Review: Previously seen (and heard) on Whiskey Disco, Barefoot Beats and Basic Fingers, Toronto twosome The Patchouli Brothers have crossed the Atlantic and set up home on G.A.M.M. As the title suggests, this is the first in a series of re-edit EPs for the storied Swedish imprint. First up is "All Good Things", a fine re-arrangement of an obscure disco gem that comes loaded with sweeping strings, soulful vocals, killer grooves, Chic style guitar riffs and just the right amount of spacey synthesizer action. Over on the flip, they work their magic on a bustling cut that sits somewhere between the sumptuousness of Philadelphia International releases and eighties disco-funk.
Review: Aptly setting the scene with some dance-floor absurdity, Komodo comes Running into The Sun for NAAR 015.
Perfectly obtaining the dance-floor ambiance, 'Running into The Sun' produces the visceral beat that gets the party started, with quintessential house stabs channeling the tracks inner balearic heat. Next on the A, Eric Duncan's remix of 'Running into The Sun' funnels the original's heavier elements and pours them into a rattling house shaker. A
On side B, the steady pace of 'Slow Burning' swiftly evaporates with blissful counter melodies that intertwine with arpeggiated synths, sludgy 303s and propulsive drums that create a hypnotic timbre. 'Between Shadows' explores the balearic-beat once more, with opposing guitar melodies vibrating as the soundtrack to this drive-time burnout. Finally, new kids on the block, Latrec add their intrusive Techno remix of 'Slow Burning' to complete the release.
Review: Fernando Zapico AKA Z@p is one of those producers whose work is always worth a listen, primarily because his quality threshold is very high. This two-track missive on My Own Jupiter picks up where his recent EP for Japanese imprint Cabaret left off, delivering faintly foreboding futurist techno whose sci-fi inspirations are clear to hear. A-side "Brutalismo" sets the tone, with paranoia-inducing analogue bass, creepy synth stabs and swirling electronic textures rising above a punchy drum machine-driven groove. "We Control The Sound" is notably denser and a little darker, with sturdier beats, moodier chord sequences and a bone-chilling breakdown.
Review: Donato Dozzy's latest 12" sees the Italian producer offer up new "variations" (that'll be remixes to you and me) of two cuts from his vast back catalogue. On the A-side he offers up a new version of "Parola" from his experimental 2015 album with operatic Italian vocalist Anna Caragnano. While the original had few dancefloor pretentions, this new revision is hypnotic, druggy and intoxicating with Dozzy fusing short loops of Caragnano's distinctive vocals with a metronomic bassline, soft-touch techno beats and his usual charcoal grey aural textures. He switches focus on flipside cut "12H.5 (Remix)", offering up a dreamy slab of horizontal techno hypnotism that's pleasingly soothing and seductive.
Review: Remarkably, 18 years has past since Red Ember Records offered up the first installment in their "Deepsounds" series of multi-artist EPs. Volume five kicks off with "Relax", a warm and fuzzy chunk of head-nodding deep house hypnotism by Sauco and Prakash that boasts some raw analogue bass and oven-hot stabs. Erell Ranson goes even jazzier, deeper and more melodious on the superb "Beauty Of Sadness", while Frankie Soukal's "Polaroid" wraps spacey, dubbed-out and delay laden chords around a chunky groove. Arguably best of all though is Tominori Hosoya's luscious "2 Years Later", an ultra-deep, dreamy and positive cut that's twice as tactile as Play-Dough and infinitely tastier.
Review: Prince De Takicardie has been part of the Lumbago family of artists for some time. He's already served up some serious heat via the Signal Phantasm project (alongside studio collaborator Welwert) and here makes his solo debut for the Lyon-based label. He starts strongly via the jumpy acid bass, twisted electronics and thrusting grooves of "Space Dandy", before giving his TB-303 lines more prominence on the retro-futurist techno clank of "Scorpio's Track". Arguably even better is "The Haunted Cabaret", a sparkling and spacey slab of storming techno-funk, while "The Gates of Hell" sees the French producer wrap rave style stabs and jacking machine drums around another Chicago style acid bassline.