Review: Fresh from delving into his ambient side on the pastorally-enhanced "Loom Dream" album for Whities, Leif revives his self-manned Tio Series with another double-shot of delicate but impactful cuts outside the conventional slipstream of modern techno. The rhythms fall crooked, the synths trickle, bubble and cascade around the groove and the atmosphere remains humid and heady, especially on ear-snagging B-side "Rumex". "Montpelier" sports more explicit dubby flourishes and a spread of sonic flora and fauna in the middle distance that truly brings the track to life.
Pimping People In High Places (Woodword Ave alternative mix) (6:50)
The Medusa Touch (6:52)
Review: Gary Martin is well known for his unique productions and his label Teknotika is surely a classic coming out of the famous motor city. This special 10" holds two sought after tracks that were found on a lost DAT tape by Yossi Amoyal and Gary Martin himself. On the A side we have a long time secret weapon, it's a hypnotic groove that was heard on many classic sets, Zip and Ben Klock to name a few. An extremely insane, hard to find Gigi Galaxy track that was changing hands for silly prices is on the B side, for those who know... massive release!
Review: Minuendo calls upon Vincent Inc and Danijel Kevic to kick off their latest single, and they do so in fine style with the luxurious sweeping chords of "Space". Twinkling pianos, speech samples and a carefully measured set of deep house drums make this the consummate slice of pool-side dance music for those who can still find some sun at this time of year. Lola Allen steps up to the B side with something a little more sassy in the shape of "Afrofusion Jazz". As the title might suggest, there's a mixture of influences tumbling into this track, most notably with some wildly filtered jazz organ and funk licks stewing in the pot, and just when you think it's going to break it swerves off into submerged Moodymann territory. This is unpredictable house music at its finest.
Review: Italian artist Paul Santangelo has been having fun messing with the sometimes po-faced traditions of the house music scene through a raft of home made productions on SoundCloud, but now with his Venetian Causeway label he's able to prove the clout to be found in his music. On this 10" the arch title "Generic House Traxx" actually does a disservice to the quality of the music contained within - Santangelo does a fine job of whipping up monosynth bass and ethereal pads astride an uptempo beat that, while familiar, has an atmosphere with considerable depth to it. "Please Him" on the B side goes further out on a mellow electro tip, plaintive leads and aqueous chords flirting with 808-style beats.
Review: We're not sure who's behind the mysterious AC-EXP project, but the shadowy figure returns with more of that strange, submerged house music he's been tickling discerning DJs with over the past few years. After taking last year off, "1A" is a fine place to start things up again with a strutting jack track carrying acidic synth pulses that flirt with measured delay processing. It's a jam that sounds steamy and sinister all at once. "1B" maintains this restrained but seductive vibe with the slightly trancey throb of the lead synths pivoting around the snappy drums to great effect.
Review: Back in 2016, legendary Afrobeat drummer Tony Allen approached techno pioneer Jeff Mills with the idea of working together. A series of live gigs and off-the-radar studio sessions followed, with the first fruits of their joint efforts finally appearing on this must-have 10". As you'd expect, the duo's collaborative work combines Allen's traditional Nigerian polyrhythms, traditional Afrobeat instrumentation, and the far-sighted, sci-fi inspired electronic futurism that has always marked out Mills' work. The result is a quartet of cuts that could arguably be described as retro-futurist Afro-tech - all delay-laden beats, basslines and organs subtly sparring with gentle acid lines, Motor City electronics, beguiling deep space textures and shimmering, 31st century motifs. It's arguably Allen's stylistic contributions that dominate, but that's no bad thing.
Review: Seleccion Natural is Oscar Mulero, Exium and Reeko, a techno dream team who have a new album on the way this autumn. Before that they offer up two tracks from it on a tidy 10" that brims with modular synthesisers, samplers and drum machines. "Split Didactics" will rewire your brain with squeaking lines and cantering kicks making for a real techno riot, and "A New Description Of Hell" layers up hammering kicks with howling synths into a rigid and unrelenting groove. Making this extra special is artwork by none other than Silent Servant.
Review: Berlin-based DJ and producer Denise Rabe has become something of a cult heroine since her first releases in 2015. The years since have found her operate in her own parallel techno world, where psychoactive sounds and heavy drones permeate your ears, then your brain, then your whole being. Now she steps away from her own Rabe label for a debut on Stroboscopic Artefacts, which finds her take charge of the Totem series. Opener "Manifesto" is a driving techno groover with ghoulish synth designs and keys from the 5th dimension, then "Don't Leave" will utterly trip you out with its panning pads and mysterious leads. "Clouds" completes the journey with doom laden and wide spread kick drums that lurch over and over through some ruined post-human world. Tip!
Review: Fernando Zapico AKA Z@p is one of those producers whose work is always worth a listen, primarily because his quality threshold is very high. This two-track missive on My Own Jupiter picks up where his recent EP for Japanese imprint Cabaret left off, delivering faintly foreboding futurist techno whose sci-fi inspirations are clear to hear. A-side "Brutalismo" sets the tone, with paranoia-inducing analogue bass, creepy synth stabs and swirling electronic textures rising above a punchy drum machine-driven groove. "We Control The Sound" is notably denser and a little darker, with sturdier beats, moodier chord sequences and a bone-chilling breakdown.
Review: Brooklyn label Razor-N-Tape get in on the Record Store Day action with this 10" edition of Beatin Tha Breaks from Nashville-based Magic In Threes. It's the remixes that come first, with Dutch artist Fouk going into similar house territory to Kenny Dope with plenty of live instrumental touches blessing the bristling percussion. It's a totally different vibe on the Freddie Joachem remix, with the Californian opting for some midtempo funk breaks that stay closer to the sound of Magic In Threes' original version . This closes out the RSD release on the B-side and is an easy-breezy affair dripping with soulful guitars and harmonies.
Review: Bruno E has plenty of history in the field of future jazz and downtempo, and now he's been snapped up by D3 to deliver some of that cold-chilling lounge business with some interesting remixers on board. Pat Van Dyke is up first, creating a blissful version of "Ventos De Outono" that feels as cosy as a warm fire and a glass of whisky on an autumn evening. The original version of the track is actually a peppier affair with a broken beat lilt that wouldn't sound out of place alongside the Dego and Kaidi Tatham crew. Kirk Degiorgio is a natural fit for another remix given his jazzy roots, and his swirling techno treatment is the perfection lotion to pour over Bruno E's excellent original ingredients.
Review: Russian enfant terrible Pavel Milyakov aka Buttechno appears next on Gost Zvuk: an imprint dedicated exclusively to the Russian and ex-USSR scene and only releasing music of producers from these regions. The label's seventh release (known elsewhere as 'Swamp Tracks') showcases the diverse array of Milyakov's sonic repertoire, that has seen his release on labels as diverse as Cititrax, Incienso and Zodiac 44. The fierce sonar transmission of "Project Loop 1" or "Subsonic II" will no doubt bear comparisons to Berlin legend Sleeparchive, but still hold their own. Milyakov is really in his element when delving deep into electro mutations as heard on "Industrial Acid" or the tripped-out minimal techno cut (and our favorite) "2x Clouds".
Review: Owen Jay & Melchior Sultana's track Contrasts featuring singer Mykle Anthony which was originally released on BBR07 on Kiss The Sun EP receives the remix treatment from the Spanish Brothers, Dubbyman & Above Smoke. Both tracks have the distinct Deep Explorer Sound of real depth and warm grooves. This is the first vinyl from a forthcoming series of 10".
Review: After succes releases on labels such as Tsuba, Slow Down, Sleazy Beats, Rose Records, and much more, German Luvless is ready with a strong release on Danish label Deso Records - You should is a strong Deep House track, with a beautiful hookline, that will make troubles everywhere is will be played. On the remix, we got the Mannequins back on Deso - this remix is supported by Jimpster to name one, Deep House when it is best. Limited solid white vinyl.
This EP is supported by names like: Mike W (Kolour Recordings) Lo Shea (Phonica) Nacjtbraker (Dirt Crew) Jimpster (Freerange) Onsulada (Yoruba) and much more! Get your deep head on!
Review: "Is the Cornuta Sound's return after a long resting time. This new 10" contains one of the most saved songs by Above Smoke (Deep Explorer) that runs into the jazz world and an outro take for djs. The flipside brings a great rework by the label boss (W&P Hgg)."
Review: It's now been two decades since Gallic producer Joan-Mael Peneau first donned the Maelstrom alias for the very first time. He's been in particularly fine form of late, offering up essential EPs on Cultivated Electronics, Central Processing Unit and Private Persons. Here he makes his debut on Craigie Knowes' hard-wired techno and electro offshoot C-Know-Evil with a formidably tough two-track offering. A-side "Spasm" is a riotous fusion of metallic percussion hits, high-octane electro drums, doom-laden acid lines and bass so raw and intense it was probably made in Scotland from girders. He opts for an even more doom-laden techno sound on fizzing flipside "Turbulence", wrapping increasingly intense electronic motifs around a surging rhythm track.
Review: Hot on the heels of "Mission" earlier this year, Shuya Okino's Kyoto Jazz Sextet troupe present another gem from last year's Unity album complete with a remix of the highest calibre. This time the cascading, Latin rhythm and frenetic horn leads of "Rising" are given the midas dancefloor touch by none other than Ron Trent. Maintaining the wily spirit of the original while coating in warm organ blasts and subtly bumping kicks, it's a precision translation that brings the original into a whole new context.
Review: Bristol's finest Jules Smith aka October is back with more reduced EBM mutations following up the dusty and rusted experiments ts as heard on his great Death Drums cassette on No Corner just last year, not to mention 2015's wicked Black Body Radiation. It's the second edition of his new eponymous imprint here. On the A side we have "Repentant (version)" a grotty acid slow burner that squeals away menacingly above the seething dirt of vintage drum computers. On the flip "Judgement Dub" goes for an early Chicago vibe somewhere between Jamie Principle and K. Alexi with its haunting pads and funk bass supported by spitfire rhythm patterns and morose atmosphere that's geared for the early morning hours of a sweaty Berlin basement party.
Review: Original Chicago deep house producer Vincent Floyd has enjoyed something of a career renaissance since the release of Moonlight Fantasy, a collection of previously unheard 1990s productions, on Rush Hour in 2014. Here the Dutch label dips into his vaults again and unearths another gem from the late 1990s. "Hard to Love" is every bit as warm, rich and loved-up as you'd expect, with Floyd providing a yearning, soul-fired vocal to accompany his rich Windy City grooves and cascading synthesizer melodies. On the flip you'll find a fabulous instrumental version that closely mirrors the vocal take. That it stands up on its own without the headline vocal is testament to Floyd's impeccable composition and production skills.
Review: Ali Wells's Perc Trax has done incredibly well over the years, and in fact, this latest EP (the third in the series) marks the label's ten year anniversary! Patrick Sottrop aka Kareem drops "Just When You Thought It Was Over" on the A-side, unleashing a militant and subtly dubbed-out warhead for the peak time hours, while Wells himself touches down as Perc with the stormy, wide-eyed sound sculpture that is "Volley". Surprisingly, the kick drum - a menacing pound to the head - only pops up well into the track, leaving space for all other sorts of atmospherics and distortion to surface. Excellent, as per usual.
Review: Church's latest release - a rather tasty, two-track ten-inch single - comes courtesy of South London sorts DJ Malcolm and Dabriel Garius. A-side "Lulo", a jazzy deep house cut smothered in expansive piano solos, dreamy synth chords and sampled female vocals, is particularly potent, with the duo expertly layering up the percussion to give the track a sun-kissed, carnival-friendly feel. Flipside "Guava" displays a similar jazz influence, with the duo trading electric piano and trumpet solos over elastic synth bass and swinging, semi-broken deep house grooves. It's what we imagine a contemporary collaboration between Phil Asher and 2000Black boys Dego and Kaidi Tatham would sound like, which is high praise indeed.
Review: Chevals, who brilliantly describes himself as a "French house producer, disco cutter and horse", came to our attention last year via a fine debut on Better Listen. You'll find further proof of his "rising star" status on this tasty, two-track contribution to Kolour LTD's 10-inch series. Both tracks are essentially re-edits, though there are enough additional touches and new musical elements to elevate them way beyond your average scalpel re-arrangement. The Frenchman kicks thing off with "I Can Prove It", a gently tooled-up and reworked version of a soaring, glassy-eyed disco-soul gem that will sound fantastic at this summer's open-air events. Flipside "Free Love" is an altogether more low-slung affair, with a fizzing, funk-fuelled groove building towards a rush-inducing Philadelphia Soul-goes-disco-house conclusion.
Review: This is Adam Wickens' - aka ADMIN - first appearance for Kolour LTD, and we're happy to see the UK deep house producer continuing his steady path to maturity. This two-tracker is part of the label's 'LTD 10s' series, and this particular one is the fourth instalment; we love it not only for the quality that has graced the releases up till now, but also because we're fools for the ten inch format. "Reach For Love" sounds like it could be on Moodymann's Mahogani, a sensual house charmer complete with gorgeous piano keys and assembled with pure hypnotic delight. Side B's "You've Got Me" is similarly cool and laid-back, but the beat is speedier here, the percussion more floor-centric and the vocals sexier than ever. What a gorgeous little tip - cop it!
Review: Detroit/Houston based Kolour have had some pretty credible names feature on their new 10 inch series this year, such as Eddic C, Napoleon, Frank Booker and Lady Blacktronika. Now it is over to the Belarus based disco DJ Funkyjaws who serves up two irresistible jams on Vol 8 of the series. On the A side, we have the soulful and life affirming African boogie of "Them & Us". We have not heard the original but it sounds pretty seamless to us: a respectful edit indeed. On the flip, we have one seriously mad boogie-down jam in the form of "Peasant Dance" which is a truly exotic affair from god knows where! Accordions, wah-wah guitar and some super string arrangements clash wonderfully. This may sound like an unholy mixture but this is exactly the kind of disco deviance that truly floats our boat! The Grodno based producer last appeared for the label on Kolour LTD 22 a couple of years back, and in the meantime has also appeared for the likes of Shadeleaf Music and Austrian imprint Pusic.
Review: Although most house and techno heads know him under a variety of different pseudonyms, Anthony Nicholson has been releasing smoking tunes since the 1990's for labels such as the mighty Prescription, on which he used to call himself African Blues. He's back in 2015 under his birth name, and he's landed on the lovely DeepartSounds, a home to artists such as Dubbyman, Giorgio Luceri, and the one like Ron Trent! On the A-side, "Optimum" fills your soul with a soothing array of gentle house swings, powered by sublime vocals and mid piano keys; the flipside is "Destination", and it's a funkier sort of tune, one that is a little less deep and little more disco. Beautiful house music for those looking for meditative gear.
Review: DJ Sotofett's Wania imprint closes a wild and entertaining 2017 off with a pair of masterful EPs, both of them showcasing the Norwegian's genre-crossing tastes and outlook. First up is this steely 10", spear-headed by newcomer Salik, out of London Town. Up until now, the imprint has predominantly focussed on the US styles of dance music, a rough and ever-quirky blend of house and techno, but Salik's "Inna Brixton" verges on much more UK-centric territories with its near six minute spew of moody energy, clicking and bouncing steadily to the sound of deep, treacherous sub bass. The flipside features DJ SO-PHAT himself, coming through with a beatless away of acid-tinged melodies that blend into a tight little rhythm, before dissipating into a loose pool of drones and bass - Sotofett at his most outlandish. An essential buy.