Brassica - Everything [Civil Music]

Pional - It's All Over (John Talabot Remix)

DOWNLOAD

Telescope Remix - Pino Donaggio

Been hunting for this tune for a while - turns out it's available for free download so get it while you can. Wherever you may be, this'll take you to a good place.

Telescope (Young Marco Edit) - Pino Donaggio [I'm A Cliche]

Introducing SLAPFUNK RECORDS

The Discogs profile page for SlapFunk Records doesn't beat around the bush, describing them as a 'Dutch based label foccused [sic] on RAW house music'. This much is evidenced on their latest release, 'Raw Joints #3'.

Contained within four tracks by four different artists is an adept summary of the SlapFunk aesthetic - jacking, techno-fuelled deep house rhythms that maintain a heavily-European flavour. There's a noticeably Dutch / Germanic styling to all four tunes, especially the opener, 'Splittin' Atoms' by Larry De Kat. It's punchy and straight to the point, dancefloor stuff that's full of soul.

Second is Samuel Deep's 'Djoembat', a bustling jiver that continues with the narrow focus laid out in the previous track. Reversed-hats mingle erratically with frenetic percussion to ensure the mood stays deftly on point.

This carries smoothly through to 'Old Stomping Grounds' by Anil Aras. All three tracks to this point maintain a concrete intention: to get people dancing. And they do this well. What's interesting however, is the broad sample of styles collated for this release; it's a smorgasbord of European, Detroit and UKG sounds, which all combine to pack a punch.

Closing the package is 'Stackin Papers' by U Know The Drill. This one is an out-and-out whomper, like early Objekt material sprinkled over a meaty 4x4 template - vicious basslines combining with a fat, analog percussion track. This is definitely the cut of the release, but all four tracks deserve airplay.

Raw Joints #3 - VA [SlapFunk Records]

[SLPFNK006] is available now from Juno.

Introducing NOT SO MUCH

photo credit: Dan Reid

Mosca has come a long way since bursting onto the scene with the Night Slugs crew in 2010, gradually modulating his sound away from the grimey, garage-licked flavours of those early records towards a more direct, strictly-defined house and techno style. This change was typified in the excellent ‘A Thousand Years’ Wait’ on Delsin offshoot Ann Aimee late last year, and is further displayed here in the 'No Splice No Playback' two-tracker on his new label, Not So Much.

The first track is ‘Suckle (Twenties)’, six minutes of deep, driving house that could be mistaken for early Levon Vincent work - stomping, marching percussion punches out around a whirling synth. Though the metamorphosis towards 4x4 territory is in full-effect, the vibrant catchiness of earlier releases (‘Bax’ et al.) is still on show - the melodious ring to that main synth embodying what’s quickly becoming the ‘typical’ Mosca sound.

On the flip is ‘Vinny (Flamingo)’. An even more direct offering than the former, this one is a brooding basement lurker that pumps a stifled, padded kick through ringing bells and shuffling hats. Slightly more subtle, there’s scope for this to operate as a transitionary moment from lighter sounds towards the after-hours vibe.

No Splice No Playback EP - Mosca [Not So Much]


Overall, a strong start for Not So Much - check the vinyl on April 28th and the digital on June 2nd.

Words by: Matt Woods

Featuring AL GOBI

'Pueblo Grande' is the debut release from new UK-based label Constant State. This first 12" comes from label heads Al Gobi (Ian Blevins and Phil Moody). The pair had a pretty stellar 2013 with releases on Disco Bloodbath, Rothmans and Audio Parallax.

First up in this instance is 'Cup Of Tea', a fantastic example of imaginative track-naming if ever we saw one. A heady piano score rolls onerously through proceedings and a host of timpani back things up percussion-wise. Underneath it all is a subtle and wobbly bassline that ensures the groove remains firmly on track.

Cottam takes over the entire A-side of the record. Dismantling Gobi's efforts for his 'Ruff Treatment' remix, he chops that bassline and dips it into a healthy amount of acid, morphing it into something of a monster. Bigger and ballsier than in the original, the bass now gnaws its way through a thickly-padded kick drum. That same piano roll makes an appearance, in a seemingly more morose guise.

The second of Al Gobi's tunes to make it onto the release is title track, 'Pueblo Grande'. They've perhaps done a better job in naming this one - think sandy ruins and desert heat as stunted drum beats and stuttering bass weight play out across the landscape. Straightforward deepness with no frills, that now familiar piano makes an appearance again, except its use is sparser, lending itself to the track's barren and ritualistic feel.

Pueblo Grande EP - Al Gobi [Constant State]

[CSV001] is available soon via Juno.

HH MIX #050 - ACHTERBAHN D'AMOUR

Berlin's Achterbahn D’Amour are Johannes Paluka and Jurgen Albert, aka Iron Curtis and Jool. They released their stunning debut album 'Odd Movements' last month on Acid Test, matching emotionally-tinged funk with acid basslines and tinny drums from Roland's stalwarts - the 303 and 606.

Fortunately, they also found time to deliver the fiftieth mix in our series, Achterbahn D'Amour deliver an acid-fuelled 45 minutes of machine music, old and new. No tracklist, so get digging!

HH MIX #050 - Achterbahn D'Amour [download]


Here's to the next fifty!

Interview: KESPER & SLIPSTONE RECORDS

Local record labels seem to be a dying breed of late. The financial costs too high, the returns too low. Fortunately, there are still some people wanting to make a go of it. Enter Slipstone Records. I caught up with founder Chris I'Anson and label debutant Kesper (aka Chris Pawlik) about Slipstone, the release and drunken house party agreements.

Good to talk to you guys. To start off, what was your inspiration behind starting the label?

CI: At the end of last year I was getting a bit sick of the same sounds being used and churned around. There wasn’t anything that I wanted to hear really - I was being sent promos that all sounded like each other. It all just got a bit old. I was bored of seeing the same names on the same labels. Don’t get me wrong, the tracks were good, but it wasn't anything groundbreaking. Then, I had a little trip abroad to Berlin, and I’d be lying if I said that didn’t influence me. When I was there I just heard a lot of really, really good stuff. When I came back I was hearing the same old house sounds, and I thought, I could do something new. Felt like the right sort of time too, university work was growing a bit stale, and I didn’t want to go into that straight away. So I thought, what do I love? Music, so I’m gonna do that.

Nowadays, a lot of people starting labels shy away from vinyl because of the expense and the perception of it being a dying art. How important was it that your label was going to revolve around vinyl?

CI: It’s very important. For me, playing vinyl is more fun than playing digital tunes, but it’s about the whole experience - the cover, the sleeve. Doing an arts degree, being able to do the creative side of the record, it can be my creative output; the vinyl, the cover, all the extras you’ll get with the record. I don’t know, digital is kind of throw away. I just love vinyl, and at the end of the day, you’ve got to do what you love.

Very true. I’ve been meaning to ask, what was the reasoning behind the name?

CI: I was having a lot of trouble coming up with the name really - I thought for ages. I’m an outdoorsy guy so I wanted to give it an outdoorsy feel, but the names I came up for that didn’t really work. Then I thought back to when I grew up, and near there, there’s a climbing crag called Slipstone rocks. I always loved going there and I loved the name. So I thought, let’s have that. I really like the name and so far the people I’ve talked to like it as well.

Yeah, I'm a fan. A question to both of you - Who approached who when it came to the first release?

K: I think I commented on one of Chris’ mixes on soundcloud.

CI: Yeah it was a bit weird really.

K: I don’t think we’d have found each other if I hadn’t…

CI: Yeah you commented on my mix, then I checked your tunes out. I messaged you - you had a profile picture that didn’t show who you were - but I assumed it was probably someone I knew from BPM or the Leeds scene. Turns out we hadn’t met. This was about six or seven months ago, and when I decided to start the label, I thought Chris would be right for it.

K: Yeah, you approached me at a house party.

CI: Is that where it was?

K: Yeah…I told you had I had some tunes for you.

CI: I can’t remember...

Where all the best relationships start….

CI: Haha yeah. We were just dancing in the main room, Chris was right next to me but I hadn’t realised. 

Kesper [photo credit: Bryony Eacott]

Kesper, have you always produced the same sort of music that's being put out on Slipstone?

K: Well, one of the first ever tracks I remixed - an Anton Lanski tune - kinda kicked things off for me, the structure of the track, the way it sounds. Ambience and atmosphere have always been a huge part of my productions so I wanted consistency, that floaty-ness and breath of fresh air you get with those sort of tunes. So I’ve just been sticking with that, and I feel this release is a result of the tunes I’ve made before - lots of different sub-genres, minimal techno but also the ambient side of things too. Yeah…we just did it, just happened.

I know you’re associated with the Bristol-based Banoffie Pies - how influential were they in your release?

K: Those guys have been massively inspirational. They just had this idea and they went for it, and you know, I’m kinda following on from that they’ve done, but up in Leeds. 

Are you thinking long term with Slipstone, Chris? Anything lined up, future releases?

CI: I’m kind of taking it easy at the moment. I’m not doing this to churn releases out, to get content out there. If I’m approached or I find some good stuff, I’ll get in touch and try and get something out, but at the moment I’m in no rush. I have got my eyes on a few people, but no solid plans at the moment. We want to focus on quality output, the pressing, the artwork, everything.

The artwork seems like an important part of the release - you’ve mentioned previously about getting local artists involved?

CI: Yeah, I want to get as many people involved as possible - if we can make it a community label, it’s more likely to succeed, and the easier it is for people to promote their sounds. It’s difficult in the music scene and I feel it’s important that people help each other out, so I want to do that as much as possible.

I noticed from the promo video that there seemed to be a space theme, was that deliberate? 

K: Yeah, we wanted the EP to have a concept. 

CI: A lot of people are starting labels but there isn’t a unique selling point. With this release, the sound, the image - it all works together. 

K: Yeah, we wanted to make it concrete with the first release, we felt it was important. It was in line with our own vision and other people’s feedback.

Have you got a date for release?

CI: May 4th and we’re doing the launch night on May 7th.

You must feel like it’s gone incredibly quickly. What is it...six months from conception to release?

CI: Yeah, it’s gone so fast. Rather than thinking a week in advance, at the moment I’m thinking months in advance.

K: It’s hard to stick to that plan as well. There’s always delays, issues…

Well, I commend you for it.

CI: Thanks. We’re trying to add as much value to the vinyl release as possible. Hand screen-printed artwork and a few more treats that are going to be in there…yeah. If you’re going to invest in a physical piece of media, you want to get your money’s worth. 

Appreciate you talking to me today guys. To finish, Kesper - favourite tune at the moment (and not your own)? 

K: It’s actually a free download, by these two amazing eastern european producers, Gorje Hewek & Izhevski.

And Chris, if you could sign anyone to your label, who would it be?

CI: I love the sounds and have been inspired a lot by Oliver Schories, a guy who's not got much of a rep round here compared to on the continent. He, and sounds similar, are a huge inspiration to me. But maybe not for the label, well not yet at least...

Moonwalk EP - Kesper [Slipstone]

[SLIPSTONE001] is out May 4th.

Featuring SPENCER PARKER REMIXES

Berliner Spencer Parker drops a couple of remixes of his most recent release, ‘The Moment Not The Memory’, allowing techno heavyweights Answer Code Request and Aaron Siegel to apply their own stylings to the three-tracker on Parker’s own Work Them Records.

Looking first at Answer Code Request's remix of 'Spacial', straight-up, no-nonsense techno that’s fed through a narrow tunnel, as swirling, tryptamine-tinged synths reverberate around a bouncy kick drum. The whole affair isn’t particularly ground-breaking, but he knows what he wants to achieve and does it well. It's a heady, big room sound, designed to deliver on a grand scale.

ACR supplements his full-length effort with an interesting 'Loop Mix'. It’s that same dubbed-up synth loop, just dripping in a little more saturated fuzz. It plays out for the majority, so would be a useful DJ tool for the adventurous amongst us. It’s practically praying for somebody to apply a beat to it, so could produce some interesting results in the right hands - a cool addition to the release.



Aaron Siegel, the man behind the impeccable FIT imprint, delivers a broken, left-field version of ‘Faster Forward’ on the flip. Classy piano hits are coupled with a grooving bassline, which propels things onto the very edge of dancefloor territory. Though far less direct than ACR's, the track isn’t short on quality and closes out an interesting release, which covers all the bases.



Coming soon at Juno.

Introducing AS IT IS RECORDS

Kogui presents three slices of acidic, deep house for new French label, A(s)I(t)I(s), with a remix from HH favourite Steven Tang.

The first two Kogui tracks are simple yet powerful experiments in 303 modulation, which find themselves paired with droning, melodic accompaniments and frenetic percussion elements. 'Afw' sees the smooth, acidic lines of 'Implied Reference' shaken to the core. These notes remain, but quiver all over the track as Kogui's tinny hats press matters forward.

'F88' is the final piece from Kogui. Keeping acid as the primary focus yet looking to explore murkier depths, the tempo slows, and the result is a brooding sub-aquatic affair that bubbles its way through the deep.

Implied Reference To Fundamental EP - Kogui [As It Is]

Emphasis Recordings boss and Smallville contributor Steven Tang lends his own breed of languorous house to 'Implied Reference' with a tidy 'Mixdown remix'. Here, the sting of Kogui's acid stabs is nullified slightly and instead of shuffling ceaselessly all over the place as in the original, Tang chooses to isolate a singular note and work his sound around that.

A strong start from both Kogui and As It Is - go check the release out at Juno.

Featuring XDB

Steffi's Dolly imprint returns with #017 and a second outing for Metrolux boss XDB. Answer Code Request provides a loopy remix of 'Ganivon' to start things off, adding crisp, high-end synths to XDB's percussive and whimsical original.

Personal favourite 'Tonik' kicks off the B-side with sliding synths and an array of groove elements. There's subtle atmosphere here too, which adds a lot on closer listening. Finally, 'Liberty' plods along without the signature percussive-led grooves of the other two originals, but with a chirpy synth line that builds throughout the track.

Ganivon EP – XDB [Dolly]


[DOLLY017] is sold out at most shops for the time being, but there appears to be a few left at Clone and a repress is already underway.

Introducing BABA STILTZ

Studio Barnhus is a Stockholm-based label run by a trio of Swedes, of which Axel Boman is one. On this latest release, fellow countryman Baba Stiltz is at the controls with 'Palats'.

On 'Palats', Stiltz lures you in with an occasional vocal snippet peppered into the textured, velvety chords, which themselves are coated generously in the snap and crackle of tape recording. These chords build until they eventually make way for crisp percussion, knocking its way throughout. And then comes the bassline, a hybrid of the fire alarm at a nuclear power plant and the foghorn of the SS Titanic. Complete mayhem ensues for the next five minutes, mayhem that finds itself enveloped between those aforementioned synths.

The flipside, 'Crypt', takes a slightly gentler approach. Heavenly synths whisper across a bassline that never appears to simmer too far above the surface. After the blitzkrieg-carnage of 'Palats', Stiltz is opting to tell a different tale. This one's more the calm after the storm, as the dust settles and the clouds realign to the sound of Baba's static-drenched melodies.

Palats - Baba Stiltz [Studio Barnhus]


Keep an eye out for this in the record stores - the patchwork-quilt sleeve art by Theodor Johansson should help. If you're shopping online, grab it from Juno.

Featuring GALCHER LUSTWERK

Combining elements of hip-hop with atmospheric house is a very difficult task. Traditionally, for the most part at least, the two forms of music have been like oil and water. This is what makes Galcher Lustwerk's work so impressive. His sound follows in the vein of tracks like Matthias Meyer's 'Infinity' which subtly nods to 'From '93 'til Infinity' by use of a sample from early nineties hip-hop outfit Souls of Mischief. It's what could be regarded as "street sensible" house music.

As well as owing some of the aspects of his sound to hip-hop, Galcher also draws on the ethereal realms of deep house, as well as electronic outfits like Underworld. This is most evident in the track 'Outside the Club' from Galcher's lauded 100% Galcher mix from last year; a mix most consider to be an album in its own right.

Having only one EP to his name, released last year on Brooklyn's White Material label, this month sees the producer release the four track Nu Day EP on Tsuba.

'Fate' opens the EP with the trademark deepness we've come to expect from Galcher. An ethereal synth runs throughout the track, with some lo-fi synth bleepiness featured along the way. The slightly more upbeat, but equally deep 'Nu Day' follows with more emphasis on a solid kick drum to drive the track forward. '216' is the first track on the EP to feature Galcher's smooth raps as he proceeds to the mic with precision. On the last track, 'Chillin in the Booth', Galcher offers up his mic skills over a lo-fi crunchy house track that rounds out the EP to nice effect.

Nu Day EP - Galcher Lustwerk [Tsuba]

Look out for the pre-order at Juno.

Words by: Ethan Becker

Featuring TOM TRAGO & BOK BOK

Night Voyage, an offshoot of the Night Slugs label, resurfaced late last year to follow up 2011's excellent 'Night Voyage Toolkit EP'. Once again, Tom Trago and Bok Bok are on the buttons to showcase their unique blend of styles.

Using the label as a vehicle to release nothing but their own material, the pair have recently treated us to two releases in as many months. 'Get Me What You Want', the energetic title track from December's offering is backed with the excellent 'Hole Driller 3'; two tracks to really open the eyes of those who had perhaps forgotten what a deadly combination these producers can be.

Get Me What You Want / Hole Driller 3 [Night Voyage Tool Kit]

And dropping just last month was the label's third 12", 'Pussy Trak'. Both these cuts are as different from each other as they are from the preceding release. With the title track rooted deeply in classic Chicago house and built around a catchy vocal hook, the flip, 'Silent G Safari' is a stripped back techno joint, soaked in essence of Bok Bok's Night Slugs work but retaining enough of Tom Trago's style for it stand apart.

Pussy Trak / Silent G Safari [Night Voyage Tool Kit]

Pick up [NV002] and [NV003] from Juno.

Introducing BUZ LUDZHA

Irish-based label All City offer up their first release of 2014 with a 12" from new alias, Buz Ludzha. The two tracks contained on 'Love Repetitive Rhythmics' are sleepy deep house cuts that feature subtly acidic, jackin' undertones.

First comes 'Rave With Love', where Ludzha chucks together punchy 303-stabs with celestial vocal wailings - indecipherable, but weaving throughout. A melancholic piano roll competes against drum work of the most solid kind. It's a strangely satisfying mixture; the blend of dreamy, shimmering melodies with kicking percussion.

Flipside is 'Basslines For Death'. Again, there's a real undisputed display of musicality, with the theme remaining much the same as the opener. Comparisons could be drawn to Boards of Canada - the vibe's definitely in that territory, with rolling basslines eking a weird kind of dispirited poignancy. This melancholia is again wrapped up and packaged with that jacking percussion track, which is livelier here than on 'Rave With Love'. Ludzha's debut is by all accounts an incredibly solid effort. The kind of fuzzed-up, light-headed house music he presents on 'Love Repetitive Rhythmics' is certainly different to the norm. Keep an eye out for future movements.

Love Repetitive Rhythmics - Buz Ludzha [All City]


[ACOS2X12] is available now from Juno.

Featuring UNTIDY

The Untidy project appeared for the first time last year, offering 4 cuts of beefy house tracks with a heavily Germanic flavour. The release was vinyl-only and came with a fair amount of mystique, whilst being very well-received by many of the scene's big hitters. So it was strange to see the project disappear almost as quickly as it surfaced.

Promo Mix - Untidy


The music contained within the first Untidy release is heavy, dubby and expertly produced - suggestions are that the project could be an alias for Jonas Kopp. Thankfully, after almost a year, Untidy returns for 002. This second attempt replicates the techno-house hybridity of the first: gritty, cavernous stompers, all likely to do some damage this year.

There's a fair amount of variety on display here - A2 is a mellow roller that uses percussion alone to generate a dark, brooding mood. However, our favourite is the B1, a prolonged piano piece that builds continuously before falling back in on itself, looping seemingly ad infinitum and drenched heavily in reverb-soaked hi-hats. The final track is the most direct of the bunch, tribal drum patterns operate beneath wavering, oscillating synth lines.

Preview and pre-order [UNTIDY002] the release here. Excitingly, it appears a release on Skudge is also on the horizon.

Introducing PALMS TRAX

Berlin-based newcomer Palms Trax offered up his 'Equation' EP on the equally fresh-faced Lobster Theremin late last year. Coming out of nowhere, this three track release did enough to put both names on the map and warrant a repress (coming very soon).

The first track, 'Late Jam', is a tidy, no-nonsense groover that punches its way through five-minutes of heavy-hitting kicks and warbled, nonsense vocals with aplomb. A stinging, electrified synth stab sits laboriously on top for good measure.

Second track is the title number, 'Equation'. Old school piano lines are brought into the mix, whilst the same razor-sharp synth hits found in the opener are deployed expertly once again. Shuffling along throughout is a heady mix of percussion; melancholic without being dreary, simplistically hard-hitting without being linear. Palms Trax has clearly been honing his craft steadily prior to this release, as the production value is very, so much so that it belies the artist's seem inexperience.

On the flip is a Tin Man remix of 'Houses in Motion'. This track replaces the Willie Burns remix that featured on the original pressing and it offers something slightly different to the two previous cuts. Somewhat celestial, those same synths take on a gentler sound, floating high above percussion that glitters its way through eight minutes of acid-spiked bliss. If this release is anything to go by, there's definitely more to come from both Palms Trax and Lobster Theremin in the future - we'll be keeping an eye out for sure.

Late Jam / Equation - Palms Trax [Lobster Theremin]

In the meantime, go grab the repress of 'Equation' at Redeye.

Introducing MR TOPHAT & ART ALFIE

Men of the moment from Sweden Mr. Tophat and Art Alfie take a break from their own Karlovak label, instead coming through on the elusive nofitstate, keeping things short but sweet with two hits of luscious deepness, backed with a Locked Groove remix.

First is the woozy, driven, hypnotism of 'Vretis'. Airy vocals sparsely fling themselves all over, with the kick elevating the track to bona-fide stomper status. The onus is on a rhythmic, looping groove. It's pulsating, simple in execution, but really rather good.

The Locked Groove remix takes the original and exaggerates the hazy stylings of those vocals, making them the centrepiece around flittering, ethereal synths, which tinkle their way above squelching drums - one for the early morning sessions. Last is another Tophat and Alfie original, 'Takelant'. Here the vibe's a little more erratic. Nondescript whirrs and squeals work their way around stomping percussion, the white noise of random tape recordings butting in of their own accord. This gradually makes way for a clearer view, as the track gains a steadier sense of rhythm, with the end result a kind of funky hybrid you're not likely to have heard too much of before.

Vretis - Mr. Tophat & Art Alfie [nofitstate]

[NFS003] is out on 4 March via Juno.

Featuring LEON VYNEHALL

Leon Vynehall nods to his past and looks to the future with his debut LP on 3024, 'Music For The Uninvited'. Vynehall has ridden a wave of vinyl resurgence and musical nostalgia, so it's only fitting that, having recorded these tracks to cassette, he notes his journey to school in his mum’s car as the main inspiration for the record.

"I grew up with tapes. I was introduced to recorded music through that medium, listening to mixed hip hop, funk and electro tapes, Janet Jackson albums, Style Council and Stiff Little Fingers. It was quite varied."

Variation is what Leon specialises in, whether he's working solo or on darker collaborations with A1 Baseline as Laszlo Dancehall. These previous efforts have for the most part been club-orientated, but this extended piece of work sees Leon striving to move in another direction. The opening track, 'Inside the Deku Tree' acts as a prologue to the collection and features a bassless, string ensemble. The strings and background static from the cassette intertwine throughout the record and act as intervals for the different acts.



'Goodthing', a more typical Vynehall track, follows a similar structure to the likes of 'Brother' and 'Mauve', with harsh cymbals and a sharp vocal sample. Although elements from previous tracks return throughout the record, no two tracks are the same. It's almost as if each song is a different thought, idea or memory.

The reflective and more relaxed track 'Be Brave, Clench Fists', and in the second half, 'Christ Air' and 'St. Sinclair', all build on Leon's ability to create abundant warmth in his soundscape,s taking a step out of the club to experiment with more atmospheric production. Even so, our highlight of the record comes on the C-side, where 'It's Just (House Of Dupree)' really cements Leon as a solid house producer. All in all, a fantastic and innovative collection of music and a great addition to Vynehall's unblemished discography.

[3024-024] will land as a double 12" on 17th March 2014 via Juno.

Words by: Stephen Daniels

Featuring PENDER STREET STEPPERS

Since 2012, Mood Hut has been operating as a small independent label out of Vancouver, Canada, specialising in off-kilter, deep dance music. This release sees the Pender Street Steppers drop some seriously decent atmospheric and ambient house in the form of a three track EP.

While the bubble samples in the first track 'Bubble World' could be considered trite, the song provides an overall unpretentious vibe as it meanders along its own path. 'Love Theme' follows with its drum rolls and sharp synthy stabs, giving way to some sultry saxophone work at the end. The last track 'Temple Walk' provides an ethereal ending track that would provide great stuff for the afterhours heads.

Mood Hut should be a good label to keep an eye on in 2014. While not peak-time dance material, the label explores the more left-leaning and cerebral sides of house music.

Bubble World EP - Pender Street Steppers [Mood Hut]


Pick up the Pender Street Steppers EP from Juno when its released on February 14th.

Words by: Ethan Becker