Review: Bwana aka Nathan Micay has already seen a release on Will Saul's Aus Music and his fluid, freeform house music returns with "Tengo", a melodic progressive house nugget that's both spacey and fit for any dancefloor. The same goes for "Drop Mechanism", an ethereal house stepper, while "Due West" goes in a lot harder with a vicious bundle of Power House drums punching and kicking their way across its chords. Effective floor bombs.
Review: Former Panorama Bar resident and local Berlin fixture Cassy Britton presents her first full length release since giving up her residency and leaving Europe's clubbing capital for the sunny shores of Los Angeles. The Donna LP features some dusty classic house sounds of the deeper spectrum, as heard previously on her eponymous imprint, Uzuri or Perlon sporadically over the last 10 years and her great vocals which veer from spoken word, haunting/monotone to high pitched diva moves are a constant throughout. Highlights for us were the uplifting deep disco of "All I Do", the soulful deep funk on her cover of Prince's "Strange Relationship" or the emotive yet tough techno of "Move".
Review: Inside Out is a brand new series from Aus Music label head Will Saul. It invites DJs and producers to blur the boundaries between traditional artist albums and mix compilations. The concept encourages them to showcase their own music, or the music of those in their own individual circles. Depending on who is curating, it will take different forms. The idea stems from Saul's own approach in the club, which often finds him seeking out brand new and unheard music to play for the first time. There's a strong Detroit techno aesthetic throughout his inaugural release for the series: from the emotive hi-tech soul of his own collaboration with Komon entitled "Positive", Amsterdam legend Gerd had no problem channeling similarly timeless retro vibes either, as heard on the funky techno-soul of "Echoes". They save the best for last on the flip, with the legendary Floorplan's riveting rendition of Primitive Trust's "Little Love" - perfect to get that 3AM style strobe-lit tunnel vision in effect.
Review: Amsterdam based Tom Ruijg has been producing since 2010 but has really come into his own under the alias Tracey. He serves up some seriously emotive and reflective modern electro for Aus Music on the Metamorphosis EP, which follows up some great releases of late for locals Tom Trago's Voyage Direct and on Midland's Intergraded label. From the sublime and hypnotic title track, to the moody sci-fi bounce of "Blue Invasion" and the old school analogue soul of "Helix" reminiscent of Detroit legends like Dopplereffekt or Drexciya - Ruijg proves his uncanny ability to summon those ghosts in the machine on this impressive release.
Review: As the recent label compilation proved, Will Saul's Aus Music are dealing in strictly heavy hitters these days and they don't come much bigger than Paul Woolford do they? Heaven & Earth looks to be Woolford's latest concept-laden 12", arriving a few months after the Spesh Request man laid down the Mother & Child single for Hotflush. Split into two parts, "Heaven & Earth" finds Woolford channelling a rich brand of tech-laden house music and one that is adorned with swooping orchestral flourishes amidst the thick swathes of bass. The more pared-back part II just nudges it for us.
Review: Having spent the last seven years delivering impressive singles on a variety of labels - most notably Aus Music, Secretsundaze and Hype_Ltd - Ewan Smith has decided the time is right to unleash his debut album under the Youandewan alias. There Is No Right Time is a gently expansive affair, with the Scottish producer utilizing both electronic and acoustic instrumentation on tracks that perfectly showcase his diverse range of influences. Contrast, for example, the spacey jazz-house of "Be Good To Me, Poly", the dusty, pitched-down deep house warmth of "Time To Leave (Can't Mix)", and the sparkling, B12 style IDM/electro fusion of "Something Keeps Me Real Quiet"; all are immaculately produced and impressively melodious, but hugely different stylistically. He also joins forces with Huerta on album highlight "Left On Lucy", a glistening fusion of bubbly, synth-heavy deep house, Motor City futurism and sun-bright new age melodies.