George Breed John Rossman
Ideas From The Creative Factory Vol. 1

1993 album, their last On-U produced LP for 12 years. African Head Charge blend dub, trance, electronica and world music throughout with Bonjo I at the helm and typically skilful production from Adrian Sherwood.Double LP that adds 8 bonus tracks to the original vinyl edition, including 2 that have never been released before. Includes a download card for the full audio plus a double-sided poster insert with excerpts from a new interview with band leader Bonjo Iyabinghi Noah.

The long awaited second instalment of Modern Hypnosis 4 part VA series.Opening track ‘Dub Free pt.3 (Rose line mix)’ is a masterfully produced and mixed dub techno groove by Hiss Is Bliss. With skills at this level, there’s clearly more to come from this French artist.On the flip, USA born Bukkha, digs into the deep dub techno trenches with Dub Envelope. Situated at 115bpm, a tempo with much possibility, Bukkha hits the nail on the head with ease and exposes a different side to his usual output.Closing out this carefully curated 3 track 12” - Bristol talent Somah signs off with a dreamy dub garage track titled Knot Up.

Over the past decade, the mysterious, London-based artist Moiré has perfected a syrupy, addictive brand of dance music via labels like Actress's Werk Discs and illustrious imprints like Ghostly and Rush Hour. For most of this period, Moiré seemed primarily concerned in creating alternative universe club tracks. The beats were hypnotic, if wonky. The pads were deep before they were refracted through an oblique filter. In a discography bearing a surfeit of leftfield high points, Circuits, Moiré's latest album for the Berlin-based Avenue 66 (Lowtec, John Frusciante, Joey Anderson) is a massive creative leap that fully breaks with the strictures of a "conventional" dance music.While there are still nods to the low-slung, slow house style Moiré's perfected in the past ("Circuit 1"), as well as the looming shadow of hardcore ("Circuit 8), Moiré's style now billows into a liminal, cinematic zone that recalls the canonical SAW albums, BOC or even Seefeel's enduring, genre-free experiments. Rhythms come and go at all tempos, from Hauntological four-on-the-floor to flickering downtempo and ambient house approximations. But the emphasis lies with the melodies. From the queasy orchestral style of "Circuits 1" to the glacial, "end credits"-style synths that close out the album, these motifs bear an uncanny familiarity, as though they always existed. You recognize them, not from a previous listen, but rather, some half-remembered dream, or, perhaps, a previous lifetime.