So here we have a new video for Gomma darlings The KDMS’ latest single Tonight, winning our approval through the gratuitous amounts of naked flesh on display and what I think is a pop video first of a rather fruity gentleman attempting to throw a sausage up a woman’s vagina.

If I’d known it was going to be that kind of party…

The East Coast multimedia enclave of smart young things known as Doplar descend on the excellently named House Of Yes in Brookyln later this month for Doplar Sensebox.

Doplar is an evolving art form and Sensebox is their plaything – running from 9pm to 4am each area of the House Of Yes will be designated to one of the five sensations experienced by sentient beings with perhaps the pleasant sensation your ears operate for the most relevant to these here pages.

Both Wolf + Lamb and the boy Jaar’s Clown N Sunset imprint are well represented with Voices of Black and Pavla & Noura on the bill and there’s some transatlantic DJ backing in the form of Gallic spinette Clara3000 and NYC fixture DJ Ecks.

Further reason to attend comes in the shape of a free custom made popsicle for the first 200 arrivals as well as food from Funkism’s Sindy! Further details can be found at the Doplar facebook page.

If you could distill all the qualities that made up the epic Hackney Wick warehouse party I went to recently into just four minutes, it might sound something like this – soon come on R & S.

If you didn’t indulge in the recent Tropical Discotheque compilation curated by the Sofrito dudes then the six minutes of magic that make up the A Side of their new edit twelve inch should be sufficient persuasion to do the right thing.

This is the post where we bask in the news of a forthcoming Crackboy release on Tigersushi with this Smuggles approved edit of Vince Taylor & Jac Berrocal.

Download: Vince Taylor & Jac Berrocal – Rock N Roll Station (Crackboy Edit)

Mark E has an album out soon called Stone Breaker which veers between the brilliant on tracks such as the epic “Got To Get Me There” and the instro hip hop bump of “Black Country Saga” and lots of tracks that go chug chug bump whoosh chug chug for around 8 minutes which probably sound a lot better at 3am in a basement somewhere as opposed to the morning journey on the Northern Line.

Anyway, to celebrate it’s release Mark E has put together this thumpingly excellent mix for the Ghostly Intl GhostlyCast which includes a smattering of vinyl records that I have been enjoying in recent months (I do believe I described that fckn ace John Swing track as twisting inside itself as it progressed amidst a rollercoaster of percussion when the chance came to review it) as well as a raft of music I am happy I now know the names of.

If mixes were beasts this mix would be as big as the Number 8 bus with giant cleavers for teeth, it would bleed napalm jelly and dine on Great Whites for breakfast.

Mark E Stone Breaker Mix Tracklist:

Agoria – Heartbeating (Mark E un-released version)
Chicken Lips – For Ava (Mark E remix
Dressvn – Sex Tags
Blagger – Strange Beahviour (Koze mix)
The Untouchables – Something Bugged
Naomi Daniel – Stars
Pascal Bongo Massive – Pere Cochon
John Swing – Rollin
Edward – Maxa
Relative – Vinylog
Function – Immolare
Skatebard – Ta Ta Arr
James T. Cotton – On Time
Mark E – Oranges
Miles Sagnia – Relativity
Edward – Naxa
Ghost Town – Motor Booty

First we had The Young & Lost Club overseen with craft and vigour by Nadia and Sarah.

Now there is  the Young & High Club.

Echoing in reverse how I largely spent my teenage years.

The Young & High Club are a London based collective of bright young things on the cusp of releasing a mixtape of untapped musical talent – and they drop a taste of what you can expect via the delicate sludgey tones of Gracie, a young beat maker and vocalist all the way from Philly.

Download: Gracie – For Dylan, from Africa

To be honest we’re not massive fan of people in bands being DJs, too many nights out ruined by sub-Libertines chancers with a crap selection of shit music and even worse mixing (that’s if they’re not playing some shitty pre-mixed CD and miming like idiots).

Occasionally though someone comes along who not only has great taste in music but has bothered to learn how to use the equipment and most importantly work a dancefloor, Jack from Friendly Fires is a great example and to that short but sweet list you can add Foals’ Edwin Congreave.

We’ve had the pleasure of playing alongside Edwin a few times now at places like Be and so we’ve invited him to join us this Friday when we takeover Islington’s Old Queen’s Head for a little party and figured we might as well cash in and get him to put together a mix for us and talk about his adventures on the wheels of steel.

Hello Edwin… well firstly thanks for playing our party, care to tell our readers what kind of things they can expect to hear coming out of the speakers next Friday?

Something like this mix, but with more… party. My fixed gear is classic underground house music, but I try not to be too much of a douchebag about it.

You’ve been DJ’ing for a while now, was it something you had wanted to do before you joined Foals?

It was something I did before foals–badly. I’d dj between bands at indie nights in oxford and play stupidly inappropriate minimal records that I’d bought in London the previous week. No one liked me very much. It was the sort of situation where various people were probably thinking, “what’s this arsehole trying to prove?” I don’t know what I was trying to prove. But years of djing to foals-related crowds has disciplined me into opening up the music I play, and, subsequently, the music I like. So I’ve learnt, essentially, to be fun. I think. (I suspect only un-fun people think about life in that way.)

Do you think you DJ’ing more had any influence on Foals’ records, or will have in the future? 

No, not really. The others aren’t remotely interested in djing, despite my best efforts. They all like dance music, though, and the music I’ve introduced them to has had unpredictable and probably untraceable influences. For example, the B-side to our first single was heavily influenced by monolake’s plumbicon, though I doubt many fans of industrial techno would notice or be particularly enamoured with it. No matter how many records we play each other and whichever direction this myriad of influences rubs itself off, we’ll always sound like a bunch of jive-arse wannabes playing guitar too loudly.

What are your five favourite club records to play out?

Mm. I’m gonna go with crowd-pleasers that I’ve been playing for years and have yet to get bored of. “burning love” by glossy, “another excuse (dfa remix)” by soulwax, “happy house” by the juan maclean, “sinfonia della notte” by dennis ferrer, aaaand more recently the round table knights remix of “coma cat”.

What do you prefer Vinyl, CD or laptop?

It’s probably not very right-on to admit this but I think I only really got my head around djing when I moved from vinyl to cd. It freed me from the limitations of playing only the records that I either owned or thought worthy of buying. By which I mean I only bought records that I considered to be beautiful and/or a good investment in one way or another. So I owned all these brilliant techno records that I couldn’t for the life of me apply to most of the contexts in which I’d be asked to dj. I guess this is the inverse of the argument that limiting yourself to vinyl creates a more refined and disciplined aesthetic. Yeah, I guess. Once I’m a millionaire I’ll switch back.

And, no, I don’t know anything about laptop mixing. There’s nothing that turns me off in a club quicker than that glowing apple logo.

When playing what best describes your DJ style, sober party technician or substance fuelled disco shaman?

er. I’m no shaman. In fact I could probably compete for title of the world’s least charismatic djs. I regularly get told to “cheer up” by smart-arse punters. Should I admit that? Well, I’ve no interest in djs who want to throw themselves around–I’m sure they’re lovely people, but it’s kind of repellent to me. Maybe it suits a particular kind of smash-and-grab electro but it certainly doesn’t suit the kind of music I like to play. Not that I want to be po-faced. One of my favourite djs, move d, keeps himself to himself but spends his time bopping and visibly loving the music he’s playing. That’s what it’s all about if you ask me. Creating a space for yourself, and in doing so sharing it with the crowd.

My worst nightmare is those clubs where the DJ booth is smack bang in the middle of the stage with a spotlight on it. The dj is evidently expected to provide some sort of visual entertainment or status symbol or something I can’t ever relate to. Djs are supposed to stand in dark corners playing records, one after the other, while better looking people do drugs and throw themselves around. That’s it!

Who apart from yourself would you most like to DJ a Foals after party?

As much as I’d love to invite radio slave I know it’d have to be someone who our fans would actually be into. And that’s easy: tensnake. I’m a huge fan, and I think he is one of a handful of artists who successfully bridges that potentially nightmarish abyss between indie and house music. He also has a slamming collection of tunes that no party can argue with. 

Apart from being invited to play in the top room of a pub with us, what has been the highlight of your DJ’ing career to date?

Hmm. playing the main room of fabric? Though I kind of fluffed that. It was all going real swell until I decided to close my set with “trycycle” by various productions, a tune I’d only heard for the first time that day and that I thought was some incredibly visionary pysched-out post-dubstep creation but was in fact a stone-cold vibe-killer that, well, I just couldn’t quite mix properly. One of the guys from simian mobile disco appeared behind me to take over, and I swear he was eating his own fist with horror.

Anyway. The highlights are usually the nights that have confounded low expectations. I played in Athens at the end of a week-long band visit to yannis’ home-island Karpathos, and we all thought it was going to some sort of close-minded indie downer after a blissed-out pastoral holiday. Turned out, of course, that we were the ignorant ones, and the party was incredible. I got to play Kenny Larkin and Pete Herbert and Andy Stott and a bunch of records I wouldn’t dream about playing in the UK while a packed out bar lapped it all up. 

Tracklist:

1. Kraak & Smaak – No More Crying
2. Tony Tobias – In Your Eyes (Tensnake Remix)
3. Jumping Back Slash – Ibhithi Six
4. Cosmic Kids – Reginald’s Groove (Juan Maclean Remix)
5. B.C. X Delivery – Return To Me (Art Of Tones Returning Dub)
6. Kasper Bjorke – Alcatraz (Kenton Slash Demon Remix)
7. Osunlade – Idiosyncracy
8. Precious System – The Voice From Planet Love (Dixon’s Chic-A-Go Remix)
9. Maya Jane Coles – What They Say (Dyed Soundroom Remix)
10. Tom Demac – Jaded (Ripperton Remix)
11. Arto Mwambe – Noh Ngamebo
12. Chez Damier – Can U Feel It (Mk Dub)
13. Todd Terje – Ragysh
14. Johanna Knutsson – Heavy Baby
16. Reboot – Enjoy Music (Crazy P Remix)
17. Yann Solo – Border Line (The Bongo Man’s Big Room Remash)
18. Friendly Fires – Live Those Days Tonight (Catz ‘N’ Dogz Remix)

Download Link

Check out more from Edwin on his Soundcloud

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and here are the details for Friday… come and play.

Slutty Fringe presents…
Edwin Congreave
Slutty Fringe DJs

The Old Queen’s Head, Essex Rd, Islington
Music from 8pm till 2am
Free entry before 8 / £4 after
http://www.theoldqueenshead.com/

One of Slutty Fringe’s favourite all round DJs/promoters/producers/people Andy Blake kicks off a new night, 7>12, at The Queen of Hoxton in Shoreditch this Friday (May 20th). It’s a 7″ only night so expect everything from funk and soul, to surf instrumentals, proto-disco and strange European pop music.

Joining Mr Blake upstairs on the decks will be Craig Richards, who will be taking time out from ruling Fabric to dig through his 45 collection, whilst in the basement Jim Stanton (Horse Meat Disco) and Rudy’s Midnight Machine will be spinning disco and Chicago house.

All looking very nice indeed… Now to get you in the mood here’s an exclusive mix by Andy to launch the night with.

Download: Andy Blake – 7>12 Mix

UPDATE: It looks like Tony already posted about this yesterday so there you go, that’s an idea of what solid stone cold professionals we are (well I am). I hope you like it AGAIN.

If Beyond The Wizard Sleeve were ever asked to embellish  “Smile Around The Face” by Four Tet with their own glistening brand of psychedelia, it might sound something like the above Fear Of Theydon remix of Earthquake by This Is The Kit.

For this week only you can download the track from the Fear OF Theydon bandcamp. It will also be released on a forthcoming This Is The Kit dinky seven via the Neednowater imprint.

Given the quality of the music it seems slightly puzzling that a brief glance at the bloggier ends of the internet uncovers little to no coverage of Gretta Gunn’s rather brilliant debut EP for Dublin based collective The Alphabet Set.

May this post be the first of a swathe of blog posts to salute the nuggeted pop genius of Ms Gunn and her 4 minute explorations into synth explosions, lo-fi racket and industrial acid warblings so ably demonstrated on the three tracks that make up The Hunt - which you can totally sample for yourself below.

Given that it’s a predominantly vinyl release (and limited at that) this probably won’t be the case as we’re sure the Internet would rather post updates on whether Tyler enjoyed his breakfast burrito or the latest Vek edit of a Vek remix of a Vek original or possibly a new remix of that Azari & III track we all talked about 18 months ago.

The Hunt is available now direct from Ms Gunn or the more discerning record stores and you should keep an eye out for further EPs from Gretta Gunn on The Alphabet Set ahead of a full album.

The past month or so has seen Rocketnumbernine’s brilliantly smudged out freeform remix of Rozi Plain somehow travel through the air from my computer screen and lodge itself quite happily in my memory.

If the above sensation seems appealing to you, come Monday morning you can also fully enjoy it when Need No Water Records release the remix as part of the singer’s Humans EP which comes on the finest looking white vinyl seven inch. Do the right thing and order it from the label shop.

Yes that’s right! After a period of being stuck in neutral that can’t really be described as brief, the world famous Slutty Fringe mix series slips back into first gear with the mysterious East European troupe Endless House Foundation at the helm.

Earlier this year, our good friend Leighton from Keytars & Violins suggested we check out a compilation from the Dramatic Records stable entitled Endless House. As with all K & V shaped recommendations we were not left disappointed as the twelve track set revealed itself to be a winning blend of oddball synth wave, downtrodden proto house sounds and mid tempo glitchiness that seems totally ahead of its time.

Matching this is the elaborate back story which is probably best told via the press release that accompanies the compilation:

“An obelisk of noise that rose rudely above the treetops of the Bialowieska Forest, the Endless House project shone for a mere six weeks in the spring of 1973. The outlandish brainchild of wealthy audiophile/maniac Jiri Kantor, its stated mission was ‘to become the cradle of a new European sonic community… a multimedia discotheque’ that should ‘surprise and delight’ artists and dancers alike. For all the wide-eyed optimism of its manifesto, however, the enterprise was never unknowing in its flirtation with disaster and self-destruction. The brilliant Czech may have made his millions as the midas-touched entrepreneur/taste-maker behind Paris-based magazine Otium International, but Endless House was always a vanity project as irredeemably vain as its maker…”

There’s definitely a generous hint of ambiguity regarding whether the above  is gospel or fiction, but regardless the msuic is justso good you don’t really need to waste time wondering if its true. Thus when word came through from Dramatic Records that the Endless House Foundation were keen to join the annals of Internet fame known as the Slutty Fringe Mix Series, it was a easy decision to make.

It was down to the inherent mystery surrounding the release that the option to engage one of the Endless House Foundation’s artists in an interview to accompany the mix was eschewed (that and our Czech is not too good) but we feel that the 30 minute mix Arpensium submitted is one of the finest and most idiosyncratic to date.

Slutty Fringe Endless House Foundation Mix Tracklisting

Daphne Oram – Lego (Builds It)
E.M.A.K – FilmMusik
Johannus Arpensium – Ostend (Invisible Cities) FROM ENDLESS HOUSE
Intro Sequence From Dune
Serge Gainsbourg – Bonnie and Clyde
Terre Thaemlitz – DC D.O.A
Uusitalo – Between Kate and Naomi
John Williams – Life On Earth (Jellyfish section)
The Orb – Spanish Castles in Space
Commentary on Jacques Anquetil
Dopplereffekt – Calabi Yau Manifold
Prince Rama – Om Namo Shivaya
Faust – Just a Second (Starts Like That)
Angelo Badalamenti – Laura Palmer’s Theme
Interview with James Hunt
Tangerine Dream – Love On A Real Train (live)

You can stream the mix via mixcloud above or download here.