Deep House Recommendations August 2014

Review: Having built an impressive reputation via releases on Aus Music and Naked Naked, British house duo Dusky have decided to launch their own label, 17 Steps. This first release - from the duo themselves, naturally - suggests the label could be a force to be reckoned with in coming years. There's a thrillingly saucer-eyed feel about "Love Taking Over", which peppers a robust, sub-heavy groove with drifting alien synths, wonky pads and choice vocal samples. "Inta" is more obviously accessible, with classic house pianos and spoken vocal stabs providing the track with bags of energy. "Expectations" sees the duo return to familiar influences, with acid bass and attractive hooks riding a bustling, US garage-influenced groove.

Review: Vakula may be scarily prolific (he released an astonishing 11 12" singles in 2011 alone), but his off-kilter brand of deep house and woozy electronica rarely disappoints. Here he delivers his fourth 12" on Bandura, once again offering up an intriguing set of tracks that defy easy categorization. As usual, expect to find a blend of fuzzy downtempo electronics (the ambient oddity that is "Electrica Spica"), dub-influenced techno (the skewed loops and throbbing analogue rhythm of "Thoughts on the Road"), hissing, jazz-influenced deepness (the delightfully subdued "Lullaby"), bright-but-deep futurist techno (lead cut "Ukranian Landscape", which seems tinged with sadness despite the boldness of its' melodies) and ultra-deep soundscapes ("Distant Tenderness").

Review: Limited to 303 hand-numbered and stamped copies, on 180 gram heavyweight vinyl in a black inner & heavy card sleeve.
Three tracks of deep acid house from Affie Yusuf. Check the 11 minute epic groover on the B-side. All analogue hardware, all the real deal.

Once again, this is strictly vinyl only. Absolutely no digital, Absolutely no represses ever.

Review: Tomorrow Is Now, Kid! returns just in time for summer with a collection of tracks taken from a reel of tape. In My Ghetto is the debut EP of Anthony Brooklyn, who has crafted four jams in spirit of the roughness of New York City's famous borough, Brooklyn.

Review: REPRESS ALERT: Back in the day, there was one artist that stood out in the underground, this person was admired and respected worldwide, his cuts we're played from Paris, London, NYC to Chicago & back again, he was - Olivier Portal AKA Playin'4 The City. This year, 2014 - Playin 4 The City is back, 3 brand new tracks released on the deeply respected US label - Plastik People. Side A delivers two soulful edged tracks with a reprise at the start of A1 which keeps the roots of P4TC from back in the day - both tracks include live bass by Slikk Tim. Side B "Good Groove" is a black & white track, It has the feel of the early Bouge & Shuffle track that came out on Olivier's Straight Up label, deep & groovy elements, 16 bit samples & keeping it four to the floor. Good Groove is sure to be a classic, one for the true heads & the P4TC collective.

Review: This fourth release from Pressed For Time is the label's second various artist EP featuring three known names and one new. The newcomer is Ben 'Boe Recordings' Boe under his Maad Maxx Traxxe alias. He provides "Lakeshore Rollin", a linear, dub-tinged slice of thwacking deep house. YSE top and tails this 12" with a chiming, rhode-cruising "Tomorrows Yesterday", while his B2 is slower and woozy with a killer smacking hit on the offbeat. Label regular Rhythm Plate also features with the vocal lead "I, The Music".

Review: Ah the humble double pack, isn't there something so very satisfying about this format? Sccucci Manucci evidently thinks so as The Nine Bows EP is the label's second release in succession to embrace the double pack. It's another high profile cast that contribute to the eight tracks here, with Montel, Mikki Funk, Jackson Ryland and Aashton all featuring. It's the latter, Brighton-based producer who opens proceedings with "I Can't Shake It", a summer house anthem in the making that showcases his love of a classic RnB vocal. Maverick follows with "Wait For U" which is not only his Sccucci debut but also the Parisian's first production committed to wax - hard to believe! The mood swings through various shades of house from here with "Lemme Hold U" from Montel a mid point highlight thanks to a killer vocal hook.

Review: REPRESS ALERT: Finale Sessions presents a new series of releases from the vault on 10" format. This first release pairs two bonafide legends in the shape of Fred P and Kai Alce, both known for their incredibly accomplished takes on house. Fred P's "Ram" is a deep excursion into pulsing chords and delicate atmosphere, while Kai Alce's "Scene 1" is a raw, acidic affair for peak time sets - both are essential cuts.

Review: Worx very cleverly tap up in-demand Parisian DJ and producer The Mekanism for its first release here, squeezing out three of the artist's finest tracks to date. "Bogoto" fuses a disco groove and '70s strings with some classic deep house piano, and creates a heavenly peak time roller, while "2 Galactic" is pure '80s hip house fire, fusing cut-up vocals with a pounding late night groove. Taking things down a notch, "Singing Beasts" goes deep and jazzy to close proceedings on what's another great addition to the producer's discography, and a sterling first outing for Worx.

Review: Arriving in a low key fashion we now come to expect from the label, Workshop 20 sees the welcome return of co-founder Lowtec with this three track 12" represents his first contribution to their cause in some six years! Of course Jens Kuhn has hardly been a slacker in this ensuing period, releasing material in one form or another on the likes of Laid, Nonplus and Smallville, but a new Workshop release will always be big news! Lowtec is on wonderful form here, operating largely below the 115BPM tempo mark. Fans of working the pitch won't mind though, especially as this low tempo allows Lowtec to implement a real sense of space - most notably on the scratchy, lean A Side. Our favourite however is the opening track on the B Side where a smudged bass drum and skittering snare opening gives way to a wonderfully kaleidoscopic refrain of colourful melodies and cascading synth lines.

Review: Part Four in the series sees Mosaic return to its signature sound of the late 90's : deep techno-tinged house. First up is UK house legend Nail , who was in hiding in London and Suffolk for a while , but is now back in his bunker in Nottingham making music once again. His offering, "Pharoah," was created on Boxing Day 2013 especially for Mosaic and contains all the hallmarks of classic Nail productions of the 90's whilst maintaining a foot firmly in the present. If you like your house deep and sample heavy this cut is definitely worth checking out...On the flip we have two tracks from newcomer Annie Errez. Annie is a resident DJ at the Mint Club in Leeds and has been developing her production skills over the last few years with appearances on Holic Trax , Saints & Sonnets as well as a very fine release on Strobewax which she co-runs with fellow Mint Club resident Bobby O'Donnell. If deep techno- house is your cup of tea then put the kettle on and listen to the sublime "Bell Curve" and the dubbed out bass monster that is 'Auguste." We are sure that you will agree that there is no doubt that she will be a producer to keep an eye on in the future ...

Review: Originally debuting on Well Rounded Records' Housing Project sub-label in 2012, Leon Vynehall has since become one of the UK's most in-demand of the new wave of young house producers. He's released subsequent records for George Fitzgerald's ManMakeMusic and Will Saul's Aus, and most recently an album on Martyn's 3024. Vynehall is now in cruise control and he lays back on Clone's Royal Oak with what will prove to be a favourite with DJs this summer. "Butterflies" is this record's piano-driven house jam, but really it's all about "This Is The Place", a loved up peach of a production with the strength to appease the underground and crossover into the mainstream.

Review: Fresh from unleashing an album of the year contender in Young Marco's Biology, ESP Institute return to matters of the 12" platter and welcome Munich trio Tambien back into the fold for a superb second record. The Der Elf 12? is described by the label as "a beacon of hope in a dark warehouse" andwill be welcome news for anyone that indulged in Drogato, last year's ESP bow from Bartellow and Public Possession pair Marvin & Valentino. Both tracks here suggest Tambien's productions are growing in confidence and range with each release. The concoction of bouncing 909 rhythms, gently bent synths and heavily delayed vocals that make up the A-side title track could easily be mistaken for a production from Mark Seven's Parkway label, and is complemented nicely by the melodically-driven deepness of "Are You In Touch w/ Varan?"

Review: The fledgling Lobster Theremin empire expanded further still this year with the launch of dedicated black and white labels that pointed in techno and house directions respectively. Getting label top boy Palms Trax to inaugurate the White series was a smart move (as was securing a Galcher remix) but Lobster Theremin look to a new name for the second WL release in Daze. Who is that you ask? All Lobster Theremin reveal is he hails from Australia and this Lips 12" makes for quite the impressive debut offering, trading in rugged and acid laced house tracks that doff their cap to "the heart of British rave culture via Detroit-influenced electro" The Omar S-styled 303 acid lines of "Untitled" and the lo-fi, summery breakbeats of the '94 Original DAT Dub of the title-track stand out.

Review: Courtesy of Balance is back with a new Various Artist release focusing on some of France's current underground talents. Oscillating between Deeper Shades of Techno and House alike, this four tracker 12" carries enough colours to lighten up the rooms during your dj sets. Janeret comes back on his own, while Tomska, Toni Be and Deepah all make their first appearance on the label. All four artists deliver, in a classic and timeless fashion, and if you didn't know them already, now you will.

Review: Soulful, gospel-inspired deep house is what Joaquin Diaz's Rhythm&Soul alias brings to Jef K's Kiss-inspired Silver Network - goin' strong since '99. It's his debut for the French label and he's given the royal treatment thanks to remixes from John Dimas and Freak 'n' Chic's Djebali, which includes a bonus dub mix. Dimas' rework is energetic and free flowing, highlighting his unique style best heard on releases for Bass Culture and Clapp. Meanwhile Djebali's contributions provide two alternatives; something light and cruisey, while the dub is reduced and a house DJ's ultimate tool ready for the working.

Review: There's an embarrassment of contemporary house riches to be enjoyed on the second edition of Music Is Love's Lovebox series, with a sizable contingency from the UK stable of deep house troopers. There's soothing funky tones from Mr KS, nifty broken beat delights from Cassio Kohl and Tuccillo, and rough-shod party-starters from U Know The Drill and Jackson Ryland. The diversity across the four sides is pleasing to see, and there's no shortage of fresh ideas from the likes of Liam Geddes with his distinct shuffle on "Untitled" to Oli Furness' off-centre approach to rave tropes in house music.

Review: D3 Recordings offshoot D3 Elements is only three releases deep, but already their releases are reaching "must check" status. Following their recent release of a superb EP from US deep house veteran Brian Harden, the Paris-based imprint offers up something a little different - an EP of gorgeously deep and melodic flavours that joins the dots between head-nodding instrumental hip-hop and floor-friendly 4/4 fare. There are plenty of surprises, too, including techno stalwart Terrence Parker delivering a flute-heavy downtempo head-nodder, some gorgeous beatdown from Detroiter Mike Clark, and a thrillingly string-laden chunk of deep house bliss from the aforementioned Harden. Recommended.

Review: French tech house mainstay Djebali has been on prolific form with his self-titled imprint, championing a back to basics approach that has yielded some sure fire party starters, and here he's at it once again. "Let The Drums In" is a sizzling cut that plays off a stripped down but urgent beat and a catchy bass hook, but "The Jump" really ramps things up with a tough house beat that collides beautifully with a mean bass line that will inspire all manner of "oof"s from anyone in front of the soundsystem. "Do You Wanna Hear It" is a twitchier, shuffling house cut with oddball samples, and then Mr K brings a remix of "Let The Drums In" that keeps the original thoroughly intact and simply worms some freaky touches in where it counts.

Review: The resurgence of the Nail project continues unabated as Neil Tolliday unearths some unreleased gems from his archive that capture the heady days of mid '90s house perfectly. "Lemon Gus" is all uptempo shuffle and plush piano while "Nerangus" plies a feisty line in disco loops and urgent diva licks. "In The Pocket" gets a touch funkier and "Heights" works in some African flavours, before "Brothers & Sisters" flexes a touch of techno muscle in its driving construction. "No Mo" delivers a more jagged kind of groove, while "90% Down & Shit" winds into a deep and heady swirl of filtered melody, and "Just Can't Make Up My Mind" finishes the double pack off on a breezy disco tip.

Review: You have to hand it to Sushitech, the label really back their artists. This next deluxe package throws more loved material by the resurgent Steve O'Sullivan back into the pipeline with another collection of Mosaic classics Yossi Amoyal believes need to heard, either by a new generation, or for the older heads that missed out the first time - or those in need of new grooves after wearing out the old ones. The A-side of the first 12" sees O'Sullivan at his linear, house music best in a track which is not only a bona fide Mosaic classic, but a tune which defines Steve O'Sullivan and the label: "Cheques Not Accepted". The B-side provides one cut of woofing tom drums, tribal-tipped drum loops and cooling synths while the other, "Touch Up", is a filter sweeping slice of French-styled house music. O'Sullivan's dubby house jam "Breezer" with John Beer from 1999 deservedly makes the grade on the second disc as does some thumping beats of O'Sullivan's techno-weighted alias The Wise Caucasian. More essential listening from Sushitech.

Review: Finnish deep house champ Trevor Deep Jr takes a break from releasing for Delsin and his own HPTY imprint to drop this delectable set of jams for Nsyde, and the record finds him on sterling subterranean form. There is a distinct dubby lilt to Trevor's output, and that comes through in abundance with the carefully treated chord that pulses through the core of lead track "Merge". However that track is still operating in the Basic Channel school of dub, while "Blunted" flips the script to a Rhythm & Sound style romp through rootsy steppers rhythms and choice guitar plucks. "Believe Dub" ramps the energy back up with a housey groove around which cavernous synths can echo and throb, making for a damn fine addition to the tradition of dubwise dance music.

Review: The Parisian label Flyance Records newly set up by Janeret, Ka One & St-Sene comes back with their second releases "Cycles Vol.2".
As the first one, Cycles vol 2 is a various with 4 tracks focus on the deeper side of house and techno.
A1: "Ka One & St-Sene - Sprag Line Posse" brings you thru the deep vibes with strong and electric beats leads by bigs waves.
A2: "Janeret - Evo" Deep lushness, strong beat & acid vibes, that's the way.
B1: "Ka One & St-Sene - After Zoo" is a groove driven track between Deep House and Techno always lead by an Acid touch.
B2: "Ka One & St-Sene - Wipeout" is a fat techno joint which shows the other side of the label's vibes.

Review: There's something a little ballsy - arrogant, even - about calling an EP I'm Here Now - The Arrival. It would make some sense if this were Omar-S collaborator OB Ignitt's debut release; actually, he's already impressed with a pair of fine solo EPs for FXHE. Still, we'll excuse him, because the three tracks here are really rather good. "Sweaty Dancce Floor" is typically Detroitian in its fusion of shuffling deep house rhythms, warm chords and futurist synthesizer melodies, though it is distinctly brighter and breezier than much Motor City house. "Ignitt Techno" sounds like a long lost gem from the halcyon days of the Belleville Three, while "Chocolate City (Uncle James Mix)" breathes new life into a Parliament / Funkadelic classic.

Review: The fifth release on KV Records is dedicated to Berlin-based producer Alex Agore who is certainly one of the most talented musicians in the house music business nowadays. This EP reflects the best of what house music can offer when it is about celebrating the underground sounds of the 90s coming from New York. The whole record is here to make you dance, groove & sing: deep chords, warm vocals, infectious rhythms & basslines ... in short, 100% pure house music.

Review: Ultra Knites continue their fine form and unleash the second installmant of the Knite Grooves series. This time round, Sem Marini is handed the A side while Mike Sharon welcomes vocalist Karina Junker for B side duties. There's no need for us to describe the tracks in words, that's what the player above is for. Into the fourth release on the label and many have begun to describe this label's output as 'perfect', Knite Grooves Vol. 2 is certainly no exception.

Review: With a rich assortment of fresh talent in their fold, the Blind Jacks Journey crew are doing a sterling job of representing the North Yorkshire region as an area of discerning taste in the cluttered realm of deep house. Gobi is up first with "White Dwarf", which comes on primal and nasty with its tough box beats and scuffed synth bass, sitting in stark contrast to the more elegant, searching ruminations of Lock Eyes' "Behinf". Tominori Hosoya is equally soothing as "Saki" drifts out in a haze of illustrious pads, gently twitching beats and brooding bass. Subjecktive's "Point Of View" spends plenty of time hovering behind the need to kick a beat off, letting soulful vocal slithers and mournful synth unfurl for a good long while before working some rhythm into proceedings.