Juno Recommends Deep House February 2021

Review: Put simply, Loose Ends' 1985 hit 'Hangin' On A String' is not only a peerless UK soul classic, but also one of the greatest boogie-era dancefloor cuts full stop. You should really already own a copy, but if you don't, then this South Side reissue should be on your shopping list. Not only does it contain the band's brilliant original extended mix (B2) - a sing-along gem rich in hazy organ sounds, jazzy guitar solos and bustling electro-era beats - but also two celebrated 1992 remixes from Frankie Knuckles. Both are amongst the late, great DJ/producer's finest remixes, with the more instrumental and impeccably loved-up 'Reprise' version, in which Knuckles builds gently before eventually unleashing chorus vocals, being our pick of an incredibly strong pair.

Review: Bicep's second album is shaped by the experience of touring their debut long player for something like three years, a period during which they honed and perfected their instinct for tracks that would stand the test of time and repeated listening. What develops is a distinctive style typified by a combination of ethereal sonics and cheeky, memorable instrumental hooks, only set to a variety of beats that reference and indeed fuse the plethora of different dance genres that have sprung up since the acid house revolution if the mid-80s. So we get everything from the electro-tainted 'X' to 'Rever', where an African choir floats over a subtle deep house shuffle and 'Saku', where UKG bass pressure and skippy beats provide a hypnotic background for Clara La San's sweet but ghostly voice.

Review: Misiu kicks off the Heads High label in style, building on a style first hinted at on an edit 12" for Razor N Tape back in 2016. The mood on 'Darkness Falls' is swooning and romantic, steeped in stirring string refrains, earworm analogue leads and a sweet, disco-licked groove. 'Cascade' has a more bumping house feel to it, replete with diva vocal hooks and a nagging organ line. 'For Your Love' is the peak time, sun down anthem of the record, dropping in some treasured vocal hooks and tasteful peaks and troughs of energy. The record rolls out on the lilting charms of 'Bala', which uses a more eclectic palette to deliver a very different feel to the other three tracks and leave the possibilities wide open for Misiu's next move.

Review: Honeycomb Music here offers up the first of Josh Milan's excellent new vinyl series, which is based on the Shapes, Color and Magic EP. It finds the cult producer explore some of the most innovative jazz and dance music rhythms you could wish to hear across just like 'Acts 2 and 4' which are late night and freaky jazz-tech jams of pure quality. 'The Plight Of The Square' slows down to a bubbly groove with loose perc and nice colourful melodic hits and '9 Pound Hammer' brings an epic rock vibe to house, somehow. It's pure Balearic bliss on closer 'First Graders.'

Review: One of the greatest house albums of all time is 20 this year. To mark the occasion the legendary French producer behind it - Ludovic Navarre aka St Germain - has selected a sympathetic team of expert remixes to add their own spin to the still classic source material. Atjazz is the perfect man to open up thanks to his deep, lounge and of course jazzy house style. Osunlade then brings his shamanistic sounds to 'Sure Thing' and it glows as a result with Ron Trent later tackling the anthemic 'Rose Rouge' and slowing it down to a lush jazz dance. With DJ Deep, Nightmares On Wax and more also featuring, this is a must cop.

Review: The Shapeshifters are bonafide dance music champions with some rare studio skills. Their golden era sound is as rich as they come and their on going relationship with Glitterbox now results in a new future classic, 'Finally Ready.' It follows on from jams like 'Try My Love' and 'Life Is A Dancefloor' and has a strong message that no matter where you come from, on the dance floor there is always acceptance and hope. Grammy, Tony and Emmy Award-winning singer, director, composer, actor and playwright Billy Porter is the co-writer and with all its big strings, live horns and sense of theatre, it's another winner.

Review: As part of their 15th anniversary celebrations, Sushitech has decided to reissue Mosaic Classics, a 2008 collection of late 1990s works from legendary British techno producer Steve O'Sullivan, this time on clear vinyl. If you missed out first time around, it's well worth picking up. Check first the early British tech-house-goes-dub-techno hypnotism of 'Cheques Not Accepted', before admiring the sub-heavy late-night skank of 'Touch Up' and the bongo-rich pleasantness of deep techno roller 'Breezer' (itself a collaboration with John Beer'). Also worth a listen is the chunkier and sweater - but nevertheless spacey - 'No Suzuki', which was originally released under the Blue Spirit alias, and the pumping, stargazing thump of 'Sac Magique' (as Wise Caucasian).

Review: It is undeniably one of the most iconic house tracks of all time: 'The Nervous Track' by Masters At Work Present Nu Yorican Soul is an exquisite coming together of MAW's deep musical heritage, Latin roots and majestic studio skills. It first landed in 1993 and its deep bass, rich bass and expressive percussion all made an immediate impact. Here presented on limited edition yellow vinyl, it comes with various mixes that highlight different aspects of the arrangement. The Horny Mix is fun, the Yellow Mix is more dreamy, but the Ballsy Mix remains a firm favourite.

Review: 
One of the Motor City's hardest working producers is back! 7 Days Entertainment chief Big Strick presents Paper Chase, a four track EP featuring the sort of emotive, real proper deep house jams you have come to know and love from the man. From the glassy-eyed and bittersweet inner city soul of 'Detroit Domino', to the introspective 'Still Hustlin' and its rich tapestry of twisted analogue synth textures, and ending with what was undoubtedly the most surprising addition to the EP in the form of 'Deep Don't Die' - a droning and mentalist techno journey that would make even Mike Parker stand up and notice.

Review: It's not often you get such a heavyweight selection of long time house greats on one EP, especially as they are all in remixer mode. Scottish producer Vince Watson, now based in the 'Dam, is he man behind the originals, but first to flip is Joe Claussell the dub master who brings real spirituality to his work, In his hands, 'Progress' is a piano laced, deep and sine tingling house love affair, while Yoruba master Osunlade layers in his bright synths and layers of percussion to take you to a higher plane. After Manoo, Poker Flat boss Steve Bug links with longtime collaborator Langenberg for the most tech-edged version.

Review: Fred Everything is a long assured producer and a hallmark of real quality grooves. The Atjazz Record Company is similarly highly regarded, and for good reason, so this is a coming together well worthy of your attention. Opener 'Alone' is the sort of gorgeously lush and languid deep house groove that is perfect for cosy spaces. 'Phoenix' then ups the ante with delightfully skipping beats and perc, smeared pads and a cuddly vibe. 'Alone' then gets two remixes and the first, Po-lar-i-ty, is riddled with funky motifs and jazz keys and the second is a loopy tool of dusty beats.

Review: Carl Craig and Moritz Von Oswald, two of techno's undisputed legends, team up on this fine release for the former's esteemed Planet E imprint. The first production to emerge from a series of studio sessions in Berlin and Detroit (and with more to come in the future) 'Attenuator' was originally produced together, but this two sided single sees them deliver their own distinct take on the material. The Carl Craig version on the A side is as epic as you could imagine from the veteran of the Motor City's second wave - proper 'hi-tech jazz' if we've ever heard it. On the flip, the Mortiz Von Oswald dub gets deep, dark and introspective, much in the vein of his seminal Basic Channel material.

Review: After years of quality digital releases, Russian house label Moiss has branched out into the vinyl world with some particularly fruity various artist releases. Last year's excellent Strawberry Jam EP has now been followed up by the Pineapple Jam 12", featuring an all new cast of house hopefuls with plenty to say. Zito Mowa's 'Ndo Neta' and Replika's 'On My Mind' twist up dusty piano samples and lo-fi drums in artful loops that draw you right into their atmospheric sound worlds. Sune & Vitamin D bring a rhythmically snappy but sonically smoky combo to 'Coastal', and 'Awesomeness' by Iner has some fun with a classic Commodores sample and some powerful piano chops.

Review: A result of Danny Howard's Radio 1 Lockdown link up, Misfit Melodies brings artists that have never worked together due to time, place or opportunity. When its next experiment resulted in the unlikely meeting of Running Back's Gerd Janson and PETS Recordings duo Catz 'N' Dogz, they knew they were in for a rare treat. Taking the very best of classic house motifs, mixed in with neon-lit nu-disco thrills, 'Modern Romance' is a tune we can expect to hear burning up living room dancefloors throughout the early part of 2021, with its infectious vocal and Mark Barrott (International Feel) helping out with some piano work. Handy instrumental and club mix by Janson included.

Review: Here's a welcome surprise: a reissue of one of the most revered records in the back catalogue of sadly departed Sheffield deep house imprint Toko. This 1997 gem is actually an all-star affair, with Klarky Cat (a reference to legendary satirical show Brass Eye) being a collaboration between Chris Duckenfield, Toko bosses Alec Greenhough and Paul Ingall (better known as Attaboy) and influential, overlooked Manchester producer Si Brad. In. its original form, "Gumbo" mixes the wavy, loved-up dreaminess of classic deep house with the organ sounds of U.S garage and the swinging, occasionally glitchy drums of early UK tech-house. It comes backed with a darker, chunkier and more foreboding rework (the mesmerising "Blooty Mix"), and the bright, acid-flecked sunrise giddiness of rather good bonus track "Custard Gannet".

Review: M.A.D. Sounds is a brand new label that kicks off with a no nonsense, headline grabbing new 12" that brings together the core and classic elements of vocal house and acid in fine style. For a first release by the artists behind it, it is impressively authentic and steeped in old school rawness. Excellent opener 'Somebody' is an all out anthem straight from the Paradise Garage, and the Guilty Pleasures remix reworks things a little deeper. 'Acid Cult' zones you out on nice smeared 303 lines and then the Piano Power mix pops right off with pure house magic.

Review: Uk label Toolroom has become one of the most prominent in the world and a real entry point into dance music for younger ears. Mark Knight has worked tirelessly to make that happen and now he's been busy in the studio cooking up a cross over hit with horns desired to be heard on the most sun kissed dance floor's this summer. It's got plenty of well known samples, rolling drum beats and diva vocals that will have you emptying your lungs. The Danny Howard remix is a little more tense and late night for when the sun drops and things get more heads down.

Review: Synth wizard Crackazat shows off his mad playing skills on this new EP for Dutch label Heist. Right from the off his nimble drum programming and lithe chord work gets you up on your toes. There is funk, soul and jazz in the excellent opener 'Alfa', then 'Class One' brings more classy and joy, a la early Floating Points. The most club ready of the lot is 'Tiger's Eyes' with its off-grid chords and chunky beats, then the one man beat making machine that is Rick Wade pops up to remix 'Alfa.' He does so in smooth, free flowing late night fashion with style to spare.

Review: On its initial release in 1994, "Sceneries Not Songs" became deep house legend Larry Heard's first solo album under his given name. At the time, it caused quite a stir on the electronic underground, in part because it saw the Chicago veteran showcase the depth and variety of his musical personality whilst retaining the emotive dreaminess and jazzy inflections that had always been a big part of his work. As this much-needed vinyl reissue proves, it remains a stunning album. Highlights include the sparkling synthesizers, slo-mo grooves and twinkling pianos of "Tahiti Dusk", the classic Heard deep house warmth of "Midnight Movement", the head-nodding trip-hop-goes-ambient jazz flex of "Summertime Breeze" and the luscious beauty of bonus cut "Question of Time".

Review: Classic Music Company welcomes a real legend to their ranks in the form of Detroit innovator Robert Hood under his Floorplan guise, which has more recently also included his daughter Lyric. The line-up may have expanded, but the sound remains the same - uplifting gospel house with a very real sense of spirit. 'Right There' has dusty hi hat ringlets and warm organ stabs over an endlessly shuffling beat that will get clubs in raptures. 'Holy Ghost' then gets a little more bouncy with lively chords and clipped vocal yelps bringing the energy.

Review: After just over two years out of the game, the overlooked Detroit Vinyl Room label - a stable previously responsible for unleashing some superb deep house - has finally sprung back into action. The Collision EP is a multi-artist affair with many must-check highlights, with our picks including the drowsy, tech-tinged late night deep house hypnotism of 'Stick An Move (Cobo Mix)' by Gary Romalis, the distant, jackin'-in-space acid squelch of Jnn Apprl's 'Insecure Alien', the ultra-deep and trippy, early morning haziness of Isaac Prieto's brilliantly odd and angular 'Late Night', and the horizontal, sofa-bound instrumental hip-hop of MGUN's blazed 'Shadows'. Recommended.

Review: Almost two decades have passed since Charles Webster's last solo album, the largely overlooked collection of hushed deep house and downtempo soul gems, Born on the 24th July. Soon he'll finally release a follow up, Decision Time, but first he's treating us to a teaser single, 'The Spell'. Webster's vocal and dub mixes - the former featuring the seductive spoken word vocals of poet Ingrid Chavez - are typically immersive, ultra-deep house affairs that combine analogue electronic instrumentation with hazy, crackling aural textures that come courtesy of surprise collaborator Burial, who cites Webster's sound design as a major influence. Arguably the most striking mix though comes from that man Burial, whose A-side interpretation is drowsy, deep, crackly and irresistibly opaque: an artistic marriage made in heaven and then some.

Review: When it comes to immersive, atmospheric and slowly unfurling deep house, few producers can match the immaculate output of Will Long. His Long Trax series of albums manages to consistently deliver dancefloor-ready material that's arguably best enjoyed at home with the lights off. This third volume in the series - the first since 2018 - is every bit as alluring as its predecessors. Its' lengthy tracks are becalmed and meditative, with ambient house style spoken word samples and yearning chords stretching out across crunchy, sometimes lo-fi drum machine rhythms and warming, often opaque basslines. As a result, each and every cut - few of which clock in at less than ten minutes - feels like the aural equivalent of a weary, loved-up hug at 5AM (which, to us at least, is definitely a good thing).

Review: Bristol party and label Just Jack welcome unsung Detroit hero in the form of Gari Romalis. He brings all the sounds you'd expect of a Motor City artist - depth, soul and warmth. 'Panic In Detroit' (Goos Life Mix) is a mid tempo jam that will warm up early evening floors. 'Final Fronteer' (Brain Block mix) is a deep and cuddly cut with hip swinging claps and splashy hi hats and last of all comes the best fo the lot, 'Hard Rain.' It has smooth drum loops that rock back and forth and draw you in beneath balmy cosmic pads and far-sighted sense of melancholy. This is tasteful, subtle dance music for the heads.