Review: Rotterdam-based Ukranian Antenna is the next producer to step up on Clone's Royal Oak offshoot. The Pinkman regular is in fine form, laying down a quartet of cuts that blend a range of classic house and Detroit techno influences in attractive, dancefloor-friendly ways. While the title track's fusion of British 'intelligent techno' and vintage Detroit sounds is undeniably impressive, it's the undulating acid lines, spacey tunefulness and distorted beats of "Happy Dance" that hit home hardest. That said, opener "Lake of X" - a Larry heard style chunk of spine-tingling analogue deep house - and the similarly intoxicating "Atomic" are also superb.
Review: Finnish producer Arttu Snellman makes a welcome return to Clone's Royal Oak series with the wonderfully named Evvy Steps 12". Those elder selectors out there who lived through the West London broken beat scene and have the record collection to prove it should certainly check this one! Whether it's by design or default, there is a certain bruk heavy charm reminiscent of Dego, Domu et al in their pomp deployed by Snellman here, with the title track really setting the tone. Heavily swung, with killer bassline squiggles, "Evvy Steps" is topped off with a dusty finish and is the kind of track that will work in many different sets. And the two alternative tracks are just as rowdy!
Review: Hitting a strong current of creativity with his relationship to Clone, Arttu is once again dishing out warm analogue goodness rooted in soul and grittiness, and it sure is purdy. "Tune In" is bolstered no end by the authoritative speech from Diamondancer, a righteous soul sister if ever there was one. Meanwhile the track itself rolls on a restrained kind of electro beat matched with soothing chords and smatterings of machine wobbles for decoration. It's simple and utterly devastating. The "Cellar" mix of "Move" on the flip is an instant ramp up in energy, hitting a fizzing and popping spring of old-school Chicago traits expressed in vital new ways, while the "Field" mix opens up the space without lessening the impact of the powerful drums.
Review: It's probably fair to say that Arttu has enjoyed a mixed career to date, flitting between deep house and jacking analogue grooves with varying degrees of success. This four-track EP for Clone's ever-reliable Royal Oak offshoot, though, is one of his strongest releases to date. Both "UFO Funkin" and "Passing Out Privileges" rock hard, with warped analogue electronics and ragged 303 acid lines riding hissing, distorted, cymbal-heavy drum machine grooves. There's a chest-puffing intensity and wonky swing to both, with Detroit native Jerry The Cat providing a suitably rambling vocal on "Passing Out Privileges". Two extra-robust instrumentals complete a strong package.
Review: Dexter and A Made Up Sound get the Clone call to mess with the material from Arttu's great debut on the Royal Oak label, and naturally the results are a must have. In their original form both "Nuclear Funk" and "Get Up Off It" were the improvised results of a studio session between the 4Lux artist and Detroit vocalist Jerry The Cat. It's a bit of a genius stroke from Clone to enlist two well respected audio technicians like Dexter and Dave Huisman to bend them further out of shape, with the latter's take on "Nuclear Funk" a particular demented delight. Operating under his alias A Made Up Sound, this remix typically smudges the boundaries between genre and rhythm to suit his own needs, reworking the synths to sound like a faltering dot matrix printer over incessantly stumbling drums. Dexter indulges his love of 303 patterns on a remix of "Get Up Off It" that stays closer to the original's origins and makes for a nice contrast to the preceding onslaught.
Review: Sometime Philpot and 4lux artist Arttu arises on the Clone imprint for the first time - and the results are just as good as the Rotterdam label's preceding output this year. Presented as the results of some spontaneous studio jams with Detroit artist Jerry The Cat, there's an undeniable sense of fun to both tracks here. Lead track "Nuclear Funk" is loose limbed analogue house at its finest, with rough hewn drums and a delightfully elastic bassline soon joined by Jerry's inimitable improvised refrain and lolloping percussive textures. "Get Up Off It" is altogether more scattergun, with gleefully disjointed drum machine rhythms raining down on the gloopy analogue bass line before a heavily delayed Jerry The Cat comes to the fore.
Review: Last seen dropping the humongous Klinsfrar Melodies on Creme Org back in 2010, Glaswegian producer Marco Bernardi makes a triumphant return on Clone's Royal Oak initiative with The Burning Love Ensemble, a 12" replete with three potent examples of drenching simple, raw drum machine rhythms with endless layers of emotional melodies. The contemplatively titled "Days Gone By" infers what is to unfold as the track's ruff edged drum groove is driven ever backwards in the mix by layer upon layer of intricate sonic detail which is finely poised at the point of full meltdown. The title track seems like a more streamlined affair initially, all melodic elements aimed squarely for the stars before Bernardi lets loose with a thick square analogue bass tone and the drums start to go mental. Finally, "La Montagne De Reves" delves swiftly into immersive dream like territory, dragging you down willingly!
Review: DJ Fett Burger, AKA DJ Dog, is a Norwegian producer with several long-players under his belt, while DJ Speckgurtel is probably better known as Phillip Lauer, whose CV to date includes two albums for Running Back and one for Permanent Vacation. The pair first joined forces on 2013 EP 'Speckbass', and now they reunite to deliver an album that spans a range of house styles, from the 90s vibes of 'Harpo' and '6Drops (Piano Mix)' to the dreamy, stuttery 'Sunshine In The Limousine', via the prog-leaning title cut and downtempo closer 'Sonnen Ambiente'. Some of the tracks feel a little like extended sketches, but there's still much to enjoy here.
Review: If you're on the hunt for some unusual, off-kilter house with swing, weight and tons of fuzzy analogue sounds, we'd recommend checking this Clone Royal Oak outing from Frits Wentink. It opens with one of the most sub-heavy tracks we've heard in a while, the two-step garage-meets-leftfield-deep house insanity of 'Trouble Man'. While it derives its power from an incessantly stabbing bass motif and loose-limbed drums, the track also boasts plenty of madcap melodic motifs and oddball electronic flourishes. In comparison, bass-and-piano-heavy peak-time workout 'Friends' is positively straightforward, though those who follow Wentink's career will know it's anything but. As for closing cut 'Double Man', it's as dusty, percussion rich and weighty as they come, with the Dutchman's heavy sub-bass offset by sparkling synths.
Review: Expect only the most leftfield of deep house bizniss here from Dutch producer Frits Wentink (real name Steve Mensink). 'Filthboi69' rides a deep, Afro/tribal-tinged house rhythm with all manner of weird n' wobbly synth and organ sounds, creating an overall vibe that's one-part flotation tank to one-part lounge bar in outer space. 'Discosizer' is a more upbeat number with seriously wonked-out synths underpinned by a steady bass throb, 'Space Babe' sounds like The Clangers making dubbed-out house for those eyes-down, 4am moments and finally the glacial 'Stealth' marries 80s electro beats to delicate keys. Far out, man!
Review: After two auspicious releases on the Swedish label Aniara Recordings, production duo Genius Of Time step up to Clone's Royal Oak series, previously graced by the likes of Space Dimension Controller, Reggie Dokes and Gerd. Taking this esteemed company into account, we don't take it lightly when we say this record is as good as anything we've heard in the Royal Oak series, with "Drifting Back" a jazzy house delight with softly pumping chords making for a jam that wouldn't seem out of place in the KDJ back cat. It's the two following tracks, however, that contain the real heat. "Houston We Have A Problem" combines calming synths, vocal moans and rolling percussion to breathtaking effect, while "Juxtapose" could almost be David Kennedy in house mode such is the tough, raw drum programming, but Genius Of Time add some softly soaring strings, thus imbuing the track with a nice classicist bent.
Review: Gerd continues to dig into his archive of previously unfinished material for the esteemed Clone imprint, returning to their fun house Royal Oak offshoot with the quite superb "Palm Leaves". What begins with a nice dusty house groove bursts into life when the superb vocal talents of Mr Oliver Day Soul rise to the surface on top of some driving chords and glistening textures. These elements combine adroitly and then Gerd throws in this thick gloopy square analogue bassline which lends the track a really winning je ne sais quoi. A stripped down mix from Clone boss Serge in cahoots with Mr Alden Tyrell occupies the flip, bringing the analogue throb to the fore whilst subjecting the rest to some cavernous filtration.
Review: With Larry Heard and Deetron on the remix, you'd be hard pressed to find fault with this superb remix package. Heard is typically at his melodic, soulful best, offering up two epic reworks that wrap heart-aching piano figures, jazz organs, acid tweaks and darting synths around a faultlessly deep groove. While his instrumental version is good, it's the full vocal version that really hits the spot. Deetron, meanwhile, ups the tempo and the percussive pressure on a pair of chiming, stargazing versions that just ooze Detroit techno flavour. This is perhaps most successful on the Dub, which gets just the right balance between build, melody and straightforward dancefloor oomph.
Review: Dutch Veteran Gerd's career stretches back an impressive 22 years. Planet F.D.M.X Pt 1 sees him return to Clone's retro-futurist Royal Oak offshoot for the first time in five years. Interestingly, opener "Planet F.D.M.X (909)" doffs a cap to early Warp "bleep and bass" releases, while also paying tribute to the spacey techno sounds of Detroit. There's a slightly more Larry Heard feel to the accompanying "707" mix of the same track, with deliciously deep chords and bright stabs accompanying a "Can You Feel It" style groove. On the flip, he's in full on space mode on the wonderfully attractive and rubbery "Visitors", while "The Cube" bounces along on a wave of vintage acid style refrains, jackin' beats and dreamy, drawn-out chords.
Review: Following up that great first volume, Amsterdam legend Gerd fired up the legendary Yamaha DX100 synth again and delivers a bunch of timeless perspectives of classic techno sounds on Planet F.M.D.X. The synth was a staple of the first wave Detroit sound, and this is a respectful tribute to that if we've ever heard it. From emotive hi-tech soul of "Black Moon Voyage" and its unashamed nod to the sounds of Transmat, the intergalactic funk of "Lost Android" complete with reversed beats for nostalgic effect, and the hi-tech jazz of "Chord Orbit" which will have all fans of early Underground Resistance and Strobe rejoicing.
Review: If the title of this tune doesn't get you suitably excited then maybe the identity of the "brothers" will - none other than the legendary Blake Baxter and Orlando Voorn. Originally made in 1993, these two tunes sound as fresh as ever today, slotting in nicely with the current resurgence of house-orientated 2-step and future garage. While "Ghetto Disco" makes great use of chanking guitar samples, 808 snares and a proto-Baltimore skank, "Ghetto Blues" is even more urgent, complete with a deliriously upbeat synth melody. A great choice for a reissue, these are two very worthy slabs of underground house.
Review: Despite previously contributing tracks to split EPs from 3024 and Turbo, Rapt marks Brain Wong's debut solo EP under the Gingy moniker. The title track is particularly delicious, with Starving Yet Full's soulful vocals riding a bustling, two-step influenced rhythm and raw, distorted, acid house style drum machine hits. It's a deliciously inventive production, all told, which pushes soulful house in a genuinely new direction. Instrumental flipside "VSCUS" is an altogether different beast, with ragged electronics riding a simple groove, enveloping strings and picturesque memories. A strong package is completed by a stomping dub of the title track from Clone regulars Serge & Tyrell, which turn the original into a surging, organ-heavy chunk of Sneak style, bass-heavy loop funk.
Review: It's been nearly 20 months since Raphael Ripperton last donned the Headless Ghost guise for Clone's Royal Oak offshoot. While that release, the Frontend EP, was an exploration of hissing analogue deep house peppered with sly acid house references, Swept Illusions is an altogether more polished proposition. That's not meant as a criticism; if anything, the fizzing, Latin-influenced rhythms, twinkling electronics and sun-soaked pianos that dominate "Swept Illusions" are far more memorable. The remixes come from Genius of Time under their solo aliases. Dorisburg's 808 Dance Mix is a thrilling amalgamation of dense, tribal-influenced percussion, tough 808 drums and occasional foreboding electronic stabs. Arkajo takes a different approach, layering Balearic-friendly fiddles, pads and melodies atop a shuffling, low-slung groove.
Review: Ripperton dons his Headless Ghost alias for three tracks of what he describes as "intuitive house". By this he presumably means that he made the tracks intuitively, laying them down quickly, using a mix of analogue and digital gear. Certainly, there's a freshness and fluidity to "Basik Fire", a basement-friendly fusion of hypnotic acid revivalism and intergalactic, Italo-influenced riffery. The fuzzier "SP3" - all vintage synth strings, drum machine rhythms and wonky melodies - is decidedly warmer and deeper (despite the ghostly melodies that pop up in the second half of the track), while "Yeeaahhhh" does a fine job mixing up crystalline synth appregios and cranky analogue piano house. Impressive stuff, all told.
Review: Randee Jean sees the very exciting prospect of Chicken Lips' Dean Meredith and Andrew Meecham on Clone's Royal Oak imprint, albeit under the new Randee Jean moniker. Given that the name sounds like a long-forgotten New York house producer, it's not surprising "You Got It" provides as glorious a pastiche of Paradise Garage-era house as you'd expect, with a strong vocal, jazzy Rhodes and tumbling percussive swing. As ever with Clone, the remix choices prove inspired; Arttu puts his own tweaks on the track to give it a heavier, leaden stomp and thick soupy bass lifted up with its flute melody. Dexter and Awanto3 also team up to deliver two further mixes, one dubbed out funky roller with a spring in its step, and the other with a surprising ghetto flavour. As ever with Clone Royal Oak this is about 100% better than almost all other house records out there, and comes highly recommended!
Review: Clone Royal Oak's latest outing is a simple idea, beautifully executed. It sees a trio of experienced producers offering up scalpel style reworks of classic cuts from Jovonn's early '89s Goldtone Records stable. Ian Pooley steps up first, delivering a chunky revision of sought-after 1993 cut "Pianos of Gold" that builds energy via a stripped-back, bass-heavy section before unleashing Jovonn's superb organ riffs, glassy-eyed deep house chords and sweaty vocal cut-ups. Next, DJ Deep delivers a snappy and perfectly pitched rearrangement of vibraphone-laden 1992 cut "Show U Love", before Detroit legend Mike Huckaby gets to work on Jovonn's 1991 debut "Be Free", brilliantly utilizing the breezy and soulful vocal on a version that subtly enhances the producer's classic New Jersey deep house original.
Review: With renewed interest in early '90s Italian dream house, it's perhaps unsurprising that Clone's Royal Oak imprint has decided to release a swathe of previously unheard tracks from key (sorry) collective Key Tronics Ensemble. It's a predictably warm, rich and loved-up collection, beginning with the saucer-eyed dream house goodness of "Calypso in My House", a notably different version of the track that later became all-time-classic "Calypso of House". "Move in that Demo" is a smiling chunk of New Jersey garage/Italo-house fusion, while "Something in my Groove" sounds like an unlikely collaboration between Larry Heard and Morenas. Best of all though is "Travelling", a rush-inducing chunk of dream house bliss that's amongst the best the genre has to offer.
Review: While his live appearances are placing him on the radar of ever more enlightened house heads the world over, Kink is showing no signs of slacking on the production front either. The clue is in his name, and as ever there are plenty of subtly shimmying tricks in the Bulgarian mastermind's grooves to keep the stiffest of dancers shaking on the off-beat. "Valentine's Groove" is a masterclass in jazz-inflected deep house, all fuzzy chord stabs and badass bass for the funkiest shape flingers. "Strings" meanwhile reaches for a more emotive feeling, lashing on the Detroit romanticism to a wonderfully bombastic end.
Review: Hot on the heels of his debut EP for Clone Royal Oak - the jaunty, swinging deep house shuffler that is "Valentine's Groove" - KiNK returns to the Dutch imprint. It sees label mainstays Serge and Alden Tyrell join forces to deliver a scorching rework of the previously unheard "Beats". As you might expect from the basement-loving duo, it packs a serious punch, thanks in no small part to their surging drum machine rhythms and expert use of build-and-release arrangement. The experienced pair are masters of creating and retaining energy, and their percussion sounds are always as jacking as they come. In other words, it's another club slammer.
Review: Look Like makes his debut on Clone Royal Oak with a fresh take on classic house music, where Italo, balearic, Chicago and Detroit's influences all merge into an exciting melting pot. With previous releases on DVS1's Mistress label, Drumpoet Community and Akoya Circles, this guy is all set to blow up in 2019 for sure. The Garden Of Eden EP features the rather 808 State sounding title track - and what a throwback that is! Experience the second summer of love all over again on "Do You Love Me" and feel the vibe of his emotive electro on "Nokia Nostalgia".
Review: It's strange to think that this is Mark Du Mosch's debut release on Clone, given that he's from the Netherlands. On UM-ing, he shows why he is such a vital addition to the Rotterdam label's roster. "Heat It Up" is a chugging, chord-heavy groover, while on "Adrift", he goes for a similar approach - the only difference is that the organ-playing is replaced with tripped out tones and shiny synths. The title track ushers in a change of tone, with its moody bass and layered percussive volleys recalling the menacing swagger of early Force Inc, while closing track "Firefly" moves the mood dial back towards happiness with its surging, melodic chords.
Review: Clone sub-label Royal Oak bring us some uptempo disco/proto-house vibes par excellence courtesy of Masarima, which is a new project from Dario di Pace, the Italian producer formerly known as Rio Padice. In its original Club Mix form, 'Freak Like You' rides a sparse electro beat with gloriously 80s synths, squelchy talkbox-like guitar and a proper little earworm of a female "a freak like me needs a freak like you" vocal, while the Remix is chunkier and more overtly house-ified. Definitely one for the dancers, with a Radio Edit and a useful Freakapella completing the package.
Review: Clone's Royal Oak offshoot has barely put a foot wrong since launching in 2009, providing open-minded deep house/disco/electrofunk heads with quality material from the likes of Space Dimension Controller and the hotly tipped Genius of Time. Here they give a Royal Oak debut to Dutch duo Morning Factory, who previously impressed on 2020 Vision. "Fantasy Check" is something of a slow-burning delight - an emotion-rich soup of gently cascading jazz pianos and sparkling chords that sounds like a long-lost Ron Trent production. "Diane's Love" is more densely layered percussion-wise, but still finds space in the building mix for some cute melodic touches and a delightful spoken word vocal.
Review: Few producers have been on quite as intensive a journey as Alexey "Nocow" Nikitin over the last five years. His prolific output contains all manner of weird and wonderful treats, with releases touching on wonky dubstep, experimental electronics, frazzled bass music and, more recently, throbbing techno. On the Letit EP, which marks his debut for Clone's ever-reliable Royal Oak offshoot, the Russian producer delivers a quartet of bubbling, melodious, analogue-rich deep house workouts. All four tracks are hugely entertaining, positive and quietly boisterous, with the tracky, slightly tribal "Wrong Silence" and glacial, off-kilter "I Don't Really Wanna Lose You" being our picks of a satisfyingly strong bunch.
Review: The Modular RZ EP is an excellent rough edged material from Naples pair Rio Padice and Massimo De Lena, founders of the Early Sound Recordings label and well acclimatised to working together as part of The Early Sounds Collective with fellow Neapolitan Leskin. The three tracks here are a perfect fit for Clone's irregular Royal Oak series, nudging themselves nicely in the fuzzy grey zone between house and techno and focusing on a tooly approach that keeps the beats straight whilst they work through a raft of bleep laden, analogue movements. The title track has immediate qualities that will appeal to many, but the rugged charms of "The Octave Lord Of Ring Mode" really stand out for us, with dirt encrusted bassline and semi malfunctioning fx lending the production just the right dash of wrongness.
Review: Having previously impressed with a trickle of fine EPs for L.I.E.S and Exotic Dance Records, man of mystery Person of Interest pops up on the ever-reliable Clone Royal Oak. Lead cut "NOYFB" is an intriguing proposition, fusing as it does the rhythmic swing of UK garage, the spacey futurism of classic Detroit techno, and the loved-up ethos of early US deep house. The latter two influences shine through on the alternative "Straight To Tape" version, while "Pareidolia" mixes jaunty analogue electronics with the low-end throb more readily associated with British-made house and techno. A fine EP comes to a close with "Carmen", a particularly woozy, cymbal-heavy late night excursion.
Review: A little over a year ago, Sabre brought their brand of jaunty electronic melodies and loose machine grooves to Clone Royal Oak for the first time. Here, three tracks from that EP get the remix treatment. Gifted and Blessed steps up first, serving up a pleasingly loved-up version of "Vigilante" full of rubbery synth bass, snappy snares and dreamy, stretched-out chords. MdM handles "Ghetto Prophet", making much of the Portuguese duo's swooping strings and moody chords, before veteran Dutch twosome Clone turn in a tactile techno re-make of "Cascavel Breeze". Finally, Aera delivers a jumpy, ultra-positive version of "Ghetto Prophet" that sits somewhere between classic Detroit techno and vintage US deep house.
Review: Maybe it's something to do with Sabre' Portuguese background, but whatever the explanation, this latest release is full of breathy, sun-kissed melodies and ramshackle grooves. It starts with "Cascavel Breeze", where woozy, psychedelic chords unravel over broken down drums and a beat-down rhythm. "Vigilante" is based on the same template, but on this occasion it sees Sabre conjure up jazzy keys and loose drums, against which there is some nonsensical but hugely enjoyable vocal wittering. "Ghetto Prophet" is the main dance floor track and features a searing bass fused with dreamy melodies, but the standout track is "Streets Of Love - Blaze". It sees Sabre lay down a hypnotic deep techno pulse to which he adds freeform synth lines and cosmic pan pipes.
Review: The Space Dimension Controller has landed for another round of Correlation explorations on Clone Royal Oak. Take us to your leader? Nah. Just play us some of your newly discovered space oddities, we say! There's some real deepness to be found in other parts of the universe, as the high tech soul of "Galactic Insurgents" proves. As does "Scatter Scanners" which throws in some seriously funky e-bass and new jack swing influence. The further discoveries are astounding: "The Trails You Left Behind" is some seriously inter-dimensional electro funk that'd make Gerald Donald stand up and notice, while the haunting "Nova Project" is a dark cinematic cut reminiscent of John Carpenter.
Review: Last year's first Correlation EP was something of a return to form for Space Dimension Controller. While his debut album Return To Mikrosektor-50 was arguably a little too eccentric, Correlation #1 saw Jack Hamill return to what he does best: namely making inspired, spaced-out house and techno tracks blessed with those trademark, ambient-inspired synth melodies. Happily, there's more of the same here. There's an attractiveness to the alien bleeps and delay-laden groove underpinning the brilliant "Angel Groove", while "Monodynamic" is gloriously wide-eyed - all surging melodies, cosmic effects and unfussy analogue grooves. Closer "Down in Sector H" is good, too, in that oh-so-blissful way that marks out Hamill's best productions.
Review: If young Belfast producer Space Dimension Controller aka Jack Hamill is yet to wander across your musical radar it's likely you will be paying attention after listening to Journey To The Core Of The Unknown Sphere. Vintage Warp sounds collide harmoniously with g-funk vibes and early 90s Detroit melodies on music Hamill refers to as "Galactic Funk". The many elements of opening track "Journey" are so bewitching it requires several repeat listens to fully appreciate the richness. "Cosmo30 Travel Duration" combines gargling elastic bass with soft Detroit kicks which are slowly digested by Hamill's increasingly wigged out synth melodies. SDC is currently working on tracks with Kyle Hall, and ahead of that the Detroit wunderkind remixes "Journey" into a fuzzy discotheque groover which sounds nothing like any of his other remixes. The slo mo future boogie of "BD Alignment" and journey into ethereal chord expression on "Fluorescent Trails" make this an astounding EP.
Review: Under the Tee Mango alias, Millionhands chief Tom Mangan has been tearing it up of late. Here he debuts on Clone Royal Oak following fine outings on Aus Music, Royal Oak and, of course, Millionhands. He hits the ground running with opener "Confused", an attractive mixture of woozy deep house chords, lo-fi machine drums and dazzling, starburst style synths, before reaching for the cowbells on trippy deep house jack-track "Going Wrong". Turn to the virtual flipside for the extended build-ups, psychedelic synthesizer cycles and Motor City influences of "Via Carlos" and the ultra-positive brilliance of "Losing Control", where a soulful vocal sample is worked hard over a slick and spacey deep house groove.
Review: While he may be a stone-cold legend, much of Todd Terry's recent work has been a little disappointing, to say the least. It's great to report, then, that he's back to his mesmerising best on this surprise release for Clone Royal Oak. While the picturesque, funk-fuelled "Rock That" - this booming, disco-fuelled bottom-end, Balearic keys and warm horns - is impressive, it's lead cut "Tonight" that hits home hardest. Boasting swinging, loose-limbed house beats, bouncy analogue bass and some superb hip-house era stabs and vocal cuts, it feels like a long-lost late '80s Terry classic given a warehouse party makeover. It's certainly worth the admission price on its own.
Review: Clone Royal Oak's 43rd edition delivers fresh new cuts by a newcomer from the Dutch west coast, featuring warm and woolly vintage synth sounds that create futuristic vibes. Dark old school techno in the vein of Suburban Knight or Orlando Voorn. From the cracking, lo-fi groove of "Masterlight" with its classic sci-fi overtones, through to second offering "Modular Flute" which is the winner here. It is a groove oriented jam with lush FM synth tones and the boom and bounce of classic Roland drum machines.