DJS: MOST CHARTED - DEEP HOUSE - MOST CHARTED IN MAY 2016

Review: Byron The Aquarius resurfaced earlier this year after a nine-year absence, delivering the future jazz/deep house fusion of High Life on Sound Signature. This speedy follow-up on Kyle Hall's Wild Oats label is, if anything, even better. Warm, rich, soulful and evocative, it includes six superb cuts. These variously touch on off-kilter modern soul ("Co$mic $hit"), Herbie Hancock-influenced deep house (the jazz-funk synths, woozy chords and smooth beats of "Moments In Life"), intergalactic hip-hop beats (the impeccable "Space N Time"), blissfully Balearic house (the hazy positivity of "The Sun"), and jazz-influenced house rollers ("Better Tomorrow").

Review: Church has been responsible for some fantastic 12" singles of late, delivering killer EPs from rising stars Ishmael, Mall Grab and Wolfey & Project Pablo. Here they change tack, serving up a four-track missive from experienced underground deep house producer DJ Aakmael. He begins with the chunky, bumpin' beats, twinkling melodies and drifting vocal samples of "Beautiphul" [sic], before exploring jazzier, looser pastures on the classic summery deep house flex of "13th Mood". "Bloo Again" blends sweeping strings, Roy Ayers style vibraphone solos and a tactile groove to excellent effect, while closer "Space" smartly works a swinging groove and tasty chords for maximum dancefloor pleasure.

Review: Junktion is Hans Peeman from Nijmegen, Netherlands, co-founder/A&R at Outplay. The deeper side of house and everything that goes with it is his thing and The Wide Awake EP is good evidence of this. There's a real Thomas Bangalter style vibe to this EP, as evidenced on the low-slung disco loop goodness of the title track and "What We Are" following in suit, with more wicked sample cut ups rocking the night away on this funky groove. On the flip we've got "Don't Mess Up" which is perfect for those Summer open-air parties with its dusty arrangement and hands in the air vibe; the real highlight on here.

Review: Quartet Series is a fresh imprint based between Milan and Amsterdam and run by Nachtbraker and KiSk. Inaugurating their new label is Crackazat (from Uppsala, Sweden) with his 80's pop- house excursion "Lindop Circles" (which is so lovably cheesy) and Saine with the deep and sexy slo-mo disco of "Prime Chops". On the flip there's also Nachtbreaker himself with "Totally Not Mystique" (which sounds like an outtake from the Beverly Hills Cop soundtrack) and Gnork with "Chord Tool" which sounds like early Underground Resistance or 808 State.

Review: Patrice Scott's long awaited debut album, Euphonium, was arguably one of the most underrated full-lengths of 2015. Happily, he's kept the quality threshold high for this follow-up EP. "The Detroit Upright" is particularly potent, with effortlessly smooth keys stretching out over rich chords and bumpin' deep house beats. On the flip, Scott doffs a cap to the hazy, jazz-funk influenced styles of 2000 Black, on the impeccable broken beat/deep house fusion cut, "Who We Are". Weighty at the bottom end, and blessed with both starry keys and delay-laden synth lines, it's the kind of track you could imagine Theo Parrish losing his shit to.

Review: It's always unwise to judge a label that's still taking its' first steps, but Banoffee Pies has barely put a foot wrong since launching a couple of years back. Here, the Bristol-based imprint continues with its' successful split release formula, gathering together a quartet of tracks from up-and-coming producers. Beaner kicks things off with the bumpin', low-slung deep house grooves and delay-laden guitar samples of "It Takes Two", before Philou Louzolo raises the temperature with the looped horn samples and thumping beats of "Alter Ego". Flip for the dreamy Balearic house goodness of Ron Wilson's "Albino Turtle", and the bongo-laden, after-party deep house shuffle of Mome's "Assatta".

Review: Ali "Nebraska" Gibbs last outing on Mister Saturday Night, 2015's Stand Your Ground, saw the producer treating listeners to a quartet of tracks that touched on a multitude of house styles. This follow-up has a similar feel. He begins with the loose-but-bold drums, electric piano solos, disco strings and occasional punchy horns of "Done My Best", before dropping down into slower, deeper, dub-tinged territory via the toasty electric bass, stretched-out chords, mid-tempo grooves and pitched-down horns of "Look What You've Done To Me". He rounds off another fine outing with "S.O.S Dub", a crackling, unfeasibly atmospheric journey through dub house grooves, fluttering chords and creepy electronics.

Review: Kiwi duo Chaos In The CBD has been on fire of late, delivering a string of deep and jazzy EPs for such labels as Rhythm Section International, Church, Mule Musiq and Amadeus Records. Predictably, this two-tracker on the freshly minted Youandmusic is equally as inspired. A-side "Global Erosion" is a warm and relaxed affair, despite the presence of rolling, Afro-tinged drums, with delay-laden horns drifting across the mix in evocative fashion. The duo's African influences are brought to the fore on "Global Explorer", a rolling, far-sighted affair full of dreamy deep house pads, twittering panpipe melodies and dense tribal percussion.

Review: Leron Carson may not be the best-known Midwest producer, but he has history. Carson's first release came way back in 2001, with Theo Parrish putting out a track he'd recorded way back in 1987 and has appeared on Sound Signature intermittently over the years. This new 12" from Carson for Theo's label is HEAVY! "Lemonline" is a deliciously breezy concoction, with Carson's jazzy piano riffs working in perfect unison with bouncy, Latin-influenced drum rhythms. Flipside "Sofnthik", on the other hand, sounds like a previously unheard 1980s Chicago deep house concoction, with warm, loved-up chords swirling around a clattering drum machine groove. Whether it was recorded 30 years ago is unknown, but it certainly boasts a similar lo-fi, analogue feel.

Review: Having contributed a stellar track to Gerd Janson's Musik For Autobahns 2 compilation, it's little surprise to see Leon Vynehall pop up on Running Back. Rojus (Designed To Dance) is an expansive affair, with eight tracks stretched across two slabs of wax. It's also predictably varied; contrast, for example, the drowsy ambient chords and twinkling electronics of opener "Beyond This", and the deep-jack-goes-rave sweatiness of "Beau Sovereign". Vynehall also finds space for the Balearic jazz-house swing of "Paradisea", the wall-of-sound Detroit deep house of "Blush", and the African influenced drum workout "...There Is You". In other words, it's a versatile cracker.

Review: Alex "Omar" Smith has never been one for modesty, so we shouldn't be too surprised that he's called his latest full-length - his fifth in total - The Best. To be fair, he is rather good at producing high-grade deep house, and here unveils another eleven gems. Interestingly, he's recruited an impressive cast-list of collaborators and guests, including Norman Talley, Kyle Hall, OB Ignitt and, most surprisingly of all, Bristol-based Tom Bug. Highlights are plentiful, from the dusty afro and blues influences of the tribal "Chama Piru's", and hazy, Rhodes-heavy vocal cut "AhRevolution", to the hip-wigglin' disco-house influences of "Seen Was Set", and retro-futurist, Inner City style Divinity hook-up "On Your Way".

Review: Through a wide selection of releases on his own UnXpozd Entertainment, DJ Aakmael has truly established his place within the house scene, and his own sound, too. The man deals in a very specific sort of deep house filled with jazzy elements, much like the one championed by the likes of Fred P or Patrice Scott. Here, on the People Earth imprint, we are graced by the deep and chimerical synth work of "Izza" on the A-side, while "Untitled 116" on the back of the wax contains an air of disco, but one that's been warped and messed with good and proper; "Spreadsmoluv" is a heads-down house lover with an insanely hummable vocal flex. YES.

Review: Having established themselves as a reliable source of deep and tech-house treats, Axe on Wax has decided to launch a sub-label to cater for "grittier" material. The first missive on Axe Trax comes from previously unheard Sydney duo Sonderr. Their trademark sound is crusty, analogue sounding, and smothered in tape hiss. Even so, there's a drowsy beauty to standout cut "All My Dreams", despite the presence of a booming, sub-heavy bassline and clattering, all-action drum machine beats. The deeper and dreamier "Finding Time" is almost as good, with the duo holding back on the intensity in favour of rich ambient house chords, eyes-closed melody lines, and fizzing, Motor City inspired drums. Mall Grab's remix of the same track is, rather predictably, also rather good.

Review: It's been some two years since Paramida established Love On The Rocks. In that time, the label has put out some memorable material, including essential 12" singles from Telephones, Khidja and Fantastic Man. The time seems right, then, for Paramida to step up and deliver her first EP for the label. Tehran Bomb also marks the start of a new, occasional re-edit series. She begins with the intoxicating late night throb of "Beyond Katovl", where fluttering vocal samples and psychedelic electronics ride a bombastic, high-energy groove. It's a muscular affair, all told, but strangely intoxicating. Flipside "Ms Bombastic" sees Paramida reworking an early house workout, cleverly emphasizing the original track's surging percussion and killer bassline.

Review: Future Times' occasional, single-sided 12" singles usually hit the spot, and this effort from the little-known Will DiMaggio is no different. Boasting the kind of spiraling jazz-funk synthesizer work that makes you want to close your eyes and succumb to the vibe, "Fusion (Broadcast Mix)" sounds like the kind of record that should be played at six in the morning, just as the sun is beginning to peep over the horizon. DiMaggio's magical synthesizer work takes centre stage, naturally, but is complimented perfectly by some rubbery slap bass, unfussy drum machine rhythms and just the right amount of blissful chords.

Review: Since his debut back in 2012, Anaxander has just kept on impressing with his personal touch to deep, teched-out house music. His travels have taken him to labels like Local Talk, Boe, Quintessentials, and now the wonderful Mondelisme Records for what is perhaps his biggest moment yet. "Party Track" is remixed by NDATL boss and all round house music don Kai Alce, who transforms this cut into a delightful deep house scorcher with a bouncy, feel-good approach. The B-side contains the more swanky, bass-heavy waves of "Turn Out", followed by Anaxander's own Midnight In Malmousque mix of "Party Track", a dirtier and more sleazy version than Alce's. Sick.

Review: It would be fair to say that Mr Fingers 2016 is something of an event release, at least for those who love deep house. While Larry Heard has kept busy - largely with remixes and reissues - this marks the first 12" release under his most famous moniker for over a decade. He begins in contemplative mood, fusing tumbling music box melodies, creepy electronics and nagging 303 lines on "Outar Acid", before laying down some typically blissful, atmospheric deep house on the wondrous "Qwazars". Flip for "Nodyahead", an effortless mixture of heavy dub-house bottom end, African-influenced percussion and moody late night refrains, and the ultra-deep, piano-laden bliss of "Aether".

Review: Ibadan's first Leads & Bites EP, released some five years ago, was a little less than an all-star celebration of everything that's good about the long-running New York imprint. This belated follow-up is, happily, every bit as good. Jerome Sydenham kicks things off with a brand new edit of Kerri Chandler's string-laden, disco-meets-deep house jam "Atmospheric Dub", before the same producer joins forces with hip-house legend Tyree Cooper on the Ego Trip style bleep-house bump of "Universal Rhythm". Flip for two more Sydenham edits: an undulating, disco-not-disco take on Free Radicals' "I Just Can't Turn It Loose", and a sparkling, stretched-out revision of Kerri Chandler's Earth People remake of Pal Joey's brilliant early '90s, Chic-sampling gem "Dance".

Review: Assisted by long-time studio partner Kaidi Tatham, former 4 Hero man Dego's been on fire of late, delivering killer singles - and a fine album - for the likes of Eglo and Rush Hour. Here he pops up on Neroli again with more superb, soul-flecked dancefloor fare. "Don't Stop (Let It Go)" is particularly potent, offering a disco and jazz-funk influenced chunk of celebratory deep house laden with thrilling live instrumentation from members of "the 2000 Black family" (Tatham and others, basically). He completely flips the script on "Save It Till Later", a refreshingly rough and ready chunk of bass-heavy, acid-flecked house/techno fusion that benefits greatly for some particularly warped electronics. Darkness and light on one 12"; what's not to like?

Review: Earl's back with 002 from his new label Melange. 3 power cuts in raw form. This time bringing along good friend and previous collborator, Kofi Tarris.