
Andreas Gehm with the first release on his new label Cologne Underground Records.

Kink’s first ever release on the Pets Recordings label. It finds the Bulgarian live specialist and techno innovator serving up a fantastic new cut and comes with a remix from raw American talent Truncate. Comes with 10 vinyl-only locked grooves.

The mysterious, no-holds-barred combo Paranoid London has decided to put out a double album containing much of their previously released material, alongside a smattering of previously unheard cuts (including a collaboration with Detroit legend DJ Genesis). The hard-to-find classics still sparkle – check the brilliantly sparse-but-heavy “Paris Dub 1” (with regular vocalist Paris Brightledge) and ragged “Transmission 5” (featuring a killer spoken vocal from Mutado Pintado) – while the new cuts are thankfully up to similarly high standard. Here is some more repetitive, machine bass music for DJs to play loud & dancers to freak to.

Unreleased house/techno tracks recorded between 88-91 from the Chicago master Mike Dunn. ‘I Wanna B House’ comes with an edit from Johnny Aux as well as another straight up acid track ‘I’m The Houze’.

Gavin Guthrie returns on Dixon Avenue Basement Jams with a full record as TX Connect. There’s a strobe-friendly feel throughout this final DABJammer of 2014, as the producer joins the dots between acid house and fluorescent techno, with a few hints of early ’90s rave thrown in. This is most obvious on the title track, which expertly fuses a wobbly acid line, ricocheting drum machine hits and a nagging, early ’90s riff. “Intramountains” comes swaddled in stormy sound effects, cloaking its hissing rhythms with foreboding techno stabs and backwards samples. As for “Xanadu”, it’s a deliciously rough-and-ready chunk of late night acid jack.

Greek label Lower Parts presents andreas Gehm aka Elec Pt1, who gets remixed by Damcase and Anopolis.

Jerome Derradji is gaining something of a reputation as one of Chicago’s premier house archivists, having previously released compilations celebrating some of the Windy City’s most influential – but previously overlooked – labels. Here he’s teamed up with KStarke Records boss Kevin Starke to deliver a two-track set largely made up of material found on tapes that were once traded between Frankie Knuckles, Ron Hardy and other legendary Chicago DJs. Confusingly much of the material credited to Jackmaster Hater is of unknown origin, while there plenty of other unearthed gems with little or no information. Thankfully, the material – largely mid-to-late ’80s jack and early acid, with a sprinkling of deep house and Italo-influenced fare – is uniformly excellent, making it a “must buy” for anyone with a passion for early house music.

The Lobster Theremin label is finally ready to make the move to the full-length format. Interestingly, this first LP – a double album, no less – comes from a largely unheralded source, former Vancouver resident Chicago Jim (AKA Space Jim). Chicago Jim replicates the contents of his self-released 2012 cassette of the same name, bringing his blend of Larry Heard-inspired analogue deep house and stargazing ambience to vinyl for the first time. With nods to Heard’s recently reissued Alien LP, early Transmat and Virgo Four style acid house, it’s an analogue-only set – recorded mostly using vintage kit – that ebbs and flows with great emotional intent.


Rostami is a San Francisco-based musician whose roots extend off into theoretical dimensions far beyond conventional dancefloor fodder. For Czarat, however, he’s honed his approach to produce an unusual dancefloor anthem. Melding influences from around the world, the song arrives at something that sounds like acid house and techno as interpreted through an internet-enabled, information rich dialog of the present moment.


Given the expansive nature of Terry Farley’s first celebration of early and classic house, 2013’s five-disc Acid Rain, you’d think he’d be running out of choices for this second, similarly epic selection. In fact, Acid Thunder is, if anything, a more pleasingly deep and in-depth collection. Whereas that first installment was heavy on relatively well-known classics, this follow-up digs deeper for inspiration. As a result, it’s packed with tracks that many house DJs simply won’t know, or have struggled to get hold of; not just stone cold classics such as Bobby Konders’ “Nervous Acid” or Hexx Complex’s “I Want You”, but genuinely overlooked material from the likes of Risque III, Peter Black and Jack James Rabbit. It’s something of a welcome history lesson, even for those with a good grasp of house music’s formative years.

Three previously unreleased Mike Dunn recordings taken from sessions recorded between 1989-91, recorded under his MD III alias. Drum machines, 303s and a few crusty synths is, by the sounds of it, what created Mike Dunn’s Acid Chaser EP for Sheffield label MoreaboutMusic. It’s the Chicago legend’s first release as MDIII since 1993 and, production-wise, not much seems to have changed in those 21 years. Acid. Drums. Grit. It’s all here, beginning with the clap-heavy and bouncing squelch-line of “No Chaser”. The B-side provides two tracks with the beat down drums of “Acid Feet” sounding as big a Maurice Fulton production, while the 303 bleep of “Club Music World” will draw whoops and cheers from dancers and DJs alike.

Anopolis are a collective of four Thessaloniki based producers (Dimitris Evagelopoulos aka DimDJ, Drum Machinee, Lowjac, Oldman Talkin’) coming together for their first release on Lower Parts. The EP starts with Anopolis 2, a long, disco flavored track, built up gradually with phasing pads , lead melodies and an arpeggiated square bass line. The hypnotic feeling of Anopolis 5 is up next taking things deeper and textural while Anopolis 11 stands strong with it’s relentless acid loop juxtaposed with sharp drums washed in reverb. The final track of the EP arrives in the form of a remix of Anopolis 2 by Elec Pt.1 creating a mysterious and sinister atmosphere.

Manuel Gonzales aka MGUN, steps up to the plate for Fit Sound with an EP that is equal parts diverse, epic and raw. From the basement techno of “Wide Eye”, to the scuffling acidic “Debit, and finally onto the melodic/ melancholic sound of “M.S.C.”, Essential music from the underground for the underground.
