Premiere: Joyce Muniz - Morning Stories [Gruuv]

Joyce Muniz joins the roster of Audiojack’s Gruuv imprint this week with her ’39 Degrees’ EP, backed with a remix from Bushwacka.

Brazilian, Austria-based producer and DJ Joyce Muniz has been releasing her contemporary twist on classic house sounds since 2006, regularly on Shir Khan’s Exploited imprint as well as the likes of DJ Hell’s International Deejay Gigolo, 20/20 Vision and Culprit amongst others.

Kicking off the EP is the original mix of ‘Get ‘Em’, fuelled by a bumpy drum workout, choppy bass hits and vintage string stabs whilst the hooky vocals and sporadic atmospheric fillers further fuel the groove. ‘Morning Stories’ follows, this time round laying focus on a pulsating low-end drive and off-kilter, ethereal stab sequences as organic percussive hits wander amongst the composition.

The third and final original from Joyce is up next, title-track ’39 Degrees’, taking a more groove- led approach via modulating drums, subtly blooming chord lines and unfolding atmospherics. Bushwacka steps up to close the package next with his take on ‘Get ‘Em’, bringing robust, shuffled drums into the limelight alongside fluttering chords and classic dub stabs, stirring in the original’s vocal throughout to keep things moving.


Earliest musical influences?

Since I was a child, my influences came first from my mother who is a huge Bossa Nova fan. My family are musical and we have a lot of percussionists, that no doubt inspired me throughout my childhood. When I grew up and started to go out in Austria as a teenager, that’s where I found my first love - Drum n’ Bass. Drum ‘n’ Bass was also what made me start DJing.


The ideal setting to listen to this? 

The name ‘Morning Stories’ says a lot in itself as to where and when you should listen to this track. I think it’s a nice early morning beat, for when the sun is rising on the dance floor at a festival or club and you can feel the energy of the new day. It’s also a great track to be in the car driving down the coast to, maybe in your convertible with the roof down, feeling the ocean breeze in your hair and the sun on your skin.


File it next to? 

Hmmm well I think if a fan would ask me this, then it should go almost on its own, or next to all your other Joyce Muniz records are! Ha. But no, seriously I think this should be somewhere in-between the old school deep house is kept. This record has a lot of old school vibes in it.

Pre-order: Digital

Premiere: Reaction Control (DJ Monchan Edit) [Razor-N-Tape]

Brooklyn based, DJ Monchan, steps up to perform some surgical edit wizardy on four mouth-watering tracks for the ever-dependable Razor-N-Tape.

'Reaction Control' kicks things off with a joyous disco gem extending and echoing those killer groovers to create a whirlwind of dancefloor delight. Next up, 'Dance It All Out' has a touch of the exotic highlife sound to it but reworked into a DJ friendly irresistibly bouncing jam.

Flip it and it's back to the late-night NYC soirees of the 70's with 'Can't Promise' channelling that pure unadulterated fun into an ethereal edit of magnetic proportions. Taking the final slot of RNT042 'Get Down With Your Love' closes out proceedings with a sliky smooth soulful heater.

Earliest musical influences?  

I was in a punk band in high school and started going to clubs in the late 80’s where I was introduced to Disco & House music. In the early 90’s, I came to New York and got to know David Mancuso and The Loft. David changed my whole spectrum of music & DJing!


The ideal setting to listen to this? 

In the club. When I make disco edits, I always imagine myself in the middle of the dance-floor.

File it next to? 

DM: Disco.

Buy: Vinyl / Digital


Premiere: Anja Schneider - It's Like That [Sous]

anjaschneider_cover__DSC5584_webres_final_credit Patrice Brylla.jpeg

“It’s been a year of transition to find myself again as an artist and music lover,” says Anja. Change is good, and that’s an ethos Anja Schneider took onboard last year with the announcement of her brand-new label, Sous. The launch was marked with the release of her critically acclaimed album, SoMe which has no doubt been the beginning of new era for the talented producer.

Sous continues to be a platform focused on Anja’s drive and desire to focus on expressing herself creatively. So far, we have seen remixes from Butch, Argy and Billy Turner and an EP from Francesca Lombardo.  

‘Run The City’ out this week, see’s Anja taking some of that new found freedom, drive and passion to deliver three original cuts full of soul and visceral energy. “I finally finished my new studio, where I have enjoyed a lot of time this year, which lead to this release being very much an organic one. Music which feels like me and something I want to dance to,” adds Anja. 

Quickly getting down to the groove in the title track, with sparse percussive elements providing perfect juxtaposition to the bass and powerful 909 drum arrangement. The vocal adds depth along with the sweeps and stabs of this elegant soulful track. ‘Follow Me’ takes a more meandering and thoughtful edge, the sonic landscape of this track evolves over its lifecycle. Rounding off the EP is ‘It’s Like That’ - a gritty basement jam with overdriven drums and eerie sonics. “I see ‘Run The City’ as a soundtrack to life, influenced by every day struggles yet something we cannot live without,” Anja.

Buy: Digital

Debut: Bel - Ready To Die (Mudd Mixes) [Claremont 56]

Claremont 56 continues to champion new, previously unheard talent with ‘Ready To Die’, the beautiful debut from Charlie Bell AKA Bel – a young, Liverpool based singer-songwriter, musician and producer.

‘Ready To Die’ is an emotion-rich chunk of catchy, loved-up Balearic pop with heart-aching, gut-wrenching lyrics about unrequited love, Bell’s debut is as catchy, infectious and heartfelt as anything the label has released to date. Such was his love for the song, Paul “Mudd” Murphy, Claremont founder, decided to remix it for release, completing extended vocal and instrumental versions that enhance the track’s sun-kissed, glassy-eyed appeal. Both mixes are magical, with the vocal version in particular capable of making the hairs on the back of your neck stand to attention. 

Bell’s impassioned vocal and breezy acoustic guitar playing naturally takes centre stage, with the track’s sweeping synth-strings, toasty bass and a few trademark Murphy flourishes – think well placed delays and fluid electronics – on hand to amplify the song’s bittersweet mood. The beautiful and beguiling quality of Bell’s musicianship and Murphy’s subtle remix comes to the fore on the equally beautiful instrumental version.


Both you and your brother are in a band called, Phaedra but you both are also pursuing your solo projects, yours being Bel. Did you grow up surrounded by music or was it a later development?

Yes music was all around me as a kid, my dad is a record producer so there was always a recording studio in our house and loads of musicians knocking about, we learned how to use the gear and started making music pretty early 


What artists initially influenced you to take up music yourself? 

I really liked old rootsy blues when i was a teen, also Bob Dylan, Randy Newman, Beatles etc. Later on I got into The Brian Jonestown Massacre and Kurt Vile, Here We Go Magic and stuff like that.


Who are you currently listening to at the moment?

I'm travelling round Portugal and Spain at the mo with my friend Elfie who plays the fiddle, I’ve got my acoustic with me so we are just jamming all the time and writing new stuff so I suppose I'm listening to myself a lot!


Released without an original but as two mixes from Paul ‘Mudd’ Murphy on his label Claremont 56, a label we love – how did this association came about and what’s the reason for not releasing the original?

Paul at Claremont heard the demo I had done and remixed it, I'm back in the UK this winter to record an album and ‘Ready to Die’ (original version) will feature on that record.


What’s on the horizon for Bel and Phaedra?

New album for Bel in January and album in June for Phaedra also touring both projects in the spring.


Finally, what three records would you take with you to a desert island and why?

John Martyn - One Day Without You
The Police - Message in A Bottle
Nuyorican Soul - I Am Black Gold Of The Sun
No explanation necessary :)

Listen to the full release
Buy: Vinyl / Digital


Interview: Ben

Premiere: PROPE - Neve [Ogasm]


Based out of their Brussels studio, Thierry Botteman and Pierre Dozin are Belgian techno duo, PROPE. Both well-renowned producers in their own rights, Thierry spent the 90s working on multi-genres projects from Trip-Hop to Underground House and was a key component of the studio teams behind Royksopp and Groove Armada. Equally, Pierre gained his 15 years of studio experience starting out in Drum n Bass and working with Robert Glasper, John Paul Jones, Seun Kuti and Fela’s Egypt80, and labels such as Mute, Ninja Tune and Deutsche Grammophon.

Released on thier own imprint, OGASM, PROPE have teamed up with the neo-classical ensemble, Echo Collective for their new EP ‘Void’. Neil Leiter and Margaret Hermant aka Echo Collective breath new life into a multitude of genres. The collective has gone on to collaborate with Nils Frahm, Johann Johansson, Stars Of the Lid and Erasure. . Their association with non-classical artists has certainly ruffled some feathers, take for instance their reinterpretations of Radiohead’s ‘Amnesiac’ or their treatment of 80s Pop sensations Erasure’s latest album, World Be Gone

The ‘Void’ EP features four tracks, two of which are collaborations. Deeply emotive and wildly original, ‘Void’ sashays onto the floor and beguiles you with clever instrumentation and a solid percussive underbelly. ‘Backslider’ sees PROPE power forward into more recognisable Techno waters. Never far from melody, it marries the orchestration of the likes of Booka Shade with the guttural energy of Adam Beyer. ‘Another Void’ sees Echo Collective take charge for a sonic journey of some merit. Powerful and understated. Rounding off the EP is our pick ‘Neve’. Decidedly lighter in tone than the rest, it is no less energetic and dance floor-ready.

The first original version of Void will include a music video directed by the acclaimed Belgian producer Damien Chapelle, with an ambient/avant-garde vibe.


How did your association with one another come about? Did one of you unanticipatedly approach the other or had the idea of PROPE been brewing between the two of you for a while? 

Two years ago, Thierry had some demos to produce and mix. He asked for a quote at the Jet Studios in Brussels, where he met Pierre, who is a well-known recording/mixing engineer and producer in Belgium; working with many international artists. At the time, Pierre was also developing a solo project, and as the friendship grew quite fast, as we shared a common taste in music, it seemed obvious to start a project together. 

On the topic of associations…how did you guys get involved with Echo Collective for this release?

We always enjoy merging influences in music. On the ‘Void’ original track, we found that it would be great to add some strings to increase the organic feeling. Pierre has worked with Echo for long time in many studios for projects with K7!, Mute, Ninja Tune. So, we proposed it naturally to Neil’s and Margareth’s ensemble (Echo Collective), and they were enthusiastic to collaborate.

This EP feels somewhat more melodic than your past productions - is this a new style you are going for and aside from the collaboration aspect how did the creative process differ from previous releases?

It’s not really new. Even in the more raw productions, we always maintain a melodic approach. For this one, indeed, we wanted globally to let a more coherent melodic feeling to the listeners. The difference between the previous releases is that we have firstly written the keys, and then we recorded acoustic instruments, and after, we finalized the production, mix and mastering.

There’s no doubt that Belgium is a hot hub for talented techno producers - what artists from your native country do you think highly of?

Sure, we have in Belgium rising stars like Amelie Lens, Charlotte de Witte, and also upcoming artists such as Farrago. But we also have a strong experimental scene with artists like ssaliva, Acid Kirk…if you haven’t heard of them, check it out!

Can we expect anything more from PROPE before the end of the year?

Yes, we actually just finished our release plan for the next 6 months. First up will be a remix of an electronic anthem and then a single followed by a full EP, which will be at the start of 2019. As for labels and such, we can’t unveil who just yet!

Pre-order: Digital


Interview: Daisy

Record of the Week: Phenomenal Handclap Band - Judge Not (Ray Mang Mixes) [Toy Tonics]

Gospelhouse from heaven! Yes - this is a very special record: NYC‘s Phenomenal Handclap Band meets YO favourite Ray Mang - the psychedelic soul disciples meet the disco champ by way of remix.

Ray Mang is a hero to fans of underground disco: remixer, collector, producer, DJ - he is part of that magic circle of London DJ connoisseurs around DJ Harvey. He has the magic disco touch and has applied it with great effect to PHB’s ‘Judge Not’. Since we heard what we now know as the ‘Special Mix’ in Ray’s set with Bill Brewster in August last year we have been pestering him about this release and finally the time has come! Certainly worth the wait, on top of the sensational ‘Special Mix’ are four other versions by Ray which are all brilliant too. If only we were on the dancefloor at Pikes in Ibiza when DJ Harvey recently played this record!

The four-track remix EP is the first of the three-part series which PHB are putting out with a different producer behind each one!

Listen to the full release.

Buy: Vinyl / Digital


Words: Ben

Field Maneuvers proves that bigger is not always better...

Photo credit: Jake Davis

It’s our first time at Field Maneuvers- a festival which has been described as the last remaining bastion of ad hoc 90’s rave culture in an increasingly over-commercial electronic music festival scene. It’s fair to say we are excited. With a crowd of a mere 800 people- an increase on the 700 of previous years- it is the smallest festival I have ever been to and feels more like a private party than a ticketed event. I emerged on Monday morning with a desire never to go to a big festival again. Here’s how it went down and why FM proves to me that smaller is better.

1) Practicality

a. Maybe it’s because I am advancing into the responsible mid-point of my twenties, but practicality is key to a positive festival experience for me. Field Maneuvers was unparalleled in this respect. We were through the queue, searched and putting up our tent within 15 minutes of arriving at the site. Security were incredibly friendly and unintimidating, and we were greeted with smiles and welcomes from all members of staff we encountered. There was loads of space to sprawl out in the campsite. Forget the competitive tent Tetris that is an inevitability at any other festival- we had a vast grassy patch to ourselves, and no one asking if they could shift us over.

b. The festival has 4 stages, and the whole site is walkable in 5 minutes- THIS IS NOT AN EXAGGERATION. This creates an added element of relaxation and immersion into the carefree hedonism that is the aim of festival-going. No longer do you have to stress about leaving your portable charger in the tent and maybe running out of phone battery and then losing your friends and also not knowing what time it is and how long it is until Bicep is playing on the main stage a 15 minute walk away and do you have time to go to the loo first. You can dash back to your tent and be back on the dance floor before the peak of ‘Blue Monday’ has had time to play out (real life example), without the fear of being separated from the group.

Photo credit: Mike Massaro & Jake Davis

2) People

Perhaps because of the seriously relaxed atmosphere, the crowd was the best I’ve ever experienced. People were genuinely friendly because it was impossible not to run into the same people time and time again, so it was actually possible to make and retain festival friends throughout the weekend. There was also a majority of returning F.M punters- in the queue I witnessed several reunions between people who had met at the festival last year- and this meant that I felt buoyed along by a crowd of willing hosts eager to ensure we shared the magic that they had experienced in previous years. There was even a full-festival group photo on the Saturday afternoon, where some geezer up a ladder shouted for everyone to gather and took some snaps from on high with a drone.

3) Music

a. When I booked tickets for Field Maneuvers, it wasn’t on the merits of the line-up alone but on trust of the reputation of the festival. I was reassured by the fraction of the artists advertised that I knew and loved, such as Jane Fitz, Andy Blake, Shanti Celeste and Shed, that the music would be up my street. However, most of the programme rang no bells with me and my relative ignorance to the artists was in fact a godsend. Without the pressure of ticking off a list of sets which can sometimes seem copied and pasted across festivals all summer and which reads like an index of RA’s top picked nights for the whole of the last two years, I actually discovered a load of new artists that I wouldn’t have known to check out if I’d been distracted by trying to catch all the big hitters. Furthermore, with Field Maneuvers having a 50/50 female/male line-up- something which in 2018 is still shockingly rare- I got to see so many awesome women tear up the decks throughout the weekend, which is always a treat. Artists also had a lot of freedom to play around- there were a number of crossover sets- Ben Sims did a reggae and dub set, Auntie Flo played an italodisco set and Grooverider played a jungle set (too packed to get into the tent, but I heard it was great). These experimental forays seemed to come out of a lack of pressure to play just what the people wanted to hear, and an expectation of openness from the crowd that was unhesitatingly given.

Here are sets that were especially notable for me:

Jane Fitz, Jade Seatle & Powder | Photo credit: Jake Davis


This Japanese DJ and producer played a stonkingly mischievous set on Friday night in the main tent. Thick with acid lines, weighty low ends and fantastically unfamiliar sounds, she took us on a heady journey that took no prisoners and kept everyone marching. She’s popping up loads in the coming months so make sure to check her out.

Listen to a recent recording of Powder.


Once you know Iona, you’ll start to notice her on line-ups everywhere. An old hand on the London club scene, she used to work the door at Dance Tunnel, and worked her way up the ranks to playing their closing party. She ripped up the daytime stage on Saturday with some breakbeatty techno goodness, effortlessly coaxing the tentative mid-afternoon sitters onto the dancefloor which was packed by the end of her set.

Listen to a recent recording of iona.

Ivan Smagghe & House Of Slopluence | Visuals: Avva Studio. Photo credit: Sassiru

Jade Seatle b2b Jane Fitz

Jade Seattle is often seen on line-ups with Jane Fitz, who is already one of my favourite selectors, but I’ve never had the chance to see the two together myself. Jade and Jane's set left me rattling. It was deep and surprising, and one of those ones you remember for seamlessly carrying you through an ebbing, flowing sticky soundscape which seems as if it is being sculpted for you in the moment. In less abstract terms, they played some really good dark techno. I can't wait to see them again, and will definitely be making time to give Jade Seattle's sound more of a listen.

Listen to a recent recording of Jade Seatle.

Ivan Smagghe

Hosting a show on NTS, this Frenchman has been stomping around the UK for about 20 years and seems to have got fingers in lots of pies genre-wise. He is unafraid of weirdness- I listened to one of his shows pre Field Maneuvers to try and understand his vibe, and was delighted and also confused. He played a phenomenal set at Field Maneuvers. His eclectic influences and desire to push boundaries was evident throughout. It was decidedly moody and dance-driven, and he really blew it out of the water for me.

Listen to a recent recording of Ivan Smagghe.


Words: Dora

Record of the Week: Lawrence Hart & Casually Here - Wanderlust / Chimes [Hotflush Recordings]

Hotflush Recordings present 'Wanderlust / Chimes', a collaborative EP from Lawrence Hart and Casually Here released this week. Both multi-instrumentalists based in London, the duo unite for a two-track package of glistening, melodic house. The title track was a highlight of George Fitzgerald's acclaimed Essential Mix earlier this year.

Lawrence Hart (aka Duncan Tootill) is a classically trained musician working with a broad spectrum of styles, who, under his solo moniker produces ambient-leaning house and electronica. He is one third of Little Cub and a long-term collaborator of George Fitzgerald. Casually Here (aka Nic Nell) is an experimental composer and the label boss of Algebra Records, whose debut album Kept was released in 2015.

‘Wanderlust’ is an atmospheric trip through glitching melodies and immersive harmonics replete with minute details. ‘Chimes’ opens with a serene soundscape, evolving into a chugging dose of sun-drenched house led by trippy vocals and an animated bassline.

Buy: Digital

Premiere: Thomas Hessler - Senses [IMF]

Thomas Hessler Press Pics 2018 1.jpeg

Marcel Fengler’s IMF label is putting out a three-part compilation this month to celebrate their tenth release. A project that has taken almost two years to complete, it will feature artists new and old to the label including Shed, Luke Slater, Scuba, Arthur Robert and AVION.  Across 18 tracks, Fengler has said the project hopes to showcase the eclectic nature of the label and the full range of music its artists have produced.

Long-time label collaborator Thomas Hessler features heavily across the compilation producing an original track, providing Luke Slater with the means for a remix and putting together a mix using the entire compilation which will be released with the final product. However, Hessler’s involvement with IMF goes far deeper than that and his relationship with Fengler is a crucial part of the label.

As well as being kind enough to send us over his track, the melancholic, euphoric and funky ‘Senses’, to premiere, Hessler was kind enough to answer some of our questions and give us a greater insight into the compilation as a whole.


What is it that has drawn you and Marcel together into such a close working relationship?

First of all the appreciation for music and not having any fear to enter new territories when it comes down to sound. We can talk about more than just records or production techniques and became good friends that value each other’s opinions.

How is this reflected in IMF and more specifically IMF10?

IMF is a very diverse label and you can hear that especially on IMF10. Dark, funky, melodic but also more experimental stuff can be found on the label’s back catalogue. It all makes sense together and in my eyes the output always has this special spiciness a track needs to be timeless.

The project took almost two years and features a significant amount of material, why do you think it was so important to Marcel and the label?

I think if you run a small label with a clear vision you wanna do it right. For the label to be at the point to release its 10th release is special. The label is like a baby for him and when you do most of the work on your own it takes time, especially if you wanna showcase such a great amount of talented artists. In the end its all about patience, passion and love for the music.

Where do you think your track 'Senses' fits into the compilation?

I wanted to make a ‘closing’ track. Normally I don’t follow concepts when I write music but this time I knew where I wanted go with this. In my eyes the track perfectly showcases some of the most important aspects the label stands for. It’s melancholic yet energetic and funky yet experimental - especially towards the end of the track.

What was your wider involvement in IMF10?

We often exchange ideas, talk about fresh artists and what could be next. In the case of the compilation I suggested to get some remixers on board for some of the IMF ‘classics’. I was especially honoured and proud that Luke Slater touched one of my tracks.

Curating a mix for the compilation must have been a special responsibility, how did you approach the task?

Yes it was humbling but I also had a lot of fun because I love those tracks. Like I always do I tried to keep the energy level as high as possible with those cuts and tell my story. I enjoyed the ride and I hope people can feel that.

Pre-order Digital


Interview: Hugo

Record of the Week: Frank Beat - Gloom EP [Phunk Traxx]

Frank Beat’s 'Gloom' EP, three mesmeric house tracks released this week in a flurry of excitement, are typical of the Phunk Traxx label sign-on; moody, club-ready and addictive.

'Gloom', the opening track on the EP, sets the scene. A synth-laden sunset warm up, which if you close your eyes, brings you into a scene from Disney’s Fantasia. 'Nightfall' showcases Beat’s Spanish tech-house influences from his time in Ibiza and in Zaragoza. Inspired in his early days by Carl Cox, Richie Hawtin, Marco Carola and Stacey Pullen, all white isle veterans, 'Nightfall' brings the best of late night Ibiza to a swelling subset roller. Only for huge sound systems, 'Intraction' boasts a wavering treble line, didgeridoo-like in its cadence. All three tracks link together perfectly in any order for a different mood, played as they appear on the EP you’re ready for the strobes to start on the dance floor and for the levels to hit the red.

Usually a pick for the mainstream, Beat’s latest productions have delved into minimal and underground zones. While playing at Pacha or DC10 sees him in his element, in the studio is where he’s pushing his art.

Buy: Digital


Words: Bill

Premiere: Honeyfeet - Meet Me On The Corner (Crazy P Dub Mix) [Wah Wah 45s]

'Meet Me On The Corner' is taken from the album Orange Whip which was BBC 6 Music’s Album of The Day on its release.  It follows previous singles ‘Whatever You Do’ and ‘Sinner’, supported by Craig Charles, Tom Ravenscroft and Huey Morgan. The song showcases Honeyfeet at their funkiest. A pounding beat beefed up by bass, guitar and brass, propels forward while Ríoghnach Connolly (pronounced Rainer) sings lyrics that could be straight out of the playground, but suggest something a little deeper.

Remixes on this more foot friendly single come courtesy of homegrown legends of funky house music, Crazy P with both vocal and dub versions. Turning Honeyfeet’s latest opus into a straight up soulful disco monster by Hot Toddy and Ron Basejam, with Rioghnach’s rasping vocals playfully meandering over crisp beats and trademark live bass.  Much hyped Russian production don I Gemin delivers his take still aimed at the dance floor, but a deeper house affair based around jazzy keys and chopped up vocals that take the song into more sonorous territories.

For the last couple of years Honeyfeet (whose name comes from a line in the Blues Brothers film) have been a conduit for the ideas and expressions of an exotic mixture of Manchester based musicians. This genre-defying band incorporate styles including jazz, folk and hip hop into their music.


RB: Back To The Future & Point Of Ayr Colliery brass band.


RB: Sitting in a bath full of cold beans with the lights off whilst necking a pint of espresso martini.


RB: Mid-tempo stompers.

Buy: Vinyl

Record of the Week: Nicola Cruz - Inversions [Multi Culti]

Nicola Cruz returns to Canada’s Multi Culti with 'Inversions', a 5 track EP featuring one original and remixes from his album Cantos De Vision. The French-born, Ecuadorian based producer clearly takes inspiration from his surroundings- manipulating Latin American sounds and afro percussion, re-working them for the dancefloor. This remix series takes that theme and expands on it going deeper, more leftfield and transforming Cruz’s original percussions into deep, chugging late-night hits.

Cruz and Uji’s title track 'Inversions' opens the EP and sets the tone for the following four tracks as it bounces along flirting with the industrial and playing with the melodic- it’s hypnotic. The following two tracks are both reworks of 'Espiritu de Proteccion' which is a clever move, both the Bawrut and Breaks remix take the track to different points of logical conclusion. Indeed, Bawrut takes the trippier elements of the original and elongates them over 8 minutes combining them with clattering percussion and a driving bassline. While the Breaks remix is more percussive, teasing the woodwind of the original and diving headfirst into the acidic.

The final two tracks 'Tzantza' (Matanza Remix) and 'Mantis' (Cain Remix) are equally strong and close the EP on a lighter, more ambient note and a nod to Cruz. So often remix EP's end up being made up of tracks that end up being a slightly reminiscent, poor imitation of the original, but 'Inversions' is an exception with the originals expanded on and made completely new.

Buy: Vinyl / Digital


Words: Hugo

Premiere: Aydio - Sonrisa

Adam Harper, aka Aydio, is a UK-based musician, producer, DJ and visual artist. He uses instrumentation, samples and synthesizers to create music best described as a pastiche of trippy melodies and laid back spaced urban sounds. A keen fan of a variety of different genres of music, his own is mostly influenced by trip-hop, dub, jazz, rock as well as all kinds of electronica. Since his the release of his debut album, Nonentityin 2010, he has released two further albums and in 2013, his most popular track, 'Deltitnu', was featured on the legendary BBC Radio 4 programme, Desert Island Discs, selected by mountaineer Conrad Anker.

Since we came across Aydio last year we have been loving his work and we're delighted to be premiering our pick from his latest album, Inversion, released later this month. The album continues his style of trippy instrumental music and adds yet another mesmerising release to his discography.



An LP my parents had of a compilation of TV theme tunes including the Match of the Day theme. A bit later on I'd say Pink Floyd, Jimi Hendrix, Santana, Bonobo and Four Tet.


Atop a sacred mountain at sunset. If no such mountain is available, a sacred molehill will have to do


The Avalanches and Azealia Banks - it's not just me that sorts things alphabetically is it? ;)

Pre-order Inversion

Premiere: Wehbba - Mind Awake [Drumcode]

In many ways, it’s difficult to believe Wehbba only dropped his first full-length EP on Drumcode this year. Released in February, the four-tracker ‘Eclipse’ was a monster statement piece of the Brazilian’s talents and followed on superbly from ‘Fake’, his contribution to last year’s A-Sides Vol.6 – inarguably one of the biggest tracks on the compilation. Last month Wehbba took part in Drumcode’s Off Week party in Barcelona, followed by the brand’s takeover of Resistance in Ibiza which is further proof that his crisp, chord-driven take on techno has become a vital component to the expansive palette of sound Adam Beyer has drawn for the label in 2018 and beyond.

‘Catarse’ marks the rapid-fire follow-up from the prolific producer. Opening with the eerie ‘She Lost Control’, Wehbba says he took inspiration from the Joy Division track of almost the same name (‘She’s Lost Control’), but instead of crafting the dense sonic atmosphere with vocals, he employs an analogue kick drum and stealth-like moog bass with dramatic results. ‘Process’ follows, a cut which begun as a cover jam of Laurent Garnier’s ‘Crispy Bacon’ and ends up incorporating the cut-up vocals of legendary minimal composer Steve Reich, who is one of Wehbba’s chief inspirations. The resulting track is an ice-cool percussive work that’s rich in dancefloor functionalism. The title track will be familiar to many who follow Drumcode Radio, a goose-bump inducing highlight of Beyer’s DCR392 at Awakenings in Eindhoven, ‘Catarse’ is driven by a memorable melodic riff resplendent in 90’s techno euphoria. The EP concludes with the terrific ‘Mind Awake’, a powerful concoction of reverb-heavy basslines and glitchy effects, that’s been thoroughly road tested by both Beyer and Wehbba.



Earliest Musical Influences?

I have very vivid memories of the road trips my family used to have when I was a little kid, either going to the beach or to the countryside, or even abroad, on which my father was always blasting stuff like The Beatles, Iron Butterfly, or Phil Collins, he used to bang his fingers on the dashboard of the car doing the infamous drum fill on “In The Air Tonight”. His passion for music really struck me, this intensity of listening to amazing music loud and finger drumming on the wheel and dashboard was so contagious, it simply shaped my whole life. Crazy…it’s the simple things...

The ideal setting to listen to this?

Find a way to be completely within yourself, completely present, completely in the moment, no past memories, no future projections, just you, here and now. Mind Awake, body too. Find speakers with lots of bass. Rinse, repeat.

File it next to…

"Techno Bombs” or any of my previous releases on Drumcode.

Pre-order: Digital

Record of the Week: Soulwax - Essential [DeeWee]

Radio 1’s beloved Essential Mix stands resolutely as an institution in its own right. Midland described late nights as a junior tapping into this intergalactic odyssey, defying parental authority and ripping mixtapes from the 4-6am Saturday slot. It’s a British radio announcing that you really are pretty good at what you do – they’re giving you the closing slot at DC10, the keys to your local town (always baffles me that is a real thing)... the cap handed to you on your test-match debut. 

So what do you do when your plane’s on the runway, and you can quite literally play any track that has ever entered the sonic hemisphere in the history of human-kind....well, of course, you do exactly what Belgium’s greatest export did. Soulwax (or perhaps the more familiar 2manydjs), when given the tickets to the royal ball in May last year, binned their record collection and created an hours worth of brand-new material themed around the word "essential". Here lies this week’s release of that very hour, split across an LP.

In a career spanning over 20 years, Soulwax have been in just about everyone’s ears at some point... from their soundtracking of Grand Theft Auto V to domination of a Leeds Festival quagmire (perhaps this is just me). The sequencing of this record very much resembles the hard-copy of a live set, crackling into life with 'Essential 1', before being chopped into tracks and laid out individually across 60mins. Genre-hopping from the Adonis-esqe rippling workout of 'Essential Three', to the stand out computertronic warped 'Essential Six', before surging into a gurgling acid workout in 'Essential 9' and rolling through to techno in 'Essential 10'There’s plenty in there for everyone, but you have to pick and choose... it’s worth it.

Listen to the full release
Buy: Vinyl / CD


Words: Marcus

Premiere: Christian Smith & 2pole - Snake (Jam El Mar Remix) [Tronic]

Tronic needs no introduction for those who have followed dance music for the last 20 or so years. Since its inception back in 1994, Christian Smith has founded a label that constantly delivers top techno tracks year after year. Not only does he run the label, but also has his long-standing Tronic radio show, which is syndicated in more than over 100 countries worldwide.

Known and loved for its albums, Tronic released the very first of its kind with a collaboration only project in 2017 with Synergy and we’re premiering our highlight from the remix pack.  

Acid and breakbeat are coming back, and that can be heard in Jam El Mar’s remix. Jam El Mar, the only artist on the release to have released on Tronic before, drops a snapping acid line, thick kick and has a massive pad engulfing the mix, this is a big room techno anthem with a hint of trance. 


Earliest musical influences?

Maybe the most important musical influence was when I first heard Jimi Hendrix’s 'Voodoo Child' and the b-side 'All Along The Watchtower’. It was a five inch single and ended up looking like a spiral, from the amount of plays it got on my turntable.

This release was the ignition to become a guitarist and a musician. When Henrix played his hi-gain sounds it has the same intensity and expression similar to that of todays techno music, I think anyway. HIs guitar didn’t sound like a guitar, and more like an electrical thunderstorm.

 Jam El Mar

Jam El Mar

Later when I discovered electronic music, it was mainly Tangerine Dream that has been a strong influence and Klaus Schulze. They had this intense atmosphere that you can maybe hear on some of my older productions that I did. When I heard the early R&S Records like 'Energy Flash', ‘Metasm' and 'Acid Phase' - I was set on fire with inspiration, and still am today.

Ideal setting to listen to this?

Most likely a main room techno party dance floor, with a top notch sound system, sweat dripping from the walls and a comet passing by. LOL. I simply love high energy moments in contrast to deep vibes in a perfect flow. ‘Snake’ has these changes from major to minor that give it a certain intensity together with that sizzling tone building up throughout.

File it next to?

‘Snake’ sits next to my collection amongst other atmospheric tracks like ‘Sooth’ also by 2Pole or ‘Premonitions’ by Saturn Storm, not forgetting Charlotte de Witte’s ‘The Healer’.

Buy: Vinyl / Digital

Record of the Week: Tunnelvisions - Ritual II [Atomnation]

Dutch duo Tunnelvisions have been quietly churning out beautiful, imaginative and genre-defying music for a couple of years now. Sitting somewhere between ambient techno and deep house, their music is distinctly psychedelic, with audible influences from South America, the Caribbean and Africa, but also clearly rooted in the incredibly strong electronic music scene Amsterdam is host to. Part two of Tunnelvision’s Ritual series on the fantastic label Atomnation, this EP comprises of three tracks- the full EP is released on the 15th June, but the pair put out a taster track, 'Rafaka’s Song', ahead of time, and it’s an absolute beauty. Muted, succinct, techno drums, with a slow building disco melody over the top, the track is simultaneously uplifting and strangely dark. An addictive siren call ebbs and flows around the ethereal vocal sample, and the whole thing is brought down by gravely, moody synths. It is layered, textured, undulating, at no point does it become predictable. A moreish and groovy track that is both euphoric and devilishly gritty,' Rafaka’s Song' is a promising omen for the rest of the EP, which is out today. Get listening.

Buy: Digital


Words: Dora

Premiere: Pablo Color - Parasol (7pm) [Ish Records]

Since the start of last year when we first heard his mesmerising debut release, we have been keeping tabs on Zurich based artist Pablo Color. Finally, we can announce the follow up release and it’s a beautiful 7-track album. Once again, he releases via local independent label, Ish Records. Layered with that gorgeous echo-laden guitar we’ve grown accustomed to hearing from Pablo, the album, La Calle Roja, is a triumph from start to finish. The LP, on a Japanese-style sleeve written in both English and Japanese, features guests such as Lexx, Gigi Masin, Fu, EU93NE and Chee Shimizu. Premiering on YoungOnes is our pick from the LP, ‘Parasol 7pm’. Head over to the Ish Bandcamp from 16th June to listen to the rest of the album. 

Earliest Musical Influences:

Tortoise - TNT, The Sea and Cake - Oui, Milton Nascimento - Club da Esquina, Kings of Convenience, John Martyn - Solid Air / One Word, Nick Drake, Pat Metheny - Beyond the Missouri Sky and John Abercrombie - Timeless / Characters.

The Ideal Setting to listen to this:

Sunset and/or Blue Hour.

File it next to:

Woo, Paqua and Ishinohana...

Pre-order: Vinyl / Digital


Words: Ben