Old 'n' Gold: Keith Tucker - Detroit Saved My Soul [Mint Condition]

Keith Tucker is a hero amongst the first generation Detroit techno and electro producers; a contemporary and collaborator with many of the city’s greats like Juan Atkins, Moodymann, Terrence Dixon, Suburban Knight, Drexciya and the whole Underground Resistance crew. Under aliases DJ-K1, Optic Nerve and as one half of AUX 88 with Tommy Hamilton from 1993, Tucker has been a pioneer of electro and continues to put out some of the genres purest and grittiest tracks. Co-owner of Puzzlebox Records with Anthony Shakir from 1996, this has been home to the majority of Tucker’s productions and affiliated projects. Like many of his Detroit peers, Tucker also was influential in introducing electro over to Europe, especially through his ‘Brace Yourself’ EP which came out in 1998 on Cologne’s Electrocord label. Snappy, raw, funky and loose. 

Originally released on Glasgow-based label, Seventh Sign Recordings in 2005, Tucker’s ‘Detroit Saved My Soul’ EP makes a fresh return on newly established imprint, Mint Condition having been remastered by London's Curve Pusher. 2017 has been a solid year for the label focusing on unearthing and reviving classic house and techno gems, and whilst not ready to flog out £50+ on Discogs for the original, most can truly appreciate their efforts!

‘It’s A Mood (Detroit Saved My Soul)’ is a pulsating minimal cut with sentimental trippy vocodered lyrics. The hooks and paddy percussion have the classic weight and grit of early US techno, speaking true to Detroit’s musical legacy. ‘My Mental State’ has a similar punch with bouncy rhythm, syncopated percussions and more psychedelic vocals. Acidy electro. 

Electronik’ epitomizes the early US electro sound. It’s stabby and invigorating with riveting dichotomies of cold percussion, mystical synths and growling bass. Unlike the other two tracks, ‘Electronik’ has those futuristic keys designed to take the listener to the furthest corners of space.

Buy: Vinyl / Digital

Words by Fred D

RECORD OF THE WEEK: Adesse Versions - Edits From The Tribe [Edits From]

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The third ‘Edits From’ release dropped this week, having selected Adesse Version’s to continue the imprint's impressive string of releases. This follows on from tracks by Sputnik and Junior, who’s 'Edits from the Junior Stable' now commands increasingly high prices on the second hand market. 

Adesse Versions burst onto the scene over two years ago with his incredible track ‘Pride’. Releases since then have included highlights such as his ‘Push It Along’ EP which incorporated further thumping vocal house tracks such as ‘Tout It’, whilst his most recent ‘Don’t Stop The Acid’ stuck to his winning formula of up-tempo, thumping vocal house, producing another club ready classic. 

This release shows a different side to the producer with the heavy vocal cut house abandoned for a more melodic vibe, more apt for building the night up rather than tearing the roof down. A-side, ‘Jagger’ is particularly different to past releases, lacking Adesse’s common use of vocals and speaker testing bass, the focus is more on creating a synth-heavy track which the listener finds themselves lost in after only a couple of minutes. B-side ‘Run Hot’ is much faster paced with an intoxicating drum loop and repeated vocal coming together to form a track you simply can’t help but move along to. I suspect this one will be seen across dancefloors soon enough. 

Listen to 'Edits From The Tribe'

4.0/5

Buy: Vinyl

Words by Ruaridh G

PREMIERE: PRZ - Shrimp [Bauhaus Records]

In great record shops you hear great music, so it’s unsurprising that I heard a test pressing of Bauhaus Records ‘Somar Ep’ playing from behind the counter of Amsterdam’s Rush Hour Records in early August. The EP is an impressive debut and the label’s alumni were kind enough to give us the B1- Gal PRZ's ‘Shrimp’- to give to you.

Bauhaus Records was started by Block residents Amichay Matyas and Yogo in collaboration with artist and label manager Udi NV, and is another example of the thriving Tel-Aviv underground music scene. The first thing to say about them is that they seem like genuine, humble, honest people, always available, ready and willing to help, concerned with making good music. Indeed the early exposure Bauhaus are getting, and the stellar work Gal PRZ has done on the first release speak to this.

PRZ’s EP opens with the titular Somar which consists of euphoric and extended bumping, dreamy, melodic house endeavour. While the B2, ‘XXX Files’, is darker and techno leaning, as arpeggio synth stabs give way to a building, relentless acid melody, the satisfaction of which characterises the track.

The EP covers impressive ground without ever compromising on quality. Shrimp falls somewhere between the A1 and B2, a wholly satisfying peak-time acidic adventure. Loose and playful, the track is driven by an opening of slamming percussion and claps, supported by hazy melodies which set the stage for an alluded inevitable acid induced roof-thumping culmination. It’s uncompromisingly fun music, the louder it’s played the better it gets, sure to get the taps aff and shoes up swinging through the air. We look forward to hearing it over the winter, as the days get shorter and the nights longer. With this in mind, Bauhaus are certainly ones to watch, another string to Tel-Aviv’s bow and with Gal PRZ already onboard and the founding managers in control things can only get better.

Words by Hugo B

RECORD OF THE WEEK: Lordamercy & Dego - Green Woods [2000Black]

Adding to their already awesome catalogue of releases, 2000Black have returned this month with yet another very tasty EP. For this release Matt Lord aka Lordamercy has teamed up with the legend and label henchman that is Dego, putting together a crafty little number of soulful, broken beat, house groovers. 

The duo have maintained that unmistakeable 2000Black sound whilst captivating you with complex layers of harmonies and relaxed rhythms allowing the music to morph naturally into something you can’t really define. The A-side ‘Green Woods’ has a full flavoured organic feel to it with gentle guitar riffs, warm piano and synth phrases and simple blips of afro percussion that allow you to sit back and recline into the track. The B-side being made up from a pair of slightly more up-beat disco fuelled jams that get more than just your feet tapping.

The musicality of this dynamite duo have blended a magical fusion of influences, crafting a sound that you can’t quite put your finger on. Each track is colourful, vibrant and filled to the brim with groove- without a doubt another killer release from 2000Black.  

4.1/5

Buy: Vinyl / Digital

Words by Brook P

WHERE TO GO: Subculture XXX - Schwarzmann (Henrik Schwarz & Âme) Live

This Saturday sees Harri & Domenic’s long-standing club night Subculture ship over two high profile artists, Henrik Schwarz and one half of Âme, Frank Wiedemann to Glasgow’s Sub Club to perform under their combined alias, Schwarzman. Having first come together in 2012, this will be the duos first performance in the UK this year after memorable sets at Sacred Grounds Festival and reportedly one of the best OFF Sonar events of the year. The duo have promised a release under this alias since June 2016 and many wait eagerly to see what the two can produce as a pair, the best indication being their mind-bending Boiler Room from April. Sub Club will undoubtedly provide an ideal space for the duo to test out their abilities. Continuing the club’s landmark thirty-year celebrations, this year has seen memorable sets from the likes of Moodymann, The Black Madonna and Carl Craig with Derrick Carter and Larry Heard, among others, to look forward to.

Tickets

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Words by Ruaridh G

RECORD OF THE WEEK: Bicep - Bicep [Ninja Tune]

Last month flying the flag for the Irish was Conor McGregor, this month it’s the neighbouring northerners making noise, the much-loved duo, Bicep. On the first day of September Andy Ferguson and Matt McBriar, aka Bicep released their highly anticipated, self-titled debut album. Since their breakthrough release, ‘Vision Of Love’, the duo have released a catalogue of quality productions, from edit’s to forward-thinking originals, and now their discography ticks another box. Living up to the hype surrounding the release Bicep have delivered a stunning debut LP.

A year and a half in the making, from sixty demo tracks whittled down to twelve gems, this fuller-length release is, as described in six words by the duo themselves, “an insight into our varied tastes”. As expected in typical Bicep fashion this LP is a cross-pollination of genres but here going the extra mile with elements of progressive house, trance, garage, breakbeat and downtempo. Comparing Bicep to previous material the duo said, “It's certainly more restrained or gentle, but also a lot more dynamic we feel. We've spent a lot more time on the little details. It's very much home listening or for listening on the train, not a club album. Some tracks, of course, will work in clubs”. Whether at home or in a club you can get lost in the euphoria of Bicep - a polished, triumphant, well-rounded release.

4.3/5

Watch the music video for 'Aura'.

Buy: Vinyl / Digital

 

Words by Ben C

PREMIERE: TR - 10am Acid Jam [Room II Records]

‘The Black’ EP marks the debut release for both label, Room II Records, and producer, TR. The London-based imprint is focusing on artists who haven’t previously had a physical release out on a label. TR demonstrates his talent and versatility as a producer in this three-track EP. Our pick out of the very worthy bunch is the rougher side, the B-side party bomb, ‘10am Acid Jam’.

The word on the street is that TR is currently working on a live show to add to his excellent DJ sets; so keep your eyes peeled for that (he'll be taking bookings through the label for the time being). For all you bedroom producers, bathroom producers and garden shed producers - Room II want to hear your beats so send them over to: hello@roomiirecords.com

RECORD OF THE WEEK: Mouldy Soul - Chillbo Swaggins

'Chilbo Swaggins', a lush mid-tempo low swing collection of beautifully echoed bleeps and synthesized pads with his trademark cheek added to match. Mouldy Soul utilises uplifting melodies with ear catching spaced out elements and mobile baselines. An audible treat is served up, showcasing a calmer musical aesthetic than his previous productions, all the while maintaining his mischievous trademark approach to his soundcard. Self released off his bandcamp and part of his new album One Wondered, check it out!

4.5/5

 

Words by Giles O

Review: Dekmantel 2017

Main Stage | Photo: Bart Heemskerk

Dekmantel is in a league of its own.  Having long been a mecca for dance music lovers, it is heralded as one of the best festivals of its genre in the world.  40 minutes out of Amsterdam, the festival itself sits modestly in a tree-encircled area, and a half hour walk through a fairy-lit forest following the river takes you to the campsite. A large proportion of the crowd come in for the day from the city, and those who do camp do so in a fully kitted out, clean campsite with the option of cabins with beds (for a slightly higher price).

The simplicity and practicality of Dekmantel is a reflection of its overall attitude. There are none of the frills, or decorative extras that have come to characterise a lot of other festivals; it really is just about the music. This is not to belittle the aesthetic of the festival; the design of the stages is central to the weekend’s appeal and success. Repeat attendees become fiercely attached to particular stages, and this is down to their distinct and unique personalities. The style of each DJ’s set is tailored to the stage that they are on, which is testament to their thoughtful and special creation, and a reason why so many of the acts played more than once over the weekend, with varying sets over different stages.

Selectors is centred upon a willow tree which drapes down into the dancefloor, and which braver members of the crowd clamber up. On the main stage the DJ is elevated, and silhouetted against a wall of records behind them. Sets at selectors are more about individual tracks than the overall set, and take on a feeling of the DJs sharing their influences and personal favourites which makes for delightfully surprising listening, a highlight, for me, being Marcel Dettman’s afternoon session there on Saturday. The UFO stage is deliberately disorientating, a huge tent, totally dark inside except for streams of sunlight creeping in between the cracks. This is where the likes of Matrixxman and Donato Dozzy found their stride, playing thundering techno from open to close.

The Greenhouse, a huge metal structure filled with plants, was a glorious, tropical suntrap and played host to the likes of Byron the Aquarius, Jeff Mills and one of Helena Hauff’s sets (the other being at Boiler Room). Red Light Radio, the stage in the centre of the food and drink arena, at many festivals relegated to the status of background music whilst people eat and buy cigarettes, boasted as stellar a lineup as the rest, crowned by a stunning dusk set by Legowelt. The Boiler Room stage, a cult location for many, is understated and unpredictable, hosting a stellar lineup including a surprise appearance form Nina Kraviz (her second set of the weekend), and my favourite set of the weekend- Blawan on Sunday. All the stages felt incredibly intimate, even though all have pretty big capacities- the main stage, by far the grandest, still felt friendly and unimposing. The narrow, semi-circular screen behind the elevated stage, whilst bursting with colourful and hypnotizing visuals throughout the weekend, did not overshadow the artists behind the decks.

Main Stage | Photo: Bart Heemskerk

Dekmantel does not mess about with its lineup, the ending time of the festival being 11, there is no time wasted with filler or warm-up DJs. Nina Kraviz opened the festival at 1pm on Saturday and Motor City Drum Ensemble at the same time on Sunday. The result of this, or perhaps the reason, is that everyone there is truly passionate and knowledgeable about the music, and there isn’t really anything there for people who aren’t. This both raises Dekmantel’s game, driving it to present an infallible line-up, and contributes to the down-to-earth, unpretentious nature of the people there. Dekmantel, overall, feels like a more mature, wiser version of every other similar festival I have been to- it doesn’t hide behind gimmicks or scale, it simply delivers fantastic music in a beautiful setting.

 

Words by Dora T

RECORD OF THE WEEK: Money Morning ‎– Corporate Karma [Acting Press]

After a stint of relative quietness, Berlin’s Acting Press have since treated us with a flurry of 12”s over the last couple of months. First was PLO Man’s much anticipated follow-up to the revered ‘Stations of the Elevated’, followed now by releases from Money Morning and Accelera, the former of which comprising newbie Scott W. and All Rest No People, one part of both CC Not and Attitudes in Error. In keeping with the label’s ethos, a shroud of mystery pervades, but rest assured there’s certainly no trade-off with quality.

The record treads the line somewhere between the proto-IDM of Warp’s Artificial Intelligence compilations and the ambient-leaning end of Aphex Twin’s output. In any case, it undoubtedly harks back to that movement of electronic music that was born as a counteract to early 90’s rave. The opener ‘Haze’ is an outstanding, expansive epic that’s reminiscent of the ambient works on labels Northern Electrics and Auxiliary and, although somewhat disparate, I can’t help but draw parallels with the feeling I first felt on hearing Lemon Sol’s ‘Polymorph’. The EP should really be treated as a single entity and listened to in its entirety. However, if a highlight were to be picked it would be ‘Remnants of Joy’, a bliss 11-minute wave of swirling ambient electronica that’s crafted by some exceptional drum programming. This futuristic track falls nicely into the deep night-time zone and provides the perfect after-hours soundtrack.

However, the record, as is the case with many releases that garner such hype, will undoubtedly be masked by inordinate pricing on the second-hand market. So do, if you’re lucky enough to find one, cherish and preserve it purely on merit of the quality it beholds. 

4.5/5

Listen to the full release
Buy: Vinyl

 

Words by Tom G

Old 'n' Gold: Jan Jelinek - Loop-Finding-Jazz-Records [Faitiche]

After sixteen years of quiescence, Jan Jelinek’s Loop Finding Jazz Records receives a well overdue repress on his own imprint, Faitiche.  The record was originally released in 2001 and was the seventh release on Stefan Betke’s iconic but unfortunately obsolete label, ~scape.  During the record’s repress hiatus, the prices for this masterful piece of production soared to outrages heights.  Now not only can vinyl collectors buy this record without breaking the bank, we can also metaphorically raise our middle finger to all the Discogs wolves that originally inflated the price of this much loved release.

Jelinek is a multi-talented musician and producer.  He is somewhat of a mysterious character due to his numerous aliases.  Farben is one of his best-known pseudonyms.  He uses Farben when he performs live sets.  Gamm is another name he produces under, where he treats us to electrifying minimal electronica.  

Jelinek creates sounds with utmost care and sensuality.  This LP is a beautifully crafted cerebral dream that leaves you blown away by its intricate splendour.  The way in which Jelinek invests his attention to the formation of textures is truly impressive, from his smooth hazy loops to the sharp static sounds.  Unsurprisingly due to its ambient house feel the album still sounds fresh today.  The third track on the record, “They, Them”, has a soothing xylophone and a weird yet satisfying brittle layer that leaves you in blissful tranquillity.  “Tendency” follows a similar house rhythm to “They, Them”.  The droning and complimentary rippling effect he introduces demonstrates the relevance and inspiration his style has had on today’s minimal house producers.  What ties the ribbon on this iconic record is “Drift”.  This track reveals the abstract side of Jelinek.  It’s one of the stranger tracks on the album, with its hauntingly absorbing rhythm and squelchy synth work.  The individuality and sheer ingenuity of the album shows why Loop Finding Jazz Records has been an significant influence to many artists. 

This LP is perfect for home listening on a slow Sunday after a heavy weekend and a must have for any vinyl collector. 

Buy: Vinyl

Words by Max J

RECORD OF THE WEEK: Lone – Minds Eye Melody [R&S Records]

Matt Cutler aka Lone, is back with his second instalment of his ‘Ambivert Tools’ series under a label that needs no introduction, R&S Records. A prolific producer on legendary R&S and other labels such as Magic Wire and Werkdiscs, Lone has also gained notoriety as a supreme selector playing some of the biggest shows around this year.

It is a decade since Lone’s debut release. His love for the game is still apparent and he proves that he is prosperous in his fruitful surroundings with his new series on R&S. Following on from the rugged beats on the acclaimed ‘Vol. 1’, Cutler continues the vibrancy with flourishing synths dominating the hypnotic deep-house sounds on the opening track of the ‘Ambivert Tools’ second instalment.

After a solid start and a dream-like start to the second ‘Ambivert Tools’ EP, we are very much looking forward to hearing the next instalment in the coming months. Ears at the ready.

4.0/5

Pre-order: Vinyl / Digital

 

Words by Tom M

MIX OF THE MOMENT: Bullion - All Abawd

It’s ironic that the adjective interesting is actually quite an uninteresting way to describe something, despite this, for Bullion’s (Nathan Jenkins) All Abawd mixtape it’s a useful place to start. Released on 26th April in a small batch on cassette by The Trilogy Tapes it sold out quickly. Indeed, it’s easy to miss these kind of endeavours and it was only Bullion’s TTT follow up, the excellently intriguing Blue Pedro EP, and a little research that led me to buy the digital 27 minutes 31 second mix. Despite it’s springtime release the mixtape is perfect for this moment- high summer- when much of the music that has/will characterise the previous/upcoming months has already been rinsed, repeated and enjoyed. Comfortable with what is there and safe in the knowledge it’s not going anywhere, it’s always worth trying something a little bit different and this mixtape serves this purpose perfectly.

In a relatively short space of time Bullion’s All Abawd covers significant musical ground. Tracks ebb, flow, leave, return and are put unexpectedly married, ignoring tempo or genre the tape is eclectic without sacrificing any sense of coherency. All Abawd opens with slow-mo atmospheric, euphoric and world influenced sounds and alters between this and the slamming percussion and energetic synth lines that the more recent Blue Pedro EP is home to. The mixtape is characterized by ear-catching, rapid movement between these two styles.

 A mixtape can be a space for experimentation, an oft forgotten fact which Jenkins takes full advantage of. Indeed, it’s an all too predictable formula when a mixtape from a DJ sounds indistinguishable from the dancefloor. A mixtape can showcase musicality without worrying about danceability. In this sense selecting music can be as interesting or uninteresting as you choose to make it and Jenkins’ awareness of this is a large part of what makes All Abawd such a refreshing listen. In addition to this it showcases his talents as a producer as a lot of the material looks forward to his Blue Pedro EP.

The beginning of what could become a nautical themed musical love affair for Bullion and TTT, All Abawd serves as a wonderful introduction. An aquatic adventure, providing welcome relief from sweaty summertime saturation, the mixtape can still be downloaded in digital form from Bandcamp.

 

Words by Hugo B

RECORD OF THE WEEK: Laurence Guy - Saw You For The First Time LP [Church]

We love Laurence Guy and we’ve been waiting for this week for a while. Landing with classy understatedness on Seb Wildblood’s charming Church, comes Saw You For the First Time – after teasing us with a string of EP’s, Laurence Guy’s debut album. It’s also the South London label’s most recent LP since Ishmael’s sumptuous Sometime In Space of last year.

For fans of the label, this LP truly encapsulates the sound and ethos of everything Church is about. It speaks of the collectiveness and friendship within their work that Ishmael lays down the melody with his usual sax-aplomb on arguably the album’s stand out track ‘Anchor.’ Steve Spacek’s ethereal vocals take centre stage in ‘Drum Is A Woman,’ but really the strength of Laurence’s work is that taken individually or collectively, each track is a story in itself, somehow seamlessly weaving into the next. It’s a winding journey but, one that is about so much more than blissed out house music.

The whispering synths of ‘Orchard Road’ have now solved the conundrum of anyone desperately clamouring to find an opener for their set; ‘Wichita Falls’ ushers in dulcet euphoria and is already becoming a hyper-chill staple; there really are too many highlights (including the artwork).

It’s been a journey and it could not have culminated at a better time. The album is made for these long summer nights and I have nothing but respect for the continued way that Church goes about its business. From laying on the most killer line-up of a long overdue Boiler Room session in October of last year, to the faultless curation of their stage providing the major memories at this year’s Peckham Rye Music Festival – Seb and his band of merry men are just doing what they love, and it’s a pleasure to be on the receiving end of some of that.

As a fellow Guildford reveller – hats off fully to Laurence. All those ventures to Ben’s Collectors Records have borne some serious fruit – I just hope there’s something left in that Surrey water for all of us. And you can catch the man himself back to back with his old mucker Mr Wildblood down our good friends Labyrinth’s day session on September 2nd. As long as someone provides the weather – they’re sure to provide the perfect soundtrack.

4.4/5

Buy: Vinyl / Digital

Words by Marcus P

 

Label heat: Atomnation

Atomnation has been producing unique and moody electronic music since its inception in 2012 by Pascal Terstappen and Guido Hollaers, but has recently upped the ante with the frequency of releases being increased, and the launch of a monthly podcast series. The Dutch label specialises in sultry and surreal music, spanning the gritty, the energetic and the ethereal. Founder Applescal produces punchy dance tracks, Portable Sunsets create beautifully emotional, dubby tunes with hints of classical beauty, and David Douglas makes indie, vocal driven electronica.

This month sees the vinyl release of Nordic duo Gidge’s ‘For Seoul’, a 2-track hymn to the South-Korean capital city that they visited and fell in love with. This follows some deep and lovely records from earlier in the year such as Tunnelvisions’ ‘Tanami’ and David Douglas’s ‘Spectators of the Universe’. Most notable, however, is Deltawerk’s ‘Passages’, which was released in conjunction with their live show, a 270 degree visual experience that guides the audience through unearthly landscapes as the album progresses.

Atomnation is unconventional in its intimacy. The habit of releases being accompanied by backstories and context around the artists’ inspiration, the origin and creator of the label artwork, and the relationship between artists follows the label’s tendency to present its records as an entire emotional and sensory experience, rather than just something to listen to. Many of the artists on its roster are known for their impressive live shows, and a number have backgrounds in art, film and poetry. There is also a distinctive theme of music that expresses the mood of certain places, and a strong connection to nature runs throughout the sounds, titles and artwork released by the label.

All in all, Atomnation is an eccentric and exceptional label that produces emotive, complex and three-dimensional music - definitely set to keep on making unpretentious and unpredictable magic.

 

 

 

Words by Dora T

WHERE TO GO: Whities @ The Yard, Hackney Wick

Whities have not just solidified but have certainly elevated their status within the underground scene with an impressive but calculated first half of the calendar year. In keeping with the modus operandi of ‘less is more’, the label, under the careful guidance of Nic Tasker, has released just a handful of records in 2017 but has continued to be one of the commanding forces coming out of London with their highly diverse and interesting takes on electronic music. In addition, the label has organised semi-regular nights throughout the year, the most imminent of which coming this Friday at The Yard in Hackney Wick. The night plays host to one of the regulars off their roster, Minor Science, as well as being joined by Hyperdub’s Okzharp and NTS regular TTB. An exciting addition also includes an installation from recent label debutant Calum MacRae, aka Lanark Artefax, which will take place for the first few hours of the event, so make sure you get down early!

Tickets

Words by Tom G

Premiere

The Planty Herbs returns to our favourite Brooklyn based label, Razor-N-Tape. Introducing the A2, 'Errbodydisco'.

Some might remember The Planty Herbs from his earlier 7” outing on Razor-N-Tape, and now the dynamic Dutchman brings his dusty vibes to a four-track EP of crafty edit selections. 'Famyly' kicks off the pack with a bouncy funk groove, followed by 'Errybodydisco', a low-slung house party affair. On the flip we have the flute solo and sample-heavy Soundstream-esque stomper 'Today', while 'What’s Inside' takes us back to the soul side with a boom-bappity cover of a 70s R&B classic.

RECORD OF THE WEEK: Fede Lng, Jesse Bru, Deejay Astral, Nostalgia - PNP 001 [PNP]

Soulful disco vocals meet dusty house grooves as PNP drop a piece of summer dance floor fire to kick start their catalogue.

PNP is the fresh sub-label sibling of established London imprint Axe on Wax. Having previously put out records from a range of global heavyweights including Boo Williams (Chicago), Mall Grab (Australia), Chaos in the CBD (New Zealand) and Glenn Underground (Chicago) to name a few, label boss Fede Lng now brings it back to his hometown with a debut release of seductive re-edits from a selection of rising producers.

On the B-side are two summer house anthems. Fellow Londoner Deejay Astral’s interpretation of Floetry’s 2003 R’n’B hit ‘Say Yes’ delivers a track with upfront kicks and tight hi-hats, blissfully offset by a downtempo breakdown that gives space to the silky vocal, before building back up to a solid deep house groover.

Nostalgia follows suit with a light hearted, sample heavy arrangement. This funk fuelled rework of an eighties gem is paired with skippy kick drum beats and a vocal that floats us away to a distant sun drenched party on the Adriatic coastline.

The A-side is more club focused as Fede Lng shrewdly cuts the vocals of Leon Ware’s 1979 hit into a raw track with powerful kicks and sandy hi-hats, whilst the stand out track on this EP would have to be Jessie Bru’s 'Don’t You Know' (909 Edit). As the title suggests, newcomer Bru’s contribution is a firing TR-909 stomper layered with disco shrieks and catchy loops forging a high energy peak time track that’s sure to have hands up high at festivals and open air dance floors across the board this summer.

Also released on digital however the 180 gram vinyl with hand stamped pineapple is surely the only way to go for this powerful summer slammer. Keep watch!

3.9/5

Buy: Vinyl / Digital

Words by Henry C