Cosmic Sans – Ounce – U-Man Records

Cool release of sound from the French label combining a playful sense of summer alongside a jazzy free-thinking arrangement that keeps you guessing on the title track. Loose rhythms are punctuated by melodic basslines and hints of voice as shuffling drums breezily gather up the intention. Three first-rate remixes follow beginning with Al Bradley’s warmly resonating 3am Deep Trip which sees stereo enhanced percussion sizzle as deeper notation builds in rippling, expressive layers. Manuel Costela’s friskier drum breaks then proceed to lift the emphasis on the voice-like qualities, leaving Josh Marko to end on a more robust reworking that reaches out resolutely for the dancefloor.

Release: Traxsource April 17

General: May 1


Oskar Szafraniec feat. Very Addictive – Borderline – Closed Circuits

Songs. Are as important as instrumentation (I think). Either way this is most beautifully, rewardingly both. The voice here sounds and, more significantly, feels every bit as breathily emotive as it is possible to be. Each note and resonance captures a moment in time and in particular at the edges of existence. Not quite so sweet. Deliciously bitter. The original version has pounding Toms beat out a heavy-duty rhythm as nervy synth lines set about creating their own atmospheres. However, it’s Gel Abril’s stunning remix that really captures and projects the songs essence for me with brutal drums offsetting the human touch and haunting synthesizers perfectly. It’s All Around You, provides the second track and again raises the emotional temperature in amongst an array of grainy, probing drums amid life-affirming sounds rather exquisitely.



Brian Eno – Music For Installations – UMC

When you activate Play it could mean any number of things when it comes to hearing Brian Eno. Gathered from this his more reflective palate, collating pieces from installations between 1986 to the present day, here it is about the sense of movement. Of time not standing perfectly still as seemingly familiar patterns of sound sheer off, dissipate and disperse in different directions. Yet the upmost important factor is always the most constant one. And that is the emotional resonance emanating from the music itself. And it is always about the music in and of itself. It is also about uncertainty. About human existence. When time comes back into play it does so fused with a gentle nostalgia for memory, yet this music is neither a nostalgic cash-in, nor reviving. It simply is. Beautiful, though-provoking, wondrous paths of exploration that may lead nowhere as they do somewhere. Music For Installations is what you want it to be. You feed your own experience into its formless constructs and the resulting emotions are probably unique to the individual listener. Or, perhaps it just feels that way. Spread across 6 CD’s (or slabs of vinyl) which total as 5:25:02 (plus accompanying book etc) the release seems very much like an occasion to be cherished and remembered. Almost ghost like. Although, devastatingly tuned into mind and body. After all it is easy to say that Eno is our most important composer for decades: future and/ or past.

Or: “If you think of music as a moving, changing form, and painting as a still form, what I’m trying to do is make very still music and paintings that move. I’m trying to find in both of those forms, the space in between the traditional concept of music and the traditional concept of painting.” Brian Eno

Release: May 4

CD Box Set:
Vinyl Box Set:
Super Deluxe Edition:


Bobby Pleasure Q&A

Welcome to Magazine Sixty, Bobby. Can you start by telling us about why you felt there needed to be a label such as Needs – not for profit, in the world today? And can you tell us about your personal philosophy for life and music?

When I conceptualised Needs it was around the time of Trump & Brexit. I was feeling a lot of social dissonance and I wanted to try and do something about it; using the music and scene that I love as a means to spread a message of unity and togetherness. Music is the most powerful force on the planet. In a world of ever-evolving technology, communal centres such as nightclubs are becoming increasingly important in terms of social interaction and it’s here where people and ideas can come together.

The next and third release features five different artists, each with a differing sound. What attributes do you look for when putting together a release?

I look for timeless music from artists that I love. Music that will sound great in 20 years time. With the releases being various artist EP’s I try to group them stylistically as best I can and also try to order the EP in a way that the release flows naturally, and makes sense when listened to as a whole.

*Needs003 is in aid of the refugee crisis. Featuring Lord Of The Isles, Mehmet Aslan, Petwo Evans, Bartellow, Nick Gynn. Released 16th April on Needs not for profit: pre-order link.

And can you tell us why you chosen the charities so far?

I chose charities based on several factors: the work they do, the demographic(s) they help, the reach they have and the areas they offer support. I also looked if they had any previous involvement in the music industry as I thought that would maybe make any potential partnerships easier.

In broader terms do you think Dance Music culture is more or less self-obsessed than other parts of society? Do you think that the ease with which the internet connects us all, also creates a sense of unease?

Definitely. I think it’s a general problem facing all of humanity. More and more we seem to be living a solitary existence as humans, with people mainly socialising and working from their phones and laptops. But like how I mentioned earlier, the thing that dance music culture has is the nightclub and also festivals. It’s quite a rare thing when that many people get together and interact and we should really embrace those experiences. It could be that we see important social movements emanate from these gatherings.

Your new single: Renegade EP co-produced with Adam Curtain is due out in April on Trouble Maker. How did the collaboration come about? And can you tell us about the process of creating the music?

Ahhh yes and I’m very excited about this! Me and Adam have been friends for a while and we hit the studio together about a year ago. We have very similar tastes but brought different vibes to this project. It was a very natural exchange of ideas and we created something separate from our own musical identities. However you can still really hear both of us in the music. It’s super nice when you collaborate with friends and it works out like this.

Do you think nostalgia has helped or hindered music creatively?

I think it can do both. From a production perspective it’s always helpful to look to the past for inspiration but it’s important to also do your own thing and find your own style. From a DJ perspective we’re in the midst of extreme rare record/digging culture, where the emphasis can sometimes be more about how rare or expensive a record is. However I believe dance music and electronic music is evolutionary by nature and will always naturally move to the future.

You recently launched your own night Pleasure Club at The Lion & Lamb in London. How did the night go and what are the ideas behind it? How do you choose a particular guest to play?

It went really well thanks. I’ve been involved in my fair share of parties over the years and I wanted to create an all-encompassing experience that was a culmination of everything I’ve learnt along the way, as well as a platform for me to showcase the music I really love. Pleasure Club will be my ultimate expression of this. Guests are chosen simply because they are the best selectors I have come across in my time as a DJ. Expect the best music, an open minded crowd, plenty of attention to detail and lots of extra treats thrown in. Keep your eyes peeled for a Pleasure Club membership card!

You are part of the first: inner city electronic, event in Leeds this coming June. Tell us some more?

I was label manager manager at 20/20 Vision for 4 years so I know Ralph Lawson really well. I’m so happy for him that this new vision has come together so well. It’s looking like a really incredible event which should be very exciting for not only Leeds but also the UK scene. I’m honoured to be involved at the first one and I can’t wait to see the action unfold.

And finally. What are your plans for the remainder of 2018?

In 2018 I’ll be releasing some more music (including my first solo EP), starting another label, DJing at lots of amazing parties & festivals, and where possible using Needs as a platform to raise awareness for different causes and charities.


P.Leone Q&A

Hello and welcome to Magazine Sixty, P.Leone. Your new release for Rekids Special Projects: Chances We Take EP features four very hot tracks. Could you talk us through how you produced Rose Petal Breaks and where the idea for the title came from?

The idea for Rose Petal Breaks came to life by wanting to combine some home made breaks I finished which I didn’t have a means of using. The title was really just a play on words – seemingly light but not at all really.


How did you team up with the label? And what does having your music released on a vinyl-only series mean to you?

I met Matt Edwards through Spencer Parker…Spen suggested I send over some files to Matt and the rest is history. It’s my first time being a part of a vinyl only series and I think it’s something that is absolutely timeless. I’m extremely thankful for that.

How and where did you learn to produce music?

Loads and loads of trial and error in software and hardware, not to mention absolutely harassing my close friends who had been producing for a bit longer than I have 🙂

How have you found the experience of setting up your own label E-MISSIONS, along with Caizzo? And can you share with us any future plans for developing it?

It’s always hard learning all the inner workings of something, particularly because it was so new to myself and Caiazzo. I’d say after 002 it just became a sort of formula which I think is usually the case with new labels – finding that formula that works and just repeating that over and over again. In terms of future plans… hmmmmm got some humans – specifically two of ‘em! A duo from DC making some of the best techno I’ve heard in years and I can’t wait to put out their record…

The artwork for the label looks really impressive. Who designs it? And can you tell us about the concept behind it?

Huge shout out to one of our close friends who has been with us since day one and has absolutely turned any idea me and Caiazzo had into a reality – Alex Seamens AKA Cranks. In terms of the concept it’s just whatever we can think of within the moment. Sometimes it’s relevant to the actual project and sometimes its not. What Alex is able to do is really incredible and it just gets better when he goes off and gets really creative because he understands the labels aesthetic – we really got lucky with having him on board <3

How would you compare the experience of New York with living in Berlin?

Well they’re two very different cities. Berlin clubs thrive later than most clubs around the world. For someone like myself, who is born and raised in New York, I can’t truly compare the cities. However, even though Berlin is so important for my career and I’m truly falling in love with it, no matter what New York will always be my first love

You are due to play back in New York at Le Bain on February 23 to celebrate the EP’s release? How did the event get organised and how did it feel to play at the night?

Playing at Le Bain for the ‘Chances We Take’ release party was really special and I had some butterflies …nobody wants to blow it at their own release party so I’m happy it went really well!

And finally. What are your thoughts on Techno in general? Do you feel that it is in a healthy, moving-forward position and what is exciting you about 2018?

I think it’s forever growing! And it’s beautiful to see more and more artists be welcomed by it or drawn towards it. I don’t think there’s a dance floor in the world that doesn’t need more dancers 😉 In 2018 I think it’s gonna be a year where I do my best to show some experimentation not too too far from my original projects but I guess to stretch my legs out a bit!


Mike Kiraly – Si Mani Revisited / We Get Messed Up – Loot Recordings

Mike Kiraly’s brilliantly messed-up production is all at once inescapably funky yet defiantly probing, pushing forward House while also qualifying as an excellent, creative piece of music. Its strange and startling array of sound effects rush across the stereo while vocal hits punch at you amid robust bass and drums. A great production that always seeks to excite and challenge. Martin Landsky supplies the remix of Si Mani Revisited reworking and replaying the elements while delivering a tougher groove from which hot Detroit stabs are soon evolving. The aptly named We Get Messed Up follows with more twisted vocals doing your mind some aural damage as a wealth of ideas are injecting into what is a supremely funky arrangement. Again I can’t help but hear a Talking Heads influence in there somewhere yet this remains resolutely original – compliment! Robin Fett then remixes adding a more sane combination of deep keys and pounding bass.

Release: March 30


Valdovinos – Memories from Montmartre – TENAMPA

This spine-tingling, imagination regenerating production from Valdovinos is more than enough to blow out any lingering doubts as to today’s musical resilience. Powered by a strident bassline and drums it’s the addition of powerfully atmospheric sights and sounds that also fuel the arrangement, ranging from trippy voices to repeating temptations and frisky stabs. Remixed by Neil Flynn who heightens the mood further via held, synthesized strings and punctuating electronic drum machines. To end, Vision plays out with combinations of 90’s styled keys looping plus a heady sense of occasion. PS check the accompanying fine Art-work by Xavier Fajardo.

Release: April 9


James Barnsley – Big Move EP – Vessel Records

James Barnsley’s bass crunching Time starts the EP as it means to go on. Big, brash and bold House Music that feels every bit as powerful as the title’s release suggests. A funky hint of bold Disco loops into the background as layers of atmospheric sound are built upon the rock-solid foundation, while Magazine Sixty favourite D’Julz reworks it all via grinding beats and bass teasing out fresh nuances. Next original is, Forgiveness which feels suitably deeper as more probing keys suggest moodier potential leaving rugged basslines plus fiery drums to work their magic. This time the remix comes care of Cabdrivers who add extra swing into the equation while retaining the tempting, introspective essence.

Release: May 18


Steve Kelley – Trust but Verify – Celestial Recordings

Deliciously, pounding production from Celestial’s Steve Kelley which doesn’t pull many, if any, punches igniting the senses via rolling, warm waves of bass alongside suggestive tones and sizzling drums on the title track. The questions then continue to be posed as Clubs or Discotheques follows with taught drums, sparse yet resounding stabs and occasional voices all asking you to answer the proposition. 4×4 ends the release with more tough bass underpinning a creative process of sounds teasing and tearing at the edges, feeling warm yet tough. Three equally rewarding tracks.

Release: April 9


Mutant Disco Q&A

Can we start by asking what is Mutant Disco?

Mutant Disco is an artist name which we were using a few years ago for some disco releases. We decided to reuse the name because it sums up what our sound is about, our brand of Lo-Fi House veers more towards the disco end of Lo-Fi.

Your single: My Donut is due out on Chill Records. Talk us through the story of how it all happened?

We are big fans of early Chicago house, especially the raw stuff – things like Mr Fingers, Fingers Inc, Master C & J as well as the early rave scene. We’re aware of Chill as it was a pioneering early UK house label that followed on from Jack Trax and was fronted by Tim Raidl (who mixed the UK 12” version of Fingers Inc – Can You Feel It). It was only when we contacted Tim about tracking down a couple of releases and sent him some of the tracks we’ve done in the past that we realised we had so much in common and Tim told us he was re-starting Chill with a view to releasing Lo-Fi House and Lo-Fi Disco, that’s how we ended up signing this particular track.

Can you describe the process of producing the single? Any particular favourite pieces of software/ hardware you like to use to achieve your sound?

For this track some of D16 Decimorts’ effect plugins, really achieved that lo-fi sound we were striving for in this track. Can never beat a 303 for bass either. But this sound can be achieved on almost any equipment or DAW if you know what you’re doing with it.

The term Lo-Fi has been applied for a while now. What are you feelings on the genre, and do you think that people applying labels can be creatively restrictive?

Dance music has always had labels, often to help shops, journalists and the end user know what they are buying, which can both help and hinder the producers. Currently listeners/clubbers are fairly open-minded when it comes to music and the term Lo-Fi can relate to everything from left-field electronic hip-hop through to raw, lo-fi house and disco – which is what we do. The term Lo-Fi really sums up the sound that has become so big and perhaps is something that’s developed organically as an antidote to the tech house and commercial house that’s dominated the charts for years a return to the more rebellious side of Dance Music as well as being fun again. Young people want a more raw sound and at the same time are exploring the more melodic sound of early house with strings, textured chords and nice keyboard riffs coupled with rugged beats and often unusual dialogue which makes it so exciting.

How do you feel about nostalgia being so persuasive in our culture?

A lot of the videos for Lo-Fi material are depicting scenes from 90s raves and 80s fashion, younger people don’t remember those times and as such a fascination has grown with everything old-skool. This new brand of Lo-Fi house and disco works brilliantly with those visuals and while the older generation call it nostalgia, for those in their late teens and early 20s, the sound is completely new, so it appeals to people who loved the very early Chicago house scene the first time around as well as the younger generation.

What artists have inspired you both inside and outside of electronic music?

As well as people from the early house scene, there has been countless modern Artist’s popping up in this genre that are pushing boundaries in this tight nit scene, PADDY, Lemin, SHEE, REES and Karl Guest to name a few. All of them have a similar sort of style but are unique in their own way. Some people to look forward towards whenever they release tracks.

Do you think music has, or should have, a political relevance?

It can have – generally dance music is to be enjoyed and is often a way of escaping real life for an evening or while listening for a couple of hours, it always has been. If you look back, notice that certainly in the UK whenever there has been turmoil or political changes, new genres (especially of dance music) have sprung up. It seems people are at their most creative during troubled times.

Moving forward into 2018. What are your plans?

Just to keep doing what we love, producing new music, having fun and getting our music enjoyed by more people.