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: 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: 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: With the new Inside Out series, Aus Music is aiming to blur the boundaries between traditional artist albums and DJ mix compilations, primarily by asking chosen selectors to showcase their music and that of their close musical companions. To show how the series works, Aus Music chief Will Saul has handled this first edition, serving up a mix of previously unreleased music from his extended friendship circle that moves from woozy ambience and dewy-eyed downtempo electronica, to melodious techno and fizzing, electro-inspired broken beat jams, via a range of deep, atmospheric and rhythmically intriguing workouts. With the likes of Falty DL, Pearson Sound, Mr Beatnick, Lone and Move D contributing tracks, the quality threshold is impressively high throughout, with Saul's fluid mix sparkling from start to finish.
Review: UK born, Berlin based producer Matt Karmill first appeared on our radar a few years ago, with his brilliant Fight EP on Mule Musiq sublabel Endless Flight. Testament to his diverse sound, he's since appeared on Bristol bass institution Idle Hands, Swedish oddball house heroes Studio Barnhus and Norway's Smalltown Supersound. It's the latter where he's explored his more disco leaning side - and that's on display here on the Sourced EP. From the slo-mo and sultry deepness of "I Love It", "KO" with its smoky late-night jazz bar vibe and the funky title track - where the drummer gets wicked beneath a bass driven and evocative groove.
Review: The controversial Marquis Hawkes returns with more convincing classic house perspectives on Aus Music. We must say that you are in good hands with Mark Hawkins: a prolific producer whose career has spanned nearly 20 years - releasing for the likes of Pro-Jex and Djax Up Beats, back in the day. But unlike the hard techno exploits he presented on the latter, he's better known these days for more uplifting faire - as heard on "Wanna" that ticks all the boxes with its diva vocals, Strictly Rhythm style organs and all round early '90s styled NYC bounce. On the flip, we have the euphoric "Sure Thing Baby" that calls to mind classic Steve 'Silk' Hurley with those Kenny Bobien style vocals atop - which really are the cherry on the cake.
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: 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: 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: By now, we should all know what to expect from Belfast boys Bicep, namely formidable dancefloor fare variously influenced by bumpin' US garage and vintage Italian house. This two-tracker for Aus is, though, a little different. For starters, lead cut "Circles" bites classic Detroit techno, adding woozy, picturesque electronic melodies to a typically in-your-face techno groove (check the relentless scymbals for proof of the track's Motor City credentials). "Track 2" is a deeper proposition, but no less fluid. Like its predecessor, it's more musically rich and enveloping than many of their tough, stripped-back productions. It's an intriguing new direction, and proves once and for all they're no "one trick" ponies.