Worth The Pain (feat Alia Fresco) - (4:00) 170 BPM
Acidize (feat DBridge) - (6:25) 170 BPM
Triangle - (4:55) 57 BPM
No Team (feat Lorn) - (4:40) 191 BPM
Review: It's always exciting to see a new Exit release drop into this store, especially when they are as beautiful as this latest collection from Lewis James, under the EP name 'The Death Of Habit'. From start to finish, this one is a glittering display of soundscaping genius, combining the gentle harmonic bliss of 'The Sorrow In Ronan' with the outstanding vocal displays of Alia Fresco on 'Worth The Pain' and gnarly tech flavours of 'Acidize' alongside DBridge to kick us off in style. Next, 'Triangle' provides more experimental drum work and epic spacey pads, before Lorn's exceptional input on 'No Team' ties us up nicely.
Review: Since launching in 2012, Cristalli Liquidi's Artifact label has found a bosom buddy in Bottin. The Italian producer is by far and away the imprint's most prolific artist, with this fine two-tracker marking his seventh appearance on the imprint. Lead cut "Respirare" is particularly good. While the raw, analogue-rich, Italo-disco style bottom end tends towards the tough and sleazy, the musical elements that sit on top of it - warm deep house chords, dream house style improvised vocal snippets and lilting melodies - are unmistakably picturesque and loved up. 'Waterland" is an altogether quirkier but no less impressive composition, with Bottin re-imagining calypso-tinged tropical disco with the aid of some cheap drum machines and all manner of cheery sounding synthesizer motifs.
Review: Earlier in the year, Algy Strutt's "Future Flashback" made an appearance on Paper Disco's sixth "Trash The Wax" compilation. Due to popular demand, the cut is now appearing as a single alongside a slew of previously unheard remixes. Strutt's original version remains a gnarled, fuzzy and forthright treat, with TB-303 style acid lines and hairy rock guitar riffs riding a throbbing, Italo-influenced nu-disco grooves. The next track is a debut remix by the Gouranga clan with an 80s style synth bass pumping throughout. Spanish producer James Rod emphasizes the groove's trippy feel on his pulsating, mind-altering revision, while Norwegian legend Rune Lindbaek offers up an analogue-rich take that smartly re-imagines the track as a thrusting Italo-disco throb-job. Those hankering after a heavier dose of acid flavour are also catered for via the EP-closing "Badass Version".
Review: On his debut solo LP for Ostgut Ton, Leisure System co-founder Sam Barker turns his focus toward the psychology behind the musical decision making process, with solutions for 'quantifying pleasure, abolishing suffering, and the ethical use of drugs and nanotechnology' - being just some of the themes over its nine tracks, with a strong aesthetic of dub techno throughout. From thought provoking IDM cuts like "Posmean" or the particularly cavernous "Gradients Of Bliss", right through to moments of emotive techno-soul as heard on the title track and the transcendental ambience of "Wireheading" - 'Utility' is a non-ironic musical approach to a whole spectrum of utilitarian and transhumanist ideas.
Review: Second time around for Hans-Peter Lindstrom's decidedly Balearic, prog rock-tinged Late Night Tales selection, which first saw the light of day back in 2007. This time round, it's been given a gloss of new paint in the form of a sparkling digital remaster. While this is all well and good, the selling point remains the Norwegian producer's excellent, left-of-centre selections. There's another chance to check his own cover of Vangelis' "Let It Happen", classic Balearica from Fearn Kinney and Carly Simon, acapella action from Todd Lundgren, freestyle ambient jazz-funk from George Duke, a slew of forgotten prog rock faves and a brilliant dub track from Oslo mates Prins Thomas and Todd Terje ("Reinbagan").
Review: Hailing from California's Bay Area, Sudi Wachspress AKA Space Ghost should need little introduction to lovers of downtempo beats by now: this is his seventh long-player. More importantly, though, it's an album that's worth checking even if you're NOT normally a big fan of the style, because there's a much stronger dancefloor sensibility in evidence than on previous output. Opener 'Sea Snake Island', for instance, could easily slot into an early-doors deep house set, as could the vaguely melancholic 'Lavender Oil', while the title track has something of jazz fusion air about it. It all adds up to 50 minutes of really very pleasant listening indeed...
Review: Fast-rising DJ/producer Ruff Diamond is the man at the controls for this sun-kissed sprint though beach-friendly nu-disco jams, warm and groovy re-edits and Balearic boogie workouts. His selections are naturally spot on, from the languid nu-boogie shuffle of Sweetooth's superb "Soul Singing" and the drowsy, synth-laden D-Train-goes-to-the-beach warmth of RobJamWeb's "Frontin' & Maxin", to the Latin-fired disco-house bounce of Frank Virgilio's "Hi Sombrero" and the ultra-deep and sultry nu-disco loveliness of Bobsi's "Beached". Further highlights are provided by Rayko, Chuggin' Edits, Cuz Electric and main man Ruff Diamond, whose "Run To Berrinas" is undoubtedly one of his most alluring productions to date.
Review: Earlier in his career, there was a fair amount of hype surrounding O'Flynn's hard-to-pigeonhole club cuts, with the producer's outings on Blip Discs and Ninja Tune getting particular attention. Here he delivers his debut album, a wonderfully fluid, evocative and enjoyable set that attractively sashays between languid ambience, Afro and Latin-influenced cut-up club cuts that cannily fuse disco, nu-disco and deep house, drum dubs and percussion jams, and off-kilter affairs that defy simplistic categorization. Highlights are plentiful throughout, from the dreamy dub disco flex of "Tru Dancing" and jazzy deep house warmth of "Painted Wolf", to the huggable dreaminess of two-step shuffler "Celestial" and the loved-up haziness of enveloping closing cut "Neptune".
Review: Although he's contributed numerous tracks to recent compilations, this three-tracker from Frank Virgilio is actually the enthusiastic label-hopper's first single since the spring. He begins by applying his magic touch to a prime slice of horn-heavy purple funk, wrapping the original's flash-fried guitars, tasty trumpets and scat style vocals around a chunky disco-house style groove. He dips the tempo - but not the floor-friendly intensity - on "Cat In Rio", a low-slung dub disco affair that boasts a suitably heavy bassline and plenty of sun-kissed, samba-soaked synths, while closing cut "Matt's Ring" is a loopy, disco-house style cut-up of Matsubara's "SOS", a jazz-funk/disco fusion classic that used to get regular rotation at David Mancuso's legendary Loft parties.
Review: Music for Dreams, the label founded by Kenneth Bager, sets out its stall for the 2019 summer season. It's no surprise that Copenhagen 2019 is a chilled out, unhurried affair. Starting with easy listening pieces from Mike Salta and Phil Mison - the latter's acoustic guitar-led "Morning Lights" is particularly memorable - it moves into low-slung disco courte-sy of the Cheapedits take on Copenema & Thomas Volmer Schulz's "Serei Sei" and the MOR-esque guitar on Rayet's "Marie-Ange" It's sometimes a challenge for chill out compilations not to veer into the wallpaper music category, but Music For Dreams avoids this conundrum with Kojo Antwi's Afro-funk and Djosos Krost's wonderfully dubbed out "That's My Woman".
Review: Japanese downtempo don Calm has released over a dozen albums in a career dating back to the 90s, and here comes the remixed version of his latest, 2018's 'By Your Side'. Overall, the 'mellow mellow' part of the title makes more obvious sense than the 'acid' part, because the tempo rarely moves above walking pace and the 303 comes out on only a couple of tracks, but if downtempo, headnoddin' grooves are your thing you'll find much to enjoy, while Lucas Croon's remix of 'Before Landing' brings a little dirty funk to the party and Cantoma's rub of 'You Can See The Sunrise Again' is a blissed-out Balearic houser.
Review: For the last five years, Mikhail Khvasko has been offering up warm, woozy and sun-kissed music as A Vision of Panorama. The producer's latest missive - his fourth release for Mellophonia - is every bit as melodious, life affirming and listenable as its predecessors. He first joins the dots between bubbly synth-funk and sun-kissed Balearica on "Delicious Saw", before layering more vintage-sounding synthesizer lead lines, jazz-funk bass and an ultra-warm groove on the equally attractive "Lum". "Euphoria" is, if anything, even more positive in its dreamy, synth-sporting approach to musical pleasure, while "Fourth" is jazz and squelchy in the best possible way. Attractive, grown up synthesizer music for lazy afternoons and sweltering evenings.
Review: Amazingly, it's 25 years since George 'E.A.S.E' Evelyn and then production partner Kevin 'Boy Wonder' Harper sat down and recorded "Dextrous", their monstrous, bleep-era classic on Warp. A quarter of a century later, Evelyn is still going strong, though the grooves have mellowed a lot in that time. Here, Warp celebrate the producer's epic career with a much-deserved retrospective. All the familiar favourites are present, from the rush-inducing thrill of early dancefloor smashers "I'm For Real" and "Aftermath", to the sinewy downtempo goodness of the decidedly Balearic "Les Nuits", the blazed hip-hop dub of "195 Llbs" and stoner soul of "70s 80s". This version also includes a number of exclusive remixes, with names like JD Twitch, Special Request, LFO, Morgan Geist and Loco Dice putting their own spin on this classic material.
Review: Elina Shorokhova aka Soela is a multi-talented artist hailing from southern Russia who now calls Berlin her home. It is there where she continues to build her presence in the community through her live and DJ sets, alongside documenting the local scene and artists through her lens as a photographer. Following up an impressive run of releases on the likes of E-Beamz, Lost Palms and Australia's Red Ember, Shorokhova returns with four evocative tracks on the ever reliable Kompakt imprint. From the sensual breakbeat driven progressive house vibe of "Lily", soothing and sensual deep house for the late night on "Close Your Eyes" and the slinky and hypnotic tech hose of "White Becomes Black" - we have only seen the start of Shorokhova's blossoming and promising career.
Review: 10 years on from its initial release, Groove Armada's contribution to the Anotherlatenight series gets a new lease of life. For those searching for deep, downtempo and vaguely Balearic fare, it's well worth a look. While Groove Armada's mix is enjoyable enough, it's the unmixed tracks that are most worthy of attention. Amongst the familiar classics (Kleer's boogie classic "Tonight", Mr Fingers' "Can You Feel It" and Metro Area's "Muira"), you'll find hot curiosities from the likes of Shuggie Otis (the decidedly acid-fried "Strawberry Letter 23"), Loose Ends ("Feel The Vibe"), Good Together (forgotten super-deep house jam "Work It Out") and Don Ray (the heady disco grooves of "Standing In The Rain").
Review: Since signing with Studio Barnhus in 2018, Bella Boo (real name Gabriella Borbely) has released a couple of quirky, off-kilter EPs in the Swedish label's trademark hard-to-pigeonhole style. Here the Los Angeles based delivers her debut album, an expansive nine-track affair that shifts shape at regular intervals. After beginning with the lightly Afro-tinged vocal deep house pulse of "Can't Leave You Like This", she breaks up the beats on rolling workout "She's Back", offers up some downtempo nu-jazz on "Tuesday", squelches her way through contemporary deep hip-house number "Hotel Europa", goes on an ambient diversion via "Stars", and doffs a cap to Floating Points' early works on the jazzy but acid-fired wonder that is Axel Boman hook-up "Do The Right Thing".
Review: Nicola Cruz polishes off a trippy tryptic of cult releases for Multi Culti with the Espiritu LP. As folklorica's chosen lord, Cruz has shepherded the masses from the church of high tempos and brought trance-formed revellers down to earth with his fusion of crisp electronics and organic, indigenous vibrations. "Espiritu de Proteccion" is a deeply esoteric tribal groove that's geared for some life affirming moments on the dancefloor. The "Multi Culti Flute-A-Pella" up next does exactly what it says on the tin hereon this quirky and psychedelic journey into the exotic.
Review: More from Rudy's Midnight Machine, the Faze Action alter ego that often embraces sounds and styles not associated with the Lee brothers' most famous project. This time round, the five tracks on show are smooth, warm and synth-heavy, variously doffing a cap to turn-of-the-80s Brazilian jazz-funk, humid Mediterranean sounds of the sort showcased on obscure crate-digging compilations and the kind of loved-up, Flamenco guitar-laden soundscapes that Jose Padilla has made a career out of playing. Highlights include the shimmering, sun-kissed mid-tempo shuffle of "La Cadenza", the Azymuth-goes-boogie flex of "Une Vie Elegante" and the saucer-eyed, synth-sporting bliss of opener "Camera Dans Le Nuit".
Review: Psychemagik's last outing was an unusually wonky and forthright affair - a cosmic club rocker made for sweat-soaked basements and saucer-eyed illegal raves. "We Can Be One" is a much more languid and laidback affair, with Paqua and Phenomenal Handclap Band member Quinn Lamont Luke providing a suitably glassy-eyed, loved-up vocal to match the duo's drowsy, slow motion Balearic pop backing track. Alex Kassian's remix - which, like Psychemagik's original version, is also available in instrumental form - ratchets up the cosmic vibes, placing psychedelic lead lines, swirling chords and Luke's touching vocal above gentle tribal drums and hallucination-inducing effects.