Review: The always on-point SlapFunk continues its sixth round of Raw Joints with another four razor sharp jams from a gifted contingent of contemporary producers. Lopaski actually delivers something with the delicacy of Jan Jelinek's finest early micro house productions, but strapped to a more pronounced rhythmic undercarriage. Pascal Benjamin gets into a quintessential minimal house groove that sounds right at home on SlapFunk, while JAMM brings a tougher set of beats to the table. SE62 rounds things off with the loose and limber shuffle of "Fear", which doffs a cap to garage while keeping things dark and deadly.
Review: For the second edition of the mysterious new anonymous artist imprint Party Nails, we get treated to some tough rolling UK tech house for main room - UK style - on "Hopin' She's A Freak" with its naughty and catchy ghetto house samples. Then get deep, down and dusty (disco style!) on the rather Robsoul sounding "Um So", lo-slung and funky perfect afterhours tackle on "Brown Acid" while the peak time syncopations of "Boudadan" feature a familiar sample from a classic and pushes into afro house territory.
Review: London-based Pawsa's hairstyle may be reminiscent of Jean-Michel Basquiat, but he has a signature sound: inventive tech house with an old school vibe that is decisively made for the dancefloor. That's exactly the order of the day on his eponymous imprint's 14th edition. Main track "Erryday" is a bangin' and surefire groove that's made to play. A side houses the original version that rolls tough on the bassline, supported by a gritty classic house shuffle. There's a handy and functional dub version on the flip, too, which omits the dramatic vocal monologue in the middle and gets straight down to business.
Review: Alex Pervukhin has enjoyed a productive 2019. This rock solid four-tracker on Colours Of Crocus marks the Ukrainian producer's fourth single of the year, following similarly impressive outings on Recordeep, Hubble Recordings and his own Laconica imprint. It's an attractive and warming affair, with Pervukhin effortlessly fusing elements of late '90s UK tech-house and the dreamy, spacey end of the deep house spectrum. Opener "Late Run", whose melodic flourishes, tactile synth bass and intergalactic electronics are wonderfully immersive, is the benchmark, with Kirik's flipside remix offering a tougher and more hypnotic take on the same seductive elements. Elsewhere, "909's Dreams" is more driving but no less atmospheric and melodious, while "Next Week" is a fine chunk of drowsy late night hypnotism.
Review: Following up a great inaugural release by Dragutesku, the sophomore release from respected Rominimal news source turned record label, Feeder, comes from ascendant artist Piktor, who serves up yet more of his ever reliable tech house grooves. The now Vienna-based producer/DJ is in fine from on "Similar Feelings": from the sublime futurism of the title track that displays his penchant for all things rolling and hypnotic, to the groovy minimal funk of "The Night Before" which sounds much more "afterhours" than anything else we've heard from him before. But it really is all about the powerful B side cut "The Gift That Keeps On Giving" which is exactly the kind of track you'd expect to hear on a heaving dancefloor at the upcoming Mioritmic Festival on Saturday night.
Review: Originally prolific in the late 90s and back with a renewed sense of vigour in the past few years, Dan Piu's classic, widescreen vision of hardware techno captures the verve of the original Detroit blueprint while bringing a fresh, welcome energy to the genre. This drop on Common Dreams brims with the same head-swirling magic, especially on vividly rendered lead track "Halo City". "Falling Framework" has a more mellow veneer, but there's still so much playful detail bringing the track to life. "Akira 2171" has an old-skool sci fi quality balanced out by its linear sense of progression, and "Ilipsyon" takes things deeper into a wistful jack reminiscent of the spookiest Trax output.
Review: Fresh from the success of two top notch EPs on iile, Leo Pol unveils his most ambitious release to date. All I Got In Me is something of a beast, with seven tracks stretched across two slabs of wax. It's a rather pleasingly varied affair, all told, with the experienced producer flitting between Detroit style techno futurism ("BH2"), warm, chunky and occasionally tough deep house ("All I Got In Me", "Live Concrete"), spacey beatbox electro ("Live Love") and the kind of tech-house cuts that look to both the Motor City and Chicago for inspiration. As a bonus, he's also included a collaborative cut under the St Ouen Connection moniker, the deep and hazy, techno-tempo positivity of "Masile".
Review: While their obscure disco and Balearic re-edits tend towards the warm and groovy, Psychemagik's original productions have been getting increasingly tough and druggy in tone. "Rattlesnake", a hypnotic chunk of club-ready psychedelic disco rich in wonky electronics, trippy riffs, mind-altering bass and locked-in drums, may well be their most intoxicating and hallucinatory track to date. The duo's out-there original mix is made even weirder - and arguably more alluring - by Magda on her "Blotter Traxion Remix", which sounds like a tripping hippie trying to simultaneously mix electro, tech-house and techno. Vyvyan provides the other rework, wrapping doom-laden electronics and fizzing acid lines around crispy disco drums.