Review: Fresh from the success of two top notch EPs on iile, Leo Pol unveils his most ambitious release to date. All I Got In Me is something of a beast, with seven tracks stretched across two slabs of wax. It's a rather pleasingly varied affair, all told, with the experienced producer flitting between Detroit style techno futurism ("BH2"), warm, chunky and occasionally tough deep house ("All I Got In Me", "Live Concrete"), spacey beatbox electro ("Live Love") and the kind of tech-house cuts that look to both the Motor City and Chicago for inspiration. As a bonus, he's also included a collaborative cut under the St Ouen Connection moniker, the deep and hazy, techno-tempo positivity of "Masile".
Review: Norwegian producer Henning Severud AKA Telephones has decided to launch his own label. Fittingly, he handles the imprint's debut himself, dipping into his archive to serve up three tracks recorded at different times between 1998 and 2018. Our pick of a warm, colourful and loved-up bunch is "Aquatrak (FM AM Mix)", where jangling, Balearic house style piano riffs and dreamy chords splash around atop a chunky disco bassline and rolling drums. The quality threshold remains high throughout, though, with the '90s New Jersey-influenced deep house flex of "Amerikadegari (453-459 Mix)" and the late '80s Italian deep house vibes of "Hurricane (Purple Mix)" being almost equally as good.
Review: Following 2017 and 2018 outings on Concrete Music and Bass Culture Records, French producer Leo Pol returns to the Iile imprint he founded in 2016. There's plenty to admire across the five included tracks, from the rubbery acid bass, sweaty drums and glassy-eyed melodic breakdowns of opener "626 Mafia", to the sturdy beats, hustling drum fills, filter-laden chords and sweet vocal samples of closing cut "Keep This Thing". Leo's collaboration with Max Ulis, "On My Face", is a thrillingly high-octane fusion of ghetto-house, techno and woozy New Jersey garage, while "FEM" is an acid-flecked chunk of sun-kissed deep house breeziness that sounds like it could have been made in Italy in 1992.
Review: Greetings and welcome from Axces. We're a small local Copenhagen community of friends and curious souls. This is our very first record. Alfredo92 and Kasper Marrot run the label, and they've produced two tracks with help from our good friends Carl Emil and Lauge.
The record was created in 2017 at the professional facilities we've come to know as Nordvest Auto. On both tracks, you'll hear a lot of drums, some bass, effects, samples, vocals and sounds from beyond, we don't know how to describe. They've been tested on various sound systems during the past year, and we can ensure you that a flat EQ and max volume will suit the tracks almost anywhere.
We really hope you enjoy our effort. If you should ever find yourself in Copenhagen Axces will provide counselling and guidance at own risk.
Review: Juan Ramos and Luca Trentini AKA Trent have had a couple of prior outings as Greenvision, especially impressing with their excellent 12" on ESP Institute last year. Now they're back to where it all began, Cocktail d'Amore, with the lurid, pysched out freakery of "Mountain Of Madness". It's a truly devilish track, coming on heavy like a dangerous incantation, which is of course a good thing. On the flip, things stay firmly out on the wild frontier with the Sativa mix of "Rolling 2 Joints". The message is clear - this is music to lose your mind to, and you'll have a thoroughly wonderful time doing it.
Review: Platform 23's celebration of Exquisite Corpse wraps up with this fourth installment of visionary proto trance bubblers from the dream team of Robbert Henyen, Debbie Jones and Tim Freeman. As with the previous installments, they've picked choice tracks from across the spectrum of the PWOG-affiliated project's output, kicking off with a transmission from the debut release, "Honeymoon". Throughout the mood is loose and wigged-out, with a pleasant stew of New Beat, acid, house, trance and dub among the core ingredients flavouring this thoroughly early 90s dish. This is psychedelic dance music crafted before the genre boundaries were established to ruin everyone's fun - savour the vibe as we return to more freewheeling times once more.
Review: When he last released on his own Sistrum label 18 months ago, Patrice Scott served up some serious deep house "Soul Food". This time round, he's concerned with "Moments & Concepts", opening another fine EP with an expansive title track that adds fluid, heart-aching Larry Heard style piano work to a breezy and beautiful backing track rich in snappy machine drums and undulating jazz bass. Over on the flipside, "Be Free" is a fine chunk of organ-driven classic deep house - all delay-laden soul vocal samples, elongated chords and bumpin' beats - while "A Song For Mia" sees the Detroit veteran wrap chilled out chords and lead lines around a head-nodding hip-hop beat.
Gari Romalis - "Start The Game (Detroit On The Move)" (7:07)
Rafa Santos - "Love Song" (7:09)
Rafa Santos - "Mystic Voyage" (6:09)
Review: Spanish label Mate kicked off in style with Javonntte and Jesus Gonsev, and now it's back once again with another smart pairing of high class house heads. The ever prolific Gari Romalis is all over the A side with the upfront pep of "No Way Around A Groove" and the late night shuffle of "Start The Game (Detroit On The Move)". Rafa Santos lands on the flip with the romantic lilt of "Love Song" and sweet, subtly kinked synths coursing through the centre of "Mystic Voyage". It's another fine combination of artists offering up highly workable contemporary deep house jams for discerning spinners.
Review: Originally debuting on Well Rounded Records' Housing Project sub-label in 2012, Leon Vynehall has since become one of the UK's most in-demand of the new wave of young house producers. He's released subsequent records for George Fitzgerald's ManMakeMusic and Will Saul's Aus, and most recently an album on Martyn's 3024. Vynehall is now in cruise control and he lays back on Clone's Royal Oak with what will prove to be a favourite with DJs this summer. "Butterflies" is this record's piano-driven house jam, but really it's all about "This Is The Place", a loved up peach of a production with the strength to appease the underground and crossover into the mainstream.
That's How Lovers Be (Scott Grooves That How dubs Be) (8:52)
Review: The Mysticisms label once more turns its attention to rarefied gold dust from the annals of deep house history, this time shining a light on Soiree Records, which was helmed by cult favourite Drivetrain. Nu-C Zn's "That's How Lovers Be" was an unconventional but oh so sweet curio back in 1995, and now it's been revived with Drivetrain delivering a new mix of the track that lets the smoky keys, plastic sax and gorgeous vocals hover tentatively. UK house stalwart Nail is up next with a bumping, crafty update on the track, while Scott Grooves lays down honey-coated keys that shift the mood of Nu-C Zn's original into a different emotional headspace.
Review: The Sudd Wax label got off to a strong start with Gari Romalis, building on the foundations of the parent digital label to now bringing respected artists to vinyl. This three-track set from Norm Talley plumbs all kinds of depths, from the metallic mystique of "Magic Wand" to the dusty string swoon of "Black Tea", and the hushed and haunting whispers of pads setting out a gloaming mood on "Feel It". This is subliminal deep house at its finest, marked out with character and warmth, and never just playing it safe for the sake of it. Top marks for Talley!
Kim English - "It Makes A Difference" (Danny Krivit & Kyle Smith remix - Danny Krivit 7" edit) (5:39)
Loni Clark - "Rushing" (Mood II Swing dub - Danny Krivit 7" edit) (5:31)
Review: Danny Krivit is currently known as one of the music community's greatest purveyors of top quality disco & house as he continues to perform regularly before sold-out audiences around the world. With his unique ear for what works on the dancefloor he has also become known as "King of the Re-edit." Danny has a deep connection to Kim English's "It Makes A Difference" release on Nervous Records from 2006. Krivit worked with writer Kyle Smith on the remixes that originally made this tune an anthem at his 718 Sessions parties as well as one of the highlights of club nights from Tokyo to New York to London that appreciate quality soulful house. The B-side is Danny's re-edit of one of the most famed dubs from the Nervous catalogue as well as for the producers Mood II Swing. Upon its release in 1993 this dub emerged as one of the defining sounds of summer 1993 at Ministry Of Sound which had just recently opened the year before. The "rushing rushing rushing" hook is well knownby golden era of house afficianados around the world and he does an amazing job bringing this essential hook.
Review: Earlier in the year, sometime Blip Discs and Ninja Tune man O'Flynn (real name Ben Norris) returned to action after a two-year absence. Here he attempts to keep up the pressure via a double A-side single on Silver Bear Recordings. "Sunspear" is little less than a rushing blast of summery dancefloor brilliance - a percussively dense and smile inducing house jam rich in filtered horns, throaty funk vocalizations and what we assume are samples from a cheery Brazilian disco record. A similar production approach be can be heard on the flip, where O'Flynn delivers a lolloping, bass-heavy revision of a lesser-known disco funk cut. It's suitably heavy, but also boasts the kind of rubbery rhythmic swing that's rarely heard on similar exercises in sample-heavy filter house.
Review: Somewhat poetically, Anthony Naples describes his third album, "Fog FM", as a "house music transmission filtered through fluorescent static, from a station out of place and time". You'll certainly find some blasts of evocative radio static dotted around the album - see the drowsy wooziness of ambient numbers "Channel 2" and "Channel 3", not to mention the pops and crackles wrapped around sub-heavy, stripped back peak-time workout "Unhygenix" - but the lasting impression is of a smartly-produced set of mostly club-ready cuts that subtly doff a cap to many sub-genres of house and techno. It's a superb set, too, with highlights including the wayward techno intensity of "Benefit", the "Brown Album"-era Orbital heaviness of "Purple Iris" and the tough, dubbed-out deep house headiness of "Lucys".
Review: Madonna, Depeche Mode and Kelis - what do East End Edits have in store for us next? This seventh instalment harks back to the charming deep jazzy house of their inaugural release - think of the legendary St. Germain and that should give you a fairly good idea. The track's smoky, late night jazz bar vibe is complemented by a rolling bass and swinging rhythms that should appeal to the likes of Rhadoo or Petre Inspirescu - legends of the Romanian scene who themselves have lent their deft hand to the French producer's work as remixers in the past, too.