[Audio] Maya Jane Coles reMixes Nimmo’s ‘Dilute This’



Nimmo And The Gaunttlets are now just Nimmo, although the gauntlets appear to still be around. Confusing, right? We thought Sarah Nimmo might have gone solo, but nope the gang’s all there, Reva Gauntlett is still around. This crew are one of the best live outfits in the UK right now. We’ve been lucky enough to catch them a few times and they have an odd introspection onstage that, rather than alienating a crowd, seems to draw the crowd in and their high energy, upbeat Indie-Electro anthems definitely keep an audience rocking.

Their intense, but fun, ElectroPop seems like a pretty good match for the reMixing talents of Maya Jane Coles, who we’ve made no secret of the fact that we think she is one of the best producers of the last decade. Coming from Bristol we do have a soft spot for our electronic music being bassy and mysterious and Maya superbly wraps that Sci-Fi Dubbyness into infectious House tunes in a way that is just intoxicating; and when she weaves vocals through her tracks the results are right up our street.

Nimmo’s infectious and edgy ElectroPop single Dilute This was released late last month and has been swiftly followed up with a small collection of reMixes featuring Maya’s track, a mix from David Mayer and an Extended version from Nimmo themselves, the Nimmo Night Edit.

MJC’s reMix keeps that enigmatic vibe while introducing the track to a nice peak-time House flavour. Maya’s undulating and shifting beats keep things steady without loosing it’s little Garage skipping. Cole’s premiére talent is her user of atmospheric sounds and pads to create unique grooves. Many people can utilise moody tones to create an ambience, but MJC builds those soundscape layers into something darkly funky. Here that deep and intoxicating pallet turns the sections of Nimmo’s vocals that Maya chose to use from energetic IndiePop hollers to smokey and haunting croons. The perfect lazy afternoon listening that would work equally as well rocking an enchanted dancefloor.

♫ Nimmo – Dilute This (Maya Jane Coles reMix)

Nimmo’s dilute This is out now.

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[Audio] DNKL’s ‘Otherside’



Some days we feel like we might as well just stop trying to fight it and become a publication that solely focuses on Scandinavian music, seeing as we spend most of our time listening to, and writing about, it anyway. The Scandinavians really have nailed it where it counts. They arguable produce the finest electronic Pop music in the world, they pwn the world of Cosmic Disco, their experimental electronics have a tundra soul that raises it above the rest and they can take Teutonic EBM and somehow make it less embarrassing. Even more amazing is when they blur the lines between styles. DNKL do that. DNKL do that, like, all the time.

Swedish trio DNKL take a frigid, icy SynthPop sound and warm it up with some bass heavy dance music grooves. For the last few years this outfit have been releasing complex and beautiful dark ElectroPop tracks, heavy with atmosphere, but with foundations of tight and intricately crafted synthesizer Pop.

Their new tune, Otherside, comes following up on their début EP, Wolfhour, which received a fair amount of praise on it’s release last year. Since then the guys have been holed up working on new material (we hope for a forthcoming full length release) of which this is the first taste. It’s a departure from their previous offerings, but at the same time not; and not just because contradictory statements are fun. Listen up as DNKL weave a solid Techno groove through their haunting Pop Noir.

Otherside has a cheeky little early/mid-90s feel to it too, with snatched drum rolls and a spiky digital bassline giving the track an unusually (for DNKL) funky flavour. Woozy side-chained pads ensure that DNKL’s trademark haze is not missing while the synthesized sax-a-like lead flits between smokey & urbane and slightly otherworldly. Otherside’s mystery tour through moods lends itself to concrete jungle adventures as much as it does to arctic wasteland contemplation, and is perhaps the first original DNKL song that you can get up and dance to. The understated and heartfelt vocals serve as a guide through DNKL’s world, their ebb and flow rushing in and out of the track in ghostly swirls.

The more we think about it, the more we’re sure Otherside would have gone down a treat in the Indie clubs of our youth.

♫ DNKL – Otherside

DNKL’s Otherside is out now

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[Audio] Chad Valley’s ‘Seventeen’



Oxford’s Hugo Manuel A.K.A. Chad Valley is not a go-to artist for us. Which is an odd way to start talking about him, we know. We absolutely love pretty much everything he’s released, we happily fork out the cash for lovely Chad Valley vinyl (we’ve even pre-ordered the new album) and spent hours and hours chilling with his début full album, still a killer after a couple of years. But whenever we’re sat around thinking ‘what to listen to?’ we never go straight got Chad Valley. Which is a shame as whenever Chad Valley pops into our head (and subsequently our speakers) we’re always like “oh shit! fuck yeah! Chad Valley!” Too much music, too little time we guess.

Chad Valley is the shining light of the label that other labels wish they were, Cascine. Since releasing his first EP back in 2010, at the height of the birth of Chillwave, he has steadily offered up a plethora of sunkissed and deeply emotional synth music that draws on everything from Shoegazing Indie to Funk fuelled R&B to weave his densely layered musical tapestry. Haunting and enigmatic at the same times as irresistibly groovy, all the time Hugo’s soft, heartfelt vocals never letting us forget that he wears his heart on his sleeve. His first full length record, 2012’s Young Hunger was a well rounded slice of intricately crafted left-field Pop that really showed off how much Chad Valley’s sound had matured.

This emotionality and sonic maturity is set to continue on his recently announce sophomore record. To be titled Entirely New Blue, the new album is due out in October and sees Joel Ford, of Ford & Lopatin, alongside Yung Ejecta on co-production duties. Largely produced during the break-up of a long-term relationship, we’re likely to see Hugo’s passionate lament taken to the next level. In-fact, Hugo himself calls the album’s second single, Seventeen, “the most deeply personal song I have even written”.

Seventeen takes it’s time to get started, spending over a minute purely on a gentle piano and Hugo’s sincere and regretful croon. Just when you think the tension will never break, Seventeen splits to reveal a shuffling beat and warm, swelling keys. The track build a musical and vocal mantra, undulating sounds tumbling around each other as Hugo’s effect laden voice swings from an narratively emotional centrepiece to another instrument in the tracks swirling finale. We were quite excited about Entirely New Blue when it was announced last month, Seventeen has assured us that our excitement is justified. Hugo truly is a master at his craft, we can’t think of anyone who serves up this kind of hazy, sentimental synth music as well as he does. Just sink into this one, put it in your headphones and lie back. Stay in that warm place until Entirely New Blue drops next month.

Hopefully we can remember lo listen to Chad Valley from now on.

♫ Chad Valley – Seventeen

Chad Valley’s Entirely New Blue is released 2nd October.

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[Audio] Tove Styrke’s ‘Kiddo’


Tove Styrke

We may be a little obsessed with this album right now.

We can across Tove Styrke a few weeks ago while browsing the Local paper. Checking, as we tend to do, local gig listings we see Tove Styrke is playing at Start The Bus (a once amazing music venue that has gone somewhat downhill after a failed attempt to go ‘gastro’). The listings include the words ‘Swedish’ and ‘ElectroPop’. We immediately buy tickets. Then we figure we should check out some of Tove’s music. Her just released sophomore album was out first port of call. But before that, some backstory…

Ms. Styrke was runner up on Swedish Pop Idol in 2010 and hastily afterward released her self-titled début, a perfectly enjoyable but slightly bland (although even when bland the Swedish do Pop better than another else) album that Tove herself has since admitted was rushed and that she wasn’t happy with the results (despite going platinum). Fast-forward to 2014, after taking some time out of the limelight Tove returns with the Borderline EP, a preview of the follow-up album to come. It’s was a brash, left-field take on Pop loaded with personality. This wasn’t the work of a post-TV show puppet, this was a self-assured artist grabbing Pop music with both hands and shaking it down.

A year later and this summer Tove released Kiddo, a twelve track musical manifesto that swings between the empowerment of an ex-teen star and outright vitriol against anyone who won’t let her be herself. Tove’s playful and soft vocals comes across as all sweetness and light but with a knife behind her back; and it’s this underlying antagonism amid a sea of perfectly crafted Pop music that gives Kiddo it’s edge. Tove seems to lay out her grievances with the music industry, grievances with anyone who doesn’t like her new music and grievances with anyone who doesn’t understand her new direction and, basically, tells them to fuck off. All to some particularly Scandinavian and eclectic Pop sounds .

Kiddo hits the ground running with opening salvo that kicks off with Ain’t Got No…, a left-field opener that sways to woozy basslines and a juddering beat while Tove croons her policy statement. It’s on Ain’t Got No… that we are introduced to one of the surprising musical themes running throughout the record. Big, dirty, 303 Acid hooks; the album is packed with them. You’ll be settling into a smooth Pop tune and suddenly, from nowhere, this gritty, distorted TB-303 line with inject itself into the track, cutoff and resonance tweaked to the max. It’s one of the many unexpected teats Kiddo has to offer.

Snaren shows off Kiddo’s other musical motif. On more than one occasion Tove weaves a Dancehall flavour into her songs, bringing Dub spaciousness and rolling snares to the mix. Snaren delivers a ballsy party tune with a comfortable Tropical House vibe to the chorus. A vibe that continues into the single Ego, one of the albums more traditional chart friendly moments with it’s big R&B-lite sing-a-long chorus (and , oh look, a burbling Acid line). A mood that is mirrored on the tongue-in-cheek album closer, Brag.

The likes of Samurai Boy and Walk The Line provide typical ScandiPop fare. All crisp synths and thick production while the Dub-Pop of Burn and the majestic anthem of Decay delve deeper into the album’s physiological dark side (and Acid lines. Seriously, they just appear from nowhere!). The height of the Island influence comes on the single Boarderline, a headstrong hymn that mixes aggression and a Dancehall patter with a oddly Folk like elements which contrast nicely with the Pop ballad turned ominous dark SynthPop of Who’s Got News.

Of the album’s other two singles, Number One feels like the earliest track on Kiddo, maybe Tove shedding her former self? while Even If I’m Loud It Doesn’t Mean I’m Talking To You, the records biggest hit, is a crazy, chanted, literal “fuck off” to anyone pretentious to think themselves above Pop music. Possible the most infectious song of the decade.

Sometimes political, sometimes social, always feminist, Kiddo is not just a coming-of-age for Tove Styrke, but the freeing of someone tired of industry manipulation and has zero fuck to give if you like it or not. Which makes for a supremely confident record which is not-at-all hurt by the fact that it is loaded with infectious, expertly crafted, diverse, perfect Pop.


♫ Tove Styrke – Snaren


♫ Tove Styrke – Decay

Tove Styrke’s Kiddo is out now.

Buy Tove Styrke’s music from:


[Audio] Liskka’s self-titled EP



When last we checked Liskka were an all girl trio, now we’re not so sure. Formed from the ashes of Boy/Girl swirly Indie-Electro outfit Happy Hunting, Jana Tyrell enlisted Susie Wedderburn and Hannah Ashman to form her new group, launching with the effervescent As It Goes (I Give). Now, however, it appears that Liskka are, well, a Boy/Girl Indie-Electro outfit (again). The giveaways being copious amounts of male vocals on the new tracks and a Mr. Rick David listed as Jana’s other band member. Anyway, whatever the make up of Jana Tyrell’s band of troubadours; Liskka have just released their début proper EP via Pink Bird Records, a five track affair loaded with experimental Popisms and a wealth of influences.

You’ll find As It Goes (I Give) squeezed onto the end of the EP, a cacophonous Future R&B track wrapped in Chillwave duvet. Eclectic percussion meeting girl harmonies in a post-apocalyptic wasteland. As with most of the EP, the track battles with chaos and brings the charm out of the noise; at once alarming and enchanting, the track kinda’ gets under your skin.

Of the new tunes present Cold really stood out for us on the EP, a symphony of broken samples, reverb washed chords and ethereal vocals. Still keeping an R&B swing, but pushing it to it’s most unrecognizable limits as Liskka’s sonic experimentalism layer the organic with the synthetic to haunting effect. The enigmatic arrangement and obscure instrumentation made human by Jana’s versatile voice. Far From Us is more traditionally Shoegaze, a tad to guitary for our tastes and features male vocals prominently; as does the EP’s opener Night Terrors, a perfectly pleasant IndiePop anthem but we do feel Liskka works best with an intangible female voice at the fore.

The self-titled EP’s remaining track, Ghost In The Machine, certainly delivered on everything we love about Liskka and was the other stand out new track in our humble opinion. Building it’s own majesty on an multiform swing groove and a mystical sound pallet. Switching things up a little, Liskka play around with breakbeats and fuller synths as the song builds, resulting in the most powerful track on the EP. Disjointed and dissonant elements coming together in Liskka’s talented hands to create a beautiful whole. Which is much like Liskka in general actually, and the EP in total. Sometimes it doesn’t work, more often it does; and when it does it delivers something truly captivating.

♫ Liskka – Ghost In The Machine

♫ Liskka – Cold

♫ Liskka – As It Goes (I Give)

Liskka’ Liskka EP is out now.

Buy Liskka’s music from:


[Audio] Ride The Universe reMix Young Empires’ ‘The Gates’


Young Empires

It’s been a few years since we’ve posted anything from Indie-Electro outfit Young Empires. Did they stop releasing stuff for a while? We dunno’. Anyhoo, here they are again back on these pages courtesy of Disco mercenaries Ride The Universe. I refer to RtU as mercenaries ‘cos, like The A-Team, they appear to have gone underground. This is the first hint of new music we’ve had from them in aaaaaaaages. They guys used to be so prolific! Anyhoo, we’re glad of at least something. So sit back, headphones on, and cross you fingers that this means more new tunes from Ride The Universe.

The reMix is actually a bit of a departure for Ride The Universe, especially in terms of tempo. This track is a downtempo, funk laden, almost Future R&B tune as RtU weave their way through Young Empires original brandishing wobbly Moog bass and delicate House hooks. This one is so smooth that we would be surprised if you could even stand up after it’s finished, frankly our legs just melted. the warmest of warm summertime grooves from the transnational soldiers of Disco. More please.

♫ Young Empires – The Gates (Ride The Universe reMix)

Young Empires’ The Gates is out now

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[Audio] IYES’ ‘So Crazy’



Whoop! There’s a new tune from Brighton based ElectroPop experimentalists IYES. Last year this duo really did the business with a string of tunes, such as Breathe and Toys, which were not only catchy and compelling, but also interesting as hell. These guys have a new EP (the first of many to come), as they put it, brewing; and right now you can have a taste of what to expect from the forthcoming release in the form of the first track to be taken from Part One. This is So Crazy.

So Crazy takes it’s time to get started; rocking a minute of intro, an effected vocal and synthesizer brap that eases it’s way into IYES return to ChipTune sounds and an introspective vocal. So Crazy fills itself with IYES particularly unique blend of Future R&B, Bass and ecclectic electronic sound, wrapping you in a smokey and enveloping groove. Vocals spark with passion while the duo use abrasive synthetic sound in a way that creates beauty. We’re very much looking forward to the EP, and the EP after that, and the EP after that…

♫ IYES – So Crazy

IYES’ Part One EP is out soon.

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[Download] Du Tonc’s rework of Aaliyah’s ‘Rock The Boat’



The Matts are at it again. Following their surprise monster of a reMix of Pixies’ Monkeys Gone To Heaven a couple of months ago; the Matt Van Schie and MiGHty mOUse coalition of Du Tonc have rocked up with this slick reworking of the late Aaliyah’s 2002 tune Rock The Boat. The duo have a new single out pretty soon, but until then feat your ears on this bubble and laid back Disco reMix. Free download too; which is nice.

Du Tonc serve up a warm and hazy slice if the most laid back Disco sounds around. Utterly without a care int he world, this reMix of Rock The Boat totally strips you of all your troubles and orders you to flippin’ chill. Du Tonc’s trademark combination of cheeky Tropical licks, robust lazy basslines and blissed out keys transport of to a sunnier and altogether more nostalgic place while they pepper the tune with dreamy synths and a hint of talkbox. Believe us, you’ll feel 100-times better after listening to this tune.

Aaliyah – Rock The Boat (Du Tonc Rework)

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[Audio] Moonlight Matters reMixes Hot Chip’s ‘Need You Now’


Hot Chip

We haven’t heard a lot of Moonlight Matters recently. Easily on of our favourite producers to emerge in the last few years, Seba Vandevoorde seems to have been concentrating on his other musical output (with Jochen from Sound Of Stereo as Arches) of late, which is awesome but we’ve been missing the big Italo infused House and Boogie that MM delivers. So we’re excited that there a new MM reMix in tow, not only that but it’s a reMix of an utterly awesome song; the current single from UK Indie-ElectroPop powerhouses Hot Chip, Need You Now.

Moonlight Matters turns the tune into a massive Piano driven House monster. Loaded to bursting point with growling keys, skippy beats and a cinematic progression, Seba’s work here turns the track into a bombastic floorfiller that feels like it has a very physical energy of it’s own. A driving, kinetic quality that makes for a totally compelling dance track. Alexis’ vocals are just to just the right extent to tie the track together while Moonlight Matters tempers the driving, thick synths with gently melodies weaving in and out of the track’s robust core. And then the piano kicks in…..

♫ Hot Chip – Need You Now (Moonlight Matters reMix)

Hot Chip’s Need You Now (reMixes) is out now.

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[Audio] Mindscramble reMixes Belleville’s ‘Capture’



Coming together in November of last year Belleville are recently formed indie electro act. Comprising of Maria Christofi and Richard Baldwin, of indie outfit kites, the duo launched the new endeavour with the single Capture. Eight months later the single is given a new lease of life by Manchester Synthwaver Mindscramble who has served up some soaring synths for your listening pleasure. Check it out.

Bubbling basslines kick off this remix as Mindscramble drops rumbling arpeggios to back an array of swelling synths. Not before too long he introduces a solid italo beat and pinprick leads to counter the low smoky vocals provided by the original. Mindscramble’s productions appear to have come on in leaps and bounds with a clean mix and well balanced sound. Give this slick reMix of Capture a listen.

♫ Belleville – Capture (Mindscramble reMix)

Belleville’s Capture is out now

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