Review: Rough House Rosie is back with another selection of sublime tones in the adventurous corner of the deep house playground. The Silent Movie Sounds series never fails to present a fascinating array of producers, and so it is on the fourth volume as Nemanja Krstic seduces with the melodic delights of "Bass Odyssey" and Lady Blaktronika heads into blissed-out territory with the spiritual wonder of "Ringo Oiwaka Heaven". Miruga's "White Moon" is a mysterious, dubbed out affair and Seal Bient heads even further out with the scuffed and muffled flutter of "Slavery". As ever, the vitality of the tracks on this 12" can't be ignored for open-minded diggers looking for original, contemporary deep house.
Last Night (In This Dream I Watched A Film Of A Dream Within This Dream)
New Day (feat John Schmersal)
Calm Me Up
Wave Side Back
Review: It's some 26 years since Satoshi Tomiie announced his arrival via the brilliant Tears single with Robert Owens, and 16 since he released his only album, 1999's impressively eclectic Full Lick. New Day, then, is long overdue. While rooted in deep house - see the sensual vocal outing that doubles as the title track - the album's blend of bold synthesizer lines, crunchy electronic instrumentation and analogue drumbeats has more in common with Metro Area than the booming, mid-90s progressive house for which he was once renowned. It's a hugely enjoyable set, all told, with the shuffling, Balearic-influenced house of "Thursday, 2am" standing out.
Review: Since shifting his focus more towards atmospheric, Balearic-minded sounds a few years back, Tornado Wallace has delivered some of the most deliciously humid and glassy-eyed music around. Hopes are naturally high, then, for this long-anticipated debut album. It picks up from where his sublime ESP Institute, Beats In Space and Second Circle releases left off, delivering a warm, evocative, sun kissed blend of shuffling Balearic grooves, horizontal soundscapes, gentle tropical workouts, and rich, synth-laden explorations. There's a pleasing haziness throughout, with live percussion and instrumentation rubbing shoulders with glistening synthesizers, ear-pleasing electronics and pulsing drum machine hits. In other words, it's a fine debut album.
Review: Having spent the last seven years delivering impressive singles on a variety of labels - most notably Aus Music, Secretsundaze and Hype_Ltd - Ewan Smith has decided the time is right to unleash his debut album under the Youandewan alias. There Is No Right Time is a gently expansive affair, with the Scottish producer utilizing both electronic and acoustic instrumentation on tracks that perfectly showcase his diverse range of influences. Contrast, for example, the spacey jazz-house of "Be Good To Me, Poly", the dusty, pitched-down deep house warmth of "Time To Leave (Can't Mix)", and the sparkling, B12 style IDM/electro fusion of "Something Keeps Me Real Quiet"; all are immaculately produced and impressively melodious, but hugely different stylistically. He also joins forces with Huerta on album highlight "Left On Lucy", a glistening fusion of bubbly, synth-heavy deep house, Motor City futurism and sun-bright new age melodies.