Rhythm & Sound
Roll Off

Locked in a 486 glow, lightblink machines nightlight, being enters lighttime limelight. The long nineties already distending, the Major midbloats, crowds throng superclubs- strobelit honeys on a podium in Ibiza already blasted a stratosphere away from mildewed badflats, emphysemic parlours, the fug of week old washing drying slowly on the rad. Ach we’ll hang it out in the morning fire another joint of badhash and turn that tape over. We are being Here. beings disconnected, shut ins, psychick worriers, long walks to and from clubs, mostly dark, always raining, or mizzling anyway, lug bigbrick machines into cabs and Venue, setup and playing live and right now from the lounge lobby at Sativa, down the stairs from the caustic, twitching thrashpit being sits, being works. Dole sludge, shirking class zeroes, scoff pizza rolls w salad cream, that headchef gaffer never reckoned you’d graft at the potwash, a slick fur of rotfood dish slop residue right to the elbow, absolutely bowfin. Rumours of other places, people, scenes, tapes sent and emissaries return, invites to get trains, overnightbus south to London. being brought water to the ‘wells in South London and monthly emissions snaked out into the world, into badflats elsewhere where gowched couch tatties sprawl and the being burrowed deep into memories.. Tea is toast and sandwich spread and endless crisps as the binbags pile high in the backyard, the being blinks, it’s a twilit morning and it’s time to go to bed.

Die Orakel reveals Lake Lemuria EP by Poly Chain, a full-on electro emission loaded with relics of British 90s IDM. The pun intending Max For Death commences the sonic diffusion with booming bass drums, reverberating acid line, plus an elevating meandering melody. Latter qualities extend and modulate subsequently, in variations joined by slowly shifting atmospheric pads and fast paced electroid geostructures, rendering a polychrome four-track braindance-scape.

Vinyl Only. LimitedMixCult’s NO REPRESS sub label is represented by artists who characterize a very clear vision of what refined music is. This first release of year 2022 is a Various Artist compilation featuring Dub Tech House virtuosos: Dan Goul, Genning, Dubtommy, Komey & Anas M. Each producer provides a zest, leaving a very personal signature of groovy-ethereal and energetic cuts. This EP feels borderless, eradicating the limits in which DJs can use the tracks it contains. Definitely a must have for those elite-class sound explorers.

Cryptobitch has officially infiltrated, and corrupted the Planet Euphorique mainframe. The 17th release on the label orbits beyond tangible earth and seemingly slides into the new age of sexy cyberspace. 7 tracks of eclectic lysergic bliss, spanning speeds and servers; originally recorded over 2010/20 and re-released into today’s future; making more sense than ever. Hosting post-hyper electronics, recontextualized data and warped familiarity with metaphysical links to patterns of hacking; crashed genres and next-gen dance excursions flow throughout the record, only broken by bot-breath and text to speech realness. Hot-wired rhythmic signals scurry and disperse as your senses awaken, a harshness perfectly calmed by surfing over textures of the digital sublime.The Bitchy & Glitchy soundtrack to your personal, anonymous chat room fantasy.

Eros’ Go For It is a fearlessly original take on Paradise Garage disco, mixed in a way that feels equally Mad Professor and Walter Gibbons. The story of Eros begins in a high school in Vauxhall, New Jersey in the mid 70s when four kids began a friendship based around their mutual love of soul, funk, rock, disco, and bands like Earth, Wind & Fire and Funkadelic. Assanouan G’Bado, Fletcher Gaines, Bobby Jones and Mike Freeman started off jamming after school, playing occasional gigs in New York and honing in on an original sound. When the group graduated, Assanouan and Bobby went off to the service and Fletcher went to university. Eros reunited in the late 70’s and began taking things more seriously, producing a set of songs with the intention of getting a deal with Motown. The morning after recording a full album’s worth of material, the group flew to Detroit hoping to sign a record deal. The legendary label was interested in the songs, but made them an offer that didn’t feel right for the group. The songs were shelved and Fletcher and Bobby moved on to new ventures. Mike and Assanouan pursued a self-released single on their own DAP records, reinterpreting two of their Motown demos with drum machines and overdubs to fill in for their two missing bandmates. Go For It was their individual take on disco, and the new 1985 remake took the AOR-oriented demo version, and transformed it into a transcendent dance floor illusion, that, in an alternate universe, would have turned dancers at the Paradise Garage upside down. Similar to Stephen Encinas’ un-classic, the song mutates deftly at the half-way point, opening up into a stripped-down and dubbed-out denouement, adorned in cascading electronics and the soaring vocals of Barbara Green. Go For It is the first of two releases from Eros on Mixed Signals, and pairs the group’s expanded electronic remake with the original Motown version, rescued from the last surviving demo cassette. Stay tuned for the unreleased demo album Motown missed out on, slated to come out later this year.