Deep House Recommendations May 2010

Review: Lovebird’s latest Freerange offering, "My Man" brings more warm and fuzzy, groove based house music from the German who drops two new productions alongside a rougher rework of the title track from the so-hot-right-now KiNK.



Sebastian Doering’s Lovebirds moniker has been consistently gathering steam over the last three years. He has released on the likes of Buzzin’ Fly, Kneedeep, Winding Road and his own Teaddrop imprint but it his releases on Jimpster’s Freerange Records that has really brought him attention. His "The Rat" EP from 2008 announced himself in style whilst his remix of Milton Jackson’s "The Crash" shot him to notoriety. With "My Man," he now returns to Freerange to lay down some more of the deeper grooves that have built his moniker the lofty reputation it enjoys today.



First up is the title track which utilises looping beats and intense gliding pads to create a deep and wonderfully wonky number. Warm synths give the track a toasty glow whilst the powerful 4/4 ups the energy and turns it into a strong club track. Sketched in Lovebird’s inimitable arrangement, this is classic Doering at his untamed best. "Alright," which closes the release, is another new Lovebirds production. But this time Doering packs in the umph with a pounding beat and repetitive vocal cuts. He keeps things simple here, building towards a mounting peak with shimmering strings and syncopated stabs. Sandwiched between these productions lies a remix of the title track from KiNK. Stripping back the original, the Bulgarian roughs up the beats and lets the loopy madness roll out for over six minutes of fun and playful house music.

Review: Boe Recordings first release of 2010 sees the London imprint launch the first in a series of various artist EPs. This release adds further credence to the rule that new Kink is always good Kink. "Kiss The Sky" sees the Bulgarian in inspired form, soaking a crisp percussive punch in swathes of delicately orchestrated chords which are reminiscent of Pepe Bradock's finest moments and complemented perfectly by the vocal harmony of Rachel Row. Iron Curtis marks his debut for Boe with "Backup," a superlative faceoff between handclaps and 808s with a driving melody. Finally Ladzinski is invited back after last years The Deep End EP and offers up "Diamond," a real example of hypnotic jacking house music with some subtle instrumental touches.

Review: Back after a long hiatus, this French duo return to the fold with a stomping EP packed full of party breaks and wobbly electro bass. "Get That Bass" has some Sinden-esque fidget funk while "Keep It Better" works some impressive garage-styled vocals chops, as well as huge filter builds. A new mix of their hit "Party All Night" also shows up on the EP - more stretched out than the original with a great long intro perfect for DJs - as well a mix of "Boom Boom Boom" done by the boys themselves and packed full of sampled brass and full-on bass. Good to see the lads back and sounding better than ever.

Review: Lost My Dog Records celebrates their first visit to the Miami Winter Music Conference with four new tracks that hint as to what we can expect from the label's output over the coming months. Here we get upfront and fun electro house from Giom, Bleep District, YSE and Roland Nights, offering consolation for those of use who didn't get the chance to wallow in the late winter sun at the industry party fest.

Review: The permanently flat capped Scott Ferguson drops this, the Midwest Born & Bred EP, and to kick things of it's the Chicago vs Detroit mix of "Keep On Lovin' Me", which see a languid riff and sweet as sugar vocals bouncing off each other. On the b-side "Staggering & Stumbling" offers a slow burning respite - a wholly more contemplative piece, dripping with the emotion and soul that Ferguson puts into every single release. We tip our caps to you sir.

Review: The Detroit based Kolour Recordings reach their sixth release with Manchester's Moodymanc's latest jazz infused house ensemble, "Gretsch". The title track sees the producer merge a rolling bassline with jazzy, soulful sincerity, lush piano chords and brass instruments. Michael J Collins turns in a more stripped, dubby down version before Manchester At Work's summer mix of "Thief" slows the EP down to just the thud of its dubby beat and the persistent, stretched piano chords. "Bitz" is much funkier with quick percussion and a delightful horn wavering over the top.

Review: French house producer Chris Carrier will release his debut full length album on Phil Weeks Robosoul imprint at the end of this month. The LP will be released in two parts first though, displaying the Frenchman's love of vintage music fused with contemporary dance music.


Carrier has been an underground icon for well over a decade now, incredibly notching up over one hundred records and remixes across a plethora of labels. Without doubt one of the most prolific producers around, until now he has never had a full length release. Gosse De Paris is a tribute to his home city of Paris in addition to his influences of his early days. Indeed the album's title is French for ‘The Kid from Paris.’ He explores his early influences amongst musicians such as Stevie Wonder and Quincy Jones. As a result, Gosse De Paris blends disco, funk, house and techno all into one, ultra engaging record. Old samples amalgamate with new technologies; retro piano stabs happily sit alongside futuristic synths as dynamic beats fuse with a classic style.


Part 1 opens with "Cabaret Des Belles Lettres," summing up Carrier's approach perfectly. A classic sounding, soul vocal is joined by a dubby beat, bringing an old sound right up to today. This would get any club moving, as it gets the release off to a driving start. "Cancan" is modern funk in its purest form. A rolling bassline and vintage keys are joined by sleek electronics later in the track, making it once more, perfect for the dancefloor. Closing off Part 1 "Les Faubourgs De Grenelle" returns to a dub ethos, but adds warm synth parts and takes a much easier going stance than its two predecessors.