[Audio] mighty mOUse reMixes Air Zaïre;s ‘Love ’94’


Air Zaire

Cosmic cruiser mighty mOUse is back with a brand new reMix. The UK’s Disco don has been concentrating more on his own releases recently, with the likes of Luna and Dusk slaying it, and a hectic touring schedule. Couple that with his work in superduo Du Tonc and it’s no wonder he hasn’t had time to reMix for a while. The reMix silence has just broken, however, with this new work for Air Zaïre’s Love ‘94.

Air Zaïre has been bubbling away for a while now, not making massive waves but getting on all the right mixtapes with the likes of Tensnake and Goldroom rocking his jams,. The Brooklyn based producer has teamed up with AIMES’ Wonder Stories label for this latest release. Love ‘94 features Daniela Cabrera on vocals and some smooth and carefree summery piano vibes to be put on hold until the weather is better.

mighty mOUse cooks up a tasty treat with this one. A piano fuelled House track with comforting Tropical overtones. Switching between a gloriously relaxed piano hook and a similar riff played out on squelchy, almost Acidic, synths is a nice way to keep the groove sounding fresh as mighty mOUse weaves it in and out of a symphony of island percussion and pleasing pads. Tied together with a joyous rubbery bassline, this reMix is pure top-down feel good vibes, using just a hint of the original’s vocals to keep the hazy mood going. Top stuff to keep you warm this winter.

♫ Air Zaïre (Feat. Daniela) – Love ‘94 (mighty mOUse reMix)

Air Zaïre’s Love ‘94 is out now

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[Video] Apachelux’s ‘Only When You’re Lonely’


Apachelux   Only When You re Lonely  Official video    YouTube

Louisa Strachan’s big, soulful, voice is back with the new single from her post- The Vanity Clause, outfit Apachelux. This one comes hot on the heels of the last single This Time and is titled Only When You’re Lonely; a heartfelt electronic Pop track with Post-Punky overtones.

Check out the animated video for a slice of black and white bitter-sweetness along with the tune.

Check out more from Apachelux on SoundCloud.

[Audio] Rex The Dog’s ‘You Are A Blade’ EP


Rex The Dog

We’re big fans of Rex The Dog around these parts. He’s like this nexus point of everything we hold dear; SynthPop, Disco, Electro, Italo, vintage drum machines and analog synths. There’s nothing glossy or overproduced about Rex’s music, this is the raw sound of electronic music. Groove leaden and intricate. Robotic drum machines ticking and undulating modular arpeggios.

Arpeggios that, these days, come from an increasing number of had-made modular components born of the time between 2013’s Do You Feel What Feel?, and Sicko from earlier this year, not being wasted. The more human side of the dup, Jake Williams, having spent 2014 and 2014 taking electronics classes to learn to build rack modules exactly how he wanted them.

Once on the way to building his new colossus Jake and Rex (the canine contingent part of Rex The Dog) returned to releasing, and returned to their original label Kompakt, to drop Sicko on us a few moths ago and are now following that up with another three tracks of organized electronic chaos in the form of the You Are a Blade EP.

The EP’s title track is an atmospheric slice of Sci-Fi Electro. You Are A Blade could easily soundtrack a dystopian future with its; gruelling Techno bassline and array of ethereal lead lines. Sweeping over an old School Electro beat, layers of analog warbling paint a neon soaked picture loaded with mystery and intrigue. But don’t worry, it’s a full on dancefloor  beast too, and when it hits it’s peak around the seven minute mark you will be compelled to dance. Musik Hypnotises, the first of the flip-sides is an analog squelching excursion in nostalgic grooves. This is proper Electro, B-Boy style, with added 303-esque riffs. It brings to mind some of the darker Electro and Acid experiments of Juan Atkins. If you like Post-Kraftwerk robot beats and burbling Acid hook then this one is for you. Intoxicating and imposing. The EP completes itself with Iain Bank homage Wasp Factory whose spiky modular synth patterns complement the title perfectly. A powerhouse Techno track with unrelenting layers of intertwining hooks that was no doubt the result of Jake jamming with his modular set-up. You Are A Blade is one for the synth aficionados as well as those who love losing themselves in deep electronic soundscapes on the dancefloor.

♫ Rex The Dog – You Are A Blade (Radio Rip)

Rex The Dog’s You Are A Blade is out now.

Buy Rex The Dog’s music from:

[Audio] Kate Boy’s ‘One’ album


Kate Boy

Those fine folk at Fiction Records must have read my big blog rant, or at least have some common sense, as they sent over the promo of Scandinavian ElectroPop heroes (and now slimmed down from trio to duo) Kate Boy’s début long player in enough time for us to spend a while with it and actually write a review to post in release week! It makes a change from the ‘here’s a new album that’s out tomorrow; can you post about it now?’ attitude of most. Ironically, although we’ve had a week or so with this album; this is one record that we could have safely said, on the first day we got it, was fucking awesome.

But we’ve been waiting for Kate Boy’s album for a long time now; and considering half the album is either songs we already loved from their string of amazing singles, or songs we already loved (and surprisingly knew all the words to) from their string of amazing live shows; us loving One was to be expected. It would have been very hard for Kate Boy to mess this one up.

Speaking of live; we hate to talk about Kate Boy without mentioning just how flippin’ good they are. Easily one of the (arguable the) best live ElectroPop acts around right now. Their live shows are energetic, engaging and as musicians the are unbelievably tight. More than that, though, Australian born Kate Akhurst herself has got a hell of a voice on her. If you get the chance to catch them, do yourself a favour….

It been a few year’s road to the album release. First causing a stir back in 2012 with Northern Lights, Kate Boy immediately became music blog darlings. We fell instantly in love with their mixture of Nitzer Ebb-esque post-Industrial percussive synths and warm, anthemic Indie-Electro vocals (with a hint of R&B) and while some outlets haven’t stuck around for the ride we think they’ve raised the bar with each release since.

Most of those releases are featured on One; kicking off with the album’s recently released lead single, Midnight Sun; a track that is perfectly placed as the first thing you hear. Midnight Sun sums up Kate Boy to a tea, driven by relentless big attack bass synths and hammerfall drums that underpin and array of icy, but somehow comforting, keys alongside Kate’s powerhouse vocals. This is Kate Boy’s perfect combination of aggressive and compelling with bubbly and inviting. Midnight Sun leads into the aforementioned Northern Lights, the more low-key affair that hooked us in the first place. A woozy bassed, stuttering anthem that still sends tingles down the spine. Lion For Real is a track that, despite being presented her on record for the first time, is a track well known to Kate Boy fans. A live favourite (the first of many), Lion For Real is an odd metaphor, but a sweeping anthem that works as a prime example of Kate’s vocal range; gliding from moody crooning in the verses to epic call-to-arms bellowing for the chorus. Human Engine, again, is a live staple that gets it’s first studio recording outing here. One of our personal live highlights, Human Engine wears wears it’s industrial influences in it’s sleeve underneath the passionate lament that is Ms. Akhurst at her most vocally expressive. At the end of side one Kate Boy give you a breather from all the abrasive euphoria with the darkly beautiful Burn, which makes for a nice palate cleanser before the track that is, for the most part, the peak of their live show. Higher, Akhurst’s equality anthem usually sees her at her most interactive with the audience, and that is recreated here with the reproduction of that optimistic energy and inclusive mantra amid a sea of rapid fire synths and wobbly bass.

If we had to pick, we would probably say that Self Control was our favourite Kate Boy track. It’s the closest they get to actually funky, thanks to an infectious and fluid bassline that give the song the most organic groove on the album. When I Was Young is, for the most part, our choice pick of the brand new tracks on One, we were unsurprised, then, to hear that it will be the band’s next single (due out in January). Easing in with a rumbling Acidic synth line, Kate growls her vocals over a selection of nostalgic sounds before When I Was Young launches into Kate Bush-esque rhythmic battle cry that stands out on side two as a personal and intoxicating opus. The Way We Are, another acclaimed single from 2013, brings some welcome familiarity; showcasing Kate Boy at their most Industrial with some melodic sampling that would have made Art Of Noise proud. This is paired side-by-side with Open Fire, Kate Boy’s other factory-floor-funk single from 2014 and it’s big sing-a-long chorus. The Album closes on Run As One, a slow grinding song which feels both introspective and, in the choruses, and epic closer with Kate’s vocals taking on a Post-Punk anger.

The bonus track on the extended version of One are In Your Eyes, from the Northern Lights EP, an epic tune that felt missed on the album proper (but, we guess, there isn’t room for everything) and the incredibly uplifting, yet quite biting, Temporary Gold. A tune which sounds weirdly like an Industrial Marina And The Diamonds, covering the same ground for topics too.

So there it is. We feel like we’ve been waiting years for the album’s release (mainly because we have) and not one second of it disappointed. Which, apart from being amazing, was a massive relief. Needless to say Kate Boy’s one comes so, so, so highly recommended. As does seeing them live if you can; that’s where the real Kate Boy experience shines the most.

♫ Kate Boy – Self Control

♫ Kate Boy – Midnight Sun

♫ Kate Boy – Open Fire

Kate Boy’s One is out now.

Buy Kate Boy’s music from:

[Audio] Du Tonc’s ‘We Can Hold On’



The duo of Du Tonc coming together was one of those moments in music that is just so exciting. We’d longtime been fans of Aussie Indie-Electro outfit Van She, probable the most guitary band we are fans of, who rode the crest of the 2006/2006 Electro explosion with both a string of catchy as hell ditties and some storming Van She Tech reMixes. And post Van She the guys have done the business too; Touch Sensitive, Arithmatix!, Tear Council have all been at the top of their game, as was Matt Van Schie peddling his solo line in silky smooth SynthPop that was both glorious and intimate.

So you can imagine how badass it was when, back in 2013, when Matt teamed up with another Matt to form a Matt themed double-act. MiGHty mOUse (no, we’re never going to stop writing it like that!) is a powerhouse on the Nu-Disco scene. The UK finest purveyor of Cosmic and Left-Field Disco (and more recently some Houseier offerings) MiGHty mOUse has not only been at the top of his game, producing, editing, reMixing and DJing, for the best part of a decade but also curated the Disco Circus series which are absolutely essential for anyone interested in modern dance music. His burbling analog Boogie productions are always something to look forward to.

These two Matts, together as Du Tonc, have released a string of amazing tunes in the years since they exploded onto the scene. Weaving breezy Indie-ElectroPop melodies into space age dancefloor grooves Du Tonc have consistently delivered atmospheric and intoxicating sunkissed tracks that you can just sink into. It’s no wonder the duo ended up on Belgian fine-taste label Eskimo.

So their new single has just been released, and We Can Hold On is a woozy excursion in psychedelic island Funk. The dual juggernauts of thick synth bass and a slap riff make for a rock solid core that practically compels you head to nod in time. Spacious pads and bubbling hooks intermingle with subtly guitar to form a swirling and mysterious soundtrack for Matt’s comforting vocals. No Du Tonc track would be complete without a hint of nostalgia; and We Can Hold On certainly brings it with just enough of a hint of a mid-80s summertime dream. Du Tonc have released enough material now for us to be able to say, with some certainty, that their forthcoming album should be a killer. It would be very hard to fuck it up!

♫ Du Tonc – We Can Hold On

Du Tonc’s We Can Hold On is out now.

Buy Du Tonc’s music from:

[Audio] Pat Lok’s ‘Your Lips’



If your want soulful House of Funkified Disco and you’re in North America you had best be going to Mr. Pat Lok. The Vancouverite (is that a word?) is one of the most consistently amazing producer working in this genre right now. Whether he’s getting smooth and soulful, or getting the party started, Pat Lok always delivers.

He’s gearing up for the release of his second single this year, which we think (taking into account reMixes and whatnot) is a good release schedule. Steady and regular without oversaturation. Pat Lok keeps them wanting more.

The maestro has teamed up with fellow Canadian Electro Soul trio Dirty Radio for his new single, Your Lips. The single follows on from his smooth House collaboration with singer/songwriter Desirée Dawson, the well received All In My Head, from the beginning of this year and by the sound if it, will be doing the same kind of damage.

Your Lips serves up an easy groove. Dirty Radio’s Shaddy’s vocals are a smooth as silk here as he croons over Lok’s analog fuelled groove. Lok eases off of the attack on the synths he uses in this one to give to track a lazy groove; the hooks here have no urgency, they are content to flow with the tide of the tune. Carried along by the laid-back beats, the tune is all about giving room to the vocals, so they can do their thing and weave their sultry and smoky atmosphere throughout.

♫ Pat Lok (Feat. Dirty Radio) – Your Lips

Pat Lok’s Your Lips is released 13th November.

Buy Pat Lok’s music from:

[Download] Nude Disco & Curtis Chip’s ‘High Rollers’



The media empire that is Nude Disco released their second compilation album, Nude Disco Selections Vol 2, earlier this year and have released a string of single from the release in the processing months. The bonus track from the Bandcamp release of the album was High Rollers, from Nude Disco himself and Curtis Chip, now available as a free single.

Nude Disco, the act, the record label, and the club night, is the brainchild of Vern (of Stretch & Vern fame) and through the record label and club night has become a hub for South London Disco, Italo and Boogie heads who flock to the Brixton collective. Considering that our little musical collective spans the globe, we have always been a little jealous of Brixton posse, cantered around the (currently on hiatus) Nude Disco club night there’s a real sense of community with these guys.

As a producer Nude Disco has released a whole host of top quality Nu-Disco tunes, remixes and mixtapes and for this one he has teamed up with repeat collaborator Arron Curtis A.K.A Curtis Chip to drop a weighty slab of synth funk in the form of High Rollers.

High Rollers centres itself around a loop from High Fashion’s Feelin’ Lucky Lately, from their 1982 album Feelin’ Lucky, which filters in and out of an array of fresh beats and lush synths to create a warm, comfortable vibe. This is one Disco tune that envelops you in it’s smoothest of smooth grooves, freeing you from your woes. Like an audio Instagram filter, this one drops a nostalgic veil over your life while you’re listening. It’s a free download too, so you can keep it and stick it on when you life needs smoothing out for five minutes.

Nude Disco & Curtis Chip – High Rollers

Nude Disco Selections Vol 2 is out now.

Buy Nude Disco’s music from:

[Video] Kid Kasio’s ‘The Kodo Song’


Kid Kasio   The Kodo Song   YouTube

Nathan Cooper, A.K.A. Kid Kasio is arguably the finest creator of 80s Pop music around today. Everyone one from the SynthWave scene, to the leftovers of the mid-2000’s ElectroPop boom, to today’s Pop-R&B artists are laying claim to the sounds of the greatest decade, but not one of them (even the devoted SynthWave scene) is actually making music that sounds genuinely like it came out in the 80s. But Kid Kasio is.

Emerging from the ruins of (almost massive) Indie-ElectroPop outfit The Modern (nee Matineé Club), Kid Kasio honed his skills on the singles leading up to is début album, Kasiotone. Referencing everything from the SynthPop of The Human League and mid-80s Depeche Mode to the slick Pop of Duran Duran and Nik Kershaw, Kid Kasio’s songs sound like you’ve just changed channels in 1984 and Top Of The Pops is on.

Kid Kasio has been quiet for a while, holed up in the studio, but now he’s back with a new song, and new video. Nathan’s videos are almost as good as his songs themselves, each one painstakingly crafted by Nathan himself (his family has a film making history; his brother being Howard Stark, sorry, Dominic Cooper) and each one looking as authentically retro as his music sounds.

His new one is titled The Kodo Song, it’s actually three years old and a collaboration with his long term writing partner Benjamin Todd, with whom  co wrote the music for Sony pictures’ Tamara Drewe and more recently Miss You Already starring Toni Colette and Drew Barrymore.

Nathan tells the story: “The song tells the story of 2 friends called up to fight in the Anglo – Zulu war. The nonsensical chorus is the mantra the pair would chant on the battlefield. One of the friends dies in battle and his companion is left with the song as a reminder of their friendship, long after his death. I guess it’s all about the intensity of friendship and the power of music and its longevity.

The video is entirely Rotoscoped, inspired by A-Ha’s video for Take On Me,  a process which Kasio begun himself without really considering how much work would be involved (hence the three year delay). Nathan continues: “Unfortunately I had little understanding of how time consuming the process would be. I began animating in October 2013. At one point I was getting up at 6am and drawing continuously until 2am in the morning. I’d get to the end of a day like that and watch back what I’d done, and there would be only 2 seconds of animation to show for it, it was utterly soul destroying, doing this day after day, month after month.

I felt like it was going nowhere, I hadn’t realised the people making this kind of animation were normally working in teams. It wasn’t just Morten Harket sitting in his room, tracing 3000 frames himself! I’d basically bitten off more than I could chew!

Bizarrely Drew Barrymore, who Nathan met on the set of Miss You Already sparked a resurgence of Kasio’s interest in the song: “I gave the 2nd album to her on the set, expecting to never hear anything back and I got this gushing text from her the next day saying how both her and Toni Colette had loved the album and especially that song, and how I absolutely had to release this! It was the impetus I needed to get it finished I suppose”.

And here it is! 3,372 drawings later. The Kodo Song is classic 80s Pop, in the vein of The Riddle with a chorus that makes less sense as it is really catchy. Playing on that particularly 80s strain on pseudo-exotic synth instrumentation and an infectious digital bassline, The Kodo Song leverages it’s solemn subject matter with insightful choruses that make the chant-a-long refrain of the chorus feel like a break in the tension. Militaristic drums underpinning the tracks give way to compelling beats before asserting them selves again as an example of the song as a whole, slipping from stern seriousness to euphoric Pop brilliance.

The video could not be more fitting. Playing with effects that would have been cutting edge in the 80s, Zulu is rotoscoped to perfection with Nathan’s performance highlighted but unobtrusive. With knowledge of the amount of work that went into the clips creation, watching can be exhausting, but massively worthwhile.

We eagerly await Kid Kasio’s sophomore album, due for release in the coming months.

Kid Kasio’s The Kodo Song is out now.

Buy Kid Kasio’s music from:

[Audio] Kickstarter Lovestarrs’ new album and EPs



UK band Lovestarrs are the Rocky Balboa of the SynthPop world. They keep getting knocked down, and keep getting back up again. Sarah Mackintosh rose to critical acclaim as The Good Natured; starting with her Grandma’s old Yamaha keyboard and ending up as one of Britain’s most hotly tipped Indie-Electro acts. Juggling moody lyrics and a Gothy aesthetic with catchy and rousing ElectroPop tunes, The Good Natured were one of the more interesting and unique acts in a saturated mid-2000’s scene.

The the setbacks begun. Signing to Parlophone seemed like a good thing at the time with the backing of another EP and the announcement of the forthcoming album, to be titled Prism. A good thing short-lived though with the news, after a period of quiet, that The Good Natured had been dropped from the major and had spent the previous few month trying to secure the rights to the Prism masters; to no avail. The album was buried, and The Good Natured died.

In our opinion, this is the biggest dick move a major label can pull. We’ve seen it happen before and we’ll see it happen again. We don’t understand why, if you’re dropping an artist, you can’t just let them release their recordings. Sure, you’ve paid for them; so let them release them themselves and take a cut (surely that way at least you get something back for the recordings you paid for rather than nothing at all). It makes no sense to us and largely just comes across as spiteful.

Anyhoo, you can’t keep a good act down; and with almost a middle finger to the music industry, Sarah came bursting back on our radar as the bombastic Lovestarrs. Backed by her brother Hamish, Sarah’s new output was buoyant and optimistic. Pink replaced back and exuberance replaced gloom; and their début single, Get Your Sexy On, was a party fuelling manifesto proclaiming that Lovestarrs was a different beast to The Good Natured, keeping the lush SynthPop textures but washing them in a lavish, colourful nostalgia (epitomised by 80s Love Song, one of our top tunes of 2014).

Now staunchly DIY (and who can blame them) despite working with indie label Defdisco, Lovestarrs have set up a Kickstarter campaign to cover the release of their next two EPs and début album. The plan is to pay for the releases themselves, and licence them to Defdisco. The desire to pay for, and own, their own records is completely understandable coming from a band who had the last album they recorded held hostage. It’s one of the worthier Kickstarter campaigns we’ve come across. These guys deserve to own their own music, we can imagine how heartbreaking it was to record your début album and then have it disappeared by gangsters.

Lovestarrs are serious about this too; one of the rewards (in exchange for a shit ton of money!) is Sarah’s Grandma’s aforementioned Yamaha keyboard!

The duo have been releasing teasers of what to expect from the releases, you will hopefully find it in your heart it help out with, on their SoundCloud page in the past couple of weeks. From the chant-a-long fun of WTF to the robotic rabble-rousing of Frank Sinatra the album sounds like it’ll be wearing it’s 80s influences on it’s sleeve. Tracks like Somebody Like You sound classic Sarah Macintosh (whether The Good Natured or Lovestarrs) while the likes of Good Girls sound like the will bring something new, and more contemporary, to the table.

Just do it. Go and contribute. Lovestarrs deserve this and, goddammit, we want this album released.

♫ Lovestarrs – WTF (Demo.) (Snippet)

♫ Lovestarrs – Frank Sinatra (Demo.) (Snippet)

♫ Lovestarrs – Somebody Like You (Demo.) (Snippet)

♫ Lovestarrs – Good Girls (Demo.) (Snippet)

Get on board with Lovestarrs’ Kickstarter campaign here.

Buy Lovestarrs’ music from:

[Audio] Bit Funk’s ‘Off The Ground’



Brooklyn based groover and all-round nice guy Bit Funk is kinda’ considered somewhat the ‘producer’s producer’. Alongside being a big chunk of the Nu-Disco scene’s go to mastering engineer Bit Funk makes the kind of tune that make other producers say “damn”.

He’s been around for a while too, first coming to prominence around 2009 and since then racking up some top reMix and production credits, with some pretty big names, but his own original releases have been far too rare; the last one must have been 2013’s Soul Satisfaction, the man’s gruelling touring schedule must be something to do with that.Thankfully, for us, though when the man does release a new original tune it’s generally something to be excited about as he mashed genres and brings the funk.

His latest offering is Off The Ground; a track for which he has enlisted the help of UK R&B vocalist Shea Jacobs to inject a little Pop flavour. It was released last week on Universal and looks set to be a slow burner that does big things.

Leading immediately with a soft piano hook and Jacob’s soulful vocals, Off The Ground pulls no punches in letting you in on what to expect. Uplifting and euphoric, with a warm comfortable groove, Off The Ground is effortlessly classy, breezing through with it’s dancefloor focused blend of Disco and Deep House. At it’s heart a Pop tune, Off The Ground comes complete with a catchy chorus and a heartfelt refrain, but works that around an array of modern club techniques, most noticeably a stonkin’ UK Deep House bass drop that pulls the track into a more Disco friendly Gorgon City type territory. Big, summery, anthemic stuff that you’re bound to be hearing more of in the coming months.

♫ Bit Funk (Feat. Shea Jacobs) – Off The Ground

Bit Funk’s Off The Ground is out now.

Buy Bit Funk’s music from: