There’s plenty of post Field Day parties on offer tommorow but the much lauded Juno Plus stamp of approval goes to the Eglo crew’s party in the intimate surrounds of the CAMP basement just off Old St, with DJ sets from Floating Points, label boss Alexander Nut, Funkineven, Fatima, Shuansie and a ‘very special guest’ from the West Coast (who’d be a very successful Ice T lookalike).

The Crystal Axis marks a bold and impressive change of direction for Australian trio Midnight Juggernauts, whose 2007 debut Dystopia was hallmarked by catchy, synthesised electro pop. Their sophomore effort is decidedly less dancefloor, more prog – the result of extended jam sessions at a beach house on the south coast of New South Wales and a new found penchant for 70s psychedelia. The synths are still there, but tracks like “Vital Signs” and “This New Technology” are proof of the band’s growth and new found confidence. Juno Plus called up NYC to chat with lead man Vincent Vendetta during their northern hemisphere summer tour.

Respected techno producer Chris Liebing has released a scathing statement in which he blames Love Parade organisers and the Duisburg city council for last weekend’s tragic crush that claimed 21 lives and injured hundreds more.

As a bit of a Friday treat, we’ve got a pair of tickets up for grabs for this Saturday (July 31) at fabric, with Marco Carola, Heartthrob, Abe Duque and Blake Baxter.
From one of the most vital and consistently jaw-dropping labels on the planet right now comes this brand spanking new set of futuristic funky bangers from NYC’s Kingdom. Already rightly lauded for incredible releases like “Mind Reader”, his Fabric promo mix and remix work for Egyptrixx amongst others, he brings an R&B obsession and a distinctly warped Stateside twist to Night Slugs’ trademark sound.
Title track “That Mystic” is an absolute monster, working in ominous one-note drones, Baltimore kicks and claps, stacked Miami Bass hats and an incredible dread-melody that’s augmented with sinister childlike vocal samples. Kingdom’s arrangement skills absolutely shine through, keeping you hooked and on your toes for the entire tune. “Bust Broke” on the other hand comes over a little lighter, with Roska-esque percussion floating in and out of the mix with some canny LFO filtering added at points to give it amazing dynamism. Floaty female vocals get brought in and filtered up beautifully half way through for a truly standout break. “Fogs” sports a punchy half-step rhythm that’s peppered with classic 808 snares, while “Pang” busts out some simply huge descending bass notes that’ll rattle the walls of even the most sturdy clubs. The EP rounds off with the chopped R&B funk of “Seven Chirp”, which spins a series of acoustic guitar samples into a truly weird place, all the while backed up by yet another perfectly sequenced beat. Yet another essential release from Night Slugs and yet more genius from Kingdom. Oliver Keens

To celebrate his live performance at fabric on the August 7, Nicolas Jaar has been kind enough to offer up a full 320 download of his track “John the Revelator” to get you in the mood for his performance.

Our deep house podcast is getting older and wiser – we’re now up to number 38 – but the tunes are as fresh and warm as ever.
XXX is a peek into the kaleidoscopic musical brain of Jimmy Edgar. The Detroit native has touched on the influence of Prince and Kraftwerk in his formative years, but you could also point to his past signed to Warp, 80s electro funk, dubstep and the cosmic R&B pioneers SA-RA Creative Partners as musical references here. The prevalent aural mood is taut, hyper sexed future-retro funk as demonstrated on the shimmering talk box flex of “New Touch” (Chromeo could learn a thing or two here).
There are interesting sonic counterpoints interspersed throughout though. “One Twenty Detail” merges the electronic mind fuckery of vintage AFX with crushing dubstep kicks and “Push” adds further credence to Edgar’s interest in dubstep with a mutant hybrid of midrange bass tears and brilliant pulses of macabre electro. It’s Edgar’s willingness to change tempos that marks him as one of the better electronic contemporary music producers. “Rewind, Stop That Tape” sounds like a 21st century update on Kool & The Gang’s “Summer Madness” whilst “Physical Motion” recalls the aforementioned Sa Ra Creative Partners in their formative pomp and includes some excellent vocal interplay between a talkbox clutching Edgar and guest singers Anet and Azealia.
Tony Poland
It was perhaps inevitable that freestyle, perhaps one of the most overlooked of 1980s electronic music styles, would one day begin to get revisited. Hugely popular within New York – particularly with the city’s Hispanic communities – throughout the 1980s, the genre spawned some enormous records, most notably Shannon’s “Let The Music Play” (though many freestyle enthusiasts would cite her “Give Me Tonight” as a truer exponent of the core freestyle sound). Dig through the back catalogues of such noted New York record labels as Vanguard and Tommy Boy, and you’ll find plenty of freestyle tunes. In retrospect, any sound cheap, nasty and overly cheesy, but others still sound heavy, fresh and unbelievable futuristic.
This new release from Runaway’s On The Prowl imprint is about as freestyle as you can get. While actually a brand new track by little-known Brooklyn producer Josh Anzano, it sounds authentically vintage. All the hallmarks of true freestyle are here: stuttering, syncopated rhythms, a ludicrously heavy 808 bassline (here tweaked to oblivion to give the impression of 303 jiggery-pokery), ear-piercing electro melodies and a female vocal extolling the virtues of getting out and partying. It’s more like Alisha’s “Baby Talk” (a Shep Pettibone mixed freestyle club hit from 1985) than “Let The Music Play”, but that’s no bad thing. There’s even a choppy, Latin Rascals style flipside Dub. Honestly, it’s brilliantly produced and ticks all the right boxes – unless you knew, you’d think it was a re-release. Anzano should be applauded.
Remix wise, label bosses Runaway provide two servicable house versions (vocal and instrumental) that cleverly weave the original 80s-sounding synth melodies and vocal between retro-futurist 4/4 beats and menacing Twilo riffs. As good as they are, it’s the original and Dub versions that make the biggest impression. Seriously hot. Matt Anniss

To celebrate the first birthday of Juno Plus, we are throwing a party with boutique Edinburgh imprint Firecracker, a label that has continually impressed us with a slew of superb EPs.
A teaser video featuring new Traktor controller and software has been released.
Our friends over at the Red Bull Music Academy have scored a real treat for you with a newly broadcasted recording of Sound Signature boss and all round legend Theo Parrish deep in the mix at Berlin spot Watergate.

Boutique New Jersey disco imprint Italians Do It Better has launched an edit sub-label, which has hit the ground running with three 12″s released at once.

The Sónar festival will return to US shores in September with a three day event in Chicago featuring Martyn (pictured), Oval and Jimmy Edgar.
There’s a depth and mastery of technique to the eight tracks on Redinho’s long awaited EP on Numbers which makes it barely believable that it’s the UK producer’s debut release. The introductory crisp finger snaps and sub bass flutters on “Boy Racer” contrasts nicely with the arpeggiated streaks of 8 bit light that slip between the gaps of the speaker-punishing harsh step groove of “Lightning Strikes”. Redinho adopts a pan Asian bump on the title track “Bare Blips” with Chinese dulcimer notes bouncing with melodic intent off the rolling beat. Amidst this basement business, Redinho has the cojones to drop “Pitter Patter” three minutes of blissful, mellifluous organic electronica which astounds with every listen. On the flip the peak time grime nastiness of “Banger” sits next to the schizoid 23rd Century techno triple step hybrid of “Nuff Prang” and the low end dancehall horrorcore of “Mo Brap”. It’s not hard to see why everyone from HudMo to Anthony Shake Shakir is supporting this release. Tony Poland

Expect to hear Glaswegian accents echoing down the streets of East London this Friday night as the Numbers crew takes over the newly reopened Plastic People for Redinho’s Bare Blips EP launch.

Car crazy Frenchmen Cosmo Vitelli and Julien Briffaz – known as Bot’ox when their powers combine – will release a debut album this October.
Adam Traynor has directed the video for Chilly Gonzales‘ new single “I Am Europe”, which boasts an impressive guest appearance from Tiga.
A pair of hip-hop producers who ventured away from what they knew to explore their own sounds and rhythms, London’s Ill Blu have come to be at the absolute frontier of all things UK funky. Having had an underground smash last year with “Say Yes”, they’ve remixed Hot Chip, Roll Deep, Shystie and even Cheryl Cole, and have also produced a full-length album for Princess Nyah. But it’s their garage, house and grime influenced singles that really make them stand out to fans and their recent signing to Hyperdub bears it’s first fruit, this excellent double-tracker of “Bellion” and “Dragon Pop”.
“Bellion” will become an instant hit with DJs. Using a similar chromatic chime sound used on Sticky’s seminal “Triplets”, the main riff slowly worms it’s way into your head as it gets accompanied by bass. Jocks will also love the long intro beats which build slowly but steadily into a perfect, dry snare-led stepper. Whereas “Bellion” wears it’s melody on its sleeve, “Dragon Pop” on the other hand is a truly deep tune that only uses subby, tuned kicks to give it a two-note melody. Not that it’s a bad thing, the sparseness is mesmerising – all the while kept in check by a sprightly, tambourine-buzzing rhythm that’s yet another demonstration of Ill Blu’s mastery of the beats. Long anticipated, this will be one of Hyperdub’s most sought after releases for ages, and hopefully the first of many. Oliver Keens

PVT (the artists formerly known as Pivot) will play an intimate invite-only gig in association with Vice Magazine at London’s Old Blue Last on September 6 – and we’ve got two pairs of tickets to give away.






























