Review: Malin Genie's self-titled label carries another wedge of sublime deep house directly aiming at the after party crowd, this time in collaboration with the prolific Swedish producer Per Hammar, "Lijnbaan Dubb" kicks things off in an immersive swirl of heavy-lidded house for the mellow steppers to lock into. "Fosie" is a twitchier concern that reduces the groove down to a crystalline minimal framework peppered with quirky sound design. "Scania" has a more techy disposition, getting locked into some seriously heady loops and splashed with generous helpings of dub processing. SAM then reshapes the track into a moody strutter that brings things full circle with the A1 gem that opens this seriously classy EP.
Review: Ion Ludwig is a leading light in contemporary minimal house, able to elicit fresh approaches from a well-worn club music template. He lands back on Baby Ford's Trelik label with a chunky double pack of beautifully crafted rollers for the stripped down dance, leading in with the subliminal murmurs of "Fall Answers" and following it up with the incredibly groovy, bass-led "Modern Missing Mood". "Le Imagen" gets into a more wriggling, crafty configuration, while "Felt Like Klariny Space" lets trippy daubs of melody take centre stage. "Sparse Hypnotimes" does what it says on the tin, simmering down to a mellow, dubby haze of blue-hued keys and a slither of a beat.
Review: Since making his debut on dtape in 2016, Sweely has been building up something of a head of steam. This expansive, stylistically varied EP - arguably his strongest release to date - follows hot on the heels of hyped EPs for Lobster Theremin, Bokhari and Concrete Music. Dancefloor highlights come in the shape of glitchy, out-there early morning tech-house shuffler "Beauty is Random", the two-step tech-house flex of "This Is Between Me & You", deep, tech-tinged 4/4 garage workout "Let Me Know" and the Swag-style early noughties vibes of "Non Stop Funkin'". Jazz-powered dusty hip-hop head-nodder "The End Of Love" is pretty tasty, too.
Review: Another single-sided sizzler from the Digwah camp, whose irregular tech-house reworks of well-loved old cuts are rarely less than excellent. This time round, they've turned their attention to a sprightly, memorable chunk of '80s soul - an American club cut of the period that has been re-edited numerous times by disco diggers. The Digwah version, though, is an almost complete overhaul; while snippets of the original version's vocals and guitars are present in the mix, they largely play second fiddle to chunky tech-house beats and a bold, huggable bassline that propels the revision forward towards peak-time dancefloors. It's decent and scintillating like most Digwah remixes.
Review: East End Dubs has carved out a reputation over the last few years as the hardest working artist in tech house. The man behind the Eastenderz and Social imprints is back on his much lauded eponymous label with some more surefire and functional grooves. "Tools Vol 10" features a collection of understated jams that are sure to work both the main room and the back room alike, peak-time or afterhours - the choice is yours. Our highlights are the rather Rominimal influenced "Track 1", the lo-fi Windy City bounce of the third track, or the swing-fuelled bass-driven funk of "Track 5". This one will earn a permanent spot in any serious DJ's record bag for sure!
Review: The fourth release from London-based label Eya continues to shape out an intriguing identity that nods to classic techno tropes while charging ahead with their own agenda. Label boss Jos' "Planet Eya" sets a lively pace with its forthright drum machine jack offset by warm synth licks. Evil Knebel matches the tempo and weaves in a cosmic set of tones, which Poten then cosigns with the equally trippy, propulsive "Intransigence". Jos is back at the helm for closing track "Purify", which strikes a darker tone without losing that raw, vintage techno flavour that makes this label one to watch.
Review: Following the hot off the press drop "Time Guard", Lazare Hoche taps up a pair of remixers to provide fresh angles on his latest transmission. First up is Moscow Records' Archie Hamilton, who whips up a propulsive, bubbling techno roller laden with lush melodic content. On the flip, regular Hamilton collaborator Noha serves up a twinkling, mysterious strutter that should sink under the skin nice and easy in the late morning sessions Lazare Hoche records are so well suited to. Using spooky off key synth licks and a steady ticking beat, Noha provides a worthwhile new twist on the original's vintage techno sound.
Review: Washington DC's Justin Nouhra has been intermittently slipping out high grade minimal house on labels like Silence In Metropolis and Cahoots for the past five years, and now he's been snapped up by Courtesy Of Balance for an impressive three-tracker loaded with shimmering tones and elegant grooves. "Subpoenad" has an irresistible bump and some starry eyed synth flairs that melt into the ears very easily indeed. "Day Job" follows a similar tact, with some more pronounced chords punching through the mix. "POV" rounds the EP off with a bugging bouncer of a track, and yet more of those pristine, sweetly filtered tones amidst the slender drums.
Review: Brawther's Negentropy label has already carried gold star material from Ron Obvious and the man himself, and now it's the turn of debutant producer Zweizig to show off his wares. This assured 12" leads in with the ambient intro "Gewissen" before the crisp minimal funk of "Rhythm Tension" kicks in with its shimmering and shuddering sound design pinging around the dexterous beat. "Zephyr" is a smoky affair with a snappy broken beat and lots of subtle organic matter writhing in the middle distance. "Rehash Repeat" takes things deep and dubby to complete the set, all mellow hiccupping rhythm accents and hazy melodic phrases.
Making Ends Meet (Taimur & Alexander Gentil remix) (6:24)
Making Ends Meet (Rhadoo remix) (12:00)
Review: The 5th release on BLKMARKET MUSIC comes from Scumdolly entitled 'Making Ends Meet' in the format of two separate vinyl. Changing Room One and Changing Room Two are tracks that were made around seventeen years ago and never saw an official release. Scumdolly is an alias of Craig Richards, an artist we admire and are really hyped to work with. On Vinyl Two [BLKMUSIC 004.2] The A side features Making Ends Meet (Changing Room Two), which is a 2nd original version by Craig Richards that is more four on the floor on the A1. On the A2 Taimur & Alexander Gentil deliver a driving New York style remix. On the B side Romania's Rhadoo delivers his version with a more minimalistic approach to the track
Lebawski - "Clouds Of Thyme" (Kled Baken remix) (6:33)
Barbosa - "Quinoa" (Ray mono remix) (6:44)
Review: Ghent's Muzi Cartel crew step into the label game with this assured four tracker from promising emergent talents. Viktor Udvari is up first with "For Our Love", a fired up but delicately executed techno jam with plenty of harmonic balance to make for the most satisfying trip skywards. Mrsch takes things deeper and groovier on "Pas Cu Pas", leaning heavy on the bass and leaving a little more space in the mix for maximum meditation. Kled Baken's remix of Lebawski gets into a minimal house roll with spaced out licks of vocal and hazy pads, and Ray Mono nudges Barbosa's "Quinoa" into murky depths for a proper underground roller.
Review: Chris Barratt's outings as Eagles & Butterflies have been amongst the most celebrated melodious tech-house releases of the last few years, particularly those he's served up on the Art Imitating Life label he established in 2016. Given this track record, it's little surprise to see his latest EP appear in Dixon and Ame's mighty Innervisions imprint. Check first the blissful dancefloor breeziness of "Sketch 7", where deliciously positive, lo-fi synth riffs dance in the moonlight above unfussy beats, darting analogue bass and crystalline chords, before cupping an ear in the direction of "Sketch17", where classic, '80s style electronic motifs and Harold Faltermeyer-esque electronics gradually rise above a solid tech-house backing track. "Sketch 1" continues a similar theme, with Barratt making great use of spellbinding, saucer-eyed chords and some ragged but melodic acid lines.
Review: Since first appearing on Poker Flat Recordings back in 2015, Pavel Iudin has become one of the long-serving German label's most reliable artists. It is, though, a while since we've heard from him, with the "Framework EP" marking his return to the storied German imprint after a two-year break. He begins with the warm, fluid and hypnotic title track, where sun-kissed guitar notes and liquid synth chords ride a locked-in tech-house groove, before offering up the chunkier, more bass-heavy throb of "Echelon". He brilliantly doffs a cap to deep and dubby techno on the head-in-the-clouds haziness of "Dummy", while electro-influenced closing cut "Automotive" sounds like an unlikely hook-up between Kraftwerk, Orbital and Rhythm & Sound.
Review: More deep and dreamy tech house from the Shanti Radio camp out of Moscow, courtesy of the enigmatic Lost Desert - a staple of Lee Burridge's All Day I Dream/ Tale + Tone imprints. The mystery man provides ample dancefloor fodder just in time for rooftop day parties this summer on the Incipient EP. Go deep into the exotic on the title track with its mix of electronic beats and ethnic instrumentation that provides perfect bliss, followed by the percussive tribal groove of "Ipanema" calling to mind the 'Mannheim sound' from a decade ago. On the flip, be mesmerised by the EP's most evocative cut "First Burn (Carousel Edit)" which is geared towards the glassy-eyed and heartfelt moments on the dancefloor.
Review: Astonishingly, it's been 23 years since Peter Kremeier AKA Losoul first started to develop his distinctively deep and hypnotic brand of minimal house. His continued relevance was proved beyond doubt by last year's surprise "Island Time" album on Hypercolour, and this outing on Mule Musiq is every bit as beguiling. He begins with the soft focus wooziness of "The Sentiment", an atmospheric and enveloping affair where watery ambient chords and slowly shifting pads sashay in and out of a locked-in groove rich in crunchy drum machine snares and undulating acid bass. There's a deeper and even dreamier feel to flipside "A Different Wave", a more percussive and mind-altering affair that nevertheless makes expert use of head-in-the-clouds chords and elongated bass notes.
Review: Berlin-based Organic-Music was established in late 2007. The project at the time was about creating daytime parties in outdoor locations and getting music lovers together in peaceful places - close to the nature. The imprint has over the years joined the dots between deep house, minimal, tech-house and dub techno, with that same style of curation all over "The Collected Visions Of Organic" - their 20th release. They are celebrating with a big bang if this whopping compilation effort is anything to go by, with highlights coming from mighty Frenchmen such as Joule boss Janeret (on the ethereal groove action of "Comet"), Parisian scene veteran Djebali (with Bazbaz) on the deep and dirty "Abraxas", through to Rominimal heroes such as NTFO on the rolling and hypnotic "Sureshot" and local label staples like Diego Krause and Nick Beringer - the latter doing his usual deep and sensual thing with the slinky "These Phases".