Just Jack Recordings return with a varied EP, from their good friend Ian Blevins.

Three original tracks, which vary from Detroit dance floor weapons to dreamy left field house, and are backed backed up by a gritty dance floor workout from Secretsundaze... a pair of gentlemen who need no introduction! They pull out all the stops on their first ever remix....this one bangs!

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Man Power’s Me Me Me signs up long-time friend Ian Blevins for his long overdue label debut. Blevins’s originals are backed by stellar remixes from Austin Ato and Kiwi. Blevins hails from the North East of England and has released on ESP Institute, Futureboogie, Not An Animal and Culprit. The prolific producer was a long time resident of the legendary We Love Space in Ibiza and is an enduring favourite on the UK scene with plenty of musical tricks up his sleeves. “Both tracks on offer showcase the mongrel sound that I hear coming out of the North East region,” Says Man Power. ”Partly tough, partly playful, not simply techno, not simply house, and certainly nowhere near the most common contraction of the two words.” Innovative opener ‘The Serpent’ is a suitably snaking, slithering groove with acid twitches, rubbery drums and raw percussive energy. It pings about in dynamic fashion and really keeps you on edge. First up to remix, Austin Ato makes his return to the label after his huge ‘The Sound Of’ EP in summer 2018 and gives further credence to Man Power’s suspicion of his impending super stardom. He takes the ‘The Serpent’ on a luscious and deep trajectory that would make Larry Heard proud. The second standout original is ‘Unse’, a dark stomper with cosmic rays that strike right to the heart of the dance floor. It’s menacing and absorbing music that is steely and unlike anything else. To remix is 17 Steps regular Kiwi, who is responsible for two of Man Power's favourite tracks of 2018. Here he continues his run of astounding form while taking ‘Unse’ in a tougher and more robust direction that will really make you sweat. As ever this is a brilliant and stylistically diverse package from Me Me Me.

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Ian Blevins is the keeper of the jewel in the crown. This is his second offering for the ESP Institute. Picking up right where we left off, side A unleashes another explosive big room belter with Resumé—a driving rhythmic monster that takes advantage of the whips and cracks in Ian’s drum machine arsenal, while warm chords lay a foundation for a quirky lead melody and rubbery pulse to dance upon. Akin to Hannibal, Blevins‘ ESP Institute debut in 2015, the arrangement here toys with us before revealing the true guts of the track—this time characterized halfway through by a punctuating gangster piano hook. On side B, Poor Old Head utilizes Ian’s signature drum styling we’ve come to adore, but here he establishes swells of melancholy via bending notes that meow and purr, beautifully ebbing and flowing though an array of incongruous dial tones and bells—shakey and barely out of sync, yet cradling a loosely drawn chord progression. These two songs will smack you up before they rub you down.

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Ian Blevins is from England but he’s quite the dude. This is his first offering for the ESP Institute. On side A, meet the happy beast named Hannibal, a big room tune that ticks every box your heart may desire — bone dry drum production, atmospheric arpeggios, soaring strings and pads, a beautifully sweeping bass progression and an overall sense of euphoria; goosebumps guaranteed. On side B, Welcome Aunt Poly cools us down a little bit — stripping back the instrumentation, minimizing any superfluous effects, and layering a sparse bassline and droning synths over a laidback 808 — all to a relaxed tempo. Blevins’ debut proves that from the right point of view, familiar elements and motifs can take on a new life whilst reminding us just how the rave can feel. These two songs will increase your serotonin levels.

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DJ Nature follows up 2018’s ‘Ultimate Delusion’ EP with another set of pure heaters for Futureboogie. The Bristol born DJ and producer, also known to many as Nature Boy, comes with an exemplary track record, but that’s to be expected from one of the scene’s early pioneers. Releases for Golf Channel Recordings, Jazzy Sport and Ruff Disco Records are considered true classics, and rightly so! Breezy MPC house jams of the highest quality, ‘Flutter’ manages to fuse David Lynch style pads and earthy vocals with a marching rhythm, whilst ‘A Moment’ gets cosmically charged with a spiralling modular lick over a chugging guitar hook and spacey chords. NB’s Mix of Siliconada goes straight for the jugular, with looping disco rhythms and off kilter jazz licks, whilst the Original Version lays heavy and disorientating synth work down for a killer techno injection. As always, DJ Nature delivers a unique and distinctive sound that is often imitated but never bettered!

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Quirky and trippy house flavours are served up by Desert Sound Colony and Baby Rollen on the ‘Beta Burner’ E.P., with added psychedelic flavours courtesy of an A Sagittariun Remix. Hot of the heels of stellar releases for Touch From A Distance, Snap Crackle & Pop, and his very own Holding Hands Records, Desert Sound Colony debuts for Futureboogie, and delivers a trio of collaborative tracks with Baby Rollen, and a solo jam to boot! Title track, ‘Beta Burner’, is built upon an infectious break- beat groove and bumping sub-bass line; Rhodes chords jostle for position with dubbed out tones, synth hits and acid riffs, as this colourful and contagious track works its magic. Bristol based techno dreamweaver, A Sagittariun, summons up the original track’s darker elements for a slower paced, but just as deadly, “Re-Dream”. ‘Sagi’ slingshots his remix with tribal snares and a typically transcendental arp riff over muscular beats. The inventive and playful work continues on ‘Dumpster Truck’, with the gargantuan bassline taking centre stage, supported by swinging broken beats and frisky sound manipulation for a truly enjoyable ride. Wrapping up the EP, Desert Sound Colony goes solo on ‘Seismic Soy Bean’, ramping up the funk factor past 11, and dishing up the kind of headsy, happy tech grooves that the likes of U-Freqs and Wiggle were foraging at the turn of the millennium, to great effect.

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Welcome to ‘Ruffy’s Island’, the brand new interactive game that’s blowing minds from DJ, producer, record label owner, record store owner and video gamer Ruf Dug! Futureboogie proudly partner up for the audio extravaganza. Three levels to conquer, each soundtracked by Ruf Dug’s first new music in over 3 years. The virtual journey comes complete with a bonus ‘level’ in the form of a remix from the in form Sharif Laffrey. The wistful 16-bit funk of ‘Boat Party’ leads you through the first level, its melodic chops and jubilant mood advancing you to stage two with ease. ‘Techno Cave’ guides the shoot-em-up activities in the cave, with its bold, brassy bass, sparse synths and rapid tempo. Find the ‘Easter Egg’ that is the Sharif Laffrey ‘Nightwork Remix’ and you’ll be in for a real delight, as the Detroit mainstay ramps it up over ten tantalising minutes with a truly exceptional version. Make it to the ‘Abandoned Pyramid’ and you’re clearly a professional. Ruf Dug leads you on a tropical excursion through this mystical land, with deft piano play and meditative pads. What lies ahead on the fourth level, we will have to wait and see...

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Celestial electronics are always at the heart of James Welsh’s music, via a number releases for labels such as Erol Alkan’s Phantasy Sound, Wolf Music and Hypercolour. “Hammers” is Welsh’s second release for Futureboogie (following 2013’s “Craven” EP), and finds the UK based producer on particular fine form. With its airy pads and shrouded ambience, “Hammers” drives a 303 bass line right through its centre, perfectly balancing the tracks emotive and darker sides. Hodge (Livity Sound/Hemlock) comes on board with an industrial sized remix, carving out some heavyweight tribal drums and additional percussion and letting the acid do its tweakable thing. “Denergy” meanwhile channels some electro tinged bassline moves over super funky, tight drums, a flourishing acid line, and laced with the futurism and sound aesthetics that’s keeping James Welsh at the top of his game.

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Stalwart of the scene, Craig Bratley, serves up big Italo flavours all over the “99.9% EP”, ably backed with a remix from Mr. Andrew Weatherall. With previous releases on Neil Diablo’s To Rack & Ruin, Tsuba, Is It Balearic? and Robsoul Recordings, Bratley’s Futureboogie debut opens with the searing synths and chugging arped bass of “99.9%”. Wide-eyed melodies and punchy drums demand a mirror ball moment to this fabulous cut. Family favourite, Andrew Weatherall, takes the chugging tempo to new depths, remolding “99.9%” into a tense, reverb soaked, dubbed out sci-fi encounter. Further explorations into space disco are to be found on “Italo Love” with luscious waves of thick analogue sound and planetary FX, whilst on “Take Me To Bedford Or Lose Me Forever”, distinct Asian influences are at play, as Bratley channels his inner Vangelis for a mesmerizing and cinematic piece.

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Futureboogie’s 60th release comes from Elliott Lion, the uber talented musician and producer and the keyboardist and chief electronics whizz for the hugely successful band Editors. Lion has recently embarked on a solo venture, embracing his love of classic house, techno and spaced out cosmic disco. In its original form, ‘Ectsasy’ combines pacey disco looped beats, seductive vocals, dramatic sweeping pads and arpeggiated synths for a perfect cosmic pop experience. Roman Flu¨gel delivers a remix of epic proportions, stretching and dubbing out the original over the course of eight tantalising and telepathically charged minutes. A future Barbarellas classic in the making for sure! Otherworldy atmospherics are at play in ‘I Can’t Forget You’, as Lion packs in a driving bassline and roaming synths into this techno infused burner! The darker vibes and dubwise sirens are intoxicating and perfectly demonstrates Lion’s production chops and a producer to look out for!

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Purveyor of fine disco grooves and future funk, Ron Basejam, returns to Futureboogie with the bustling 5 track EP, “After The Rain”. Having already contributed some key releases and remixes to the label, from his 2016 collaboration with Neil Diablo, his first class remix of The White Lamp’s “It’s You” to his stellar productions as part of Crazy P, Basejam gets right down to business across all five cuts. Rhodes keys glide over soulful vocals and a frenetic percussive workout on “After The Rain” as elegant soaring strings lift the atmosphere perfectly. A raw and stripped back bass and drum funkfest shapes “The French Exit”, whilst on “Raise”, a heavy synth riff breaks out over tom-laden beats and uplifting vox. The quality never drops as further excursions into soulful street vibes are dished out across “Jacob’s Chair” and the positively energetic euphoria of “After The Sun”. An EP packed with many different shades of Ron Basejam’s continually on point productions, this is a must for lovers of the boogie!

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Having carved out a reputation for some of the finest cosmic house productions on labels like Omena, Dirt Crew and Quintessentials, the Lithuanian based producer delivers three new cuts on this release, which comes ably backed by a remix from Italian producer Fabrizio Mammarella. On the title track, Alex Pletnev (Ponty Mython), goes for breezy synths and wandering melodies over a chugging mechanical beat and an FM style bassline, whilst Fabrizio Mammarella (Bear Funk/Les Disques De La Mort) toughens things up slightly on his remix, plunging into a darker sound aesthetic for a great reinterpretation of the original. On “Time Spiral” an unhurried groove is laced with layer upon layer of meditative synths and percussive rolls for a fat dose of eighties soundtrack vibes, whilst EP closer, “Appreciate It While It's Not Too Late”, settles down to a head-nodding pace with funky bass and key melodies and live drum samples for a real earworm of a track.

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Kiwi AKA Alex Warren, returns to Futureboogie after 2016’s well received “Orca” EP (which picked up support from the likes of DJ Harvey, PBR Streetgang, Manpower, Kate Simko & many more) with the cinematically sprawling “Amityville” EP. With all the intensity and menace of the supernatural events immortalised in Rosenberg’s 1979 horror flick, “Amityville” leans on Lalo Schifrin’s classic score and serves up a chugging disco-fied monster. Arpeggiated synths and those memorable vocal refrains from the movie build a mood of anticipation that flourishes into sections of pure wigged out disco business. It’s a very clever and unique production, and one that we served up to DJ Tennis for re-interpretation. Following on from recent remixes for The Juan Maclean and Tricky, as well as a spectacular DJ Kicks mix for !K7, DJ Tennis remoulds “Amityville” into a deep and delicate house groove, introducing some guitar riffing and deft mallet instrumentation whilst manipulating the original components to mesmerizing effect. On “Warriors”, Kiwi continues his unabashed love of cult movies with a musical ode that captures the edgy and urban sounds of 70s cinematic synth soundtracks; phasing guitar riffs, rolling snares and dramatic synth sweeps dominate this infectious track. And closing the release, “Paco” is a melody fuelled and studious production; wandering keys drift over a steady beat and filtering bassline combo whilst the synths pitch bend and flex, resulting in a gloriously trippy ambience throughout.

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Following on from 2016’s excellent “Birsk” single on Futureboogie, Philipp Lauer returns to the label with a new three track single. The “Las Brisas” EP kick starts with the mechanical funk of “Pile”; acidic notes drip over heavy EBM drums whilst a hovering ‘Resse’ style bassline dominates, the influence of early house and industrial dance are ever present here on this belter of a track from the Tuff City Kids and Talamanca System player.
More acid pressure can be found on “Clipper”, a blazing and dynamic slice of anthemic Balearic dance. Searing pads and lustrous melodies pour over the robust drum machine workout, that’ll have dancers reaching for the skies! Real stirring stuff from Lauer, which continues with closing track “Tyco”. Ricocheting stabs and cowbell hits bounce off a sturdy kick drum as the track flourishes with more on-point melodies and a snaking bass. Dripping with emotive refrains, Lauer brings his very best to the table here, and rounds off an EP that’s most definitely all killer and no filler!



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Austin Ato is the latest project from Colin Bailey, the multi talented producer from Oban in Scotland who has been the man behind the Drums Of Death moniker since 2008, and has also recorded under the Frankie Dreams and Coba aliases. With forthcoming material also due on Phonica White, Ato lands on Futureboogie with the massive feel good vibes of “Music Will Save The Day”, backed with two superb remixes from Auntie Flo and Christophe. Featured here are two original mixes of “Music Will Save The Day”. The “Dub Mix” the is classic house music jam, packed full of energizing musical flourishes, from the Balearic tinges of the sequenced mallet riff, whimsical pads and booming bassline to the searing crowd chant and the joyous piano motif. Ato displays some serious musical chops here, which are further enhanced on the “Vocal Mix” with the addition of a bi-lingual vocal hook that will surely act as a call to arms on any discerning dancefloor. On the “Auntie Flo’s Hidden Garden Remix”, the Huntleys & Palmers mainstay strips things right back for a beatless excursion, letting the percussive elements drive the forward motion whilst the melodies and thick synth pads wash over like crashing waves, a great reinterpretation by Brian d’Souza AKA Auntie Flo. Futureboogie’s very own Christophe provides the second remix; tweaking an acid riff over a heavy, old school drumbeat and teasing in the musical elements, providing a tougher and more jackin’ take on the Original Mix, whilst keeping faithful to the original vibe.

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‘50’? comprises four brand new tracks from Christophe, each one displaying an assured grasp of what makes a crowd move, having been an essential resident DJ at the Futureboogie events globally. ‘Dance Pants’? takes the futuristic highway through contagious acid basslines, frenetic drum machine patterns and spiraling pads, whilst imaginatively titled ?‘Caravanaramabar’? keeps the energy levels raised with shimmering synths, beating drums and sun rising melodies.
On the flip, ?‘Savanna’? mellows the pace somewhat, wrapping a delectable synth riff around a percussive heavy beat, dusted with choppy vocal hits and dreamy stabs. Closing the EP is ?‘Key Largo’?; wigged out bass and freestyle keys jostle over reverberating drums for a real hypnotizing finale on this milestone 50t?h? release.
A wealth of house music royalty and bourgeoning talent has helped shape the Futureboogie sound and label brand. ?Julio Bashmore?, Waifs & Strays?, ?Eats Everything?, ?Felix Dickinson?, O? utboxx?, ?Ron Baseman?, ?PBR Streetgang? and ?Lauer? are amongst the role call that have helped the label chalk up 50 releases, with ?label boss Dave Harvey? already lining up the next slew of releases to help Futureboogie march towards another 50!

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Futureboogie open their 2017 account with a new release from Lizards, the Newcastle based duo otherwise known as Lee Forster and James Hadfield. After appearances on labels like Leng Records, Join Our Club and Not An Animal Records, Lizards strut their stuff across two original tracks, whilst man of the moment Lord Of the Isles weighs in with a superb remix. The percussion driven house of “Tzatziki” kicks of the release, wrapped in warm and inviting pads and piano riffs. Shades of old school Chicago house meet sun-kissed Balearic vibes on this early morning riser, as the heavyweight bass sounds curl around the raw drum programming and illuminating keys sprinkle over the production. On “Aloof”, the tempo is taken down somewhat, as a bass line wanders over a steady kick and otherworldly ambient sounds and hushed vocal clips lazily glide over the 4/4 arrangement. As the track unfurls, more melodic and percussive elements come into play, blossoming into a something quite epic and unique. With a slew of releases for quality imprints like Permanent Vacation, Firecracker, Mule Musiq and ESP Institute, Neil McDonald, AKA Lord Of The Isles, serves up a deliciously chugging version of “Aloof”. Gurgling bass and marching handclaps are dowsed in dramatic synth sweeps and glacial tones, as the good Lord takes us on a monumental ride.

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