serene background pads adding a third dimension. 'Engine Vibration' is a more gritty mix of busy analogue machinery and star-gazing chords then 'Enfield' closes with optimistic sonics and propulsive bouncy bass to end this cosmic cruise on a high.
Review: Handsonwax top up their esteemed repertoire with another four tracks added to their anonymous white labels series. 'Volume 3' continues the elusive label's preference for cheesy breaks lent to classic dance music motifs, leading the charge with a whomping breakstep version of Max Romeo's 'Chase The Devil', followed by a blissful dub techno excursion. The B-side rerubs Moodymann to delicious ends, while the star of the bunch reworks a rework; that is, Herbert's snappy version of Louie Austen's 'Hoping', except this time it's lent a swath of extra soulful house ornamentations.
Review: REPRESS ALERT!: Burnski's superb Pilot label is back with more club-ready gold and this one is from Hatori Hanso. He opens up by covering the gorgeously deep and soul enriching sounds of a Pepe Bradock classic but reworks the pads into a more thumping breakbeat rhythm. 'My Chorus' is a soft acid delight with surging breaks heading off into the cosmos and 'I'm A Taker' then has a squelchy bassline to die for that dances about between snappy snares and lively kick drums. 'Kraulen' shuts down with some boogie energy, radiant chords and more crispy drum patterns for good time fun.
Review: 'Loose Fit' isn't always the first song name that springs to mind when thinking about the Happy Mondays, but the immediately identifiable opiate guitar riff is up there with the band's most memorable and infectious. A highlight of the group's third album, Pills 'n' Thrills and Bellyaches, the track was already dancefloor ready before this pack of re-dos arrived on the scene. We're glad it did, though. Greg Wilson and Che Wilson open the scoring, keeping things thoroughly Manchester and acid-tinged, it's a trip through the blue lights and sweat of a warehouse at 2AM. The Grid's EOE Edit and subsequent Remix take the tempo down and the atmosphere deeper, almost druggier if that could humanly be possible given the wider context here. Topped off with a post-club overture in the form of the epic downbeat Perfecto version, and you might want to stick it in the shopping cart now.
Review: This one hits like a love letter to the raw energy of early warehouse nights. From a UK producer who's been around the block more than a few times, the EP drips with old skool DNA but never feels like a copy-paste job. It's gritty, sweaty and awesome. 'Moved (part 2)' kicks things off with a pounding rhythm and a melody that instantly pulls from the golden age of rave. There's something serious in its tone, dramatic even, with a warped vocal sample urging you to move. Think late nights with strobe lights, where records like 'Energy Flash' or 'Testone' were gospel. 'What Is Houz' flips the mood but keeps the intensity. This one rides a low, tracky groove, dipping into minimal and funky acid touches that feel tailor-made for a dark room dancefloor. Turn the record over and you're tossed straight into the breakbeat jungle with 'Satisfaction'. It's all rattling drums, big vocals and classic rave swagger. No subtlety here, just full-throttle. 'The Prowl' closes things out on a moodier note, with acid lines creeping through a dark, melodic structure that echoes vintage Belgium techno. It's the sound of someone who's been through every era and still knows how to light the fuse. This isnt a copy cat trip down memory lane. This really makes you feel like a movement could happen again with these vintage sounds.
Review: The idea of the 'Dreamworld' has pervaded all dance music since its beginnings, and 2024 proves no exception to this rule, with the latest astral projection of its kind coming by way of producer Jalil. Debuting 'Dreamworld' for his local label Stillwell, this is an acid house EP of carefully lucid exploratory proportions. Jalil builds a jocose yet driven palette from found samples against sombre backings, working a seemingly endless spate of transitional hits and impacts about a central acid line on 'Oberheimer'. He then dashes this intro's sense of withdrawal with an audacious pinch-point in the form of 'Moods Of Madness', a favourite of ours, adding aqueous chord-data to an already osmotic pulse.
Review: Jamie 3:26, the Chicago house luminary, returns with the second instalment of his Danacefloor Damage series, a collection of re-rubbed disco cuts crafted with the dancefloor in mind, but possessing a depth that transcends the club. This time around, he's unearthed three gems, each an ode to his impeccable taste and his uncanny ability to breathe new life into forgotten classics. 'Flyin'' takes flight with a dizzying array of soaring strings and a groove that's as infectious as it is propulsive. 'Funkin' (Hardy Tribute Version)' pays homage to late disco/early house legend Ron Hardy, its driving bassline and soulful vocals a fitting tribute to his enduring influence. 'Jungle DJ Tool' injects a tribal energy into the mix, its percussive rhythms and hypnotic chants guaranteed to induce a state of dancefloor abandon. Jamie 3:26's edits are a masterclass in dancefloor manipulation, expertly balancing euphoric highs with moments of introspective restraint. A potent reminder that the classics never truly die when preserved in the right hands.
Review: Haggerston-based production wizard Jeigo kicks off the year after a standout 2024 by serving his own label Fleurella Records' first release. For the occasion, he reissues his track 'Pearl Leaf' which sits in between the worlds of Bicep, Sasha and UKG. It has floating pads and airy, organic beats that carry you away on a melancholic mood with deeply buried vocals adding a blurry, heart-tugging hook. On the flip are two new and unheard jams. 'Headpains' is full of a flurry of breaks but is also laden with introspective emotion in the vocals and chords and 'The Days You Were Here' is a more downtempo cut with shimmering pads, pitched-up vocals and languid bass.
Review: Kito Jempere delivers a fiery four-track package that will electrify dance floors with his first outing of 2025. A bold departure from today's mainstream dance sounds, his New Life EP blends adventurous beats with a rebellious spirit and the lead track channels New Order's Technique era but is infused with early hip-hop breaks and a mix of acid, happy hardcore and ghetto tech. 'LoveFilter' takes a dreamy, chilled trip across electronic landscapes while 'Killer Line De-Part' combines trance, grunge and '80s analogue vibes for a thrilling climax. Closing with 'Put Love Into Your Heart (Club Mix),' Jempere leaves us with uplifting, feel-good energy.
Review: Warsaw producer Kampinos delivers a knockout trio of tunes for GAMM here that collide soulful drum & bass with deep musical roots. The standout opener is 'Good Looking Pepe,' which flips Pepe Bradock's seminal house love-in 'Deep Burnt' into a lush, jazzy roller a la LTJ Bukem. On the B-side, 'Joi' explodes with gospel fervour and raw amen breaks to make for an irresistible jungle anthem built for dancefloor uplift. Rounding things off, Kampinos offers a rich, emotive refix of Little Simz's 'See You Glow' which is both warm and intense. This is rather unexpected yet effective outing for GAMM with a fine mix of soul and roughness.
Alex Kassian x Spooky - "Orange Coloured Liquid" (part I) (6:25)
Alex Kassian x Spooky - "Orange Coloured Liquid" (part II) (5:54)
Alex Kassian x Spooky - "Orange Coloured Liquid" (Placid Angles remix) (7:08)
Spooky - "Orange Coloured Liquid" (5:02)
Review: After last year's standout 'E2-E4' rework, in-form producer Alex Kassian returns to Test Pressing Records with the next instalment in the series i this time turning his attention to Spooky's 'Orange Coloured Liquid', taken from their 1993 debut album Gargantuam. Alongside acts like Underworld and Leftfield, UK duo Charlie May and Duncan Forbes helped shape the early 90s progressive house sound under their Spooky moniker. Now, decades later, Kassian delivers two versions designed to serve dancefloor and sunset respectively, with the rolling breaks of Part I beautifully complemented by the ambient swells of Part II. John Beltran dons his Placid Angles alias for a sumptuous remix pitched somewhere between the two, while the still-fresh original rounds out an essential EP i no surprise, given the calibre of those involved.
Review: Fierce electronic mavericks LNS & DJ Sotofett deliver a thrilling two-tracker that's built for serious warehouse action. The A-side is a teeth-clenching, bassline-driven beast that is raw, gritty and euphoric with static rhythms, stabbing synths and a halftime arpeggio breakdown that erupts into dreamy pads. On the flip, DJ Sotofett's 'Buzzy Breaker' starts minimal with just kicks, stabs and dubs, then morphs into a breakbeat monster with polyrhythmic tension and soaring pads underpinned with jungle-inflected drops. Both tracks harness deep, hypnotic repetition while sounding bold and system-ready so make for techno with real weight but also edge and purpose that results in high class DJ and dancer tackle.
Review: Minds At Large are back on Vinyl Fanatiks with a second outing, this time to resist their 1993 bangers 'Futureworld' and 'Spinechiller' which only came on white label the first time around. 'Spinechiller' is possibly more well known for being the standout on LTJ Bukem's 'Hardcore Volume 9' mixtape from the mid-nineties. It's a pristine breakbeat workout with chopped vocals and rich bass, while 'Futureworld' pairs even more manic breaks with some ethereal vocals. Two stone-cold killers.
Review: This reissue brings a sought-after Italo-disco classic back to the dancefloor. Originally released in 1984, it's a timeless anthem with infectious melodies and pulsating rhythms capturing the essence of the era. The reissue features three distinct mixes, each offering a unique flavour. The 'New York - London Mix' is a vibrant and energetic journey, while the 'Free House Mix' takes a more laid-back approach, its hypnotic groove perfect for those hazy after-hours moments. The 'NU Style Mix' injects a contemporary twist, updating the classic sound for modern dancefloors. Whether you're a seasoned Italo-disco aficionado or simply a lover of feel-good dance music, this reissue is a must-have.
Review: It was way back in 1994 when original rave hero and genuinely foundational DJ Ellis Dee (real name Roy Collins) offered up his one and only 12" as Norty But Nice. 31 years on, that two-tracker returns to stores in remastered form via this coloured vinyl reissue from Vinyl Fanatiks. Lead cut 'Do You Want It' is spacey, intoxicating and - as you'd expect - breathlessly energetic, with Collins placing piano riffs, vocal samples and intergalactic electronics atop a jungle-style hardcore breakbeat and booming bass. On flip-side 'Give It To Me Baby' he opts for more deep space synths, rolling bass, deeply layered breakbeats and more rushing piano motifs. Both tracks are, of course, genuine breakbeat hardcore classics.
Review: London underground night train riders Deadbeat Records prioritise techno-breaks handmade for late night and early morning dancefloors, times when both the best and worst comes emerges from each of us. Their inaugural Deadbeat Breaks compilation hears six out of ten full digital curations brought to a shadowy, space-invaded black vinyl truncation, with modern talking synth vomits from Olly Rant, booty bass hups from Hunter Starkings, hackney parroting hurtles from Rnbws, and a closing breakstep broil from Hooverian Blur.
Review: Break The House, the turbo-charged offshoot of Rave 2 The Grave, reworks two stone-cold anthems into modern rave weapons. Cell Out's take on 'Where Love Lives' strips things down to bare percussion and weighty low-end before the original's euphoric vocal and piano hook come surging back in full force. Meanwhile, teaming up with Sleeper Cell, they flip 'Good Life' into a break-laced juggernaut, distorting the bass and stretching the groove into something rougher and sweatier while keeping the heart of the classic intact. A high-energy, no-nonsense update built for the peak-time rush.
Review: The enigmatic Downtown Romeo Records returns with its signature blend of melancholy and intensity from Saved My Life. First up, the Chuva de Verao remix of 'Amar' is a lush downtempo track laced with subtle acid elements that draw you into a hypnotic vortex. Meanwhile, the Ilusao Dub on the flip pushes forward with a powerful, massive breakbeat groove. It's a usual mix of sound designs, acoustic elements and club energy that really stands out. True to the label's tradition, the record is presented in a luxurious sleeve, complete with an embossed stamp and insert that elevates the tactile experience.
Review: London's Thomas Wall aka ShadowScience, bringing a fresh fusion of deep atmospheres and futuristic breaks. Across four tracks, Wall builds haunting soundscapes with relentless, precise rhythms, making this an ideal soundtrack for late-night journeys. The EP delivers immersive basslines and meticulous production that draws listeners into its dark, cinematic world. With its brooding textures and tight, relentless energy, Wall's debut as ShadowScience promises much for those who seek the hypnotic allure of late hours and shadowy, intense spaces.
Review: Stones Taro's latest offering is a masterclass in the art of tension and release, where breakbeat rhythms meet house grooves in a seamless, almost hypnotic blend. 'Clutch' anchors the release with a frenetic bassline and chopped vocal snippets that feel precision-engineered for the dancefloor. Then there's 'Stealthy Meow,' a surprising turn into trance-inflected euphoria, its shimmering melodies wrapped around a sturdy rhythmic core. Christopher Ledger's remix of 'Clutch' takes a darker path, stripping back the original's energy in favour of a creeping, minimalist tech-house groove. It's music that feels alive, constantly shifting under the weight of its own restless momentum. Here, Stones Taro has refined his genre-blending formulai as well as perfected it.
Review: Philadelphia producer and DJ Sweater makes a blistering debut on New York's BLKMARKET MUSIC with five cuts that blur the lines between breakbeat, tech-house and low-slung electro. It's a sound rooted as much in dusty record bins he works the counter at Impressions Philly as it is in the warehouse circuits that forged this connection back in 2021. 'The Answer' opens with choppy drums and cosmic static, before both versions of 'Twilight Zone' spin the same eerie motif into sleek machine funk ('Space Mix') and woozy stepper ('Broken Mix'). On the flip, 'Better Ask Somebody' dials up the groove with bumping mids and a ghosted vocal chop, while 'Contact In The Zone' sends things into sludgy, broken-rhythm hypnosis. A bold first outing that speaks in riddles but hits with intent.
Review: Tooflie's latest offering dives into the allure of French pop's vocal sensuality that weaves intricate production with global influences. The opener, 'CS VG,' anchors the release with its half-step beat that flows through grainy tonal shifts and rhythms, twisting familiar elements into something new and magnetic. Its dreamy, almost spectral feel is offset by sharper, more defined edges, creating an engaging dynamic that keeps the energy fluid yet charged. As the record progresses, 'BLORN' introduces a more laid-back groove, combining minimalist funk with a sense of melancholic soul, perfect for late-night listening. The flipside continues to surprise, with 'KRLE' and 'JUWRK' fusing breakbeat elements with soft digital textures, offering a distinct and refined energy. Tooflie expertly blends the experimental with the accessible, crafting a release that's both bold and sophisticated, ready to ignite the most discerning dancefloors.
Review: Classy dancefloor-slaying action on 10" vinyl no less from West Norwood Cassette Library, combining a thumping four to the floor beat with nifty percussion, a fairly well known snippet of hip-hop vocal and ravey stabs. The results are as hard to resist as they are to classify, except to say it leaves absolutely zero prisoners. "This one had been previously doing the rounds as a 'dubplate only' exclusive," WNCS told us, "cut especially for the Futurepastzine tenth anniversary bash just on the cusp of lockdown ... so it seemed only appropriate to ask FPZ head honcho and fellow Cassette Librarian, Rawtrachs, to attend to remix duty." So flip it over for that equally excellent reworking from Rawtrachs and stand well back - we predict not only a riot, but an awful lot of spilt beer too.
Review: Stefan Schwander is known for aliases like Harmonious Thelonious, A Rocket In Dub and Antonelli Electr and now strikes once more with his third EP, 'While My Sequencer Gently Bleeps'. Entirely crafted on Elektron's Monomachine, this one delivers deep basslines, ravey bleeps, piano chords and synth melodies that evoke the sounds of Jamaica, UK and Chicago while looking toward the future. The EP opens with the groovy 'Title Track' followed by the minimal, dub-influenced 'Sublime' with shuffling beats and a smooth synth line. On the flipside, 'Definition Of ...' combines deep bass, lively percussion and subtle melodies that are both danceable and storytelling.
Review: Constant Sound is one of the very many labels that is headed up by Burnski and one that he reserves for club-ready tech house and minimal. Wodda steps up for the latest outing and brings some future garage energy to the opener, 'Reggae Fusion' (Deep mix) which is lit up with lithe synths and smart vocal samples. 'On My Way' has more infectious garage vibes to it with the squelchy drums and hits and some nice heady melodies up top. 'Changing Faces' gets more twisted and brings intergalactic drama to the ass-wiggling cyborg tech beats and last of all, a Tuff Mudda mix of 'Reggae Fusion' shuts down with a silky thump and throwback UKG bass.
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