Very tasty and classic New York garage house, reissued for the good of the dance. Jovonn's 'Stump It' EP was originally released in 1994 and has been the preserve of those in the know - Theo Parrish, Ricardo Villalobos, Efdemin to name but a few - over the years since. It's headed up by the irresistible sub-driven groove and breathy pads of 'Garage Shelter' and only gets heavier on the swinging vocal jam 'Love Destination', or the febrile polyrhythmic romp 'Tribal'. For modern context, Tuff City Kids remix 'Garage Shelter' with a more kinetic, intense re-arrangement. Sack your Bicep records and cop a load of this lot; your 'floor will thank you!

**RIYL James Blake, Jamie Woon, Dean Blunt** "Fire In My Hands is Jono McCleery's return single, a collaboration with electronic producer Royce Wood Junior. It's a stunning evolution in McCleerys sound; a rapid fire, skittering drum beat and blues piano driving an fathoms-deep vocal. Its musing delivery belies the developing sense of resolve, and the song leaves the listener's mood curiously but profoundly improved. The package is completed with "Painted Blue", a timeless soul number with a swaying, elemental melody and a harmonised chorus that would have the most cele… Read more

Live album capturing Jaga Jazzist on stage at The Barbican with the Britten Sinfonia. The goateed attack of opener ‘One-Armed Bandit’ is such that you could be listening to Nucleus or Centipede or one of those woolly 70s British fusion groups, with due prominence given to proggy electric guitar, fuzz bass, flutes and vibes. ‘Kitty Wu’ is rather nice, the heavy sway of the strings and a punchy, four-to-the-floor rhythm framing bright, bolshy brass and dreamy, Neil Ardley-in-space synth lines. Effortlessly shifting and shimmying from modal jazz introspection to thunderous sp… Read more

Virulent ravers from Portugal's One Eyed Jacks stable - tipped by none-other-than 'Energy Flash' scribe, Simon Reynolds. 'Dopamine Rush' fires mentasms, Todd Terry stabs and sirens from the hip in a tight-jawed framework of brittle, grimy syncopation; 'Tundra Riddim' comes off like a rude-rmentary Wiley play; 'Dread' leans in with crispy breaks locked-on a hardcore '92 tilt; 'Logistics' juggles dark 'n light rave tropes in cheeky form reminding of something you'd find on modern day UTTU or vintage old-skool Grooverider set. Bangers to lose your bananas with.

Slamming, spaced-out and frantic Chicago house missions by the analogue convert, Ike Release. After a split with Hakim Murphy as Innerspace Halflife this is his first solo outing for M>O>S and duly sets out a unique sound combining rugged old-skool drum machine and psychedelic, sci-fi-esque melodies with the nasty pound of 'Cosmic Supreme' and the acid jerk of 'Spells', but the big highlight is a staggered jacker called 'Westview (Extended Version)' smothered in gorgeous Detroit pads and riding big-boned square bass line.

UK house player Huxley heads up the latest Rinse 12" with three tracks straddling garage, deep house and 2-step. A-side is a proggier, acid-touched houser 'Lost Lost' revolving requisite downpitched vocal, warm pads and shifty hi-hats; B-side he turns out smudged soul vox and elastic bass swing inna UK take on US styles, and 'Walk 2 U' likewise does a classic UK thing with Tod Edwards-style cut up vox with the feminine pressure of classic 2-step.

Trippy, funked-up avant-house groovers from a talented young Italian producer. Proceeding an album and 12"s for Bosconi Records, Herva's 'What I Feel' EP cuts loose with a mad blend of broken beats, techno and frustrated funk, flipping from almost Footwork-like hypersoul motion on 'Paranoid Thinking' to the squashed house stepper 'Crocodile Tears' and onto the wild, whirring technoid futurism of 'Gorilla's Machine' and a Detroit booty-whipper 'Snow And Clouds'. RIYL AMUS, Nubian Mindz, Pepe Braddock, Anthony Shakir.

Matt Mondanile ov Ducktails turns up alongside Spencer "Skaters" Clark as Egyptian Sports Network on the former's New Images label. 'Interstitial Luxor' spells out the futuristic tale of a Zero Gravity Sports network soundtrack being transmitted from the Olympic Space Station via satellite feed over five tracks of lushest microtonal melody, prismatic polyrhythmic flux and radiophonic freakery sounding like Bruce Haack's wildest dreams, or something that a future Jonny Trunk might dig out in fifty years time. A total charmer.

Drexciyan DJ and shadowy Detroit producer Sherard Ingram aka DJ Stingray (Urban Tribe) keeps the faith strong on three aqua-electroid killers for UTTU. Outside a select handful of artists, there's very few producers who even brave this style any more, and it's fair to say that Stingray has made it his own. A-side he unleashes the submerged funk of 'Solitude', percolating hydraulic bass and waves of acidic electro current around an alluring, siren-like vocal sample, all arranged with his remarkable signature fluidity. B-side 'Cryptic' tucks into a more aqua-dynamic 4/4 formation laye… Read more

No Hats No Hoods pull up DJ Eastwood's classic instrumental grime riddim, now backed with Spooky and Untold remixes. Originally issued in 2003 on white label, the swift 8-bar flex of 'U Ain't Ready' was a staple at Sidewinder and Eskimo dances, and even attracted the attention of John Peel, earning Eastwood a slot on his legendary BBC Radio 1 show. Untold barrels out a lethal 2010 remix chopped up with signature hyperrhythmic intricacy, but if we're picking favourites then the droning bass and hard-jawed pressure of Spooky's has our money. Top shottas all round.

Review to follow shortly…

Review to follow shortly…

Wonderful '80s pop tributes plucked out by Matt Mondanile for his impeccable New Images label. You could have told us that yung LA resident, Devon Williams released these two track on LTM thirty years ago and we'd be none the wiser.

Deerhunter return with their seventh (or thereabouts) studio album; it’s obviously manna from heaven for their many devotees, but will it win them any new converts? It actually might, you know: to their credit, they’ve moved away from the washed-out, colour-bled shoegaze sound that's defined them for most of their career; Bradford Cox’s songs are now more robust, and the performances - bolstered by a second guitarist and new bassist - feel full of fight, harder to ignore or forget. The marvellous ‘Neon Junkyard’ and ‘Blue Agent’ sound like White Album-era Beatles dragged through the bushes b… Read more

Review to follow shortly…

Dan Lopatin and Joel Ford’s Software Recording Co. present a full-length album from Matt Papich, the follow up to his noted 2011 NNA Tapes side Daydream Repeater. Made in the kitchen of his Baltimore home, with assistance from Joe Williams on programming and synths, it builds on the bubblegum psychedelia of its predecessor to arrive at a dense, sample-happy and expressionistic electronic sound that is 2013 to a tee, yet resists easy pigeonholing. It’s also largely beat-driven, whether it's plasmic dancehall (‘Melter’s Delight’), colliding the bamboo ambience of Ryuichi Sakamoto with clucking foo… Read more

First ever digital issue of Chris Carter's solo follow-up to the legendary 'Spaces Between' Originally issued on LP in 1985, 'Mondo Beat' stars one of the Throbbing Gristle lynchpin's most recognisable solo tracks, the proto-New Beat and Industrial classic, 'Moonlight', plus five further tracks of highly advanced productions, taking in the flash stabs and body-contorting beats of 'Real Life', the extra-tropical electro elan of 'Noevil', experimental cut-ups on 'Nobadhairdo', and the noisy, psychosexual EBM tripper 'Beyond Temptation'. We need say no more; this is a total must-have for all wave psychonauts and techno dancers!

Review to follow shortly…

Wiggly swing moves fresh outta Belfast. Bicep's 2nd 12" for Aus Music catches the lads Andrew Ferguson and Matthew McBriar in four grooves primed for that eye-fluttering, lip-smacking time of night, from the escalating, arms-in-the-air arpeggios and slinky bass of 'Stash', to the twinkling melodies and ass bumping subs of 'Courtside Drama', whilst 'Rise' boosts the energy levels with driving dub chords and trancey builds for 'The Game' to clock out on a romantic tip.

Hard on the heels of that incredible Prurient side, Blackest Ever Black introduce Alexander Lewis to the fold with this maiden LP of bitter industrial electronics and "S-M Techno". Recorded in one take with minimal computer processing or post-production, its blinkerdly linear construction, billowing feedback clouds and glazed stare instantly and strongly reminds of Hospital Productions' criminally underrated Kris Lapke aka Alberich, which is high praise indeed. A paucity of elements are optimised to effect, using only microphone, synth and pedals to create the arpeggiated tunnel w… Read more

Massive remix collection for French producer, 123MRK's trap-wise electronics. Our highlights have to be Deft's whirring halfstep footwork version of 'Invisible Colors'; the flash funk of Obey City's 'Pleasure' overhaul; a forlorn slow-boogie remix of 'Unrest' by Troy Gunner.

*Ssaliva returns with chiming '80s new age bliss, plus a 13-minute excursion from Wanda Group...* Ssaliva proves a perfect new addition to Svetlana Industries workforce with the chiming '80s new age bliss and ambient disco bump of 'Birth Body'. Hailing from Liege, Belgium, Ssaliva meshes a certain flatlands American sensibility with an intrinsically mittel-European mood. This is music for autobahns and dead-straight highways, from the gorgeous wide-open sky synths of 'Fantasy 33' thru the dawning after-hours bump of 'Arcadia', sounding like the stuff you'd imagine Fat Ronnie to pla… Read more

'Gone Feral' is the deliciously discordant and frayed new glimpse of (James) Holden's upcoming album 'The Inheritors' for Border Community. Leaving the lite-fingered trance a mirage in the past, he appears to have mutated into a far more intriguing beast with a taste for visceral dissonance. The melodies could be from an aquapiezo symphony recorded in a Chernobyl pond while the rhythm is daringly primitive yet elegant, like new Wolf Eyes attempting a waltz, and luckily enough you get them both included as separate 'Drumtool' and 'Synthtool'. Very cool beans.

Kode 9 returns with his first single in two years, would you believe. We’re a long way from the UKF-inflected house manoeuvres the Hyperdub skipper was making on 2011’s Black Sun; instead lead cut ‘Xingfu Lu’, which fans will know has existed for at least a year, firmly channels footwork through Memories Of The Future's haunted dancehall. Spend even a minute with ‘Xinfu Lu’, though, and you’ll see it’s no ordinary juke pastiche: it’s properly dubwise, its sickened, weasly synthesizer lines and chopped-to-f**k drums seem designed less to mobilise your feet than to stir up the voices in your h… Read more

Another crucial side on Stephen O’Malley’s Ideologic Organ, prised from some putrid cave deep under the underground. This time it’s a double-vinyl edition of Wold’s Freermasonry, the first time on wax for a work originally issued by Profound Lore Records on CD in 2011. The Saskatchewan troupe, led by one Fortress Crookedjaw, take no prisoners and sure as hell don’t meet you in the middle - rather they offload a barrage of putrid, zero-fidelity, utterly addictive black metal-flavoured noise, anchored by vocals that have to count among the most flesh-creeping and downright unpleasant we’ve heard … Read more

Nick Edwards metamorphs and diffuses from Ekoplekz into Ensemble Skalectrix to issue the riveting plunderphonic turntablism of 'Trainwrekz' on Editions Mego. Now armed with a stack of dusty wax and two turntables alongside his matrix of pedals and "sound-shaping devices", Ensemble Skalectrix resulted from three experimental sessions recorded in november 2012 and lands somewhere between Jeff Keen's blatz-techno and Maurizio Bianchi's phosphorous synth noise sludge, crystallising in six tracks equally informed by free improvisation, aleatoric strategy, musique concrète, haun… Read more

Imperious, vital doom from some of its most dedicated and decorated practitioners. Stephen O’Malley, Oren Ambarchi and Attila Csihar formed Gravetemple as a more abstract, exploratory adjunct to Sunn O))) in 2006, and when they reconvened for live actions in 2008 they were joined by Aussie drummer Matt ‘Skitz’ Sanders. Interestingly Ambient/Ruin, originally made available as a self-released CD-R in ‘08 and now presented in a sumptuous vinyl edition on SOMA’s own Ideologic Organ imprint, isn’t a live document but a studio-sutured creation - made up of parts recorded separately in Japan, F… Read more

**Excellent debut from the mysterious Joane Skyler - keep a close eye on this one** At a blindspot intersection of the hardcore continuum and bedroom electronica, Joane Skyler creates the magical world of 'Orz', her debut release for ones-to-watch, Reckno. Lucidly colourful, freakishly twisted and packed with swagger, it's like a demented distant cousin of HYpe Williams, Irdial or the Skam crew doing it for the freaky kids. Her breakbeat edits are skewed but fearsomely tight and funky, while melodies zip and unravel, keen and swoon with a beautifully assured sleight of hand, knotting and splitti… Read more

Following on from a vinyl issue of Mark Leckey's "Fiorucci Made Me Hardcore" and an EP by Powell, The Death of Rave presents the first longform, beat-less composition by Patrick Stottrop aka Kareem. Since 1996 the Berlin-based artist has produced nearly 20 singles and albums for both his Zhark Recordings and Ramadan labels, Kanzelramt’s K2 0 subprint, and Paris’s Fondation Sonore, forging a strong identity split between uncompromising industrial techno and RZA-like instrumental hip hop, all with a blackened streak of gothic finesse. Following a hiatus during the late ‘00s, in… Read more

Trippier, kinkier deep house plays by Canada's Kevin McPhee. His A-side 'Version One' borrows vibes from classic Relief and Boo Williams styles to a bumpty outcome; B-side 'It's What She Wants' kneads in some swinging Afro-beat drums and kalimba-like timbres to come off like older Kassem Mosse or Workshop grooves, and 'P1:P2' slackens the line for a screwed beatdown wiggle.