Back catalogue: All genres

Review: Remarkable future deep house from an artist whose reputation speaks for itself, nonetheless through the wing-flapped wings and freedom trills of the past. As he came of age in New Jersey in the mid 1980s, Kerri Chandler's groove-driven productions and rapt DJ sets could easily be said to have "evangelised" the dancefloor, with the deep and soul-bearing tilt of his sound seeming to promise salvation. Undoing and atonement come to those who shrive not in speech, but by moving their feet. 'Caged Bird' first came in 2020 - well past Chandler's 90s purple patch - but nonetheless contained as ever the slickly sophisticated jazz and vocal reflections likely inherited from Chandler's father, the late great jazzer DJ Joseph Chandler. Nae sings on the track, and her lyrics name-check Maya Angelou, who adapted the infamous poem 'Sympathy' by Paul Laurence Dunbar under the name 'Caged Bird'.

Review: Cinthie returns to Heist with another stormer of an EP, packed with peak-time tackle and knowing nods to her rave roots. Following the titanic success of 2023's 'Piano Heaven' i also on Heist i the Berlin-based maverick had plenty to live up to on 'Get Up', and she certainly doesn't disappoint. 'Deep Inside Love' is a euphoric house pumper with uplifting keys and big room swagger, while 'Higher' leans into the rave nostalgia that typifies much of today's underground club milieu i all stabs, vocals and hands-in-the-air intention. 'Get Up' drops the tempo just a touch, offering a warm, dubby breather laced with classic house moods. Rounding it off is a slick remix from Demi Riquisimo, who gives 'Higher' a semi-retro twist. As ever with Cinthie, this is club music with heart, soul and a large dose of fun.

Review: After a seven-year hiatus, Concept e25 is back which will, quite literally, be music to the ears of deep house heads. This is the alias of French producer Frederic Boeuf who has been crafting his own grooves since 2012 on labels like Skylax, Copie Blanche and Swedish Brandy. The 'Thesis' EP shows what he is all about with deep, cuddly drums, infectious kick patterns and subtle, painterly synths that help smooth the grooves and get your mind wandering.

Review: New York disco don Joe Claussell takes a scalpel to Norman Connors' 1980 uncut 'Take It To The Limit', turning a smooth Philly disco-soul burner into a swirling, peak-time epic. Originally voiced by Adaritha and buried on Connors' overlooked tenth LP for Arista, the track is flaymorphosed: pulled inside out, looped, stretched and whipped into chaos with Claussell's trademark floor-focused touch. If you've caught him lately at Body & Soul, you've likely heard this one spiralling into the rafters.

Review: Hector Couto steps up on Cecille with Hot Stuff, a burning four-tracker roping in Chile's Alejandro Paz for a rework of his cult vocal cut 'El House', originally out on Comeme over a decade ago. Couto, a mainstay of modern European house with credits on Hot Creations, BPitch and Defected, revives his trademark low-slung swing, seasoning Paz's voice with sparse drums and deeper club intents. 'Camis House' rolls out woozy chords, sub-heavy basslines and apparitional voxes, before the flip 'Hot Stuff' ludicrizes the mood by way of looped soul chops and loose-lipped percussion. 'Red Velvet' rounds things off with slap bass, twitchy synth work and warm analogue textures; Couto sounds fully at home on Curly and Scholl's enduring Frankfurt imprint.

Review: Coyote and Peaking Lights form a perfect pairing on this latest drop of bliss from Is It Balearic? They are artists who are drenched in dub influences and that comes to the fore on this direct collaboration which marries swirling dub with dreamy vocals and ghostly acid arpeggios to bring to mind a serene sunset after a long, hot and lazy day. 'Love Letters' is pure horizontal bliss, 'So Far Away' gets even slower and will drown you in synth succulence and Coyote's dub mix is laden with soothing delays and warm bass that transports you to an exotic world of weed-laced wonderment.

Review: Originally released in 2007, 'Our Life With The Wave' stands as a prime example of the late great Detroit producer's deep, soulful approach to electronic music. Crafted entirely with the Waldorf Wave i a synth Huckaby often called one of his favourites i the track captures his distinctive blend of warmth and precision. This reissue, featuring the original alongside new remixes, is both a tribute and a celebration of his legacy. The original version remains as hypnotic as ever, its rich textures and subtle groove sounding timeless. On the Federsen live dub, the track takes on a more fluid, organic character, with shimmering layers unfolding over a sturdy, pulsating rhythm. Side-B opens with the Cv313 + Federsen dub, a deep, aquatic reimagining where ambient chords ripple over a taut, rolling bassline i a perfect dive into weightless, dubbed-out techno. Finally, the Intrusion dub stretches the track into a more expansive, airy space, full of atmospheric drift and slow-building, epic emotion. Together, these versions honor Huckaby's spirit while expanding his vision. Each dub feels reverent but also full of life, ensuring that 'Our Life With The Wave' continues to ripple forward through the evolution of deep electronic music.

Review: Tanika Charles has long paired throwback soul with incisive songwriting, but this latest release feels especially raw. Now four albums deep, the Toronto-based artist pivots inwarditrading the usual tales of romance and heartbreak for something more fragile: the fallout of early family trauma. 'Don't Like You Anymore' and 'No More' snap with funk-driven defiance, but it's the quieter moments that linger. 'The Lament' and 'Talk To Me Nice' lean into vulnerability, while 'Win', a duet with Quebec's Clerel, glows with understated uplift. Charles leads a tight teamiScott McCannell, Kyla Charter, and Chino de Villa shape the grooves; Monophonics' Kelly Finnigan adds the rougher edgeibut the clarity here is hers. Her voice, resolute yet tender, is unafraid to ask difficult questions and even braver in leaving them unanswered. There's growth in every chord, as the arrangements span lilting r&b, classic soul, and easy-stepping slow jams. From Polaris nods to JUNO nominations, Charles has long commanded her placeibut this is something more personal, more courageous. Soul music as a form of release, not just rhythm.