Track Of The Day: Robert Hood - Master Builder (Tresor)

Robert Hood really wrung out the essence of techno in tracks like this. ‘Master Builder’ is classic minimal. A gathering of frequencies coalescing over a kick. It’s far too short at three and a half minutes, but does that really matter? It could be twice that length and the same could be said. When you’re talking about one of the most hypnotic pieces of electronic music ever produced, the present is elastic, the past is easy to remember and the future is reassuringly predictable. Functions well at all volumes, but comes into its own when blasted out.

Track Of The Day: Aleks - Pool Daze (HVL's Malfunction Mix) (Organic Analogue)

A great track from a great album which is already eight years old. HVL’s Malfinction Mix of this eponymously named double pack is a beauty. It takes the already excellent original and gives it a new leash of life, endowing it with some sort of cosmic energy that, at times, it feels barely able to control. The whole album is brilliant, and comes on translucent blue marbled vinyl. This stuff shouldn’t really matter, but it does.

Track Of The Day: Gina X Performance - Nice Mover (Crystal)

An absolutely stunning track that oozes atmosphere and confidence. 1079 you say? If it came out tomorrow it would still be ahead of its time. Like some sort of warped Weimar republic cabaret song slowed down so that its lyrics bite deeper. It floats in a cool bubble at level all of its own. I remember ‘No GDM’ being played out a lot at clubs I used to go to in Liverpool back in the early eighties, and the only reason I can imagine that this wasn’t is its speed. Will someone better equipped than me edit this please? Ta.

Track Of The Day: Reptant - Lizard Eyes (Kalahari Oyster Cult)

Great piece of robotic electro from Australia’s finest. Reptant is endowed with the funky stuff and knows exactly how to tickle your sonic g-spot. All great tracks come from relatively simple ideas, and the process of deconstructing them confirms this more often than not. Electroid break beats, some funky entrails and a vocoder intoning words all of which rhyme with /aiz/. Sounds good to me. Love the little electronic purr in the background too. The sound of an electric iquana going to sleep.

Recorded at Houghton - Konduku (2025)

Houghton Festival · Recorded at Houghton - Konduku (2025)

Recorded at Houghton - Grace Sands (2025)

Houghton Festival · Recorded at Houghton - Grace Sands (2025)

Recorded at Houghton - Reptant Live (2025)

Houghton Festival · Recorded at Houghton - Reptant Live (2025)

Technos for Totoros

Electronic Convergence -Verdant Session - Dec

 

verdant-recordings · Electronic Convergence -Verdant Session - Dec Xmas special

Yoyaku Instore Session with Danny Daze

Track Of The Day: Mr. Ho - Gagsteel (Klasse Wrecks)

Another shade of electro, only this ones a bot more ghetto flavoured. Simplicity is its middle name. A handclap, a kick, the occasional drumroll and a wonky motif that sounds like Egyptian Lover on crack, and that’s before you’ve got to the “vocal”, which is the souond of someone on the bog relieving themselves after a week of constipation. An unlikely, but effective coalition.

Track Of The Day: 214 - Lyle At Dawn (Frustrated Funk)

A truly wonderful piece of cosmic electro from 214 which I was reminded of today upon listening to Danny Daze’s in-store set at Yoyaku in Paris. I love hearing amazing tracks, wondering what they are, and then realising that I’ve got them. And on green vinyl no less (my favourite vinyl colour). Also on the peerless Frustrated Funk straight out of The Netherlands. FF reappeared last year with a release from Clatterbox, but these are currently very few and far between. 214 seems confined to digital releases via his Bandcamp page right now. All good stuff though. Very desirable.

Track Of The Day: Affie Yusuf - The Fine Line (Ferox)

‘The Fine Line’ comes from ‘Acid Waves 2’ the third Ferox release, ‘Acid Waves 1’ being the first. Generally the tracks on this release set a blistering pace, as does this one. However, it’s much more tolerable due to it’s depth and breadth. Plus it’s easier to imagine playing pitched down a bit. Affie Yusuf reappeared in 2025 after a five year hiatus on a split American label Archivio with a release called ‘Aventuraai’. He’s definitely one of the unsung heroes of UK deep house and I have the feeling that he likes it that way (I’m sure he’d also like shitloads of cash as well though).