Sanderson Dear - "A Place For Totems" (extended version) (6:10)
Review: Sanderson Dear's Stasis Recordings released the original Time Capsule compilation in 2020 - a 20-track exploration of ten different ambient techno artists exploring two ideas each in compact form for a box set of 7"s. Now the label has revisited some of the project's standout moments and offered a chance to enjoy extended versions gathered on a single 12". From Maps Of Hyperspace shaping out atmospheric halls of synth work on 'Beta' to Glo Phase offering some gorgeous, sparkling grooves on 'Fire Flies', there's plenty of ground covered on this release. Of course the mighty John Beltran is a big drawer too, and his typically stellar 'The Descendent' doesn't disappoint in its full extended version.
Review: Antonio Ocasio is a spiritual house veteran truly embedded in the story of NYC house music since he minted the Tribal Winds label in 1998. There were a few years where things went quiet, but Ocasio has been back in action in 2023 and swiftly following up the Soulciety Music Series release with this stunning 12". On the A-side we get Sugah Lyrics offering her hushed, poetic vocal tones amidst the rolling percussion and dreamlike synth work of 'Sacred Tones'. The flip takes a different path as a mellow, soulful composition lays the groundwork for Nina Hadz Antich's sweet singing on 'That Something', once again affirming Ocasio's gifts as a songwriter and producer as well as an NYC deep house staple.
Antonio Ocasio & Coflo - "Protecting My Peace" (7:44)
Antonio Ocasio & Cee Elasssaad - "Agbara" (6:44)
Review: Although nowhere near as celebrated has his New York contemporary Joaquin "Joe" Clausell, Antonio Ocasio has been offering up spiritually enriching house music on the Tribal Winds label since the late 1990s. Here he debuts the Soulciety Music Series via a 12" containing two ear-catching collaborations. COFLO lends a hand on A-side 'Protecting My Piece', a fine slab of synth bass-propelled spiritual house piled high with Latin percussion, elongated synth solos, dreamy pads and addictive piano hooks. Cee Elesssad joins Ocasio in the studio for B-side 'Agbara', a deliciously positive, sun-soaked number that adds excitable, jammed-out organ solos to a rubbery and life-affirming piano-house groove
Review: Despite some FXHE releases containing playful artistic references to the films that undoubtedly referenced the titles, this Romancing The Stone double pack from Omar S is sadly lacking in any MS Paint renditions of the Michael Douglas and Kathleen Turner 90s vehicle of the same name. It does however contain four more fine examples of the fact no one does it quite like Omar S. Lead track "Leave" sets the tone, as ripples of percussion emerge from a pool of simmering sonic emotion and embarks on a masterclass in slow build dancefloor revelation at breakneck pace. "Romancing The Stone" pulls from the same palette of anthemic Omar S productions as "Here's Your Trance, Now Dance" and "Psychotic Photosynthesis" as a lead array of synths, keys and chords weave with supple grace over crunchy drums - watch out for the track finishing abruptly. On the second 12", "Frogs" dovetails from a simple disco guitar loop into fucked up abstract acid techno territory with little prior warning whilst "Surpass" finds AOS ending with some anthemic maximal piano house.
Review: Originally released back in 2011 in conjunction with Scion Audio/Visual now repressed by Omar S on his FXHE label "Who's In Key" features Theo Parrish!
Review: In 2024, over 30 years after its release, Incognito's 1991 hit 'Crazy For You' has been reimagined by ONEGRAM with a stunning new arrangement. It brings out the soul with gorge vocals and lazy dub drums providing a perfect counterpoint. The B-side brings a vibrant twist featuring a groovier rhythm, ONEGRAM's signature horn section and lively steel pan melodies that blend Caribbean disco and reggae vibes. Adding to the fun, the ET Edit on the B-side is tailored for DJs and enhanced with tasteful effects for an energetic finish. This fresh take breathes new life into a beloved classic that showcases ONEGRAM's infectious sound.
Review: Opolopo and Alafia recently united to embark on a fresh musical odyssey that birthed two intricately crafted percussive marvels. 'Axxanxxan' and 'Axxiove' were irresistibly captivating, blending Afro rhythms, disco allure, and synth ingenuity into dancefloor dynamite pulsating with tribal vitality. Now, both cuts get served up as instrumental cuts. On the A-side, metallic basslines, choppy guitars, and swirling synths conjure a tropical ambience, while the flip side features pronounced drums and entrancing rhythms infused with a cosmic allure. These Canopy treasures shine as brightly as the original versions.
Review: Opolopo and Alafia have hooked up here to work together on a new musical journey that takes the form of these two richly layered percussive monsters. 'Axxanxxan' and 'Axxiove' which arrive on this 12" from Canopy are as addictive as it gets - they fuse Afro rhythms and disco dazzle with synth innovation to create a pair of dance bombs with real tribal energy. The A-side is detailed with metallic bass, choppy guitars and swirling synths that add up to a nice tropical sotmg, while the flip has more prominent drums and hypnotic rhythms that have a subtle cosmos twist. Two gems from Canopy, then.
Review: Conoley Ospovat's 'Transcontinental Trip' on Continental Drift captures a lush, bass-driven vibe that's both grounded and explorative. The title track kicks off with a jazzy, rhythmic pulse, setting a warm atmosphere that flows into the loose drumming and field recordings of 'Hold On,' evoking the understated style of Ricardo's Sei Es Drum. 'Sunbreaks' showcases Ospovat's melodic touch with a moody, layered groove, while the EP closes with the hazy, atmospheric 'Pacific Coast Rain'ia sparkling finish to an EP that bridges ambient textures with club-ready energy.
Grasslands (feat Mitchell Yoshida & John FM) (5:41)
Visions Of You (feat Mitchell Yoshida & John FM) (5:56)
Totall Recall (feat Mitchell Yoshida, John FM & Carla Azar) (2:29)
Car Dates (feat Tyesha Blount & Carla Azar) (4:22)
Slide (feat John FM, Mitchell Yoshida & Billy Lotion) (6:18)
Keeping Me (feat Mitchell Yoshida, John FM, Troialexis) (5:41)
Growing Old (feat Mitchell Yoshida, Amir Hasan) (6:02)
Morning Ride (feat Mitchell Yoshida) (5:35)
Selinho Na Calcinha (feat Alexia Bomtempo & Mauro Refosco) (11:53)
Saturn Eats His Young (feat Supercoolwicked) (3:57)
Review: If anything, the hugely prolific Motor City mainstay that is Omar S seems to be getting even more prolific as time goes on. His vast catalogue grows once more here with Fun House, which finds Alister Fawnwoda exploring a wide range of dance music styles alongside guests such as FXHE regular John F.M., plus Mitchell Yoshida, Super Cool Wired, Troi Alexis, Tyesha Blount and more, with all the production, lyrics and mixing taken care of by Omar S himself. The tracks range from seductive deep house to edgy mechanical techno, dubbed out downbeat joints and smooth electronic Detroit soul. It is yet another crucial chapter in the FXHE and Omar S story.
Review: Some years back, Ben Norris AKA O'Flynn looked set for a major breakthrough, with his EPs on Blip Discs and Ninja Tune getting singled out for praise. Since then, his career has stalled, though we wouldn't be surprised if this impressive debut album propels him into the spotlight once more. It's a wonderfully fluid, evocative and enjoyable set that attractively sashays between languid ambience, Afro and Latin-influenced cut-up club cuts that cannily fuse disco, nu-disco and deep house, drum dubs and percussion jams, and off-kilter affairs that defy simplistic categorization. Highlights are plentiful throughout, from the dreamy dub disco flex of "Tru Dancing" and jazzy deep house warmth of "Painted Wolf", to the huggable dreaminess of two-step shuffler "Celestine" and the loved-up haziness of enveloping closing cut "Neptune".
Review: Crosstown Rebels continues its spell of dance albums releases with a fresh one from Oceanvs Orientalis (Safak Oz Kutle), Portrait Of The Obscure. After three superb singles on the label over the past four months, this nine-track LP offers a comprehensive exploration of the Istanbul-based talent's rich, globally-infused, captivating sound. As if to bottle the essence of the awe of travel, either everyday-real or astral - and the personal developments and realizations that come of it - onto a single record, Portrait Of The Obscure skirts the possible limits of progressive dance, fleshing out a talent for layering that we'd wager many artists only ten years or so ago would've thought impossible. Just listen to the hullabaloo that is 'Neutrality'; despite the name, it's hardly neutral at all, coming as an immense positivisation of moving parts and godlike sonic entities, which sound to dance around a central kick axis, one that we're surprised Oceanvs was still able to fit into the mix.
Review: Embark on a journey through Berlin's pulsating house music scene with Italian-born, Berlin-based Luca Olivotto, who infuses his beats with the energy of the city's underground while blending in his Mediterranean roots. This album encapsulates the essence of Olivotto's musical universe: a fusion of cultures, a celebration of diversity, and a testament to the universal language of music. Highlights include 'I'm (Not) Sorry,' which delivers a smooth New York house sound, embodying late-night beauty with its uplifting and deep tones. It's a perfect combination for those seeking a soulful experience. 'Don't Change' offers another excellent eyes-closed house burner, maintaining the album's deep and introspective vibe. Also, 'You & Me' stands out as the hands-up moment in any house set with the peak energy and communal spirit of the dance floor at its heart. Olivotto's ability to command dancefloors as a DJ and evoke emotion as a producer shines through in this double pack.
B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition
I'm (Not) Sorry (6:08)
That Groove (6:50)
Don't Change (6:04)
Solid Soul (5:08)
Rollercoaster (4:51)
You & Me (6:09)
The Long Drive (5:21)
Love Transmission (5:12)
Laid Back (4:31)
Insane (6:48)
Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***
Embark on a journey through Berlin's pulsating house music scene with Italian-born, Berlin-based Luca Olivotto, who infuses his beats with the energy of the city's underground while blending in his Mediterranean roots. This album encapsulates the essence of Olivotto's musical universe: a fusion of cultures, a celebration of diversity, and a testament to the universal language of music. Highlights include 'I'm (Not) Sorry,' which delivers a smooth New York house sound, embodying late-night beauty with its uplifting and deep tones. It's a perfect combination for those seeking a soulful experience. 'Don't Change' offers another excellent eyes-closed house burner, maintaining the album's deep and introspective vibe. Also, 'You & Me' stands out as the hands-up moment in any house set with the peak energy and communal spirit of the dance floor at its heart. Olivotto's ability to command dancefloors as a DJ and evoke emotion as a producer shines through in this double pack.
Review: The second part of Omar S' You For Letting Me Be Myself album in vinyl form sees another 8 tracks across four sides of wax; aside from the '80s inflected sounds of the album's title track, the 303 workout of "Ready My Black Asz" finds itself with the dubbed out loops of "Messier Sixty Eight". As a bonus for those who already have the album, this part contains two vinyl exclusive tracks; the soothing deepness of "She's Sah Hero Nik" and the delayed organ weirdness of "Broken Bamalance Horn" - both more than worth the price of admission alone.
A Toast To Momma Rose (Crowd Claps Jacked By Norm Talley)
That's Lil'Boy (feat Ian Finkelstein)
Second Life (feat John FM)
The Sound Of Neptune
Don't Get In My Way
This Love Is 4 Real
Oops
Hear Me Out (feat John FM)
Ambiance (feat John Cloud & L'Renee)
Coming Home Hum
1993
Review: Those who've been paying close attention will know that Alex 'Omar' Smith has been mixing things up musically of late, veering away from the deep Detroit house he's famed for in order to explore a wider range of influences. New album "You Want" doesn't exactly reverse this trend, but it is far more rooted in his particular brand of seductive, off-kilter deepness and techno-tinged hypnotism than recent singles. That's undeniably a good thing, because nobody does crunchy, machine driven club jams better than the Motor City producer. There are nods towards Italian style piano house, disco, broken beat, jazz funk, Masters at Work and - more surprisingly - industrial techno (see the filthy closing cut) - but the resultant cuts don't sound like anything other than tried-and-tested Omar-S club jams.
Review: Alex "Omar" Smith has always come across as fairly militant in terms of his musical output, so it's still a surprise that he's chosen to celebrate the first decade of his FXHE label by putting out a series of mixes. This second installment expands on the first - released earlier this year - mixing familiar staples and scene anthems (Smith's own "It Can Be Done But Only I Can Do It") with lesser known gems. Musically, it's impressively raw, with Smith moving through a range of tough, stripped-back techno grooves and dystopian acid house gems before reaching for more melodious cuts such as the shimmering "Flying Blind" and melancholic "Three Blind Rats".
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.
Review: As much as Detroit legend Omar S can do utterly freaky and experimental sounds, he also knows how to kick out some floor filling jams. On this double album from back in 2005, he manages to do both. The bleepy madness of 'Strider's World' with its meandering bass and raw drums was a classic that got hammered by everyone at the time, while 'Congaless' was another favourite on cultured floors with its lovely claps, hissing synth details and low slung beats. In between are plenty of archetypal Smith cuts, but the best might be 'A Victim' with its aching vocal.
Money Hit Da Floor (feat Supercoolwicked & Amir Hassan)
Aaayoooooo (feat Alister Fawnwoda)
Can't Change
Inner Luv (Intrumental mix)
Bend Who (feat Milf Melly & King Milo)
Whale Sex
Multiple Orgasms
Ice Cream (feat Alandra O Smith & Supercoolwicked)
Miss Hunn'nay (feat Mad Mike Banks)
My Momma & 'Nem Said I Don't Have To!!!
Start This Over Again (feat Supercoolwicked)
Jump
Outer Jass Authority (feat Supercoolwicked, De'Sean Jones & Ian Finkelstein)
Review: Omar Alex Smith's development as an artist is such that these days, it's hard to predict what he'll put out next, musically speaking. Can't Change, his first album for two years, is a great example of this. While there are examples of his trademark hypnotic, driving, heavily electronic Motor City house sound (see 'Whale Sex', 'Inner Love' and the acidic 'My Momma and Ned Say You Don't Have To'), these rub shoulders with tracks that more expressly explore his different inspirations, as well as nods to Detroit musical history. The results are predictably impressive, with our picks including the jazzy, soulful and sun-kissed dancefloor pressure of 'Virgil', the mutant R&B/hip-hop of 'Bend Who', revivalist piano house sing-along 'Start This Over Again' and a jaunty workout featuring vocals from UR's 'Mad' Mike Banks ('Miss Hunn'ayy').
Review: Six brand new shakers from Omar S...This is the sh*t! Never confined to one particular genre, Omar is again blending house, techno and even minimal styles into one big pot of deep Detroit underground funk. There's even some Basic Channel / Deep Chord vibes going on there somewhere. Simply killer.
In My City (feat John FM - Rick Wilhite mix) (6:27)
Don't Leave Me Standing Yeaa (5:44)
Mell'like Boom Boom In'dair! (4:28)
Washtenaw County Horn Section (6:03)
You Gotta Beat The Clock (4:24)
Simply (7:16)
Review: There's been plenty of online chatter about the confrontational title of Omar-S's latest full-length outing, and arguably not enough focus on the music itself (or the fact that the guest list contains Rick Wilhite, Norm Talley and OB Ignitt for that matter). This is unfortunate, because as usual Alex 'Omar' Smith has hit the spot. The six untitled tracks are impressively varied, with Smith effortlessly moving between 21st century P-funk (track one), cowbell-powered deep house funk (track 2), sparse and synth-heavy acid house hypnotism (track three), disco-house jack (track four), sub-heavy Detroit-meets-Sheffield minimalism (track five) and sunrise-ready dancefloor dreaminess (track six).
Review: Omar S and Shadow Ray hooked up back in 2005 as Oasis and turned out a low key classic with Collaborating. It's an essential double album packed with signature Motor City heat and dishevelled deep house workouts for mind, body and soul. Things open with the slow paced crawler 'Oasis 4' then take in 'Oasis 11' with its pinging percussion and stripped back grooves, the standout 'Oasis 1s-1/2' with its gorgeously melancholic synth bleeps and heart melting chords and the darker energy of 'Oasis 7'.
Review: Oasis Collaborating is the name of two different double albums that Omar S and Shadow Ray put out under their Oasis alias back in 2005. They are both hugely original and essential works of stripped back Motor City house music perfection. This one is packed with gems like the wispy pads and metallic synths of 'Oasis Fifteen', the low slung rawness of 'Oasis Seventeen' and the brightly, optimistic melodies and twanging chords of 'Oasis Twenty Five'. Each of the tracks sounds like they were recorded live, with two masters of their machines just jamming away, tweaking knobs and cooking up pure house magic.
French Audacity - "The Final One" (feat Valerie) (4:34)
DJ Spike - "Gaps In Space" (2:55)
Interdance - "Kurz" (5:25)
Bad Behaviour - "Living On Smoke" (Edgware mix) (4:09)
Frequency - "Systematic Input" (4:53)
Diffusion - "Lushes" (5:49)
MFA - "Blue To Be Happy" (7:18)
RIP - "EOPan" (5:49)
Mad Professor - "Oh Hell" (4:02)
Review: Orpheu The Wizard is a Dutch DJ and co-founder of the infamous but sadly now defunct Red Light Radio. Coming through for the fifth edition of the Sound Of Love International series - which showcases the eclectic musical tastes of the DJs who play at the Love International festival in Croatia - this fresh selectors' comp hears Orpheu crate-fiddle through cosmic disco, Balearic pop, synthwave and ambient, by the likes of Khidja, Benedek, Donato Dozzy and Gaussian Curve.
Review: Osunlade's latest release continues his transformative journey, evolving from a major-label ghostwriter to one of deep house's most spiritually attuned and culturally conscious figures. His Yoruba Records imprint has long been a conduit for globally infused, soul-drenched house music, but here he turns inward, stripping things back to something more meditative while maintaining his signature warmth. 'Wiggle Room' opens with rhythmic vocals, strings and congas that gently invite movement. The pace slows in 'PASS!!,' building a quiet tension, before 'Hang Nail' introduces Middle Eastern-inspired melodies and sharp, punchy beats. 'Luv' offers a burst of warmth with lush chords and smooth vocals, capturing the essence of that classic deep sound. In 'She Represents,' heavy 303 basslines pay tribute to Shirley Chisholm, intertwining excerpts from her iconic speech with commanding rhythms. 'So Long...Stranger' reflects on the isolation of the pandemic, a quiet moment of introspection, before 'Modular Movements' closes the collection with an emotionally charged resolution. This set offers a journey that balances movement and stillness, reflecting Osunlade's own pathideep, unhurried and reverent, like the house music he's crafted throughout his career.
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