Review: Long live team Alpha Pup, an excellently organised project that have moved onto the third edition of their epic '20/20' compilation series, exploring the most lethal reaches of underground bass music. Featuring hard hitting originals from the likes of Ivy Lab, Dismantle, Rocks FOE, Bakey and more, it's clear that the team have gone all out on this collection, with sounds ranging as wide as the hardcore inspired mysticism of 'Naananaana' from Rohaan, to the industrial techno-flavours of Ila Brugal's 'Cynical'. The whole project packs a punch, but our highlights would have to include both the intense metallic madness of Deft's 'OKURTHEEXPERT', alongside Manni Dee's monstrous 'Wet Slide' creation. Top work all around!
Review: As Miami Winter Music Conference spins around for another year so does Toolroom's affiliated compilation showcasing why Mark Night's label remains at the precipice of mainstream club music. Bringing with it two full length DJ mixes and exclusive tracks from crew like Alex Kenji, Jerome Robins and Camila Jun, there's also banging numbers from legends like Green Velvet, Nicole Moudaber and Shadow Child next to Low Steppa and Tony Romera! ESSEL kicks off the compilation with the catchy choral loops of "The Edge", with other highlights to mention across some 50 tracks coming from Martin Ikin's drippin' "Make U Sweat", CASSIM's disco-tinged "Wanna Feel Something" and Carly Wilford's "The Dance". Time to dive into Miami 2024 - Toolroom style!
Review: The Southpoint train continues to drive forward, welcoming some of the best and most exciting new garage and breaks talents in their already well established hall of greats, this time seeing ODF arrive for a fiery debut drop. We open up with 'Riddim & Flow', a powerhouse speedy g slapper, diving perfectly between high energy drum shakes, square-wave bass notation and tight rhythmic designs. On the flip to this, a major switch up as 'B-Side Bubbler' delivers a much more old school feeling, combining broken-beat drum work with moody subs and a clean finish, giving us a near perfect switch up from A to B.
Review: It's an exciting thing indeed to see the super consistent production talents of Vital Techniques landing on the legendary DJ EZ's Nuvolve imprint, unleashing three emotive bubblers for the dances to enjoy. First up, a dizzying display of synthetic mastery and fiery double drops as 'In My Head' takes the centre stage. From here, a more groove-inspired approach on 'Run It' as we face a sumptuous sweeping combination of grinding synthesisers and unpredictable drum crashes, before 'Show Me Your Love' takes hard hitting 4x4 drum punches and emotive vocal lines for a killer closer.
Review: Off the top of our heads, we can't think back to a release that the Vitamin D imprint has felt disappointing, with the ever-present garage skills of both K-LONE & Wilfy D arriving here for another tasty double single drop. Firstly 'On The Down Low' sees the pair utilise classic R&B style vocals over a smoothened 2-step combo of fluttering chord lines and tightened sub-bass. On the flip to this, 'Nobody' gives us a slightly different feeling, giving the vocal textures a much more affected, choppy feel, topped off with a groovy combination of bubbling organ and piano chords, giving both tracks a tidy balance indeed.
Review: 2024 was always going to be a year of surprises, and the latest release on Rekids is testament to that. Man Power hooks up with the Paris-based Louisahhh for an unexpected anthem in waiting. The title track is an expansive deep house track. At its heart is a pulsating bass combined with Louisahhh's freeform narrative about the state of the world. As befits such a modern classic, Rekids has commissioned Deetron to deliver three remixes. The dub version is a joyous UR-style deep techno version, while the main version follows a similar trajectory, powered by thunder claps and outer space tones. Keeping the audience guessing, Deetron also delivers a 'Drum & Bass' version that focuses on high-paced techno, while the 'Bleep Tool' ends the release to the sound of glistening tonal bliss.
Review: Over the last few years, Martin 'Atjazz' Iveson has spent a fair amount of time mentoring Peacey, a young producer with oodles of talent. That much is proved by the rising star's expansive debut album, a superb 16-track set that combines sizzling colo cuts with a string of inspired collaborations. The Edinburgh-based artist sets his stall out via the luscious horn arrangements and immersive ambient electronics of 'Play It By Ear', before drifting between head-nodding R&B loveliness (Oveous hook-up 'Love In The Forest'), sensual and seductive, soul-flecked deep house ('Hold Me Back' with Clyde and Atjazz), mid-tempo boogie-soul ('Playground' with Rona Ray), dubby and dreamy downtempo grooves ('Last Night's Dream'), deep and techy, spoken word-sporting dancefloor workouts ('Culture Bandit' with Vanessa Hidary) and jazz-funk influenced excellence (LaRoye collab 'In The Distance').
Review: Monty Luke's Nightdubbing project on Rekids was designed to showcase the Black Catalogue boss's deep love of dub-infused house and techno. This 13-track album combines previously unheard cuts with nine tracks previously showcased across a pair of EPs of the same name. It's a fantastic set all told, with highlights including the smacked-out electro-dub headiness of opener '40 Acres and a Terrabyte', the extra-percussive deep dub-house hypnotism of 'Bob Molly', the after-hours friendly minimalism of 'Star Storms', the Detroit-goes-dub techno pulse of 'New World/Old Future', the classic dub techno warmth of 'Dark Paradise', and the dub-wise deep house dreaminess of 'Avantgarde Dancehall'. Throw in a handful of tidy ambient and digital dub tracks, and you have a genuinely superb long-player.
Review: In an industry where the term 'veteran' is bandied about far too freely, Colin Curtis is the real deal! His DJing career goes all the way back to legendary Northern Soul club The Golden Torch in the late 60s. In the 70s, he was a resident at Blackpool Mecca alongside Ian Levine, where he became one of the first DJs to introduce the more modern sound of jazz-funk to the scene. By the mid-80s he'd become an early UK champion of house, too, but these days it's on the jazz-dance scene that he's most revered - and here he serves up a 26-track connoisseur's collection that shows why. Ranging from straight-up jazz and soul to soulful house and leaning heavily towards the Afro- and Latin-flavoured, some of these cuts are recent offerings, some date back as far as the 70s, but on jazz-dance floors, all will go down a treat.
Review: The second instalment of Len Faki's remixes see the storied techno producer tap his favourite artists to re-interpret his work. Luke Slater's Deep Heat take on "Shri Yantra" is redolent of his classic Planetary Assault Systems work, with firing percussion and dramatic break downs to the fore. In contrast, Amotik's version of "Make Me Scream" follows a heads-down approach, with haunting vocals wrapped into a bleep-heavy, rolling groove. In contrast, ANNA's remix of "Hymn" is a tranced out, big room track. At the other end of the spectrum, Modeselektor's interpretation of "Don't Be Stupid Day" is a moody electro stepper, led by waves of menacing low end.
Review: Dombrance has spent the last few years making music inspired by imaginary French politicians of the 1960s, '70s and '80s. To round of the project, he's pitched up on Discolypso to share the final two tracks - and a wealth of remixes. 'Bayou' is a certified throb-job in which alien-sounding synths and heady vocalisations rise above a pulsating, Italo-disco groove, while 'Cope' is a darker, techno-tempo workout rich in analogue electronics and driving grooves. There are too many remixes to mention them all, but our picks include Lindstrom's breezy, electrofunk-influenced Norse disco take on 'Bayou', Baldelli and Dionigi's hybrid dub disco/Afro-cosmic take on the same track and Francois K's suspenseful, stretched-out, slow-build revision of 'Cope'. Throw in a deliciously druggy, Italo-disco-goes-rave revision of the same cut by Diskjokke, and you have a genhinely brilliant package.
Review: Ed Upton has long been one of British dance music's most prolific producers, with his latest album on Hypercolour - the typically vibrant Spiral Dance - marking his 24th full-length excursion as DMX Krew since 1996. Its' 13 tracks are typically vivid, inventive and entertaining, with the Bedford-born producer rushing between intergalactic electro ('Always Hats'), sub-heavy UK techno futurism (the bleep-influenced 'Bathtime Bobby'), house-tempo dancefloor IDM ('Spiral Dance'), Spacetime Continuum style ambient techno (the chill-out room friendly 'Back To '92'), synth-laden analogue cheeriness ('Is This Normal'), heady beat-free soundscapes ('Hammer Slowly Forming'), early Autechre style electronica ('Ankle Grinder') and sweaty acid house ('FM Assembly').
Review: The legendary Jeremy Sylvester is back in fine form with this fiery display, unloading four dancefloor-ready rollers with some real throwback feelings, courtesy of course of Time Is Now. We open up with the nostalgic chord progressions and heavily reverberated soundscapes of '90's Man', which sets the tone perfectly, followed by 'Flashback', a sleeklike roller doused in electronic energy. From here 'In The Morning' arrives to unleash a more subtle bubbling feeling, focussing on moogy basslines and refreshing pad arrangements, before the heavily sampled vocal chops and icey synth sweeps of 'Wickedest Sound' close off the EP with a bang
Review: Paris-based producer Vitess continues his flow of music following releases on Up The Stuss, LOCUS and Shall Not Fade, in addition to his own Retro Futura imprint. Vitess' latest five-track special, Visions, for Rossi's HOMEGROWN label provides the artist with a second appearance there - making himself known with the stand out track on this EP, "Blue Vision", somewhat already anthemic in its appeal thanks it synth-driven energy and dancefloor operandi. Turning up the sultry disco fever and French touch vibes in "Jami Rocaille" - other numbers like "First Night" so richly remind us of The Ones "Flawless", while "Big Sound" throws in some dubbier house action. And for that bassline and acid session check out "Drive Me Crazy".
Review: Last time we heard from Toy Tonics boss Kapote (real name Matthias Modica), he was offering up a updated and reworked version of his 2019 debut album, What It Is. 'Electric Slide', his latest EP, showcases his first all-new original solo music for almost five years. Our pick of the bunch is energetic opener 'The Party', a percussion rich romp rich in heady party atmos, densely layered drums, addictive electric piano hooks and a propulsive bassline. Naturally, there's plenty to set the pulse racing elsewhere across the EP, from the subtly proto house-influenced, hands-in-the-air joy of 'The See Me' and the thickset deep disco house flex of 'The Come On', to the kaleidoscopic nu-disco elasticity of 'The Slide'.
Review: D'EAUPE, the forward-thinking record label spearheaded by electronic music duo Shermanology, unveils a stacked remix package for their previous Roots EP. Featuring a impressive lineup of artists, each naturally brings a twist of style to the original numbers. Rene Amesz leads the charge with his pumping remix of "Jabula", blending Verseless & King Her's vocals with some heaving beats. Hector Couto pulls out the filter sweep in his remix of "Touch" while SYREETA's dubbed-out breakage of "Jabula" offers a fresh perspective with a flow of dynamic house rhythms and heavy bass weight undertow. WZA's club mix of "Hijos De La Noche" turns the saw waves and garage vibes up to 10 leaving Chico Rose's reimagining of "Coco Loco" to hold down a super solid and techy groove. Sherminated.
Review: Following last year's Miami bass-focused release , Dynamik Bass System returns to Robotmachine. Focused on synergies between European and Detroit electro variants, the compilation starts with the vocodered funk of "Light Up The Dark". A more introspective take on the sound is audible on the dramatic synths of "Fade Into Oblivion" and the title track, where a warbling bass is paired with eerie melodies. On "The Infinite Void", Dynamik Bass System's focus switches to an 80s sound - with high-pitched vocoders combined with an electro funk bass - while he mines a similar period for the melancholic synth pirouettes of "The Cosmos Is Indifferent".
Review: The crew over at Dirty Kitchen Rave HQ must be fully aware that they have struck solid gold with this latest collection from Doc Zee, delivering two originals and a vibrant remix, exploring the modernised breaks sound in its full majesty. First up, the title track 'Bassquake' packs a momentous punch, flipping between jittering vocal overlays and growling synthetic patterns below, before Skin Teeth gets busy with a super hectic overhaul, giving it an industrial twist to say the least. Finally, 'Condition' takes a much calmer approach, sampling classic hip hop vocals and nostalgic chord progressions for a smoothened finale.
Review: Fresh from outings on 8Bit and Dirtybird, Audiojack return to the label they established way back in 2010, Gruuv. In keeping with the Yorkshire-raised duo's outings on the imprint, it's a tightly focused and club ready two-tracker. First up is 'Somebody', a rumbling, body-moving slab of 1997 speed garage revivalism - all Armand Van Helden 'dark garage' bass, dark synth strings, echoing vocal snippets and chunky house drums - which sounds like a genuine peak-time anthem in the making. They continue the "arms aloft" vibes on the similarly large title track, 'Release Yourself', which mixes vintage UK garage influences with nods to contemporaneous big room NYC house sounds.
Review: The team at Dirty Kitchen rave have done a great job over the recent months in uncovering and showcasing some of the most exciting new breakbeat action about, with this latest compilation being the second of their 'WE ARE DKR' series. Featuring the likes of Phrentic, Skin Teeth, Skitzoid, Zero Dark and more, we can see that this project packs a serious punch, exploring the full spectrum of modern breakbeat ideas. Our highlights that have an immediate standout would have to include Ale-DarkNoise's heavyweight 'Pump Up' arrangement, a super vibrant thunder drop, alongside the more liquefied synth work of Zero Dark's 'Losing You'.
Review: It's been slowly drip-fed to us over a 10-month period but now here at last is the full album. On 'Something Like That', Jalapeno bosses Skeewiff celebrate 25 years in the game by paying tribute to some of the music that's inspired them, delivering generally very faithful but also very accomplished reworks of classic tracks by artists ranging from The Winstons and Jimmy Smith to Dick Dale and Herb Alpert. New additions to the roster on this final version include Nancy Sinatra's 'These Boots Are Made For Walking', Muppets 'Mah Na Mah Na', Mel Tormé's Mod club standard 'Coming Home Baby' and, just to prove they're not taking themselves TOO seriously, Boots Randolph's 'Yakety Sax' - better known to most as the 'Benny Hill' theme.
Review: The Dutch production duo Makez returns to their soulful house roots with a new four-track EP on Heist Recordings called "Midnight Time." This release showcases the versatility of Makez, seamlessly blending introspective grooves, infectious club anthems, and atmospheric soundscapes. The EP opens with "Closer," a laidback, jazzy collaboration with vocalist AVA LAVÁ featuring lush textures and rich instrumentation that sets a mellow, moody vibe. Next is "Running From The Noise," reuniting Makez with vocalist Life On Planets after their previous hit "Downstream." Life On Planets' emotive vocals mesh perfectly with Makez's trademark deep house rhythms, creating another potential dancefloor gem. It then gets into higher gear with the acid-tinged, 90s-inspired techno groove of "The Answer." Powered by a male vocal hook, acid basslines and classic 909 drum programming, it's a high-energy cut primed for peak-time club plays. Closing out the EP is "Gratitude," which ventures into deeper, more introspective territory with haunting strings, glitchy vocal samples and distorted synth textures layered into an immersive sonic landscape.
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