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Singles - House - Issue 569

Ross From Friends

Don't Sleep, There Are Snakes

Lobster Theremin

Likely to be one of the stand-out house releases of 2017, this scorching four-tracker sees south London's Ross From Friends having climbed to dizzying heights over the space of just a handful of EPs. Making his debut on Lobster Theremin's main label (following his breakthrough 'You'll Understand' on its sub-label Distant Hawaii), 'In An Emergency' dissects distant R&B smoothness with tough 909 beats. When it breaks, it's just perfection. 'Donny Blew It', meanwhile, with its New Jack chords, is salve for the soul.


'2017 STAY PARO'


Ok, so, Gage’s 2017 STAY PARO is either the best or the worst thing I’ve heard all year. On it these weird, overheard conversations turn into abstract tracks and harshly EQed hoovers are deployed as melodic ideas alongside torrents of helium powered vocal loops. Honestly, I can’t figure it out. Either the lad’s a rainman level audio genius or he’s a very confused person who someone should probably pop round and look in on. It’s bruising, inflated and exclusionary - but I can’t stop listening.


'Ambievert Tools Vol. 1'

R&S Records

Sometimes our musical preconceptions can actually work in our favour; even though most of the time, they really don’t. When referring to this brand new three-track 12” from Lone (that focuses solely on the dancefloor), your initial reference points are more likely than not absolutely spot on: his bumping four-four rhythms pound on creatively while his trademark shimmering synth-work colours the space in between the outlines. He’s not reinventing the wheel, but, shit, these are great.

New Jackson

'Anya's Piano'

All City

If I were still doing a regular radio show (RIP Hivemind FM) then the latest three tracker from New Jackson would’ve grown to be a bit of a godsend considering that it fits in perfectly with a lot of things around it, but it uses loops that themselves stand out a mile. The double bass of ‘Anya’s Piano’ is a case in point — yes, it bumps on the house tempo nicely, but there’s also real substance to the arrangement.

Sim Hutchins

'Ecology EP'

No Pain In Pop

Over the six tracks on his 'Ecology EP', Sim Hutchins creates some masterfully unsettling soundscapes. Crackling with a slight bitcrushed texture these fantastic ambient cuts pout in all the right places with the dulled spacing of his reverb playing as big a part as the way he toys with his scales. If it all sounds ‘kinda flat’ to you, trust me, it’s meant to be that way. Turn it up, close your eyes and centre your breath.


'Hymn EP'

Coyote Records

I’m sincerely into the way that beatmakers are now trying to include a cut on an EP that helps establish themselves as more of a vessel for emotion. We’re all human, after all, so why not serve up a cut that sounds like 5 separate, inter-connecting layers of panpipes to act as a palette cleanser? Truthfully, Forever’s Hymn EP is so much more than a means to a trend though, it delivers a lot of melodic potential.

Nan Kole


Black Acre

Tipping its collective attention toward the caterwauling world of South African house music, Black Acre’s latest 12” comes from Italian ex-pat Nan Kole (aka the guy who’s been piling in the work to tip the world to the sound of Durban with his Gqom Oh! label). And as you might expect from such a character, the music is freewheeling, supple and rhythmically driven stuff. ‘Malumz’ feels like a soft synth version of aciiid house that comes complete with whistle stabs.



Livity Sound

It’s sad to admit but there are few things in life that make me perk up like the words ‘new Peverelist album’ do. Well… maybe a pair of box fresh throwback Vans or a really swanging new Dickies overshirt would have a similar effect, but there’s simply something about the Bristol-based producer’s side eye approach to techno that I’m always intrigued by. There is NO ONE out there that jams cymbals like he does — go listen to ‘Wireframes’ ASAP.




The title track from Air Max ‘97’s latest release for the Decisions label is a piece of music I would’ve gone absolutely nuts for a few years back. That bassline is so rude and simplistic and it’s got a real tongue in cheek, thugged up junglist aspect — sort of like something Pangaea would do — and that would’ve been all I needed to write 750 words all about it. Tracks like this make me miss running a blog. Kinda...