Review: Finale Sessions is pround to bring you another fine release with none other them Pittsburgh Track Authority they have been heating things up at the moment and we are great full to have them on label and this release is a gem for sure and we start with the first cut called "Missile 2" It is my favorite of the ep for sure with its rolling drums and its acid based textures a must have peak time jam then we have " Cara Cara" no holds bar jam with a no holds bar approach to drums and rhythm a must have for the later times of the night . Then we have " Wrap Game" this track is a dancefloor killer for sure with its massive pads and intense synth work one of my favorites on Finale Sessions to date and we dont want to forget the drums of coarse with its hipnotic rhythm . Then last but not least we have " Chromed" the first thing you notice about this track is the drums and its crazy rhythm most definetly a techno killer for sure it has massive sound to it for sure and it is not to be ignored with its deep synths and wicked key work a must have for you record collection ..I want to thank you for your support on Finale Sessions and I personally want to thank you and I love you ...
Magic Mountain High - "Tiny Fluffy Spacepods" (7:17)
Dusted Links (8:47)
One Small Step... (with Reagenz Meets Thomas Fehlmann) (7:00)
Move D - "Building Bridges" (with Fred P - Move D Inside Revolution mix) (10:46)
Perpetual State (feat The Poem Alles Ist Eins by Thorn Hoedh) (4:56)
Review: Given that he's a born collaborator, as his vast discography proves, it's perhaps fitting that David Moufang's latest album as Move D is packed to the rafters with killer collaborations. Check, for example, the ultra-deep, woozy and off-kilter "Innit", a superbly dubby and opaque studio hook-up with German rave pioneer D-Man, and the shuffling, intergalactic deep house warmth of Fred P collaboration "Building Bridges". Fittingly, his renowned collaborative projects also feature. There's a wonderfully elastic and out-there dub techno/minimalist track by Reagenz (Moufang and Jonah Sharp AKA Spacetime Continuum) with German veteran Thomas Fehlmann, and a Magic Mountain High (alongside Juju and Jordash) track that takes slow-burn, softly spoken deep house/dub techno fusion and runs with it. As you'd expect, the solo tracks are impeccable, too.
Luke Solomon presents Jean Caffeine - "Jean Aftertought"
Point G - "La Lampe du Vizir Adjané"
Modal - "Lovers" (Roy Davis & Dj Skull remix)
Skymaster - "Final Link"
Lazare Hoche & Malin Génie - "Formes"
Nimbus Quartet - "Your House Is Yours"
Lazare Hoche & Malin Génie - "Session 2"
Unit T - "Mystery Tones"
Mandar - "Fouad"
Review: Lazare Hoche doesn't release that much music, but what he does put out is invariably excellent. Following a smattering of singles and an acclaimed collaborative album alongside Malin Genie - 2013's I Don't Sync So Volume II - he's decided to put together a compilation featuring his own productions and those by music industry mates. Access, then, is a lesson in warm and luscious deep house, with significant contributions coming from Luke Solomon (donning the Jean Caffeine guise on the dreamy and rolling "Jean Afterthought"), DJ Gregory's Point G project (the ultra-deep pulse of "La Lampe Du Vizir Adjane"), and pals Skymaster and Mandal. Hoche's own contributions rank amongst the compilation's highlights, with the title track delivering a pitch-perfect lesson in the seductive powers of dreamy, dust-encrusted deep house.
Review: Zoo Look follow up on their welcome return (the Similar Steps EP on Lost Palms) with this choice drop for Lazare Hoche, the Parisian bastion of all things deep and housey. The Look have lost none of their charm as you can hear on the sultry and seductive "Sight Unseen", while "The Reason" sees them exploring dubby realms to enchanting effect. "Tranmission7" brings an intriguing broken beat flavour to the rhythm section, capturing a mood somewhere between techno, electro and dubstep and dipping it in honey for a sweet finish. Then Malin Genie steps up with a masterful remix of "Sight Unseen" that works some Detroitian flavours into the mix to great effect.
Review: Loz Goddard, formerly of Outplay, Dirt Crew and Quintessentials, has a new deep house parish: Seb Wildblood's immaculate Church imprint. The Manchester producer's label debut is really rather good, though we didn't expect anything less. He begins with the pulsing space funk synthesizer chords, lilting melodies and dusty drums of "Gluttony Bay" before wrapping fluid harp motifs, eyes-closed electronics and thickset bass around a crunchy rhythm track on "Anomaly". Arguably the best of the bunch, though, is the energetic but dreamy dancefloor bliss that is "Find Me", a track whose inherent jazziness is further explored on Session Victim's superb accompanying remix.
Review: Lauren Lo Sung's star continues to rise as the talented minimal house producer and DJ partners up with the mighty Lazare Hoche. This four track EP is packed with bombs, from the shimmering, metallic deep house finery of "Running" to the cheeky acid wriggle of "Dusty Pink". Things take a darker, deeper turn on the fierce "Fixate," and then lift into fluttering after hours tones for the sublime and ever so slightly trippy "Lara's Dub". Now firmly entrenched in the cut and thrust of the European minimal house scene, Lo Sung's talents spill out in abundance on this assured pack of highly workable and versatile floor filling 4/4 burners.
Review: Groovy, beguiling and hypnotic- Tusk Wax is a label where anything can happen while still boasting coherency throughout its catalogue. If that sounds vague that's the point; elements of house, funk, jazz, acid and tech never far from the mixing desk. This, the imprint's 30th outing, is another limited press continuing in that fine form thanks to the always-solid Loz Goddard, formerly of Dirt Crew. One made for summertime sessions, intriguingly it could score late night hallucinatory forest raves or sun-drenched terrace parties. It just depends which cut you go for. 'Redrum' is a low-lying cosmic treat, repetitive female vocals ensuring dancefloor potential contrasting the lackadaisical melodies. 'BHD' takes us down an expanding disco wormhole, Ron Basejam's remix of 'Redrum' places the emphasis on live bass and sass, a perfect precursor to the contemporary funk of 'Drumble'.
Emergency Delivery (Politics Of Dancing remix) (6:42)
Review: French house vet DJ Freddy steps up on Politics Of Dancing with a surefire party starter with "Emergency Delivery". From the disco blips to the snappy vocal slices, it's everything a peak time belter should be, marking the seasoned producer's first trip out in nearly 10 years in style. Archie Hamilton steps up for a sophisticated remix that subtly dubs out the original, while the Politics Of Dancing crew turn in a version that strips everything back to the rhythm core with a mean acid rub tooled up for the deeper end of the dance.
Review: Dutch duo Detroit Swindle returns to home label Heist for the first time since the release of last year's superb sophomore album "High Life". Title track "The Life Behind Things" is positive, ear-pleasing and dancefloor friendly, with the experienced pair peppering bouncy beats and thickset synth bass with joyous organ riffs, wobbly acid lines, jaunty piano stabs and female vocal snippets that sound like they were lifted from an old school house cut. Lorenz Rhode hook-up "Music For Clubs" is arguably even more rush-inducing in its retro-futurist piano house intent, while Isoul8's remix of the title track is a swirling, soulful and decidedly tactile chunk of deep house brilliance.
Review: Kaspar has been busy slinging out high grade house jams with a hefty side serving of funk for many years now, landing in all the right places like 4 Lux, Clone, Housewax and Midnight Shift. Further cementing the Portugese producer's credentials, this release on Finale Sessions brings a spread of styles to the table, showing off his diversity in the studio. "Everybody Jump" is impossible to ignore with its heavy bass lick and fresh take on tough, looped up disco house, while "Coastal Soaring" takes a more ethereal approach seasoned with clattering percussion, jazz funk bass and wistful pads. "Higher Fire" strikes an uplifting peak time house tip, and "Cid's Thump" gets slow and nasty with some particularly psyched-out FX swells.
Review: The Tusk Wax crew welcome Ruf Dug and Marcel Vogel to the fold for a right royal hoedown of seedy late night house music machinations. "You Are The One" rides on a bloated bassline and ethereal pads while a guttural vocal chants out the title, making all your sleazy dancefloor dreams come true. "Young Narcos" is a much lighter affair, lacing smooth 80s island boogie into a contemporary setting for an exercise in loose limbed liquid funk. Mugwump & DC Salas come correct on the remix tip, beefing "You Are The One" up into a snarling, acidic romper, and there's also a "Voxapella" of the track slipped on the end of the record for creative mixing delights.
Review: Starting 2020 like they mean to go on, West London's 2000 Black crew serves up an essential four-tracker created during jam sessions between regular collaborators Kaidi Tatham, Akwasi Mensah, Matt Lord and Dennis "Dego" McFarlane (Ranks). As with their previous collaborative releases, its' four tracks variously join the dots between deep house, bruk, jazz-funk and mellower flavours. As usual, the beats are tight and weighty, the musicianship exceptional (Kaidi's keys-playing being a particular highlight), the chords deep and the lead lines memorable. While all four tracks are excellent, our picks are the rubbery bruk-up bliss of "Return of Pastor Shadrach" and the sun-kissed broken house warmth of "Life After Subway".
You Can't Miss What You Can't Measure (Alton Miller mix) (5:17)
Get Your Ass Off & Jam (Marcellus Pittman remix) (6:46)
Cosmic Slop (Moodymann mix) (9:26)
Music For My Mother (Andres Wo Ahh Ay vocal mix) (5:23)
Super Stupid (Dirtbombs version) (4:30)
Music 4 My Mother (Underground Resistance mix) (5:41)
Undisco Kidd (Gay Marvine edit) (5:46)
Take Your Dead Ass Home (The Fantasy version) (7:46)
Let's Take It To The Stage (Amp Fiddler Laugin @ Ya mix) (6:11)
Standing On The Verge (Anthony Shake Shakir & T Dancer remix) (5:37)
You & Your Folks (Claude Young Jr club mix) (6:43)
Be My Beach (Mophono & Tom Thump mix) (6:08)
You & Your Folks (Claude Young Jr dub) (5:55)
Let's Make It Last (Kenny Dixon Jr edit) (7:32)
Looking Back At You (Ectomorph Stripped & dubbed) (6:12)
Maggot Brain (BMG dub) (10:09)
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 three slabs of wax, there's naturally 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: A long and distinguished recording career for the always faithful Norm Talley has been lacking something Tsuba shapes until now, so kudos to Kev Griffiths for coaxing three drops of powerfully deep and danceable house from the Westside Detroiter. Each track here offers a different mood with A-side cut "Mid-Nite Madd-Ness" the peak time burner with classically Detroit house styled cymbal clashes cuing breakdowns, while vamping chords ascend and descend. "Holiday" is the warmer summer house jam with woozy Rhodes on loop, while "One Track Mind" is deep and rhythmic with a sultry vocal to boot.
Review: Those with a love for turn-of-the-'90s UK house and techno may be familiar with Westworld, one of the many aliases of video game music composer turned rave producer Matthew Gray. Here, two of the most potent cuts in the Westworld catalogue get the rework treatment, with Running Back boss Gerd Janson at the controls. The A-side is all about Janson's tweak of "Dreamworld", a piano-sporting Italian dream house tribute that the producer has wisely chosen to smooth out and make even more dizzyingly loved-up. 1990 single "The Slam" gets the scalpel treatment on the flipside. Interestingly, Janson has chosen to ignore the original's bleeps and heavy sub-bass, instead focusing on the track's rolling hip-house elements. He's also delivered a tasty DJ tool in the shape of the beats-and-effects vibe of the "Dub Siren Beats" tweak.
Review: Fizzing all over the shop like an F1 winner's magnum, Frank Timm celebrates 20 years of Sound Stream with this outstanding slab of uncut floor jams. No messing around, just straight up disco house music. At points plain trippy ("Flash Back"), at others straight up sexy ("Love Remedy", "Get Down") but always unifying and obese in width and weight ("Disco Advisor" especially) Timm has cleared the board right here with the full range. Essential.
Review: Having set out their stall via a fine first collaborative release on Bordello a Parigi a couple of months back, Mytron and Ofofo pitch up on Multi-Culti. As you'd expect from a label with such a strong track record of multi-cultural musical fusion, much of the EP defies easy categorization. Sure, you'll find a chunk of Italo-influenced electro ("Non-Binary Joys on the Venus Holodeck") and a couple of slabs of madcap disco-funk fusion ("Si Jambo" and "2Tac Onana"), but also a heavyweight slab of low-slung punk-funk/post disco ("Czary Mary"). Oh, and the skewed electro-funk-meets-intergalactic synth pop insanity of "Something for Your Mind", which also boasts some notably brain-melting vocoder action. More, please!
Peven Everett - "I Can't Believe I Loved Her" (Moomin version) (6:21)
Review: Having recently impressed with their contribution to the F*ck Reality series, Moomin returns to the comforting surrounds of long-time home Smallville Records. As usual, Aquarama sees him exploring the deeper, more melancholic side of house music, with typically impressive results. The headline attraction is undoubtedly a stellar rework of Peven Everett's 2001 soulful house classic "I Can't Believe I Loved Her", which Moonin has successfully turned into a misty-eyed chunk of melodious, bittersweet deep house bliss. In comparison, the other two tracks don't sparkle quite as much, but are still hugely enjoyable. The title track - all cyclical acid motifs, drifting vocal samples, shuffling beats and chiming melodies - is particularly tasty.
Review: Having spent the last 12 months sharpening his disco credentials via a variety of re-edit EPs and sample-heavy "secret weapons", Medlar is back on Wolf doing what he does best. In this case, that means sparse, drum machine driven electro/proto house fusion ("Cascinari"), delay-heavy, stripped-back analogue house blessed with dreamy chords and grime style lo-fi synth-strings ("Nisantasi") and Ruf Dug style dancefloor sweetness seemingly created using forgotten old synthesizers, dusty drum machines and a solitary TB-303 ("Priet"). Excitingly, the EP's final track - a bustling fusion of beatbox electro rhythms, layered breakbeats, heavy bass and yearning chords - is a studio hook-up with similarly well-regarded producer FYI Chris.
Review: Wolf Music are back, following up releases of late by flying Dutchman Frits Wentink, Mr Fries and Pedro & Camille, with a reissue of a golden 2003 deep house nugget in the form of BRS (British Rhythm Services) - 'Spring Dom'. The EP is a proper serving of boogie-down antics including a terrific remix by label staple Ned Pegler aka Medlar. Late night deep house with a French touch is catered for on the ultra smooth "Clubtronic", while "Miss You" will captivate with its creamy Rhodes and gentle swing-fuelled groove. Originally released on UK label Cyclo back in 2003, BRS formed in 1998 and was comprised of DJ Ben Vacara, Rob 'Twin' Evans and Mr Mulatto.
Review: Sebastian Genz's third full length this time around is surprisingly not released via Hamburg's Smallville (an imprint he's a known staple of) nor his own Closer Music - rather, it's for London deep house merchants Wolf Music. The Yesterday's Tomorrow LP is said to see the Berlin based artist go back to his roots, revisiting his early influences such as hip-hop and jungle, mixed with the sample driven house he's become renowned for. Deep and dusty late-night emotions await you on "Daysdays" and "In Our Lifetime", a soulful/jazzy kinda something on "Maybe Tomorrow", the liquid drum & bass of "Move On" (which calls to mind the mid-'90s glory days when Alex Reece and Peshay reigned supreme) or the blunted urban blues of "949494". it's a compelling listen from start to finish.
Something For The Dancers (Kerri Chandler Dark mix) (8:33)
Review: On the one-to-watch list for those in the know, Lea Lisa has released on Mona Musique, Memories and Chez Damier's Inner Balance Recordings, alongside her role within the InnerDisc record store family. Presenting "The Legacy EP" for the ever-reliable Wolf Music here, she showcases her unquestionable talent across the two opening cuts. The soulful, emotive and near spiritual vibes of opener "Something For The Dancers" reaches near Ron Trent like moments with its weighty synth lines, dream-like pads and powerful bass tones, and the sensual late night deepness of "From Garage" which combines sultry vocals, analogue keys and thumping percussion doffs a cap to Chicago and Detroit deep house classics. Arguably best of all though, is the remix on the flip by the one and only Kerri Chandler - the Kaoz Theory chief serves up a heavenly slice of house with his "Dark Mix"; a shuffling garage house beat blending beneath sustained string synths and signature stabs. Classic Kerri style.
Review: The first volume in Frits Wentink's Two Bar House Music and Chord Stuff series won plenty of plaudits when Wolf Music slung it out last summer. Happily, the eccentric Dutch producer seems to have raised his game even further on this fine follow-up. Check, for example, deliciously trippy opener "Theme 5", where vocal snippets, organ riffs and sci-fi synth sounds are drenched in tape delay and wrapped around a skewed deep house groove, and the bolder, bass-heavy bustle of saucer-eyed peak-time wobbler "Theme 7". Elsewhere, he combines the dreamy dustiness of Mood Hut style deep house with the cheeriness of Italian piano house on "Theme 8" and gets locked into a soulful, deep and bass-heavy vibe on the similarly impeccable "Theme 6".
Review: Jordan Alexander's been rinsing it under his Mall Grab moniker, and every release since his debut back in 2015 has been hotly tipped by us here at Juno towers. EP's for Church, 1080p and Collect-Call have now earned him a spot on Unknown To The Unknown, one of our favourite labels and surely one of the most diverse, too. "I've Always Like Grime", as the name implies, is a house track made by someone who listened to high doses of Crazy Titch and Plastician back in the day, but "Black Palms" does its best to distance itself from the UK thanks to some pretty nasty acid bumps, and "Menace II Society" heads to Chicago with its singular vocal sample and dusty house flex. Sick!
Review: In the 11 years since he made his debut on a split 12" of techno productions, Melchior Sultana has developed into a fine producer of smoky, evocative deep house. Here, he more than proves that point, returning to Jus-Ed's Underground Quality imprint with his fourth solo full length. Seemingly inspired by his Maltese roots, Mediterran is chock full of the kind of warm, mature, impeccably produced deep house that sounds like it was designed to soundtrack dusky St Julian's sunsets and baking hot afternoons amidst the ancient walls of Valetta. There are nods towards the bluesy jazz-house of St Germain (see "One Take"), classic Balearic deep house ("Paradise") and the emotion-rich grooves of Jus-Ed ("Lead The Way"), with the overall feel being lazy, relaxed and groovy.
Review: Maltese deep house dude Melchior Sultana becomes the latest addition to Jus-Ed's bulging list of collaborators, which also includes Levon Vincent, Fred P, Nina Kraviz, DJ Qu, Move D, Mr G, Lawrence and Son of Sound. The resultant jams are sweet, sticky and undeniably Moorish. Check, for example, the shuffling Afro-house beats, sumptuous electric piano solos, leisurely jazz guitars and spoken word vocals of "Choices", the piano and synth-bass driven breeziness of "Outside" and the classic deep house warmth of closing cut "Press It". "Now Scat", an ultra-deep, acid-flecked treat, is also top notch.
Review: By all accounts, Son of Sound and Jus' Ed have been pals for years, though this is the first time they've penned a joint release. They begin with the fluttering, riff-propelled deep house bounce of "Cuchfritos", where rubbery drum fills help to create extra energy, before notching up the tempo via the spacey, synth-fuelled stomp of "I Have You On My Side". The swinging, jazz-dance friendly organ garage swing of "Bridgeport 2 Brooklyn" brilliantly draws the curtain down on Side A, before the duo kick off the flipside with the ultra-deep beauty of "Wicked Self", whose undulating synthesizer solos are particularly tasty. As if that wasn't enough to set the pulse racing, closer "Manhattan's Projects" is a fizzing chunk of rolling and spacey peak-time house.
Review: This is Adam Wickens' - aka ADMIN - first appearance for Kolour LTD, and we're happy to see the UK deep house producer continuing his steady path to maturity. This two-tracker is part of the label's 'LTD 10s' series, and this particular one is the fourth instalment; we love it not only for the quality that has graced the releases up till now, but also because we're fools for the ten inch format. "Reach For Love" sounds like it could be on Moodymann's Mahogani, a sensual house charmer complete with gorgeous piano keys and assembled with pure hypnotic delight. Side B's "You've Got Me" is similarly cool and laid-back, but the beat is speedier here, the percussion more floor-centric and the vocals sexier than ever. What a gorgeous little tip - cop it!
Sleazy McQueen & Vinyl Addicted - "Hot To Trot" (5:41)
Patchworks - "Batracien" (5:08)
Le Blanc - "We Can Fly" (4:40)
Review: Detroit/Houston joint venture Kolour are back with another instalment in the Tale Of Two Cities series - and this is one serious all star cast if we've ever seen it! The creme de la creme of nu-disco appears here, starting with crazy Canadian Eddie C kicking off the A side with the sunny slo-mo antics of "All Time Freak", followed by the one and only Napoleon! Simon Mills throws down some more of his usual sexy and lo-slung grooves on "Over & Done". On the flip, current scene favourite - the Whiskey Disco boss Sleazy McQueen teams up with Vinyl Addicted on a seriously hot edit of an underground classic (to those that know) on "Hot To Trot" while Lyon's Patchworks hands in another similarly 'respectful edit' on the sultry late night blues of "Batracien". Finally they head down under (to Adelaide, Australia that is!) for Le Blanc's funked up disco house jam "We Can Fly".
Review: Detroit/Houston based Kolour have had some pretty credible names feature on their new 10 inch series this year, such as Eddic C, Napoleon, Frank Booker and Lady Blacktronika. Now it is over to the Belarus based disco DJ Funkyjaws who serves up two irresistible jams on Vol 8 of the series. On the A side, we have the soulful and life affirming African boogie of "Them & Us". We have not heard the original but it sounds pretty seamless to us: a respectful edit indeed. On the flip, we have one seriously mad boogie-down jam in the form of "Peasant Dance" which is a truly exotic affair from god knows where! Accordions, wah-wah guitar and some super string arrangements clash wonderfully. This may sound like an unholy mixture but this is exactly the kind of disco deviance that truly floats our boat! The Grodno based producer last appeared for the label on Kolour LTD 22 a couple of years back, and in the meantime has also appeared for the likes of Shadeleaf Music and Austrian imprint Pusic.
Turn Me On (Tony Humphries Got U Turned On dub) (7:50)
Save Me (Coldcut remix) (6:38)
Review: South Street's latest missive gathers together a trio of club-friendly remixes of Nina Simone classics that first appeared on the 2006 compilation "Remixed & Reimagined". Francois K impresses with an A-side revision of Simone's celebrated cover of Beatles classic "Here Comes The Sun" that sounds like a long lost Larry Heard record from his classic Fingers Inc. period. Those after something a little more rolling and funk-fuelled should wrap their ears around Tony Humphries' Dub of "Turn Me On", which boasts a seductive mixture of Romanthony style hard loops and rumbling, UK garage influenced bass. Completing the package is Coldcut's fine re-imagining of "Save Me", which places Simone's heart-arching vocal atop skittish, club-ready drums and looped guitars.
Review: Italian crew Unknown Collective come correct on this latest Purism joint as they drop some seriously bumping deep house heat to get bodies popping with approval. "Nodi" is the consummate A side jam, all exuberant energy and rock solid functionality, just like a DJs best friend should be. "Virgo" is, on the surface, a slinkier affair, but don't be fooled as there's some serious weight in that bassline which will absolutely rock on a proper soundsystem. "Arya" is the dreamier cut on the record - the groove is still solid, but there's a dreamy tone to the pad hovering in the background and the track is sprinkled with all kinds of extra sonic delights to toy with your mind at the hazy end of the dance.
Review: Over the past couple of years Niko Maxen has been busy firing out hit after hit of refined minimal with an emphasis on moody atmospheres and intricate, off-centre groove programming. From early releases on Pathway Traxx to recent outings on Roche Noire, Rowle and many others, he's already got a lot of heat behind him, and so it continues with this killer 12" for Constant Black. "Go Gently" is a dense, electrifying workout with a killer beat and spooked out pads, while "Sanctuary" edges towards bubbling modular synth lines perfect for psychotropic warm-ups. "Cosmic Jazz" is a little more straight-up in its demeanour, albeit with wigged out FX sends riding over the top, while "Light Drizzle" heads into tripped out territory once again.
Review: Since making his debut as Hanna 21 years ago, Warren Harris has delivered a string of inspired, soul-fired deep house and broken beat releases for a clutch of admired labels, most notably Freerange, Sound Signature, Track Mode, Shall Not Fade and Melodies International. Here he makes his first appearance on Alex Attias' Visions Inc. imprint with a strong two-track missive. Like many of his peers have recently done, Harris has decided to doff a cap to jazz-funk on the warm, loose and heady brilliance of A-side "Humbolt Park", whose Herbie Hancock-inspired synths and distinctive drum programming are reminiscent of Kaidi Tatham. If anything, similarly inclined flipside "I Wonder" is even better, something we put down to the quality of his chords and chiming melodies.
Review: While jazz is never far from Tenderlonious' thoughts - he is a proficient flautist and the man behind the superb Ruby Rushton combo - he has plenty of other musical strings to his bow, as last year's rather fine "Hard Rain" album proved. "After The Storm", his latest EP, treads a similar sonic path, tiptoeing between ultra-dreamy, sunrise-ready deep house (the fluttering flute solos and Larry Heard grooves of the superb title track), Kaidi Tatham style jazz-funk fusion ("G Flex"), broken deep house smoothness with added Herbie Hancock synths ("D Low"), and crunchy 21st century jazz-funk ("Broken Hearts Club"). In other words, it's business as usual for one of Britain's best.
Review: The Rhythm Plate posse are certainly no strangers to Hudd Traxx, and so it makes perfect sense to see their Goshawk project landing on the long-serving Northern deep house label. The vibes are impeccable on this 12" from start to finish, not least with the soulful sway of "My Heart" bolstered by Astral T's vocals. "High In The Evergreens" meanwhile takes a woozy approach to straight up house music with its dreamy synth tones, and "Yes In This Way" turns up the pressure with a killer bassline and feverish gospel preacher vocal hooks. "My Business Ain't Your Business" takes a more laid back, choppy approach to the groove without losing any of that all important soul.
Review: There's been little new of note from Underground Resistance house band Timeline for some time, something that's doubly frustrating given the quality of their previous material. That includes this fine EP, which was first released in 2014 and now appears in stores again courtesy of a much-needed re-press. The highlight for UR aficionados and tech-jazz enthusiasts is undoubtedly epic flipside "Next Step 4wrd", a delightful chunk of sci-fi house rich in warm riffs, rising jazz horns and mazy synth solos. That said, plenty of people will gravitate towards the dewy eyed deep house soul of opener "Light My Fire", whose electric piano solos are superb, and the hypnotic dancefloor drowsiness of deep jazz-house number "Moment In Marseille".
Review: Last summer, Regularfantasy and Void Mirror joined forces in the studio for the very first time. The result is this colourful, dusty and loved-up debut EP on Mood Hut. They begin with "Gemini Month", a wholeheartedly spacey and positive affair in which dreamy deep house pads, ethereal chords and sci-fi electronics bubble away above thrusting, techno-tempo beats and bustling, post-Italo bass. "Trance Breaks (Club Mix)" is an altogether deeper - if no less intergalactic - affair, where a rising and falling bassline and psychedelic analogue synth lines wrap around relaxed electro style breaks. Arguably best of all, though, is the sunrise-ready glow of "Hits From The Bongo", another deep, melodious and dreamy deep house trip that sounds like it could have been recorded at the turn of the '90s.
Review: Following his recent strong turn on Cocktail D'Amore, Jules Etienne makes a trip back to Apersonal Music with more of that island groove for the smoothest slack-wearers in town. "Free As A Man" is a beautifully laid back but funky offering that speaks to all kinds of good times. Jex Opolis turns in a remix of the track that has a little more bite to suit the later demands of the dancefloor. "Don't Wanna Talk About It" sees Etienne linking up with Disco D and winding all kinds of slick strutting business into his sound, and then "Rhythm For The Garden" heads off into wonderful tribal percussion that serves as a handy tool for DJs who want to get some rich drum sounds into their set.