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: 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: Having built their reputation through 12" singles for the likes of Crosstown Rebels and Poker Flat, Dan Berkson and James What deliver their debut album, on their freshly minted imprint Modelmaker. Interestingly, Keep Up Appearances is an altogether warmer, melodious and more evocative set than you'd perhaps expect, with a smattering of rich downtempo cuts joining a solid selection of dancefloor-friendly deep house. You can hear a classic dub techno influence in cuts such as "Keep Up Appearances" and "Shadow Theory", while the acid-flecked, soul-soaked "Make It True" sounds like classic Osunlade. Best of all, though, are the more forthright efforts, with the ragged "Seraphim" standing out.
Review: Of all DJ duos currently operating in British dance music, Belfast boys Bicep might be the hardest to pin down (Optimo aside, of course). Certainly, this debut album is not easy to pigeonhole, though it is an enjoyably cohesive listen. This is largely down to two factors; the frequent use of deliciously colorful and loved-up synthesizer parts, and the duo's innate ability to utilize beats tailor-made for dancefloor devastation. So while keen dancefloor historians may notice sly (and not so subtle) nods to '89 rave, U.S house and garage, Italo-disco, late '90s progressive house, jungle and early British hardcore, the album never sounds anything less than a fine set of Bicep tracks. Expect it to be one of the biggest albums of the year.
Earth Trax & Newborn Jr - "If You" (feat Annjet - club mix)
John Beltran - "Collage Of Dreams"
Review: For their first foray into the mix market following the conclusion of their original, 100-volume series, London superclub Fabric has decided to offer up a rare DJ mix from genre-defying producer Simon Green AKA Bonobo. It's his first mix of any sort since 2013 and it is really rather good. Beautiful, picturesque, melodious and fluid, the mix not only includes heaps of previously unheard material from the man himself, but also touches on a dizzying number of styles (most notably ambient, loved-up deep house, African and South American drum music, IDM, electronica, techno, electro-soul, broken beat and dreamy breaks). That it all hangs together brilliantly is testament to Green's impeccable DJing and production skills.
Review: According to Catz 'N' Dogs, their new album "Friendship" was inspired by the role friends, collaborators and partners have played in their runaway success. There's certainly a warm, fuzzy and loved-up feel throughout, with the pair making great use of some top-drawer guest vocalists and collaborators (see James Yuill's fine vocals on deep breakbeat-pop jam "There", the deep house/two-step garage fusion of Zensofly and Maxville hook-up "Wave" and the sun-kissed indie-dance shimmer of WhoMadeWho collaboration "Never Go Down"). Intriguingly, there are just as many sofa-bound sound diversions (skewed hip-hop, downtempo pop and so on) as riotous dancefloor excursions (the piano-happy "New Love" being the standout), making for an accessible and hugely entertaining set that rewards repeat listens.
Review: Four years have passed since Maya Jane Coles' last full-length excursion (2015's set as Nocturnal Sunshine not included), so it's perhaps unsurprising that Take Flight is something of a long and undulating epic. Featuring 24 tracks stretched across two CDs and a string of eager collaborators (Chelou, Rachel Butt of GAPS fame and We Fell To Earth singer Wendy Rae Fowler being arguably the best known), Take Flight is little less than an extended showcase for the DJ/producer's particular bland of shuffling, tactile tech-house, tweaked to suit the demands of radio and home listeners. One reviewer recently described it "love letter to dance music", and Coles' many fans will no doubt agree.
Review: After a four-year break from recording, acclaimed live outfit Crazy P returns with their ninth studio album. It may be 22 years since Jim Baron and Chris Todd founded the band as a jazz-funk, disco and deep house loving studio project, but "Age Of The Ego" is every bit as vibrant and relevant as any of their previous albums. In general it's a little more electronic and synthesizer-driven than some of their previous sets, with notable nods towards Italo-disco, synth-pop, electro and P-funk, but the constant presence of longtime lead vocalist Danielle Moore and their trademark attention to musical details means that the album never feels like a giant stylistic leap. In simple terms, the songs are as colourful, vibrant and entertaining as you'd expect.
Review: Despite his self-proclaimed hatred of nightclubs, Sheffield misery-guts Richard "Crooked Man" Barratt is rather good at making dance music. That's not to say that the former Sweet Exorcist and All Seeing I man's second album, "Crooked House", is a riotous romp full of wonky, low-slung, industrial-tinged house and techno slammers, though. While rooted in Yorkshire's traditionally raw, alien, bleep-laden and bass-heavy take on those styles, the album's genius lies in Barratt's ability to write surprisingly soulful, off-kilter songs, co-produced by fellow veterans Mick Ward and David Lewin, and voiced by some seriously talented singers (Amy Douglas and Pete Simpson included). The results are undeniably magical, with "Here On Earth", "Walls", "Take It All Away", "Every Killer Needs a Friend" and trippy "Echo Loves Narcissus" amongst the highlights.
Review: If your fame is built on delivering rock solid dancefloor cuts, should your subsequent albums stick to the same approach or mix it up a little? It's a conundrum that many artists have struggled with over the years. Smartly, Detroit Swindle has decided to hedge their bets with High Life following 2014's Boxed Out. As full length albums go, it's a bit of a peach, and sees the acclaimed Dutch duo flit between sensuous, home-listening fare, jaunty, instrumental-laden workouts (see the cheery, smoky pop-soul of Tom Misch hook-up "Yes, No, Maybe" and Afro-fired bounce of "Call of the Wild" featuring fellow Dutch combo Jungle By Night) and tried-and-tasty club tracks (Seven Davis Jr collaboration "Flavourism", the driving disco-house of "Freeqy Polly" and "Cut U Loose").
Colors Of Autumn (feat Speech Of The Group Arrested Development)
Music On My Teeth (feat Jose Gonzalez)
This Is My Rock (feat Sophia Kennedy)
Illumination (feat Roisin Murphy)
Planet Hase (feat Mano Le Tough)
Scratch That (feat Roisin Murphy)
Muddy Funster (feat Kurt Wagner)
Baby (How Much I LFO You)
Drone Me Up, Flashy (feat Sophia Kennedy)
Review: DJ Koze's music is very much suited to the album format. Although his last effort through this medium was back in 2013, his explorative nature and wide-eyed, improvisational style are simply made to branch out into areas outside of the more predictable house and techno formats. Knock Knock comes through on his own Pampa label, with its seventeen tracks all providing us with something different and wonderful, from slo-mo r&b sounds to funky, wayward house music that is most certainly at the 'outside' of the house spectrum. There are plenty of special guests, too, including Mano Le Tough, Sophia Kennedy, and many other relevant talents. A Koze speciality.
Simoncino - "Inga's Creme" (Chez Damier Morning After mix part one)
Soul System aka Nicholas - "Everything Must Change Originally"
Sameed - "Bad You"
Damien Zala - "Shake Vibration"
FTG, Belfie & Alex Tea - "Public Enemy"
Joey Kay - "All Night"
Lady Blacktronika - "Right Direction"
Carlos Nilmmns - "Gwen's Song"
Violence FM & The Underground Soulsavers - "Soleil Mauve"
Lady Blacktronika - "Again See Spring"
Sinan Kaya - "What's Mine"
Urban Inc - "Beatdown"
Jason Grove - "Streets"
Love Island - "A Feelin'"
Octo Octa - "We Will Be Together Forever"
Rosenhaft - "Voyager"
Concept e25 - "What Did You Say"
Kuba Sojka - "Walk On Moon"
Groove Riddim - "The Difference" (feat Nathaniel X Project)
Niko Marks - "Real Funk Don't Die"
Signal ST - "Bongo Trax"
Mike Sharon - "Free Your Mind"
Garage Shelter - "Attempt" (Lonely Heart dub)
Peter Black & Hardrock Striker - "Dreamtime"
Review: Given that it's been 14 years since French producer Hardrock Striker established the Skylax label, this retrospective catalogue mix-up has been a long time coming. Old friend DJ Sprinkles handles disc one, delivering a mix that brilliantly blends her uniquely dubby and spaced-out take on house music with dusty, soulful and largely U.S-centric deep house jams from the likes of Sameed, Lady Blaktronika, Chez Damier, Joey Kay and Carlos Nilmmns. On the second disc, Hardrock Striker focuses on more recent label material, whizzing through a swathe of tactile, deep and groovy retro-futurist cuts from the likes of Octa Octa, Niko Marks, Groove Riddim and Garage Shelter.
Review: It's been three years since husband-and-wife team Jus' Ed and Jenifa Mayanja released their collaborative debut album, Let's Groove. Since then, both have been busy with solo projects, delivering a large volume of releases in their distinctive warm, melodious and loose deep house style. Love It Or Leave It, then, is something of a rare treat for those who dig their wholeheartedly positive and spontaneous take on deep house. It's perhaps a little breezier than either producer's solo work, with less immersive pads (though they are present, particularly on the chiming "Love Bubbles Change"). It's still deep, though, with cascading melodies, picturesque chords and occasional soul-flecked vocals riding a range of deep, sinewy house grooves.
Review: London industrial duo Nik Void and Gabe Gurnsey aka Factory Floor release their original score of Fritz Lang's 1927 classic Metropolis, via the band's own imprint H/O/D. They first performed the 150 minute score live in the museum's IMAX, which was commissioned by London's Science Museum in 2017. A Soundtrack For A Film arrives with artwork by British artist Haroon Mirza, adapted and arranged by Void in collaboration with illustrator Sam Moore. "Heart Of Data" and "Babel" were mixed by award-winning producer Marta Salogni. The box set includes the entire 2.5 reimagined score on four 12".
Review: Some 17 years after it's original release, Fingers Inc's expansive debut album, Another Side, remains one of the greatest deep house full-lengths of all time. Here, the album gets the re-master and re-issue treatment, with the original double vinyl set being expanded to a triple to guarantee loud cuts for club play. While there are plenty of well-known Heard and co classics present - "Mysteries of Love", "Bring Down The Walls", "Can You Feel It" etc. - it's actually the long-forgotten album tracks that really hit the spot. It's on these moments - often influenced as much by '80s soul and synth-pop as acid and Chicago jack-tracks - that Larry Heard, Robert Owens and Ron Wilson really cut loose.
Review: There's no sign of "difficult second album syndrome" to be found on All That Must Be, George Fitzgerald's follow-up to 2015 debut full-length Fading Love. In fact, you could say it's something of a triumph. It was written over an 18-month period and tracks the highs and lows of his private life, largely by eschewing his club-rocking roots in favour of songs and instrumentals that bristle with melancholy, gentle melodiousness and ear-catching electronic instrumentation. Of course, it's still rooted in contemporary club sounds, its just more James Blake or Jamie XX than, say, old pal Will Saul or Special Request. Notably, it's the more poignant songs, including fine collaborations with Lil Silva and Tracey Thorn, which linger longest in the memory.
David Borden - "The Continuing Story Of Counterpoint" (part 9)
STL - "Dark Energy"
Percussions - "Percussions One"
C++ - "Angie's Fucked"
Burial - "Street Halo"
KMA - "Cape Fear"
WK7 - "Higher Power"
Ricardo Villalobos - "Sieso"
Four Tet - "Pyramid"
Red Rack'Em - "How I Program"
Active Minds - "Hobson's Choice (Tune For Da Man Dem)"
Armando Gallop & Steve Poindexter - "Blackholes"
Four Tet - "Locked"
Review: The Fabriclive series maintains its fine run of form with Four Tet's eagerly anticipated inclusion into the canon. Stitching together field recordings of the club itself, ambient tracks from Michel Redolfi and David Borden, a selection of lost, dusty UK garage from the likes of Persian and Crazy Bald Heads and recent productions from Burial and Floating Points, it's not so much a DJ set as an impressionistic rendition of Hebden's own memories of clubbing itself. Considering the fact that Hebden's own productions are usually so saturated in melody, it's a relatively dark mix, dominated by murky bass tones and sharp, brittle beats, with a constantly shifting sense of urgency that encourages rapt attention throughout. The stellar mix is capped off with two brand new Four Tet tracks, "Pyramid" and "Locked", which only seek to highlight his growing ability to produce devastating club tracks.
Review: It's that time of year again. 12 months on from his last album-length outing as FP-Oner, Fred P once again dons the alias for 7, a third numerically titled set in as many years. As usual, the music is rarely less than immaculate, with the imaginative and talented producer showcasing most sides of his musical personality. Highlights come thick and fast, from the yearning, soft focus melodiousness of quietly jazzy deep house opener "Smiles" and shimmering Motor City techno futurism of "Travelling Zones", to the blissful house minimalism of "Simple Things" and acid-flecked late night hypnotism of closer "Arigato". Superior electronic club music composed by a master: what more do you need?
You Can't Miss What You Can't Measure (Alton Miller mix)
Get Your Ass Off & Jam (Marcellus Pittman remix)
Cosmic Slop (Moodymann mix)
Music For My Mother (Andres Wo Ahh Ay vocal mix)
Undisco Kidd (Gay Marvine edit)
Super Stupid (Dirtbombs version)
Take Your Dead Ass Home (The Fantasy version)
Music 4 My Mother (Underground Resistance mix)
Let's Take It To The Stage (Amp Fiddler Laugin @ Ya mix)
Standing On The Verge (Anthony Shake Shakir & T dancer remix)
You & Your Folks (Claude Young Jr club mix)
Be My Beach (Mophno & Tom Thump mix)
You & Your Folks (Claude Young Jr dub)
Let's Make It Last (Kenny Dixon Jr edit - mono)
Looking Back At You (Ectomorph Stripped & dubbed)
Maggot Brain (BMG dub)
Review: Given the brilliantly simple concept behind this fine compilation - contemporary Detroit producers remix Funkadelic - we're rather surprised nobody's done it before. With 17 varied re-rubs stretched across two hugely entertaining CDs, there's plenty to enjoy. Highlights come thick and fast, from the deep house/P-funk fusion of Alton Miller's take on "Get Your Ass Off and Jam" and Andres' loose, hip-hop influenced revision of "Music For My Mother", to the thrusting loops and heady late night hypnotism of Anthony Shake Shakir and T-Dancer's version of "Standing on the Verge". While many of the versions stay relatively faithful to the original, the more "out-there" interpretations - see BMG's outer-space ambient dub of "Maggot Brain" and Moodymann's epic revision of "Cosmic Slop" - are also consistently impressive.
Review: Killer new LP length project from the man that is Gifted & Blessed! Although Gabriel Reyes-Whittaker has been producing his soul-filled machine music under a number of aliases since 2004, most notably as Gifted & Blessed, the past year has seen him break out with releases for high profile labels like All City, Eglo and Wild Oats, with his release for the latter providing one of the most memorable bespoke vinyl releases of recent times. However, its his own eponymous label that has been the primary home for most of the producer's recent work, with the 3 Aspects of One EP providing the most recent example. One of this year's most appropriately named LPs, Within These Machines is by no means the LA resident' s first album but it does see him expand his style somewhat with typically excellent results. There are more overtly house and techno moments here for example, though tracks like the gurgling "Tesla's Notebook" and restless "Rain Dance" are as experimentally minded as ever.
Review: Jazz-wise deep house and downtempo producer Hanna has a string of fine albums to his name stretching back to the tail end of the '90s. Bless, though, is his first full-length since 2008, and sees the Cleveland, Ohio man transfer to Theo Parrish's legendary Sound Signature imprint. Each of the album's ten tracks comes dripping in hazy, late night soul, as Hanna smoothly shuffles between hazy nu-jazz explorations and various strains of sensual deep house. For the DJs there are plenty of floor-friendly moments, while the inclusion of a string of groovier downtempo workouts should please the home listening posse.
Review: Fabric's offshoot label, Houndstooth, has reached the dizzy heights of a century of releases. Fittingly, they're marking the occasion with a new album from Marquis Hawkes, which is also his first since hyped 2016 debut full-length Social Housing. It's an attractive and punchy affair full of good-time grooves, joyous house workouts, bumpin', Chicago-influenced fare and the kind of luscious, loved-up, garage-influenced deep house goodness that sounds like aural sunshine. While there are a couple of woozier downtempo moments, for the most part it's a deliciously floor-friendly affair, with Hawkes serving up seriously listenable cuts that work both at home and in the club. We actually think it's better than Social Housing, and that was pretty darn tasty.
Review: Given that he took his DJ/production pseudonym from the name of a 19th century Romanian writer of folk stories, it's no surprise that Petre Insperescu's chosen form of techno is shuffling, atmospheric and classically-minded. Sitting somewhere between Luciano, Ricardo Villalobos and Nicholas Jaar, his sparse but well-rounded productions are simultaneously pleasingly calming and genuinely energetic, full of curious touches (a twinkling, distant piano here, a cut-glass string trio there) and gentle exploration. Gathered together and mixed into a seamless whole, as on this first mix for Fabric, they offer an intriguing journey that should appeal to all those who love their techno subdued and atmospheric.
Q-Burns Abstract Message - "Mess Of Afros" (Glenn Underground remix)
Inner Sense - "MoTP"
Mike Ash - "Return To Acid"
Nick Hoppner - "Relate" (The Black Madonna remix)
HMC - "Marauder"
Joe Claussell - "Rhythm"
Roger Van Lunteren - "Hills, I Want You"
Scott Grooves - "Finished"
Caribou - "Sun" (Prins Thomas Diskomiks)
Review: Thanks to his reputation as a knowledgeable house selector with immaculate mixing skills, hopes are high for Gerd Janson's contribution to Fabric's long-running mix series. As predicted, it's superb. After opening with Luke Abbot's deliciously steamy, marimba-heavy rework of Todd Terje sunset classic "Snooze 4 Love", the Running Back chief gradually ups the tempo and intensity, along the way finding time for the melodious breeziness of John Talabot, the stripped-back retro-futurism of Shan, a dash of big room business from Joy Orbison and Boddika, and a swathe of lesser-known house gems from the likes of Joe Clausell and Scott Grooves. He also squeezes in Prins Thomas's loose and summery rework of Caribou's "Sun", which closes the mix perfectly.
Review: The rise of Jayda G in the last few years has been remarkable, though those who've heard her DJ sets will confirm that she's more than worthy of the accolades coming her way. Now firmly part of the Ninja Tune family, the Canadian has delivered a debut album that has set tongues wagging. With boisterous Alexa Dash collaboration "Leave Room 2 Breathe" and the skewed lo-fi disco warmth of "Move To The Front (Disco Mix)" being the lead singles -the set is packed full of top tracks that draw on a disparate range of complimentary influences (proto-house, Chicago house, deep house, dreamy breaks, disco, electrofunk etc). To be honest, we wouldn't expect anything less.
Jam Session 3 (live at Club Tape Berlin MP3 Format - data track)
Review: The first two Jus-Ed curated mix CDs from Berlin's Tape club are now stuff of legend, and in May 2011 the Underground Quality don returned to Germany for a mid week night of nothin' but the finest house jams. On this occasion the Bridgeport don was joined by Panorama Bar resident Steffi and Virginia (who provided a couple of memorable vocal turns on Steffi's recent album), and the results were recorded and put on this here CD. No casing on this, just a basic white pouch - raw packaging for some raw tunes!
Henrik Schwarz - "Take Words In Return" (Jimi Jules remix)
Habischman - "Hoodoo" (Theo Kottis remix)
Dennis Ferrer - "The Red Room" (Obj Vocal mix)
Agoria - "Scala"
2000 & One - "Spanish Fly"
Sascha Funke - "MZ"
KiNK - "Perth" (Chord mix)
DJ Assassin - "Face In The Crowd" (Chris Simmonds Intellidread mix)
Mathew Jonson - "Thieves In Digital Land"
Mateo Murphy - "Apex"
Skatebard - "Sgnelkab" (Mental Overdrive remix)
Theo Kottis - "Ciro"
Nitin - "Dubbed Out" (Steve Rachmad remix)
Mr G - "Stolen Moments"
Jordan GCZ - "Crybaby J"
Kasper Bjorke - "Heaven" (Prins Thomas Diskomiks)
Christopher Ledger - "Lost With K"
Kiasmos - "Blurred"
Ian Pooley - "I Got You" (Matthias Vogt remix)
Space Dimension Controller - "Exostack" (Kornel Kovacs remix)
Justus Kohncke - "Timecode" (Maxi version)
Beacon - "Fault Lines" (Dauwd remix)
Efdemin - "Parallaxis" (Traumprinz' Over 2 The End version)
Telefon Tel Aviv - "Sound In A Dark Room"
Theo Kottis - "Moonlight"
The Horn - "Villager"
Review: Theo Kottis becomes the latest rising star of club culture to contribute a mix to Global Underground's legendary Nubreed series, which previously helped turn the likes of Lee Burridge, Sander Kleinenberg and Steve Lawler into household names. The Scottish DJ/producer has naturally grasped the opportunity with both hands, delivering a deep, melodious and atmospheric two-disc mix-up that boasts a seriously impressive track list. The first disc begins with some fine ambient from Gigi Masin, before Kottis drags us in a variety of deep house and deep techno directions via tracks by Henrik Schwarz, Sascha Funke and KiNK. Disc two sticks more rigidly to the more techno side of Kottis' sound, delivering head-spinning hypnotism and gently unfurling grooves.
Review: Last year Kornel Kovacs returned to his "beautiful, boring" home city of Stockholm, citing a need for both "friends and inspiration". Duly settled in his old apartment, the Studio Barnhus co-founder surrounded himself with collaborators (primarily Matt Karmil, jazz musician Niclas Skagstedt and female vocal duo Rebecca and Fiona) and set to work on his second album, "Stockholm Marathon". The resultant set is impressive, with Kovacs offering up a range of ear-catching vocal and instrumental tracks that brilliantly fuse elements of spacey deep house, mutant R&B, leftfield synth-pop, lo-fi electro, tech-jazz and glassy-eyed electronica. More often than not the collaborations with Rebecca & Fiona hit the mark (see "Club Notes", "Purple Skies" and "Marathon"), but there are plenty of other highlights elsewhere on the album.
Review: On this second album from his Ancient Moons project, Damian Lazarus has decided to switch focus. Whereas the outfit's debut album, Message From The Other World, combined global music influences with Lazarus's usual tech-house rhythms and a touch of psychedelia, Heart of Sky is much more heavily influenced by the Crosstown Rebels' chief's rarely discussed soul boy roots. Of course, the beats and basslines still largely stick to the powder house script, it's just that this time they come accompanied by starry-eyed soul vocals, 1960s dream pop influences, bold piano flourishes, gospel choruses and, on rare occasions, smoky trip-hop aesthetics. As a result, it's undoubtedly a much more "human" album, and one with far more crossover potential than its predecessor.
Last Night On The Planet (feat Pyramid Vritra) (1:30)
Review: Some three years on from the release of their acclaimed, self-titled debut album, Letherette's Andy Harber and Richard Roberts are finally ready to share the follow-up. Happily, it's another sublime set. Over the course of 10 impeccably produced tracks, the duo shimmies between dreamy instrumental hip-hop (the traditional Ninja Tune grooves of opener "Momma"), loose-limbed, jazz-flecked electronica, spacey Dam Funk style electrofunk (the brilliant "Shanel"), garage-influenced UK house ("Wootera"), blazed downtempo pop (the claustrophobic "Bad Sign"), and various strains of imaginative, colourful deep house ("Dog Brush", "Soulette"). They even find time to squeeze in one of the most beautiful cuts of the year, the crystalline "Rubu".
Review: Since surfacing in 2011, Will Long has carved a career out of crafting epic, 10-minute plus deep house epics. It has probably helped, of course, that he counts DJ Sprinkles as a close friend, confidant and occasional studio partner. Here, he presents his second full-length excursion, moving from the legendary Japanese producer's Comatose Recordings label to Oslo's Smalltown Supersound. Happily, he's not altered his approach, serving up six sumptuous chunks of ultra-deep, slowly shifting house for hazy mornings, languid afternoons and late nights. There are few surprises, but aside from Sprinkles herself, nobody does this kind of atmospheric and hypnotic deep house better than Long.
Review: A super hot reissue of Moodymann's Forevernevermore album on Peacfrog. This was Kenny Dixon Jnr's third album (following the seminal Silentintroduction and Black Mahogani), released back in 2000. The pleasing thud of "Tribute" and idiosyncratic deep strut of "Your Sweet Lovin" linger long in the ears, whether you're hearing for the first time of the 100th. Indeed everything here is dripping with MPC brilliance; jazzy samples, crackly Detroit atmospherics and the occasional recording of Moodymann's own distinctive croaky voice, making it an utterly essential purchase for Detroit cognoscenti who missed it the first time round.
Rich Medina - "Can't Hold Back" (feat Sy Smith - Platinum Pied Pipers remix)
Julien Dyne - "Stained Glass Fresh Frozen" (feat Mara TK)
Little Dragon - "Come Home"
Andres - "El Ritmo De Mi Gente" (feat Lady)
Fort Knox Five - "Uptown Tricks" (feat Mustafa Akbar - Rodney Hunter remix)
Daniel Bortz - "Cuz You're The One"
Jose Gonzalez - "Remain"
Big Muff - "My Funny Valentine"
Les Sins - "Grind"
Tirogo - "Disco Maniac"
SLF & Merkin - "Tag Team Triangle"
Joeski - "How Do I Go On" (feat Jesante)
Kings Of Tomorrow - "Fall For You" (feat April - Sandy Rivera's classic mix)
Soulful Session/Lynn Lockamy - "Hostile Takeover"
Anne Clark - "Our Darkness"
Peter Digital Orchestra - "Jeux De Langues"
Noir & Haze - "Around" (Solomun vox)
Marcellus Pittman - "1044 Coplin (Give You Whatcha Lookin 4)"
Lady Alma - "It's House Music"
Daniela La Luz - "Did You Ever"
Review: It would be fair to say that Studio K7 has pulled off something of a coup in getting Kenny Dixon Jr. to agree to compile and mix the latest installment in the long-running DJ Kicks series. It is, somewhat remarkably, the legendary Detroiter's first commercially available mix set. This triple-vinyl edition features a whopping 19 cuts - all in unmixed form - from the 30 track mix. Musically, it's a blazed, jazzy, soulful and groovy as you'd expect, and contains a mixture of downtempo beats, nu-jazz and hazy house cuts from the likes of Flying Lotus, Dopehead, Peter Digital Orchestra, Nightmares On Wax, Soulful Session and Lady Alma.
Review: Last time it was only Omar S that could do it; this time he's thanking us for letting him be Omar S. That's right the FXHE boss returns with an eagerly awaited new album brandishing some 14 tracks. Omar S albums naturally tend to sell themselves but, for those still curious, Thank You For Letting Me Be Myself sounds like a perfectly executed culmination of the ideas AOS has explored on the numerous 12"s since his last album. As soon as the crunchy mechanical dramatics of opening track "I'll Bring U Ah Lil Sumpin Back" launch into action you feel like you're in for quite the journey and the subsequent swerves through Detroit flavoured electro, piano flecked house, beatdown and techno come with satisfaction guaranteed.