Thoroughly arresting house music here from German/Venezuelan/Austrian Eduardo A. Arreaza, aka Moony Me, and Klamauk's first salvo of the year. It sets the bar perilously high, mind you. 'City of Storms' busts out warming, slightly wonky pads, before Iron Curtis gets his hands on it, delivering a scorching, peak-time tear-up. Both deserve to be future classics. Meanwhile, 'Glass Jungle Chant' hurls out some delirious digital samba vibrations, among the brilliantly weird jazz samples. Just brilliant.
James Hadfield feat. Danny Linton
Me Me Me
Magnificent curation here from Man Power's Me Me Me imprint, bringing a masterstroke from James Hadfield and Danny Linton. With its tribal howls, Soak skirts the right side of 'world music' without being wanky — always a perilous tightrope act. Instead, it's wonky and wonderful. Man Power himself drops in a moody, acidic re-rub, while Axel Boman wallops yet another remix out into the bleachers, dropping the four-four in favour of a new genre, Balearic garage (which has just been coined here, this very moment).
Panthera Krause's third outing on Leipzig's sterling Riotvan imprint is a stunner, already finding fans in DJ Koze and Gilles Peterson. Twerk It is the show pony of the lot, an intricate, swelling, groove, all clattering claps and drums, bells, burbling synths, dreamy pads and shaking, rattling tambourines. It's just a joy to be around. On the flip, the beats break up, with Take Me busting out a b-boy loop under ecstatic noise, while Stonith drops cowbells aplenty atop clamorous percussion.
Ten Thousand Yen
Malmö born, Barcelona residing Rimbaudian (aka DJ Seinfeld, aka Armand Jakobsson) is one of the most exciting new house producers flipping faders at the moment. This four-tracker for Doc Daneeka's Ten Thousand Yen shows the wealth of skills at his disposal; there's wig-out jazz (the good kind) on She Taught Me How To Love, and frisky, lo-fi house vibes on Drop It On Em. Over, I Would Do Everything Again and Again and I Said Goodbye To Dreams of You at the Shore, despite their verbosity, are breezy and blissful.
Jamie Lidell/Matthew Herbert
Lidell and Herbert have been muckers for donkey's years, but this bootleg of the former's track 'When I Come Back Around' from his majestic 2005 album 'Multiply' is special. Knocked up by Herbert in 'laptop-in-a-hotel-room' style, he's been dropping it in sets to general hysteria for a while, and now its being unleashed on Accidental Jnr, his spin-off imprint for club gear. And club gear this most certainly is, heavy with tribal percussion, dark rave pads and Lidell's soulful delivery. Just essential.
Despite making people flip excessively between upper and lower case if they want to document his progress or put his name on a flyer, there's still enough goodwill left to doff one's cap to Fuse London ressie Rich NxT, this third release on his NxT imprint providing ample bumpy thrills. '1=0' boasts dreamy pads amid the skippy percussion, while 'Trumadog' cleverly ploughs a narrow furrow without getting boring. Finishing up, 'FUHP' (MORE CAPS! ARRRGH!!) is solid warm-up gear, to be underestimated at your peril.
There's not much known about this debut from Patrick Conway for Radio Slave's ever-impressive Rekids. Save to say it comprises three tracks of heavyweight dancefloor gear. The title track is pinned down with bass enough to rattle your fillings, a pulsing synth squeezebox eventually giving way to a girthsome break which will have you and yours reaching for the lasers. Over, 'Orbit' is beamed in from deep space, a spooky, rave-indebted number, with a heavily syncopated re-rub from Hessle Audio co-founder Pangaea. Bosh.
Lost City of Atlantis
'Melted Ice Exposed Treasures'
Slow Town Records
This mysterious release on Rhythm&Soul's eminent Slow Town imprint is reputedly from a 'well-known Chicago producer' under a nom de plume. Pared down, dark, funky and slightly weird, we reckon we might just know who is. And yes, it's probably who you think it is too. 'Secret Code of 7' is a brooding workout, flecked with burbling acid, while 'Microchip' drops in gospel organs among the shuffling percussion and a mucky bassline. Last track 'Four' is the one, though. A freaky, robotic work of certified genius. Superb stuff.