Harry Charles brings us his new single Great Pages, from his album Movement, which has been available since May 2025. I’ve been given the full version plus a cut-back radio edit to review.

Harry has honed his talent and experience, and clearly drawn a slice of his audio influence from, the Bohemian nightlife of underground clubland in the great Berlin. Great Pages is a kind of Dark Electronica meets Happy House, and works! We have an exquisitely balanced mix of insistent, hypnotic rhythm sitting and carrying an ethereal, almost synth-pop keyboard melody line (think Depeche Mode with Alan Wilder as term of reference). It’s captivating, and is going to make you dance if you like the idea of a darkened, smoky club, lighting low and a moody violet, the walls stark, steampunk-haunted visuals of brick and boiler-room pipes away in the rafters as you sail slowly away on the waves of this number.

It doesn’t need to be high tempo, and it doesn’t give you that. It is, however, very much going to draw you onto the floor to move your body to it. As the wonderful yet restrained audio hedonism of the brass section kicks in, almost insidiously, you will see why I cannot call this pure Dark Electronica. Instead of exuding a vibe of menace or melancholy, something about this track keeps you warm and enveloped inside. Somehow safe, deep within that underworld you inhabit, night after night.

Our full version is well over six minutes long, yet feels half that and still leaves you wanting it to be longer. The radio edit takes away none of these feelings and visuals I have waxed on about here. I am 100% certain you will be hearing this across the stations that play the underground stuff – and with the handy tool that is Beatport, it’s going to be in your club, if not already then very soon.

Harry says this about the track, in the EPK:

“As with most of my music, this tune came from simply sitting down and locking into a groove. Everything flowed naturally, and the track revealed itself without much resistance. I was drawn to making something that could live right at the start of a set, a deep, slow-burning opener that patiently builds and sets the tone. The spaced-out horn line is a real highlight for me: haunting, melancholic, and exactly the kind of mood I’m drawn to.”

Couldn’t have described it better, but then again it is his track. It’s available via the album, and I certainly recommend giving it a listen. Outside of club-time, try it on a commute, or at the gym, or maybe a long roadie.

Welcome back home to Aotearoa Harry Charles. I’m happy to make your acquaintance.