Back catalogue: Deep House

Review: Pure sassy raw soul in an assured mid tempo strut. Includes killer remixes by Tom Middleton who delivers a spaced out atmospheric vision while Hot Chip strip it down and mid pace the beat into an 8 minute K Soul voyage.

Review: Picking up where their remix of Atjazz and Robert Owen’s "Love Someone" from earlier this year left off, the Lithuanian duo build "Test" with intricate subtlety until a throbbing electronic bassline takes control. Toby Tobias, Atjazz, Leon Somov and Frisvold & Lindbaek are on remix duties to round off a stellar release.

Review: Following on from his recent BL16 release, Leeds based, French DJ Brawther is set to celebrate his five-year relationship with the imprint via a very special triple vinyl + CD release titled "Endless". Comprising a selection of highly in-demand tracks and a previously unreleased remix spanning from his early beginnings in 2009 until today, the release provides a fitting retrospective account of key highlights of the frenchman. "Endless" pays homage to the special relationship built over the years between Brawther and Chez Damier, one of House music's most inspiring souls and boss of Balance Recordings . Hand in hand, they have planned and programmed every single record together prior to this finale, with total freedom and trust for which "Endless" is the shining result. This master to disciple story embodies the true meaning behind the title "Endless", that of a life experience that flows ceaselessly from one generation to the next.

Review: Musical maestro ‘Christo‘ joins the ranks with his debut Atjazz Record Company release, ‘The Trust Is Gone’. Christo has bridged the void between what we all knew as deep-house and the ever growing popularity of todays modern tech-house beautifully.

Touching on classic underground insrumental house inspired by artists such as Chez Damier, Ron Trent & Jordan Fields, this is a true peice of deep energetic work for dance floors and house headphoners worldwide. Mystery woman ‘Deep Order‘ known for her re-edits and 2 foot white beard steps up for an incredible floor filling Remix, and there we have it, the real deal. This is a fantastic collection of hypnotic grooves. Pure Deep-house!

Review: The undisputed master of spiritual house music Joaquin 'Joe' Claussell presents Cosmicdelic Afrika: a collection of demos that the New York City based visionary is currently working on in the studio. The idea for the compilation was inspired by the concept of his event Share: the upcoming Share Afrika will see Claussell digging through his archives and bringing out compositions exploring Afrika, African Diaspora, dub and more. Beginning with the deeply magical and meditative vibe of "African Drug" (Joaquin's Drugged Out Sketch mix) by Bob Holroyd, the soulful and uplifting deepness of "Emarofo Tech" (Joaquin's Demo Sketch Mix) by Mampo or Cosmic Ritual's "Abraxas" (Joaquin demo Sketch mix) which is classic Claussell - reminiscent of work on his seminal Language album from the turn of the millennium.

Review: Coldcut return with the stand-out single from their critically-acclaimed album, "Sound Mirrors". The pioneering duo take Joe South's classic 70s hit "Walk A Mile In My Shoes" and re-work it in the tradition which started with their own "Autumn Leaves" and incorporates Massive Attack's "Unfinished Sympathy" amongst others. And, as usual, Coldcut know how to pick a collaborator. Robert Owens should need no introduction. One of the true legends of house music, his career as a musical innovator (as well as the possessor of an all-time great voice) runs from pioneer days as one half of Fingers Inc in Chicago in the 80s right up to collaborations with Photek and London Elektricity, via any number of classic tunes including "Tears", "I'll Be Your Friend" and "Ordinary Son". The version of the tune included on the single ties the epic nature of Coldcut's production to a skipping, swinging house rhythm and the kind of anthemic build that leaves you exhausted. It's a truly beautiful piece of music, the contrast between the delicacy of Owens' voice and the weight of the orchestration perfectly realised. And that's before you've even reached the mixes. Tiga takes the original, strips out the music and replaces it with technoid pulses and a harder dancefloor rhythm, with the sweetness of Owens' voice cutting through the intensity. Henrik Schwarz (of Berlin-based Sonar Kollektiv) builds the original into a melancholy, jazzy number which still sets the foot tapping. Tom Belton goes straight for the disco-funk hands-in-the-air jugular, before Timo Garcia hardens up the kick for a full-on club odyssey.

Review: Hot new London based house label Autoreply welcomes Dan Curtin. Support from Anthony Shake Shakir (KMS, Seventh City, Klang Electronik) / Giles Smith (Dessous, Secretsundaze) / Sutekh (Souljazz, Minus) / Lakuti (Uzuri, Sud Electronic) / Mark Henning (Freude Am Tanzen, Einmaleins, Soma) / Colin Dale / Faze Action / Jay Shepheard (Compost Black Label) / Cesare vs Disorder (Resopal, Stock 5, Archipel) / Eddie Richards (Wiggle) / James Mowbray (Four:twenty) + more! Don't miss out.

Review: Yoruba's first man Osunlade drops his second single 'My Reflection' from his critically acclaimed album 'Elements Beyond'.
As well as the original (which was arguably the strongest track on his debut album) there are also killer remixes from the
French maestro DJ Gregory, Manoo and Deetron. Since its relaunch Strictly Rhythm has continued to be the HQ for quality
house music, and 'My Reflection' has the potential to be the biggest single on the label yet.

Review: There's something curiously likeable about this collaborative album from beardy former label manager and PR man Raf Rundell and equally hirsute Hot Chip man Joe Goddard. Musically, it's comfortable yet adventurous, offering a strobe-lit mix of warm, E'd-up revivalism, dewy-eyed fun and soft-centred, loved-up baggy goodness. Lyrically, it's also wonderfully irreverent, delivering both party-friendly silliness ("Ghosts & Zombies", "Be Strong") and Jilted John-ish mockney cheekiness. Given the stern and po-faced times we live in, it's exactly the sort of album that could well crossover; certainly, there's enough here to please both earnest DJs and casual listeners alike.

Review: It's three years since Craig Smith and Graeme Clark impressed with One Night In The Borough, a landmark album that epitomized all that was good about the cut-and-paste, disco-sampling deep house scene of the time. This sophomore set offers more of the same, delivering tracks that ride a range of tempos in their trademark deep, loopy, hypnotic and pleasingly baggy style. While there are plenty of surprisingly supple, heavily electronic uptempo cuts on offer (see "Feel", the disco rush of "In Your Arms" and the classic, Frankie Knuckles-ish US house of "Read My Mind"), they're still at their best when operating at a slower tempo, as the deliciously jazzy "Walk Away" and sensual throb of "Through The Night" neatly prove.

Review: For those submerged in the deep house/disco/slo-mo fusion scene, Kolour Ltd has been one of the standout labels of recent years. It's releases - all limited-edition and pressed on brightly-coloured wax - have offered comfy, touchy-feely grooves from such fast-rising talents as Fantastic Man, Alex Agore, Eddie C and Zoo Look. Having reached ten releases, Kolour Ltd have decided to hand over the reigns to Glasgow's 6th Borough Project for a bit of a celebration. The result is a warm, sofa-comfy mix of label highlights that effortlessly takes in US garage revivalism (Nicholas), sunny smoothness (Deadly Sins), percussive old skool grooves (6th Borough themselves) and hands-in-the-air loop disco (Norm De Plume).

Review: There's something pleasingly old-fashioned about the work of mysterious producer A Sagittariun. To date, the enigmatic artist has delivered a string of strong 12" singles that sit somewhere between classic Detroit techno, mid-'90s electronica (think Pete Namlook with a dancefloor pulse, or stargazing ambient house) and early U.S deep house. Dream Ritual, his first full-length, continues in a similar vein, offering the kind of stargazing melodies, wide-eyed atmospherics and tactile, synth-heavy rhythms that bristle with cosmic intent. There are some startling diversions from the formula, too, not least the rubbery slap bass, paranoid vocal samples and vintage drum machine hits of "The Age of Sin".

Review: The original Sankeys club in Manchester may have closed its doors, but its Ibiza equivalent lives to fight another day - as this live recording of long-established Israeli producer Shlomi Aber proves. As main room DJ mixes go, it's pretty tasty, offering dancefloor pump, chunky grooves and intoxicating atmopsherics in equal measure. Aber's sound has always been tricky to pin down - a kind of shuffling mix of post-progressive house, tech-house, heads-down grooves and hypnotic techno - but that's arguably part of his attraction as a DJ. Certainly, his choices here, from the alien melodies and tech-house pump of Chester Code & Frankie Howland, and the teary-eyed deepness of Luca Agnelli, to the sweaty broken house of Roberto's "Jack Cable", confirm this.

Review: AC Soul Symphony is one of Dave Lee's lesser-known pseudonyms, so for it to be the vehicle for an album of such extravagance, of such meticulous detail, is a real treat. Featuring live strings recorded with a 20-piece orchestra, all 15 tracks that span the epic two-hour runtime are expansive and feel as if every note was placed by hand; There's this authenticity to tracks like 'Manhattan Skyline', a CD/Digital only track which dates all the way back to 2020 and its swelling horn crescendos that transport you back to a time when disco had the world on its knees. 'Philly Avengers' is a major standout, with its killer bass grooves and dazzling Korg solo. The last of the city-related trio of singles is album opener 'Windy City Theme', a mid-tempo violin-led vocal groove that pays homage to the metropolis in Illinois. This is the CD version, featuring the full two hour tracklist.

Review: Parisian duo Acid Arab are men with a plan: namely, to get friends from the house and techno scene to create tracks that mix the stripped-back intensity of analogue acid house with the intoxicating rhythms, sounds and instrumentation from the Orient. It's a devilishly simple formula, but one that offers plenty of scope for experimentation. The results, as showcased on this first compilation for Versatile, are rarely less than superb. From the Middle Eastern-goes-cosmic disco pulse of Professor Genius and Exotic post-punk shuffle of Hanaa Ouassim, to the ragged but humid stomp of I:Cube and thumping, psychedelic electronics of Renart, Acid Arab Collections is full of weird, wonderful and downright thrilling surprises.

Review: DJ Nomad and Dirk Leyers' Africaine 808 project has been responsible for some of the most inventive and enjoyable music of the last few years. It's little surprise, then, to find that the Berlin-based outfit's debut album, Basar, is rather special. Built around their now famous polyrhythmic, Afro and Latin influenced drum machine programming, it begins with a touch of snaking jazz, and climaxes with a dense, rising, uplifting Afro-gospel workout that should leave listeners thrilled and breathless. In between, you'll find 21st century broken beat, delicious downtempo torch songs about break-ups, Juke-influenced Cajun blies bangers, and hard-to-define - but thoroughly engaging - dancefloor wig-outs.

Review: With their effortless soulfulness, smooth vocals and sumptuous production, British jazz-funk combo Afro Elements draw obvious comparisons with Incognito. Having spent the last few years earning their corn as live performers for the likes of Eddie Henderson, Reuben Wilson, Gary Bartz and Roy Ayers, the band return to their roots with their second album, Out of The Centre (their debut, It Remains To Be Seen, dropped in 2007). Offering sunny grooves, sunnier horns and righteous forays into disco funk territory (see "Kamura San"), Out of the Centre oozes wide-eyed soul from start to finish. When the sun shines, whack it on; it's guaranteed to match your improved mood.

Review: It's getting increasingly difficult to easily pigeonhole the work of Dave Aju. Since first making his name with the minimal techno-influenced Open Wide album in 2008, the San Francisco producer has variously turned his attention to fuzzy, touchy-feely deep house, jazz-flecked beats and stargazing, techno-influenced pop. Black Frames, his third album, is even harder to pin down. Blessed with his own hazy, atmospheric vocals, it variously touches on deep house, skewed pop, starburst electronica, Outkast style pop-funk (the growling "Bee's Birth") and Bullion-ish cut-up downtempo beats ("When We Drift"), all whilst retaining the producer's trademark laidback warmth.

Review: "Diamond life", by Lorenzo Al Dino, is a classy organic house album with quality musicianship from experienced and highly regarded players like Pedro Tagliani (Brazil), Laurino Bandera (Brazil) and star trumpeter Franz Hackl (NY). The album is aided by the diverse and distinctly different vocals of Angie Brown (UK), Beverley T. (UK), Daniela de Lima (Brazil), Nadine Holloway (USA) and Austin Howard (UK). This is a brilliant summer release on Royal Plastic.

Review: Later this summer, Defected will hold their first festival in Croatia, at the site made famous by the (now defunct) Garden Festival. To celebrate, they've put together this three-disc mix album. Kai Alice takes charge of disc one, joining the dots between deep, soulful and sun-kissed cuts from the likes of Chez Damier, Romanthony, Big Strick and Kerri Chandler. Noted party-starters Crookers take a different tack on the second disc, contrasting chunky deep house cuts with bumpin' club anthems, hip-house, and bass-heavy thumpers. The final disc comes from rising star Dario D'Attis, who gets busy with a wide selection of acapellas, dubs, drum tracks to provide a fittingly tech house-focused late night finish.

Review: Much has changed for Ali Love since the release of his Love Harder in 2010. For starters, he's fallen in with the Hot Creations camp, scored a massive chart hit ("Benediction", with Hot Natured) and seen his reputation soar. This latest full length - the belated follow-up to Love Harder - shows how far he's come. While the bright electrofunk synths, '80s soul vocals and Italo-influenced rhythms of old remain, P.U.M.P contains far more tactile, wide-eyed deep house moments than we've come to expect. It's a subtle evolution - there are still plenty of near Balearic synth-pop moments - but a successful one. The result is an effortlessly sweet and accessible album that blends throbbing dancefloor moments with baggier, more laidback fare.

Review: To date, the defining characteristic of Uncanny Valley has been their strong focus and support for local Dresden artists, musicians, and producers. The fact their latest album project comes from Joel Alter, the Swedish producer best known for his long running role in the Jonsson / Alter project, should not be understated. However you shouldn't see this as Uncanny Valley forgetting their roots, it's more a statement of their current cachet in the underground. Back to the music; Heart is Alter's debut solo LP and is apparently an album he has been meaning to commit to for some time. Featuring the odd vocal track, it's filled with deep, warm and enveloping house music and feels like one of those classic electronic albums German labels seem to be so good at after you've spent some time with it.

Review: Along with label mate Henrik Schwarz, deep house/techno stalwarts Ame were one of the first to realize the full potential of Ableton Live as a performance tool. For the best part of a decade, they've been using the software to perform bespoke live shows featuring "on the fly" reworks of their productions and remixes. Those who've witnessed their live shows will attest to their undoubted quality. Here, they recreate those performances on Live, a seamless mix CD featuring live recordings mined from their extensive vaults. As a "best of", it's unsurpassed, featuring a mix of anthemic classics ("Rej", "Envision", "DPOMB", "Where We're At" etc), recycled accapellas and tweaked remixes - many in stunning new revised form.

Review: The success story of the two guys from Karlsruhe Kristian Beyer and Frank Wiedemann (aka Ame) is showing no signs of waning. Having led the annual charts of Groove and De:Bug magazines, provided Pete Tong with a single of the month and even making a DJ mix for said DJ's BBC show, the Essential Selection. Their hit "Rej" has been christened by Louie Vega and Danny Krivit (Masters At Work) as the "Plastic Dreams" of the new millennium. So here is their first official mix-compilation! Their DJ sets are currently being celebrated everywhere from Miami to Paris and Helsinki, so it was only a matter of time until they immortalized one of their kicking mixes for home use on an official mix album. Sonar Kollektiv label bosses Jazzanova delivered the first in this "...Mixing" series and in so doing earned worldwide thanks for making one of their eclectic DJ sets available in digital format for the first time. The duo from Karlsruhe selection is no less varied as they switch from old to new, through house, disco, minimal and techno. Synth pioneer Laurie Spiegel, who already presented a prototype of the Detroit techno sound in the 70s, sets things off with her "Appalachian Grove 1" which was written in Fortran (an old computer programme, long before Basic or C). The unusual track "24 Hours From Culture II" from 80s Dutch wave band New Musik is to this day a favourite of DJs like Daniele Baldelli and DJ Harvey. He later also used the classic "Woman Of The World" by Swiss group Formation Double on his legendary "Sarkastic Disco" mix. "Stand Up" from Nexus could easily be mistaken for a Metro Area number. Besides Ame another name that is often being mentioned with regards to the deephouse renaissance is Henrik Schwarz. His most striking remix to date is also his most timeless. The way he accentuates the voice of Robert Owens with opulent strings on Coldcut's "Walk A Mile" means it'll still give you goose bumps in ten years. Ben Westbeech is the star of Gilles Petersons new label Brownswood Records. His track "So Good Today" unites the typical Yoruba style with analogue Chicago sounds. God of remixers, Carl Craig's version of Jonny L's This "Time" was previously only available as a promo so for some the search for this jazz, house and techno hybrid ends with this release. The latest addition to the Innervisions label which Âme started with Dixon is Gilb'R & I:Cube (aka Chateau Flight). Their wide tune "Baroque" makes the perfect bridge to Luciano's "Stone Age" which has been a central part of the Ame DJ set for over two years so could not have been left out of this collection. "Flashback 86" sounds, as the title suggest, as though it might have been made in the late 80s, however actually it is produced by Jonathan Burnip who can otherwise be found behind the counter of London's Soul Jazz record store. Derrick May's Funtopia featuring Jimi Polo remix was also previously only available as a promo. It was given to Ame by Dominic Capello, manager of Glasgow's Sub Club. Of course Ame's own breakthrough track, "Nia", must be celebrated once more before it gets slightly quieter, although no less exciting, with Jump Cutz "Deep Introspection #5". This track is another true classic and favourite of Needs Crew that has long been almost impossible to get. And as true Manuel Gottsching fans Ame of course had to include an Ashra number in the mix. Their track "Sunrain" has been a big influence on the club music of today. As a whole, Ame's "...Mixing" is not just a bridge between old and new, club and home stereo. It also serves as an interesting connection between various musical genres which are currently dominating the good metropolitan clubs.

Review: Cologne duo Andhim could never be accused of lacking warmth. Their productions to date - and they have been numerous - have been blessed with an organic swing and hazy, atmospheric feel that's not always associated with Germanic tech-house. Unsurprisingly, there's the same lazy, loose feel to their contribution to Get Physical's usually excellent Body Language mix series. While rooted in the dancefloor, there's a gentle, undulating feel to the mix, as the duo joins the dots between downtempo grooves (Gold Panda, their own remix of Super Flu's "Gether"), long-forgotten British deep house (Chateau Flight remixing Atjazz), jaunty synth-house (Bostro Pesopeo) and yearning tech-house (Robag Wruhme).

Review: After "Undressed Feelings LP" on Little Angel Records, a record label owned by legendary Harley & Muscle, Aphreme releases his next Album, this time on his Octave Moods. "Naturally Reflected" contains previously released, well chosen tracks, including his soulful gem "Be My Fantasy" featuring Jake Harrell from Brutha on vocals, a successful single released on DJ Spinna's label Wonderwax in 2017. this CD contains 3 new exclusives: "Thirsty Soul", "You've Got What It Takes Girl" and "Emerald Water", a real treat for Deep House Connoisseurs.

Review: There's not much information to be found about this mysterious album from Underground Quality. Here's the basics: it's a first full-length from little-known Brazilian house producer Apoena. That's pretty much it in terms of details. Musically, it largely focuses on a sunshine-soaked brand of deep house that simply bristles with warming pads, darting melodies and beach-friendly electronics - all underpinned by rock-solid grooves that are crying out to be tested over a soundsystem. There are brief sojourns into techier territory and occasional moments of murky late night darkness, but for the most part Apoena is effortlessly summery. That is never descends into 'beach house by numbers' is testament to the quality of Apoena's production.

Review: At the end of last month, DJ supergroup Apollonia - AKA French trio Dan Ghenacia, Dyed Sondorom and Shonky - set out on the kind of epic world tour that would make U2 blush. The excuse is this debut album, an expansive trawl through their shared techno, tech-house and deep house influences. Predictably, it's an undeniably floor-friendly set, with tracks like "Mercato" and the warming "Piano" joining the dots between chugging main room fare and an altogether more musically rich style. There are occasional downtempo or ambient interludes, of course, but for the most part this is music to dance to. Interestingly, fellow French producers Philip Zdar and Alexkid lent a hand with the production.

Review: To date, Appian's vinyl-only releases have been pleasingly varied, with the Detroit native variously delivering experimental electronics (the glitch-hop inspired Endomusia EP), sci-fi tinged techno (various appearances on Sly Fox Records), and warm deep house (the recent Chatter EP on Fina). These disparate strands are finally brought together on Aprileft, a debut album that bristles with Motor City themes. The album's 14 tracks are typically varied - think tech-soul-inspired electrofunk, acid, deep dancefloor jams and experimental electro - but all come laden with spacey electronics, classic synths and a jazz-like swing. It makes for hugely enjoyable listening, and marks Appian out as a name to watch in coming years.

Review: Canadian duo Art Department have all the ingredients of success at their disposal: experience, reputation and, most importantly, hype. With the latter in full effect right now, it's safe to say that The Drawing Board, their debut full length, is one of the most anticipated house sets of 2011. So is it any good? Certainly, those who've already fallen in love with their touchy-feely, melancholy take on house will enjoy it immensely. Like the work of guest Seth Troxler's Visionquest (and, to some extent, Benoit & Sergio), there's a distinct melodic warmth to Art Department's shuffling beats, woozy electronics and half-whispered vocals. It's this, more than anything, which makes The Drawing Board worthwhile listening.

Review: When announcing the release of this sophomore set, Canadian tech-house stalwarts Art Department - AKA Johnny White and Kenny Glasgow - promised a more "mature and experimental sound". Certainly, Natural Selection is a more imaginative, wide-ranging and atmospheric album than their club-friendly debut, The Drawing Board. While there are forays into dancefloor-centric material - see Seth Troxler hook-up "Cruel Intentions" and the analogue techno pulse of the delay-laden "Hunt" - for the most part the duo sticks to a slower tempo, drawing influence from IDM, new wave (see "Crazy"), maudlin trip-hop, ambient and downbeat pop. As a result, Natural Selection is a surprisingly varied and inventive full-length.

Review: The selection process for the Live At Robert Johnson mix series has been flawless so far - with the renowned venue in Offenbach, Germany enlisting Prins Thomas to mix up some delectable disco, Roman "Alter Ego" Flugel presenting his uniquely bleepy new school techno vision and Parisian Chloe selecting refined house cuts on the inaugural volume. The choice of Arto Mwambe for the sixth volume seems a perfect fit; Christian Beisswenger & Phillip Lauer have made some serious remixes in recent times which have keenly blurred the lines between house and disco. The Frankfurt duo provide one of the best mixes in the series to date, eschewing the chance to show off their record collections in favour of staying true to the album title and recording a one hour live set of existing and unreleased Arto Mwambe tracks. The distinctive clap of the Roland drum beating out over hypnotic chords on the intro track "M.T.A.I." sets the mood for what follows - vintage house sounds that veer between classic 90s percussion, deep melodies that draw you in, warm basslines that sit in your cranium and rhythms that set you off. What strikes you as the last kicks of closing track "BTWO" sound out is how well the eleven tracks flow, the mixing is perfectly judged and you are left with nothing but a craving to witness them repeat it in a club setting. Mission accomplished.

Review: Martin 'Atjazz' Iveson continues to celebrate notching up two decades in deep house, this time via an expanded reissue of his largely overlooked 1999 debut album, That Something. The album originally appeared on DIY Discs offshoot DIYersions, and saw Iveson combining his love of tactile, atmospheric deep house with jazzy keys, and the kind of sublime synthesizer sounds he later explored more extensively on 2001 full-length Labfunk. This reissue contains two discs of obscure and previously unheard bonus material. CD2 contains unreleased archive material recorded between 1995 and '98 - including some especially good downtempo gear - while CD3 features alternative versions, bonus cuts from 12" singles, and a smattering of tasty remixes. That it all still sounds fantastic is testament to Iveson's impeccable production skills.

Review: Earlier this month, deep house veteran Martin "Atjazz" Iveson put out a compilation of untitled, single-track missives originally recorded and released via his Bandcamp page over a ten-month period. That was called Mix 1; Mix 2, his latest album, boasts new, previously unreleased versions of the same tracks. There's naturally plenty to enjoy throughout, from the clandestine tech-house throb of "Track 1 (Mix 2)" and "Track 2 (Mix 2)", and dubbed-out flex of "Track 4 (Mix 2)", to the bouncy positivity and sumptuous synthesizers of "Track 8 (Mix 2)", and the woozy, understated late night hypnotism of the album's closing cut, "Track 10 (Mix 2)", which sounds like it was designed for early morning sets in dark Berlin basements.

Review: Derby-based deep house, broken beat and synth-soul veteran Martin Iveson (AKA Atjazz) first teamed up with South African producer Jullian Gomes last year, on the well received, ocean-deep broken house jam "Overshadowed". Clearly, the duo has an excellent working relationship, as they've penned an album together. Featuring an impressive list of guest vocalists - including Osunlade, Robert Owens and Wummi - The Gift The Curse is an impressively deep and soulful exploration of both producers' influences, slinkily moving between atmospheric deep house, comfy broken beat, synth-laden nu-jazz and, memorably, deep acid (see "Awi"). As you'd expect from Atjazz, it's extremely well polished, but effortlessly soulful, too.

Review: Veteran Swiss DJ/producer Alex Attias has long been one of Europe's more versatile and open-minded DJs, so it's fitting that BBE have given him a chance to flex his curatorial muscles. LillyLillyGood, which shares its name with a monthly party and label Attias runs, was inspired by Attias's desire to present "really good grooves that people want to dance to or listen to or home". He's done just that, whizzing through an unmixed selection that giddily flits between trippy, polyrhythmic acid madness (Grooveman Spot), jaunty jazz-funk (Freeeze, Cro Magnon's ultra-deep hook-up with Roy Ayers), synth-fuelled broken beat business (Tatham, Mensah, Lord and Ranks), deliciously spacey deep house (the Zanzibar remix of Nicole Willis's "Curiosity") and killer disco (Attias's own edit of Velvet Hammer's "Party Hearty").

Review: Back in 2010, unknown Greek producer Audio Atlas delivered a stunning first glimpse of his talents on the Music From Mathematics Vol 2 12". Entitled "Guatemala", it delivered a heart-aching fusion of ethereal deep house melodies and dub techno-influenced rhythms. It set a trend; each of his sporadic releases since has been named after a place or country. Window to the World, his excellent debut set for Jamal Moss's Mathematics' imprint, continues this approach, delivering a sublime array of cuts inspired by countries. So, we get the soft focus, near tropical deep house beauty of "Haiti", the steamy, deep acid of "Chile", the M_nus-influenced minimalism of "Canada", the picturesque electronic beauty of "Zaire", and the ragging, basement-bothering acid tweakery of "Luxemburg".

Review: There's something pleasingly old-fashioned about this debut full-length from Italian producer Emilliano Pennisi. It's not that it sounds particularly dated - the sounds and production techniques he employs are strictly contemporary - but Broken Antenna's adventurous eclecticism evokes a period when electronic producers were not afraid to pack their albums with a variety of sounds and styles. Taking a deep house sensibility as its starting point, Broken Antenna variously touches on off-kilter electronic disco, cinematic electronica, jazz-flecked beats, glistening synth-pop, curious tech-house, muted electro-swing and even glossy Italian house. While it may be lacking the "wow" factor, it's certainly an accomplished and highly entertaining set.

Review: Having given keen listeners a healthy preview in his Fabric live mix last year, the artist formerly known as Stopmakingme delivers his full-length album for Erol Alkan's Phantasy Sound. It's a limber brew that channels a strong dose of analogue trickery through smart and snappy beat constructions, all bubbling, aquatic synths and troubled delays propelled by unfussy drum patterns so that the melodies can do the talking. Primarily this is a dancefloor album, moving from peppy breakbeat driven numbers to gently bumping house, but always the playful, ineffably warm synth work sets the tone, from "Naive Response"s robotic charm to "Drone Logic"s soaring grind. It's an album brimming in confidence and nailed with precision, and it's packed full of incredibly usable floor rockers to boot.

Review: "Between Stars" is the debut album from Barcelona based Venezuelan producer and DJ Maurice Aymard. More than two years in the making, 'Between Stars' has been a labour of love for Aymard as he travelled the globe to collaborate with musicians and singers in Barcelona, Berlin, London and Venezuela who could help to bring his vision to life. Released on Aymard's own Galaktika Records (Garnica, James Teej & more), 'Between Stars' was recorded entirely live and
features contributions from the likes of Brazilian star Gui Boratto, Columbian singers Andrea and Paulo Olarte, Argentian guitarist Mariano Godoy and many more, the resulting album takes the house music template and expands it to a grandiose
level. In an age when anything that isn't packed full of buzzsaw bass and 'sick' drops gets labelled as Deep House, "Between Stars" is the real deal, and from the first bars of the albums opening (and title) track, 'Between Stars' quickly establishes itself as something truly special, a 'house' album that not only works as a coherent whole but sounds as good at home, by the poolside or in a club at 4am. If 'live' house albums have in the past had a tendency to verge on the polite, Aymard's skill as a producer and experience as a DJ keeps things rooted in club culture and nearly every track off 'Between Stars' deserves to find its way into DJ sets over the coming months. Rather than smooth things out the live instrumentation instead adds an energy to the tracks and the subtle touches, that the likes of guitarist David Rondon brings to 'El Final', lift the album up to another level altogether. Since moving from Venezuela to Spain and launching Galaktika Records, Aymard has become an integral part of the European house music scene. With releases on the likes of Berlin's Moodmusic, Hamburg's Einmusika and Denmark's Tic Tac Toe Records, and remix credits for artists such as Mario Basanov, Compuphonic and Combo, Aymard has built a reputation for delivering quality underground house music and with his debut album Aymard looks set to secure his position as one of the scene's most innovative artists.

Review: It's taken Baba Stiltz a while to settle on a sound of his own. While his early material - released as far back as 2011 - stuck rigidly to skwee and hip-hop influenced downtempo grooves, latter projects for Studio Barnhus have seen him head in a much more immersive deep house direction. This imaginative and eccentric debut album, presented as a doublepack with full artwork, stitches together these disparate strands. The results are impressive, with vibrant, Balearic-influenced deep house cuts nestling side by side with robust acid jams, scratchy downtempo grooves, grandiose synthesizer soundscapes and skewed instrumental pop. It's an assured and curiously off-kilter debut, which should appeal to those who enjoy more leftfield strains of deep house.

Review: TRACKLISTING:
1. No Pressure 2. L Train 3. Blue Lights 4. Grey Area 5. Let Me In 6. Someone Like… 7. Dead Air 8. Traces 9. Think!
10. Reversal 11. Olek

OVERVIEW:
Having played an influential part in the house and techno scene for the better part of the last decade, Simon Baker has made a name for himself as one of the UK's most respected producers, and now present's his highly anticipated debut album "Traces".

Acclaimed singles released through pioneering labels such as Playhouse, Get Physical, Cocoon and of course 2020Vision, and constantly traveling the globe playing at the best clubs in the world have continually honed Simon's sound to the classic sounding, richly produced electronic house music that makes up his debut album.

The clamor for his debut artist album has grown steadily over the past few years and, in March 2011, the long player 'Traces' will be released on his home label 2020 Vision.
The album effortlessly balances Simon's trademark club tracks with a more musical, refined sound that has been developing steadily over his past releases. Grey Area has been one of the stand out tracks of his dj sets for months, and is just one of the album tracks which is equally suited for basement parties and Space terrace as it is as part of the album experience. The two collaborations featuring vocals from new finding Debukas, No Pressure and Let Me In punctuate the album perfectly and provide a classic soulful edge, as does Someone
Like with its superb, uplifting pianos, these tracks prove Simon is now capable of working with musicians to fulfill the widescreen visions of his music.
He also knows when a more delicate touch is called for and tracks like Reversal and Think! sit perfectly on the album as house music more fitting for headphones than dancefloors and follow in a rich tradition of the deep, soulful electronic music 2020Viosion is renowned for.

It's good to see Simon has avoided the usual pitfalls of the debut album for the dj/producer, there are no downtempo excursions, no guest list of big name vocalists and thankfully no soundtrack for an imaginary film. He's kept to his trademark 4/4 house music pulse, although it comes in many moods and flavours that make it a true album listening experience.

PRESS: Feature confirmed in DJ Magazine & Album of the Month. NOTION - full page editorial feature (April Issue), MIXMAG - Download Chart Feature, 5/5 Album review confirmed. FUTURE MUSIC - Large feature and DVD "In The Studio". I?DJ - Large Feature Confirmed for April Issue, Album Review confirmed (March). Simon confirmed as new "Raw Talent" Judge (regular monthly feature). TILLLATE - Large feature confirmed with album review. VICE - Album review. DAZED AND CONFUSED - Album review TBC. THE BIG ISSUE -Album review TBC. WIRE - Album review and feature interview TBC.
RADIO: Serviced to specialist radio, updates to follow.
LIVE: 'TRACES' DJ TOUR
Wednesday January 5th, 2011 air london at BPM Festival
Friday February 4th, 2011 Da Providers at Kapital, Lisbon
Friday February 11th, 2011 at Sonido, Leicester
Friday February 18th, 2011 at Moody Disco, Brighton
Friday February 25th, 2011 at Sound Factory, Dublin
Friday March 4th, 2011 Watergate, Berlin
Saturday March 5th, 2011 at Air, Amsterdam
Friday March 11th, 2011 at Club Pompadour, Vienna
Saturday March 12th, 2011 at Fabric, London
Saturday March 19th, 2011 at Face, Birmingham
Tuesday March 22nd, 2011 air london at Electric Pickle, Miami WMC
Saturday April 2nd, 2011 at mUmU, Liverpool
Saturday April 9th, 2011 at The Caves, Edinburgh
Saturday April 16th, 2011 air london at mini_val, Aberdeen
Saturday April 23rd, 2011 at Baalsaal, Hamburg
Sunday April 24th, 2011 air london pres Love Not Money, London
Saturday June 4th, 2011 at Formbar
Saturday June 18th, 2011 at Sound Boutique
CLUB: Support across the board.
MARKETING: Podcasts on Data Transmission and the Clash website, mailout to 2020Vision and Air London mailing lists, print ad in DJ Magazine.
OTHER ACTIVITY: www.myspace.com/simonbakerinfantrecords www.2020recordings.com/artists/simon_baker/

Review: Mario Basanov is clearly a man who spends all his waking hours in the studio. His first album, a collaborative effort with pal Vidis, was an expansive two-disc set. Journey, his solo debut, clocks in at a similar length, though the second disc does borrow heavily from previous solo singles and EPs. Even so, it's a grandiose proposition. Musically, it's pretty much what you'd expect, shuffling between typically Lithuanian deep house, sprightly nu-disco and the sort of fluid deep-pop that sits somewhere between the two camps. There's little in the way of darkness or grit, just pleasant, feel good niceness that bristles with vivid synths and sneaky Italo influences.

Review: For the first installment in their House Legends mix series, Groove Odyssey has recruited US garage royalty The Basement Boys. Typically, both discs are supremely soulful, combining killer dancefloor grooves with bold, celebratory, often gospel-influenced vocals. Teddy Douglas handles the first disc, mixing a number of his own productions with cuts by Kenny Bobien, the Basement Boys offshoot Jasper Street Company, and Rochelle Fleming. DJ Spen steps up to the decks on disc two, cleverly combining multiple mixes of Jasper Street Company's "Smile", showcasing some of his own reworks, and touching on tracks from Marc Evans, Shaun Escoffrey and Sheila Ford.

Review: As the title suggests, this CD finds Simon and Felix Basement Jaxx opening up material from last year's Junto album to an impressive cast of production contemporaries. Proceedings commence with their own studio off cut, "Taiko Jun tos", a thrilling tribalist jaunt through house music that doesn't sit still for a minute. From here it's deep into the reworks, with all manner of styles covered across the subsequent 13 remixes. Big Dope P & TT The Artist bring a typically brash club aesthetic to "Unicorn", whilst amidst the many shades of house Dub Phizix lay down some schizoid drum and bass on their take on "Buffalo".

Review: It's been a long time coming, but Julio Bashmore's debut album, Knockin' Boots, is finally here. With releases on Dirtybird, Futureboogie, and mixes for Mixmag and Radio One, the hat loving Bristol producer has come a long way throughout the last five years. Knockin' Boots is a ten-track blend of soulful house and minimal-edged bass music, with the title track itself being something of a Chicago stomper. There's plenty of sublime sampling within Bashmore's house servings, such as on the excellent and discofied "Hold On" featuring Sam Dew, "What's Mine Is Mine", and the juke-inspired "Bark". The LP also verges on the pop end of things with tunes like "For Your Love" or "Rhythm Of Auld", and it's simply a pleasure to play from beginning to end. Bashmore coming through diverse and explosive, as per usual. Ya need.

Review: Motional Response marks the excellent (and long overdue) debut album from Canadian producer Basic Soul Unit which finds a welcome home on the Still Music imprint. In the works for some two years, the album follows an eminently impressive array of releases for the likes of Mathematics, Creme Organization, Dolly, Mule and most recently Nonplus and sees the Toronto based artist otherwise known as Stuart Li craft ten tracks of elaborate techno. Anyone with a firm grasp of the Basic Soul Unit style will know not to expect straight up 4/4 and this truth manifests itself in the opening track "Across The Room" which pairs delicate fluttering melodies with bass heavy broken rhythms and remains pleasantly surprising on the ear throughout.

Review: Yes Son! The debut Beautiful Swimmers album finally arrives on compact disc! For those cultured ears familiar with the smattering of Beautiful Swimmers cuts that have surfaced since Ari Goldman and Max D joined forces, the tone of Son will be no surprise. Nine new tracks feature here along with the previously issued "Swimmers Groove" and "Big Coast" as Beautiful Swimmers gleefully run the gamut of their collective influences. Elements Chicago jack and proto-house, to hip-hop, disco, boogie, dub, '80s afro grooves and new age ambience are all apparent here and it's one of those LPs where every cut is suitable for one particular moment of a night's dancefloor activities.

Review: All of the talk surrounding Ben UFO ahead of the release of his Rinse:16 mix focused squarely on the fact he is a rarity on the contemporary club scene, having built his considerable reputation as a DJ, not a producer. This is wonderfully showcased on a 29-track set that twists, turns, ebbs and flows, with the Hessle Audio chief always thinking one step ahead. Before there is time for the flow to drop into dark, undanceable corners, a sun-kissed curveball - be it the rapid arpeggios of 2562's "Winamp Melodrama" or the saccharine vocals of Champion's "Sensitivity" - is thrown and the mix is yanked in a new, pleasing direction. The upward progression through BPMs is barely perceptible; hardly surprising for someone who makes a living ignoring genre and stylistic restrictions and effortlessly joins the musical dots between modern day London, Bristol and Berlin.

Review: 14 years have passed since Benji B and Judah established their monthly Deviation club night. This fine Benji B mix celebrates the club's legacy and sound, which famously touched on all manner of soul-fired musical styles whilst keeping one eye (and both feet) on the dancefloor. Starting with the languid, sun-kissed brilliance of Osunlade's 'Touched My Soul', Benji B smoothly works his way through a swathe of classic cuts that never failed to rock the Deviation dancefloor. Along the way, you'll hear high-grade deep house (Theo Parrish, Moodymann), memorable remixes (Maurice Fulton reworking Alice Smith), life-affirming anthems (Detroit Experiment's sax-tastic 'Think Twice'), classy techno (Carl Craig), and weighty, bass-heavy dancefloor mutations (Pearson Sound, Mala, Joy Orbison).