London duo Punks Jump Up are looking to start 2012 on a positive note with another release of schizophrenic disco with ‘Get Down’ which is out now via Kitsune now.

The whole EP is chock full of ideas, sketches, throw away vocals, and jumpy drums – which, on the whole, do captivate you, but also weird you out.

Any hope that the remixes rationalise the left-field juxtapositions, and try and distill some of them into more manageable tracks doesn’t really happen as much as we’d like.

All the remixes seem to get sucked into Punks Jumps Up slightly odd world. Fare Soldi give their weirdest performance yet – and show they’re far from a one-trick pony. Deadstock 33′s probably steal the show – with a strung out, head-down warehouse stomper and Gopher just goes for a bit of mindless intensity.

The EP is far from perfect, and shows Punks Jump Up might still have some growing up to do musically – it just needs to be reined in a bit.

HBF Rating: 3/5

File Under: Odd-ball.

Grab the Wayving remix as a freebie.

Shindu exploded onto to the dance scene last year with the fantastic debut single ‘Happy House’. Not only was the EP produced by man of the moment Moonlight Matters, it also came with some stellar remixes. Well, it’s time for the difficult second EP.

They’ve moved to a new label Kiez Beats, but their sound still remains the same – thankfully the quality of production hasn’t dipped since Seba jumped ship either. It’s still full of big happy synths, snappy drums and vocals that wouldn’t sound out of place on a Salt ‘N Pepper record. The only original is a heady cocktail to Japanese-esque pop and Rex The Dog 80′s synth pop.

Remixes come from a wealth of different talent – first up we have Cosmonaut’s who do what you’d expect. Slow it down to a disco plod, strip it out and rebuild it for a Belgium disco. Other notable remixes come from Kreap – who turns it into a French house number – it’s fun and adds a unique twist to the vocals. Pharoa Black Magic turns ‘All My Fridge’ into a meandering synth pop number by taking out all the aggressive drums and percussion to make a remix that is as enchanting as it is serene.

The dark horse awards goes to both Softwar and Stubbs. Softwar takes the original into the realm of a slow 90′s house vogue. Stubbs goes the other way and produces a deep, languid cut – full of swirling synths, big builds, and plenty of white noise.

‘All In My Fridge’ is good second EP from the Belgium trio – the vocals are unique, the production is tip top and the remixes are good enough to get into a wide-range of acts’ CD wallets.

HBF Rating 3/5

Out now.

Mathieu Zub aka Musuem is a self-taught guitarist and instrumentalist who has been in various rock bands before discovering analog synths and dance floors – he was then picked up by Black Strobe in 2007 and became their guitar player.

Blackstrobe Records released his the debut EP today, the aptly named ‘Debut EP’ is the exploration of science fiction within electronic music. His debut EP is inspired by Blade Runner, Planet of the Apes, Shining and Alien soundtracks.

From the starting track ‘Mecanic Fantasy’ you’ll realised the Musuem is looking to push the boundaries of electronic music. It’s not overtly obtuse, but, he creates an intoxicating blend of tight drums, swirling futuristc synths and imagery that makes you think it’s a close encounter of a disco-kind.

‘Afraid’ is darker and more unforgiving, and sounds a lot like early Blackstrobe productions – which is a good thing. We’ve said it before there’s no making acid house like Arnaud Rebotini, well, that’s not true – Museum is.

As you delve deeper into the EP it gets even more uncompromising as Museum begins to flex his techno muscles. Thankfully, Museum goes back to his rising melancholic synths for ‘Hedgehopping Flight’ – where we think his talents are best served.

Overall the EP has more than enough of the dark and bleak existence of the future coupled with light, melancholic tones to make a great debut EP.

HBF Rating 3/5

Grab an unreleased track ‘November’ and pick up the EP with remixes from Rafale, Second Date and Reflex.

http://www.museum.blackstroberecords.com/ out the 23 of january 2012

Oliver is the moniker of two LA producers who are making quite a splash with their funk-laden big-room disco. Compromised of Vaughn Oliver (U-Tern) and Oliver Goldstein (aka Oligee) their first EP ‘Dirty Talk’ is out today via the always on the money Kitsune.

Disco like many genres has got a large, and loyal, following – but can it ever reach the heights of a trance-y mcbobins like Tiesto? Or dare I say dubstep’s new poster boy Skrillex? If you’re an avid follower of blogs (which you are) you’ll already think it already has. Well, not quite, but just maybe with Oliver.

LA duo Oliver might well be the duo to take disco to the next level; Dirty Talk is full of big-room swagger. The lead track has everything an anthem needs; catchy, but, clever vocals, which have a classic Felix Da Housecat quality to them – Americanised, if you will – super-snappy percussion a la Prydz and a smorgasbord of sumptuous synths – overall it’s straight out of disco’s top draw.

The other original comes in the form of ‘Walk With Me’ a smoother cut of disco straight of out Quincy’s Jones’ best-selling guide “How To Make Funk White Boy”. The gurgling bass hooks dance around with equally happy synths to make a track that is so full of the joys of summer it has the words summer tattooed on it’s face.

The originals sit alongside a couple of stellar remixes from Black Van (another of Kris Menace’s alter egos). Basically, it’s amazing. If there was an award for the most hands-in-the-air disco track of the last 12 months this would win hands down.

Punks Jump Up thankfully take ‘Dirty Talk’ in the other direction to make a proper underground cut, no compromises are shown as they infuse it with a heady shot of European drug fuel.

HBF Rating 5/5

Buy it here.

To celebrate the release, Oliver have made a special mix which shows of their crate digging skills with plenty of lost-long disco gems (well probably).

When The Lights Go Out
I Surrender
History
Funky Is On
Bad Passion
Let’s Ride
Shine Your Light
Just The Way I Planned It
Move For Me
Strokin’
Heaven Of My Life
Shout About It
Feels Good
It’s Passion
Running Back To You
All Over Your Face
Ray-Gun-Omics
Fresh Flesh
Wojtyla Dance Disco
Handsome Man
Sophistication
Don’t Try To Stop Me
Tonight
The Key
I Can Hear Your Heartbeat
Midnight Lady
Not Tonight
Got To Have Loving
Tonight
Peaches Prunes
Any Time Or Place
Fantasy
Try Outs For The Human Race
Me Giorgio
Melody
My Camera Never Lies

http://www.facebook.com/weareolivermusic

If you don’t know Shook, then you should. He’s a mysterious man from Holland, who plays keyboards and lives with his side-kick Wolf. Today he released his second EP ‘The Rise And Fall’ and it’s the psychedelic sequel to his first adventure ‘Glow’, it follows pretty much the same tried and tested blend of caricature electro, funk, disco and soul.

The EP is stunningly put together from the special edition vinyl artwork to the sumptuous keyboard riffs and doughy keys within. It’s a synth lovers wet dream, if ‘Glow’ was loud, brash and full of Hollywood excitement, then the ‘The Rise And Fall’ is the counter to it. It’s mellower, more considered and thoughtful. Though, the opening track would have you thinking otherwise.

‘Through The Fire’ packs a punch with Shook’s take on the current trend of soft-rock & electro (Justice & SebastiAn). His is probably one of the best attempts, easily on par with either of his French cohorts. And it’s the same concept with the ‘Rise And Fall’ which also goes for the 80′s action movie aesthetic; over-the-top prickly synths, driving drums and a general air of anything is possible.

Shook’s music does have a split personality, though. And this is what makes him such a talent, not only can he captivate you with his fantasy club music. But, it’s his more introvert, slower songs that really stand out, the funky percussion and happy keys of ‘Hold Tight’ show a different side to Shook. There aren’t many artists we could name that can do this; a true master of both the dark and light side of funk-driven electro.

It’s probably been said before, but the comparison to Daft Punk is one that can’t go unsaid. If you like Daft Punk, then Shook is certainly one of the few contenders out there. When you hear the smokey jazz-keys of ‘Picture Moment’ you’ll immediately think ‘Something About Us’ or ‘Verdis Quo’. With an album in the works Shook is looking and sounding like the real deal, someone who is just as inventive and imaginative as our two French Robots. If you were to play both ‘Glow’ and ‘The Rise And Fall’ together,  you’ve got ‘Homework’, now, can he make ‘Discovery’?

HBF Rating 10/10

Buy it here.

Photography: Joseph T Denyer (https://twitter.com/#!/josephtden)

The Warehouse Project turned into a bit of soap-opera this weekend as techNo DJ Jeff Mills declared that he wouldn’t be playing on Saturday. Rather than telling WHP, and the promoters, he took to Facebook to explain his no show and it was due to a disagreement with a third party booking agent who had been accused of racism.

Now, there’s no suggestion that this had anything to do WHP in any way. But, regardless of Mills’ reasons he behaved in a very unprofessional manner and rather than tell the promoter he explained his reasons in a public forum and felt the wrath of hundreds of unhappy fans. However, like any great musical institution the show must go on and it did with the live performance of Nile Rodgers & Chic.

Chic’s influence on Pop music cannot be underestimated, headed up by Nile Rodgers their musical career has seen them pioneer the birth of disco, funk and soul right throught to the birth of hip hop and then subsequently been sampled by hundreds of modern day artists, they’re a form of pop genesis. A starting point for almost all popular music.

The band took to the stage at 12 to perform some of their biggest hits – ‘Le Freak’, ‘Good Times’, ‘Everybody Dance’ – as well as other rarities and chugging jams, which sent a few thousand dedicated disco ravers dancing. Within a couple of minutes of Chic’s set no one was even bothered by Mills and his no-show hissy-fit.

Chic rolled through an amazing variety of tracks both from the Chic back catalogue and Nile’s own production treasure trove. The crowd were treated to Chic covers of Madonna’s ‘Like A Virgin’, which he made 27 years ago – according to Rodgers – although Nile gracefully declared he didn’t feel that old, Sister Sledges ‘We Are Family’ and Sugarhill Gang’s ‘Rapper Delight’, which of course famously sampled the ‘Good Times’ bassline and has now gone on to hip hop folk law.

The Chic organisation and Nile saved the best to last with ‘Le Freak’ where they invited a special guest on stage and it was none other than Johnny Marr from the Smiths to play out the final song of the set. While we’d concede the Warehouse Project might not be the best live venue. But, Chic was easily the best performance we’ve seen over the years at Store Street; a marquee moment for the organisation. It rose above the usual bland house and techno and achieved something far greater and left everyone thinking Jeff Who ?

Everyone knows Starlight, it’s like funk-kryptonite, it sold 2 million copies and made The Supermen Lovers one of the most recognisable producers in France and the world. Well, it’s time for the return of fantastically eccentric Frenchman, Guillaume Atlan, for a new adventure ‘Between The Ages’.

When you press play, you’re instantly transported to funk-inspired comic-strip where the main protagonist, Guillaume, travels the world with his funk band with one mission – to turn that frown upside down. You’ll be hard pressed not to be converted by the overly optimistic ‘We Get The Booty’ a box of pop-tricks, packed with full-on cheesy vocals, Chic basslines and just wait until you hear the harmonica solo – it’s pure French genius.

‘Take A Chance’ shows the Guillaume Atlan wears his influences on his sleeve and is not ashamed of it. It’s massively over-the-top, pop-alicious, commercial fun. Expect half a pound of cheesy vocals, podgy basslines and overly repeated crescendos – then throw in some guitar solos, twanging electric strings and over-the-top horns, for good measure.

But, Guillaume is no mug. He knows you need more than just a playful disposition; it needs to have bags of energy, flair and must make you want to dance. As you dive deeper in the adventures of ‘Between The Ages’ you’re taken on a wild ride of more club-orientated flavours. These come in the shape of ‘Family Business’; a duet that sounds a bit like a face-off between Donna Summer and Chef – refereed by Guillaume. The album develops a concept as there are sprinkles of a narrative, similar to the soundbites you used to get on classic trigger-finger rap records, but these are slightly different; radios interludes, which are less Pac and Biggie and more Elton and David.

There’s a slightly darker side to G-man, and its ‘Keep The Funk Alive’; a deep thudding disco track, that marries gurgling vocals, twinkling synths and tight percussion, by the end it turns into a rather melancholic affair but wins you over from start to finish. There are real moments of French colorful genius along the way as the album morphs and changes track by track. You’ll hear hip-hop influences in the boisterous ‘Olga’, nu-disco vibes in ‘Say More’ and electro fun with ‘ Impact’

The album is packing more organic vibes Hugh Fearnley-Whittingstall as G-man lavishly uses synthesizers, loops, and real played instruments to weave a tapestry of wild influences. It’s not the sort of album you can dive in and out of. It’s a journey, where there are no stops, no breathers, you’re in it for the long haul and it’s a fantastically unpredictable and rewarding journey. There are more unconventional influences with crazy cuts of cartoony French house with ‘Eagle Shadow’ bombastic funk with ‘Electric Whispers’ and more considered French vibes with ‘Working Girl’.

‘Between the ages’ see’s Guillaume Atlan make a time machine and kidnap the best of 70’s funk, eclectic 80’s pop and 90’s commercial dance to make a album that is greater than the sum of it parts. It’s like the the anti-plod, chicken soup for the musical soul, the sort of music you’d play to a techno tourist as a form of torture – for us it’s hands down one of the most entertaining albums of this year.

HBF Rating 10/10

Buy it now worldwide !

Competition time: WIN ONE OF 3 iPODS SHUFFLES WITH THE NEW TSL ALBUM “BETWEEN THE AGES” IN IT!
(And some vinyls/CD packs too!)

Game rules:

a) become a TSL fan on his facebook page
b) post a video of yourself and/or your friends screaming ALL RIGHT OKAY OH OUI C’EST BON on the TSL fan page
b2) tell your friends to do the same to win a mothereffin iPod shuffle
c) the three videos which will make us laugh the most get the iPods. Be creative.
d) deadline’s FRIDAY DEC 2ND.

French electro maestro Surkin has been around ages, looking back at his releases they go back as far as 2006, but only now has he decided to release his debut album ‘USA’ via Ultralight. Has the 5 year wait been worth it? Well, no. On the whole its a bit hit and miss, as the French producer shows off his influences through turbulent journey of pop, electro, house along with plenty of other odds from p-funk, synth-pop, disco and hip hop. Unfortantely he’s unable to bring all these influences together in a way that works for an album, it’s fractured and a bit all over the place.

The album starts with a medley of X-factor pop and b-boy basslines as you’re treated to the commercial vibes of ‘Loose Yourself’ – it’s not a bad start, but, lacks a bit of the French flamboyancy you’d expect from the Parisian. Thankfully, ‘Love Shot’ is just the tonic you need and sets the CD on the right path with buzzing drums, lavish synths and looped vocals which all come together to make a snappy piece 80’s electro.

‘I.N.Y.N’ is the first proper French electro track, and manages to stay on the right side commerciality with plenty of hip hop samples and a fairly forgettable vocal. It twists and turns as Surkin the finally gets those French electro juices flowing. Those of you looking for the second coming of French electro, might be slightly disappointed – USA is not,  it does, however, take a lot inspiration from US popular music rather than French/European music.

The references of American b-boy culture can be heard with the schizophrenic ‘Fireworks Hotmix’, which shreds vocals and jittering synths to make a track that ends up being quite annoying, thankfully it’s only a couple of minutes. The plump b-boy basslines are back ‘Silver Island’ and again the track fails to live up to the billing; wonky synths, folksy tones and no real proper kick leaves you slightly underwhelmed. ‘White Knight Two’ does get the recipe right, with slaying house synths, big drums, and its easily the best track from the album, if a little generic and probably 5 years to late.

‘Rock It’ is another attempt to fuse hip hop and electro and quite frankly is about as cool LL Cool J. It’s just doesn’t work and comes across more as a idea than an actual fully formed track. It’s ends up sounding like the rejected theme song for Beverly Hill Cop. The album lurches from one uninspiring track to the next. A case in point, are the lacklustre housey vibes of ‘Harry’ which are then tempered with the dire pop vocals of ‘Never Let Go’, which sounds like they came from a Michael Jackson tribute act from Japan, eventually the track drops but it’s just too late to recover.

We really wanted the Surkin album to be amazing, but it lacks on concept, style and most disappointingly delivery, there aren’t any real standout tracks that immediately make you think genius – we’ve heard plently of amazing music from Surkin over the years, but ‘USA’ ultimately fails to live up to the hype and his abilities.

HBF Rating 6/10

Epic, epic, epic… how many times have you read a review that starts with, ends with, and repeats this word throughout? This reviewer is guessing more than just the once… And, often, the music it is coupled with does not provide the listener with ample justification of the adjective’s perpetual overuse.

It’s winter of 2010, and Anthony Gonzalez has just announced that his next album would be just that: ‘epic’, but given the diversity between (and even within his previous records), and the duration of his career, the use of that word left a bit too much to the imagination; with fans and critics left wondering whether this would just be another album.

Fast-forward to October 2011 and this reviewer finds that, for once, ‘epic’ is an understatement. After ten years in the industry, and his thirtieth birthday, it would seem that 2011’s ‘Hurry Up We’re Dreaming’ is something of a coming of age story for Gonzalez – a journey about awakening, craving, and conquering.

Unlike quite a few double-albums this reviewer can (but won’t) name, ‘Hurry Up, We’re Dreaming’ doesn’t drag on and, for the most part, it isn’t padded-out with filler songs that don’t deserve the megabytes they take up on that shiny, plastic disc.

Of course, there are exceptions and ‘Train to Pluton’ is exactly that, the track (which stands at just over a minute) nervously recalls Charlie and the Chocolate Factory-esque images and then shrinks back from whence it came; without explaining why… Despite this, the album constitutes an easily digestible 74 minutes, and this reviewer would argue that ‘Hurry Up’ is the easiest M83 album to listen to in one sitting; and the most commercially viable.

The album’s first release is the instantly likeable ‘Midnight City’, which is a carefully calculated, luscious blend of ambient pop and progressive textures that make for a song with just the right amount of 80s nostalgia – the director of ‘Drive’ (2011) really missed a trick here.

Whilst the album can, in some senses, be said to be a continuation of the journey embarked upon by M83’s last record ‘Saturdays=Youth’, ‘Midnight City’ is the song that marks Gonzalez’s departure from all previous material and a further awakening in himself. With earlier records, Gonzalez either hired help when it came to adding vocals to his tracks, or teased listeners with a fleeting glimpse of his own timorous vocals.

Now, and perhaps due to having recently toured with Depeche Mode, Gonzalez has suddenly found the balls to broaden and strengthen his existing vocal boundaries and experiment, subsequently revealing another depth to his talents. The album is a showcase for everything from ‘Midnight City’s’ spectral and breathy whisper, to ‘Reunion’s’ howling yet harmonious vocals.

In interviews, Gonzalez has repeatedly stressed the influence of the Smashing Pumpkins ‘Mellon Collie’ and the ‘Infinite Sadness’. Also a double album, ‘Mellon Collie’ has one very poignant thing in common with M83‘s ‘Hurry Up’: the irrationality and transitory nature of youthful emotions.

The seemingly accidental juxtaposition of the record’s most endearing ballad-style track ‘Wait’ with ‘Raconte-Moi Une Histoire’ (a song about a frog) recall the strangeness of hearing The Smashing Pumpkin’s powerfully grungy yet emotionally charged ‘Bodies’ on the same CD as the monotonously synthesised ‘We Only Come Out at Night’.

Anthony Gonzalez described ‘Hurry Up, We’re Dreaming’ as “a reflection of my 30 years of being a human being [...] a compilation of all my previous music together [...] a retrospective of myself”, but it is much more than a simple solipsistic affair. The opacity of his lyrics, and the perpetually changing style of music that this record contains, serve to effectively capitulate the fraught memories each of us has of our own youth, and beyond.

HBF Rating 9/10

Written by Jessica McDermott

Aeroplane has finally released his In Flight Entertainment compilation today, the premise behind the project was for Vito further his monthly mixtapes so artist’s actually might make some money, we know a scary thought. A compilation handpicked by Vito that would do Aeroplane’s mixtape series justice and, not only that, be so amazing that you would pay for it. A tall order, yes, but one that he, and the artists who have helped, have accomplished.

If you’re a total noob, it was Aeroplane that made mixtapes cool again; every month, without fail, they’d release an amazing mixtape of hidden gems they played and, most importantly, believed in. It wouldn’t be an exaggeration to say they probably helped numerous acts along the way just by putting their music in the mixtapes.

Now, we probably thought the same as you. How is he going to make it a worthy purchase? Would he give away a free flight on Vito Airways to some far-flung Disco Island? No. Maybe, a date with the disco looker? No. He would wants to woo your musical senses with a collection of tracks that have never been heard before, tracks made specifically for the compilation mix, from the cream of the crop of up-and-coming nu-disco talent.

Not only do you get the full set of mp3’s that make up the compilation, you also get the fully mixed version. From the moment you fire it up the mix you know you’re in familiar surroundings. Now, we listened to every mixtape from the series, and there’s no doubt this is the very best. Yes. It’s even better than the one you got from Mixmag. He’s created something really quite special. In our mind it’s definitely greater than the sum of it parts. It treads similar ground to an Aeroplane DJ set, but instead its crammed into 61 minutes of high-octane club disco.

Where do we start with the track selection, well it reads like a who’s who of talent, you’ve got Herr Styler’s ‘Zero Ghost Out The Door’ which continues their assault of wonderfully cinematic, yet feverishly odd disco – if you like their remix of Shindu – this one is for you. You’ve got a stunning intro from Poolside, which sounds like a long-lost Air track (when they were amazing). We loved the vocals from up-and-comers Drop Out Orchestra and their track ‘It Will Never Be The Same Again’. You’ll hit the disco g-spot with RipTide’s high-energy ‘Sophie’ – possibly the best track on the whole CD. As you reach towards to the end of mix Vito turns it up a notch with his own offering ‘Save Me Now’ – simply amazing, why wasn’t this on his album? It continues its climatic journey with nuggets of pure euphoric disco-gold from HBF favourite Moonlight Matters, Oliver, Cosmonauts and loads of other hidden talent.

Ultimately Vito, and the artists who make up the mix, manages to achieve that first musical epiphany you had when you first heard an Aeroplane mixtape; that moment where, for many, you knew nu-disco wasn’t just some hipster flash-in-the-pan or just a stopgap until electro becomes good again. Nu-disco in our mind has become something really quite special and this compilation is proof of that.

HBF Rating 10/10

Vito kindly offered us a copy of the 12″ Vinyl, and as we’re super nice, we going to giving it away to one luck reader. Leave a message on our Facebook, in the comment sections or tweet us @mrhbf - and we’ll choose a winner. You never know he might be kind enough to sign it.

Buy it now !

iTunes / Juno (CD) / Vinyl Sampler 1 / Vinyl Sampler 2

Aeroplane – Save Me Now by RTribouillier

Aeroplane – In Flight Entertainment (compilation) by eskimorecordings

Justice’s second album was always going to create a bit of a stir, and if you’re expecting Cross 2.0 then you might want to get your coat. It’s not. But, it is the soundtrack to a rebellious 80’s Hollywood action film that never got made. It’s big on grandeur, emotion and stadium rock. It never deviates from the concept too far, but it captures all those emotions you get from a classic action film where the hero, against the odds, saves the day and get’s the girl.

‘Horse Power’ is a statement of intent as Justice unleash 320 raging rock horses through a post-apocalyptic landscape. Cue the haunting synths, the possessed church organ, growling basslines and then the expected rock opus. You’re slapped across the face by a cacophony of electrifying guitars, face kicking kicks and a general air of excitement. It is everything that you want of from a intro track for Justice’s new album. Thankfully it’s more The Who, than Bon Kovi – it’s brimming full of drama, passion, and a general air ‘I don’t give a fuck’.

‘Ohio’ is a tip of the hat to the Beach boys and most importantly Brian May’s psychedelic rock and roll – it starts with a choir of vocals that just wouldn’t sound out of place in ‘Smile’ – it patters along at a pace much suited to your average west-coast surfer dude. By the time you get to about the halfway point you’re praying for a reprieve, an about turn – and in many ways you get it, the synths and eventual kick towards the end are quite special.

‘Canon Primo’ is just your average restrained pretentious reprise. But the ‘Canon’ itself more than lives up to the billing; fist pumping synths, live drums and a rousing chorus’ makes up the classic 80’s rock veneer, it’s in the same vein of ‘Horse Power’, but it’s more Bon Jovi, than the Who for us, but without the downside of Jovi’s annoying voice. So ultimately a satisfying track.

The whole album see’s Justice trying to relive the last 40 years worth of rock through the method of French electro, it’s still the exploration of rock and electro, but the medium has change; it’s not the hard stuff. But the classics like Zeppelin, the Who, and even Queen.

When it works – which is almost all of it – tracks like the disco pop hooks of ‘Helix’, the energy and emotion of  ’Newlands’, and the revisited restrained gospel influences of ‘Planisphere’ will almost certainly get you air-guitaring and pretending to be Slash – there’s no doubt our mind that you will be caught up in the grandeur, the emotion, and sheer scale of the sound.

It’s a look back at the best of early rock and roll, and includes everything from folk with ‘On’N'On’ to Queen’s pomp and ceremony with ‘Brain Vision’ and more modern flavours with ‘Audio, Video, Disco’. It’s all there, changes in tempos, massive guitars riff, drums solos and that unmistakeable air of cheesy American rock and roll. Unfortunately it doesn’t really add anything new to it. But that doesn’t mean it fails. It’s not especially new, and certainly not particularly forward thinking, but it more than hits the spot for a swashbuckling, strut down rock and roll memory lane.

It completely achieves the stadium rock aspect of the concept, but unfortunately we’d have to say in places its lost a little bit of the signature Justice swagger. Overall it’s a succinct, concise album, which never strays too far from the brief. With very little filler it shows why Justice should be so revered, and it just about delivers on everything they promised – even if what they promised might not have been what you wanted. It’s a electrifying enterprise looking back at the best of rock and roll through the eye’s of two quirky French guys from Paris.

HBF Rating 9/10

Alex Metric has built himself quite the reputation as the go-to-guy for stunning remixes lately – so it wouldn’t be a bad thing if he compiled his finest work into one handy mixed CD – this is ‘Open Your Eyes’.

The remix roster reads like the phone book of Jay Z – it’s a testament to his selection process and where so far he hasn’t done a bad remix. The only thing we can compare it to is Yuksek’s remix mixtape which he did last year – ‘Open Your Eyes’ is of that level. It’s crammed full of the worlds top music acts – you’ll find everything from N.E.R.D, Phoenix, Fenech Soler, Depeche Mode and Bloc Party to The Beastie Boys, La Roux and The Gorillaz.

In total you get 14 tracks, made up of 11 remixes and two collaborations – the CD opens with his French electro remix of The Phoenix’s ‘Litszomania’ and Metric’s electro disco rendition more than lives up to the billing. Muddy bass lines, sassy vocals and pop sensibilities combine to make it one of the stand out tracks. It then mixes into the Gorrilaz’s ‘Stylo’ – this is the best Gorillaz remix you will find anywhere – it clatters along with slapping claps, driving disco synths, sharp vocals and thudding kicks.

In many ways Alex Metric’s remix style treads the similar ground to French electro wizz-kid Yuksek – who is also famed for amazing remixes. There’s just something about the way he combines the energy of electro with a thick smattering of organic disco goodness and a wide palette of pop influences. The French electro theme continues through to his remix of N.E.R.D’s ‘Hypnotize You’ with nervy synths at the beginning combining with the main synth hook for track that builds and builds. The pay-off comes in the form of the mix into Fenech Soler’s ‘Lies’.

The CD continues the chaotic pace with the skittish synths of Ellie Goulding’s high octane ‘Salt Skin’ the euphoria of La Roux’s ‘Quicksand’ and the thrash-rock of The Beastie Boy’s seminal hit ‘Sabotage’ – by the final few songs you’ve been treated to mix that has slapped, kicked and pulled you through the best of the last 20’s years of popular culture – all through the minds-eye of an electro artist at the top of his game.

By the end of it you’re left totally convinced by the pedigree of Alex Metric – we’d say he’s probably the most exciting electro artist in the UK at the moment – he’s now set the bar extremely high for his debut album but if his remixes album is anything to by it’s going to be one wide ride.

HBF Rating 9/10

Out now.

The Twelves are probably Brazils biggest dance music export having wowed the world’s dancefloors with their amazing dj shows they turn their magic wand to Kitsune’s tabloid CD series.

Clocking in with seven new edits from the Rio duo the CD also comes with a mix which aims to try and captured a bit of the magic of the Twelves DJ show.

The Brazilian producers, who have remixed the likes of Daft Punk, Groove Armada and Fever Ray in the past, said “we hope we brought a genuine Twelves feel to it, whilst still being true to the label ethos.”

The CD starts with quite a treat as you get to hear an original from the Twelves – we know that doesn’t happen that often at all – ‘Handshake’ is a clever disco medley with loads of robotic beeps and bleeps.

The CD starts to hit its stride with new edits/remixes of disco don Munk, Metric, Blackstrobe and Two Door Cinema Club.

The first seven tracks are ones that you’ll have come across before, but many of them are carrying new tabloid elements – which is a nice touch.

The pace of the opening salvo is smooth and enticing – it’s not what you’d expect from the duo – but draws you in perfectly.

By track 8 you’re into DJ set mode as the duo dispatch a wide variety of tracks from Ratatat, Spirit Catcher, Siriusmo and Shit Robot.

Having witnessed a Twelves DJ set for ourselves – it saddens us to say that the mix doesn’t even come close to the real thing.

But with the duo playing so many personal edits of classic dance tracks it would have been a herculean task to try and get a licensed Twelves DJ set – so we have to make do with the Tabloid edition.

For us it doesn’t quite capture the Twelves magic – but is a great place for people who aren’t familiar will them to start. It’s a bit flat in places and doesn’t have the energy we were expecting.

The CD was never billed as a Twelves live CD, but it manages, in part, to stay true their sound whilst still being an easily recognisable Kitsune CD.

HBF Rating 7/10

Out now.

Tracklist
Part 1
01. The Twelves – Handshake (dub)
02. Munk – Violent Love (The Twelves Tabloid dub)
03. Zeigeist – Humanitarianism (The Twelves Tabloid mix)
04. Metric – Help I’m Alive (The Twelves Tabloid mix)
05. Two Door Cinema Club – Something Good Can Work (The Twelves Tabloid dub)
06. Black Strobe – Me & Madonna (The Twelves Tabloid mix)
07. French Horn Rebellion vs Database – Beaches & Friends (The Twelves Tabloid mix)

Part 2
01. Ratatat – Wildcat
02. Reverso 68 – Piece Together (Part 1)
03. Sasse feat Kiki – Loosing Touch
04. Chaz Jankel – Without You
05. Spirit Catcher – Rollercoaster
06. Siriusmo – Last Dear
07. Shit Robot – Take ‘Em Up
08. Pol Rax – For You
09. The Paradise – In Love With You
10. The Juan Maclean – The Simple Life
11. Alexander Robotnick – Problèmes d’Amour Demo (Fafa Monteco edit)
12. Daniel Wang – Echo By Midnight
13. Alan Braxe & Fred Falke – Palladium
14. Tommy Seebach – Bubble Sex
15. Zombi – Sapphire
16. Zongamin – Painless
17. Twin Shadow – Shooting Holes

Monarchy’s journey to create a brand of electronic pop which rises well above the shitty cynical X-factor pop, has seen the mysterious duo gain a lot of hype over the last 12 months – but the wait is over finally and their debut album ‘From The Sun’ is out and about bloody time too.

Many of you will remember the early belief that the duo had something to do with Stuart Price – we even peddled this theory for a while. Fortunately the duo tweeted us to finally set the record straight – but they took it as a compliment nonetheless.

The duo has been steadily releasing a superb set of remixes and tracks over the last 12 months, and finally we are able to sample the fruits of their futuristic pop labours. Was the hype and the waiting worth it? Yes.

It’s a debut album that shows that pop music can be clever, well made and not too cynical. It’s never too showy – it’s just a lovely collection of electronic-based tracks which patters along to their up-beat serene synths, clever pop tapestry’s and dance floor undertones of days gone by – it reference everything from Depeche Mode to Daft Punk.

Jealous Guy by Monarchy

The opening few tracks are a superb; the ethereal charm of ‘Black, The Colour heart’ draws you in and then the album steps it up a gear with the charmingly upbeat ‘I Won’t Let Go’.

By now your swinging to the beat of Monarchy’s space-aged pop melodies and their gleaming vocals. The vocals do compete for your attention a bit too much and sometimes lack a bit variety. But it is, on the whole, a delicate and modern interpretation pop with a bright 80′s electronic streak shining right through.

‘Pheonix Alive’ is one of the stand-out tracks fo us and draws from a broad church of influences from 80’s synth pop, disco and house. It’s a track which shows the talents of their super-catchy vocals and their classy production.

‘Love Get Out Of Way’ draw on more 4-on-floor electro-pop influences and shows off their precision for carefully craft pieces of standalone electro-pop. As does the progressive beats and slicing synths of ‘Call’ and ‘Jealous Guy’.

The whole album is positively brimming with plump pop beats, catchy Scissor Sister-esque vocals and futuristic disco-pop melodies.

I Won’t Let Go by Monarchy

The album doesn’t strive too far from their glossy pop aestetic and there’s plenty here for you to come back more than a few times. In the end it’s a pop-oreientated album that has enough dancfloor nous that you wouldn’t be ashamed to admit you like it; they’ve essential made pop cool again, and done so by prying it out of the hands of money hungry douches with autotune and comedy haircuts. And about time too.

HBF 8/10

Imagine if two French electro stars fell in love. Allure’s debut album ‘French Kiss’ would be the product of this electro love affair. In many ways it’s a weird and wonderful set styles and influences, but Allure manages to, on the whole, pull it off.

Allure’s ‘French Kiss’ is the debut album from a young romantic Parisian Lorris Piasco – his debut LP is aiming to fuse the customary emotion of French love songs with 4-on-the-floor brazen French electro. From the opening track ‘Prelude To Kiss’ you know that you’re listening to something a little more sophisticated than your average French banger.

Allure – Prelude to a Kiss by ALLURE (Paris)

It starts with some alluring synths reminiscent of early Air, but that’s where the parallel ends as the beat drops and you’re greeted with SebastiAn-esque electro; snapping rock drums, side-chained synths and just a mere insinuation of a French love song for its DNA backbone.

You will be treated to a multitude of guest vocals during ‘Allure’, the first is from Axel La Baron who adds his elegant slant on ‘Side By Side’ it’s full of brash piano’s, subtle percussion and a lovely kick – it actually works really well with the vocal acting as a pop-drenched hook.

Lorris Piasco is obviously a bit of French romantic at heart and in so many ways his music conforms to this typecast; it’s classy, subtle and just melts in your ears. It does lack a certain commercial wow factor at some points, but when it comes together it works really well.

The classy synths of ‘Nocturne’ and the big room plush sounds of ‘Renaissance’ which could easily be mistaken as a track from Vitalic’s ‘Flashmob. Will both grab your attention early on. By the halfway point your greeted with the 80’s infused synths of ‘Paradis’ which again tries to instil some emotion and sentiment into your run-of-the-mill French electro – it takes a few listens to really appreciate what Lorris is trying to do.

Allure – Renaissance by ALLURE (Paris)

Overall the album is dispatched with a flair and flamboyancy of say a Justice alongside the soft malleable sentiments of a Breakbot – when it works – it quite something.

The tempo is raised with the harmonious arrangements of ‘French Kiss,’ which is quickly followed by album’s pièce de résistance ‘L’Amiral’ which manages to bring the whole premise of the album into one perfectly formed track – a perfect snap-shot of ‘French Kiss’.

Allure – L’Amiral by ALLURE (Paris)

Overall we can totally see what Lorris was trying to do, in most cases he manages to pull it off, but at sometimes it lacks a certain wow factor especially as he’s trying to add emotion into electro – it would be fair to say that at some points it’s lost in translation. But he’s only 22 – so he can’t be expected to be the finished article just yet. A sterling effort nonetheless.

HBF Rating 7/10

Listen to the entire release below.

French Kiss Album by ALLURE (Paris)

“FRENCH KISS”
Debut Album is OUT NOW :
http://itunes.apple.com/fr/album/french-kiss/id440263264?ign-mpt=uo%3D4

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‘Mindfighter’ is the latest release from italo duo Retro/Grade – ever since we heard their last single ‘Reset’ we’ve been blowing our trumpet for this duo – the duo consists of Serge Santiago and Tom Neville – both acclaimed producers in their own right – but their new collaboration is taking them to new loftier chrome-plated heights.

Following on from the excellent pop leanings of ‘Reset,’ ‘Mindfighter’ is a darker, more complex tapestry of their influences – ‘Mindfighter’ opens with one of the duo saying “drive” and then track subsequently moves up a gear, as the pulsating synths kick-in the track takes you down a psychedelic journey into 80′s italo and house.

The next track is the tropical italo bomb ‘Escape Sequence’ which marries tropical beats and elasticated basslines to make a track that has a lovely subtlety to the intro – but when the track drops it’s clear to see why the duo has been a firm fixture on this summers festival season. It’s dragging italo and disco into the 21st century with a ruthless efficiency and cutting edge production – no-one is making music quite like this duo at the moment.

Finally completing the EP Tom and Serge go deep with ‘Vector,’ a disorientating combination of Moroder-esque disco, eastern drones and cinematic atmospherics. If Blade Runner’s sprawling 21st century megalopolis had been based on Cairo rather than Los Angeles, this would have been the kind of soundtrack Vangelis would have dreamed of creating.

Everything about Retro/Grade so far is pointing to an amazing debut album from the duo, which should be with us by the end of the year. They’re cementing themselves into the elite of dance music with their chrome-plated vision of the future. Come aboard the spaceship Retro/Grade for a trip back in time – its less trip down memory lane and more a computer re-interpretation of the best of 80′s electronic dance music.

HBF Rating 8/10

Out now on Deconstruction Records.

Grab the Maxxi Soundsystem Warehouse remix for free in full WAV Quality.

Retro/Grade – Mindfighter (Maxxi Soundsystem Warehouse Mix) by Retro/Grade

Download here.

RETRO/GRADE, MindFighter video by Weirdcore from weirdcore on Vimeo.

Clancy is a man from Manchester via London, or maybe it’s the other way around, anyway he’s dropping his new EP ‘Panther’ this week and we love it – so much so we decided to claim him as one of our own, a proper Northerner.

A man who loves a good pint and then goes home and plays on his synths until the early hours. A mans man. His new EP ouzes 80′s disco, over-the-top drums and hollywood hooks. ‘Panther’ conjures up imagery of high-heals, cross-dressers and terrible fashion – it’s brill.

Clancy – Panther by Clancymusic

’4000 Shards’ is more a Future-Cop come Miami/Magnum PI over-the-top synth goodness.

Clancy – 4000 Shards by Clancymusic

Anyway, less 80′s metaphours from us. You can listen to the entire release below. And go and buy it if you should feel compelled as it out now via Holographic People. We know from experience that the Winters are grim up North. Also, make sure you check out the remixes from Beaumont and StardonE.

Clancy – Panther EP by Clancymusic

Monday is almost over. So therefore it’s time to feel energised and ready to do something constructive. This feeling of purpose we all strive for can also be attained by listening to the new Pulpalicious’s ‘Body Talk’ EP.

It’s quite something. French rave and electro cooked up in a way that sounds exciting and new – the original of ‘Bodytalk’ immediately made us think of Boy’s Noise’s club anthem ‘Yeah’ but not in a superficial, copying, kind of way – this is a full-fat French version. A track that really could propel Pulpalicious into the consciousness of every drug-fueled connoisseur that hears it. It’s superb.

Pulpalicious – Bodytalk by Paranoiak Record Label

Next up is the more introvert and classy offering. ‘LA Walkway’ it has a more emotional vibe baked in from the start, but it’s tempered with some very clever effects, programming and vocoding shenanigans. It follows the blueprint for amazing french electro to the letter. Quite brilliant.

Pulpalicious – L.A. Walkaway by Paranoiak Record Label

And to finish the EP we have ‘Smell My Finger’ it draws the energy of ‘Bodytalk’ and the grandeur of ‘LA Walkway’ to make a high-octance piece of effects-riddled French goodness.

Pulpalicious – Smell My Fingers by Paranoiak Record Label

Now we move onto the remixes. Now it would quite something if the remixes were also fantastic? Well, you’ll be glad to know that they both do a stellar job of joining in the fun of “looks at us, were french and amazing” formula.

First up we have the remix from Sovgner In Love remix. And quite frankly were in love too. Born at number 10 banger road for sure.

Pulpalicious – Bodytalk (Sovnger in love Remix) by Paranoiak Record Label

Now it would be quite frankly ridiculous of us to say that we’ve left the best until last – well we think so. And it comes from an old friend of HBF Irish Steph – who delivers a dancefloor earthquake with his remix. And to top it – it’s the freebie for this release. All types of noisey french win.

Pulpalicious – Body Talk (Irish Steph remix)

Download here.

HBF Rating 9/10

Out June 27 on iTunes and July 4 on other digital platforms.

Pulpalicious: http://on.fb.me/kOp7TH
Paranoiak: http://on.fb.me/m3Gvu4

For his second album French electro producer Yuksek was inspired by the lonely days of touring around the world on his own, and this has translated into a new direction for the producer. ‘Living Life On The Edge Of Time’ is a long play that shows off a more mature side to Pierre-Alexandre Busson. Gone are the coarse electro synths, the pounding drums, but what has replaced them is in many ways is just as good. A collection of unabashed, jubilant pop tunes; introspective and uplifting at the same time.

The album oozes warm synths, cushion-soft percussion and proper vocals. ‘Living Life On The Edge Of Time’ is the total opposite ‘Away From The Sea,’ no longer do over-the-top electro synths take over the songs, but they compliment the tracks. The focus of ‘Living Life On The Edge Of Time’ are the stunning vocals. You’re not going to hear classic vocals like ‘My Bear You Can Eat Bear’. It’s full of proper songs, proper structures and proper vocals.

In a similar way that ‘Away From Sea’ references everything that is amazing about pop music; the energy, the catchy pop hooks. His new long play does the same but for indie music. It’s a logical step for him to take, a massive risk – but he has nailed it.

Now normally we wouldn’t really like an album that strays too far from what we would expect from one of France’s most exciting electro producers. But this is Yuksek. He has to be respected.

From the opening salvos of ‘Always On The Run,’ ‘Say A Word’ and ‘Off The Wall’ you know that this is going to the complete opposite of ‘Away From The Sea’ – it’s full of organic sounds, disco claps and really electrifying vocals. It’s proper music, with a really likeable organic DNA running right through.

The quality of production from Yuksek is sublime, there’s nothing other word for it, this is especially apparent in tracks like ‘White Key’s’ and where subtle complimentary synths and choir vocals combine to make a stadium-rousing track that takes Yuksek out of the club and into the stadium.

The album marries the best of electronic and the traditional warmth of organic music to make an album that cements him in the upper echelons of electronica – don’t be surprised if top acts start knocking at his door asking him to produce their albums.

There are proper moments of empathy and melancholy through the album and this very apparent with ‘Off The Wall’. It’s done so well you can’t help but fall in love with it. This album has the capacity to be the soundtrack of a summer for us – it just connects you to the artist and the music in a way that is going to really work well for this year’s festivals and the world tour.

For many this new direction might won’t be everyone’s cup of tea especially if you’re looking for some electro bangers. You will not find any of those in here. It’s music, not drug music, it should be treated like a fine wine not cocaine – it will compliment your day, not try and take it over. We personally think it’s very cool and classy. Yuksek has taken a risk, but with his amount of talent there was only going to be one outcome – music that sound effortless cool and sophisticated – one for the purists of this world.

The album climaxes with ‘The Edge’ and ‘Fireworks’ which see a little bit of the old Yuksek to come play, it’s not banger territory but they raise the tempo and make for a superb climax to a stunning second album.

Yuksek’s latest album was never going to suffer that cliché of a ‘difficult second album’ he has too much skill and ability to run out of ideas on where he wants to take his sound. But when you add the best of the last album and his new tracks into a new show, with two new members to bring the new material to life, you’ve got something that can complete with the best in the world. The next 12 months of touring are going to be something truly special and probably a lot less lonely than the last.

If your in Europe you listen to the album on Spotify.

HBF Rating 10/10

Latest tracks by Yuksek

Teenage Bad Girl are back with a new album on Citizen Records. ‘Backwash,’ tries to marry big room electro sounds with TBG’s complex set of influences; you can expect to hear the savage synths of electro, the broken rhythms of underground hip-hop and the efficiency of a half French Touch half Detroit old school techno & acid, as well as a load of other odds and sods. When it comes together, which it does most of the time – it’s hard not to be impressed with their latest album.

The album starts with ‘Fight Night’ a jittering electro banger which samples everything from rap to funk and everything in between, bit like Prodigy in a metal asylum – it just lacks a decent melody or groove. It’s more a technical exercise where they throw everything at you in one go just to see what sticks.

What sticks is the basis of the second song and the one the stands out from the start ‘Kick Up With You’ a rock electro homage – with a proper rock structure. They keep just about enough French electro to make a sweet rapturous song – sure to be a crowd favourite.

Teenage Bad Girl – Keep Up With You by Citizen Records

The ‘Wave’ continues the intense samples, effects and no-hold-barred approach that ‘fight night’ takes – for us the kick doesn’t hit quite right or nearly enough. Sure enough the next track goes for over-the-top rock electro medley with a Green day punk vocal – it’s like Justice, but if they made rock.

Some much needed melancholy is added in ‘Heart Zero Beating’ the track is an uncompromising mish-mash of repeating synths – it’s weird but there’s an honest charm and beauty to it. Until it hits repeat mode at the end.

Teenage Bad Girl – Heart Zero Beating by Citizen Records

They mix up the style some more with a French rap electro track in the shape of ‘X Girl’ probably what Uffie should have sounded like – but didn’t – it has a clever funk-pop edge to it.

Backwash shows Teenage Bad Girl are incredibly diverse when it comes to styles that they command – the CD hits loads of styles and flavours along the journey. When it works it is a rewarding listen with sonic depth, precision and knowledge of multiple genres which is necessary to try and pull off something so adventurous.

The CD really starts to come together more and more as you listen to the funk synths and driving disco of ‘Hold Me Tight’, the effortless smooth and distorted chord of ‘Fast Blood Delivery’ show a new side of TBG – any misgivings towards the slightly over-the-top start melts away when you start hitting the more composed middle half.

Teenage Bad Girl – Hold me Tight by Citizen Records

The whole thing goes a bit mental again for the finale with ‘Boogie Toy’ throwing out any chance of melody with an all-effects head fuck – not a particularly memorable track – the kick restore some sanity and stability. More acid undertones are shown of in the Moroder-esque ‘Backwash’ a proper homage to the infamous scarface soundtrack.

It finishes with a final hip hop electro number ‘Jumping Judas’ – the backing synths and song reminded us of a Tron Legacy track – the vocal is surprisingly not terrible and does add a certain something.

Backwash is a good album but seems to lack a few stellar tracks for it to be called a classic just yet – it just suffers from being a bit all over the place. But TBG do succeed in bringing all their influences together under one broad church of French alternative electro. It doesn’t happen enough for us, but we’re sure plently of you will find lots to love as when it does work – it’s a wild ride of electro and excess.

HBF Rating 7/10

Digital release : 2011 June, 6th Physical release : 2011 June, 13th

Don’t take our word for it listen to the whole thing in full and judge for yourself.

Teenage Bad Girl – Album Backwash (streaming) by Citizen Records