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17 May 13
Review: Effortlessly straddling the lines between bright, cheerful electro-indiepop and dark grime-influenced trap, Mieux aren't so much joining a scene as helping it to evolve. Bass music has been looming and lunging through different phases of creation for some time now and each track on this EP offers some insight into where it's heading next. "Greek" is a light-hearted blast of colourful calypso-flavoured future garage where "Guns" steps off into darkness, trap-heavy beats and itchy, hyperactive synths. "Pearl" takes footwork and mashes it with a cutseypie chiptune hook, and star of the show "Risiko" shows restraint and texture in abundance as it builds and swells into your perfect set topper. Girls will dance to this, trust us.
06 May 13
Review: This is a South Fork's first official spilt single and they're frankly rubbing their hands with glee over the artists they sourced to appear. Sclist is up first, delivering the remarkably weird and wonderful "Round One" which features hypnotic deep tribal and voodoo rhythms. Subcorr's "Ghost Charmer" is stark and menacing electro with a killer synth top line and is basically just amazing.
10 Sep 12
Review: Following two releases last year that seemed inspired by the more purple end of dubstep, Manni Dee returns on Hit and Hope with some tracks that explore the fertile 130 zone between techno and bass. "Shifting" opens proceedings with a dense techno track that is somewhere between Blawan's percussive battery and the sludgy crawl of Andy Stott, "Viaduct" takes the same shady atmospherics and applies them to a raw, clattering rhythmic framework with weird vocal effects, and "Sympathy Pass" takles the hyperactive arpeggios of his early productions and fuses them to a swung 4/4 backbone. On the remix front, young UK house upstart James Fox turns in a deeply melodic version of "Shifting" that takes things to 90s NYC without sacrificing any of the original's weight, and Deft reworks "Viaduct" into a restless tech-step monster with rampant juke influences.
11 Jan 13
Played by: Guerilla Speakerz, Hxdb, DJ Cure (Aufect Recordings), Commodore 69 (Hot N Heavy), Blind Prophet (South Fork Sound)
Review: A hotly anticipated release here from producer Wen (aka Owen Darby). The internet has been alive of late with bass lovers reactions to this guy's thoroughly innovative sound which loosely rests somewhere between post-dubstep and future bass. Also the debut release for New York label South Fork Sounds, "Lo-Fidelity" is sparse and haunting with a female RnB vocal warped around sporadic 808 beats and prowling bass frequencies. "Takin' Over" sounds like stoned aliens invading earth to a shuffley 2-step rhythm.
20 Feb 12
Played by: Chris Coco, Juno Recommends Dubstep, Vorres - Juno, Danny Drive Thru, Matthew Kyle, J Courage, Djs: Most Charted - Dubstep, Bam Bam Dealers
Review: For a producer who used to be clearly defined in the sliced hip-hop tempo of Dabrye and Prefuse 73, it sure is hard to make sense of Machinedrum these days, and we mean that in the best possible way. As the name might suggest, his latest effort "Nastyfuckk" is a guttural affair, plying those frantic juke rhythms while a synth line satan would be proud of growls away underneath. It's a relatively linear effort and all the better for it. "What U Wanted 2 Feel" flips the script with a slow-lurching rhythm more akin to Mount Kimbie than DJ Nate, complete with treated R&B vocal licks, while Pixelord jacks the track up with a colourful and punchy remix.
14 Aug 12
Review: Heralding the start of his new Snowfall imprint, Ross Tones brings an atmospheric hush to the table with his new offerings. Already it's become impossible to predict what Throwing Snow will deliver each time around, but the Autumnal mist that shrouds around "Clamor" embellishes the booming live drums (and fiddle no less) with an enchanting quality that escapes so much electronic music. "Brook" switches things up entirely with a slow, jerky house cut that favours distorted snippets of melody over anything too obvious, sounding altogether fresh in the glut of 4/4 being made at present, while "Perca" brings a more loping beat to bear.
24 May 13
Review: Despite the title, no one was harmed or indeed abducted during the making of this EP. However that's not to say that the music's not sinister - it is - but the devil's always had the best tunes right? Egyptian Avenue's ethos of putting out the most leftfield bass music continues undiluted with these tow slices of slow and low hip-hop influenced numbers. "Bodywash" is a moody head-nodder that totally synths-out half way through. Meanwhile, "Gun Talk" is a slow fusion of wobble, bass and trap.
08 Apr 13
Review: Intent on delivering retro-futuristic club music, Classicworks have teamed up US producers Nick Hook, Vin Sol and Matrixxxman to deliver 3 pure underground dancefloor bangers. Looking to the past for inspiration, but also ensuring contemporary intensity, these tracks are not for the faint hearted! 'I Can Feel It' is old-skool techno with fast footwork-esque drums, '666 Wayz' is pure minimal ghetto house and 'High Volume' ends proceedings with a relentless kick and a plethora of retro vocal samples. You might want a little lie down after dancing to all three in a row.
14 Feb 13
23 Jul 12
29 Oct 12
29 Apr 13
20 Apr 13
Played by: Paradisiaca Recordings
Review: Coming correct with an album of new material under that classic tongue-in-cheek move of calling an album Greatest Hits, Chrissy Murderbot is back with a slew of footwork-flavoured fun and games for the less po-faced of dancefloors. There's no arguing with the rapid-fire sample wisecracks of "Slang It", but Chrissy is also prepared to dip into more moody territory such as the soulful and searching "What Should I Do" with its subtle drum arrangements and thoughtful synths. There's also a wealth of dutty remixes on offer, from Pixelord's sunny breakbeat business to Cardopusher & Pacheko's hyped-up electro throwdown, giving you a staggering amount of party-starting, unpretentious rave hype in one handy package.
05 Apr 13
01 May 13
06 Aug 12
Played by: Eric Sharp, Ricky Simmonds (DJ Rsi), Mike O'mara(Development Music), Juno Recommends Uk Funky/Garage, Da Goblinn /Remuted, Matt Love
Review: Can you imagine a more perfect mix - the innately soulful yet age-worn vocals of American singer Bobby Womack and the effervescent and vital bad-boy house of Julio Bashmore? XL really nail it with this remix release of this highlight from Womack's latest album, with the Bristolian house god spending a good couple of minutes teasing the track in as vocals are looped and basslines drill into your head, before unleashing a classy and sunny beat for full orgasmic revelry. Exemen do a great job with the tune too on their rerub - gearing up for the Notting Hill Carnival with a dubby 2-step remake.
28 May 12
Played by: Ennio Styles (Stylin Radio Show)
Review: Dutch house powerhouse Kraak & Smaak drop a favourite from their recent album "Electric Hustle", which features the rugged-yet-soothing vocals of house legend Romanthony. While their original is a quiet storm of minimal drums and classic house stabs, Roach Motel drop two fleshed-out revisits that lend the tune a building, club-happy vibe. Psychemagik flip the tune too, creating an Italo-leaning beauty with Romanthony's detuned vocals giving it an epic quality.
15 Mar 10
Played by: Alex M.o.r.p.h
10 Dec 12
Review: Chicago's Jesse Boykins is back with a new slice of future-soul on Ninja Tune. "I'm New Here" is a dreamy exercise in vocal production with layer upon layer of velvety vocals woven together with the smoothest synths in the western hemisphere. Did we say this record was smooth? On remix duties Jacques Greene turns "The Perfect Blues" into crystalline synth soul with digital harp melodies being plucked in heaven. Machinedrum live up to their name by piling on the drum rolls and claps. "Better For You" is yet more R&B dripping in arpeggiated synths, providing further reason for grabbing this EP quick smart!
05 Nov 12
Played by: Kirsten Sees, Peter Edison, Recloose, Shadow Dancer, Pete Tong, Ave Blaste, Commodore 69 (Hot N Heavy), Mike Hindle - Immersed Audio, Murray Richardson, Allmostt, Cosby (Car Crash Set)
Review: Having received considerable acclaim for his releases on R&S offshoot Apollo, George Fitzgerald's Man Make Music and Hypercolour offshoot Losing Suki, Jack Dixon makes the move to Hotflush for probably his finest offering to date. "E" combines the clean, rhythmic mechanics of garage with a warm deep house sound that never feels derivative, leading to a melodic drop that sits alongside Scuba's similarly 90s referencing sound. "Find Shelter" is a subtly jazzier cut, placing stray chords around a deep bass pulse, subtly glitchy vocal samples and vinyl crackle, all leading to a masterful breakdown at the mid point.
22 Oct 12
Played by: Chris Coco
Review: Considering its sizeable role in bringing James Blake and Mount Kimbie to the world, it makes sense for Hotflush to be looking for the next generation of post-everything electronica. Step forward then Shelter Point, a pair of young producers with all the sonic tools to fill the gap. Opening track "Braille" is characterised by the same billowing organ sounds as Blake's work with softly spoken vocals that belie a contemporary indie sensibility, while the clip-clop percussion and downtempo piano of "Forever For Now" recalls Mount Kimbie's "Before I Move Off". "Hold On Me" sees a funky neon synth melody contrasted with some trap beats and evil bassline. The most striking track however is "Sleep Easy", a vocal ballad whose 80s easy-listening style is like a loose limbed, contemporary take on early Junior Boys.
23 Apr 12
Review: Paul Rose's Hotflush imprint continues to expand operations in pleasantly refreshing directions, turning to fledgling production talent Beaumont for their latest offering. The young Scottish producer caused a fuss in all the right places last year with the neon infused Blush Response EP on Kinnego, and the four tracks on Never Love Me retain this approach and sit neatly alongside his new labelmate Jimmy Edgar, though the music is obviously a lot less smutty in execution. Lead track "Never Love Me" sets the tone, the stop start rhythm gradually succumbing to the intoxicating waves of neonized speaker box funk. "Uptown" commences in decidedly cinematic tones before bursting into fluorescent life atop a sick beat, the only possible criticism being the short duration. Up next, "Rendez-Vous" slowly fizzes into life via increasingly expansive atmospheric tones before dropping into a naggingly excellent steppish array of clacks, soft focus stabs and undulating rhythms that poke gently at Beaumont's exaggerated vocal tones.
28 May 12
Review: After his sterling turn on Untold's Hemlock label last year, Guy Andrews follows many of his peers in graduating to the dizzy heights of Hotflush with this new EP. "The Wait" is a taut stomper, featuring more of those dense rhythms that got people taking notice in the beginning, while measured dub techno chords pace underneath. It's a moody track throughout, but immaculately produced so that every nuance of percussion shines through. "Hands In Mine" opts for a more broken beat, with some gnarly stabs of melody and a steady pad underneath the myriad elements.
10 Sep 12
Review: This new Hotflush release from mysterious duo NeferTT - apparently a meeting of minds between two familiar bass music producers - comes on like a thoroughly inebriated version of Sepalcure. Throughout, the EP offers a delicious blend of intricate melodies, woozy warmth and full-bodied bottom end. Whether reviving the bagginess of break-based '89 house (see "Blue Skies Red Soil"), reinventing instrumental hip-hop ("Cleo's Spot") or celebrating rush-inducing deepness ("Pyramel"), NeferTT's compositions are never less than picturesque.
02 Jul 12
Played by: Peter Edison, Lifecycle, Juno Recommends Deep House, Juno Recommends Techno, Black Jack, Manhattan, Top Billin DJ Team, Hybrid
Review: Whatever your opinion of Scuba's divisive album Personality, there's no denying that "NE1BUTU" was one of the album's brightest moments. Taking a punchy breakbeat and upbeat piano riff, the track is Paul Rose's love letter to pretty much everything great about every dance track from the 90s. Those that wish the producer would return to his darker ways however, can take comfort in the accompanying remix, in which Rose dons his SCB hat and turns it into a lean techno tool that cloaks the original's colour in shades of grey, creating one of his most incisive club tracks to date.
16 Apr 12
Review: Presumably signing off on their excellent debut album from last year, this EP comprises two Sepalcure originals - the juke gone broken-beat of "Eternally Yrs" and the previously unreleased "Don't Cry", a tense standoff between hyperactive 808 and more flowing, soulful waves of vocal and drifting synth delay. As with any Hotflush release, the remixers are exceptionally well chosen - Marcus Intalex in his Trevino guise transforms "Hold On", pulling the original's looser elements together with a taut rhythmic focus, but the big remix is from Canadian wunderkind Kevin McPhee. His take on album standout track "The One" sets the delicate stabs into the background, turning it into a rolling drum-led behemoth which is neither house nor techno, but somewhere pleasantly in between.