Review: Hamburg deep house cognoscenti Julius Steinhoff and Dione return for their second full length as Smallpeople, following up 2012's much lauded Salty Days and some sporadic EPs on their Smallville and Fuck Reality imprints respectively. "Afterglow" is a solid effort that continues with their fascination of classic U.S. deep house derivatives, all reinterpreted through a vibrant modern lens. From the sunny and dusted down urban blues of opener "Magic Interference", the emotive Chicago influence on late night grooves like "Hearts At Whole" or "All States Of Dawn" (particularly the latter with its irresistible jacked vocals), through to the hypnotic Latin-tinged flavour of "Beyond" or the sublime deep dub of the title track - there's nothing to fault on this fine effort.
Review: Second time around for David "Move D" Moufang and Benjamin Brunn's first full-length collaboration, a set of unsurprisingly deep, minimalistic house, techno and ambient workouts that first appeared in record stores way back in 2006. It's one of those albums that's arguably best listened to while flat on your back in an intoxicated state, despite the presence of such hypnotic, early morning club workouts as "On The Magic Bus" and the dreamy and delightful "O". You see, the majority of the album's eight tracks are spaced-out in the extreme and all the more alluring for it, as Moufang and Brunn expertly showcase their ability to create impeccable slices of hushed, otherworldly electronic minimalism.
Peven Everett - "I Can't Believe I Loved Her" (Moomin version) (6:21)
Review: Having recently impressed with their contribution to the F*ck Reality series, Moomin returns to the comforting surrounds of long-time home Smallville Records. As usual, Aquarama sees him exploring the deeper, more melancholic side of house music, with typically impressive results. The headline attraction is undoubtedly a stellar rework of Peven Everett's 2001 soulful house classic "I Can't Believe I Loved Her", which Moonin has successfully turned into a misty-eyed chunk of melodious, bittersweet deep house bliss. In comparison, the other two tracks don't sparkle quite as much, but are still hugely enjoyable. The title track - all cyclical acid motifs, drifting vocal samples, shuffling beats and chiming melodies - is particularly tasty.