House and techno focussed FINA sister label FINA WHITE comes through with more direct dance floor grooves from Bodyjack, aka Chris Finke. The veteran artist serves up two killer tracks, one dub and four locked grooves that provide serious heat for DJs and dancers. Before now, former DMC competitor Finke has established himself with his Bodytrax label in association with the Clone.nl crew, standout mixes for Radio 1 etc and EPs on the likes of UTTU, Hypercolour and DEXT, all while being a famous former resident of titanic techno party Atomic Jam and playing the world's finest clubs for years. Arresting opener 'Measure Twice, Cut Once' is a big, buoyant techno monster with warped acid lines and raves vocal stabs all adding fuel to the fire. The locked grooves serve up scintillating breakbeats that are hugely powerful and ripe for abuse in the club, and then 'Enfant Terrible' is a dark and eerie warehouse monster. The bass is loud, the kicks rock solid and an echoing female vocal lost in the midst of it all draws you in deeper. Closing things out, the dub versions strip things back to gritty chords and heavy, well-swung kicks that make you march. This is high class, high functioning techno from one of the finest in the game. TRACK LISTING: A. Measure Twice, Cut Once (+ Locked Grooves), A2. L'Enfant Terrible, AA. L'Enfant Terrible (Custody Dub) More

The Organ Grinder, AKA Cayne Ramos, got it right first time. His first solo release 'Obsession/New Age People' was brought out on Cardiff's Catapult Records and gained him huge kudos points with an international DJ fraternity, gaining support from Move D, Ryan Elliot, Steffi and Jackmaster. He got it equally right with his second release, the anthemic 'I Don't Love You', also on Catapult which featured the vocal talent of Jessy Allen. These releases put The Organ Grinder under the spotlight and he was soon invited to play his career highlight gig at Berlin's famous Panorama Bar. from there releases followed. A collaboration, with Chesus of Darkhouse Family and CRST fame, entitled Audio Porn on Addison Groove's newly Lost In Translation label. In 2012 The Organ Grinder caught the ears of Gerd and very soon came Enoonmai! on 4Lux supported by Laurent Garnier, Sebo k,Ben Westbeech,Boddika and Ryan Elliot. In 2013 the Grinder kept on grinding with another CRST collaborative release, titled Monster Munch on the infamous Local Talk, and then with his second 4lux release "The Dancing Angel" getting him widespread support from just about everyone in the house scene, Kenny Dope of Masters of Work, Dennis Ferrer, Kerri Chandler, Steve Bug, Xpress 2, Dusky, Eats Everything, plus many more. The production is one side of The Organ Grinder, he also makes us dance to his tunes, and he has played alongside an incredible international roster of artists to date including Darius Syrossian, Martinez Brothers, Phil Weeks, Huxley, DJ Wild, Steve Lawler and Kerri Chandler. During the summer of 2013 The Organ Grinder spent his summer in Ibiza playing at Kehakuma alongside Edu Imbernon, Steve Bug, Ryan Crosson, Robert James, Brawther and Gerd.

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A1 Bassline is fast becoming a prominent name on underground house and techno circuits; one of the UK's new breed of experimental producers who defies any definitive classification.The Brightonian's hybrid house sound has popped up on reputable imprints as diverse as Pets Recordings, DirtyBird and George Fitzgerald's Man Make Music and has given rise to collaborations with the likes of Leon Vynehall and Bobby Champs. But releases on his own label, Source Unknown, a platform upon which he showcases his more techno orientated output, is what captured the attention of the ears behind FINA White. Indeed 'Bad Timing EP' is as strikingly clear indication of the distinctive direction FINA Records' offshoot label is intent on taking. The release opens with Bad Timing, a straight up techno banger whose menacingly melodic low-end tones, relentless thump and rolling toms are the driving force behind its robust and looming groove. A1's layering of long drawn out synths, industrial drums, heavily reverberated claps and shakers are offset by intermittent tribal calls and deep rasping atmospherics; an organic fusion of sounds which give a sinister edge to what is a gritty, energized stomper. Next up is 'Without Time', a similarly complex percussive cut - but with its jungle inspired Arabic horns, trancey synth-lead breakdowns and acid squelches, this time there's a distinctive nod to Bassline's old skool rave sensibility. Yet as the title suggests, the track isn't confined to one era. It's a timeless hybrid. The descant melodic and ethereal synths and cut up vocals give the track it's unmistakable soul and groove, whilst the overriding stuttered mechanical drum and hard hitting bass line make it just as much a techno banger as the lead track. Wrapping up Fina White's debut release is Nail's classy take on 'Without It' - a more direct 4/4 reworking of the original. The more prominent horns and the introduction of softer snares and bells compliment the decidedly warmer bass and serve to underline Nail's penchant for classic underground house.
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