Böhm delivers pure dance floor action on Dolly with this solid 3 tracker. “Solar Cycle” is serious UK rave, deep bleep and slamming breakbeat dance floor madness.
Karlos Moran returns to his own Moran Music Group label (helmed by the people at Klasse Wrecks no less) for his 5th release. Showcasing the producers flair for classic US Deep House tropes and a deft talent when it comes to singing and playing instruments live, MMG005 is collection of 4 tracks of wonderful and positive vibes. Trainspotters might notice something familiar and newcomers might discover a new favourite artist, step into the house of Moran and enjoy.
In the wake of Portable’s acclaimed album My Sentient Shadow comes a trio of remixes which expand on his unique slant on techno and synth-pop. Finding three artists who reflect his own experimental tendencies within dance music, Alan Abraham’s original productions head into unexpected new places while retaining the physical, club-ready energy he manages to instill in his own creations.
A year on from the first installment, French electro stable Partout are back with a second volume of Everywhere, introducing the world to more of their deep cover operators working their studios in pursuit of machine funk perfection. AV1 leads with some trippy acid goodness, while Binh Baggs has a techier intention. The Trots bring something ghoulish and nasty to the table with ‘Pelusa’, while Yate plays around with trancey tropes in a gnarly rave context. There’s bags of personality spilling out of these tracks, confirming Partout as a reliable destination for refreshing approaches to the electro-techno tradition.
Originally released in 1990 ‘Voaria’ was written by Benjamin Nhassavele and produced & arranged by the late Tata Sibeko, the revered South African producer and member of Kabasa. Taken from the LP of the same name ‘Voaria’ was released at a time when early house music was emerging as a key influence in the South African musical landscape, an evolvement of the Bubblegum pop sound that had fused disco and boogie with township funk. Characterised by Roland kick drums, Yamaha DX7s and Juno Synthesisers the Kwaito sound is the musical heartbeat of ‘Voaria’. Featuring Benjamin on lead vocals ‘Voaria’ comes in 2 versions, a main House mix on the A side and the Clubhouse mix on the flip which switches up the arrangement placing more emphasis on the groove.
Joey Beltram 1991 timeless classic is back on vinyl, originally released on Nu Groove. This reissue from brand new imprint Orange Wedge hears the original in fully-remastered glory, charting the proto-bleep tones of a trio of quizzical ‘Quad’ tunes. These B-side tracks are very nicely intro’ed by ‘C.O.D.E.S.’, a trance track which seems to revel quite well in the wonder of cyberspace, lilting between two chords in permanent alternation.
Swedish born, London based producer Hans Berg provides the title track ‘A Floor of Stars’ for a brand new white label from Klasse Wrecks. Starry-eyed rave nostalgia for the 2020s, produced and presented without a cheapshot gimmick in sight. Luca Lozano provides a interpretation on the flip, increasing the breakbeat pressure slightly and taking a left turn into the hoover-vortex continuum. Its a space race journey of sorts, with the producer adorning the track with more rave decoration and climactic pianos flourishes.
Childhood returns with a 4 tracker 12” by Mr. G. This record continues to elaborate on the rather obscure path that G already explored with last years album The Forced Force is not the True Force, yet focuses a bit more on the magic of the dance floor. Ranging from hypnotic patterns over house grooves to fast forward techno funk: this record clearly shows again that Mr. G always manages to keep his distinct signature sound we all love him for, even while advancing into unknown territory. Another magical ride, delivered by yours truly, the Childhood team.
The legendary N.A.D. follows up the aptly titled ‘Electro EP’ with the punishing ‘A Day in May’, a scorching hot four track technofunk monster that marries the Detroit and Kalamazoo techno traditions with classic UK techno. Absolutely exceptional high-octane material destined to set any dancefloor on fire.
Veteran of the New York City underground DJ Spider returns after a couple of years on London’s Spinning Plates with more of his idiosyncratic takes on techno with the new four-tracker Enter The Void. On the first side you’ll be entranced by the brooding locomotive chug of ‘Hyperspace Wardance’ which is treated to a swirling and textured rework by the ever reliable Phil Moffa next – a proper back room dub that goes deep. Over on the flip there’s the industrial edged sci-fi menace of ‘Space Aggressor Squadron’ and followed by the atmospheric slow burner ‘Incineration Of Years & Truth’.
Esteemed proponent of outré dancefloor manoeuvres, Superconscious Records co-founder Fantastic Man makes his Kalahari debut proper. Having shown up for rework duties on a couple of occasions, we find the mutable oddball at his most trippy and esoteric. In fact, OYSTER42 is the handiwork of a producer who has his formula of balmy, lysergic dance music down to an exact science.
Förslag På Musik is back for his third strike on Sunken Rock Recordings in the format of a proper 7” inch double sider. In his charectaristic breezy style the A side moves around somewhere in between reaggae and dreamy synth vibes while the flip takes you on dubbed out excursion filled with heavy bass and drums.
Napolitano artist Tullio De Piscopo’s ‘Stop Bajon’ was a massive mid eighties club hit and Chicago House anthem. His Italo disco, proto house, balearic classic was made for warm summer evenings, a gentle breeze in the air, beer in hand and smiley faces abound. Michael Gray has kept the downbeat groove and added some great additional beat production on his new remix.
Emotional Rescue reaches its 100th reissue in its 10th year with a landmark, a collection of previously unreleased songs from Brenda Ray. Encouraged and cajoled since the label’s inception, Brenda Ray’s (Kenny) music has gone from cult curio to cult status in that time, as her mix of DIY/post punk, dub reggae, jazz and pop transcends reached admiring audiences. Following the completion of Naafi Sandwich in 1985 and the subsequent recordings as Brenda And The Beach Balls – the sought after Volume 1 LP in 1986 and three singles on Siren/Virgin in 1987/88 – her releases might of stopped for almost two decades but she never stopped recording. The 10 songs show not only continuous activity in her North-West home studio, but to be consistently creative, moving forward and relevant. Hip-Hop, Street Soul and House all feature alongside Brenda’s unmistakeable Be-Pop-Dub-Pop song writing. Working as always with partner Gerry Kenny aka Sir Freddie Viadukt, plus a cohort of friends joining across the sphere.