Review: Sound Signature's latest release is an all-star crew affair, with an impressive cast list of vocalists, musicians and producers joining main man Theo Parrish in the studio. He's at the controls on the sublime A-side mix, a jazzy affair where layered twinkling electric piano motifs, spacey chords, jazz-funk riffs and sumptuous deep house grooves combine on a fearlessly loose and organic dancefloor workout. On the flipside friend of the family Dego offers his interpretation, adding even more warmth and some tasty additional hand percussion parts whilst wisely utilizing most of the original version's intricate musical elements.
One More Round (86 House mix By Frankie Knuckles) (8:10)
Walkman (86 House mix By Brett Wilcots) (7:17)
Review: Best turn their attention to that sweet mid 80s spot when the petri dish of party music was shaken up between disco, boogie, Italo and the emergent house sound from Chicago. Claudio Simonetti was a titan of the Italian groove, but his monster jam as Kasso, "One More Round", reached the stratosphere when Windy City godfather Frankie Knuckles gave the track his Midas touch. No more justification is needed for this pressing, but don't overlook the flip which finds 80s remix supremo Brett Wilcots taking on "Walkman" and whipping up a boogie frenzy of the highest order.
Review: What more can be said about the output of Alex 'Omar' Smith? The Detroiter's releases have perhaps been a little more varied of late than we've come to expect, but the quality nevertheless remains dizzyingly high. This white label excursion is full of floor-friendly gems, with Smith's use of classic house samples and familiar vocal samples also making it one of his most party-hearted releases for a while. Check, for example, "Catch Ya", where a much-loved turn-of-the-'90s acapella rises above bouncy New Jersey organs and snappy machine drums. "Better Believe It Baby" brilliantly wraps a chiming synth loop and R&B style vocal snippets around a chunky, disco-fired deep house beat, while "Cheat" and "Pull Ovaa" are deliciously dusty, bass-heavy deep house workouts with just the right amount of hypnotic late night charm.
Review: Cartulis bounce from the essential release from Eliaz to this intriguing slab by Reade Truth, a New York techno original who was last spotted on Warm Fiction, Blkmarket Music and Path Records. His "Wires, Everywhere" album was a big release for Cartulis last year, and now he's back with further ruff n' tuff cuts that drip with Big Apple attitude. From the deep diving "Starflight" to the epic, ranging "Space Out (Expression)", you can sense Truth's hard earned swagger but it's also balanced out by subtlety, a sense of space and groove that makes each track a pleasure to sink into.
Review: As part of their 15th anniversary celebrations, Japanese label Mule Musiq has asked some of their most valued artists to conjure up fresh releases. For his contribution, long-term label artist Kuniyuki Takahashi has decided to combine nods to his 2017 album "Newwave Project" - a set informed by his musical roots - and the attractive deep house with which he made his name. A-side "Middle Eye" offers the best of both worlds, with bold and cultured synthesizer motifs, dreamy chords and disco style string stabs rising above heavy, cowbell-driven beats and warm bass. "Black" is a bustling, sample-heavy cut-up informed by electro and Yellow Magic Orchestra, while "Newwave Project 7 (Edit Version)" is a trippy and hypnotic rework of one of the standout cuts from the producer's 2017 full length.
Review: 1990s sitcom loving beat maker Felix Weatherall returns to Brainfeeder for the first time since the release of his widely acclaimed debut album as Ross From Friends, 2018's "Family Portrait". He's in fine form from the off, with title track "Epiphany" offering a wonderfully intoxicated, off-kilter blend of bustling drum machine breakbeats, hallucinatory electronics, Middle Eastern style instrumentation and razor-sharp bass. He continues on an inventive fusion trip in the form of "The Revolution", where cut-up vocal samples and bluesy guitar lines rise and fall above a densely percussive deep house groove. Also impressive is "Phantom Ratio", a slightly more driving dancefloor cut rich in skittish drums and undulating electronic melodies.
Review: Following outstanding EPs from Javonntte and Malik Alston, JVXTA returns to the Hardmatter label he co-founded back in 2017. The three-tracker is rather wonderful all told, with the London-based producer expertly combining vocal and orchestral samples from vintage, mid 20th century records with twinkling new electric piano lines, sumptuous chords and luxurious deep house grooves. Dewy-eyed lead cut "Possible" is particularly potent, with JVXTA underpinning loved-up female vocals and simmering jazz-soul instrumentation with bumping beats and drowsy new chords. He continues on a similar theme on the flip, where the ultra-deep, woozy and dreamy "Suzuku Dream" is followed by the equally evocative and smoky "Here I'll Stay", where breezy flute solos, fluid harp motifs and simmering orchestration rises above another bluesy deep house groove.
Review: Although Salzburg sort Bernhard "Demuja" Weiss has previously released music on Shall Not Fade offshoot Lost Palms, this is the first time he's appeared on Kieran Williams' main label. He's delivered the goods, offering up a rock solid five-track EP that flits between loose and languid deepness (breezy opener "Do It"), locked-in late night grooves (the muscular beats, heavy bass and poignant piano samples of "Jito"), spacey, synth-laden deep house positivity (the sparkling "Can't Stop"), jazz-funk influenced mid-tempo house warmth ("Those Who") and Detroit techno influenced dancefloor futurism (the elongated deep space chords, ragged acid lines and bustling beats of "Tokyo").
Review: Hot on the heels of the "Lush Culture" EP with Deetron that landed on Perpetual earlier this summer, more lush licks come from Mr Fred P aka Black Jazz Consortium. Four soul hurricanes that range in weight and emotion, the two poles here can be found slap-bang in the middle of the EP: "Moonlight" is a sultry brushed-drum break for lovers while "Riverside Drive" jacks like a rhino but soothes you with big breeze feels. Elsewhere "Reaching For The Stars" cruises on a skippy break with airy early 90s New York pads and "New Ways" closes on a stunning 88 tip. Have nice dreams y'all.
Review: After four years spent contributing tracks to multi-artist EPs and digital download compilations, Casey Spillman has finally been given a chance to release a 12" all of his own. He's firmly grasped the opportunity with both hands, first offering up a bouncy, sub-heavy chunk of late night UK garage/deep house fusion ("Avec Moi", before effortlessly joining the dots between skittering tech-house and rumbling UKG on "Temperature". Over on Side B, Enzo Siragusa offers a deep, acid-flecked tech-house take on "Avec Moi" - all off-kilter electronics, earth-shaking bass and glitchy grooves - while Spillman delivers more bass-heavy, garage-influenced grooves and sun-kissed synths on atmospheric closing cut "Endure".
Fonda Rae - "Living In Ecstasy" (The Groove mix) (7:14)
Fonda Rae - "Living In Ecstasy" (JC Ecstasy dub) (7:40)
Jon Cutler - "It's Yours" (feat E Man - original Distant music mix) (7:07)
The Return - "New Day" (7:26)
Review: 4To The Floor's "Classics" series returns with another round up of must-have U.S house music from the late '90s and early 2000s. Side A is all about disco queen Fonda Rae's Mod II Swing produced 1996 cut "Living In Ecstasy". Choose between the "Groove Mix", a rolling and soulful affair rich in rolling drums and jaunty synth stabs, and John Cicafone's dark, driving and bass-heavy "Ecstasy Dub", which remains a formidable chunk of late night body music. Over on side B, there's another chance to savour Jon Cutler and E-Man's "It's Yours", a gently jazzy chunk of soulful house goodness that was one of the biggest club hits of 2001, and the lesser-known delights of The Return's deliciously deep and dreamy 1999 workout "New Day".
Review: Sam Shepherd may have spent the last few years offering up off-kilter, jazz-fired grooves and heady ambient soundscapes, but he still knows how to rock a dancefloor. That much is proved by his first Floating Points single for almost two years. "LesAlpx (Extended)" is his most forthright, club-focused cut in ages - a thrusting chunk of rumbling, peak-time techno built around heavy bass, sweaty drums, twinkling electro piano motifs and raging, foreboding electronics. Shepherd teases in the most melodic, rush-inducing elements, introducing spacey synthesizers and dreamy chords midway through. It's breathtakingly good. Flipside "Coorabell" is similarly potent, with acid style electronics, warm chords and sun-kissed electronics wrapped around swinging, two-step influenced house beats and a weighty, sub-heavy bassline. In a word: essential.
Review: We welcome our 2nd part of the 90's House Collection series, on this amazing EP we find 3 rare and hard to find tracks, on the A side we have unreleased track by "Sanjay" which is Kings of Tomorrow from the early days, this is a pure floor killer, on to A2 , we have one of the most respected garage artists from the 90's Eddie Perez, with his Mentalinstrum dub of Keith Sibley's track, Stand By Me & finally the EP is rounded of with the legend that is Donnell Rush, the Redawg's Outhere Alternate Mix is a classic i its own and right and very hard to find.
I'll Take You There (Directors cut Classic Signature remix) (7:48)
I'll Take You There (Dimitri From Paris re-edit) (7:48)
I'll Take You There (The Shapeshifters remix) (7:42)
Review: Back in 2011, Frankie Knuckles and Eric Kupper debuted their Director's Cut project by teaming up with old pal Jamie Principle on "I'll Take You There". Here it gets the reissue treatment, with a trio of classic mixes being joined by a fresh revision from scalpel maestro Moplen. His version is delicious, with Principle's loved-up vocal rising above bubbly synth-bass, evocative organ lines, swirling synthesizer motifs and sunrise chords. There's another chance to enjoy Director's Cut's own warm and glassy-eyed "Signature Remix", a second spin for Dimitri From Paris's slightly breezier (but no less loved-up) re-edit and a boisterous funky house rework from the Shapeshifters that some may have missed first time around.
Review: This is just the fourth release on Negentropy, but already the label has been catching attention for doing some really interesting stuff, while consistently delivering dancefloor material that refuses to let go once you've been hooked in. French groove monster Sweely seems like a pretty good fit for the imprint, then, as this three tracker proves with ease. Crisp, sharp, and packed with energy, 'Take One' kicks off with the kind of punchiness that belies what's about to happen- soon dropping into a freeform, jazz-infused breakdown that appears to come out of nowhere, switching the vibe of the tune completely. You can almost see the sci-fi console lights behind the micro-percussive detailing on 'One Or Another', while 'Deep Into The Rhythms' is destined to please anyone who enjoys getting their head down to an archetypal relentless roller.
Review: The first vinyl offering on any label needs to be something pretty special, and evidently No Fuss Records haven't forgotten that golden rule of releasing. Who better to draft than Saison, a duo with an established reputation for soulful, groove-fulled deep house that's guaranteed to make an impression on the floor? Probably nobody, hence the decision. 'I Need Ya' is a classic vocal workout, brass stabs and looped, filtered lyrics clearly positioning the track as a good times anthem. There's more than a little chug underpinning the Werkshy remix of 'Something Made Me', which stomps its way into a male chorus that should thrust fists skywards. 'Senor Blues' is more of a journey in comparison to its siblings, gradually unveiling its pianos and opening the arrangement up as the track expands from understated beginnings to room-filling proportions.
Review: Earlier in the year Lone launched the Ancient Astronauts imprint via a single-track digital single that wrapped his usual sun-soaked electronics and kaleidoscopic synthesizer melodies around a ridiculously rubbery bassline and crunchy, club-ready breakbeats. Here he offers up the label's first vinyl EP, a three-track missive that's as loved-up as you'd expect. Check first "How Can You Tell", an ultra-deep, dreamy and rushing chunk of deep jungle revivalism full of psychedelic acid lines, slack-tuned breakbeats, yearning chords and bowel-bothering sub-bass. Equally as impressive is A-side opener "Abraxas", a delightful cut that fits between rush-inducing moments of loved-up bliss and the kind of intensely bustling breakbeats that were once all the rage on British dancefloors. "Young Star Cluster", a killer combination of hip-house style breaks and funk-fuelled acid lines, is also superb.
Review: Berlin-based Korean Peggy Gou has been surprisingly quiet since first bursting onto the scene back in 2016. Here, she returns to action having graduated from Technicolour to parent label Ninja Tune. Many may already have heard EP standout "It Makes You Forget (Itgehane)", a percussively ambidextrous beast based around a bouncy, off-skilter, snare-heavy rhythm track. It has been much discussed online after Gou included it her recent Resident Advisor podcast. On the B-side you'll find tracks representative of her developing style, which draws together elements of European deep house, electro, early '90s U.S house, the rubbery disco eccentricity of Maurice Fulton and the instinctive polyrhythms more often found in traditional African music.
Review: One for the slow-mo crew, or at least those that want their house music delivered in more of a lackadaisical, organic format, think four tracks packed with Wurlitzer-esque melodies, sun-kissed vocal hooks, classic tropical percussive accents and gospel lyric extravagance. At times positive, in other moments somewhat melancholic, the true heaviness in the kicks only really becomes apparent once you've turned the lot up. The latter providing the focal point for appropriately-titled 'Sing Hallelujah', a loose, stomping track capped with handclaps and underpinned by a timeless, acid-influenced synth line. As unashamed as it is uncompromising. The remaining three tracks are pack pared back and reflective moods 'The Fear of Fear Itself'), organ filled playfulness, and head-nodding sexiness ('My Guitar Plays Itself') in equal measures, making for a crossover package that wears its accessible soul very much on sleeve.
Politics Of Dancing X Chris Carrier - "Track 1" (6:45)
Politics Of Dancing X Nail - "Track 2" (7:35)
Review: Politics Of Dancing continue their adventures in the studio with friends and kindred spirits, this time teaming up with two tech house titans that paved the way for the sound they're immersed in today. Fellow Parisian Chris Carrier sounds right at home sparring with S.M.A.L.L and Paco on "Track 1", where an irresistible bassline groove underpins some acid licks that burrow deep into the night time frame of mind. On the flip Nail is the partner of choice, and the UK veteran helps whip up a crisp and chunky workout heavy on the drums - a serious DJ workout for those craving solid gear for their sets.
Review: Sad City's debut album was an absolute delight to behold when it landed late last year, and this remix package on Emotional Response does a great service to the quality of the original by offering up some truly outstanding new versions from impeccable talent. DJ Nature is one of the greats of heads down, dusty house, and his smoky handling of "Steady Jam" draws you in across two blissful versions that adorn the A side. On the flip, "Pace, Movements I-IV" gets a beautifully bubbly acid treatment from HOLOVR, and Herron plunges "Rain" into a murky bath of leftfield techno.
Review: Having sprung into action with the Sol Explorer EP on Girasole, William Caycedo is back with a new selection of jams on the ever-developing SlapFunk. As the label's remit for minimal house and techno broadens, we're treated to low slung leftfield beats on "Booty Call" before the peppier broken beat groove of "Ain't No Joke". "Creepin'" and "G Groove" head into more familiar territory for SlapFunk fans, but there's still space for the crisp, laid back funk of "Tales From The West" and the off-kilter jazzy vibes of "Yes We Do" thrown in for good measure.
Review: Courtesy Of Balance is back right in time for kick your summer off in style by welcoming fellow French producer Gunnter, owner of Normandy Records. All three tracks have got that classic quality to them that'll please those deep and tech house afficionados. Naturally influenced by the golden age of the late 90's uk sound, Gunnter has digested it down to three to-the-point weapons, all endowed with the 3 sacred elements of proper tech house : jacking beats, wonky basslines and deep chords. The proof's in the pudding... drop the needle on the rekkid !
Review: Madonna, Depeche Mode and Kelis - what do East End Edits have in store for us next? This seventh instalment harks back to the charming deep jazzy house of their inaugural release - think of the legendary St. Germain and that should give you a fairly good idea. The track's smoky, late night jazz bar vibe is complemented by a rolling bass and swinging rhythms that should appeal to the likes of Rhadoo or Petre Inspirescu - legends of the Romanian scene who themselves have lent their deft hand to the French producer's work as remixers in the past, too.
Review: Groovy, beguiling and hypnotic- Tusk Wax is a label where anything can happen while still boasting coherency throughout its catalogue. If that sounds vague that's the point; elements of house, funk, jazz, acid and tech never far from the mixing desk. This, the imprint's 30th outing, is another limited press continuing in that fine form thanks to the always-solid Loz Goddard, formerly of Dirt Crew. One made for summertime sessions, intriguingly it could score late night hallucinatory forest raves or sun-drenched terrace parties. It just depends which cut you go for. 'Redrum' is a low-lying cosmic treat, repetitive female vocals ensuring dancefloor potential contrasting the lackadaisical melodies. 'BHD' takes us down an expanding disco wormhole, Ron Basejam's remix of 'Redrum' places the emphasis on live bass and sass, a perfect precursor to the contemporary funk of 'Drumble'.
Review: "Dj Sounds presents Captured, a 3 track EP for the house heads. Lazy is a ready-to-go exercice, easy to spin and fresh house track in its most classical yet very personal form, Captured is an intense Detroit oriented synth jam and Dj Beats is a short drum track reminding of the beat of track 1. That 001 is for the Djs who care about a fresh record of House. And those who like to dance."
Review: Just four releases into its life, London imprint Counterfeit Soul has managed to draft in some serious pedigree for this one, with bossman Frazer Campbell leading the charge via the gloriously heady heights of 'Cloud 909'. Shades of soulful Detroit more than a little audible, it's a warm and uplifting opening number. Logically, given its name, 'Doom Dub' from Jorge Zamacona is a stark contrast in terms of vibe. Less delicate, much more direct and relentless- barely letting up- it's an ever-growing and more than likely ever-green slice of what deep techiness should sound like from the legendary producer. Those looking for more of a Windy City tip can find plenty of Chicago influences on Jorge Caiado's 'Drifting With Aliens', while Ste Roberts goes raw, unpolished and compulsively danceable for 'Last Saturday Day!'
Review: In our opinion, there are few labels out there quite as consistent as Craigie Knowes. The Scottish imprint has been on fire of late, and this label debut from Tone Dropout and Klasse Wrecks regular Darren "Dawl" Woollard is another surefire winner. There's a sweaty, saucer-eyed feel to the EP, from the acid-fired breakbeat madness of throbbing opener "Let's Go" and the accurately titled insanity of "Heavyweight" - all chopped-up rave-era riffs, booming bass and skittish drums - to the mind-altering acid psychedelia of hypnotic closing cut "Overdub" and the warehouse-friendly 1990 breakbeat hardcore skip of sub-heavy smasher "Drop It". In other words, it's a reliably charged-up set of misty-eyed workouts.
Review: Since stepping out from the shadow of his mentor Ron Trent, Trinidadian Deep has delivered a string of musically rich and life-affirming EPs that effortlessly join the dots between bespoke deep house and a variety of global sounds, styles and rhythms. He tips a hat towards his Trinidadian roots on "Natty Dread", a calypso-influenced chunk of deep house warm rich in smooth but weighty bass, spacey synths and densely layered Caribbean percussion. "Electric Boogie" delivers on its title by wrapping echoing, delay-laden synth riffs around jaunty deep house beats, bubbly but sweet electronics and tactile, eyes-closed chords.
Review: New York-based Evan Michael has been spotted on some respectable labels in the past, from Drumpoet Community to AirDrop, most recently appearing alongside Marco Passarani on a split 12" for Cin Cin. He makes his first appearance on the ever-prolific Hudd Trax with this diverse grip of deep house jams, leading in with the emotive tones of "Duende". "PCH Passing" is a fluttering affair laden with sweet natured synths, but it also knows when to rain the cascading melodies in to let the groove take the lead. "Machine Pepper" builds up around an on-point bassline and powerful brass stabs, and then "Rainmaker" finishes the EP off with some tricksy delay use and a crooked beat.
Review: Detroit mainstay Waajeed is back on the case with another heavyweight slab for his Dirt Tech Reck label. "Heavy" pulls no punches - this track is peak time soul music turned up to 11 not least thanks to Wu-Tang songstress Blue Raspberry under alias Candi Lindsey's staggering diva vocal. The track also comes in instrumental form, but trust us and reach for the vocal to send a crowd into rapture. Lindsey returns on "Deeper Into Blue", another sprightly house cut with melancholy and hope in equal measure. "Too Black" rounds the EP off with a twitching broken beat groove that speaks to Waajeed's accomplished history in the truly soulful end of contemporary club music.
Review: You should know by now that Plastik People is the go-to spot for the most upfront garage house done in a classic style, and they're spelling it out good and proper with The Sound Of Garage House. Marc Cotterell leads the way with the jazzy vibes and deliciously liquid chords of "Those Days" before Ed The Spread brings a nagging shuffle and sharp string stabs to hard-stepping bumper "The Bauhaus Movement". Grant Nelson keeps things tuff with the natty piano hooks and diva slices of "Move Close" while Rocket Dubz ups the funk to 11 for hands in the air party starter "Dirty Bath".
Review: Nebraska's Friends & Relations series continues to serve up the finest disco-sprinkled house delights, following on from the previous installment of Disco Dubs with another on point reduction of dusty grooves through the mixing desk. These jams are stripped back and oh so heavy, with FX flaring in all the right places to give an eerie, trippy tint to the jams. It's like walking into the deep end of the session where Walter Gibbons jams with King Tubby uptown, and you'd be right in thinking that's a match made in far-out disco heaven.
Review: Needs (not-for-profit) is a new label that aims to raise awareness about different issues within society with each release. Their first offering highlights the importance of mental wellbeing, with all profits being donated to mental health charity Mind, and calls upon a strong cast of deep house producers to impart the kind of Smallville-friendly sounds that discerning heads should snap up in a heartbeat. Hubie Davison's "I Know" is a melancholic affair with heart-nagging strings, while Johannes Albert injects a little spice into proceedings with a choice breakbeat and some excellent bird song on "Vigilia". DJ Swagger's "21st Century Slow Jam" is a peppy little shuffler with warm acidic bass and a kick ass swing in the beat, and then Bobby Pleasure finishes the record off with the wistful but tech-edged "Cloudspotting".