Since the release of Heterotopia in October of last year, we’ve been working on a fitting follow up and today, we’re proud to announce a three volume series of Heterotopia Remixes, featuring reworks of songs from the original compilation. Our friends at Mixmag were kind enough to host Fraxinus‘ tumbling remix of Kid Antoine‘s “Nightvision” this morning and we’re excited to release Vol. 1 in a little over two weeks. We’ve worked to bring the original contributors, as well as a number of artists we admire, into the fold and couldn’t be happier with the final result. Head to Mixmag for some more words on the tape and check the full track list for Heterotopia Remixes Vol. 1 below.

  1. Celestial Trax – Illuminate (Druid Cloak Remix)
  2. Air Max ’97 – Chasm (iglooghost Remix)
  3. Iglooghost – Wood Farm (Sharp Veins Remix)
  4. Arkitect – Foucault’s Dream (Patrick Brian Remix)
  5. Kid Antoine – Nightvision (Fraxinus Remix)
  6. Imaabs – Cautiverio (She’s Drunk Remix)
  7. Mike G – Limestone (Chants Remix)


An adaptable character to say the least, Polish producer The Phantom has donned a number of hats over the past several years, traversing widescreen disco as Ptaki, fairly straightforward, but deeply affecting throwback house on LP1 (out now on Silverback Recordings) and, most recently, a predilection for grime and new age. LP2, out Monday on Silverback, couldn’t be different from his first Phantom album, both in terms genre of choice and general mood. LP2 is dense and searing beautiful, the sort of tempo-shifting tape that has really only come into existence in the past year or so and can only sort of be considered grime (or whatever). “Earth Beat” is the most outward-thinking track on the effort, a wobbling burner that periodically explodes with energy. Considered “proto-grime” by the producer himself, LP2 represents an exciting turn for a chameleonic producer and we can only hope he decides to stay in this lane.

milktrayWhile DJ Milktray‘s recent All Because The Lady Loves EP (out now on Astral Black) can safely be considered a form of R&G, specifically in the Blackjack vein, the rest of his work has skirted a number of genres and intentions and his latest rework, of Imami’s “Iridescent” is a thrilling leap into skipping garage and kitchen sink half-step grime. The edit will be released as a part of Imami’Contrapposto EP, a thrilling set of bizarre club manipulations set to be released on Tessier Ashpool Recordings, Infinite Machine‘s sister operation, on February 26. Contrapposto is a maximalist effort at heart, full of water drops, metallic sounds and scattered percussion, a sound that wouldn’t be out of place in a Hudson Mohawke set circa 2008. Milktray’s edit does little to quell the madness, instead accentuating the strongest points of “Iridescent”. A queazy rubber, almost voice-like noise that fills the interstices between percussion is especially tantalizing, giving the track an elasticity only the best club music offers. Be sure to grab Imami’s Contrapposto on February 26 and always be on the lookout for new Milktray.


parrisBack in April 2013, Keysound Recordings released the This Is How We Roll compilation, a technicolor ride through the Keysound roster and beyond. The tape created a rumble at the time, largely due to its hybrid approach to what is now, by-and-large, being considered instrumental grime, and looks even larger in hindsight, both due to its collection of producers (Visionist, Wen, Moleskin, etc.) and wot u call it aesthetic coherence. To define the This Is How We Roll aesthetic would be near impossible, but various offshoots, sprung in the past several years, can be identified, There’s the sorrowful, choral take on grime championed by Visionist, Dark0 and Mssingno, a deeply melodic sound that could also encompass the new age tendencies of Deadboy, Strict Face and Loom. There’s the hybrid techno / dubstep sound pushed by Acre, Facta and Beneath, a tumbling, sound system-specific brand of dance music that’s pushing sonic barriers. And then there’s Wen, conflating pirate radio, dubstep and grime into his unique melange.

Few deejays master a single sound over their career, let alone several, but London’s Parris, founder of Soundman Chronicles, has managed to corral the This Is How We Roll aesthetic better than just about any other selector. Part of a close-knit collection of Keysound artists and affiliates, Wen, Etch and Facta included, Parris has functioned as one of London’s best keep secrets for several year now, taking dubstep’s roll into bizarre, slower territory, performing regularly on Rinse, first as a guest on Youngsta’s Minimal Mondays and now with his own show, and curating several must-have releases as the man behind Soundman Chronicles. With a rare attention to detail and a proverbial bag full of dubs, Parris has produced a joint single on Tempa with Wen, released music from Rabit, Etch, Epoch, Facta and J.Robinson on Soundman Chronicles and become everyone and no one’s envy: a touring DJ.

And while Parris has his own productions played out on Rinse and other stations regularly, his mix work is still the best place to understand his personal aesthetic, as well as the Keysound aesthetic if we’re being honest. In hindsight, it’s easy to view the development of young producers like Gage, Neana and Sudanim in a vacuum, or firmly ensconced in the Night Slugs lineage, but the role of Parris, This Is How We Roll and Soundman Chronicles cannot be undersold. Parris’ Astral Plane mix sees the Londoner boiling his polyglot sound down its richest essence, a bass weight-heavy blend of discordant dubstep and fundamentally sound, blippy techno. Parris’ fam aren’t just prevalent in the track list, they are the track list and while some crew mixes might seem indulgent, Parris’ enviable reach makes this mix anything but.

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Another lucky giveaway for the City of Angels, this time featuring a stacked club music bill featuring some of Chicago’s best. We hardly need to introduce Brenmar, Sasha Go Hard and DJ Spinn, but each respective act has trail-blazed their respective way across the United States (and further) and created their own distinct lane within the rap, club and footwork worlds. Taking place at Los Globos this Thursday (1/22) and thrown by the good folks at IHC Presents, the night will function as the release party for Brenmar’s Award EP, an effort that sees the New York-based producer striving for wider audiences on collaborations with Uniique, Dougie F and more. Comment below with your favorite Sasha Go Hard track and cop tickets for the show here.

10919053_988858281128970_3808385060547058630_nThis Thursday (1/22), the Phuture Perfect crew is bringing out Bristol’s finest, the Livity Sound repping, Jeremih bootlegging Kowton. Set to take over at The Lash’s Downtown location, Kowton will be joined by Private Selection’s Dreams and Arkitect, who are about as lethal as a team Los Angeles has to offer these days, and will be joined by Phuture Perfect’s residents Aura T-09, Zoraya and Charlie Sputnik. Known for his percussive hybrid take on techno, dubstep and grime, Kowton’s constructions are intimately connected to the UK club culture, pushing the sonic spectrum in increasingly more vivid, angular directions on his solo productions, as well as collaborations with Peverelist and Julio Bashmore. Answer below with your favorite Bristol classic for a chance at a pair of tickets and we’ll see you at The Lash this Thursday!


Continuing their run of wildly successful, sonically-themed compilations, Paris-based imprint Sound Pellegrino has released SND.PE VOL.04: Melodic Mechanisms, a tape featuring Moleskin, Sudanim and CYPHR, as well as a whose who of the label’s stable of French producers. With a focus on sound design, spatial awareness, and, of course, melody, SND.PE VOL.04 is a compilation intended for a heightened club experience, for listeners bred on Japanese video game soundtracks, trance and devil mixes. A few weeks ago, we featured newcomer Doline‘s excellent contribution to VOL.04 and the strobe light brilliance of the Parisian’s “Karidja” set the time for an immaculate listen through and through. Get your own copy of SND.PE VOL.04 in digital form or on vinyl and stream snippets of the full tape here.


As Apothecary Compositions has expanded from a small, cassette-focused club music imprint to a huge online store featuring releases from PAN, Tri Angle, Hyperdub and more. While a discerning onlooker might expect the label side of the operation, headed by Joseph Morris aka Druid Cloak, to look for bigger, more populist artists in tandem with the web store’s expansion, they would be mistaken. Instead, Apothecary is still one of the foremost outlets to find up-and-coming club music flexing their abilities. Portland, Oregon’s own C Plus Plus is the latest to join the roster, bringing the Cearà LP to the Apothecary shelves. Heavily featuring fellow Portland resident Karmelloz, the two have already released a joint 7″ for Hallowed Articles, the four joint tracks show remarkable chemistry, a blend of C Plus Plus’ driving club rhythms and Karmelloz’s elegiac house flow (seen on labels like 1080p and Hoko Sounds). “Gunshot Riddim” is our favorite of the bunch, a riddim flavor packed with ballroom energy and a cyclical vocal sample at once lulling and invigorating the track into the next bar. Cearà cassettes are shipping now so get yours before supplies run out.


In an interview with Passion of the Weiss’ Son Raw last October, Ipswich-based artist Loom responded to a question about the dichotomy of classic grime influences and sonic motifs that could be considered outside of the purview of the first wave: “It’s easy, I know what elements of Grime I want to use in my music. I know what I want to hear and the same goes for all the other influences I draw from.” It’s a simple statement, but its intent is what is important, a driving desire towards experimentation in a genre rife with both incidental and purposeful postulation. And as someone who references Erik Satie, The Knife and Wiley as influences, it’s no surprise that there’s something tangibly different about Loom’s output, a sound tangentially tied to eskibeat, but with an element of sprawling, panoramic synthscapes reminiscent of Tangerine Dream (without the cheese). It’s no surprise that Loom found a home at Mr. Mitch’s Gobstopper Records, a label that, while only restarted last year, has already set the tone as a forebear of what’s to come in the world of grime-not-grime.

Last week, we referenced the inherent griminess of Astral Plane mixer Saga’s production work, a sonic element that informs his work from start to finish. Loom’s productions are also full of digital dirt, dust and grime, whether in the form of roughhewn square waves or pirate radio chatter. Whereas Saga’s work can probably be considered purposefully blunt, the brilliance in Grade, “Mazed” (from Boxed Vol. 2) and the still-to-be-released “Pompelmo Riddim” (a joint production with Tarquin) is the elegant beauty that arises in Loom’s major chords. Unlike many of his contemporaries, Loom doesn’t feel the need to submerge the overt beauty of his work below, within or behind what we consider the “classic” grime components, instead making them one and the same. As grime and our apparatus for identifying what is and what is not in its sphere moves forward, it wouldn’t surprise us in the least if Loom’s catch-all approach becomes more popular.

“Fukushima”, the final track on Grade, is Loom’s excursion into the weightless/beatless territory explored by Mumdance, Logos, Dark0, Deadboy and others recently, matching soundtrack-level dramatics with the pacifying nature of new age. It’s made up almost entirely of square waves, but is further from classic grime than any other song on the EP, and, while it takes some influence from Wiley’s “Devil Mixes”, it wears its exterior influences on its sleeve. Loom’s Astral Plane mix features a wide array of grime-songs-taking-influence-from-elsewhere like Deadboy’s sparkly, choral “Return”, as well as songs-from-outside-the-grime-sphere-that-take-influence-from-grime like Untold’s “Stereo Freeze”. It’s a thoroughly engaging listen from start to finish and includes moments of chin on fist contemplation and hands in the air frenzy. It’s Loom’s ability to cohere disjointed constituent elements into a singular whole that makes this mix and his body of work unique.

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sheikFunctioning as the b-side of the white label release for Tony Phorse‘s “Zartan In Reverse”, Sheik‘s “Robo Boogie” edit of Phorse’s “1984” hits on a number of contemporary sonic touchstones, but it’s an old school electro track at its core. The London producer’s rendition seems to fall into an almost half-time drawl at times, but the hi hats don’t stop before long the sharp kicks are punching again. The original “1984” came out on Phorse’s Zartan EP back in May 2014 on London imprint District Sound, a genre-mashing affair that, while a bit unfocused, is a thrilling listen from front to back. Sheik collects “1984”‘s manic energy and re-disperses it across the rigid backbone of sparse electro. The edit is “coming soon on white label.”


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