Review: The sixth volume in Toy Tonics occasional "Tonic Edits" series comes courtesy of label regulars COEO, a Munich-based duo who previously proved their edit credentials via a tasty 12" on Razor-N-Tape. This collection is arguably even better than its predecessor and sees them take their rusty scalpels to a quartet of Japanese disco-pop tracks from the 1980s. There's much to admire, from the sleazy electrofunk grooves, bold pianos and sparkling pianos of "Matchbox" (A2) and the slap-bass propelled boogie goodness of the Teena Marie-esque "Uber Man" (B1), to the freestyle influenced synth-pop bounce of cheery closing cut "Tibetan Dance". Arguably best of all, though, is lead cut "Japanese Woman", a bi-lingual disco song rich in rubbery bass, Chic style guitars and sparkling synthesizer flourishes.
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: 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: 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: Some five years after re-launching his Crayon label via a fine EP of vintage "Tracks From The Vault", original 1990s tech-house producer Mark Ambrose serves up more gems from his bulging archives. The quality threshold remains dizzyingly high throughout. Check first "Nightshift (Deeper Mix)", where gentle, alien synth lines and deep space chords tumble down over a heavy analogue bassline and locked-in beats, before turning your attention to the slamming techno beats, looped electronics and mind-mangling TB-303 motifs of "Dusty Acid". Also impressive is "Space Animals", a deliciously dubbed-out affair rich in sub bass and drifting, deep space chords.