Last Night On Earth レコード& CD

Review: Last Night On Earth's latest release is something rather special: a fresh set of dancefloor dubs of catalogue tracks by prolific producer, remixer and friend of the family Deadbeat. His interpretations are largely loopy, hazy, hypnotic and trippy, joining the dots between traditional dub techno and a more bass-heavy, out-of-this-world version of 21st century tech-house. Perhaps the most eye and ear-catching track is "Float Collapse Dub" - a version of a previously unreleased Sasha cut - but the ethereal and otherworldly dubs of tracks by Ejeca, Alex Niggemann, Hunter/Game and John Gurd - a dreamy and picturesque affair - are also especially good.

Review: Sasha's Fleuron Drift epitomises classic progressive house, showcasing his expertise in the genre. The original track features a strong melodic build and consistent energy throughout, captivating listeners with its dynamic progression. On the B-side, the remixes kick off with Theo Kottis' remix injects a more upbeat and trance-like vibe, with futuristic and techy elements. The growling bassline adds intensity, while a melodic break and tension release keep the energy flowing. In contrast, Kassian's remix takes a more minimal approach, focusing on groove. Stripping back the layers, it emphasizes rhythm and movement, creating a hypnotic atmosphere that draws listeners into its depths. Overall, Fleuron Drift and its remixes offer a diverse range of sounds and styles, staying true to the essence of classic progressive house.

Review: Sasha has done well to re-establish himself with the next generation, and its largely because of the work he puts into his Last Night On Earth label. A haven for producers who like emotionally stripping, melodic sounds, this latest VA package delves into the previously digital-only archives. The boss himself kicks things off with a collab with La Fleur built on a wavy baseline and crisp house rhythm. Fur Coat keep things more mysterious with "Babel" while Hunter/Game keep you in suspense throughout the many melodic and harmonica layers of "Canyons". Jon Da Silva & Jozef K close things down in more purposeful fashion.

Review: Two of the Windy City's finest team up again for another wonderful meeting of great minds. Kate Simko's impressive high fidelity sound honed by sleek and slinky minimal house productions merge with the unmistakeable analog soul of underrated Chicago legend Tevo Howard and his ability to conjure the ghost in the machines. There's the mesmerising and ethereal qualities of "Polyrhythmic Theme", the minimal backdrop of an analogue drum synth for the beautiful vocals courtesy of Baz on "No Regrets". On the flip we have the Fred P Reshape of "Polyrhythmic Theme" and it is exactly what you'd expect from the master of deep, subterranean house with its unmistakeably surreal atmosphere.

Review: Canadian producer James Teej is hard to pin down. His glittering, heavily electronic productions sit somewhere between deep house, nu-disco, old-fashioned progressive house and downtempo beats, with occasional nods to the early '90s "intelligent techno" of Orbital. This second album, his first for Last Night on Earth, continues this trend. At its best, it glistens with positive melodies and acid-flecked dancefloor shuffle (see "Leaving the Island" and the bright and breezy "The Last Request"), while there's enough odd turns (the Meat Beat Manifesto-ish "Renunion" and decidedly Balearic "Sun Waltz & The Landing") to keep things fresh.