For a number of years, DJ/Producer Vincente Sanfuentes has been forging the sound of the new Latin alternative dance movement as a member of the Comeme label and producer for Matias Aguayo, Los Amigos Invisibles, Senor Coconut, Rebolledo and more. Additionally, he’s released work on the BoysNoize label under the Surtek Collective moniker.

Continually pushing forward, the prolific and supremely gracious Sanfuentes has now launched his own label, based here in Los Angeles, under his own name.

Sanfuentes‘ first release is a heater called “Ivy League” which includes an extra chuggy remix from DJs Pareja.

The first in what promises to be a super sharp series of releases for Sanfuentes, it’s well worth seeking out and playing loud all summer long.

Last year, new DFA artist Larry Gus (Panagiotis Melidis) released and gave away his first full length album “Silent Congas“ as a free download.

A trippy, sample-based beat record, it was a response and love letter to the MPC God J Dilla and artists like Koushik and Caribou. A solid DFA debut, it actually sits quite well in the mix with all those artists.

Recently, DFA’s just released a pair of excellent dancefloor ready remixes of tracks off that record by Hana and Hello Skinny. The Hana Remix of Figueroa Islands is a particularly dizzying chugger.

Admittedly obsessed, I’ve been playing it everywhere and on the show for the past few weeks. The menacing arpeggiated motorik coldwave synths, steady bass drum thump, 808 kink and acid lines are perfectly balanced until they start decaying at the end…at which point they become REALLY perfect. INTOIT. SO INTOIT.

Larry Gus – Figueroa Islands (Hana Remix) by DFA Records

Although a bit more discoball in tone than his LPs, these remixes are a fine precursor to Gus’ new full length, “Years Not Living“, available later this summer. Continuing to build on the psychedelic beat sound of Congas, recorded deep in the midst of the Greek financial crisis and inspired by Georges Perec’s 1978 book Life: A Users Manual and Lucio Battisti’s 1974 album Anima Latina, Larry Gus recorded upwards of 80 tracks for this album. The whole thing was then filmed for a forthcoming documentary on Larry Gus and his process.

If it all sounds rather heady, it is. But not in some clinical, bookish way. This is good heady, like laughing while listening to Buhloone Mindstate, watching the Monkees’ HEAD or spinning in circles in a field of dandelions.

This past week I received a single from Crosstown Rebels which has now turned into just about one of my favorite things I’ve heard all year. It’s unquestionably the prettiest, genuine euphoria-inducing piece of dance music I’ve heard in awhile.

A new, near perfect shimmering piece of minimal tech-house, Mathew Jonson’s “In The Stars” is absolutely stunning. The B-Side to the “Automaton” single he’s released in advance of a forthcoming full length record called “Her Blurry Pictures“, “In the Stars” is a woozy and expertly crafted trip. A slow burner that just rises and rises until it explodes for a moment, just to create a perfect vaccuum that draws you in and propels you back out into a deep pink orange nebula, Jonson has created a track that feels like equal parts interstellar travel and deep soul kiss.

Not being a techno afficionado, I’m admittedly a bit late to the Jonson game. The man has been consistently releasing work under his own name, aliases and collaborations since 2003 and is a bona fide techno star. Intrigued, I’ve ended up hunting down Red Bull Music Academy interviews and FACT mixes to find out more about the man responsible for this feeling.

Admittedly, on any given week I feel pretty intensely about a lot of tracks…but this one feels different. This one is real special, and could very well be one of my all time jams.

Big Beat pioneers The Chemical Brothers are legend. 20 years on, the signature squelch that was present from inception on “Song to the Siren” still bangs on  ”Swoon” off 2010′s Furthur.

The past few years found them touring incessantly, releasing an album, scoring a film (Hanna,) releasing another album and a live concert film.

Understandably, they’ve taken a year off…however, considering their tireless search for the perfect beat, Brother Tom Rowlands gave Erol Alkan a couple of DJ tool tracks for use in his sets which Alkan utilized for a couple of months and found that people really dug. These turned into a new EP for Alkan’s always reliable Phantasy Sound label.

The EP (which will be available digitally and on vinyl) features a pair of twitchy bangers  ”Through Me” and “Nothing But Pleasure.”

The tracks bubble, swirl and jack –”Nothing But Pleasure” is pure intensely hypnotic ramp up for almost 3 minutes at which point it explodes. It’s absolutely bonkers and although the EP is supposed to work as a kind of Chemical Brothers panacea, it will probably just make you fiend for more and rifle through their back catalog…as you impatiently wait for more new Chemicals.

Tom Rowlands – Through Me / Nothing But Pleasure [PREVIEWS] by Phantasy Sound

This past Saturday night, I had the pleasure of welcoming DJ, first-rate/first-wave music blogger turned ESP Institute label boss Andrew Hogge (a.k.a. Lovefingers) into the studio.

 A longtime hero of mine, the man has a rather strange and storied life in music. He played in an early iteration of Ariel Pink’s Haunted Grafitti. Like “bumrocks,” his now retired music blog “lovefingers” was a hugely influential zeitgeist atom bomb. Additionally, his first foray into releasing music was his low key, limited-run series of edit 12″s called Blackdisco (which released the flawless and totally essential Julien Love Edit of The Jackson’s “Living Together.”)

The last few years, his ESP Institute imprint has released some super sharp albums and EPs from the UK’s Soft Rocks, Aussie Tornado Wallace and LA’s own Pharaohs.

He showed up on Saturday night in his PJs and flip-flops with 2 huge record bags and played a set of new and forthcoming releases from ESP Institute and closed it out with a couple of current Lovefingers’ set staples (including Crooked Man’s Preset. SO GOOD.)

I was super stoked to have him on. Check it out. It’s Lovefingers on KCRW.

Lovefingers Guest DJ Set Tracklist
Land Of Light — Flares Land Of Light
Tornado Wallace — Bit 1 (Nina’s Amnesia Remix)
Michael Ozone — Hetrotopia (Young Marco Remix)
Cos/Mes — Heavenly Trax (Jonny Nash Remix)
Call Super — Threshing Floor
Crooked Man – Preset

Possibly the only thing stranger than the politics of the music industry might be the politics of the music industry in the townships of South Africa. My friend Dean went to South Africa a few months ago in search of an artist and in turn came back with another artist and some pretty intense stories about life in the townships.

A number of years back, unknown South African producer DJ Mujava released a nearly ubiquitous club banger called “Township Funk” on Warp records. The track, exemplary of the “Kwaito” sound that was popular in the townships, was a crossover juggernaut landing a story in the New York Times and placement on The Rapture’s “Tapes” mix for !K7.

A substantial amount of time has elapsed since, and a follow up from Mujava has yet to surface, in no small part because Mujava’s secret weapon, the unsung hero of “Township Funk” was another producer altogether, DJ Spoko. Born Marvin Ramalepe, Spoko was a student of Nozinja (the originator of the Shangaan Electro style compiled by Honest Jons and who’s released a 12″ on Caribou’s Jiaolong label.)

Nozinja’s engineering tutelage has paid off in that using a truly makeshift collection of equipment ranging from cellphones to really crusty old PCs and 4-track cassette recorders, DJ Spoko has given birth to a new style of dance music in the townships called “Bacardi House.”

A bassier, chunkier sounding music than Kwaito, it’s essentially become the people’s music. You can now hear it pouring unto the streets out of cabs and off rooftop parties. It’s gotten to the point people come to dance parties hosted by Spoko just to hear (and buy CDs and cassettes) of his new music.

True Panther has smartly released his fantastic first stateside EP, “Ghost Town“, which features the chuggy stunner “Azange”.

This be that music that M.I.A. and Diplo aspired to but never touched. This is ”third world music.” This is future music.

Like the shy kid who sits in the back of the classroom seemingly daydreaming and doodling but showing up the teacher when they get called on by giving the correct answer at the right time and then expounding upon it, Parisian House producer Pépé Bradock (nee Julien Auger) has pretty consistently skirted the farther reaches of French dance music scene.

Considering the extreme popularity of the mid-90s French Touch (everyone’s favorite robotic friends in particular,) Bradock has maintained a relatively low profile, releasing things at his own pace on his own Atavisme label. An artist literally who releases whatever he wants (2007′s “Rhapsody in Pain” is a dance track composed mostly of expertly sequenced pained moans, screams, and groans,) Bradock is beholden to no one.

It is perhaps telling then (and a tribute to their excellence) that Bradock has blessed the Acid Test series for Absurd (who released last year’s excellent Tin Man LP) with a brand new 12″ of original work. As per the concept, the tracks “Lifting Weights” and “Mujeres Nerviosas” are exercises in Acid, but given that we’re dealing with Pépé Bradock although the 303s initially create their typical Acidic tones by the end of the tracks the sounds have melted and morphed into something else completely. These are remarkably inspired tracks that are infinitely listenable, infinitely rewarding and infinitely moving.

“Lifting Weights” is an absolute juggernaut and front-runner for my favorite dance track of the year.

Pépé Bradock – Lifting Weights by Absurd

By all accounts German DJ/Producer Stefan Kozalla is on the edge…

Of dance music’s more adventurous avant garde? Of breaking through and finding a wider audience? Of redefining consciousness? Of losing his mind?

All of it.

With the exception of his Reincarnations remix compilation on Get Physical a few years back, the talented producer has been remarkably silent for quite some time, but like a madman whose sedative has worn off Koze is back.

On his stunningly brilliant new album (Amygdala,) his first new work in 8 years, DJ Koze is putting it all on the table and features collaborations with a handful of other equally visionary producers *and personal favorites (Caribou, Apparat, and Matthew Dear to name a few.)

The album is richly textured and trippy as all get out, but is nonetheless one of the most exquisitely melodic and harmonious albums I’ve heard all year. All infused with a lightness and humor that helps keep it from ever getting too heady or self-serious…

Beginning with an audio collage composed of a drug-induced guided meditation, bells and a woman’s voice emphatically claiming ”we need to eat, we need to sleep, and we need- music”…the album launches into it’s first audio salvo, “Track ID Anyone?”

A collaboration with Caribou, the track is one of the best things I’ve put in my ears all year. On a bed of reverb-ed and reversed Sgt. Pepper-y guitar sounds and warbled throbbing bass, a steady Tech thump chugs along and toy birds chirp and squeak…until halfway into the track Dan Snaith arrives with a lovely vocal that recalls Erlend Oye at his most tender.

DJ Koze feat. Caribou – Track ID Anyone? by Pampa Records

It is an absolutely perfect start to the rest of Amygdala, which unfolds like the strangest dream. Like the logic of a dream, if you were to isolate the tracks on any given song, you’d probably think it was a psychotic mess, however altogether it gels into an exquistitely unique trip.

We’re all lucky to that Koze has invited us to his pink Elysium…just pick a reindeer and ride.

I am grateful to Scottish producer Neil McDonald for 2 things.

1. His puzzling Lord of the Isles moniker inspired me to do a little research and introduced me to the connection between The Vikings and Scotland’s storied history.

2. In the last 2 years he’s released more than a handful of absolutely stunning and totally necessary works that split the difference between Balearic Scando-Space-Disco House and Ambient. His “Year of The City“  and “Hot Blobs” EPs, his clear 10″ for Unthank, and the ”Ultraviolet” 12″ for Adult Contemporary are all some of my favorite secret weapons. A perfect spectrum of vibes for any given scenario.

McDonald is on a tear and has 2 new releases this month. Firstly the gorgeous slow-burner Geek Chic/Radio Lollipop EP for Catune and Galaxy Near You on his own Little Strong imprint.

Lord Of The Isles – Ultraviolet (Adult Contemporary) out now by Lord Of The Isles

I love Pink Skull with a deep, weird brotherly love. We are kin because (like yours truly) they emerged from the pre-millenial electronic sludge of Philadelphian sub-culture. From the pre-social network flyer days and cultural ooze of Spaceboy & 611 Records, the sleaze of Silk City and the early days of Making Time at Transit.

In the early days, they made mix-tapes and mashups that sounded like turning on a dozen boomboxes on different radio stations and their earliest recordings were the loopy equivalent of swimming in a pool of apple cinnamon oatmeal. Originally, these dudes were making left-field dance music that was danceable, if one was willing to take the doors of perception off it’s hinges.

Nowadays, that weird foundation remains but the music has gotten less overtly psychedelic and more rooted in the basic function of dance music…the groove. And with 3 different releases on 3 different labels right now, one could say Pink Skull are in it.

They’ve got a sharp 12″  on Throne of Blood , cheekily titled “John, I’m Only Braindancing.” A play on the Bowie track and the early days of Aphex Twin’s Rephlex record label, the 12″ doesn’t negate their interest in altered states, but rather brings it into sharp focus.

And with a pair of remixes by Jokers of the Scene and Jacques Renault & Das Moth, the single is more fun than a bowl of brown M & Ms. Additionally, in the last month and a half they’ve released their “Definitve Gauze” EP on My Favorite Robot and “Blind Babies of the International Sunshine Society” EP available at Legitmix.com.

Tune in and turn on your Pink Skull.

Pink Skull “John I’m Only Braindancing (Jokers of the Scene remix)” by Jokers Of The Scene

After a number of sumptuous 12″ singles for the Visionquest label, Footprintz (Clarian North & Adam Hunter) have readied a full length LP co-produced by Ewan Pearson. The album, “Escape Yourself” is, in their words, “an album that kids can listen and escape to.”

Composed of lush harmonies, glossy melodies and chuggy basslines, the album is a deliciously constructed invitation to the dance floor.

Although clearly a dance record, each track is a tiny epic full of dramatic synth washes and thumping drums that recall Big 80s groups like Tears for Fears, Soft Cell and, at times, Limahl’s Giorgio Moroder-produced theme to The Neverending Story…but with a modern romantic Cut Copy-ish twist.

“Zanzibar,” “Uncertain Change,” and “Utopia” capture the optimism, awe and confusion of being 17 and imagining a space for oneself in the world while seeking solace beneath the dance floor lights at 2am.

It’s an excellent debut and does precisely what Footprintz set out to do; create a great escape.

Footprintz
- Dangers of the Mouth by Footprintz

Tapping into the pitch perfect formula that made their last single, “Huggin & A Kissin” an epic, glorious cacophonous synthpop monster, LA’s Big Black Delta have returned with a brand new single in advance of a SXSW performance and their soon to be released debut album.

Layering decaying melody atop decaying melody on a bed of distorted drum programming, “Side of the Road” is like the 2001 Monolith reimagined as a shimmery Tres Leches cake of Big 80′s, early MTV, Thomas Dolby-esque sound. You half wonder how it doesn’t collapse beneath all the sugary, milky wetness, but then you try it and what’s keeping it together is less important than how totally affecting and absorbing it is.

A former member of local band Mellowdrone and touring band member for like-minded synth-anthem artists like M83 and White Sea, frontman Jonathan Bates knows how to strike the perfect balance between pop nostalgia and studio experimentation to come up with something completely unique, mesmerizing, and sublimely delicious.

Big Black Delta – Side Of The Road by Big Black Delta

I love the fact that like the horizon, the timeline of music stretches out in two directions infinitely. And every discovery of something new leads to another discovery of something new, even if that new thing is old. Although they’ve been around for about 20 years, I’ve only recently discovered Tokyo’s Crue-L Records label. And I’m OBSESSED.

Even though they’ve been around for awhile, it’s actually kind of hard to find out any extensive details about them as their label website is byzantine and mostly in Japanese and we’re talking about something rooted in an ”underground” scene offshoot of a genre scene halfway around the world in one of the most densely populated cities on the planet. But much as I know, the label is run by Kenji Takimi, who has been a leader in Japan’s appreciation of  post-Shibuya-kei Leftfield Disco, House and Lounge culture and whose project Being Borings is the label’s most recent release. Takimi has remixed a range of artists from Cornelius to Cut Copy and has been responsible to introducing the Japanese club scene to DJ Harvey and Dr. Dunks.

The labels import-only 12″s and LPs are hard to come by right now but totally worth the effort and the full length releases by artists The Beauty and Being Borings are sumptuously produced listening experiences that are familiar and otherworldly in equal measure because they meld together easy listening with the chuggy thump of downtempo slow mo Disco and soft focus airy synthpop.

Like the 90s refiguring of 60s space-age pop by artists like Pizzicato Five, Fantastic Plastic Machine and Cibo Matto, Crue-L is reworking an amalgam of late 70s early 80s sounds in a way the feels like getting lost in a YouTube search on multiple tabs simultaneously. Theirs is the sound of the Information Age horizon.

Hopefully, they’ll get domestic distribution so that enjoying them is a just a little bit easier. However, in the meantime why not appreciate the elusive, analog nature of having to track down Crue-L records?

Being Borings – Love House of Love (Dr. Dunks Club Remix) by Eric Duncan aka Dr Dunks

LA’s Pharoahs are one of the best live acts I’ve seen in the city in a hot minute. Boasting a handful of extremely talented local dudes, Pharoahs create trance inducing swirling synth, epic tribal house jams…with an emphasis on jam.

Comprised of wunderkind producer Suzanne Kraft, Ale Cohen (of dublab,) synth-surfer Sam Cooper, Andres on live percussion, and this super awesome big dude on baritone sax, Pharoahs sound spectacular on vinyl.

Their latest EP, Island Time, is out now on ESP Institute. But where they really shine is the live setting. Playing electronic music live is a real art, as synchronizing preset loops and triggers can be either pitch perfect or a perfect endless train-wreck. Keeping everything in time is essential, and these dudes have it down to such a science that at points you see them pushing the edges and jamming live at points. When they start jamming, (I’m talking like “jam band” vibes here) things get really interesting, because it’s a remarkably risky tightrope act that threatens the integrity of the entire show.

It’s this live aspect that gives them an organic, analog feel that’s rare in dance music. Most electronic shows are so pre-programmed and pre-produced that the visuals synch up with the performance perfectly. Sure, it’s a spectacle, but frankly I generally find that lack of risk in electronic shows rather uninteresting. Thankfully, Pharoahs are shaking things up and actually “playing” live.

In the way that local artists Poolside refigured disco for the afternoon patio setting, Pharoahs are refiguring the beachy drum circle as a warehouse party. Island Time is seriously ravey, apocalyptic fun and if the opportunity to see them perform it live arises, do.

(Editor’s Note: the band is headed to NYC for a couple dates but keep an eye out here for further show announcements!)

[ESP014] PHARAOHS – Island Time (snippets) by ESP Institute

With the omnipresent, consistent output of amazing dance music ferrying back and forth across the Atlantic from Europe to the States and back again…it’s easy to forget there’s an entire other hemisphere south of the equator. I’m not trying to be dismissive, it’s just an unfortunate matter of fact.

However, that doesn’t mean it isn’t happening.

Chilean Producer/DJ Matias Aguayo took his experiences in Cologne’s dance community as a part of Kompakt, and brought it to Latin and South America in the form of his label Comeme. Having released truly exceptional dance music from Mexico’s Rebolledo & Daniel Maloso, Comeme’s most recent juggernaut is Argentina’s DJs Pareja.

Literally translating into “DJ Pair” or “DJ Couple” they’re obviously not without a sense of humor about the DJ/Producer duo cliche, if anything, there’s a sense that they know what they’re doing is so sharp that they could’ve called themselves anything at all. Their EP is called, “De La Cabeza” (“Off Your Head”) and it is an impressively trippy affair. It surprises with random acid squelches, menacing sax solos, random cowbells and elements that at times you half can’t believe are happening, but all the tracks just slink and twitch in all the right places nonetheless.

It’s a brilliant combination of classic traditional German techno vibes with a dash of Optimo’s tense paranoid compression with accents of Aguayo’s psychedelic, do-whatever-you-want feeling.

“Ladren Ladren” is a perfect example of how excellently chaotic and off their heads this pair of Argentinian heads can get.

Djs Pareja – Ladren Ladren by Djs Pareja

In a few short years House producer Mano Le Tough (nee Niall Mannion) has gone from relative obscurity in a small seaside village in Ireland to DJing some of the world’s most exclusive clubs, releasing a handful of gorgeous EPs on labels run by dance music’s elite and remixing artists like Aloe Blacc, Midnight Magic and Roisin Murphy.

Artists Prins Thomas, Tensnake and Ben Watt have all seen Mano’s work ready for the floor have all released his warm melodic chuggers on their boutique imprints and now after an excellent run has finally prepared a full length being released by Permanent Vacation.

His album, “Changing Days“, is a solid debut that showcases precisely the lush balance he strikes between thick dance floor grooves and the shimmering production that makes private listening on headphones so rewarding.

Like his labelmate John Talabot‘s album last year, Mano Le Tough‘s album is a sure fire end of year list contender because his sound is truly unique and pleasantly entrancing. Upon receiving the record, I immediately found myself listening to “Everything You’ve Done Before” on repeat in the car, on headphones, at home, in the studio and every listen was rewarding in diverse ways but always totally immersive and always totally exciting.

Mannion sums up his method as follows, “I guess I try and make music that has an emotional resonance without being overly sentimental or schmalzy. It means a lot to me to try and connect with the listener on a deeper level and add something to their lives that’s more than a hands in the air 5am moment in a club (although there is nothing wrong with that).”

Absolutely. There is nothing wrong with that.

Below is a sample of Mano Le Tough’s work that caught my absolute attention. The “In My Arms” 12″ was released on Prins Thomas’ Internasjonal label.

Based in Brooklyn, the L.I.E.S. (Long Island Electrical Systems) label specializes in a left-field brand of House that is rooted in minimal wave synth “pop” and avant garde noise. But unlike other labels who’ve made a name for themselves releasing similarly rooted dance music, L.I.E.S. has set itself apart by embracing a virtually anonymous brand identity. By simply differentiating each release strictly by label color with the same industrial grade font and a series of limited press white (and black) label 12″s, all in non-descript sleeves, they’ve taken a decidedly lo-fi approach that is rooted in early Detroit and Chicago House and New York punk.

One could argue that their “if you know you know” aesthetic is counterintuitive or pretentious or reactionary, I’d venture to say that it’s a matter of economy…but what what one can’t argue is that they don’t deliver. With a number of truly spectacular releases from Legowelt, Steve Moore, Professor Genius and Torn Hawk, label head Ron Morelli has proven that he knows “good.”

Personally, I appreciate the no-frills approach. In an era where people come up with dozens of ways to stand out and get your attention, L.I.E.S.‘  quiet, clean label sticks out. But, the actual secret of their success (in tried and true fashion) has been quality. A consistently reliable stream of memorable releases and word of mouth has lead to a very quick ascension for the fledgling label. And their hard work paid off in 2012, with Resident Advisor singling them out as label of the year.

Good thing too, as they’ve released their “best” and a bunch of out of print material on a brand new compilation titled, “L.I.E.S. presents American Noise.” It is a must have for 2013 and brilliantly encapsulates their story (so far.) The exciting thing is that if this is a snapshot of the beginning…then the future is going to be a glorious noisy one. I don’t much like being lied to, but if these are L.I.E.S., I don’t wanna know the truth.

It was hard to distill this list…as I would’ve and could’ve easily made a Top 50 like RA or XLR8R…but, I’ll leave you with 12 in no particular order, except for “Inspector Norse,” which is unquestionably, without a doubt, the greatest track of the year.

12. Ry & Frank Wiedemann: Howling (Ame Remix) [Innervisions]

Click here to view the embedded video.

11. Guy Gerber – The Golden Moon and Silver Moon [Supplement Facts]

Click here to view the embedded video.

10. Jai Paul – Jasmine (Demo) [XL]

Click here to view the embedded video.

9. Kim Ann Foxman – Return It (Populette Remix) [Needwant]

Click here to view the embedded video.

8. Anna Lunoe – I Met You [Future Classic]

Click here to view the embedded video.

7. Still Going – D117 [Still Going]

Click here to view the embedded video.

6. Les Sins – Fetch [Jialong]

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5. Lauer – Tentatious [Running Back]

Click here to view the embedded video.

4. Daniel Avery – Need Electric [Phantasy]

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3. Citizen – Room Service [Lover Fever]

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2. Maceo Plex – Sex Appeal [Crosstown Rebels]

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1. Todd Terje – Inspector Norse [Smalltown Supersound]

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Like The Orb’s inspirational realm somewhere beyond the Ultraworld, Psychemagik’s Cosmic Forest is a trippy dreamscape where anything is possible. The Cosmic Forest has refigured perfect bona-fide pop hits by Fleetwood Mac and Wang Chung and somehow reimagined and reinvested them with infinitely listenable energy. The Cosmic Forest has also imbued new jams by Metronomy and Clock Opera, underground classics by Chilly, and lost classics like Intrinsic Trance’s “Hey Policeman” with a similar magikal energy.

Now, in the quiet darkness of the Forest, the UK duo has secretly built a rocket to the Moon in the form a brand new EP called Lunar Escape. Their first self-released downloadable release, it’s a short excursion to a hidden Cosmic Forest on the face of the Moon. In three tracks, the EP covers a whole lot of ground, from ItaloDisco to chuggy tech-house to downtempo ambient house…ambitious as it is successful, Lunar Escape fearlessly tackles it all with righteous aplomb.

Edits, remixes, original work and the occasional trip to the Moon…typical Cosmic Forest stuff.

My first draft of this post was a initially about UK House duo Bondax being younger than Disclosure.

My second draft of this post was pre-addressed to the haters who will inevitably call “bullsh*t” on young producers creating sounds that predate their birth and use technology to research and mine eras they never lived through to such stunning effect that it’s hard to believe they’re doing it.

My final draft is quite simply this…these Lancaster teens (literally 18 year olds) are crafting melodic House that is lush and catchy as hell.

Additionally, they’ve made their stateside debut this past week in Brooklyn, and are going to be at The Roxy this coming Wednesday night.

Sound architect DJ Shadow is a pioneer in electronic music and he brought a special set into KCRW’s studio today for his live Morning Becomes Eclectic performance. The turntablist debuted a new mix called “All Basses Covered”, which will be featured at some of his upcoming East Coast tour dates.

He tells Jason during the interview that he is a purist who embraces technology and a crate digger who also loves new music. He spends a lot of time listening to new tracks and, while he doesn’t necessarily play the “hits” of the moment, he swaps out songs in his set every few months to keep things fresh.

Aside from that world premiere, you can also check out a split-screen video of him performing “Organ Donor Megamix” below, as well as an unaired interview recorded after the session.

Click here to view the embedded video.

RR

Toronto’s dark clown princes of dance music, Jokers of the Scene have a great track that like a great joke deserves to be told over and over and over again. Their “Killing Jokes” off their JOT5 EP (which they premiered on their Guest DJ set on KCRW) has a strong, spacious melody that’s been reworked by them and been remixed by several other artists.

The latest (possibly last?) version comes from Dutch producer Drvg Cvltvre, whose Doomdisco-edit has both ghostly atmospherics and a menacing thump that will make for good listening if the Mayan Calendar is right.

Jokers Of The Scene “Killing Jokes (Drvg Cvltvre’s Doomsday edit)” by Jokers of the Scene

And — possibly because there is no way to make enough of a profit on this edit in time to even cut the first check, with December 21st right around the corner — well…the Jokers have decided to be good citizens of the world and give it away for FREE.

Enjoy. And don’t forget to call your mom before the 21st.

Now they are back with a new full length — “UnPatterns”.

Jason Bentley said the album “transported him to some after after after hours club without even leaving the house” and DJ Raul Campos is a huge fan of the track “Seraphim” in particular, saying “it’s a cool mid-tempo departure from their previous harder, edgier stuff”.

Stream it below and download it here.

They are known for their “creative restlessness” which helps them stay perpetually ahead of the curve. “Seraphim” is a playfully experimental spaced out anthem drenched in sun-kissed euphoria. You can experience the euphoria live when they hit LA on June 1 for a show at the Avalon.