Pulse Radio - Latest Reviews

Willis Haltom & Randall Jones - "Hawaii Five Oh" EP + Remixes

http://pulseradio.net — Fri, 24 May 2013 03:27:49 +1000

Responsible for the upsurge in the status of techno and house music in Hawaii, Willis Haltom teams up with veteran DJ and producer Randall Jones. Their new EP, "Hawaii Five Oh," coming out on Riff Raff Records offers sounds that are soulful and upbeat, with a Hawaiian 5-0 groove that's true to its name. A sexy and deep track called “Garbage DJs” secures control of the moody bassline right from the start. This song is a flawless summer jam that makes it hard not to move. Harder hitting than the original, John Creamer does a remix featuring synths that jump around and fit perfectly with the low vocals.

The track “Hawaii Five Oh” fits effortlessly into this groovy tropical anthem. Perhaps the most powerful track on the EP is the remix with Phillip Charles, who has demonstrated his versatile musical talents over the past decade. A member of Tigerhook, his sound dabbles between soul, new jazz, and deep house. An epic finale to this EP, the track emphasizes a sexy bassline that just doesn't stop. It has perfect rhythm of deep house and soul, featuring a silky melody that accentuates the song impeccably. The massive production explores glistening antiquated and also futuristic house music. It is a solid, if not stunning, suite to watch out for.

Tracklist
1. Randall Jones & Willis Haltom - Garbage DJs (John Creamer Lacoste NYC Remix)
2. Randall Jones & Willis Haltom - Garbage DJs (Original Mix)
3. Randall Jones & Willis Haltom - Hawaii FIve Oh (Original Mix)
4. Randall Jones & Willis Haltom - Hawaii FIve Oh (Phillip Charles Get's Laid Remix)

Listen to Pulse Radio

http://pulseradio.net — Fri, 24 May 2013 03:27:33 +1000

Navid Izadi & Nick Monaco - "Satisfaction vs. Freaks Edits"

http://pulseradio.net — Thu, 23 May 2013 18:38:13 +1000

Satisfaction vs Freaks edits

Wolf + Lamb’s latest release is, as always, something a little different. Navid Izadi and Nick Monaco offer their contrasting takes on Satisfaction and Freaks. The slightly lesser know Navid Izadi kicks off with what is becoming his signature sound. This singer come rapper come producer draws on all of his influences for both of these tracks bringing you an all together new sound.

Freaks is reminiscent of the early days of Hip – Hop, carefully blended with the funkier and deeper sounds of House. Navid’s clever use of scratching, chopped up vocals and harmonic, yet groovy, melodies really captivates a fresh summer vibe. This totally stripped down track makes full use of a fat sounding bass line layered with simple, yet effective, piano and percussion.

Izadi’s Satisfaction is a little less experimental and really takes you back to ‘70’s New York. However, it couldn’t be more up to date and could easily be a big future hit. Its soulful vocals, backed up by a subtle bass riff, really carry the track. Navid has struck the perfect balance between calling on influences without sounding like a carbon copy of past hits.

Nick Monaco’s take on these two tracks are a little more experimental. His Freaks edit is bass heavy but not over done. His kicks and snares are as punchy as you would always expect from Monaco. If Navid is Sugar Hill Gang then Nick is N.W.A. Nick takes you away from the House scene and sticks by his motto – the funkier the better.

Monaco’s originality shines through once again on his Satisfaction edit. Once again your head is bopping and your feet are tapping as his bass is kicking. His use of percussion is what really makes this track. A constant rhythm is set by bongos although they do not dominate the track. The many different layers of sound all play a part without overcrowding it. The finale of this track brings every sound together in an explosive yet somehow ambient fashion. It’s hard to take this one off of repeat for sure.

So his wins this head to head battle? There may be a hint of bias in this decision but for Pulse it has to be the veteran of these two – Nick Monaco.

Listen to Navid Izadi on Pulse Radio.

Soul Clap presents Dancing On The Charles: A Boston Electronic Music Story

http://pulseradio.net — Thu, 23 May 2013 13:25:54 +1000

Various Artists
Soul Clap presents Dancing On The Charles: A Boston Electronic Music Story
[Soul Clap Records]

Lionel was dancing on the ceiling, the current reality TV phenomena involves dancing with the stars (cosmic), dancing on ice (wearing thin), and now Soul Clap are 'Dancing On The Charles,' the river that weaves it’s way through their native Boston. Whilst Soul Clap themselves have gone on to become worldwide dance music glitterati, it was their open air boat parties sailing through their home town that helped put the EFUNKers on the map and shined a spotlight onto a city that was frequently overlooked in favour of the big three (Chicago, New York and Detroit). So although 'Dancing On The Charles' is a retrospective meant to encapsulate the verve, energy and most-of- all musical direction of these parties, it's more than just a collection of songs that would cause mutiny on the dance floor. By taking in new tracks from artists all glued together by geography - with most, if not all, the contributions coming from Boston natives - it also works as a snapshot of the current Boston scene these parties helped to, if not create, at least help highlight to the rest of the raving world.

Of the tracks that get dredged up from the depths, the highlight is the mysterious and anonymously penned ’I Want Your Love”. Given to the Soul Clap lads by the Benoit half of the Benoit & Sergio whole, it sounds like a pie that Jonny Jewel of Chromatics and Glass Candy fame has had his fingers in. It’s achingly haunting, like a love/murder ballad written in the Hotel California, only with extra keyboard stabs, of course. Soul Clap’s remix of Mystery Roar’s 'Mayhem' sounds like a long lost soul or funk jam crossed with an ‘80s high school disco anthem that's been fucked up and wonked out beyond what is usually deemed appropriate, which I guess right there is a fairly accurate description of Soul Clap’s 'EFunk' sound.

Of the newbies, standouts are clearly John Barera’s ‘Wait For It,' a shuffling, grooving little lovely with a plaintive and yearning vocal form Victor Flores, and Clifflight’s exultant slab of sunshine electro-pop which is an Adriatic boat party anthem in the waiting. Cue a rampage for the life jackets and adopt the brace position! (Is that applicable on boats?)

However, whilst the geographical constraints make this more than just another club night compilation, it also in a few cases yields some less than ace results. Chas Bronz’s ‘Love Only You’ is nothing if not a bit too cheesy and sounds a little too influenced by the recent ‘retro’ house revival that has been doing the rounds in a variety of forms. The tracks involving Kon, Soul Clap’s mentor and recent edit overlord, are not as good as either those recent edits nor his game changing work as Kon & Amir. That said, no compilation will ever satisfy everyone and arguments about its true representational value will entirely depend on you and your involvement with the party and what faze of it's genus you found yourself in.

Basically then, 'Dancing on the Charles' is pretty good, it works very nicely as a porthole into the EFUNK sound and is still undoubtedly awash with quality, whilst occasionally suffering from it’s self imposed “let’s give it up for Boston” restraints. So whilst you might walk the plank with joy, you certainly wouldn’t take a keelhaulin' for it.

Tracklist:
01. I Want Your Love
02. Matthew Larkin Cassell - Heaven (Bosq & Kon Remix)
03. Caserta - Nobody ft. Saucy Lady & Kon
04. Curbington Digital - So Fresh
05. Mystery Roar - Mayhem (Soul Clap Remix)
06. Roldy Cezaire - Lose My Mind
07. John Barera - Wait For It ft. Victor Flores
08. Chas Bronz - Love Only You
09. Clifflight - All The Things
10. Bon Johnson ft. Dana - From The Heart

Listen to Soul Clap on Pulse Radio

Radio Slave - Balance 023

http://pulseradio.net — Wed, 22 May 2013 15:36:46 +1000

Radio Slave
Balance 022
[Balance Music]

Thanks to a diverse offering since the first release in 2001, the Balance compilation series has developed a pedigree which is sorely absent from many releases today. Now in its twenty-third instalment, the longevity of Balance is a testament to the DJs and producers that feature on each edition, and the continuity of quality that has been a hallmark.

Although initially seeking out the likes of Australian DJs like Phil K, Kasey Taylor and Sean Quinn in the series' early days, it was after securing James Holden - who mixed a game-changing edition - that Balance Music's Tom Pandzic had a far easier task of selecting the talent to continue the procession. The very latest is Rekids founder Matt Edwards, better known to all as Radio Slave.

With two discs at his disposal, Edwards could not have demonstrated polarity better than the styles between the first (titled 'White Skies') and the second ('Maestros and Memories Part 1 & 2'). The first CD is not far removed from what you can expect to experience if you've ever seen Edwards in his Radio Slave guise; there is a distinct acknowledgement of house and tech legends with DJ Bone, Larry Heard and Sandy Rivera all featuring, and newer talent such as Nina Kraviz and Vadim Svoboda interspersed. Rhadoo's remix of the pounding Da Drop Suri by Frost (Of) is familiar territory, evoking memories of that rusted nail being kicked along the warehouse floor at 3am. The bicep-driving-towards-the-roof continues through Jeremy's 'Rhythmus' until Brotherhood's modern throwback, 'Memorial Smith'.

The second disc is an entirely different affair. The mood created by the first CD has been given a thorough working over, and the pressure that was released at 'White Skies' peak is a distant memory. A theme emerges that this is the vehicle that Edwards uses to showcase his personal gems more in line with his Quiet Village guise; Slum Village rolling into Jay Dee and then Lisa Law evokes a private, crate-digging experience that many djs and producers cherish but rarely release beyond the confines of their own studio or after-hours set. It is to no surprise that the second disc is titled 'Maestros and Memories' given the velvet grooves that possess every track.

A nice touch is the intro and outro to each disc; the collation and recording of the compilation was split between Edwards' time at Miami's Winter Music Conference and his return to his adopted home of Berlin, and the short ambient recordings bookend each disc.

Balance 023 is a great release; although distinctly different, each part of the compilation confirms your view of what you think you know about Matt Edwards, but manages to give you a few surprises about where he has musically come from.

Listen to Radio Slave on Pulse Radio

Radio Slave - Balance 022

http://pulseradio.net — Wed, 22 May 2013 15:18:41 +1000

Tom Rowlands - 'Through Me/Nothing But Pleasure' EP

http://pulseradio.net — Fri, 10 May 2013 21:55:35 +1000

Tom Rowlands
'Through Me/Nothing But Pleasure' EP
[Phantasy Sound]

In a major coup for Erol Alkan’s Phantasy, chemical brother Tom Rowlands is releasing a double a-side record and download on the label. Anyone who’s heard Erol play this year will have been privy to the raw power of these two cuts, which are designed solely for club play. “I gave them to Erol to road test; he loved them so it seemed a perfect fit for Phantasy,” said Rowlands. “The Chemical Brothers haven’t any plans to release new music this year—we’re soon to start work on a new record—so this 12” seemed an exciting way to get music into clubs now,” he added.

‘Through Me’ is a proper HI-NRG workout, starting off with a driving bassline and adding aggressive drum rolls, acid knob twiddling and 8-bit synths crescendos along the way. Again, stylistically it’s right up the alley of Erol, Boys Noize or Tiga; big-dumb-electro-fun. ‘Nothing But Pleasure’ presents a similarly heady blend, but with a darker edge. The chant of ‘again’ and ‘the vibrations’ is reflected in the repetitive drone that builds to a truly floor-shaking climax. From there it strips back to the punishing core of the track, before gradually piling layer upon layer of filth to whip the sweaty masses up into a frenzy.

Rowlands and Simons’ club chops have never really been in doubt—just look at the Chems’ electronic battleweapon series—but it’s always nice to be reminded of their production potency. Far from the grating, OTT sonics dominating modern, alternative dance music, this EP packs enough groove behind the abrasiveness to hold more than just your interest from start to finish.

Listen to Erol Alkan on Pulse Radio.

Maceo Plex - DJ KiCKS

http://pulseradio.net — Tue, 30 Apr 2013 00:25:38 +1000

Maceo Plex
DJ KiCKS
[K7 Records]

Maceo Plex’s DJ KICKS compilation is released on Beatport today. The 18 track mix, consisting of unreleased edits, remixes, and original tracks, is one of Maceo’s most comprehensive outings to date. Over the span of the album, he covers a wide set of generes, from chill out, to electronica, techno, and of course, his own brand of deep house. It’s a great example of why the LP format is so critical to dance music today – in this case it allows Maceo to express his artistic vision, which is notably broad.

His two monikers, Maetrik, for techno, and Maceo Plex, for deep house, are united on the album, so really we’re getting an Eric Estornel album, something that transcends any specific genre. The stylings are, as expected, dark and deep, and with all the makings of a future classic. It feels as though he’s taking the listener on a journey through the origins of today’s modern deep house sound (which Maceo Plex in many way epitomizes). TV Baby’s “New York is Alright” (Black Spun Minimal Dub) is an example of the sort of deep house/minimal fusion that regained popularity as minimal started fading out. At the same time it harkens back to earlier electronica. His remix of Escapism is classic deep house, more in the tradition of Jimpster/Freerange than today’s “modern” sound with its bubbly basslines.

Further highlights include his own new release “Galactic Cinema,” the Maetrik Treament of Move D’s “Sandman,” as well as the “Maceo Plex Reggae Edit” of “Nangijala” by S.A.M.

Overall, this brilliant compilation escapes the trappings of what’s modern and “popular” to deliver a series of tracks that are timeless and put together smartly. Eric does more than deliver a good album, he educates an audience, many of whom may not have appreciated the origins of the music they love so much today. Kudos to Maceo. See Beatport player below and buy your copy.

Listen to Maceo Plex on Pulse Radio

Tamer Malki - Change Your Mind EP

http://pulseradio.net — Sat, 27 Apr 2013 06:32:29 +1000

Tamer Malki
Change Your Mind EP
[Kindisch]

Tamer Malki’s latest is easily his most mature and emotional EP to date. He’s been releasing records since 2009 but 2013 is already set to be one his biggest years, with this release on Kindisch and forthcoming releases on Supernature attracting lots of attention. This rising star brings a wealth of musical knowledge, savvy, and an ability to create cutting edge and heartfelt music.

“Change Your Mind” sets the pace for the EP, introducing his syncopated rhythmic style with a very deliberate 4/4bear. Right from the beginning it’s clear that this EP will be a slower, thoughtful, and depth infused slice of dance music. Alex Nazar’s vocal glides over the tune, while pads in the background alternate between moody and airy.

It leaves you wanting more, in the best way. And that’s where “Let It Rain” comes in. The central track of the EP, it picks up the pace, utilizing vocal snippets to usher some seriously moody late night vibes. An effected piano sits behind the classic line “I wanna go outside…” while short hisses become percussive elements. While “Change Your Mind” was more muted, “Let It Rain,” pulls out all the stops, building tension and the dropping into body and soul shaking groovea.

“Alright Let’s Go” is in some ways a synthesis of moods – taking the dancefloor deep vibes of “Let It Rain,” and combining them with some of the lightness of“Change Your Mind.” It might be the most playable tune of the bunch, fitting a variety of circumstances with its optimistic lead line. True to form, Malki uses short vocal snippets to add interest, while full melodies and pads, borrowing from some very classic electronic elements, fill out the soundscape.

All in all, a solid, groovy, and perfectly deep EP from this rising star, a must-have in the box for afterhours and even before. Stream and buy using the Beatport player below!

Listen to Tamer Malki on Pulse Radio

Samu.l - 'Restless Dreams' EP

http://pulseradio.net — Wed, 24 Apr 2013 18:16:51 +1000

Samu.l
Restless Dreams
[Selador Records]

Record labels in the digital age spring up all the time, collapsing always as quickly as they begin with a sea of generic dance music out there, meaning it’s hard to know which ones to follow. Occasionally though one will make a big enough din at their onset to ensure there’s enough heat about them to suggest staying power, and no truer does that ring out than with Selador, the brand new imprint from Dave Seaman and long time cohort Steve Parry.

Seaman made mix compilation history recently by becoming the first ever person to successfully raise funding for a mixed CD via crowd sourcing. Whilst the venture may be new territory the pantheon of pioneer status certainly isn’t for a man who mixed the first ever commercially available mix cd back in 1991 and has done countless others since. That said it’s still refreshing to know that there’s innovation left in a format which is under real threat of extinction form the internet’s ever reaching grapple.

But what of the record label’s personal music? Well they open their account with ‘restless Dreams’ from Brummie producer Samu.l , which is an on trend slab of deeper than deep quirky house music. The original is built round a dreamy vocal sample of a gloriously famous pop duo, set atop a blissed out backing that gives it that haunting jack which is oh so on the money right now.

Dave Seaman steps up to remix, and gives it a much more conventional sounding house swagger that uses some energetic drumfills to great effect and actually steals the limelight from the solid original. Shal Ocin steps up with a more leftfield techno rework for the more adventurous of DJs, but it’s really all about the pumping stylings of Dave’s offering.

LIsten to Samu.l on Pulse Radio.

Ludowick - Get it off EP

http://pulseradio.net — Fri, 19 Apr 2013 05:51:21 +1000

Editor’s note: Our newest review contributor, Will Sumsuch, is no stranger to success in the upper echelons of electronic dance music, with work signed to top imprints including Urban Torque, Apollo and Ricky Ryan's Sick Watona. His brand of deep-thinking electronic music has found favor with discerning DJs the world over, among them Ben Watt, Osunlade, Justin Martin & Jody Wisternoff. A decade into his DJ career, Will has made countless appearances from Brighton to Barcelona, Hoxton to Helsinki.

His new blog and review site 'youandthemusic.com' has been described by Proton Radio as "a beacon of light in the diminishing world of music written word". We will be featuring his reviews here on Pulse for our readers!

Ludowick
Get It Off EP
[22 Digit Records]

This stunning package features three chunky, moody, atmospheric house tracks from Barcelona stalwart, Ludowick. If, like us, you shudder at the very thought of a Marvin Gaye vocal in house music these days, you might be very pleasantly surprised by the title track 'Let's Get It Off'. Somehow Ludowick has managed to sample of one of Marvin's best known tracks, intelligently and with originality, without in any way cheapening the mood. Dark, brooding and intensely rhythmic, this is sure to work on the floor.

Manchester based production powerhouse Moodymanc supplies a remix so uplifting that it borders on the euphoric, whilst still managing to remain both credible and deep. As the label notes say: Moodymanc's music "makes you stick your hands in the air and carefully stroke your beard at the same time."

Of the other two original tracks, 'Signs From Heaven' is the clear standout. With clear influences from breakbeat and another cheeky vocal sample (this time from Seal), this is another brilliantly evocative track.

The EP is released on 20th May 2013. Until then, you can listen to a preview here:

Listen to Ludowick on Pulse Radio

Victor Santana - Vector EP

http://pulseradio.net — Wed, 17 Apr 2013 18:22:32 +1000

Victor Santana & Band
Vector EP
[Chaval Records]

Spanish label Chaval Records has found themselves a winning formula with the Vector EP. Recorded over the course of a year, the releases merges mechanical techno rhythms with live Latin instrumentation, creating a hybrid sound that reflects the gamut of emotions that Victor and his band experienced as they worked on the EP.

Opening track Positive Life feels like a live samba accompanied by a TR-909. Up-tempo, punchy kicks, skittering hats and shuffly tom-toms drive the track, ably accompanied by a subtle bass guitar loop that gives the track some low-end warmth. But it’s all the band members that really shine on this one. From tear-jerking violin solos to uplifting pianos and a downright sexy sax wailing away at the climax, this track really does make you wish samba techno was an actual genre.

The original mix of Travel has got all the slamming techno lovers covered. With its overdriven beats, incessant, grinding acid bassline and complex layering of multipe big, hands-in-the-air chords, this is the sort of track that if used without care might just cause a serious accident. Detroit’s Los Hermanos offers up a more restrained interpretation with his remix. Filling out the groove with more funky, soulful and organic percussive loops and adding short, stabby synths, warm organs and warbled trumpet samples, Los Hermanos delivers a remix that retains the original’s emotion but also adds a more playful feel.

Daniela is quite clearly the “sad” track of the release, but that doesn’t lessen its impact in any way. In fact, of any of the tracks, it feels the most emotionally “real”. The syncopated beats add to the feelings of remorse and introspective disappointment that are expressed by the downtuned 303 bassline, melancholic strings and piano loops and saxophone which is basically an auditory representation of loneliness.

Victor Santana’s remix of Enjoyment Time feels like a triumphant victory over the feelings that drove him and the band to produce Daniela. It’s like a big “fuck you” to every negative emotion that’s ever been expressed. Slamming kicks, distinctly Robert Hood-inspired chords and percussion, hypnotic synths and intense snare rolls create a densely layered explosion of energy that literally bursts out of the speakers.

Listen to Victor Santana on Pulse Radio.

Christian Piers - 'Clocked Decay' EP

http://pulseradio.net — Tue, 16 Apr 2013 20:35:14 +1000

Christian Piers
Clocked Decay
[SourceUnknwn]

There’s just something really charming about a track made entirely with analogue gear. Whether it’s the raw, unpolished feel or the knowledge that a creative piece of music has been written with limitations placed on the range of sounds that can be used, it’s just instantly likeable. Now times that by three and you’ve got Christian Piers’ Clocked Decay EP.

The title track is a low-slung, chugging house number which has a lot of intensity despite its relatively low BPM. With a low end comprised almost entirely of well-tuned TR-808 toms and overdriven TR-909 kicks, Clocked Decay doesn’t need a big, fancy bassline to make you move. Throw in some catchy chord stabs, chopped-up snares and soulful vocal samples and you’ve got a warehouse stomper if there ever was one.

Nukke5two2 goes for a raw 80s acid house vibe, which it nails perfectly. Setting up a cheeky groove early on with rough, overdriven kicks, snares and bongos, the track really kicks into gear when the TB-303 gets to work. Already bubbling along with serious attitude, Nukke5two2 hits overdrive with the addition of choppy vocals and rough metallic hits.

Soul Beat Running closes out the release on a deeper tip, but its by no means lacking in the balls department either. Driven by snappy percussion, thumping – but well-balanced – kicks, and a jacking dub chord loop liberally drenched in reverb, the track occasionally breaks down into some lush, swirling atmospherics before getting back to stomping, hard driving business.

An excellent release, especially for fans of old school production styles being applied to new school musical vibes.

Listen to Christian Piers on Pulse Radio

James Blake - Overgrown

http://pulseradio.net — Tue, 09 Apr 2013 04:18:15 +1000

James Blake
Overgrown
[Republic Records & ATLAS]

It's been over two years since Londoner James Blake achieved what many have dubbed a crossover success with his first foray into neo soul, piano-laden, electric atmospheres. With this time to evolve, the most obvious difference between Overgrown, Blake's second studio album, and his self-titled debut, is how much his songwriting has matured. This growth is perhaps most evident in the lead single "Retrograde". His vocal delivery, while often quiet, is now powerful and assured. And whereas Blake's namesake LP played as a random selection of private journal entries worked into musical experiments, Overgrown is more cohesive, it's warmer. It contains a story-line that is still intimate but organically accessible.

Blake as a producer/singer-songwriter excels when he submerges the listener into his realm of haunting vocal loops such as in "I Am Sold", delicately flirting with dubstep elements and an intoxicating bassline, or whilst lamenting about a lifestyle that only allows for part-time love in the sensual and synth-laden "Life Round Here".

Acclaimed electronic producer Brian Eno was reportedly a mentor to Blake during the formation of Overgrown, and, over the course of several meetings, the two created a number of tracks. The lone joint effort that was selected for the album, "Digital Lion," is expectedly ambient in its instrumentation, yet lush with dynamic percussion and vocal interludes.

In contrast, "DLM" is stripped down and reminiscent of African American spirituals, showcasing Blake's affinity for the emotional roots of gospel music. Wu-Tang/RZA fans will appreciate the rapper's collaboration on "Take a Fall for Me" for which he wrote and delivered an unexpectedly sensitive verse so satisfying to Blake that it was a no-brainer to be instantly included on the album.

Then there are the intentional skips in time signatures, the occasional wistful analog hiss; it's often these minute details in Blake's work that both simultaneously fulfill while leaving one wanting more.

Overgrown.
Out April 5 (AU) April 8 (UK) April 9 (US) on Republic Records and ATLAS.

Track Listing
1. Overgrown
2. I Am Sold
3. Life Round Here
4. Take A Fall For Me
5. Retrograde
6. Digital Lion
7. DLM
8. Voyeur
9. To The Last
10. Our Love Comes Back

Listen to James Blake on Pulse Radio

Dale Howard - Give Me EP

http://pulseradio.net — Tue, 09 Apr 2013 00:05:50 +1000

Dale Howard, Leftwing & Kody, JMF
Give Me EP
[Silence In Metropolis]

House music has been going through a bit of a renaissance lately, with the prevalence of '90s Chicago sounds once again floating into the sets of the world's top DJs. Liverpool's Dale Howard is no stranger to the trend, putting out quality house music on labels such as OFF, Noir, and Neurotraxx for four years now. But don't think that the UK and Chicago get to have all the fun, because brand new label Silence in Metropolis is set to put Washington, D.C. on the map with Howard's Give Me EP.

The title track sets the old-school house tone early, as crisp claps surround a rough-around-the-edges kick that's got the force of a wrecking ball. Soulful vocal clips guide Give Me through all the hallmarks of an instant deep house smash, from its wandering bassline to those subtle yet infectious organ stabs.

Those same organ stabs lead the way on Leftwing & Kody's remix, a garage-influenced jam with enough energy to whip any dancefloor into a frenzy. With releases already out on OFF, Exploited, Noir, and ALiVE, this young duo is set to make a big splash in the coming months.

Dale Howard's production prowess is on display yet again with B-side Get You, a shuffling garage-house cut that shows off a meticulous attention to detail and sound. High strings build tension while those familiar organs seem to stutter and repeat randomly, little nuances that'll soon put a producer of Howard's caliber in high demand.

JMF's remix of Get You chops up the bassline and keeps things subterranean with a heavy focus on the low-end, leaving sparse vocal cries to tease dancers and keep them lusting for more.

The total package is one hell of a record to launch a label with, featuring rising stars making top notch tracks and a vision of house music rooted in the past yet focused on the future. It all makes Silence in Metropolis one of the hottest new labels to watch in 2013.

Buy SIM001 - Dale Howard - Give Me EP on Beatport

Listen to Leftwing & Kody on Pulse Radio

Booka Shade – 'Blackout: Whitenoise' EP

http://pulseradio.net — Thu, 04 Apr 2013 19:58:14 +1100

Booka Shade
"Blackout: Whitenoise"
[Blaufield Music]

Some dance music duos tease a new album with 15 second clips and mysterious billboard campaigns, while others actually release EPs and play their music to people in clubs. Thankfully, unlike some notably pretentious Parisians, Booka Shade are hardworking Frankfurters and have opted for the latter approach; releasing a second successive single in preparation for their fifth album due this summer.

Following the Haleshop EP three months ago, Walter Merziger and Arno Kammermeier have just unleashed Blackout: Whitenoise through their new Blaufield imprint. Both album teasers show Germans in fine 4/4 form, with the title track of the latest release pounding along like just as frenetically as Chateau Rouge or Karrera on the last one. The kick and bass drums combine for a jacking foundation, which is built upon by acid stabs and Chelnois R. Jones’ sexy patter, before the inevitable Booka breakdown announces itself. This is proper top of the night stuff, certainly less subtle than earlier work, instead channeling a more straightforward euro-dance lineage than the minimal tech wave they rode in on.

On the flipside, Glory Box opens with a seductive synth riff and another solid bassline, developing into a chunky Chicago-house chugger with more brooding acid overtones. Finally, the third track is a stripped back Flash Mix of the A-side, taking a percussive techno approach more suited to 6am at Berghain to the original’s 3am at Watergate.

Listen to Booka Shade on Pulse Radio

Citizen - 'Trax' EP

http://pulseradio.net — Wed, 03 Apr 2013 21:24:16 +1100

Citizen
Trax EP
[Love Fever Records]

A favourite among the likes of George Fitzgerald, Bicep, Huxley, and Midland, Citizen has enjoyed a fast rise in the house scene, garnering praise for his slick production skills, understanding of both the contemporary status and previous history of house music and the fact that his tunes are just damn fun to dance to. His latest work, the Trax EP on Love Fever Records is another excursion through slamming drums, classic 90’s sounds and catchy grooves.

Worship + Tribute (Your Love) continues with Citizen’s love of mixing the old with the new, though in this case it’s much heavier on the old school influences. From the loved-up, girly vocal loop to the heavily-swung 909 drum patterns, bouncy sub bass and uplifting piano stabs, everything about this tune screams being in a warehouse in Chicago back in the 90’s.

Glastique is likely to be a hit with Citizen’s aforementioned high profile fans, and with any dancefloor lucky enough to hear it. A relatively straight and simple, but tough-as-fuck, drum loop leaves lots of room for some amazing pitched tom-tom rhythms, spacious keys, and vocal edits to really carry the tune to exceptional heights.

To finish off the EP, Everything is a great throwback to 90’s rave sounds presented with a modern edge. The choppy drum breaks (complete with cowbells) and heavy bassline sound like they were taken straight from early jungle records, but when combined with the soaring, emotive chords and melancholy vocal samples that are reminiscent of the current wave of UK bass music, the track takes on an uplifting and soulful edge. A great early morning floorfiller.

Listen to Citizen on Pulse Radio.

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http://pulseradio.net — Wed, 03 Apr 2013 03:52:14 +1100

Breach - Jack EP

http://pulseradio.net — Tue, 02 Apr 2013 19:25:43 +1100

Breach
'Jack' EP
[dirtybird]

As head of Dirtybird, Claude Von Stroke's astute curatorial ear has helped the label's sound stay diverse and current by constantly incorporating new talent from around the world whilst consistently keeping bass at the forefront. After giving early starts to Julio Bashmore and Eats Everything, this release sees fellow Bristolian Breach (a.k.a Ben Westbeech) weigh in with his own speaker troubling entry in to the San Francisco label's discography.

On paper then, the combination of Breach and Dirtybird would appear a canny one, and with first track 'Jack' living up to its name from the off, the propriety of this pairing is confirmed. Not about to get caught short in the subwoofer department whilst releasing on a label that brought the likes of 'Entrance Song' to the world, Breach lets the low-end steal the show here. Indebted to Ghetto-House in a manner not hugely dissimilar to several of Breach's new label mates, 'Jack' wins few points for innovation but its effectiveness is undeniable. Riding a groove so strong, the could-be-annoying synthesised female vocal becomes almost mesmeric. With club ready snares throughout, this cut should prove a favoured weapon of more than a few party-starting DJ's.

'Let's Get Hot' sees another inevitably gargantuan b-line, reminiscent of the tribal brilliance of Bashmore's 'Um Bongo's Revenge', vie for prominence with synth stabs that teeter on the brink of mayhem throughout. The standout of the release, the track exhibits an idiosyncrantic swagger characteristic of much of Dirtybird's best output, with Breach garnishing its bounce with a sensual, insistent vocal and breathless gasps. Kept in check by a percussive anchoring of sturdy kick and soft high hats that enhance rather distract from the tune's flashier elements, 'Let's Got Hot' is a frenetic and enjoyable dance-floor workout.

A solid 1-2 punch of a release, 'Jack/Let's Get Hot' sees Breach make a confident return on what has become one of dance music's most dependable institutions.

Listen to Breach on Pulse Radio.

Siopis - Master Plan EP

http://pulseradio.net — Tue, 02 Apr 2013 05:52:23 +1100

Siopis
Master Plan EP
[Rebellion]

Crosstown Rebels’ sub-label Rebellion released the Master Plan EP today from Siopis. The enigmatic producer’s releases on Get Physical and Suruba have established him as musician with a vision, one that is very dark, twisted, and uniquely modern. His tracks each carry his signature, and this EP is no exception.

Title track "Master Plan" is a moody, dark affair with a haunting pitched down vocal. The groove is decidedly techy, with an afterhours appeal and very off kilter hits. The pads add to the creepiness and almost Halloween-y ambiance.

"Buy Underground" is a slightly more sophisticated number with more peak-time tech house vibes. Epic drum fills usher in a simple analog bassline coupled with Siopis’ trademark haunting vocals. This is my pick of the EP, a dramatic track full of flair and not overly obvious.

The final track “House Of Mouse,” features a slightly off key female vocal for a sexy slice of dark, deep house. It’s more electronica than dance music, which fits Siopis’ overall aesthetic. Across the board, Siopis' percussion is tight and live, and the consistently dark feel of the EP makes it easily recognizable in your record bag.

Check out the tracks on the Beatport player and buy them by clicking "Get these tracks"!

Listen to Crosstown Rebels on Pulse Radio

Sam Russo - Losing Things EP

http://pulseradio.net — Thu, 28 Mar 2013 10:05:54 +1100

Sam Russo
Losing Things EP
[Leftroom Limited]

Having previously plied his trade as an engineer, Sam Russo is taking massive steps towards building his own empire. In the 3 short years since his debut, Sam has already released a slew of EP's and remixes on Matt Tolfrey's Leftroom label among others. Sam is now back with his new 4 tracker on Matt's off shoot vinyl label Leftroom Limited.

Opening with punchy house groover Delivery, a looping bouncing track that bases its push and pull around a catchy vocal sample, together with snapping claps and skipping hats Delivery serves up a monster of a peak time tech house weapon. The precision percussion in Delivery will cut through any sound system like shot knife through butter. The title track, Losing Things is on a similar tip to Delivery, but this time Sam has ramps things up a notch. With the narrator to the track urging us to lose all the needless things and items we don't need, Sam keeps proceedings interesting with acid bass wiggles rounded out with titanium hi hats throughout. Deep bass pulses give way to wild acid pitches hinting at the melee that would ensue on any dance floor when played. Losing Things also gets a reworking from Hotflush new boy Jack Dixon who takes things in a very different direction. Instead Jack opts to use simple vocal cuts and ethereal atmosphere to great effect. His use of rolling hi-hats and undulating bass give the track a tougher, jacking alternative to the original mix. Fans of Jack will be right at home with this remix.

Balancing the EP nicely is the bass driven sweetness of Mailbox Formatting, Sam hands the focus of his tracks back to his expertly crafted basslines and sweeping pads. Subtle delays added to the hats and percussion help to effortlessly meld the track to the pounding off kilter kick underpinning the track. I love Mailbox for the contrast of its beautifully forlorn intro to the stripped back section aimed directly at the dance floor. When the phasing pads are reintroduced later on in the track another element is discovered in Mailbox Formatting which offers up something with a bit more substance. Not Another Juno Track further cements this 4 tracker as yet another solid slice of Leftroom business. With a massive bassline usually found nestling in a Scuba release, Sam proves that his sound design and production skills are wise beyond his years and that he has definitely got a bright future.

Buy it here

Listen to Sam Russo on Pulse Radio

Better on Foot Releases The Equestrian Ottoman EP

http://pulseradio.net — Thu, 28 Mar 2013 05:41:11 +1100

Lomez, A'phreaq
Equestrian Ottoman EP
[Better on Foot]

Lomez knows a thing or two about being Better on Foot. The Baltimore native chooses to walk rather than drive when possible, a tempo of life that suits his musical aesthetic and second home in Mallorca, Spain. A connoisseur of deep house and afterhours rhythms, he has made a name for himself with releases on Supplement Facts, Surface, My Favorite Robot and more.

His aptly titled Better on Foot imprint refuses to be pigeonholed. Releases featuring Andrew Grant, Philip Charles, and the indie band Timbre Woods present an array of different moods and sounds. One thing is for sure though, the theme is deep and musical, from the percussion to the instrumentation. BOF003 is no exception.

Lead track "Patience of The Samurai" is a simple and minimal deep house groover. Warm chords permeate while familiar electronic noises crop up out of the blue. A daft punk-esque vocoder completes the Café Del Mar summery vibe, while a deep sub bass brings some low end to the composition. It’s a meditative track that sets the pace for whatever follows.

Next up is "Montebello" which eschews the niceties of the former for a pure late night slice of dark, groovy tech house. The percussion retains the live, grainy textures of Samurai, while warm chords are replaced with a menacing, pulsating synth and a deep repetitive vocal takes the place of sweet vocodes.

Finally, Lomez and fresh face from Baltimore A’Phreaq collaborate on "Dead Language," a piece of driving afterhours techno. A sinister pad makes appearances in the background while swinging and bold percussion sits front and center. Both artists call Balitmore their home, and the grit of this urban city can be heard clearly in the composition.

Overall, this is a mature package of deep house and techno from one seasoned producer and one rising star. This is the kind of music that makes a DJ a DJ, and not just a robot playing Beatport’s top 10. Have a listen and buy it here.

Listen to Lomez on Pulse Radio

Oniris - 'The Rebirth/Leaving Earth' EP

http://pulseradio.net — Wed, 27 Mar 2013 22:19:55 +1100

Oniris
The Rebirth/Leaving Earth
[Bedrock]

The age of the internet has done many wonderful things, but arguably the most significant in electronic music is the manner in which it has shrunk the planet. No truer is this case than in the shape of breakthrough producer Oniris, who despite being based over a thousand miles adrift of Australia in New Caledonia has managed to create a series of productions which have landed in the laps of some of the most regal tastemakers in electronic music.

Despite being ensconced in the Pacific Ocean, thousands of miles away from the usual vaunted club scenes, his lush template has caught the ears of Laurent Garnier and now John Digweed, for whose Bedrock record label this EP appears on. He contributes three tracks of driving and lush techno, each showcasing a differing take on the same fist punching aesthetic.

The lead is ‘The rebirth’, featuring a contribution with film composer Pat Brooks. The cinematic feel is obvious, the duo combing to create a nine minute epic that has all the hallmarks of classic Detroit Techno and a record you can completely envisage Garnier delivering when he hits that fabled zone. It’s certainly not groundbreaking but when dance music is this epic, orchestral and spine-tingling you’re not looking for it to be next level, you’re too busy basking in being transported to a higher plane. By the time the strings swathe the end and the piano line kicks in, you're grinning manically like a loon. Awesome.

Next up is ‘Leaving Earth’, a record which could genuinely soundtrack a space mission with its intense atmosphere and foreboding sense of doom. Older heads will certainly compare this to the points when progressive house and, dare we even say it, trance had a more underground and resolute manifesto. From a modern vanguard though it’s perfect and that canny combination of the sinister and the ethereal which makes for perfect 3am moments, and a killer counterpart to the euphoric vision of ‘The Rebirth’.

‘Ascend’ rounds off the package, packing an inventive and pumping slab of tech-house which boasts the same high production values of the others if not quite as much charm, blisteringly diving into hypnotic territory for a tantalisingly short burst towards its climax. It represents the final caveat in a stunning entrance for the producer, and a statement of intent that suggests his beats will be behind the more mesmerizing moments of DJ sets this year.

Listen to Oniris on Pulse Radio.

Deadboy - BLAQUEWERK EP

http://pulseradio.net — Fri, 22 Mar 2013 21:01:01 +1100

Deadboy
BLAQUEWERK EP
[Nmbrs]

It has been a long but enjoyable road for Deadboy. He joined the almighty Numbers crew early on in their rise to domination and has since become one of the main names in the ‘Future Garage’ Scene (a genre name that never sat very well with anyone). With a huge ability to take elements from techno, Uk funky, grime and R'n'B and fuse them together into a garage mélange that destroys dancefloors everywhere, Deadboy proves his salt on this first release from Nmbrs for 2013 and his first for the label since 2011.

Across the four tracks he takes us from his home in South London to Chicago and Detroit via The Blue Note and the Hacienda in the early nineties and ending up 400 miles from home in the Sub-Club of the late nineties.

Black Reign starts with a garage tick and haunting, thick vocal chops that sears the soul before switching up into a huge sub and a stomping techno bass kick that would be at home at any filthy squat rave. Nova takes you back to the days of Jungle when you were more likely to see a red shotgun blast as opposed to a red bull and vodka. With clattering amen breaks and a booming, stabbing bassline its hardline, face melting business again for its last run with reversed snares and crashing cymbals.

Geek’d Up (one for all you Chicago heads out there) is a lovely housey number, very much at home being played by someone like Graeme Park or Todd Terry to the first generations of house heads. This track (similar to the aforementioned) demonstrates Deadboy's ability to move away from the garage that he is known for and on to different pastures. The EP finishes neatly ith ‘On Your Mind.’ This last track keeps with the religious ‘monk choir’ vocals that have been smattered through the EP and again, is one for the house crew, but this time taking it a little darker with a bumpy bassline over a rattling snare (a nod to Hawtin/Plastikmans Spastik) before it all levels out into a Thrilleresque synth dropping straight into an eighties new wave vocal. Easily the most complex - and memorable - tune of a rather diverse and well rounded EP.

Listen to Deadboy on Pulse Radio.

Art Department - Social Experiment 003

http://pulseradio.net — Fri, 22 Mar 2013 15:30:09 +1100

Art Department
Social Experiment 003
No.19 Music

It's fitting that Jonny White and Kenny Glasgow, collectively known as Art Department, have decided to tackle their very first compilation on their own turf, mixing the third instalment of their No. 19 label's Social Experiment series, following on from Soul Clap’s esteemed debut in 2011.

The result feels like something more reserved for after hours - an intense and emotive exploration through the deepest, darkest house and techno. The track list is bursting with big names in music old and new, which further reflect Art Department’s tendency to pay homage to the founding fathers of electronic music. There is a comforting familiarity yet fresh feel about the album, and the eight exclusives give listeners something totally new to sink their teeth into; including two new cuts from Art Department, ‘Into the Dust’ and ‘Insomnia,' which bookend the release nicely.

There are several tracks that build on the essence of Art Department’s sound that’s been established since their first release, ‘The Drawing Board’ in 2011. A Tale of Us’ remix of Fuckpony’s ‘Bongo Porn’ is the first of these – it’s dark, twisted and explicitly sex-driven. Fellow Canadians My Favourite Robot fly the dark tech flag with some eerie vocals and minor chords on 'Not Progress' while Damian Lazarus’ vocals stand somewhat awkwardly amongst the solid mid-level synths and insistent hi hats in ‘Robot Heart’. One of the standout tracks is arguably Brigante’s remix of Ali Love’s ‘The Jungle’ – the heavy reverb, pitched down vocals and steady beating bass somewhat transport the listener deep into the darkest corners of the Amazonian rainforest.

White and Glasgow nicely offset these heavier sides of the compilation with some more light-hearted productions. ‘La Cueva’ starts things off bright and optimistically and the fluttering synths and tight bouncing bass of Jamie Jones’ ‘Doctor Blue’ add some funk to the middle third of the album along with Gregorythme’s ‘Artificial Tears’. A clear feature of Social Experiment 003 is also the resounding retro influence, whether it be the 80s synth arpeggios in ‘Tomorrow Can Wait’ or Carl Craig’s fervent Detroit revamp on Bryan Ferry’s distinctive vocals in DJ Hell’s ‘U Can Dance’.

Art Department cannot exactly boast a new or unique sound, but their first compilation outing really captures the bottom-line of their work; one foot firmly planted in the earliest days of house, whilst still forward-facing. Social Experiment 003 is all of this, wrapped in a dark and sinister late night seduction. It’s a well-constructed, lovable compilation that adds to a mix series that shows plenty of potential.

Tracklist:
01. Art Department - Into The Dust Intro
02. Jonny White & Nitin - La Cueva
03. Ali Love - The Jungle (Brigante's Mix)
04. Luca C. & Brigante feat Robert Owens - Tomorrow Can Wait (Art Department Remix)
05. Jonathan Lee - Senses
06. Foremost Poets - Moonraker (Accapella)
07. Jackin Rabbit feat. Robert Owens - Full Of Dreams
08. Fuckpony - Bongo Born (Tale Of Us Remix)
09. Jamie Jones - Doctor Blue
10. DJ Hell feat. Brian Ferry - U Can Dance (Carl Craig Remix)
11. Art Department, BLUD, Shaun Reeves feat. Damian Lazarus - Robot Heart
12. My Favorite Robot - Not Progress
13. Gregorythme - Artificial Tears
14. Art Department - Insomniac

Listen to Art Department on Pulse Radio

Balance Presents jozif

http://pulseradio.net — Tue, 19 Mar 2013 12:33:13 +1100

jozif
Balance Presents
[Balance Music]

Everything about Balance’s latest excursion seems quite different from previous outings. Firstly, the artist helming the decks for this new mix compilation is possibly not a name that most will be familiar with (all due respect to jozif). Secondly, instead of the usual 2 disc affair we have just one, and thirdly, replacing the usual serious/moody/artistic photo cover shot of the artist - a feature of the last five or so Balance releases - jozif’s profile is part of a striking and elegant design that features soft hues and colours that’s very reminiscent of a painter’s palette.

One read of the press release informs us that all these tiny hints indeed point to something different for Balance; this is the launch of a new series called ‘Balance presents,' which will focus on the new and promising talent that is buzzing away in the underground dance scene. First on the agenda is up-and-coming English DJ and producer jozif, who has been releasing his delightful and sunny deep house jams since 2010 on labels such as Crosstown Rebels, Wolf + Lamb, Infine Records and his own Fist or Finger label, which he co-owns with fabric resident Craig Richards.

Agreeing to launch an offshoot project for one of the most beloved dance brands in the world was never going to be an easy task, especially as jozif has only been given one disc to work with. jozif has mentioned in interviews that he submitted two complete mixes which both were way more upbeat and true to his usual club sound. Then tragedy struck: Martin Dawson, a close friend of jozif, passed away; an event that affected him so much he went back to the drawing board to create a mix that was more in line with what he was feeling - a homage, if you like, to his good friend. The result is a mix glazed in an introspective coat of melancholy and remembrance.

As soon as the guitar strums of Charles Webster’s ‘Butterfly’ start flowing through your speakers you just know that this is not going to be your typical club mix, we’re already into the black keys and it’s only the first track. Webster’s beautiful opener starts speeding up towards the end as it segues into Glimpse and the late Martin Dawson’s perfectly named, but very nostalgic, ‘Our Friends Electric’. Listen closely and you will hear a subtle, almost march-band like drum beat in the background that eases the listener into the 4/4. The exquisite ‘Got A Reason’ by Burnin Tears slowly appears through the mist and announces itself; ‘What am I gonna do without you?’, the vocal enquires, sitting on top a melody so full of anguish it would not seem out of place in a Lars von Trier movie.

We finally see a slither of light in the mix as Lake Powell introduces ‘More or Less’ with a wistful piano hook that floats atop a chugging bass line. YokoO’s ‘Blinded’ takes things even further towards the light, beautifully mixed in by jozif who shows - particularly with this transition - technical proficiency and an understanding of track selection that is reminiscent of classic selectors like Michael Mayer. Steffi’s ‘Sadness’, with its simple piano hook and summery shuffle beats, somehow feels like a celebration despite its blue lyrics. Silicone Soul brings a solid tech groove to the table with the galactic sounding ‘One Thing’, which explodes halfway through into a kaleidoscope of colour before breaking down into a pensive vocal line about human fragility.

Burnin’ Tears make another appearance with the reflective ‘How I Feel’, a vocal shouting pensively, "This is how I feel, I tell you," a definite highlight which acts neatly as an allegory for the whole compilation. With its shattered and melodic beats, Ian Pooley’s ‘Compurhythm’ provides some hope with its major sounding chords before giving way to Sam Wallace’s excellent ‘Echelon’. Glaringly, so far there‘s been no productions from jozif, which is remedied immediately with the double combo of ‘BT’s 3’ and ‘BT’s 5’; both chugging tracks with sweeping strings and melodic elements that perfectly suit the mood. Finally, the dreamy and longing strings of Rob Shields’ ‘Slum Room’ brings proceedings to a contemplative, yet optimistic end.

There is no doubt that jozif must’ve undergone a major catharsis putting this mix together. Exploring one’s pain through art is as pure as it can get, and jozif has signalled his intent to take that next step in his career by standing emotionally naked in front of the listener - you don’t get more honest than that. In a time when ‘EDM’ has exploded, it’s comforting to know that brands like Balance are there to act as that countermeasure to the MOS and One Love’s of the world, and doing so with class and soul. jozif and Balance have created a timeless mix and we can only stand back and applaud. Essential listening.

Tracklist:
01. Charles Webster – Butterfly
02. Glimpse & Martin Dawson – Our Friends Electric
03. Burnin’ Tears – Got a Reason
04. Lake Powell – More or Less
05. Yoko0 – Blinded (Yoko0's Walking To The Light Edit)
06. Steffi – Sadness (Vinyl Version)
07. Silicone Soul – One Thing
08. Burnin’ Tears – How I Feel
09. Ian Pooley – Compurhythm
10. Sam Wallace – Echelon
11. jozif – BT’s 3
12. jozif – BT’s 5
13. Rob Shields – Slum Room

Listen to jozif on Pulse Radio

Break & Enei - Symmetry 012 EP

http://pulseradio.net — Mon, 18 Mar 2013 20:51:53 +1100

Break & Enei
'Love So True' / 'Eastcolors - Watch Out (Enei Remix)'
[Symmetry Recordings]

Break & Enei are back on Symmetry with a couple of cracking remixes. Both originals came out on The Other Side LP in October of 2012, Break re-jigs his own Love So True and Enei takes a gritty approach to Eastcolors’ debut track on Symmetry, Watch Out.

The former has had ample support from DJs since its release including regular plays from both Andy C and Lenzman in the past few months. Lenzman - Fabric Room 2, we took a breather for the intro of Love So True, and I took a minute to look around. You know that thing where people tilt their head back and breathe deep, looking to the sky with their eyes shut. Everyone was doing that. It’s a typical Break VIP: not a complete change from the original, he just seems to have tightened everything. A soft bassline backs a slightly rearranged intro, enriching its warm-hearted qualities, and sporting a shuffled groove. A few tweaks to his trademark rips and scratches help to exaggerate the temperature change at the drop. As I say, not a drastic revamp on the original, but the changes he has made are effective, as always thre case with Break.

Enei’s always good for a showdown. While his remix still earns its title in terms of suspense, he bulldozes through where nimble-footed intricacy once stood. It’s like David Luiz taking the ball off Lionel Messi, skillful though he is (the Brazilian), his kamikaze barnet has left Messi in a heap on the floor nursing a broken toe. A few thumping kicks and a deep-sweeper of a bassline topped with a timely growl or two and Messi’s down with a grimace. Job done, 1-0 Enei.

Listen to Break on Pulse Radio.

Sasha - Involv3r

http://pulseradio.net — Fri, 15 Mar 2013 20:57:28 +1100

Sasha
'Involv3r'
[Ministry of Sound]

The painstaking intricacy that saturates the dynamic original work/mix album hybrid, Involv3r serves as a reminder that DJ Sasha remains one of electronic music’s most vital luminaries. This third installment of his classic series strikes a deft balance between the melancholic ambience of the Involver series debut and the jagged aggression of its 2008 follow-up. Sasha adds lush pads and gritty electric flourishes to this vocal-heavy collection, ranging from warm deep house to blazing techno, demonstrating that the UK dance music figurehead's still got a refined musical sensibility while keeping his ear to the ground in terms of exciting trends and styles. The mix maintains an eerie tone throughout, threatening to go off the rails at any moment with its warped vocal slices and rippling synth echoes. These elements lock together to great effect in the mix’s finale, Sasha’s epic reworking of Foals’ “Late Night.”

In stripping away the twisted percussive elements Involv3r’s equally captivating second CD delivers a floating, beatless presentation of the first seven tracks, where the sunny interpretation of Ananda Project’s “Moment before Dreaming” shines through. On this more subtle approach, melodic textures reveal a meticulous production dexterity that makes Involv3r feel much more like a cohesive, well-structured artist album rather than a traditional mix CD. Either way, Sasha's still got the skill and creativity to cross both territories by adding droves of his trademark melodic, progressive magic. A triumphant follow-up.

Listen to Sasha on Pulse Radio.

Locked Groove - Heritage EP

http://pulseradio.net — Thu, 14 Mar 2013 21:55:18 +1100

Locked Groove
Heritage
[Hotflush Recordings]

Belgian producer Locked Groove made an emphatic statement with his debut release on Hotflush last year, and he returns in 2013 with a two-part EP that continues to explore the range of sounds, tempos and moods that exist in the house and techno realms with a flair and sensibility that producers with many more years of experience still don’t have.

Do It Anyway provides a subtle and restrained start to the EP, demonstrating Locked Groove’s talent for intelligently layered harmonies and spacious, enveloping grooves. One of the biggest flaws of current lower BPM house music is that it attempts to still be brash, heavy and party-starting and it just ends up sounding confused. Do It Anyway actually embraces its slower tempo and accompanies it with clean, simple percussive arrangements, a warm, bouncy bassline and a multitude of melancholic chords and pads, making the track a slow burning, enticing collection of sounds.

With Wear It Well, Locked Groove ups the intensity and delivers a pumping Chicago house cut. From the shuffly, upbeat percussion to the chunky bassline and cut up horn stabs, this is basically every jacking house element worked to within an inch of its life. Perhaps not particularly ground-breaking or different from a lot of other current house, but damn if it isn’t fun as hell.

Rounding out part one is Firefall, a chunky nu-disco influenced bomb but with infinitely more balls than a lot of nu-disco. Relying heavily on old-school, analogue sounds, Firefall combines driving kicks and rough, crunchy percussion with a catchy wobbly bassline to really kick the arses of anyone on the dancefloor. Infectious metallic chords and atmospherics grind away over the top of the mix, rounding out the track into a peak-time stomper that will impress even the most hardened of chinstrokers.

Opening part two of the EP, Night Time At The Garage is going to make anyone who loves driving, uplifting house very happy and could potentially become a sunrise favourite. With its stabby bassline, multitude of melodic layers ranging from synth stabs chopped into sixteenths to wide, resonant Moog chords, Night Time At The Garage is big, fun and will probably make you want to hug whoever is next to you. Dream Within Dream follows, and you can basically take everything I just said and ramp it up to eleven. Then hug someone. And maybe wipe that tear from your eye. Incredible.

To finish, Lost takes things deeper and moodier, further demonstrating Locked Groove’ breadth of style. Reminiscent of the early-2000s progressive house boom, Lost has a dark and brooding low-end groove, but this is balanced out by gentle washes of melody thanks to long, drawn out pads and a beautifully sequenced harp sound.

Listen to Locked Groove on Pulse Radio.

Dauwd - 'Heat Division' EP

http://pulseradio.net — Tue, 12 Mar 2013 21:21:18 +1100

Dauwd
Heat Division
[Pictures Music/Ghostly International]

Tastemakers Ghostly International and Picture Music are forces to be reckoned with on their own, so it’s not hard to understand why the announcement of a joint venture between the two labels made many people just a wee bit excited. For the first of hopefully many releases, they’ve employed the talents of UK producer Dauwd, who takes a slightly different approach to the UK Bass sound he showcased on Could It Be and What Is There, but keeps the core fundamentals of his sound: warmth, organic movement and depth.

Heat Division opens the release and serves as a great example of the new wave of house music coming out of the UK: four-to-the-floor in a percussive sense, but with a certain loose swing to its bassline and melodic elements, which creates an immediately likeable groove that has plenty of room to evolve over the course of the track. Down tuned vocals and raw, analogue pads fill out the mix nicely, with the final result being a deceptively tough number.

Up next, Aqueous takes things super deep. Triplet timing on the percussion and a stabby acid bassline give the track a charming kind of bounce, but the lush, filtered chords, soulful vocals and reverbed atmospherics keep it at subterranean levels of depth. Aqueous has a kind of engulfing feel to it: every sound in the mix sits in exactly the right place and gently pulls the listener in rather than assaults them front on, making the track seem to just exist alongside whatever it is you’re doing, as if it’s some kind of licensed soundtrack to your life.

On the more dancefloor oriented tip, Silverse combines driving, punchy percussive rhythms and a full, warm bassline into an immediately danceable deep house groove. The overdriven, slightly distorted chords and sound effects add some extra balls to the tune, but at the same time introduce a melodic sensibility that is one of the biggest strength’s of Dauwd’s music.

Rounding out the release is And, which is probably closest to the sound many know Dauwd for. Shuffly, chopped-up kicks which occasionally break out into a fist-pumping four-to-the-floor rhythm are surrounded by a winding, soulful bassline which does the leg work and cranks up the thump factor. But what really captivates here are the future garage styled pads, rumbling low end growls and subtle background synths, which turn And into an emotive piece of brilliance.

Listen to Dauwd on Pulse Radio.

Ben Sims - Something EP

http://pulseradio.net — Mon, 11 Mar 2013 21:19:32 +1100

Ben Sims
Something EP
[Theory]

Theory’s first EP of 2013 sees the label off to a flying start with a hidden gem from the past, but given a proper release and the remix treatment. 'Something', a previously unreleased Ben Sims tune, appears in its original form alongside an updated re-edit from Sims himself, and further unique versions by Truncate and Rivet.

The original is everything that we love about Sims’ productions: chunky, gritty and full of energy, but with an unmistakable, inescapable and inimitable funk, groove and “let’s make the bitches want to move” attitude. Raw, slightly distorted percussive elements are programmed beautifully to give the track a real sense of pace and urgency, but this is balanced out by a soulful vocal sample and a groovy chord loop. Sims’ remix replaces the chords from the original version with metallic clangs and phased sound effects, as well as ups the crunch factor on the drums, resulting in a tougher, rougher, more jackin’ alternative for those who like their techno on the harder end of the spectrum.

Truncate offers up probably his funkiest work to date with his remix. Stripping away most of the percussive layers, so that all that’s left is a thuddy kick, open hats and the occasional choppy clap loop, Truncate’s version places more emphasis on the vocal and chords from the original and fills out the mix with a deep, throbbing sub bass, resulting in a more subtle vibe that will suit lovers of deeper sounds. Rivet’s interpretation is almost more like a new track built from the ground up. If you listen carefully enough, you'll notice some clever usage of the original version’s vocal, but you’d be forgiven for not noticing it since the catchy synths, wobbly analogue bassline and shuffly drum rhythms are just so good they literally demand your full attention. An excellent slow-burner on a darker, more pulsating tip.

For those who pick up the release on wax, The Little Jam is offered as a vinyl-only bonus. Fans of Sims’ slightly quirkier, more mechanical tracks will definitely want to splurge on the 12”, as The Little Jam follows in the footsteps of other brain-benders like Air Rage and is sure to go down a treat in amongst a set of similar Tresor-inspired rhythms.

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Listen to Ben Sims on Pulse Radio,

Bambook and Netzell ft Cari Golden - ‘What’s the Use’ EP

http://pulseradio.net — Fri, 08 Mar 2013 20:46:39 +1100

Bambook and Netzell ft Cari Golden
‘What’s the Use’ EP
[Circus Recordings]

Whilst the club night has had the kind of Europe wide acclaim it’s line-ups deserve for night on a decade, it’s only the past year to eighteen months that Circus recordings has mirrored that level of fixed attention essentialness with its music. They are one hundred percent in that sphere now mind, and as the opening gambit of Cari Golden’s lyrics impart on this track – ‘it’s time, we’re here’ – it’s a lofty realm they intend on staying in.

This four tracker from the Stockholm based Bambook and Netzell continues the great work from recent releases from Acid Mondays and David Glass with a lead track that is a monster chord driven slab of heady house music. Rolling effortlessly, it’s juxtaposition of the track’s incessant charm and immediacy with Golden’s spoken word delivery is the key to its success, particularly the similarity her delivery draws with the infamous stalker on Lil Louis’ timeless ‘I called You’. It’s not hard to see why Maceo Plex built many of his stadium slaying sets of last year around it.

Remix wise Hacienda legend Jon da Silva pairs up with Jonas Nillson to take the track into the weirder reaches of the darker dancefloors, delivering a druggy workout that sifts into a keyboard driven breakdown and a more sinister use of Golden’s words. Again the Lil Louis comparison stands up well, if said track was dragged through a k hole before finally merging triumphantly from the wreckage.

Rooftop also get to grips turning in a mechanical feel which brings a more lyrical feel to Golden’s vocal (focusing on the sung ‘Sweet Music’ refrain rather than her hushed offerings), and again adding a twist on those undeniably infectious chords. Final track sees Golden again offering a vocal, this time whispered over a rollocking tech house groove, but it’s simply a case of which one of the remixes of ‘What’s the Use’ gets your blood flowing. A great selection of club tackle.

Listen to Cari Golden on Pulse Radio.

Jacob Husley - 'Close Your Eyes' EP

http://pulseradio.net — Thu, 07 Mar 2013 23:52:46 +1100

Jacob Husley
Close Your Eyes
[WetYourSelf!]

WetYourSelf!'s latest release is from the label's head honcho Jacob Husley and is the perfect combination of ominous, dark techno and eery house. Not one for the faint hearted, this EP is exactly the kind of thing I want to listen to when I wake up or mid afternoon and definetley peak time in the club - right through till the next morning. The release begins with 'Close Your Eyes' an enticing, menacing march of techno clunks and clicks with a super rich bass and subterranean vocal sample - 'dance like nobody's watching you' (definitely the only way you could dance to a release as dark as this - lots of weird movements you didn't even know you had).

Next up, 'Here Today Gone Tomorrow' brings an entirely new but still very nebulous vibe to the table - imagine if you will, being stuck in amongst a very creepy, apocalyptic video game. Or, in fact, one of those fun fairs late at night, when you aren't entirely sure whether the guy you just bought the candy floss off is human or not. The vocals are mysterious (and are actually Husley himself), loosely sparsed over rich, fluttering 'tron legacy' chords. Husley then takes another dark explorative twist with 'Le Cote Obscur' feat The French Edge, beginning with an incredibly rich warping sub bass, supported by sharp snares & softened by some seriously sexy, female french vocals (clues in the title mate); a truly wonderful track.

The final slice of incredibly fresh sounds is 'Realise' which is comparatively warmer than the rest, there's delicate percussion purrs and a warm charge ticking over until the final bars when the drum finale hits you in the jugular. Three words to sum it up - painfully on point.

Listen to Jacob Husley on Pulse Radio.

Function - Incubation LP

http://pulseradio.net — Wed, 06 Mar 2013 21:15:03 +1100

Function
Incubation
Ostgut Ton

It’s hard to believe that Incubation is Function’s first full-length album. With a gamut of releases under his own name and as part of Sandwell District on formative labels such as Synewave, CLR and Downwards dating all the way back to 1995, Function is as much of an important part of the “Birmingham techno” sound as those living in the area. Now, 18 years since his first release, Dave Sumner’s musical journey comes to a head in the form of Incubation, a thoughtful exploration of the multi-faceted beast that is modern techno, but one that is grounded in his distinctly recognizable stripped-back, cerebral sound.

The major thing that will strike the listener about Incubation is the abundance of melody and warmth, and even total ambience. The quintessential dark, moody, minimalistic, and percussion-driven Function sound is still present thanks to tracks like Against The Wall, Modifier, and Gradient I (a CD version exclusive) but it’s broken up with extended soundscapes that are aflutter with sparkly melodies and complex arrangements, none more captivating than on album opener Voiceprint and the surprising deep house interlude Inter.

Function also explores the marrying of these two polar opposites into club-ready cuts, sometimes coming up with grinding, menacing tracks like Incubation (Ritual) and Psychic Warfare that give the melodic elements a more twisted, hellish and unpredictable feel, while at other times warm chords and glittering synths draw the basslines and percussion out from their usually subterranean dwellings, resulting in big, uplifting vibes that although are unfamiliar territory for Function, are produced immaculately.

Incubation is as intelligent and well thought-out as a debut album can get: it highlights new and exciting directions Function’s music can take, but doesn’t deviate so far from the core sound that has earned him such widespread acclaim as to alienate existing fans. This really is something for everyone, despite your proconceived ideas of it possibly going over your head.

Listen to Function on Pulse Radio.

Jupiter Jazz - Booty Jazz EP

http://pulseradio.net — Tue, 05 Mar 2013 20:13:31 +1100

Jupiter Jazz
Booty Jazz EP
[Ellum Audio]

Danny Daze and Maceo Plex sounds like the perfect combination on paper, and indeed, they live up to expectations with their first release as Jupiter Jazz, the infectious Booty Jazz EP on Plex’s own Ellum Audio imprint.

Shake It Mama conjures up memories of early Fingerlickin’ Records releases from the likes of Plump DJs and Soul of Man. Chock full of slutty, low-down funk, gritty, speaker-testing bass and snappy breakbeats, the tune already epitomizes “booty jazz”, but when the warped, freaky, and somewhat sexy robotic vocal saunters in over the top of the mix, you’d be forgiven for wanting to drop your pants.

Up next, Technology serves a functional deep house cut, though feels somewhat out of place amongst the rest of the release. The biggest strength this EP has going for it is that it doesn’t just sound like three tracks that could have been written by either one of the collaborators on their own, but rather explores new sounds and genres while injecting Maceo Plex’s and Danny Daze’s recognizable vibe into them. On its own, Technology is a good track: well-produced, catchy and quirky, but in the context of the EP, it feels too “safe”.

Good Girl rounds out the EP with a memorable combination of finesse and rugged ballsiness. The tight, clean (proper) electro beats and dark, stabby bassline contrast nicely with the sleazy 80s vocal and sparkly pads, resulting in a track that appeals to both the hips and the head.

Listen to Maceo Plex & Danny Daze on Pulse Radio.

Space Dimension Controller - Welcome To Mikrosector-50

http://pulseradio.net — Mon, 04 Mar 2013 23:00:51 +1100

Space Dimension Controller
Welcome To Mikrosector-50
[R&S Records]

On his debut album on R&S, the dimension hoping controller takes us on a journey forward in time, on a musical vessel whose blueprints lie in the past. Welcome To Microsector 50 is perhaps the current crop of electronic music’s first concept album. Harnessing a storytelling flare in the tradition of Irish music such as Christy Moore and with cryptic song titles, the full length is as much indebted to the likes of King Crimson and Yes as it is the Bellville three and Kraftwerk.

While the progressive rock behemoths of the 70s frequently drifted into self-parody, the tongue in cheek approach of the young Belfast born producer sees doff the cap to Syd Barrett as well as the techno luminaries that have carved out the Belgian imprint’s trailblazing reputation.

Comic book obsessed Hamill continues the story of Mr 8040 with a possibly allegorical tale which in some ways could mirror the young controller’s ascent into the electronic music galaxy. Charting a riches to rags story, the jaded Mr 8040 returns to his own time and struggles to reconnect with his surroundings having experienced the club scene of Planet Earth between 2009-2012.

As an already assured 17-year-old, Hammill emerged at a time of toned down BPMs, his low slung sound apt for the time. Now with techno in vogue he effortlessly matches the current zeitgeist but resolutely on his own terms.

Sat next to last year’s prequel, Welcome To Mikrosector 50, casts a contrasting and complimentary light. Pathway To Tiraquon 6 baffled many into thinking that they had accidently listened with the hi pass filter on. Without detracting from its place in the SCD narrative, the brittle electronica of the extended 2012 EP seemed at odds with is previous work on R&S and Clone. Although this could have been explained by the fact it was written in a time before the Tiraquons had mastered the lower frequencies. On Welcome To Mikrosector 50 the fat basslines are back with those trademark, noodly and squiggly synths with an almost Marvel like vengeance.

Taking the role of Mr 8040 allows SDC the medium to express himself deeply through allegory. There is a tenderness send from the future that stands up stronger than any other, tracks like When Your Love Feels Like Its Fading manages to keep the purity of the message without resorting to tired clichés. Including The Love Quadrant, first seen on his debut 12 for R&S, is a nice touch which pulls together a serious body of work from a young man who is just 22. There’s few laugh out loud moments in techno or music as a whole outside of 80s hip hop but Welcome to Microsektor 50 moves through the sphere of emotions, throwing in a host of characters to express them.

SDC has a unique ability to be both credible and accessible simultaneously. The Mr 8040 alias is undoubtedly the catalyst. The ease that this LP fits with the rest of his work joins the dots in an emerging constellation of work. Just how long before more points emerge and constellate to dominate the night’s sky is anyone’s guess.

Listen to Space Dimension Controller on Pulse Radio

Marc Romboy & Ken Ishii - Taiyo

http://pulseradio.net — Mon, 04 Mar 2013 14:08:07 +1100

Marc Romboy & Ken Ishii
Taiyo
[Systematic]

There really isn't a lot that Marc Romboy and Ken Ishii haven't achieved individually. Both have been involved with the dance music scene since its inception in their respective countries, and both have gone on to forge successful music careers. As head of Systematic Recordings, Romboy has been at the forefront of the dance scene for the best part of this millennium (and beyond) and is possibly best known for the dark, squelchy techno sound that he honed with Stephen Bodzin. Ken Ishii on the other hand might not be as well known as his collaborator (due to his less than prolific output over last 15 years in which he turned his attentions to other pursuits like composing for game and movie soundtracks), but he’s no less decorated having released music on legendary techno labels like R+S and Plus 8 Records.

As the story goes Romboy approached Ishii to do a guest mix for his Systematic Sessions podcast which led to discussions about working on an album collaboration. The end result is 'Taiyo' (Japanese for sun): a 7 track excursion into different shades of techno. What makes this even more intriguing is that all of this happened without them ever meeting face to face. This is by no means a new way of producing, but it sure makes it more interesting. So is it any good then? I can safely report that this is one exquisite trip...

'Gosa' starts proceedings with a Berghain styled, post-dubstep beat that jumps out at you all phased melodies and metal blasts. This segue ways beautifully into 'Seuin', an old school sounding track that is accentuated by percussive stabs and competing layers of melodies that cheekily tips it's hat to the progressive trance era of '99 and beyond.

A more downtempo and chilled broken beat pattern greets us in 'Helium', an absolutely amazing piece of production featuring hanging wind chime sounding synths that might actually be the sound of helium floating through space. 'Dopplereffekt' is aimed straight at the dance floor jugular; the beats dark and brooding, it features a rising synth that breaks down half way through only to start all over again for an energetic dance floor work out.

The mesmerising 'Suisei' goes deep before giving way to a headstrong synth which pushes its way through eery, inner space atmospherics. A stunning intro sequence heralds the start of title track and definite stand out, 'Taiyo': floating over the top is a beautiful -almost uplifting- melodic sequence which is punctured by some underwater and robotic sounding fx that’s driven by a muscular beat and a wobbly, oscillated bass line that is very reminiscent of Romboy's work with Stephen Bodzin. Closing track 'Der Strand', is a relaxing, ambient number featuring soothing beach waves that wouldn't sit out of place on any chill out compilation.

Romboy has mentioned that this is a concept album of sorts (a journey to the sun perhaps?) and at first it's not that easy to hear, but the more you listen to this album the more you get involved: this really is an audible space journey. Another concept album contributing feature is the way the tracks gel into each other making this sound less like an artist album, and more like a mix compilation. At under 50 min the journey is way too short, but with production as precise and detailed as this, Romboy and Ishii can be forgiven this minor quibble. Not only have they created 7 exquisite tracks, but they have quite possibly crafted one of the most accomplished sci-fi sounding Techno album releases since Ben Klock's 'One'. This is one journey worth immersing yourself in.

Tracklist:
1. Gosa
2. Seiun
3. Helium
4. Dopplereffekt
5. Suisei
6. Taiyo
7. Der Strand

Listen to Marc Romboy on Pulse Radio

Innervisions 042 - Secret Weapons EP Part 5

http://pulseradio.net — Tue, 26 Feb 2013 04:03:53 +1100

Konstantin Sibold, Culoe De Song, Jon Charnis, Mario Basanov
Innervisions 42 - Secret Weapons EP Part 5
[Innervisions]

If the German record label “Innervisions” was a person, she’d be a seducer, speaking with her eyes and saying nary a word. The label, run by Dixon & Âme, releases very few EPs each year, employing an extremely selective A&R process. When they do put something out though, it happens without much fuss and immediately demands attention.

Innervisions 42, “Secret Weapons EP Part 5” (or not-so-secret, after many were played by Dixon during his ADE Boiler Room set last October), contains 4 tracks from new and established producers alike. Konstantin Sibold’s Madeleine kicks things off, a four on the floor dance jam with warm pads and a rolling lead. It feels like a swim in the ocean on the warmest of days, gently pulsating, building carefully, slowly, and at the same time, carefree. The percussion is energetic with a classic shuffle and some nice offbeat-snare action. The bassline is a subby affair carrying dancers onwards. It takes you on a gentle, upbeat ride, never in your face but never dull either.

South African deep and soulful house don Culoe De Song is up next with a track entitled Stig Boardersman. Picking up where Madeleine leaves off, this is less groovy and more straightforward, a tech house jam in Culoe’s traditional stylings, replete with energetic shakers and a raw, deep bass. The electronic, synthy elements feel somehow new for him, a futuristic take on the South African deep house sound which he helped to found. The track aims to hypnotize, crafted with repetitive, driving force.

Third is Jon Charnis’ Prophecy, a genre-defying track with a strong build and emotive melodies. It feels like the beginning of an adventure through a foreign land, one of Aladdin’s caves or an ice palace somewhere on high. Charnis envelopes the listener in sound, as percussive hits and melodies come from all sides and bounce away. This is a cinematic track, an example of dance music’s versatility as both functional and aesthetic music. Simple, musical riffs preside throughout, combined to create complexity and intrigue along with a bassline that sits front and center. The main breakdown captures the essence of the tune as well as what appears to be Innervisions’ philosophy – not overstated, and as a result, present and powerful.

Finally, track 4 features Mario Basanov as you’ve never heard him before. The deep house and disco don digs deep and pulls out a magical number for Red Line, with a haunting, nonsensical vocal (reversed), sitting atop dramatic percussion and chords that go fathoms deep. An arabesque pad sits in the background, floating, pulling you in. Like Prophecy, it builds slowly, this one definitely a late night number.

Innervisions 42 is out today. Buy it here.

Listen to Dixon on Pulse Radio

Justin Jay - Everything EP

http://pulseradio.net — Mon, 25 Feb 2013 21:11:01 +1100

Justin Jay
Everything EP
[Southern Fried Records]

2013 is Justin Jay's year. With my tolerance rapidly running thin for much of the music I listen to these days (everything - pun intended, sounds the same) this man manages to combine my favourite elements of the old and repackage it into something so new and zesty it's like biting into a lemon. His earlier release this year on the dirtybird Players Sampler - 'Altitude' was a beautifully constructed track, with astoundingly on point, fluttery production. This release the 'Everything EP' on Southern Fried made me not only smile (a rare thing in these bleak winter months) but genuinely feel jubilant. That's right, jubilant.

Keeping it in the Southern Fried family the remixes come from Frogs In Socks and Jack Fell Down (whose Need In You/Ease Into Me releases took a serious pasting on my speakers last year) and they are incrediblly tight. So let's dissect it properly: 'Everything' nicely straddles the water between US and UK, with a UK bouncing & hollow bass but with a deep soulfulness that is a different flavour from the grittiness. The piano chords are melodic and with warped but restrained vocals - a beautifully uplifting track. Frogs In Socks take the bassline, crank it up, slow it down and make it into a dense, hammering, very seductive dub, whilst their remix manipulates the vocals and switches up the original further.

'Into The Night' blends West Coast Hip Hop in to Bass and House like cream into butter. It's broken, it's alluring and it has just the amount of off key left sounding chords to give the vintage Hip Hop vibes a totally different twist, high pitched vocals give it a bit of euphoria, it's such an incredible track, I really hope to hear it all year round, it's so innovative and fresh. Jack Fell Down offer two remixes of the original, the first bringing that straight up UK house sound and the second one: well it almost made me wet myself I was so excited.

If music genres were types of people, UK Garage would be my boyfriend, and Jack Fell Down's garage remix of 'Into The Night' is my ideal man. It's rough, it's tough, it's old school, it has my favourite ever 'rave shriek' sample and a bass line so juicy you could eat it all night long. Such a smasher from Justin Jay, I simply cannot wait for more audible treats from him this year.

Out today on Southern Fried Records - available from Beatport and iTunes.

Listen to Justin Jay on Pulse Radio.

Kris Menace - Features

http://pulseradio.net — Fri, 22 Feb 2013 12:12:22 +1100

Kris Menace
Features
[Compuphonic]

Reeling in a guest roster boasting the likes of Miss Kittin, Julian Hamilton of The Presets and Robert Owens to name a mere few, ‘Features’ doesn’t deviate too drastically from previous offerings from Kris Menace, but luckily for us the man known to the tax office as Christoph Hoeffel still knows how to dish up what the people want.

With a guest vocalist featuring on every track on the record - somewhat unusual for a producer like Menace - means the album takes on a poppier format, sometimes to its detriment. Rather than letting the beats take centre stage, the cheesy vocals that crop up on occasion means the highlights shine that little less brightly.

There are plenty of gems studded throughout the record, though, such as ‘Higher Love’ featuring Julian Hamilton on vocals - the synth driven, electro pop sensibilities of the tune is perfectly paired with Hamilton’s lugubrious tones. Elsewhere, 'Meant for You' ft Dominique Keegan is nothing short of a guilty pleasure. Crooning, lovelorn vocals melt into the drama of the keys in the foreground and the irresistible, if slightly by-the-numbers house beat, might make it lean toward the more commercial side of house, yet it stays classy rather than schmaltzy.

Disappointingly, the majority of the album’s stand-out tracks don’t appear until the halfway mark, especially the sublime ‘Eye Opener’ ft. Xavier Naidoo, although there are few tracks that fail to register at all, lost in the ether of mediocrity.

‘Features’ rarely strays from anything else you could classify as disco flecked, pop-influenced house, but Menace has pulled through with nothing short of a dancefloor ready record coming to a party near you.

Tracklisting
01. Lone Runner – Kris Menace & Unai
02. Waiting For You – Kris Menace & Black Hills
03. Hide – Kris Menace & Miss Kittin
04. Voodoo Dilate (Samo) – Kris Menace & Chelonis R Jones
05. Love Is Everywhere – Kris Menace & Lawrence LT Thompson
06. Trusting Me – Kris Menace & Robert Owens
07. Higher Love – Kris Menace & Julian Hamilton
08. Golden Ratio – Kris Menace & Simon Lord
09. Meant For You – Kris Menace & The Glass
10. Eye Opener – Kris Menace & Xavier Naidoo
11. 2nite4u – Kris Menace & Romanthony
12. Starr – Kris Menace & Thomas Gandey

Listen to Kris Menace on Pulse Radio

Ultrasone - Tokyo Dusk

http://pulseradio.net — Thu, 21 Feb 2013 21:24:35 +1100

Ultrasone
Tokyo Dusk
[Maison D'Etre]

Things don’t get much darker and frankly, more murkier than this rather subdued & cantering ditty from Belgian duo Ultrasone. Orchestrated rather than sequenced, it’s more of the same fare that shone so bright on their club bound Breath N Pop track - or not so bright, rather, as the pair aim further towards the hearts of the deepest of dancefloor heads on Maison D'Etre's latest release.

Chiming bleeps and minor tonal bubbling bass lurk underneath a metronomic rhythm that lends itself as much to a sunshine set as well as a dark, hovel of a venue. Sultry, moody and aimed for the brain as well as the body, this brooding monster’s deep pitch and slow'n'low tempo seems designed to lock you deep inside it’s 2am groove. The murky, emotional timbres are taken into stiffer territory as High Dawn’s eschewed filters make room for a bottom heavy drum loop and an off kilter, double kick laced drum pattern, before rapid fire, one note percussion rolls in. The package rounds off on digital only cut Electric Orchestra, sporting more bleepy bass FX and subtle percussive nuances behind chiming, neuron baiting notes.

A solid release that packs plenty of personality behind it's juxtapositional blend of dancefloor mechanics and emotional hooks, Tokyo Dusk's USP lies in it's unique production- clicking and mechanically hyrdaulic but also seeped in emotional clarity and feeling, it goes to show that sometimes it's the little details that truly make the difference to any given track.

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Tokyo Dusk is available to buy on vinyl through Maison D'Etre.

Listen to Ultrasone on Pulse Radio.

Brazil's Dance Music Don Renato Ratier Releases Debut EP

http://pulseradio.net — Wed, 20 Feb 2013 05:51:57 +1100

Renato Ratier
Soul Machine EP
[D-Edge Records]

Brazil is fast solidifying its place as a global player in dance music, and one man leading that charge is Renato Ratier. The mastermind behind Sao Paolo's D-Edge nightclub brand has been bringing top tier talent to South America for years, fostering a burgeoning community of devoted deep house and techno fans. Now Ratier is set to make a name for himself through production with his first solo EP on D-Edge Records, released on February 18th.

The Soul Machine EP is made for the dancefloor, largely made up of shimmering funk leads and an afterhours mentality. Title track Soul Machine nails this sound, smooth synths winding around a subtle vocal sample. It's tough not to bounce to the swing here, a swing that can only be crafted after years of experience behind the decks, moving the crowd. Mixing classic house sounds with more modern techno, and piercing synths, this record has a unique blend of old and new.

Old Factory turns the funk inside out, chopping guitars over a more driving, more sinister bassline. Elements stutter and build tension, crafting a blissful late night vibe. This is a more straightforward dance track, but it’s connection to the first song remains. Little pieces of classic sounds permeate the track, while it chugs forward confidently. If this doesn’t get people dancing, they probably just came to play bingo. A real hip shaker.

Ratier rounds out the release with Play For Me, the most intimate and deepest of the bunch. Featuring a soulful vocal and an electronica tinge, this one demonstrates his mature ear and artistic ability. It’s a slower paced tune, equally comfortable in your living room or in the club. All three tracks have a certain warmth about them that seems to be indicative of the country they're inspired by.

Renato Ratier and other fresh new acts such as HNQO and Digitaria seem to be heralding a Brazilian deep house sound with worldwide reach. If the Soul Machine EP is any indication, D-Edge Records is going to be a major hub for the South American country's promising scene.

Buy the EP here

Listen to Renato Ratier on Pulse Radio

Julio Bashmore Invites Justin Timberlake To Party

http://pulseradio.net — Tue, 19 Feb 2013 03:46:54 +1100

Justin Timberlake / Julio Bashmore
Suit & Tie Remix
Free Download

Julio Bashmore shows that the commercial/underground distinction needn't be a cause of concern for the modern musician. His remix of Justin Timberlake's Suit & Tie is more than a simple re-hash of the original. Like all good remixes, it's a re-interpretation.

While Timberlake's version calls back classic RnB vibes, with candlelit sophistication, Bashmore yanks him from these familiar surroundings and places him squarely in a 90's club. Despite sharing the same crooner, the songs end up feeling very different. Bashmore's is more upbeat and energetic, consistent with the Bristolian's typical bass-heavy stylings but with much more radio appeal.

Bright chords permeate the mix along with a classic 90's shuffle (that's one thing the two songs have in common - the 90's). Bashmore does an expert job chopping up the vocals and adding the right amount of reverb for dramatic effect. Interestingly, the original and remix are the same length (~5 mins): long for an RnB song, and on the short side for a house track.The breakdown around 2:50 epitomizes Bashmore's take on the track, stripping everything down to a vocal and bouncy piano backing. This is a party anthem, less suited for the bedroom and much better for a dancing crowd.

As modern house music blurs the lines between itself and the mainstream, we'll likely see more underground darlings embracing elements of popular music. This genre and scene agnosticism will undoubtedly open doors for creative and interesting partnerships across genres.

Listen and Download Julio Bashmore's remix below...

...and compare it to Timberlake's original:

Listen to Julio Bashmore on Pulse Radio

Matthew Dear - Fighting is Futile (Remixes)

http://pulseradio.net — Mon, 18 Feb 2013 21:29:24 +1100

Matthew Dear
Fighting is Futile Remixes E.P
[Ghostly International]

Matthew Dear is a true dance music iconoclast. The Texas-born DJ and producer is at home with a wide variety of style; taking his first influences from Detroit techno he's ventured out into fresh territories and textures. This collection of remixes features some big names kicking off first from techno wild-child Seth Troxler; an incendiary DJ but sadly, on this showing at least, not the strongest producer in the world. It begins promisingly enough, all ephemeral strings and swelling FX before a vertiginous, dark groove takes hold of the track. But it never really seems to go anywhere; the pay-off is minimal and an 8 minute track featuring a two-minute nearly ambient fade-out is unlikely to make many friends in the DJ booth.

Next up we have KiNK who takes a more dance-floor friendly approach to the track. It's a driving, dusty remix with pleasingly paranoid pings and blips married to clanking percussion like gears ratcheting up. Benoit & Sergio's interpretation takes a less aggressive, house-orientated approach, meandering and winding for more than eight minutes to very little effect; it just isn't my cup of tea.

At this point I was feeling a bit down on this E.P. 'Less than the sum of its parts' is how I'd best describe it. But what's this? There's a sweet little treat rounding this collection off – the Laid Back remix, which is four fantastic minutes of lo-fi pop. It sounds just like it could be taken off the first Gorillaz album, and since I liked that album this is definitely something I cam get on board with.

I like Matthew Dear. I like his style, and I like his approach to music. So I wanted to like this collection far more than I did; sadly though the Seth Troxler and Benoit & Sergio tracks did very little for me. The KiNK track is fine, in a mid-set kind of way. But the stand-out here is the wonky pop of Laid Back's remix.

Listen to Matthew Dear on Pulse Radio.

V/A: Derrick May & Jimmy Edgar: We Love... Detroit

http://pulseradio.net — Fri, 15 Feb 2013 21:40:12 +1100

V/A
Derrick May and Jimmy Edgar - We Love... Detroit
[We Love]

The team behind Ibiza’s hugely successful We Love at Space bring together Derrick May and Jimmy Edgar to curate this collection of tracks made in, or inspired by Detroit. Separated by several generations of musical history, the pair let their differing experiences of the city’s rich musical heritage guide them in bringing together two diverse discs.

Techno forefather Derrick May takes the reins over the first, unmixed disc, although those expecting NOW! That’s what I call Detroit will leave disappointed. Rather his disc is a more subtle and worthwhile exercise in tracing the strands of influence that contributed to and resulted from the music of himself, Juan Atkins and Kevin Saunderson in the late 80’s. An innovator as well as an inventor, May doesn’t preoccupy himself with rigidly sticking to tracks made in the ‘D’, instead tipping his hat to European producers such as Kink (here with last year’s gorgeous, ‘Hand-Made’) and Petar Dundov (providing the 12 minute epic synth voyage, ‘Distant Shores’). Rarely touching on the early techno sound of May and his colleagues, the disc looks to other motifs that have popped up in Motor City music over the last 20 odd years, with intriguing excursions into African percussion ( Yotam Avni’s ‘Pentimento’, Deep’A & Biri’s ‘Hova’) and jazz ( the ever-so-slightly indulgent sax of Kai Alce’s ‘Power Thru pt.3’ and the minor key licks of Benny Rodrigues’ excellent ‘It’s A Spiritual Thing’). Brimming with ideas, these tracks showcase the essence of Detroit; cerebral, refined dance music eager to take risks. May concludes the disc with Andres’, ‘New For U’, the ubiquitous dance floor hit of 2012 resplendent in its combination of swooning strings and warm bass. A tune rapidly earning classic status, it provides an anthemic end to the disc with May demonstrating himself a more than capable ambassador of his hometown’s idiosyncratic sonic history.

With Jimmy Edgar very much May’s junior, it is perhaps unsurprising that his CD makes somewhat less of a statement about his city. The Hotflush man drops in his own ‘Let Yrself Be Free’ as well as exclusives from himself (Semierotic’’s sleazy electro funk) and label-mate Lando Kal (the slightly muddled ‘future-garage’ of ‘Clockin’) as well as a lovely effort from legendary Minus stalwart Magda. Her sparse, nocturnal, ‘Late Night Woodward’ forms one of the compilation’s highlights, underpinned by a growling but distant low-end and shimmering synth stabs that recall the city’s creative heyday with some flair. The gloomy, bare bones acid rumble of Kyle Hall and Kero’s ‘Zug Island’ is also superb, showcasing the enduring capacity of Detroit’s residents to drag real emotive drama out of seemingly cold and mechanical sounds. Other notable contributions come from man in form Kris Wadsworth (his stuttering hip shaker, ‘Connection’) and Magic Touch (‘Nik’s Groove’ providing a high point in terms of energy with its frenetic mix of hardcore breaks and diva wails with ethereal arpeggios), although as a collective the disc suffers from a slight lack of focus to be expected from a set of eclectic and unmixed dance music tracks.

All in all, May and Edgar serve up a thought provoking rather than definitive meditation on the music of their city. Whilst not entirely lacking in filler, for a split double disc compilation the bang to buck ratio is certainly high enough to keep both disciples of Detroit and inquisitive younger listeners interested and satisfied.

Listen to Derrick May on Pulse Radio.

Waze & Odyssey - Be Right There EP

http://pulseradio.net — Tue, 12 Feb 2013 23:30:07 +1100

Waze & Odyssey
Be Right there
[Madtech]

Kerri Chandler’s MadHouse and MadTech may have been slightly lacking in terms of the imagination stakes when they were named, but they certainly haven’t been floundering in output. Whilst his recent Youtube craze would suggest there’s no material from shampoo fronting Frenchmen - instead these labels have been delivering some exceptional groove heavy house music. This EP from US duo Waze & odyssey is no different.

The title track is a crisp vocal driven groove, a classy juxtaposition of swagger and atmosphere which boasts a glorious breakdown that adds the ‘be right there refrain’ to a series of oohs and aaahs, template house music to die for. London badman Citizen gets to grips on the remix front, blunting the jack of the original somewhat with a dreamier vibe that rides gorgeous pads and an ethereal feel; think the moody big brother to the original’s likeable nice guy attitude.

‘Found the Rhythm’ completes the ensemble, also on the same garage influenced tip but this time bolstered by a nagging synth line which gifts the beat a darker more electronic feel. The presence at times of more than one voice and some gospel heavy chords midway widens the appeal as well; is this robot funk or classic analogue feeling house? Either way it’s further weight to the reputation W&O have already been developing via their work on Throne of Blood and Southern fried – two purveyors of classy house that know their way round a dancefloor. Go forth and seek.

Listen to Waze & Odyssey on Pulse Radio.

Various Artists - "Hospitality: Drum & Bass 2013"

http://pulseradio.net — Fri, 08 Feb 2013 23:58:01 +1100

Various Artists
Hospitality: Drum + Bass 2013
[Hospital Records]

By now, in England, we know not to let a few sunny mornings fool us into thinking its spring, but sod it, buy yourself a little sub, roll down your car windows and put the heating on full - let’s pretend its summertime! Hospital Records are back with another big mix for 2013, the 3rd in the Hospitality DnB series. Tomahawk works across the board, showcasing (within reason) pretty much everything drum & bass has to offer right now. As well as being a euphoric summery mix, Hospitality Drum & Bass 2013 is also actually a fairly good depiction of d'n'b's current affairs at the moment - plus it also includes 9 previously unreleased tracks (so even all you aficionados are sure to find something you haven’t heard before).

Mampi’s back with a new album, ‘History’, from which the intro track ‘Gangster’ is taken, a proper stomper of an opener. Calyx & Teebee had a massive 2012, putting pen to paper to join Andy C at Ram Records, the biggest of their releases from their new home in ‘Elevate This Sound’ gets played anywhere from prime-time Radio One to the dingiest of drum and bass dungeons, also joined in the mix by Ram comrades Culture Shock.

The darker shades of the spectrum are also accounted for. New Critical Records signing Emperor, Ulterior Motive, Utopia Music’s Villem, Fields and Mako all feature, and new-boys-on-the-block Etherwood, Placid, Pluton & Skyer all get their first big break. And of course, the Hospital boys are out in force; High Contrast, Logistics, Netsky, Danny Byrd, Fred V & Grafix, and Gresham brothers Matt and Dan joining forces to find some ‘Nu:Logic’. And lest we forget, 2 tracks from man of the moment S.P.Y’s new album, ‘What the Future Holds’, also on Hospital Records.

While the synthy overtones are both consistent and prevalent, there is a strong undercurrent of pure krunk to the mix, underlining the sheer diversity of todays dnb scene. Surely, with such strength-in-depth, drum and bass is proving to have tonnes more life left in its limbs... it's here to stay.

Listen to Hospital Records on Pulse Radio.

A Hypnotizing Battle of Sounds - Zip's Fabric 67

http://pulseradio.net — Tue, 05 Feb 2013 02:14:12 +1100

Arthur Shikhman, musician, writer, and DJ from New York City, showcases the unique composition of Zip's genre-defying Fabric 67 mix:

Zip may not be a household name in the world of electronic music, but those who have seen his sets swear by them. He's the father of Perlon, one of the most important labels in house music, and resident of Panorama Bar's famed Get Perlonized nights. Thomas Franzmann's style is like no one else's, and his sets are impossible to predict -- forward-thinking minimal house jams, leftfield grooves, and enough unreleased material to fill up whole record stores. Naturally, the acclaimed fabric series was the perfect avenue to showcase Zip's unique sound for those unable to catch him live, and this 67th installment does not disappoint.

Of course, following up a masterful effort by Ben Klock is no easy task for any DJ; Zip navigates such testy waters with ease, weaving a tale of house and techno both mesmerizing and energizing. Tracks are mixed expertly, but the sounds from one to the next are so distinct that the listener is always on their toes. It's a challenging yet rewarding exercise in electronic music, one that warrants more than a few listens.

Perlon's influence pervades throughout as San Proper & Steven De Peven's Pam Pam sets a precedent for glitchy microhouse--horns turned on themselves in a sort-of hallucinogenic war march. Unintelligible vocals push through a similar haze on Melchior Productions Ltd's She Like and Soul Capsule's Seekers, the former being the only track on the compilation from Zip's label. Blips, bleeps, and basslines wage a hypnotizing battle with each other when Franzmann treads such minimal waters. He forces the listener down a strange rabbit hole multiple times, only to pick it back up and surprise with a warm, deep house groove like Nail's Till The Feelings Gone and Sankro's Jazz In The Forest.

While this formula of hills and valleys would doom other, lesser DJs, Franzmann's masterful track selection maintains a color and intrigue that's earned him a place among the world's finest. Twin TM's The Fall Of The House Of Shadows is the standout here, but that's not to say it's the only highlight -- Fabric 67 is stacked with eclectic jams from the crate of one of house music's finest selectors.

Towards the tail-end, Zip even manages to convey a message through Scott Grooves' Expansions: "expand your mind." Some mind expansion could be necessary for the final tracks in all their weird glory, but this command seems to actually request a replay of the entire mix -- every listen captures more intricacies of Franzmann's sound and proves why he's one of the scene's most consistent players.

Listen to Zip on Pulse Radio

Leibniz - 'Leibniz' EP

http://pulseradio.net — Tue, 05 Feb 2013 00:43:12 +1100

Leibniz
Leibniz
[Fairplay Records]

Founded with the intention of only releasing debut music from undiscovered artists, Fairplay can already put a feather in their cap with this excellent self-titled release from Germany’s Leibniz. Although a mish-mash of styles from house to techno and electronica, there is a common theme of melody and subtlety across the three tracks that demands stiff and forthright attention.

Allee blends fun and funky vibes with deep, lush atmospherics and a stomping groove to create the perfect early morning slammer. Chunky kicks, filtered vocal stabs and raspy shakers create a lo-fi feel, which is augmented by the rugged, intentionally mid-range heavy, and slightly overdriven chords and floaty pads. A great old school sounding, yet contemporary feeling deep techno jam. The classic sounds continue with In Der Bar, an uplifting, jacking house track that would have slayed warehouses back in 80’s Chicago. It’s got everything an homage to early house needs: thumping 808 bass, a veritable shitload of raw, distorted percussion from shakers to claps and of course cowbells, warm analogue bass and of course a huge piano refrain that needs lasers to truly be appreciated. There is literally no one on the planet who would not dance to this.

Monatskarte rounds out the release, and takes on such a different direction you’d be forgiven for thinking it was a track by a totally different producer. A low-slung, 808-driven future bass cut, Monatskarte swaggers along with hands-on-your-balls kicks, a cleverly modulated bassline, muted piano stabs and fast-paced hats and shakers. In the context of the EP, it feels somewhat out of place (perhaps a four- or five-tracker with some more slightly leftfield material would have been a better home for it), but it does certainly show that Leibniz is not a one-dimensional artist, which he deserves credit for.

Listen to Leibniz on Pulse Radio.

John Dimas - 'Living Lies' EP

http://pulseradio.net — Mon, 04 Feb 2013 21:15:05 +1100

John Dimas
Living Lies EP
[La Vie En Rose]

Greek native John Dimas is fast becoming highly respected in the house game and his Living Lies EP on La Vie En Rose, an excellent cross-section of the different styles and vibes of house music, should help to further cement that reputation. Opening with an edit of Lee Marrow’s Pain, the EP kicks off to an energetic, old-school influenced start. It’s no secret that a lot of people love hip-house, and this is some of the best that I’ve heard in a long time. Everything about it just works: the 90’s style percussion (complete with a subtle, but definitely vitally important chopped-up break), the bouncy, fun bassline, and the “trying-to-be-badass-but-really-not” MC vocal (which is used just the right amount).

Smoking Drums delivers what the title promises. While there is also a warm, hip-shaking bassline and some stabby chords with just the right amount of funk, it really is the drums where this tune shines. A well-programmed 808 is a thing of beauty, and if this isn’t a damn good example of using an 808 properly in house music, then I don’t know what is. From the tight, punchy kicks to the smooth open hats and that infectious snare roll at the end of every few bars, this is a strong endorsement for the power of analogue gear.

It’s then time for a trip back to New York in the glory days of Strictly Rhythm with Mind Games. Swinging and slightly distorted beats are complemented by a deep sub bass groove, offering the track a real toughness despite its relatively low BPM. The added vocal edits and vocoded chimes are a beautiful touch that keep the track from simply being a pounding jack track and add a little warmth to the mix.

Inside Your Soul is probably the least memorable of the tracks on the release. That’s not to say it’s bad: indeed, it would serve its purpose well during a warm up set or at an afterhours thanks to its deep, subtle bassline and tribal percussion, but there just isn’t much that really makes it stand out from a lot of other deep/tech house of the same flavour. Not a weak effort by any means, but compared to the excellence of the rest of the EP, it feels somewhat flat.

The classic deep house vibes continue with Double You, another bomb that combines low-end chunk with melodic bliss. The bassline is likely to ignite any dancefloor, and the choppy, shuffly groove gives it a certain charm that is missing from a lot of melodic deep house. The chords range from floaty and spacey to wobbly and gritty, which keeps the track from getting monotonous and will keep dancers on their toes.

Hide & Seek rounds out the release with a peculiar, possibly even slightly warped tech house vibe. The groove isn’t anything especially out of the ordinary, composed of a stabby bassline and rugged hats and snares, it’s in the “melodic” aspects of the tune where things get charmingly weird. Echoed wizzes, wobbles and woops intertwine with whispered female vocals and eventually resonant Moog stabs, creating a wonderfully weird palette of sounds and a luscious closer to a diverse selection on this 6 track EP.

Listen to John Dimas on Pulse Radio.