Ufaze
Hole

After a 2 year hiatus, Silver Dollar Club returns to round out a trilogy of EPs with a sparkling slab of weirdo tearjerkers and club-ready cuts from Bristol's own Remotif. With a healthy lineup of releases on Coymix, Air Miles, and his own label Familiar Strangers, it's been a busy year for Joe Reddick and for good reason: Prolific and versatile, he combines a classic club sensibility with an exploratory approach to space and texture that results in a sound all his own.Slap Bass, wet arps, emotional breaks & driving percussion all come together to make a record that we're very proud to be able to put our name on. This will be the last in a series of three records from Silver Dollar Club; so play it in your sets, play it in the car, play it in the bath, whatever you do, just play it.

Just because a planet may be tiny, doesn’t mean it isn’t abundant with life. With the fourth time around its orbit, Tiny Planet vol. 4 is all about teaming up and bonding in synergy; personal and unified collaborations specializing in hi-tech quioxic explorations of electronica. With an all new/all star cast of artists, materializing in four sleek and sexy tracks shaped for outer space indulgence.

Prolific and often nomadic label boss, producer, and studio engineer, Tony Price (Maximum Exposure) has been making a name for himself over these last years, as he's lurked in the shadows while moving from city to city around the world, leaving a unique and wide-spanning musical mark in his wake.On his 13 track IBM-CONTRA LP, Price conjures up a wild melange of free jazz and high speed electro funk next that sits next to dusty ambient, street tough house, and even Bill Conti-esque dark alley rainy street jams featuring saxophone work from Alex Zhang Hungtai and Colin Fisher.The album is unmistakably Tony at his best, as he weaves in and out of these genres making them make sense next to each other. Whether it's providing a shady saxophone driven backdrop for the next inevitable worldwide bio-warfare crisis or tapping into the roots of stripped down classic electro and house for the floor, this is the artist at peak creativity flexing his skills.

I:Cube has made a new album. It is a very “hands on” album, as the eight tracks on show were created almost entirely by improvising with electronic hardware – synthesizers, sequencers, drum machines and effects units – and recorded in real time, with very little after-editing. It is also his first album in a decade, should you be keeping track.During the time he spent recording it, which was in part inspired by the processes behind his ‘Cubo Live Sessions’ series, I:Cube had fun, experimented, unleashed the raw, primitive energy of his machines, and emptied his head of thought. The resultant tracks are instinctive, immersive and otherworldly, driven by the emotion of the moment rather than the formulaic structures of dance music. They are unpolished and immediate, but also immersive and sincere.Think of it as a soundtrack to time spent alone in the studio, daydreaming in darkness and light, translating mental and physical messages in real time. It is not calculated, overblown or over-produced like much modern electronic music, but gently odd, engaging and pleasingly rough round the edges. In some ways, it is I:Cube’s most personal and emotional album to date.Matt Annis

Left of leftfield dub and techno excursions.Remix by Rainstick of Blazer Sound System.

Continuing the hunt for tracks that envelop dancefloors, the Coqueto boys present a new VA with the same feel that distinguishes them.Wide textures, fat basslines, and dark presence are protagonists in this CQTR002.