Review: Hailing from Stockholm, new label Bossmusik launch in style with a tight two track twelve inch from Dorisburg! Perhaps best known as one half of Genius Of Time, Alexander Berg's own releases for the Aniara label as Dorisburg remain some of our favourites here at Juno HQ, yet you can't fail to be impressed by his work here. Lead track "Smuts" is quite magical, maintaining a deepness throughout yet still deviating down various pockets of percussive interest that keep you hypnotised for its near eight minute duration. It's complemented by "Studs" which starts out in fairly stripped back fashion but Berg gradually brings in more and more drums and rhythmic elements with the results sounding like a contemporary squeeze on old Chicago drum trax. Boss music indeed!
Review: Eddie Fowlkes is back on his Detroit Wax label with more forthright jams that show off his distinctive approach to techno. As one of the originators of the sound, it's only logical he knows how to do this stuff properly. "Route 88" is a seductive, muscular piece with bold lead lines and a constant, driving rhythm section, while "Pass The Butter" takes a deeper route without losing the finely balanced and rich arrangement approach that his sound is built on. This is fully realised, classily executed Motor City machine soul from a man who helped define the culture.
Review: London-based G Markus' credentials include productions on Soul Clap Records, Exploited, Roots For Bloom, Music For Freaks and Monologues. This will be the sixth edition of his own G-Edits series, where he serves up a familiar stateside groove that has been respectfully respliced on "Red E" - think classic Strictly Rhythm or Catch from the early '90s. On the flip, it's more of a remix on the sexy late-night trip "Cum Thru" that will give y'all a nice fix of deepness with its bouncy bassline and soulful vocals. More surefire grooves from the lesser known alias of Ben Gomori.
Easin' In The S-System (unreleased demo mix) (5:45)
Planet Nine (5:12)
Easin' In The S System (original 1994 version) (6:06)
Review: When "Easin' In The S-System" first appeared on wax way back in 1994, Gert-Jan Bijl was still taking his first steps as a producer. In fact, the track was originally the B-side of the Dutchman's very first EP as Gerd on Brave New World Records. Curiously, this 25th anniversary edition places the superb original version - a deliciously intergalactic fusion of ambient techno sounds, hypnotic deep house drums and Detroit style sci-fi electronics - right at the tail end of the EP. It comes accompanied by a wonderfully ghostly, acid-flecked alternate version, plus four previously unheard cuts rescued from an old DAT tape. The breakbeat-driven chunkiness of "Brave New World" aside, these offer varied and largely high quality explorations of the futurist sound of vintage Motor City techno.
Review: Loz Goddard, formerly of Outplay, Dirt Crew and Quintessentials, has a new deep house parish: Seb Wildblood's immaculate Church imprint. The Manchester producer's label debut is really rather good, though we didn't expect anything less. He begins with the pulsing space funk synthesizer chords, lilting melodies and dusty drums of "Gluttony Bay" before wrapping fluid harp motifs, eyes-closed electronics and thickset bass around a crunchy rhythm track on "Anomaly". Arguably the best of the bunch, though, is the energetic but dreamy dancefloor bliss that is "Find Me", a track whose inherent jazziness is further explored on Session Victim's superb accompanying remix.
Review: Harlem NYC based 13th Hour return with more music for the witching hour on their third release, after having previously shown off great grooves by Belgian Ricky Razu, Tbilisi's Hamatsuki and local lad M. Vaughan. This time round they have decided to focus on two select talents, with the A side being taken care of by Colombia's Felipe Gordon. He takes a break from the three-piece Mercury to deliver the Jazzmatazz inspired cut "I'll Become Blue" and the dusty, emotive deepness of "The Last Time I Saw You". On the flip, things start to heat up with Australian Loure (Apparel/Slothboogie Jamz) who serves up some sexy late mood lighting on "So Dive" and vocal-led cut "Club Shade".
Review: Gravity Graffiti has been doing great things with its series of split 12"s already, but now the Italian label goes one better for its tenth release with this mighty double pack of heavy hitters. First up is the ever-untouchable Yoshinori Hayashi, who gets as straight up as he possibly could with the freaky house burner "Dissociative." Telephones is feeling particularly dubbed out and groovy on "Kalimbalimbo", while DB.Source and Riccardo Schiro take things strung out and textural on "Montevago". Dynamo Dreesen is in rave mode for the pepped up and delightfully weird "Reactivate", leaving the final side to Oyvind Morken & Kaman Leung's chugging "Tunnel Visjon" and the rubbery side swipes of Acidboychair's "The End (At Any Speed)".
Review: Los Angeleno in Berlin Steve Huerta returns to homeboy Urulu's Amadeus imprint for the first time since 2016's Apache Line EP. Still very much a deep house producer, he's truly reached a new level with his sound on the new Amaso EP. From the emotive, neon-lit vibe of the enchanting title track, the lush rolling breaks of "Fake Leather Whatever" to the full throttle retro techno vibe of "Don't Be Gentle, It's A Rental" which is quite reminiscent of his other great efforts on Slow Life or Oscillat recently.
Review: Aussie deep house maverick Jad & The seems to have ditched his long standing muse these days, and it shows on this lastest missive on Julius Steinhoff's Down By The Lake imprint. This single is filled with four splendid dusted down and deeply executed jams perfect for heartfelt moments on late night dancefloors. Highlights include the romantic, smoky "Two Dancing", the sultry heat of "That's Cool" with its emotive clarinet lead and strong percussive elements, and Moomin's hazy, emotive remix of "Archy Krules" on the flip. With its rough 'n' tough breaks, gloomy chords and cut up samples throughout - this is one seriously moody but groovy number.
Review: DJ Steaw and Gunnter's Rutilance Recordings has been going strong for a couple of years now. Their M.O.? Spreading the gospel of deep house, we'd guess! They're doing pretty well on that front then. Paris producer Janeret produces sexy music for night people. Fans of Dessous or Dogmatik should take note. First track on the A side "Heat" features a bouncy synth bassline and rich synth and pad tapestries reminiscent of UK legend Jimpster. "Straightaway" features uplifting organ stabs and a tough swing fuelled beat, perfect for those peak time moments. On the flip "Surge" keeps on with the uptempo vibe, injecting some vocals, razor sharp synth leads and that bass; so bouncy! Finally he throws us a right curveball with the liquid drum and bass of "Throb" summoning the spirit of LTJ Bukem, and damn well!
Review: Axe On Wax sublabel PNP cuts to the chase once again with another limited five tracker from an exciting range of names. Rising London talent Tom Jay takes the lead with a brazen slab of funky house that chugs with a generous helping of Chicago flair. He's in good company; the bossman Fede Lng with a silky street soul piece that hits with a smidgeon of new jack sass, Hank Youngman simplifies his name and groove with beautiful filtered samba savoire faire before Pacific Bureau rounds it off, pressing the big red button named 80s soul. Recommended!
Review: Buttery bits of 'honey-house' with love on offer once again from the Honey Butter camp, following up a great last one by Swales. This time around, the Amsterdam/Malmo joint venture presents an EP by Frenchman Jehan (About Disco/Star Creature). There's lots to enjoy on this EP - highlights include the slo-mo disco for late night lovers on "Sugar Riderz" or "Pop Corn", and the smokin' hot grooves of the lo slung variety on "Sucre Sale" or "Jambalaya Avenue" - the latter in particular will really lock you in and is well funky!
Review: Metro Area's Darshan Jesrani has more than proven himself with elegant, understated, disco-infused grooves over the years, so you shouldn't need telling that this new 12" for Imogen is an essential for any smooth groovers. The A side jam, "Gotta Do," certainly aligns itself with the towering legacy of Metro Area in its shimmering synth lines and snappy percussive ripples. However the B side strikes a slightly different tone, coming on more forthright thanks in no small part to the excellent vocal turn from Charli Umami. Both cuts sport the same refined quality you would expect from Jesrani, making this 12" an essential grip for anyone craving deep, sophisticated disco house.
Review: Amsterdam based producer Jordan 'GCZ' Czamanski wears many hats, whether as part of Juju & Jordash, Magic Mountain High or as part of Mulholland Free Clinic with David Moufang. He now makes his solo debut on Rush Hour with this awesome EP of neon treasures. From the funky old school techno vibe of "Pinball Lizzard" with its wayward melodies and cracking rhythms (on what the label best described themselves as 'a multi-ball dancefloor battle against the Grand Lizard') to the smooth neon-lit deepness of "Minor 7 Resin" - it's another terrific effort from a true hero of the underground.
Review: We were rather impressed by "The Premise EP", Kassian's (Joe Danvers and Warren Cummings) Heist Recordings-released debut single. If anything, this follow-up on Phonica White is even better. Title track "Faux Polynesia" is particularly potent. While its musical elements tend towards the ultra-deep - think smoky vocal samples, gentle (synth) trumpet lines and dreamy chords you can get lost in - these are underpinned by a bustling, heavyweight rhythm track that's packed with peak-time energy. In other words, it's hazy and intoxicating, but has enough guts to raise the temperature out on the dancefloor. Elsewhere on the EP, "System" delivers a looser late night blend of swinging, New Jersey-influenced percussion, jammed out chords, alien synth washes and glassy-eyed vocal snippets. It, too, is superb.