Aus Music レコード& CD

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: For this expansive double-pack of reworks of tracks from Cassy's debut album, Donna, Will Saul has assembled an impressive cast of remixers. First out of the blocks is Marcel Dettmann, whose hypnotic, late night interpretation of "Move" fixes dubbed-out organ riffs to a bustling techno rhythm. Ron Bacardi's version of "All I Do" sounds like a cross between Twilo-era tribal house, and bumpin' old skool U.S garage, while Radio Slave is at his druggy, early morning best in stretching out "Keep Trying" (first on the club-friendly "Feel Raw" mix, and later on the K-hole embracing, pitched-down "100 Reasons Remix"). If that wasn't enough to set the pulse racing, there's also a brilliantly melodious and emotion-rich remix of "Feel" from Yoruba Soul.

Review: London producer Fold has built up a small but respectable discography of 12" releases, largely for local capital concerns Man Make Music and Electric Minds. He's also got something of a penchant for humorous titles, which is on full display for this debut Fold 12" on Will Saul's Aus Music label. Calling your record Netflix and Chill might put off the house purists with no time for internet memes, but you can't fault the standards of Fold's productions here. Lead cut "Calmer Mood" features some fine sampling over skipping drums and a hefty bassline, whilst the appropriately named "Wallop" could be mistaken for a Maurice Fulton track. On the B-side, the drum heavy jungle-house hybrid makes for a refreshing change of tone and is backed by a killer Kassem Mosse remix.

Review: Geeeman is arguably one of Dutch producer Gerd's better-known alternative aliases, thanks to occasional - but well regarded - EPs on Clone's Jack For Daze offshoot. Here he dusts off the pseudonym for its' first outing for two years, surprisingly popping up on Will Saul's Aus Music. The original version is a loving tribute to the glory days of ghetto-house, with chopped-up, pitched-down vocal stabs combining with a booming bassline, thunderous drums and sleazy synth-sax to create a sweaty, basement-bothering mood. There's a little more vintage Chicago swing to the bouncy Tribute Instrumental, before Clone veteran Alden Tyrell delivers two brilliantly intense and slamming ghetto-acid-meets-Joey Beltram style interpretations.

Review: Given that he's a born collaborator, as his vast discography proves, it's perhaps fitting that David Moufang's latest album as Move D is packed to the rafters with killer collaborations. Check, for example, the ultra-deep, woozy and off-kilter "Innit", a superbly dubby and opaque studio hook-up with German rave pioneer D-Man, and the shuffling, intergalactic deep house warmth of Fred P collaboration "Building Bridges". Fittingly, his renowned collaborative projects also feature. There's a wonderfully elastic and out-there dub techno/minimalist track by Reagenz (Moufang and Jonah Sharp AKA Spacetime Continuum) with German veteran Thomas Fehlmann, and a Magic Mountain High (alongside Juju and Jordash) track that takes slow-burn, softly spoken deep house/dub techno fusion and runs with it. As you'd expect, the solo tracks are impeccable, too.

Review: On his previous two full-lengths, London-based Glaswegian Andy Graham promoted a hazy, evocative take on house and minimal techno. On this third studio set - his first for some six years - Graham is much more concerned with the atmospheric potential of electronic compositions that variously doff a cap to classic ambient, IDM, James Blake, the screwed R&B-tronica of Hudson Mohawke, and the loved-up synth-pop of Junior Boys. As a result, Space In Your Mind is a tactile, dreamy affair, with even the occasional forays into deep house territory - see "Kalstars" and "Ancestors" - recalling the loved-up feel of classic Visionquest material.

Review: Leeds legend Paul Woolford is an unstoppable force. Taking a break from creating retro flavoured warehouse bombs under his well received Special Request alias and returning under his birth name for some clean cut tech house for Will Saul's always reliable imprint. It's all in the name of the cross on here, if you catch our drift. Religious overtones aside: "Holy Ghost" is deeply emotive groove, carried by a strong arpeggiated bass and haunting strings; seductive and functional. On the flip, "Father" goes for some electro driven, early '90's, UK IDM vibes (which we found particularly charming) until "Son" closes the EP out in true style on this beatless ambient acid journey.

Review: Ewan Smith's first 12" of 2018 sees him return to the welcoming embrace of Aus Music, a label he last graced almost three years ago. This time round, there are three tracks to choose from. A-side "Ideal-Passage", a bouncy, techno tempo workout blessed with a restless, undulating bassline, dreamy chords and the kind of clipped guitar samples that were once the preserve of French Touch producers, undoubtedly steals the show, offering the perfect balance between funk-fuelled dancefloor antics and head-in-the-clouds beauty. This vibe continues on the arguably deeper and even more melodious "Thewizzwasfordillysmissus", while closer "Sicko" wraps a chunky, UK garage-influenced rhythm track in tech house style electronics glitches and yearning synth stabs.