House News

The Emperor Machine aka Andy Meecham is slowly re-emerging ahead of a full on return to the scene in the coming months. Following on from this latest missive on Southern Fried Records (which comes complete with a trio of Ewan Pearson remixes) 2014 will mark a return to DJing for Andy, followed by a full-length album and a brand new live show.

A key collaborator in all this, featuring on a number of album tracks and at the forthcoming live dates, is the hugely talented London vocalist Michelle Bee. Bee is someone with whom The Emperor has worked before and someone who helps raise his productions to the next level. On top of all that, the bona-fide gear head that is Andy Meecham is also working on the Future Four project with Erol Alkan, so fans have plenty to be excited about.

The first cut here, 'Hey' is a bristling brew of writhing synth lines, pixelated melodies and quick-licked disco beats that dazzle as much as they drive. Vamping chords bring the tension and frantically arp'ed melodies bring plenty of colour whilst the anthemic vocal cries from Michelle Bee help finish this off as a sure-fire dancefloor destroyer.

As well as a dub version, Ewan Pearson wades in with his own Skronk Disco Mix. It's just as overloaded a track. Layered up with squiggling machines, but there's a more direct urgency and psychedelic curiousness to this version. It also has some stunning sax moments courtesy of guest musician Gave from The Rapture who delivers a performance that really sticks out and lodges the track firmly in your brain. A dub of the same track is also included, as is a dubstramental that's just as dizzying and colourful.

The Emperor Machine then steps up once more with 'Mandy Mutron', which sees him marry big dirty guitar licks to smaller, funkier, tighter riffs and a dubby undercurrent. The results are inescapably and infectiously funky and come laced up with trademark sci-fi synth craziness to ensure maximum impact on the dancefloor. This is another fine product from The Emperor Machine that more than whets the appetite for what is to come from him in the months ahead.

After the recent success of their expansive debut full length on Idle Hands and while they bask in the glory of their recently well received Resident Advisor podcast, Jacob Hodge and Matt Lambert push on with a new EP on Bristol's Futureboogie. To date Outboxx have fomented their own ebullient house style that is imbued with a keen sense of uplifting melody, plenty of analogue dust and some heavyweight bass, largely on Bristol based labels, and this new EP sees them continue in that fine form.
The EP kicks off with 'The Fade', a lively deep house cut with sandy hi hats and harmonic melody hits that surfs and skips with a subtle but sensuous energy. Growing increasingly garage in style as it rolls on, chopped up vocal patches add more oomph before 'Rikkies Groove' gets nimble within its authentically aged house framework. Serene and golden pads twist and turn behind frazzled melody stabs and twinkly colours add that late night feel Outboxx are such masters at evoking.
'Letting Go' is more in line with the downbeat trip-hop that made up the latter half of their debut: the glowing vocals of regular collaborator Naomi drift between loose drum hits, scattered beats and genuinely jazzy melody motifs. The results are inescapably dreamy and delightful.
Finally, 'Need You' is a cavernous construct of echoing claps and buried deep kicks that swells and subsides, implodes and explodes. The titles refrain is repeated over and over and bleeds seamlessly into the arrangements between big string sweeps, noodling horns and classic cymbal splashes.

Once again Outboxx prove that feel-good house music needn't be lowest common denominator or weak-ass house but that it instead can be as richly musical and artistic as any avant-movements.

Cool new release with sick JTC acid remix on Minimal Rome Records! Polysick has the honour to have the 25th release of the label, with two tracks for the MRX-Patiendum Est series. From the mysterious hypnotic visions of Digital Native (Planet Mu) and the Proustian reverie of Daydream (AudioMER), Polysick moves towards an obscure and sinister dancefloor with a 12" that hosts on the B-side a whirling acid remix by JTC.

NYC-based Japanese dub trio joins w/hot Japanese trumpet player Takuya Kuroda (Jose Jame's band, Akoya Afrobeat) for a house-tempo jam. Out-of-this-world remixes by Area & Intrusion, for some boundary-pushing sounds.

DJ W!ld's history in music dates back to the tail end of the 80's where his young and fascinated mind embraced the explosion of Graffiti culture, Disco, Funk and Hip-Hop in his hometown of Dijon. Later as the infectious sounds of Detroit Techno and Chicago House filtered through to Europe, and Laurent Garnier exposed them to Paris, W!ld's interest was peaked and a move to the capital was made. He's now at the forefront of electronic music culture, DJ'ing at some of the worlds leading nightclubs and boasting releases on OFF, Robsoul and Adult Only, as well as running his own Catwash and The W Label imprints.

The release opens with 'Rendez-Vous Love', a dubbed out house number, employing sparse, organic drum programming, insistent low-end tones and subtly delayed guitar licks to take the lead. W!ld rides this groove out for the tracks eight and a half minute duration, while the focal stages introduce ethereal pads, emotive vocal snippets and whispering reverse effects to create a stunning, intricate record. Up next is 'BCN', taking on a different format entirely, with its brooding bass, dark, swirling synth stabs and heavily distorted kicks, showing a brilliantly contrasting side to the Frenchman's productions, this time he delivers a raw, edgy cut full of grit, while the slow blooming structure truly does the elements justice as they intricately evolve throughout.

On the flip side, first up is 'Boys Don't Cry', staying on a moody tip, W!ld opts for minimalistic, swinging drums, alongside resonant acid lines and tension building pads, soaked in reverb, the result is a classy, afterhours number for those head-nodding moments. Then to close the release, title track 'Feel Me' is offered up, taking things in a deeper direction this time, as soft chords, bubbling background atmospherics and weighty drums lead the way, the latter stages see things stripped back to a celestial breakdown with glitchy electronic tonesand warm strings, alongside Latin vocal lines, adding a unique character to the record.

New We Play House summer special. Tracks by Kiani & His Legion, Metrobox and a remix of FCL by David Morales.

Cassy Britton's status as a DJ is hard to rival: she currently holds residencies at four top clubs—Panorama Bar, Trouw, Rex Club and Output—and used to work behind the counter at famed Berlin record shop Hard Wax. "The tracks on the mix all represent what I love about electronic music, and what I love playing," she says. "Simply, each track is individually beautiful-there is not much more to add." Her 17-track effort includes tracks from Norm Talley, John Talabot, Basic Soul Unit, Emptyset and Marco Zenker among others.

fabric 71 will be Cassy's fourth commercially released mix, following 2006's Panorama Bar 01 and two subsequent efforts for Cocoon. She adds: "The project has come at a perfect time for me in terms of me being able to communicate where I am at artistically. I have aimed to get back to the roots of what this should be about for every DJ—namely playing records for the love of playing records—and not because of anything else."

4 seriously boomptified edits from the main man from the Windy City.
Only 200 white labels out there...

Principal Records follow up the superb debut from S & M with the 'M' from that partnership (That man Monkz) alongside the mysterious Mr. Vasir
As before it's the finest, roughed up soulful House which could just as easily have emerged from Detroit as Sheffield. Mr Moncrieff is going from strength to strength !
Fellow Steel City heavy-hitter and exciting new talent Squarehead handles the remix, turning in a rough and ready club workout that really hits home.

Released earlier this summer Rachel Row's beautiful single created a storm both on the White Isle and across the world, and this superb set of remixes look set to further elevate it to anthemic status. First up are Belgium duo FCL with their 'Gentil Mix'. Being a lover of prominent vocals in their own productions (see 'More Than Seven and the massive 'It's You' for further details) it's not surprising to see FCL really focus on Rachel Row's voice, with a square, bassy hook breaking up ambient synths and Row's silky vocals with mesmerising results. Next up is Breach, following on from the massive success of his own 'Jack' record. His effort is a killer production which contains deep and seductive garage vibes which merge together beautifully. Almost unrecognizable from the original, Breach Hood Remix is the Mr Hyde to Rachel Row's Dr Jekyll; transformed from a blissful summer anthem to a bassy dance floor monster. The original record's producer KiNK also returns to bring us his 'Bass & Beats Mix', a version which does exactly what it says on the tin by featuring prominent percussive elements that move towards a growing drop that is dominated by both bass and snare.

RON TRENT lays the groove out as only he can, giving you the power to let loose on the dancefloor. Check out RON's BEWE EFFECT mix and AYBEE's BLAKFEDERATION SLAPMIX. Deep Chicago house music. Due out late July on RON's very own FUTURE VISION imprint

The first 10" release of Above Smoke, brother of Dubbyman, on the Zurich based music label DeepArtSounds. Limited to 158 copies only!
Besides working on various remixes and technical mastering for many artists and labels at the Hole of Dub Studio in Madrid, he also released marvelous and highest quality music on the label Deep Explorer Music, Yore Records and many others.

Warehouse Find!

Time to welcome Soul 223 to the label with his debut Delusions EP entitled Fear Of Stopping. Something of a complete legend in our eyes and ears, Steve Pickton has been releasing top drawer tuneage for over two decades both as Stasis on influential labels such as B12 and Peacefrog and more recently as Soul 223 on equally well regarded imprints like Delsin, Soul Jazz and Neroli. Always one to shy away from any limelight or self promotion it's true to say that this underrated British producer remains something of an anomaly, staying true to his underground roots where faceless, shadowy and obscure reigns supreme over the latest over-exposed cover star. This ethos naturally carries through into his music where you will always find both expansive beauty and unrefined rawness in equal measures ensuring his tracks always sound fresh rather than over produced or contrived.

Fear Of Stopping opens the EP with a low-slung disco groove providing the backbone for intermittent pad washes and reversing stabs. The focus here is firmly on the drums and simple conga riff with thankfully very little else to deter you from this sublime slice of abstract dance music.

Next up we have a remix from another ridiculously talented producer who chooses quality over quantity, having only ever had one release under his own name, albeit for one of the most respected labels in the world; Rush Hour. Maxi Mill came to our attention having released one of the tracks of 2011 namely To The Next. On this, his first ever solo remix he brings a brilliant bump to the EP with a raw, warehousey and bass-heavy workout. Just the right amount of strings and pads keep the deep vibe intact but the filtering bass and jacking drums definitely take this one to the floor.

Flipping over we have Walberswick in it's Hoist Covert Mix incarnation. Almost thirteen minutes of spaced out, deep Detroit house music awaits you, ready to lure you in and cocoon you with it's warm and hypnotizing machine funk. Lovely to hear the old Stasis influence working it's way into this one sounding both decidedly old-school and completely futuristic and otherworldly as only the best tracks ever do.

Closing the EP we have Birdbrook Rain dropping the BPM's for a beautifully sparse track that brings with it an almost desolate and disconnected feeling, echoing synths providing a naive melody while a dusty pad shifts simply beneath. A little slice of magic concluding a fresh and interesting EP, we hope you agree.

The second release on MR KIM'S RECORDS, the new house label run by Chicagoan JAMES CURD (of GREENSKEEPERS fame) now living in the land down under. A old skool NY house cut with a catchy chorus and remixes from some big house heads: PAUL JOHNSON, ROBERT ARMANI & RYAN GATESMAN and JOHNNY FIASCO.

A brand new label split between Stockholm and York, homes of the two artists on this first release. Despite the label name, this is far from being the final chapter, simply the beginning of a new collaboration to push raw club tracks and machine tones inspired by Chicago House and Detroit Techno. Full force, full quality electronic music, plain and simple.
Neville Watson - "Loving the original of Warehouse. Lovely booming kick and deep bass. Atmospheric pads, judicial use of those few elements really gives the track plenty of soul" -
John Heckle - "The Perseus Traxx remix of Warehouse is sounding really nice!"
Jared Wilson - "I dig this record. Good Stuff. My favorites are Final Chapter and the remix of Warehouse"
Lee Holman - "Really great Old Skool feelings on this EP. The Perseus Traxx remix and the original of "Warehouse" are doing the biz for me from this EP!"
Dan Monox / Dixon Avenue Basement Jams - "Feelin' this bro. really liking the classic sound of "Warehouse" and Perseus Traxx remix of it is a nailer too. Will def be dropping this"

Lethal Chicagoid acid madness produced by a team of rabid suburban producers who prefers to remain in the shadows. Just one side of extreme loudness. Vinyl only.

Solid tracks from the Batti Batti Crew with Marco Nega (Underground Quality) and Nasty Boy (Shift Ltd) delivering quality dancefloor grooves whilst Nino (Laid) and Owen Jay & Melchior Sultana take the deeper path into the atmospheric realm. Recommended!

Chicago's Beau Wanzer known for his work with Mutant Beat Dance and Streetwalker makes his debut on L.I.E.S. with his first solo ep..absolute killer!
Wanzer who has been involved in the underbelly of American electronic music for many years, cut his teeth working at Magas' now defunct Weekend Records and Soap. Through that time Wanzer constantly worked on music amassing a sizable studio where he worked in various electronic strains creating an impressive body of work. These tracks come from different points of his career and are stripped down functional pieces made for the dj even if that was not their initial intention.

After his excellent Lullabies To Paralyze on Visionquest at the beginning of the year, Hot Creations release the monumental Highbeams single featuring the vocal talents of Benjamin Franklin.. with a remix 12' to follow...
The A Side features the stunning 'Highbeams' which opens with shifting highs and rims and elongated bass notes creating a real sense of drama in the mix. The exceptional vocal talents of Benjamin Franklin then enter the foray taking the track to euphoric heights as Franklin showcases the full range of his vocal capabilities.
On the flip and Butch delivers the darker 'Faith' which gets moving with some intricate percussive work which gives it an incredibly organic swing. Ethereal vocal and more dramatic bass paves the way for yet another vocal bomb with Franklin's vocals again taking centre stage.
A great double header from Butch with a second remix 12' to follow...

French producer Fulbert launches his newly found Rawthenticity imprint with 4 raw deep cuts made by himself. The significant Fulbert sound is heavily present on this piece of wax. Thumping drums are subtly combined with vocal cuts and floating pad sounds. Raw house music in it's essense.

LPH WHITE's second offering picks up where the first one, by Waze & Odyssey, left us. That 12' featured a remix by London-by-way-of-Southern-California house up-and-comer, Urulu, who produced all four of the tracks included on this EP.

Left Coast is an ode to Taylor Freels' home turf, but don't think it's all blissed-out Balearic burners one might listen to while rolling down a palm tree-lined stretch of the Pacific Coast Highway. Every one of the four songs is a cranked-up, high-octane, peak-hour monster.

4 track EP "dripping wet with deep house analog warmth". "DIRTY LAUNDRY" is an old skool Chi-town house cut ala "WASHING
MACHINE", "NOT SO WICKED" a deep jack track B/w "NOCTURNAL EMO" a frenetic acid trax and last but not least "FABRIC
SOFTENER" a slow bubbly groover. On SOO WAVEY.

A_Christopher Rau_ Simple Setup: In fact, this fine tune could have the capability of becoming a true 'summer hit' - unfortunately we will release it not until september 2013. But maybe you like its loose and uplifting atmosphere anyway. Christopher Rau must have produced this good-humoured work with a big smile in his face.
B1_Christopher Rau_Save The Energy: 'Save The Energy' - attentive boys and girls surely realize that we made a misspelling on the label! So what! More unlucky would be if we release a bad track. But Christopher turns out in an experienced way what he knows best: relaxed deep house with a melancholic touch.
B2_Christopher Rau_Athens: What a rumbling tune! One definitively should play 'Athens' on a good sound system to enjoy its profound sub bass. And dear Dj's: Please don't underrate it just because we placed it on position 'B2'. Played at the right time this track can work on the floor as well as the other ones.

Canadian producer Kevin McPhee made his Idle Hands debut back in 2011 with 'Sleep' and 'House 44'
Over a year on, he returns to the label with two floor friendly, house leaning cuts.
A- side 'Unwind' takes the bumping bottom end and swung drums of early Sneak and pairs it with punchy horn stabs and an
infectious vocal hook.
B-side, A-Jam is slightly more subdued but equally as jacking with McPhee's trademark loose percussion providing the foundation
for lush Uk house pads and a heavyweight bassline.

For the inaugural House Masters release of 2013, Defected are proud to present a retrospective compilation celebrating the work of one of house music's true originals; House Masters Charles Webster. Featuring 22 of his productions and remixes - with an additional 14 tracks included on the digital version - the compilation is almost entirely comprised of brand new reedits and remixes and previously unreleased material, including new versions of Furry Phreaks 'Lament For A Dead Computer Part 1', Charles Webster & Cathy Batistessa 'I Am The Sun' , Charles Webster's 'forget the past' and Jullian Gomes featuring Bobby 'Love Song 28' (Charles Webster Live Mix)
Charles Webster is one of the best-loved music professionals of his generation. DJs love him for making their jobs easier, producers love him for the inspiration he provides and his loyal fan base love him because they can trust him to deliver time and again. After twenty-odd years it's fair to say that Webster has proved himself an essential, consistent innovator in the often fickle world of electronic music.
A true innovator in the scene, Charles Webster is one of the few real mould breakers in an increasingly predictable dance music world. He has sold over 200,000 albums without ever being considered a sell-out, has toured the world with a full live band while regularly DJing worldwide, all of which he has achieved without ever having had the need to be feted by the dance media as a 'flavour of the month'.

House Masters Charles Webster attempts to capture the eclectic, inspirational and peerless body of work of this masterful producer in a single compilation; a bold undertaking but one it undoubtedly manages to accomplish.

With no less than 20 exclusive tracks - some of which are brand new edits of some of his best-known records (all tracks are also lovingly remastered ) - House Masters Charles Webster truly spans the entire breadth of his career, affording the listener a complete view of the illustrious producer. The collection includes early works like the re-edited version of Webster's 1994 classic under his Furry Phreaks guise 'Gonna Find A Way' and Presence's stunning 'Better Day', right up to Webster's brand new 2013 Recalibration of his and Cathy Batistessa's 'I Am The Sun'. Other inclusions are either previously unreleased (Lo:Rise 'Life Goes On', Charles Webster's 'tubes' etc)) or have never previously been available digitally (Presence's 'getting lifted).

House Masters Charles Webster is an intimate collection detailing the exceptional artistic range of one of the UK's most remarkable producers, and is an essential purchase for life-long fans and newcomers to his genius alike.
CD1








(Charles Webster Club Mix 1)

Memory Mix)




CD2


Webster Live Mix)

Webster 2013 Recalibration)


Webster's Deep Dream Vocal)

Vocal Mix)

Crazier Mix)

(Charles Webster Dub)

Webster Mix One)


Webster's Love From San Francisco Mix)

DJ support from; Axel Boman, Midland, Auntie Flo, Deep Space Orchestra, Chicago Damn

The second Ep on Tief Music takes a slightly different approach incorporating african influences and sounds. Prophets of the south is the production project shared by Cape Town native 'Esa Mervin Granger' and Glasgow's 'Ooft'.

Ooft, already an established producer in his own right releasing and remixing on labels such as 'Instruments Of Rapture' and 'Lets Play House' and Esa, one half of the 'Auntie Flo' live show, who is fast becoming recognized as an innovative solo beat maker producing 'african influenced' deep house and releasing on labels such as Burek and his own Rememory imprint met in Glasgow when Esa relocated there from Cape Town a few years back.

Esa's African influences and talent for live percussion coupled with Ali Ooft's masterful production skills have come together to create some truly original pieces of music.

A1 - The title track 'Ek Maak Julle Dance' means 'I make you dance' in Afrikaans, and it does exactly that. Its uses off beat chord staps along with hypnotic synth sounds to conjure up a ravey afro-house track well adapt for a peak time dance floor

B2 - Portable is originally from the same area of Cape Town as Esa which made him a fitting choice for remix duties. His mix of 'Ek Maak Julle Dance' offers an alternative mood to the original. Portable (aka Bodycode) employs his masterful production skills and programming to create a slightly off kilter but incredibly addictive and mesmerizing track that slowly progresses cleverly capturing the feeling and soul of the original.

B1 - 'Boesman Lambada' is a beautifully deep, melodic, rhythmic track which combines lush synths with tuneful Marimba melodies and an eerie lo-fi vocal sample.

B2 - 'Die Plain' is a slightly more up beat but equally atmospheric track harnessing a powerful driving bassline, sparing vocal samples and irresistible rhythms so typical of South African produced house music, a perfect example of two sounds coming together and meeting in the middle.

Paris Club kings, Concrete, unleash a series of Textures, representing their diverse and hugely popular events ....
The label say, in a cool french accent : "TEXTURES I, is a collection of tracks produced by foreign and French artists. All have played at CONCRETE and they all try here to transcribe in their respective styles, the atmosphere of these Sundays on the bank of Port De La Rapée. In this second part we emphasis Techno music which is a huge component of the party... "

Echovolt records begins a new series of official re-issues, shining light on productions that formed the label's identity.
First up is the underground NYC house smash 'Give Ya Luv Show Ya Luv' by Vil-N-X originally released on Island Noyze Records back in 1992. Two essential mixes from two highly sought after gems from the golden era of deep house remastered and pressed LOUD.

..2 BE HEARD". 9 track double pack from the Chicago based MATHEMATICS labelboss featuring a mix of tribal and live electronics, field recordings, andnu age house. Fans of his distinctive brand of Chicago styled acid traxand analog compositions will not be disappointed. All brand new cuts.

The follow up to the coveted ghetto track from JODY "FINGERS" FINCH brings two fantastic remixes from Chicago's DERRICK CARTER. On the A-side, the "BHQ ACID VOCAL MIX" finally sees its release and delivers a straight up jack track with the instrumental on the flip. (LET'S PET PUPPIES)

Fourth release on the Black Ops sub label from the SLEAZYBEATS crew...

While in Europe for a tour slash trip last year, Andy Hart (of Melbourne Deepcast fame) met up with Max Graef (Berlin's golden boy) in Berlin, they hit it off like Batman and Robin and got dirty in the studio together very successfully.
They've been pinging ideas and tracks back and forth ever since, which led to the duo releasing some awe-inspiring dusty deep house together on Box Aus Holz (Graef's own label), Melbourne Deepcast and recently on Ali Ooft's FOTO imprint.

It didn't take long for the Black Ops camp to cotton on and squeeze the splendid 'Heavy Setters' EP out of this odd couple, the fourth release on the Sleazy Beats offshoot project.

The A side of the record is reserved for 'Biting', the delightful inaugural venture of the EP - and perhaps the most groove-oriented of the bunch.
Set at a leisurely pace, it combines moody, hazy organs with a classic bass and loose woodblock claps. Hart & Graef tease us with some well-placed soul/jazz vocal samples before properly unleashing things at the breakdown with a jazz cat banging on about his take on all things 'hip'.

Flip over for title track 'Heavy Setters', where you'll find the 'full-on and lights off' affair of the EP.
Reaching immediately for the jugular, Heavy Setters pulls you under and doesn't let go for 7 glorious minutes. A repetitive keynote arrives on the kick and remains firmly on display here, while open cymbal highs are cemented within the heavy drums and a sci-fi flashback sample.
Things get ever so deep for a second at the halfway break before kicking back to the nasty. A monster slice of chuggy deephouse that works a real treat on a packed floor.

Also on the B is 'Pass the Mortek', a bongo-laced groover that climbs nicely alongside more open cymbal brass and another crisp organ line. Not too intense but also wary of venturing too deep, Hart & Graef create a killer groove with vocal snips and heavy-ass keys. One of those tunes that is perfect to take a dj set in either direction, right up to the next level or down a notch, depending on mood, vibe etc.
Small pops and crackles from sampling from a dusty turntable add to the overall charm of the record and the lovely lady winking at you from the center sticker seals the deal here.

A great EP then, and a great addition to the Black Ops roster.

Cabin Fever are back once again, this time with a fine 12" from the mysterious Edward Mixx.
"Dr Beat" is a straight up Acieed rocker that takes u back to the sweaty proto house raves of 1987.
On the flip "Olati Beat" hits nice & slow and is one hell of a drum machine workout.

From the depths of the cavernous Restoration Headquarters comes the debut album from the notorious Analogue Cops and marks their return to the infamous Berlin imprint. After a busy 2012 curating the Third Side project together with Steffi, the duo pair up for this filthy, distorted and crackling collection of hardware oddities, body stompers and circuit-bending analogue excursions built for total dance floor annihilation. From the pouncing, distorted kicks and funked-out-as-fuck samples of 'Steffi's Disco Crime' or the the seductively grooving house swirls of 'SecondDiscoCrime' featuring Steffi herself, the LP immediately sets the scene for what evolves into a standout work from the Cops. Separated by crafty infusions of machine drones, each side of the two wax plates emanates ferocity, such as on 'Blackmails' - a scorching, industrialist viewpoint on techno and even the broken, percolating beats of 'Fraudulent Advisors'. UK techno crafter and Parassela co-member, Blawan, injects his inimitable grit into 'Light Reduction', a fearlessly scorching bundle of distorted percussion and improvisational sonics; whilst the uncontainable bursts of drums on 'Vopo' are guaranteed to send your jaw into a twist...Last but not least, 'Grove Line Forcing' showcases the duo's undeniably individualistic sampling methods, whilst 'Pearls Robbery' (featuring the mysterious Stanley Anscorm) heads down murkier, more convoluted paths, where lo-fi bass lines meet glitched-out percussion breaks for an early morning mutant techno workout. Watch your back - techno restoration is upon us...

Let's Play House began the first half of 2013 with a single by label co-founder Jacques Renault, and now the guys are kicking off the second with three fresh remixes by international heavyweights Tom Trago, Fantastic Man (a.k.a. Mic Newman), and Francis Inferno Orchestra.

The 12' initiates with Trago's interpretation, which takes most of the infectious and instantly recognizable elements of the original (the thumping drums, the hummed melody) and pumps them up to the next level. Complimenting his maximalist approach is Fantastic Man's pared down rendering, which strips the tune of most its bells and whistles, instead obsessing over the horns and elastic riff that the track is built around. It's a slow burner, but one that will relentlessly, deliberately tear up dancefloors.

The flip features Francis Inferno's spacier take on Renault's work. Like the Paradis mix found on the first single, it launches the song to outer space for a more cosmic exploration, only gently gliding back down to earth at the very end.
Keep an eye out for new material from Renault on LPH, too—there's plenty in more in store!

As Apple Pips continues to explore its opening mantra of echo, depth, swing and bass within the duplicitous realms of modern
electronica, it welcomes to the fold two long-standing friends of the label and in turn sheds light on their own fresh avenues within
house music.
You might already know Lrusse as ID or Behling, commonly found kicking up the dust alongside Sam 'Baobinga' Simpson in all
manner of styles and tempos, while Bleecker has an accomplished back-story in dubstep as Wedge & through his own If Symptoms
Persist imprint. In their new venture both producers fuse their dancefloor inclinations with more searching, experimental textures and
tones, placing crafty sound design on a level pegging with the more immediate tropes of groove and presence.
'Dot Product' dives out of the speakers with a direct hook of a lead synth, but all around it shards of sonic matter flutter and twirl in
the finely spaced mix, from micro-samples of percussion to dismembered vocal snippets. With a limber, easy-strutting beat and some
sub-baiting bass to boot, the track manages to be both leftfield and utterly accessible all in the same breath.
Plotting a less obvious course, 'Stairwell' comes to life in an atmospheric haze of found sounds and shapeless drones, until a subtly
swung beat slips through a crack and into the foreground. The same embrace of intricate detail is present on this cut, but wielded in a
more restrained setting that rises slowly over the duration rather than kicking in from the off. Even the central melody comes draped
in a finely filtered veneer that implies as much as it elicits, making for the perfect foil to the unabashed extrovert Aside.
This record is a decisive step forward for both Lrusse and Bleecker, staying true to their past achievements whilst showcasing the
vitality and imagination inherent in both their shared studio adventures and their individual forays to come. 'Dot Product' has already
been included on Will Saul's brilliant recent Essential Mix for BBC Radio 1.

Club Mod is proud to present 'Believe/One Day' by Sydney's Softwar, on
Modular's imprint aimed at the head, hips and heart.
Representing the new wave of electronic artists sweeping through Australia's
dancefloors, Softwar have been tipped as 'ones to watch' by Time Out Sydney
magazine. No wonder - the Sydney-based pairing of Myles Du Chateau & Jeremy
Lloyd are making some serious noise on the global house scene.
The lads have earned respect from dance music bibles Mixmag and Resident
Advisor, have garnered exclusive plays on BBC Radio 1 and high rotation
spins and live mixes on triple j, and their remix discography reads like a dream festival lineup including 2 Bears, Azari & III, Temper Trap, Bag Raiders, Groove Armada, RüFüS and Clubfeet.
Check out the DJ's reaction so far:
"Love this.. great tune" (Rob Da Bank)
"Great summer feel even though the sun isn't out" (Crazy P)
"Nice one, def gonna play these out" (Jacques Renault)
"Great stuff guys! love it! Club Mod in da house" (SymbolOne)
But back to the present, and their new foray down the musical rabbit hole presents Believe - a late night ode to the time when music was the answer, a
true moonlight-maker. It's backed with a remix from Melbourne's Francis Inferno Orchestra who turns it into his own dark workout.
On the flip, One Day is Softwar in their finest, finest form; It's a
reach-for-the-sky moment that will become a staple for festival sets, with remixing duties coming from Amsterdam up-and-comers, Detroit Swindle.