Back catalogue: House

Review: There's a fair chance you'll already have heard "Cola", experienced production duo Camelphat's collaboration with vocalist Elderbrook. The original version, with its rumbling bass, atmospheric builds, subtle bassline house influence and "she sips the Coca-Cola" refrain, has become something of an anthem since first appearing on digital download earlier in the year. For this first vinyl release, Defected has packaged the now-familiar original mix with a trio of reworks. The most impressive of these comes from German veteran Mousse T. He brilliantly re-casts the track as a bumpin' chunk of celebratory disco-house complete with thrilling piano riffs and an elastic bassline.

Review: Having built his reputation via a regular series of self-released 12" singles, East End Dubs is now beginning to make guest appearances on selected labels. Here he pops up on the long established, vinyl-only INFUSE imprint with a trio of club-ready concoctions. On the A-side you'll find "Gradual Steps", a rolling and attractive fusion of bouncy deep house drums, spacey, Motor City chord, thickset bass and glitchy tech-house flourishes. As usual, there's a wonderful swing to his drums and the stretched-out chords are hazy and evocative. You'll find more of these sumptuous pads and chord progressions on similarly-minded flipside cut "Mind Traps", while closer "Enhance" is another deep house/tech-house hybrid blessed with a notably epic breakdown.

Review: It's coming home, it's coming home - house music is coming home! A second instalment of the Groove Access: series Chicago Is Home offers us five fresh tracks from the windy city landing in a glorious cavalcade of razor edged snares and hypnotic jack house. Ed Nine & Kid Enigma's 'Bandleaders' opens side one in spectacular fashion with spoken mantras lying deep in the mix, distinctive phasing arpeggios, poking keyboard riffs and ringing cymbals. JSquare's 'Get Wicked' kicks with even more power, tribal rhythms bouncing of bleepy melodies, before 'Move' by Geto Mark rounds off the side with the strutting, beautifully brutal 'Move', a proper 3AM peak time pleaser. Steve Noah's 'The Hater' opens side two, a wily acid line worming its way across a raw, stripped down backing before exploding into serious gnarliness when you least expect it. AFTR's 'Undercover' rounds things off with another knuckle duster of a tune, leaving no doubt that Chicago is still the place to be when it comes to house.

Review: Three Es would be some trip, and EEE also symbolises guaranteed good times in the club. The mysterious label and eponymous artists keep on rolling out essential tech and minimal cuts that are smartly designed and authentic, but also with anthem potential. Maybe that's why each one is a one-sided 12", to really allow the tune room to shine. In this case, dusty drums with a hint of garage swing and shuffle are paired with melodic baseline motifs and colourful synth patterns. It's a good time groove with plenty of heart.

Review: The shadowy EEE series has already brought us tasty and much-played tech-house interpretations of a familiar jazz-house gem and a string-laden '80s synth-pop shuffler. Their third single-sided affair - as championed by Zip and Riccardo, no less - takes on a much-loved early noughties R&B classic, placing carefully selected and sequenced vocal snippets around a seriously snappy and sub-bass-heavy groove. Although tech-house in style - note the glitchy electronic noises and spacey effects fixed to the beats - the track's infectious rhythm track was clearly influenced by the current electro revival. This added swing and shoulder-swinging looseness, coupled with the familiarity of the vocal elements, makes EEE03 a guaranteed peak-time winner.

Review: More from single-sided specialists EEE, a shadowy crew that specializes in sneaky contemporary club reworks of well-known tracks (many of which are, in their original form, about as dancefloor focused as your average miserable indie band or veteran cabaret crooner). What's on offer this time round is a heavily electronic tech-house groove - all Romanian style beats and bubbling, mind-altering synth notes - onto which is laid cut-up snippets from a famous old blues cut that's previously been sampled on a club cut to great effect. While the vocal does sit slightly awkwardly at times, there's no denying the heaviness or effectiveness of EEE's track. In other words, it's another winner from tech-house's most shadowy crew.

Review: If you dig tried and tested tech-house grooves fused with elements from classic cuts, there's a fair chance you've already snagged copies of numerous volumes in the popular East End Edits series. We'd suggest taking a listen to the clips of the imprint's latest single-sided missive, which not so subtly pitches up and beefs up one of the greatest summer sing-alongs of all time: Bill Withers' 'Lovely Day'. Built around a restless, non-stop house groove - all hissing cymbals, crunchy snares and locked-in kick-drums - the rework builds impressively after introducing the track's famous bassline before introducing the sweeping strings and Withers' iconic vocal. A simple idea executed impressively.

Review: It's that time again! East End Edits are back with another cheeky, pop-inflected minimal techno workout. As always, the remixer's identity is under tight wraps but as soon as that vocal drops you'll sure know who they borrowed the hook from. Booming, tough rolling UK tech house aimed squarely at the main room at peak time, the dense bass pulsations of the original compliment this version perfectly, alongside the gorgeous come hither vocal. Hand-stamped, one sided heavyweight 12" vinyl in limited copies.

Review: The ever reliable East End Edits return with more anonymous white label minimal house shenanigans. On their eleventh edition in the series they have a surefire UK tech house number that rolls tough, is packed full of swing and with classic NYC house tropes all the way. A chord progression fuelled by glistening keys, bumping bass and familiar RnB vocals from the early 2000's that all come together for something pretty special. Again, it's anyone's guess who's responsible for this one, but the label is tight lipped as always - tip!

Review: We have seen some pretty inventive remixes and mashups on the new EEE imprint, but this could well be the most exciting yet. Once again it's another hand stamped one-sided vinyl on offer, featuring a groovy minimal/tech-house arrangement with vocal samples of one certain pop princess - namely one of her very famous hits of yesteryear. The artist behind it, as always, is being kept under wraps but there's no hiding the fact that this is some seriously heavyweight club ready business.

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.

Review: The first volume in the mysterious EEE series simply flew off the shelves. It featured a tidy, on-point rework of one of the most celebrated jazz-house records of all time. This time round, the mystery remixer - who seems to prefer subtly beefing up tracks with new beats and one or two new musical elements - sets his or her sights on a classic chunk of moody British synth-pop from Basildon's finest. The new rhythm track sits somewhere between metallic electro and hypnotic tech-house (think clipped, fizzing electronics, and squeezable kick-drum sounds), while much is made of the original synthesizer strings and recognizable vocal. It's a tidy and undeniably floor-friendly version, all told, and will no doubt be very popular with DJs.

Review: Aniara's output has always been brilliantly designed for club deployment but could never really be considered as mere tools. The artists who appear on the Swedish imprint have a cultured sound and a knack for crafting maximum impact from minimal elements. Enter Mattias El Masouri who does just that with the sublime 'Time Dilation In Ultraviolet'. It's a hypnotic deep house cut with real drive that's down to the deft broken kick drum patterns, pulsing synth and heady pads that swirl above. 'Inre Dimension' is a 13-minute plus sonic daydream with paddy drums, drumming pads and perfectly airy hi-hats that anchor you in the heart and now as your mind wanders.

Review: OGE White has released plenty of great slabs of wax by the likes of Philipp Boss, Hollow Fraud and Natalie Gardiner, and this time out it is the returning Enzo Leep who impresses with four tunes in collaboration with Giralda. 'Beat Goes On' starts things off in jazzy fashion with some manic chords dancing drunkenly about the piano next to a jumble of percussion and weird samples. 'Aroa T Lo Miro' then kiss it fresh with more breakbeats, steamy vocal samples, high-speed beats and a funky mood, then 'Hell Or Heaven' has a dry, percussive rhythm that is marbled with characterful vocal stabs. 'Conscious Of My Conscience' is a surefire winner with its seductive 80s soul vocals sampled from a well-loved duo.

Review: Twisted psychedelic sounds and wiry electronics are back en vogue right now and bringing with them a retro touch, which can be heard in the open of this new EP from Dutch label Hoarder. 'I Like The Sun' is crisp, vibrant techno with a 90s edge and after that, it's producer Existencia Pasajera who serves up three collabs. The first is with Dismal - 'Bullet Proof' brings sunny old-school piano stabs to acid-laced and raw tech beats. Dismal also steps up for the hyper-real colours and dreamy trance-techno of 'Hope To See You' then Mati F contributes to zoned-out 90s tech house stepper 'Mental Spirit' to close.

Review: The 110th release from Kompakt Extra comes from Extrawelt, a long-serving electronic band from Hamburg that has previously impressed via albums and singles on Traum Schallplatten, Border Community, Darkroom Dubs and Cocoon Recordings. They naturally hit the ground running with "Pink Panzer", a bustling affair that mixes live drum breakbeats and tough machine percussion with moody, booming bass, creepy strings and evocative, ever-building tech-house electronics. Flipside "Argonaut" is an altogether sleazier and heavier affair full of thrusting, non-stop distorted bass, redlined post-electro drums and all manner of mind-mangling electronic effects. It's effectively the Yang to the A-side's Ying and, like its' predecessor, very good indeed.

Review: The second Abstract Cuts release is an EP split four ways, but with new, unconventional approaches to the dancefloor at the heart of each submission and all using vintage drum machines and samplers. The Robot Dance Connection's 'Powers Of Ten' (R2d2 live edit) kicks off side one, shiny high frequency polish played off against a gorgeously stubborn techno beat, before the slinkier and smoother 'Gold Saucer' by Brunzi offers an equally danceable but less angular counterpoint. Flip it over and Tomska's 'Lethal Overdose' (Touch dub 2022) offers rushing sonics, off kilter snare damage and four to the floor thump, before Emile's 'Jeu Froid' completes the set in grimy basement style.

Review: Woody McBride's Sounds label continues to dive back in the archives and revive some absolute gold standard techno for modern diggers. This collab effort between McBride (in his DJ ESP guise) and DJ Skull originally came out in 1995, and it still sounds fierce to this day. 'The Drive' is a stripped down tool with all the right chops to tweak out a locked-in raver, but 'G-Rated' is the real gem on the record. In a blistering hailstorm of 303 squelch you get a definitive example of acid techno at its finest. 'The Power' might well find relevance in the present day trance-techno scene thanks to its unsettling leads and relentless forwards thrust.