The Martinez Brothers – Remixed Part. 2 – Cuttin’ Headz

Love them or merely adore them The Martinez Brothers have always produced music imbued by serious party-time passion and these four newly minted remixes tease out all of those qualities in abundance. First up is the Guti & Enzo Siragusa take on H 2 Da Izzo which pushes fast and furious as rolling basslines are punctuated by hi-energy snare hits and accompanying vocal edits. Next is Johnny Aux’s deliciously intense reworking of Stuff In The Trunk which lives dangerously close to the edge as sleazy drum machines are excited by Miss Kittin’s punk rock vocals and a whole heap of attitude. Matt Tolfrey then takes a step in a deeper direction exploring percussive potential alongside a realising of trippy voices, leaving Kenny Glasgow to end via his version of Stuff In The Trunk, again featuring Miss Kittin which this time employs electro bass over all sorts of heavy duty feelings across several minutes of expectation. Result.

Release: January 12. 2018.


Cosmic Pineapple Q&A with Kim Booth.

CP_1-web-610x610Cosmic Pineapple: Where did the inspiration for the name come from and please talk us through the concept behind it?

The name originally came up in Mexico at the end of 2012. I noticed how happy pineapples seem to look and the word cosmic naturally flowed before the pineapple! If you want a deeper meaning, the pineapple can also be representative of the pineal gland (which is associated with the pine cone). It’s a tiny gland at the centre of our brain that controls the circadian rhythms. The pineal gland is generally blocked on most people (fluoride is one factor of this, as it calcifies) and also life / media / society in general doesn’t feed the pineal gland to awaken (a child’s pineal gland is very open but closes as it gets older, for example). When the pineal gland is open it can lead to mystical experiences. Meditation is one good way to get it to open…Cosmic is a word I have loved for a long time, it is just out there and denotes something we can’t quite understand but makes us feel good!

You are running a series of Thursday nights at Ibiza Rocks House at Pikes Hotel in September. What are your plans for the evening, and why did you choose Pikes as the venue?

cos pPikes is such a magical venue. The history is crazy, the original owner, Tony Pike, built it from a finca in the late 70s and in the early 80s and it became this place of hedonism… Lots of artists used to stay at Pikes and Wham shot the video for Club Tropicana there. Tony went out with Grace Jones and people like Jean Claude Van Damme, Freddie Mercury, Kylie Minogue all stayed there. It went a bit downhill in the 90s/early 00s and since Ibiza Rocks has taken it over I love to see how it is evolving. I have known Dawn and Andy since a few years and I used to work with Sarah who now runs the events. I’ve been to some great parties there and I also used to teach yoga there, so I have seen both sides of what it can do. My aim for the cosmic pineapple parties is to fuse the music and ‘magic’ side of Ibiza, I use magic in this sense as more of a spiritual meaning. There will be a healing area with yoga, conscious talks, different healings and more. A night bazaar on the pink tennis court, which will have little market sellers from over the island. A creative area for people to experience different art classes – i think art is such a strong tool for transformation and creativity is our gift as humans! There will be cosmic music around the pool in the day time.  There will also be an outdoor cinema from Cinema Paradiso every week, which will lead into the night of the dance – two small rooms with wicked unannounced DJs. The idea is based on conscious raving and to explore all these little gifts we have to offer. I am also making them free with a charity focus. So in a sense you are partying / sharing / enjoying / creating for a cause… Which in itself makes it a spiritual practice.  I see these events as little cosmic and creative wonderlands to explore.

What importance do you think Dance music has in 2016 as a unifying force – compared with the seventies and eighties Disco/ House culture has society become more self-obsessed and insular?

I think we are in a new era and there is a reason why dance music has exploded as it has now. I love it when you are on a dance floor and you share exactly the same experience with everyone around you – a unified experience of oneness. On a dance floor everyone is the same and you can share a dance move with someone you will never meet again in your life. I’ve also met some amazing characters and friends in dance music that you just can’t find anywhere else. I have changed my perception when I go to clubs now. I used to chase which track was what, but now I am more focused on what the actual music is doing to me – how I want to move, what sounds move what energies, etc. There is something to do with the repetitive beats and rhythms which lure you into a meditative state. I also think it’s quite interesting how dance music averages around 120/130 BPM, which is double the human heart rate and i feel the rhythm something we can slip easily in to. I think dance music is very healing – it definitely attracts a lot of people who need some kind of healing or are searching for something a bit higher – and can shift a lot of heavy vibrations and allow you to feel elated when you get that good DJ who connects to the crowd and the music coming through.

Please talk us through you inspirational website?

The concept of the website is to inspire people to connect more to the self, the other and planet earth. I am a kind of seeker for higher knowledge. I have realised how a higher perspective can help you deal with life’s difficulties and make you understand more. A spiritual practice really helps me to be connected and trust in life. The idea is to share what I learn and to invite other people to share their own experiences and wisdom. I would like for it to be a web of good vibes from people around the globe! It is also really helpful for me to keep myself in check. I can come out of being in this space quite easily, so it’s always a good check in!

And tell us about the Cosmix series of mixes. How you go about choosing the DJ’s and do you have any standout editions so far?

I love the Cosmix! I’m so happy to put these out and they always inspire me at the right moments. For the DJs, it’s a natural selection. It’s generally someone I have seen out, or randomly emailed and told about the Cosmix, if they like it, they do it! I love it when people I have known for a while do them, as I can have fun reminiscing how we met for the write-up – dance music has some very interesting characters and stories to tell! RE standout editions, they all are in their own way and reflect a time of where everyone is at. I can’t say favourites. I would just go on and check out what mood you’re in!

Can you give us some background on yourself Kim? Where and how did you first get into Dance music and how would you say it has shaped your life?

I got into dance music at 16. My friend Tracy used to take me to a club called Bentleys in Bognor Regis. I think the first ‘proper’ DJ I saw play was CJ Mackintosh there, which was when garage was big. I got obsessed and used to listen to Danny Rampling’s Love Groove Dance party religiously and read all the dance mags to see what was what. I applied for work experience at Ministry magazine, Mixmag and Muzik when I was 18, forgot about it, and about six weeks later got a call from Ministry Mag to come and do some work experience. I stayed in a friend of a friend’s flat for two weeks in London and the mag liked what I did so kept me on for a bit as a junior writer. I then did a bit more work experience / freelance for Mixmag and Muzik and kind of fell into PR from there. I worked at Defected Records for a few years and got such a great education on the London house, disco and gay scene; I only recently realised how important this was! People like Luke Howard (who is now part of Horsemeat Disco) and Guy Williams used to take me to all their gigs and I loved it. It was also around the time of Roger Sanchez ‘Another Chance’, KOT ‘Finally’, ATFC and more, and was a really exciting and eye opening time. From there I worked for Underwater Records for a few years, around the time of Tim Deluxe ‘It Just Wont Do’, which was also a lot of fun and was very much like a family with people like Amy Thomson, Darren Emerson, Caroline Prothero, Garry Blackburn, Matt Stewart, Lottie and Yousef. I started my own PR company 11 years ago, after going traveling in Australia and Thailand. It started with Dan Ghenacia and Serge Santiago and built from there. Now we are three people working there and represent artists like Carl Craig, Josh Wink, Cassy, Ellen Allien, Steve Bug, Apollonia, Danny Daze, Stacey Pullen and more. Freedom has always been a big thing for me and I also have to love the music and respect the artist. I am very fortunate how it has developed over the last 11 years, i am not in this for the money, but more the freedom, experiences and creativity it allows. I have worked with artists and events who are on the same vibe and don’t mind my quite unorthodox approach to it all! I generally go away for a bit every winter and have emailed people from the back of camels in India and had to get a boat to get internet in Guatemala. It somehow always works out.

How would like to see Cosmic Pineapple develop into 2017 and beyond?

For the website, to get more people sharing and I think one thing I would like to do is hold cosmic and creative events / retreats around the world. I love traveling so much and experiencing different cultures and connecting to different lands. That would be quite magic!


Benoit & Sergio Q&A

BenoitAndSergio_RossLaurence2Firstly, sorry to hear that Sergio is under doctor’s orders. How is he getting with his recovery?

Sergio’s back is doing better, slowly recovering. We hope to be back on the road and fully operational in December.

Your new release ‘Old Streets’ on Soul Clap once again highlights your musical skills as well as your song writing abilities. How do you compare the importance of your timely melodies and sassy grooves with the more minimal, functional sounds that have been dominating many dancefloors?

I think essentially it comes down to a slightly lesser focus on sound “for the sound”. We love to explore sounds and try to find innovative textures but ­ ultimately ­ we search for a sound that inspires us to play. We likely have a more “old school” approach when it comes to melodies than modern days tracks. Some tracks today literally have the same note repeated but the sound itself varies in such ways that it creates a convincing and catchy hook, almost sounding melodically complex sometimes. I think this is as commendable as a more melodic approach. We’re just more on one side than the other.

Can you talk us through the process of how you produced/wrote the track?

BenoitAndSergio_LOGO‘Old Streets’ was produced in Washington DC. The “recipe” there has been the same pretty much every time: jamming on synths sync’d up with drum machines and recording as much as we can… occasionally going to the computer to start picking up the right loops and elements. Finally, we recorded the vocals that Sergio had written. The final sequencing is usually what takes us the most time. Sometimes it is obscenely long. It’s almost as if the infinity of combinations of sequencing freezes us. You can completely change the vibe and almost the style of a track with sequencing… Letting the tracks develop slowly and repeating some elements for a while can make a track real deep, whereas changing things fast will make it more pop. These decisions are also part of the process.

Your current release for Matt Tolfrey’s Leftroom Limited ‘House With 500 Rooms’ showcases a tougher more robust side to your productions. What’s the story behind the title, and how did you first hook up with Leftroom?

“House With 500 Rooms” is a play on an amazing old song from the 80s by a band from New Zealand called The Chills. Their song is really pretty and gentle ­ classic 80s, lo­fi indie pop. And it was called “House With A Hundred Rooms.” Since our track is all about a macho braggadocio, it just seemed sort of funny to try and be that way even in the title of our track by topping another title that uses “House” ­ even though that song has nothing to do with the genre. It is indeed a tougher, darker and more dancefloor side of us that’s showcased in this case. This diversity is probably because we enjoy a lot of different genres and never really limited ourselves to any sub­genre.

Leftroom makes sense for this EP as it represents a label with a classic sense of House music. We are really happy Matt wanted to release it. We met him through friends at parties and always had connected with him. He’s a great person.

Having already released music on the likes of Culprit and Visionquest what plans do you have for moving into 2016?

We have few more tracks/EPs we hope to release in the near future. One is more on the House side and the other more rock. A bit like the “Old Streets”/”House With 500 Rooms” combo.

And finally, how would you say that your main influences play into your music?

A lot, essentially. I would say they play 70% of the part. Then there is probably a good 20% of “direct” influence from playing in the club and experiencing a track there. This is a different kind of influence in a way ­ kind of like the difference between studying a textbook vs practice. The last 10% comes from being in our “bubble”. We tend to be also relatively isolated when it comes to production and this 10% accounts for that.

Benoit Simon





Various Artists
Smiley Fingers 100
Smiley Fingers

smileyIf you’re not already acquainted with the joys of Smiley Fingers then here is the reason to do so. Celebrating some three years of existence and their one hundredth release the London based imprint fires through its succession of heavy-duty grooves in fine style with this compilation. Kicking off with the sassy funk of Larry Cadge & Rick Sanders – Niagara the selection includes productions from the aforementioned, Dave Seaman & Andy Chatterley and Mobius Strum, with remixes from the calibre of Pezzner and Tapesh. Typifying the labels distinctive flavour is the killer Lopazz & Casio Casino Remix of Adam Helder’s ‘Sticks and Stones’ which ticks all the necessary boxes in-between House and Techno rather handsomely.

release: October 14



Disclosure feat. London Grammar
Help Me Lose My Mind

disYet another single lifted from the album, the fifth in fact! sees Disclosure once again display their effortless cool, although that is in no small measure down to Hannah Reid’s ethereal vocal. What’s new here however is Paul Woolford’s piano driven House reworking that you just know is going to score big. But despite the vocal actually suiting the album mix best it’s his Dub version which sounds prime-time and anthemic with its juicy bassline backing up all those the rousing keys.


Matt Tolfrey feat Marshall Jefferson
The Truth

LEFT042You could say, where would House Music be without Marshall Jefferson? And there is certainly every possibility that the shape of the music may have been different without his input in 1986. So it’s interesting to hear his own words describe how he sees it, reflecting back from 2012 when this track formed part of Tolfrey’s album, ‘Word of Mouth’. Now receiving a release in its own right the pulsating electronics sound just as vibrant and now come with a set new remixes. Firstly from Jon Charnis who drops the vocal and rebuilds the music with moodier atmosphere’s that have a spell binding edge. And from Gerd aka Geeeman who’s excellent thumping Acid drenched version instantly strikes a chord with Marshall’s spoken word.

release: October 21


Big Hard Excellent Fish
And The Question Remains
One Little Indian

Watch! the follow-up to 1989’s ‘Imperfect List’ poses a fresh set of questions for our age, and makes for completely compelling viewing. Credit due to Ian C’s haunting production and Josie Jones challenging words.


Matt Tolfrey (Leftroom)

Matt Tolfrey selects and talks us through some of the music that has influenced him over the years.

In no particular order…

Schmoov! – Playground – DiY Discs

I used to go and see Schmoov! play live every Thursday at a bar/club called Dogma and it really opened my eyes to how dance music can be performed in a live situation.  The album ‘While You Wait’ that this track is taken from is one of my favourites in this genre, it is so great to be able to listen to an album of such high quality from start to the very finish.

Rae and Christian – Time To Shine – Grand Central

Taken from their album Northern Sulphuric Soul from 1998, this is easily my favourite Rae & Christian song.  So intense, but not in your face at the same time.

Aim – Cold Water Music – Grand Central

This track got me through some lonely nights when i first went to university in Nottingham.  Seeing him live there was next level.

Massive Attack – Unfinished Symphany – EMI

This is an obvious choice i know, but the reason for that is it is a timeless piece of music and i don’t know many people that would not include this in their top ten tracks of all time.

Bushwacka! – Herbal – Plank

I remember this from a Layo and Bushwacka! Ibiza Cheese Free mix which came free with Muzik mag all those years ago, it is probably my favourite mix cd ever to listen to.  I also remember Craig Richards playing this in room one at Fabric at one of the first birthdays there and it tore the place to pieces!!!  No one does breaks like Bushwacka!

Two To The Power – Soul 4 Love – Oblong

This was one of the tracks on Oblong that did not get played out very much so i really made it my own when i used to play at the Bomb in Nottingham.  Both sides are great.

Herbert – You Saw It All – Accidental

It’s hard to pick a Herbert track as there are so many that i love.  The vocal in this is great and it really sets my mind at ease when i am stressed.  The guy is a living legend, probably one of the few people that if i met i wouldn’t say anything to out of pure fear of saying something stupid.

The Ananda Project feat Gaelle Adisson – Cascades Of Colour (Danny Tenaglia edit of Saffron Mix) – Variation

One of my favourite remixes of all time.  Simple.

Raff ‘N’ Freddy – Listen – Pschent

I remember Sasha playing this on Space Terrace and it completely blew my mind.  I still play it today when the time is right.

Simon – Free at Last (Vocal) – Future Dreams

This is the track that most reminds me of the Bomb in Nottingham.  When i first started going there in 2000 this was played every weekend, often the Dub, but i can’t find a youtube link for that.  I have also heard this blasting out of the speakers at Panorama over the last couple of years.



Deniz Kurtel
The Way We Live
Wolf + Lamb

Deniz Kurtel’s second album defies time and space with a collection smouldering electronics that fuse technology together with provocative vocals and emotive synthesisers. The Way We Live goes a long way in proving just how excellent music is at the moment, from the opening I Knew This Would Happen, which is one of the most atmospheric pieces of music so far this year, through to the exquisitely rapped Right On featuring Michael Franti. While this is more about horizontal listening there is an occasional nod towards he dancefloor such as on the Soul Clap collaboration, Safe Word – the album being enriched throughout with an amalgamation of impressive guest artists. By and large the album feels like sharing someone else’s introspection – which is what I think art is supposed to be about after all, isn’t it?

release: June 4


Moon Harbour InHouse Vol. 4
Mixed by Dan Drastic

Matthias Tanzmann’s Leipzig based label again delivers another selection of captivating productions, which in this case have been provocatively mixed together by Dan Drastic and whose own percussion fuelled Freaks and Geeks makes its timely appearance too. Despite being three years since the last one standards haven’t slipped either, with the likes of Guido Scheinder’s excellent Luna sitting alongside music from Marinez and of course Tanzmann himself. Watch out for Reboot’s devastating Bucaboca if you like your bass twisted and Luna City Express, Ultimo if you’re more into seductive atmosphere!

release: June 6


Various Artists
Cocoon Compilation L

The mystery unfolds as Cocoon’s yearly compilation now explores the lovely letter L. Standing for the love of… the music here builds from Tale Of Us & Visionquest’s  ambient foundations of Equilibrio and then twists and turns through a first rate selection of electronic music. The sounds get progressively heavier, though all contain that funky intensity associated with Sven Vath’s label, and while it would be easier to simply say that all the tracks are good/great it has to be said that there are some particular standouts: Tim Green’s shuffling Curious Green, Sian’s buzzing East Of Eden and Daniel Stefanik’s expansive Everything Goes Green which also goes to finish off this highly recommended compilation.

release: June 8


Joe Europe
Joe Europe EP
Vitalik Recordings

Five tracks go to make up this debut release for the label and there’s something almost restrained, yet deeply intense, about the way the opening production Runner plays out. Its imaginative use of vocal snippets and old school – sounding very new school – stabs work with the shuffling rhythms to become purely addictive. Some of the same principles apply to Things with its warmer, funkier bassline and this again hits the spot. Amore then explores more in the way of spacious tones, while the more apt Attitude goes tougher with yet more vocal cut-ups and moody keys, leaving the equally impressive Standing to end on a - not feeling too blue in the process -Jazz note.

release: June 4


The Underworld
Indigo Raw

Sassafras comprises of label bosses’ Mirus (Norway) Paul Loraine (U.K) and Dominic Plaza (Sweden) who along with seriously hot sounding vocalist Nikol Kollars (Hawaii) have combined to deliver one of the more curious highlights this week. Deep, stripped back grooves set the scene while haunting spoken vocals sizzle suggestively on top, accompanied by the occasional burst of organ and spaced out fx. The Hatikvah remix then treats the voice and adds in even moodier sounds, while Paul Loraine flavours it heavily with percussion, and Vlad Malinovskiy’s remix pumps it up still further for the dancefloor. Though for me the original is best.

release: July 5


Matt Tolfrey and Lazaro Casanova feat. Nikko Gibler

Three heads are clearly better than one as this new ep goes to prove from Culprit. LAX begins with deep beats and ends up with a punchy tech bassline competing for your attention along with striking tribal snares, edgy keys and voices which all feel tastefully irresistible. Globe, then provides another thoughtful collection of ideas which this time play intriguing keyboards over quick fire eighties percussion, leaving Metronomy to get deeper with gorgeous lush bass and mood enhancing synths to round off.

release: June 4


Nigel Hayes
Northern Lights Part 2 EP
Intelligent Audio

The multi- talented Nigel Hayes shows what all the fuss is about with this new selection of carefully crafted grooves that lean heavily on the Jazz/ Funk side of life – good. Whether it’s the squelchy funk of the opening Santos or indeed the ‘Expansion’s’ flavoured Jazz Funk this unquestionably plays like a touch of class. Moody Cha Cha’s excellently titled number finishes off with jazzed-up percussion and sassy vocals combined neatly with expressive horns, though not before the Northern Lights has the chance to shine in your direction with gorgeous piano, double bass and cool muted trumpet.



Hang Together

Next in bbr’s superlative series of reissues sees the legendary Odyssey’s 1980 album get a fresh make over, and as is the custom with the label it’s accompanied by invaluable sleeve notes. No matter what you may, or may not, think of Use It Up And wear It Out (which is also on here) the group wrote many bone fide classics such as Going Back To My Roots and Native New Yorker in their time. But back to Hang Together and its opening title track displays the musical and vocal process which made them famous and this you can also witness on supremely funky Don’t Tell Me Tell Her. But as was the want at that time some bands filled out their albums with ballads and even flirted with other styles of music, although not always successfully. Never the less this is excellently produced by Sandy Linzer at NYC’s Hit Factory…




Towards Green
Last Page EP
Buzzin Fly Records

I did think of Durutti Column when I first heard Rivero Brito’s sensitively plucked guitar streaming through stereo and that’s of course a most welcoming experience. But, it’s also equally refreshing not to plant thoughts in your mind as this EP conjures up all sorts of people you could reference, despite the music having a life very much of its own. After experiencing the rather beautiful title track, the even more so, Keep Your Eyes Closed defies logic with uber-cool Double Bass and fizzy electronics blending together impressively with thought-enhancing arrangements and subtleties. The Arkist Remix adds beats, though cleverly doesn’t lose the charm, on an excellent version that can only come highly recommended. The Live Take of Last Page then finishes off with what must have put a rather large smile on Ben Watts face… 9

release: April 16


Boris Dlugosch
Keep Pushing
Peppermint Jam

Fresh remixes of Boris Dlugosch’s biggie from the mid nineties sees Inaya Day’s vocals revitalised once again, and this time round over equally contemporary versions. Firstly from the excellent Joel Alter who swings delicious bass off hissing hi-hats and funky organ, while utilising snippets of appropriate voice to deliver more typically irresistible grooves. The Coyu Kitty-Push remix gives the drums much more of a tribal flavour and uses more melody, all of which eventually reaches the joyous chorus line. 8

release: April 18



Hot Since 82
Hurt You EP
Moda Black

This new instalment from Moda Music begins life with another notable Leeds artist, Hot Since 82. Hurt You, fuels the senses with an infectious bassline, tripped-out voices and insistent hi-hats which punctuate the production throughout – you couldn’t really ask for a better start from the label. Second track, Sundown compliments the picture with darker notation and funkier percussion being offset by semi- melodic vocal snippets and dark, brooding synth chords which all feel suitably lush. 8

release: April 16


Guy Gerber
The Mirror Game

Sounding enviously similar to The Cure circa 1980 with its evocative, gothic overtones and that uniquely, haunting bass-guitar sound, this even manages to transcend that very possibility via heavenly treated voices and shimmering electronic percussion. A truly excellent piece of music to refresh the soul – or at least words to that effect. One Day In May, proceeds with a stunning chord progression that deifies simplicity and is again aided by a surreal collection of voices and sounds so tempting that you can almost taste them. The Snake Pit Dub of the title track ends by tweaking the elements into yet more ethereal beauty as a special bonus for the digital package. 9

release: April 16


Kate Simko & Matt Tolfrey
The Same Page EP

Leftroom’s Matt Tolfrey teams up with Chicago’s Kate Simko to produce this devastating collection of one, two, three tracks. Opening with, Take It Easy which blurs the lines between Jazz, House and Electro – which if you ask me sounds like the perfect idea – by playing cool guitar alongside big fuzzy chords and electro-funk bass, this also boasts a clever arrangement that is never less than electrifying. Synthetic sounds continue to flow with, Lazy B coming complete with refreshingly funky percussion, leaving No Shame to develop the Chicago theme further into the ethos. 9

release: April 16



Voices Of Black
Atom Bomb
Double Standard

Dropping the tempo but never easing up on the mood comes this latest from the creative hands belonging to Voices Of Black. It’s hard not to admire the audacity of their spirit as these laid back vocals tease a sense of drama from the quietly addictive, head-nodding rhythms, and it’s even harder not to nod likewise. Remixes are from the even more down-tempo Taner Ross, who furthers the tension still to highlight the vocals’ charm, and No Regualr Play feat. John Camp Remix who pick up the pace again giving the song some House pizzazz via the detuned voices and funky arpeggios. 8

release: April 23


The White Lamp
It’s You
Futureboogie Recordings

Proving once again the strength of contemporary music, The White Lamp show the way the way forward with their combination of irresistibly cool grooves and knowing vocals. I guess the clue is in the labels’ name: Futureboogie. The drive of It’s You lies within the pulsating basslines and a vocal delivery which places tension against melody, and is nothing but completely enticing. Ron Basejam aka Jim Baron from Crazy P supplies the remix with typical panache and comes up funky as ever with a selection of deliciously soulful chords, leaving the Eats Everything and Christophe Acid Ouse remix to do that very thing in equal style. 8

release: April 16