Jacques Greene - The Ready EP (EP Review)

In other areas of music it seems people are bending over backwards to invent new genres and sub-divide existing ones. This kind of electronic music, however, has fractured and evolved so frequently over the last couple of years that it makes trying to pigeonhole a trend, sound or track a futile exercise. Martyn’s 3024 imprint is just as big a culprit as any in this cross pollination and combined with Jacques Greene’s ever shifting productions we’re quite happy to sweep any genre implications under the big rug that is ‘house’ and get on with enjoying The Ready EP.



The Ready EP marks yet another checkpoint in Jacques Greene’s exploratory journey of dance music. Here he’s decamped to the rainforest where Predator was filmed. Lead track opens with ominous tribal beats and a dense atmosphere, thick with apprehension. Cymbals scatter and the bass bubbles as this svelte monster slowly hauls itself out of the mist with as much muscle as Arnie or Carl Weathers but much more stealth. A syncopated minimal pluck urges the track onwards while the vocal’s siren call dances on the edge of recognition. ‘Ready’ lulls it’s listeners into a false sense of security by plodding forwards with a smooth, laconic gait. By the time it changes up to its storming 4×4 beat you know it’s coming for you and it’s already too late.

Second track, Prism, converges on the more recognised house formula with a straighter kick and clap backbone. It’s still rich in texture and thick with tension though. A powerful bass line provides the rising heartbeat of the track whilst delicate melodies float overtop in a haze of reverb, encapsulated by a canopy of distant shakers and hats. Again the drifting vocal flirts with your nagging memory, almost daring you to remember it’s origin.

Dakou, rounds off the digital EP with a cleaner production style. Emotive chords wash away the sweat and dirt of the previous two tracks allowing the listener to bathe in bliss. Gentle, arpeggiated synths swim around the percussive low end before an acid lick ripples through. The ebb and flow of the vocal now soothing in its inexplicable familiarity.

Jacques Greene’s The Ready EP is a fusion of melody, emotion, atmosphere and propulsion that pushes the envelope for electronic music. It’s not an EP that will slide easily into many DJs’ sets but if you hear this out you’ll know you’re having one heck of an amazing night.

Originally posted at Blah Blah Blah

Totally Enormous Extinct Dinosaurs - Trouble (Album Review)

Totally Enormous Extinct Dinosaurs is a musician of rare breed. Not only a producer and performer but also a singer. It’s the kind of whole package that we don’t see very often and therefore have good reason to get excited about when we do. We’re not the only one’s as he was snapped up in 2011 by Polydor, another rarity – major record labels getting involved with rising electronic artists. Trouble is his debut album.



Trouble is, for the most part, a collection of bass heavy tracks taking their influence from the multi-faceted genre of house. Avid TEED fans will have already heard half of the album through pre-released singles including ‘Garden’ which has been on a mobile phone advert. At 14 tracks, however, Trouble still has plenty of new material up its sleeve. ‘Your Love’, in particular, is a euphoric tribute to 90s house and breakbeat and an instant favourite.

Newcomers will be blown away by TEEDs signature crunchy bass and driving beats. It’s a schizophrenic approach to production whereby all manner of weird and wonderful sounds drop in and out of the mix. Nebulous pads hover menacingly over tinkling melodies while the percussion does its complex polyrhythmic shuffle underneath. Despite the chaos it’s the subtle, understated vocals and sensitive lyrics that imbue these tracks with a touch of emotion. It’s TEED’s soft delivery that tames the four to the floor stomper of ‘Household Goods’ and evolves ‘Tapes & Money’ from a great dance track into a great pop song. New double A-side single ‘Stronger’ is another highlight and swaps out the otherwise pounding bass for a line so funky and addictive that it will have you strutting even if you’re sitting down. The other ‘side’ to the single is ‘American Dream Part II’ and despite the whimsy title is a gigantic, wobbling track heading straight for the dance-floor. Here TEED’s lack of lyrics accentuates the power of the track, leaving it’s sheer, glistening muscle to do the work. It’s worth pointing out that there are a couple of numbers on the album that don’t shine quite as brightly but clocking in at over an hour it’s hard to feel short changed.

‘Trouble’ is a long over due meeting of two, hitherto separate, worlds. That of the credible electronic musician and the high budget major labels. With artists like Caribou and SBTRKT paving the way for successful yet slightly less obvious electronic albums, TEED stands as a flag bearer for exciting, new and quality pop music.

Originally posted at Blah Blah Blah

Justin Martin - Ghettos & Gardens (Album Review)

If you’ve been following Justin Martin for the past 12 months you’ll have noticed the fine form he’s currently in. Last year’s ‘Lezgo‘ with Ardalan appeared in plenty of best of ’2011′ lists whilst last week’s ‘Don’t Go’/'Rough Stuff‘ EP is already getting a lot of hype. All three of these tracks appear on his debut album Ghettos & Gardens.



Ghettos & Gardens is Justin Martin’s marriage of melody and bass. Rather than being a ‘DJ album’ of club tracks connected by unnecessary filler he has created an album’s worth of songs that stand up equally to home listening and club play. ‘Don’t Go’ takes a beautiful harp sample and underpins it with a tough bass line making it a joy to listen to but also extremely powerful. ‘Hood Rich’ intersperses emotive strings with low end wobble. ‘Kemistry’ slows down Goldie’s original, giving the lush vocal and synths space to breathe before breaking into a disgustingly aggressive throb. Throughout Ghettos & Gardens Justin Martin blends delightful musicality with speaker shaking bass all tied together with slickly produced beats. It’s a surprisingly playful piece of work, something that a lot of producers fail to capture. It’s hard to listen to this album without a wry smile slowly and subconsciously spreading across your face. That’s not to say it’s silly, childish or even humorous but you can’t imagine Justin Martin taking himself too seriously and that reflects well here. It’s as much an album of sunshine and friends as it is of tough beats and bass in dingy clubs. Every so often it’s nice to be reminded that electronic music can be a heck of a lot of fun.

Justin Martin’s debut makes for an extremely satisfying listen, it fulfils the needs of both the ears and the body, the brain and the feet. Ghettos & Gardens exerts a confidence, safe in the knowledge it’s not trying to be something it isn’t. It’s not pushing too many envelopes or needlessly re-inventing the wheel again, it’s just good music done well.

Originally posted at Blah Blah Blah

Lone - Galaxy Garden (Album Review)

The aptly titled Galaxy Garden marks a departure from Lone’s previous two albums of blissed out, hip-hop infused electronica. His third LP retains the atmospheric touches of Lemurian and Ecstasy & Friends. It also shares their soundtrack qualities but this time it’s the sonic backdrop to a psychedelic, schizophrenic journey through the cosmos.



Dreamy synths float all over this album giving it a lush but eery feel. There’s beatless moments where pan pipes, whale noises, running water and acoustic guitar could take it into chill out territory but the frantic tribal percussion sees off any such thoughts. The songs shape shift rapidly and Lone glides through genres so smoothly it’s barely worth mentioning them. It’s the juxtaposition of sounds and ideas that makes this such an interesting listen. There’s a clear 90s house/breakbeat influence but it’s one of many. An old-skool rave track is topped with an 80s style noodling synth solo. Smooth melodies slide over low rumbling bass and insistent broken beats. It’s like NASA broadcast a pirate radio station out of the milky way 15 years ago and it’s somehow returned to earth covered in space dust.

Galaxy Garden is a giant leap for Lone taking his songs light years away from the earthy productions of previous albums. It’s a tricky listen to get your ears around at first but your effort will be rewarded with an LP that doesn’t tire easily.

Originally posted at Blah Blah Blah

Jimmy Edgar - Magenta (Album Review)

Jimmy Edgar returns with his third album, Majenta. With previous albums released on Warp and !K7, expectations of a fairly leftfield electronica aren’t unfair. He’s already earned himself a reputation as a purveyor of sleazy electro-funk and with track names such as ‘Sex Drive’, ‘Touch Yr Bodytime’ and ‘In Deep’ this looks set to continue.



On first listen it’s easy to identify the bouncy electro basslines and 80s synth stabs that characterise his work. Along with the sexual spoken word narratives and hints of RnB flavour. There’s a tougher feel to the tracks on Majenta, though, a driving yet subtle techno influence, most likely gained from his recent time spent in Berlin. It’s easy to see why this slightly darker direction has appealed to label head man, Scuba. It lends the filthy lyrics a creepy edge, contrasting the shine of false sexual bravado from his Prince-meets-Zdar moments. Certain tracks have got Hotflush written all over them, skittering percussion, deep basslines, stabs and, most importantly, sweetly sung vocal cuts pitched down. It’s a delightful combination of disparate styles.

Majenta is a thoroughly well thought out album. Edgar plays with new genres and directions without sacrificing his own style or attaching himself too firmly to the zeitgeist. It would be a great pop album if it wasn’t for the strictly NSFW vocals.

Originally posted at Blah Blah Blah

Futureboogie Recordings - 10 Years

On Mon 27th Feb Futureboogie are releasing a rather attractive compilation album to celebrate their 10th year in the music business. If you’re not from Bristol you’re probably thinking “10 years? Really?”. They first hit our radar last year with their debut release as a record label, Julio Bashmore’s Father Father EP. However, they’ve been throwing parties and managing artists long before Julio found house and synthesis.



The compilation itself is the kind of gold you’d expect from an agency representing such a quality list of artists. Typesun and Crackazat open the compilation with two relaxed jazzy affairs before man of the moment Eats Everything shakes it up with his trademark booty house. Waifs & Strays and Christophe take care of the deep house side of things whilst Simpson and Behling thrown in a little garage infused house before our fellow Brightonian Maxxi Soundsystem steals the show with his appropriately titled track ‘Into The Future’.

With such a high standard of artists not only on their books but now also on their label it certainly marks an exciting time for the Futureboogie Crew.

Greatest Dance Act Of All Time - Mixmag

Here's a thought piece I wrote about the general state of electronic music over the last 30 years. It was originally much longer and included far more facts but had to be cut down.

A couple of weeks ago Mixmag released the results of their public vote for ‘Who Is The Greatest Dance Act Of All Time’.



The Top 20 are as follows:

01. The Prodigy
02. Daft Punk
03. The Chemical Brothers
04. Faithless
05. Deadmau5
06. Plastikman
07. Underworld
08. Fatboy Slim
09. Orbital
10. Moby
11. Leftfield
12. Kraftwerk
13. Pendulum
14. Depeche Mode
15. Justice
16. Basement Jaxx
17. Groove Armada
18. The Shamen
19. Above & Beyond
20. The KLF

Whilst the magazine contains interviews, facts and summaries of the acts, there’s no real analysis of the artists, their order or what it says about dance music in general. That’s where we come in. We’re going to start by noting that whilst this list is (in general) fairly conclusive we’re not going to argue against the results, as it was a public vote. It would be no more useful than disputing the top 40 or even the Beatport chart.

The list is interesting because it is a poll conducted largely within the global dance community, in this case anyone within Mixmag’s reach. This gives us a closed sample group of a similar demographic – everyone here purporting to enjoy ‘dance acts’. The results suggest a wide age spread of voters with the inclusion of acts that pre-date many a current clubber (Kraftwerk & KLF) alongside newer acts such as Justice, Deadmau5 and Pendulum. Three quarters of the acts released music during the 1990s, and apart from Deadmau5 the top 10 have all continued to release music through the 90s up to the present day. Therefore its reasonable to assume that in order to take the crown for ‘The Greatest Dance Act Of All Time’ the act would need to have been around for some time, or at least have had their music around long enough to still be relevant.

If that’s what we have in the top 20 what’s conspicuous by its absence? There’s no Dubstep. Not overly surprising when we take into account the average age and duration of the acts against this comparatively fledgling genre. But with people like Skrillex and Magnetic Man touring stadiums and fresh in young voters’ minds, it can’t have been far off. Drum n Bass also seems underrepresented when you consider it was born in the 90s, prominent throughout the 00s and as relevant today as ever. Notable absentees include pioneers such as Roni Size, High Contrast and current protagonists Chase & Status and Sub Focus. With the reforming of The Stone Roses and The Happy Mondays it would be reasonable to expect some Madchester acts in there, New Order being the more obvious choice. Of the other new genres that sprung up in the 00s like Nu Rave, Electro, Fidget etc we only have Justice not even Soulwax make the list.

To complete our analysis we tried to identify how these Best Of Dance lists have changed over the years. However apart from a 2010 Global Gathering poll listing a similar top 10 there is not much to find. Widening our search to include award ceremonies we interestingly discovered that in the UK both the Brits & NME Awards no longer have a ‘Best Dance Act’ category, ceasing 2004 and 2002 respectively. Suggesting that dance music throughout the mid to late 00s wasn’t troubling the mainstream consciousness enough to warrant its own category.

In summary it would appear that it is much harder for newer electronic acts to break into these types of lists, perhaps because we currently live in a fast food digital age where genres and acts can storm to success, galvanise a sound and fade away equally as quickly, leaving the established 90’s acts to dominate. Or perhaps dance music has genuinely had its peak both in terms of quality and commercial viability?….which begs the question: “Is it actually possible to create a modern day act that will be looked at in twenty years as The Greatest Of All Time”?

Let us know you thoughts and who you think could topple the ever present trio of The Prodigy, Daft Punk, and the Chemical Brothers.

Originally posted at Blah Blah Blah

The 2 Bears Q&A

Here's a Q&A with The 2 Bears that I helped devise the questions for:
The 2 Bears are made up of one half Joe Goddard (Hot Chip) and one half Raf Rundell (Greco-Roman Soundsystem) and combined they make Indie-Electro House. We first came across them with their debut EP ‘Follow the Bears’ in 2010 and have since been hooked into their playful melodies and stomping beats.

Earlier this year their ‘Bear Hug’ track exploded into the public consciousness and with the latest single ‘Work’ having a similar affect we decided to pop down to their neck of the woods and ask a few questions about them and their imminent debut LP ‘Be Strong’ due for release 30th January on Southern Fried & DFA.



BBB: We read that initially the idea was to form an act with Joseph Mount (of Metronomy) and call yourselves The 3 Bears. Is this true and are there any interesting collaboration’s we should be looking out for on the debut album?

The 2 Bears: It was the fevered dream of our friend Steven that Joe, Joe and I should start a band. Mount was busy on the english riviera so it was just me and Joe Goddard who got started. There aren’t any big name collabs on the record though lots of our friends gave us a helping hand. Joe’s neighbour Ollie played Marimbas on 2 tracks, my friend Dan played pedal steel on one. There’s some vocals from Alice Gold and Mara Carlyle.

BBB: The 4 EPs you’ve released to date encompass a range of genres not to mention the other projects you both work on. What would you say is driving the direction of your music and how has that influenced the recording of ‘Be Strong’

The 2 Bears: The album was inspired by so many things. London, clubs, our families and friends. musically it’s mostly house but there’s all kinds of other flavours in there too.

BBB: When writing a track what process do you go through?, do you lay down the drums first, start with a sample, send loops to each other……

The 2 Bears: It’s different every time. Sometimes we make a track and decide to write a song to go on top. Other times there’s a song that needs to be dressed up. Sometimes there’s a loop or a sample, sometimes it’s a beat or a title. It’s never the same twice.

……………and when recording are there any pieces of kit you would never enter the studio without?

The 2 Bears: A computer is pretty crucial.

BBB: We’re looking forward to the release of your debut album at the end of this month. How will it sound? Are you aiming it primarily at the dance floor?

The 2 Bears: It’s an album you can listen to at home or in the car or on your headphones. The dancefloor is where it started but there are other places represented on the album .

BBB: Do you like Picnics?

The 2 Bears: Of course.

BBB: Your remix packages have all had some really memorable moments, such as Midlands remix of Church. Do you pick your remixers based on who currently impresses you? Come to that who impresses you at the moment?

The 2 Bears: It’s a mixture of friends and people we like. Right now I’m into John Convex, Sepalcure, Objekt, Mosca, Robert Hood and Green Velvet, always Green Velvet.

BBB: Can we expect a remix package for the album?

The 2 Bears: Yes, there’s great mixes from St Etienne, K-Alexi, Simon Ratcliffe from Basement Jaxx, Brooks and loads more….

BBB: Do you prefer honey or marmalade on your toast in the morning?

The 2 Bears: Honey. Marmalade is for domesticated bears like that chump Paddington.

BBB: One of the Blah Blah Blah DJs is somewhat bear-like in appearance. Have you any need for a ‘backing bear’?

The 2 Bears: There’s always room for an extra dancing bear in the box.

BBB: Finally, when you’re not making irregular dance floor belters what do you like to pop on the turntable in those more quiet moments, we’re quite partial to a little Frank.

The 2 Bears: I like Kitty Wells the country singer or Baden Powell from Brazil.

Originally posted at Blah Blah Blah

Jamie Jones - Fabric 59 (Album Review)

With all this new, interesting bass music flying around it’s nice to see that Fabric still have time to push the staple of electronic music: House. Jamie Jones‘ contribution to the Fabric series is just that.



The first half of the mix is a smooth journey through the sparser, less sensational side of the genre. Chugging bass synths, kicks and cymbals link up for hypnotic grooves, punctuated with vocal loops and sporadic stabs. It’s a mesmerising listen, the subtlety of the tracks and the mixing manages to convey a greater sense of melody, space and movement than the simplistic nature of the components would suggest. The mix ebbs and flows thanks to Jones’ careful track selection with the tiniest change becoming a real feature. The addition of a new hat increases the pace, a synth’s modulation provides the progression and gently increased reverb ramps up the intensity. It’s all very restrained.

The second half of the mix is a releasing of inhibitions. Crazy P‘s ‘Open For Service’ brings things to a halt, adding some funk and building to Holy Ghost‘s remix of Panthers. Jones’ has succeeded in reigning everything in so tight that by the time ‘Goblin City’s guitar solo arrives it bursts into the mix like a blinding beam of sunlight through thick cloud. From here he rounds out the mix with some lighter tracks including ‘The Lows’ – one of his own productions peppered throughout in various guises. Still riding high on guitar-solo induced seratonin, the continual vocal and muted strings of soho808‘s ‘Get Up Disco’ saturates the senses, whilst final track ‘Fear Of Numbers’ further bolsters the melody with thick chords that gradually fade away.

Jamie Jones really impresses by providing a thoughtful mix that is also appealing to the dancefloor. Those ‘in the know’ will appreciate his inclusion of classics like Felix Da Housecat‘s ‘Hollywood Madame’, whilst newer fans of electronic music will relate to Metronomy‘s Remix of Sebastien Tellier and Jones’ own productions.

Tracklist
1. Hot Natured feat. Ali Love & Kenny Glasgow – Time Intro [Hot Creations]
2. Sebastien Tellier – La Ritournelle (Metronomy Mix) [Record Makers / Lucky Number]
3. James Teej – Don’t Appear (Redux) [My Favorite Robot]
4. Coat Of Arms – Is This Something (Jones Fly Edit) [Futureboogie]
5. White Lions – DePalma [My Favorite Robot]
6. Karen Pollack – You Can’t Touch Me (Murk Remix – Jones Fly Edit) [Slip N Slide]
7. Cajmere feat. Jamie Principle – God Sent (#10) [Cajual]
8. Felix Da Housecat – Madame Hollywood [Rude Photo]
9. Waifs & Strays – Body Shiver [Hot Creations]
10. jennygoesdirty – Amoureux Solitaires [Kill The DJ]
11. Hot Natured feat. Ali Love & Kenny Glasgow – Assimilation [Hot Creations]
12. Crazy P – Open For Service [2020Vision]
13. Panthers – Goblin City (Holy Ghost Mix) [Warner]
14. Oppenheimer Analysis – The Devil’s Dancers [Minimal Wave]
15. Jamie Jones – The Lows [Crosstown Rebels]
16. soho808 – Get Up Disco [Dikso]
17. Footprintz – Fear Of Numbers [Visionquest]


Originally posted at Blah Blah Blah

Four Tet - Fabriclive 59 (Mix Album Review)

Kieran Hebden, aka Four Tet, has always pushed musical boundaries. Whether it be with his inimitable style of electronica - glitching up folk samples into haunting hip-hop melodies - or live laptop jamming with jazz drummers, he always manages to do something different and subvert expectations. With the release of his latest and most accessible album, There Is Love In You, he has found himself sitting alongside the likes of Joy Orbison and Pearson Sound on releases and line-ups alike. These pioneers are re-inventing bass music and Pearson Sound's recent Fabric Mix is a good example of where these new genres are headed. If you've come to terms with Four Tet's endless curve balling then you won't be as surprised to know that this mix doesn't pick up where Pearson Sound's left off.

Read the rest over at Blah Blah Blah.

SBTRKT - SBTRKT (Album Review)

Check out my review of SBTRKT's debut album over at Blah Blah Blah.

SBTRKT - Sanctuary (feat. Jessie Ware & Sampha) on Spotify.

Digitalism - I Love You Dude (Album Review)

It's been four years since Digitalism released their debut, Idealism. At that time they were one of a handful of pioneers developing the hybrid of indie and dance music and Idealism stands as an important milestone in the progression of what became known as 'nu-rave'. Since then the genre notoriously expanded, diluted and collapsed under the weight of weak immitators and heavy criticism from it's initial supporters. Four years on and everything has changed in the world around them, do Digitalism have what it takes to keep up?

Read the rest of the review over at Blah Blah Blah.

Digitalism - Encore on Spotify

Munk - The Bird And The Beat (Album Review)

Munk is Mathias Modica the multi instrumentalist and co-founder of Gomma records. The Bird And The Beat is his third album and provides a deliciously summery dose of disco influenced dance music. Instead of mining disco for samples, however, he's created 14 tracks that put something back into the genre.

Read the rest of the review over at Blah Blah Blah.

Munk - La Musica on Spotify.

Egyptrixx - Bible Eyes (Album Review)

2010 proved to be a good year for thoughtful electronica, with Four Tet, Caribou, Gold Panda and a few others littering a host of respected 'Best Of' lists. 2011's first contender comes in the form of Egyptrixx's debut.

Read the rest of the review over at Blah Blah Blah

Egyptrixx - Chrysalis Records on Spotify.

Gold Panda - Lucky Shiner (Album Review)

'Lucky Shiner' is a patient album. It is the result of a patient life. Taking in influences from a two year period spent studying Japanese culture, language and history at the School of Oriental and Asian studies in Japan. It's loaded with family history, relationships and memories - inspired by everything from 'Marriage' to a field recording of Gold Panda helping his Grandma to push a wheelbarrow in the garden. It was even made in a patient environment, a two week house-sit over Christmas for his uncle and aunt in the idyllic English countryside. In relaxed sessions between walking their dog Daisy. It, therefore, requires a little patience in return and on repeat plays the listener can descend into its layers to reveal something truly worth the wait.

Read the rest of the review over at Blah Blah Blah.

Gold Panda - Same Dream China on Spotify.

Chromeo - Business Casual (Album Review)

Business Casual is the new album from besuited time travelling lotharios, Chromeo. With their temporal dial still firmly stuck to the 70s and 80s, they reappear for the third time in the present day with ten tracks stolen from the eras that funk forged and fashion forgot.

Read the rest of the review over at Blah Blah Blah.

Fabriclive Mix 53: Drop The Lime (Review)

Rising to fame during the demise of electro, as fidget house and dubstep emerged so did Drop The Lime. Part of label/party/blog/collective Trouble And Bass he quickly gained a reputation for championing all types of bass music, destroying dance floors worldwide and, more recently, reintroducing vocals to house. Here he takes a step back from the dance-floor and crafts a mix much less for the club, although you'll still need Fabric's bass-bins (or a hefty pair of headphones) to fully enjoy his selections.

Read the rest of the review over at Blah Blah Blah.

The Recommender Party No. 6 with The Phenomenal Handclap Band

Big news! We've upgraded to a bigger, better and more respected venue in the form of Audio. Our line-up is also way bigger and better to celebrate our launch party in our new home. Feast your eyes on this:




Sat 31st July
Audio, 10 Marine Parade, Brighton

The Recommender Launch Party with:

The Phenomenal Handclap Band - There's honestly no superlatives or twisted adjectives that could describe just how good this eight piece New York band are. They have absolutely every ingredient to make any party go off. Impossibly entertaining disco, funk, pop and groove are all thumped out by the sexiest band alive today. Prepare to be hypnotized!

David E Sugar - This will be a live set with a band behind this pioneering DJ. Famous for doing extraordinary things with a Speak %26 Spell, you may well have come across this underground sensation on Kitsune compilations. Most recently he's signed to Rob Da Bank's Sunday Best label, which will surely push this artist well and truly overground.

Young Empires - This Canadian three piece are coming to Brighton for the first time ever. They arrive with a tidal wave of hype and hungry A%26R men, alongside their original, percussive, indie pop magic. The new Friendly Fires anyone?


On top of that there'll be the usual Recommender shenanigans in the form of The Photobooth and a free mixtape for the first 50 people all for only £8 plus booking fee which will also get you in to The Recommender Late with:

Rory Phillips - He's the protegé to none other than the DJ overlord, Erol Alkan, having had a residency at London's Trash night and its modern version, Durr. With a truckload of seemingly perfect remixes under his belt, expect a set of the unexpected - of course played using his signature phone set instead of a pair of headphones.

The Recommender DJs - A unique partnership formed from two of Brighton's best DJ teams (Battery Powered and Blah Blah Blah DJs). These guys play everything from upfront new music taken from The Recommender to dance floor smashing house, disco and techno. Expect to move.

You can buy tickets from Ape, Resident or Rounder if you're local to Brighton. If you're from further afield then you can order online from Ape here.

The Phenomenal Handclap Band - 15 to 20 on Spotify
David E Sugar - To Yourself on Spotify

New Posts

I haven't been updating Pier Pressure much recently but fear not as I've been writing elsewhere...



Check out my review of LCD Soundsystem's forthcoming album on Blah Blah Blah.



Read my post about Butterfly Bones on The Recommender.