Deep House charts

Review: Waze & Oddysey's W&O Streetracks imprint pulls together the likes of Eliphino, Ejeca, Citizen and XXXY for its first (unmixed) compilation released this Winter, W&O Streettracks Vol 1. Having clocked up eight releases on Street Tracks, it's the ideal time to throw down a milestone and document the sound of the label in one package and W&O Street Tracks does so with panache. The result of Waze & Oddyssey's plunge into their address book is a 12 track compilation that neatly reflects modern house music. Ejeca, Citizen and W&O themselves sit alongside newcomers like Mediman and Sage Caswell while the emergent talents of New Jack City and Eliphino make for a nicely profiled piece of work

Review: In 2009, longtime collaborators Frankie Knuckles and Eric Kupper made their production partnership official via the Director's Cut project. This epic retrospective gathers together the best tracks and remixes the duo completed prior to Knuckles' death in 2014. Disc one offers up original productions, including ear-catching re-makes of some of Knuckles' most famous early works (we're particularly fond of the versions of "The Whistle Song", "Your Love" and "I'll Take U There"). On the second disc you'll find the best of their remix work, with standouts including a sublime take on Candi Staton's "Hallelujah Anyway" and a storming, previously unreleased version of Lou Rawls' "You'll Never Find Another Love Like Mine". As a bonus, the third disc mixes the best of the lot together in one suitably gorgeous, non-stop journey.

Review: Given their famously militant approach to music formats, it's a surprise to see Paranoid London's previously vinyl-only 2014 debut album finally being issued on CD. For those who missed out first time around, it's well worth checking. As you might expect, it makes great use of both vintage analogue equipment and similarly old skool influences, in turn doffing a cap to Phuture-style Chicago acid, Inner City, hip-house, Green Velvet, Dance Mania style ghetto-house, and stripped-back, dancefloor-friendly machine soul. Despite the ragged nature of some of the material, it's both hugely listenable and hangs together impressively - no mean feat given the DJ-friendly nature of the tracks. It all adds up to a retro-futurist treat.

Review: Having built their reputation through 12" singles for the likes of Crosstown Rebels and Poker Flat, Dan Berkson and James What deliver their debut album, on their freshly minted imprint Modelmaker. Interestingly, Keep Up Appearances is an altogether warmer, melodious and more evocative set than you'd perhaps expect, with a smattering of rich downtempo cuts joining a solid selection of dancefloor-friendly deep house. You can hear a classic dub techno influence in cuts such as "Keep Up Appearances" and "Shadow Theory", while the acid-flecked, soul-soaked "Make It True" sounds like classic Osunlade. Best of all, though, are the more forthright efforts, with the ragged "Seraphim" standing out.

Review: San Francisco-based DJ/producer Nick Monaco has long been part of the Soul Clap family, releasing his first 12" on the label back in 2012. Mating Call, a double 12" set running at album length, is easily his most expansive release yet. It's typically eccentric, delivering a range of songs - featuring his own distinctive vocals - that blend numerous styles whilst retaining a loose, funky and altogether rather kaleidoscopic feel. It's rooted in Balearic pop, but also touches on dub, deep house, boogie, dub disco and a strangely deep and contemporary take on the triple-beat rhythms of glam rock. It's hard to accurately describe, but is really rather good; certainly, it's one of Soul Clap's strongest releases of recent times.

Review: Theo Parrish's masterful Sound Sculptures Vol 1 on triple LP format gets a timely repressing!! In total here there are 9 of the 27 tracks from the full double CD version but these still run the gamut of Theo's inimitable talents, from rough and tumble disco edits to saccharine soul, raw beatdown and leftfield esoterica. Be sure to check the Omar S- featuring "Synthetic Flemm" and long time Juno favourite "Flotation Device". If ever there was a selection of tracks that fully showcased the incredible breadth of production talent this man has, this is it. Not to be missed!

Review: Given the brilliantly simple concept behind this fine compilation - contemporary Detroit producers remix Funkadelic - we're rather surprised nobody's done it before. With 17 varied re-rubs stretched across two hugely entertaining CDs, there's plenty to enjoy. Highlights come thick and fast, from the deep house/P-funk fusion of Alton Miller's take on "Get Your Ass Off and Jam" and Andres' loose, hip-hop influenced revision of "Music For My Mother", to the thrusting loops and heady late night hypnotism of Anthony Shake Shakir and T-Dancer's version of "Standing on the Verge". While many of the versions stay relatively faithful to the original, the more "out-there" interpretations - see BMG's outer-space ambient dub of "Maggot Brain" and Moodymann's epic revision of "Cosmic Slop" - are also consistently impressive.

Review: By now, we should all know what to expect from deep house legend Ron Trent. Over the years, he's fine-tuned his musically complex, emotion-rich sound to a tee. This fourth album, the follow-up to last year's more mixed up Dance Floor Boogie Delites, sees him at his most cosmic and melodic. Think smooth pads, darting synth doodles, hypnotic - and occasionally percussively complex (see "Atmosphere" - grooves, and twinkling piano melodies. For those who appreciate his slightly soft focus approach, it's a delight, with some genuine gems to behold. "Sweetness", "Space Dance" and the darker, clubbier "Blood & Fire" are arguably among his best tracks of recent years.

Review: [Emotional] Especial looks back at the first 9 releases since its inception to provide a
selection or "Eleccio" via a special dubbed out DJ meets studio mix from label stalwart
Jamie Paton. Ever since the first white labels appeared at the end of Summer 2013, [Emotional] Especial
has been busy putting out music that are their own warped take on club music. Mixing the
influences of dub, electro, disco, proto-house, house and techno, a sound appeared without any preordained plan. To celebrate the end of the first series of releases come EES10CD - a DJ meets studio
compilation mix created by label artist, remixer and even in-house designer, Jamie Paton. Freaturing tracks from every EP, including two unreleased remixes are the tight productions
of Richard Sen; the wiggle of Scott Fraser; deep, chugging Cage & Aviary dubs; the Eastern
influences of Baris K and newcomers Khidja; the quirky discoid wonk of Maurice & Charles and finally not forgetting of course, the stand out Timothy J Fairplay touches. Whether
alongside Mr Weatherall, Andy Blake or in solo remix mode, young "Junior"s skills (and name)
grows and grows.
All this is perfectly put together by Jamie Paton, the man who launched the label with his
Bizarre Feeling EP. As well as the inclusion of several unreleased cuts, Jamie has edited the
"selection", adding live studio dubbing, FX and the odd mega-mix to make it truly (E)special.

Review: Here's something guaranteed to ensure a rush of excitement in deep house heads everywhere: a brand new album from much-loved U.S producer Fred P. It's the first under the previously unused F.P-Oner alias, and his first studio outing since 2013's Black Jazz Chronicles set, Codes & Metaphors. Unsurprisingly, the simply titled 5 is as inspired, sumptuous and melodious as you'd expect, with gentle dub house, jazz and - in the case of the wonderful "Infinite Love" - Detroit techno influences. While much of the album is slinky, sensual and ultra-deep (see the fabulous "Visions of You" and "Sleepless in Shibuku"), there are a couple of thrillingly percussive moments to get the pulse racing, including the African-influenced tribal workout "The Realm of Possibility".

Review: Omar S has always been something of a maverick, but even by his own high standards, surprise second album It Can Be Done, But Only I Can Do It is something else. Like much of his work, it's an album of acute contrasts: tough and aggressive on one hand (the ragging acid of the opener and "Ganymede"), soft, calming and blissful on the other ("Nite's Over Comption"). Along the way, highlights are plentiful, from the heady deep house of "You Wish", sparse porno beatdown of "Look Hear Watch" and hypnotic rhythms of "Bobien Larkin", to the next generation Motor City techno of "Over You Two" and near-anthemic simplicity of "Here's Your Trance, Now Dance".

Review: Even by the standards of nerd-friendly underground deep house, Germany's Smallpeople work slowly. This debut album has been three years in the making, during which time they've released just a handful of 12" singles. Like much of their previous output, Salty Days is very deep; in fact, some of the tracks are so understated they'd be greeted by whispers on the dancefloor. There are more uptempo moments, of course - see the fluid snappiness of "Down With Your Vision" or mildly sweaty "Beauclair" - but the overall mood is intoxicatingly deep and atmospheric. In truth, it's all the better for it. You see, at times Salty Days is mesmerizing.

Review: classic 2010 Theo Parrish album Sketches back in stock on CD.

Review: It's been a while since Freerange boss Jamie Odell (better known, of course, as Jimpster) delivered an album; in fact, his last full-length dropped way back in 2006. Seven years is a long time between drinks, but the rest seems to have done Odell good; Porchlight & Rocking Chairs is arguably his strongest album to date. While deep house remains his focus (see the intricate "Glowing Embers", Detroit influenced "Cracks In The Pavement" and Moodymann-ish "High Wire"), there's a soulful bagginess and barely concealed jazziness throughout. More impressively, many tracks hark back to his pre-house days as a producer of lovingly crafted downtempo gems (see "Jasmine Dragon", "Wanting You" and previous single "These Times".

Review: Big Strick's latest full-length offering on his own 7 Days Entertainment label is a family affair, mixing tracks from the veteran Detroit producer with similarly deep and woozy jams from his 16 year-old son Tre Strickland, AKA Generation Next. The father-and-son team's approach to house - wringing atmospheric soul from bubbling rhythms, warm chords and blazed melodies - is surprisingly similar, as shown by the two deep, jazz-flecked collaborations showcased here. Elsewhere, both impress with their individual contributions, with Strickland Junior's slap bass-infused deep head-nodder "Flynn's" and sweet, winding "Mo Money" standing out.

Review: Alex "Omar" Smith has always come across as fairly militant in terms of his musical output, so it's still a surprise that he's chosen to celebrate the first decade of his FXHE label by putting out a series of mixes. This second installment expands on the first - released earlier this year - mixing familiar staples and scene anthems (Smith's own "It Can Be Done But Only I Can Do It") with lesser known gems. Musically, it's impressively raw, with Smith moving through a range of tough, stripped-back techno grooves and dystopian acid house gems before reaching for more melodious cuts such as the shimmering "Flying Blind" and melancholic "Three Blind Rats".

Review: There's a strong argument to say that those artists who make an effort to develop their sound make the very best albums. The fabulously named Guillaume & The Coutu Dumonts is clearly one of those artists. Since first causing waves back in the mid 2000s, he's moved from a maker of crunchy minimalism to someone whose sound is much harder to pin down. Twice Around the Sun, his third full length, shows further signs of development. While it remains rooted in his trademark atmospheric sound - a mix of loose, organic drums, tactile synths and pleasing melodies - it stylistically moves in a myriad of directions, touching on quirky lo-fi pop, strobe light techno, curious deepness and touchy-feely downtempo bliss.

Review: Jazz-wise deep house and downtempo producer Hanna has a string of fine albums to his name stretching back to the tail end of the '90s. Bless, though, is his first full-length since 2008, and sees the Cleveland, Ohio man transfer to Theo Parrish's legendary Sound Signature imprint. Each of the album's ten tracks comes dripping in hazy, late night soul, as Hanna smoothly shuffles between hazy nu-jazz explorations and various strains of sensual deep house. For the DJs there are plenty of floor-friendly moments, while the inclusion of a string of groovier downtempo workouts should please the home listening posse.

Review: Since its' initial release back in 2000, Theo Parrish's Methods Of Movement mix has attained cult status. 16 years on, the set has lost none of its' potency, or for that matter its' ability to entertain. An exercise in classic dancefloor eclecticism, it offers a sprint through dusty disco, soul, funk, Afrobeat, boogie, Detroit techno and deep house. It's effectively the kind of set you'd expect Parrish to play at a house party, laying down favourites from Tullio De Piscopo (the Balearic classic "Stop Bajon (Primavera)", Luther Vandross, Tony Allen, Incognito, First Choice and pal Kenny Dixon Jr. Packed full of energy, and shot through with soul, Methods Of Movement is Theo Parrish at his mercurial best.

Review: Theo Conrad (better known for his work under the Paxton Fettel alias) has long been one of Greta Cottage Workshop's most intriguing artists. His first album for the Devon imprint, Everything Stays The Same, inhibited similar territory to the classic deep house/downtempo/soul/jazz fusion of fellow West Country dwellers The Rurals. Described by the label as "instrumental contemporary jazz-funk", Nothing Stays The Same sees Conrad combining loose jazz breaks and jazzy synths with the kind of rich grooves, fireside chords and dreamy electronics more often found in vintage deep house productions. It's a formula that results in a string of hugely impressive tracks.

Review: Of all DJ duos currently operating in British dance music, Belfast boys Bicep might be the hardest to pin down (Optimo aside, of course). Certainly, this debut album is not easy to pigeonhole, though it is an enjoyably cohesive listen. This is largely down to two factors; the frequent use of deliciously colorful and loved-up synthesizer parts, and the duo's innate ability to utilize beats tailor-made for dancefloor devastation. So while keen dancefloor historians may notice sly (and not so subtle) nods to '89 rave, U.S house and garage, Italo-disco, late '90s progressive house, jungle and early British hardcore, the album never sounds anything less than a fine set of Bicep tracks. Expect it to be one of the biggest albums of the year.

Review: Eccentric Swedish sitcom enthusiast turned producer DJ Seinfeld is hot property right now, so it's hardly a surprise to see him mixing the latest instalment in the DJ Kicks series. It's rather good, all told, offering a good run through of his influences and inspirations whilst also packing plenty of dancefloor punch. Taken in isolation, the Swede's on-point selections (think breakbeat-driven lo-fi house, dreamy deep house, skewed techno and bubbly post-IDM jams) are often deep, melodious, atmospheric and left-of-centre; brought together, the result is a wonderfully fluid and entertaining mix. Highlights include the downtempo bliss of the producer's own "I See U", the bass-heavy breaks/deep house fusion of Rudolf C's "Deep Sea Survivor", the rushing dancefloor mania of FaltyDL and the loved-up goodness of Project Pablo.

Review: Lazare Hoche doesn't release that much music, but what he does put out is invariably excellent. Following a smattering of singles and an acclaimed collaborative album alongside Malin Genie - 2013's I Don't Sync So Volume II - he's decided to put together a compilation featuring his own productions and those by music industry mates. Access, then, is a lesson in warm and luscious deep house, with significant contributions coming from Luke Solomon (donning the Jean Caffeine guise on the dreamy and rolling "Jean Afterthought"), DJ Gregory's Point G project (the ultra-deep pulse of "La Lampe Du Vizir Adjane"), and pals Skymaster and Mandal. Hoche's own contributions rank amongst the compilation's highlights, with the title track delivering a pitch-perfect lesson in the seductive powers of dreamy, dust-encrusted deep house.