Review: Sound Signature's latest release is an all-star crew affair, with an impressive cast list of vocalists, musicians and producers joining main man Theo Parrish in the studio. He's at the controls on the sublime A-side mix, a jazzy affair where layered twinkling electric piano motifs, spacey chords, jazz-funk riffs and sumptuous deep house grooves combine on a fearlessly loose and organic dancefloor workout. On the flipside friend of the family Dego offers his interpretation, adding even more warmth and some tasty additional hand percussion parts whilst wisely utilizing most of the original version's intricate musical elements.
One More Round (86 House mix By Frankie Knuckles) (8:10)
Walkman (86 House mix By Brett Wilcots) (7:17)
Review: Best turn their attention to that sweet mid 80s spot when the petri dish of party music was shaken up between disco, boogie, Italo and the emergent house sound from Chicago. Claudio Simonetti was a titan of the Italian groove, but his monster jam as Kasso, "One More Round", reached the stratosphere when Windy City godfather Frankie Knuckles gave the track his Midas touch. No more justification is needed for this pressing, but don't overlook the flip which finds 80s remix supremo Brett Wilcots taking on "Walkman" and whipping up a boogie frenzy of the highest order.
Review: What more can be said about the output of Alex 'Omar' Smith? The Detroiter's releases have perhaps been a little more varied of late than we've come to expect, but the quality nevertheless remains dizzyingly high. This white label excursion is full of floor-friendly gems, with Smith's use of classic house samples and familiar vocal samples also making it one of his most party-hearted releases for a while. Check, for example, "Catch Ya", where a much-loved turn-of-the-'90s acapella rises above bouncy New Jersey organs and snappy machine drums. "Better Believe It Baby" brilliantly wraps a chiming synth loop and R&B style vocal snippets around a chunky, disco-fired deep house beat, while "Cheat" and "Pull Ovaa" are deliciously dusty, bass-heavy deep house workouts with just the right amount of hypnotic late night charm.
Review: Cartulis bounce from the essential release from Eliaz to this intriguing slab by Reade Truth, a New York techno original who was last spotted on Warm Fiction, Blkmarket Music and Path Records. His "Wires, Everywhere" album was a big release for Cartulis last year, and now he's back with further ruff n' tuff cuts that drip with Big Apple attitude. From the deep diving "Starflight" to the epic, ranging "Space Out (Expression)", you can sense Truth's hard earned swagger but it's also balanced out by subtlety, a sense of space and groove that makes each track a pleasure to sink into.
Review: As part of their 15th anniversary celebrations, Japanese label Mule Musiq has asked some of their most valued artists to conjure up fresh releases. For his contribution, long-term label artist Kuniyuki Takahashi has decided to combine nods to his 2017 album "Newwave Project" - a set informed by his musical roots - and the attractive deep house with which he made his name. A-side "Middle Eye" offers the best of both worlds, with bold and cultured synthesizer motifs, dreamy chords and disco style string stabs rising above heavy, cowbell-driven beats and warm bass. "Black" is a bustling, sample-heavy cut-up informed by electro and Yellow Magic Orchestra, while "Newwave Project 7 (Edit Version)" is a trippy and hypnotic rework of one of the standout cuts from the producer's 2017 full length.
Review: 1990s sitcom loving beat maker Felix Weatherall returns to Brainfeeder for the first time since the release of his widely acclaimed debut album as Ross From Friends, 2018's "Family Portrait". He's in fine form from the off, with title track "Epiphany" offering a wonderfully intoxicated, off-kilter blend of bustling drum machine breakbeats, hallucinatory electronics, Middle Eastern style instrumentation and razor-sharp bass. He continues on an inventive fusion trip in the form of "The Revolution", where cut-up vocal samples and bluesy guitar lines rise and fall above a densely percussive deep house groove. Also impressive is "Phantom Ratio", a slightly more driving dancefloor cut rich in skittish drums and undulating electronic melodies.
Review: Following outstanding EPs from Javonntte and Malik Alston, JVXTA returns to the Hardmatter label he co-founded back in 2017. The three-tracker is rather wonderful all told, with the London-based producer expertly combining vocal and orchestral samples from vintage, mid 20th century records with twinkling new electric piano lines, sumptuous chords and luxurious deep house grooves. Dewy-eyed lead cut "Possible" is particularly potent, with JVXTA underpinning loved-up female vocals and simmering jazz-soul instrumentation with bumping beats and drowsy new chords. He continues on a similar theme on the flip, where the ultra-deep, woozy and dreamy "Suzuku Dream" is followed by the equally evocative and smoky "Here I'll Stay", where breezy flute solos, fluid harp motifs and simmering orchestration rises above another bluesy deep house groove.
Review: Although Salzburg sort Bernhard "Demuja" Weiss has previously released music on Shall Not Fade offshoot Lost Palms, this is the first time he's appeared on Kieran Williams' main label. He's delivered the goods, offering up a rock solid five-track EP that flits between loose and languid deepness (breezy opener "Do It"), locked-in late night grooves (the muscular beats, heavy bass and poignant piano samples of "Jito"), spacey, synth-laden deep house positivity (the sparkling "Can't Stop"), jazz-funk influenced mid-tempo house warmth ("Those Who") and Detroit techno influenced dancefloor futurism (the elongated deep space chords, ragged acid lines and bustling beats of "Tokyo").
Review: This is just the fourth release on Negentropy, but already the label has been catching attention for doing some really interesting stuff, while consistently delivering dancefloor material that refuses to let go once you've been hooked in. French groove monster Sweely seems like a pretty good fit for the imprint, then, as this three tracker proves with ease. Crisp, sharp, and packed with energy, 'Take One' kicks off with the kind of punchiness that belies what's about to happen- soon dropping into a freeform, jazz-infused breakdown that appears to come out of nowhere, switching the vibe of the tune completely. You can almost see the sci-fi console lights behind the micro-percussive detailing on 'One Or Another', while 'Deep Into The Rhythms' is destined to please anyone who enjoys getting their head down to an archetypal relentless roller.
Review: The first vinyl offering on any label needs to be something pretty special, and evidently No Fuss Records haven't forgotten that golden rule of releasing. Who better to draft than Saison, a duo with an established reputation for soulful, groove-fulled deep house that's guaranteed to make an impression on the floor? Probably nobody, hence the decision. 'I Need Ya' is a classic vocal workout, brass stabs and looped, filtered lyrics clearly positioning the track as a good times anthem. There's more than a little chug underpinning the Werkshy remix of 'Something Made Me', which stomps its way into a male chorus that should thrust fists skywards. 'Senor Blues' is more of a journey in comparison to its siblings, gradually unveiling its pianos and opening the arrangement up as the track expands from understated beginnings to room-filling proportions.
Fonda Rae - "Living In Ecstasy" (The Groove mix) (7:14)
Fonda Rae - "Living In Ecstasy" (JC Ecstasy dub) (7:40)
Jon Cutler - "It's Yours" (feat E Man - original Distant music mix) (7:07)
The Return - "New Day" (7:26)
Review: 4To The Floor's "Classics" series returns with another round up of must-have U.S house music from the late '90s and early 2000s. Side A is all about disco queen Fonda Rae's Mod II Swing produced 1996 cut "Living In Ecstasy". Choose between the "Groove Mix", a rolling and soulful affair rich in rolling drums and jaunty synth stabs, and John Cicafone's dark, driving and bass-heavy "Ecstasy Dub", which remains a formidable chunk of late night body music. Over on side B, there's another chance to savour Jon Cutler and E-Man's "It's Yours", a gently jazzy chunk of soulful house goodness that was one of the biggest club hits of 2001, and the lesser-known delights of The Return's deliciously deep and dreamy 1999 workout "New Day".
Review: Hot on the heels of the "Lush Culture" EP with Deetron that landed on Perpetual earlier this summer, more lush licks come from Mr Fred P aka Black Jazz Consortium. Four soul hurricanes that range in weight and emotion, the two poles here can be found slap-bang in the middle of the EP: "Moonlight" is a sultry brushed-drum break for lovers while "Riverside Drive" jacks like a rhino but soothes you with big breeze feels. Elsewhere "Reaching For The Stars" cruises on a skippy break with airy early 90s New York pads and "New Ways" closes on a stunning 88 tip. Have nice dreams y'all.
Review: After four years spent contributing tracks to multi-artist EPs and digital download compilations, Casey Spillman has finally been given a chance to release a 12" all of his own. He's firmly grasped the opportunity with both hands, first offering up a bouncy, sub-heavy chunk of late night UK garage/deep house fusion ("Avec Moi", before effortlessly joining the dots between skittering tech-house and rumbling UKG on "Temperature". Over on Side B, Enzo Siragusa offers a deep, acid-flecked tech-house take on "Avec Moi" - all off-kilter electronics, earth-shaking bass and glitchy grooves - while Spillman delivers more bass-heavy, garage-influenced grooves and sun-kissed synths on atmospheric closing cut "Endure".
Review: One for the slow-mo crew, or at least those that want their house music delivered in more of a lackadaisical, organic format, think four tracks packed with Wurlitzer-esque melodies, sun-kissed vocal hooks, classic tropical percussive accents and gospel lyric extravagance. At times positive, in other moments somewhat melancholic, the true heaviness in the kicks only really becomes apparent once you've turned the lot up. The latter providing the focal point for appropriately-titled 'Sing Hallelujah', a loose, stomping track capped with handclaps and underpinned by a timeless, acid-influenced synth line. As unashamed as it is uncompromising. The remaining three tracks are pack pared back and reflective moods 'The Fear of Fear Itself'), organ filled playfulness, and head-nodding sexiness ('My Guitar Plays Itself') in equal measures, making for a crossover package that wears its accessible soul very much on sleeve.
I'll Take You There (Directors cut Classic Signature remix) (7:48)
I'll Take You There (Dimitri From Paris re-edit) (7:48)
I'll Take You There (The Shapeshifters remix) (7:42)
Review: Back in 2011, Frankie Knuckles and Eric Kupper debuted their Director's Cut project by teaming up with old pal Jamie Principle on "I'll Take You There". Here it gets the reissue treatment, with a trio of classic mixes being joined by a fresh revision from scalpel maestro Moplen. His version is delicious, with Principle's loved-up vocal rising above bubbly synth-bass, evocative organ lines, swirling synthesizer motifs and sunrise chords. There's another chance to enjoy Director's Cut's own warm and glassy-eyed "Signature Remix", a second spin for Dimitri From Paris's slightly breezier (but no less loved-up) re-edit and a boisterous funky house rework from the Shapeshifters that some may have missed first time around.
Review: Earlier in the year Lone launched the Ancient Astronauts imprint via a single-track digital single that wrapped his usual sun-soaked electronics and kaleidoscopic synthesizer melodies around a ridiculously rubbery bassline and crunchy, club-ready breakbeats. Here he offers up the label's first vinyl EP, a three-track missive that's as loved-up as you'd expect. Check first "How Can You Tell", an ultra-deep, dreamy and rushing chunk of deep jungle revivalism full of psychedelic acid lines, slack-tuned breakbeats, yearning chords and bowel-bothering sub-bass. Equally as impressive is A-side opener "Abraxas", a delightful cut that fits between rush-inducing moments of loved-up bliss and the kind of intensely bustling breakbeats that were once all the rage on British dancefloors. "Young Star Cluster", a killer combination of hip-house style breaks and funk-fuelled acid lines, is also superb.
Review: Berlin-based Korean Peggy Gou has been surprisingly quiet since first bursting onto the scene back in 2016. Here, she returns to action having graduated from Technicolour to parent label Ninja Tune. Many may already have heard EP standout "It Makes You Forget (Itgehane)", a percussively ambidextrous beast based around a bouncy, off-skilter, snare-heavy rhythm track. It has been much discussed online after Gou included it her recent Resident Advisor podcast. On the B-side you'll find tracks representative of her developing style, which draws together elements of European deep house, electro, early '90s U.S house, the rubbery disco eccentricity of Maurice Fulton and the instinctive polyrhythms more often found in traditional African music.
Review: Sam Shepherd may have spent the last few years offering up off-kilter, jazz-fired grooves and heady ambient soundscapes, but he still knows how to rock a dancefloor. That much is proved by his first Floating Points single for almost two years. "LesAlpx (Extended)" is his most forthright, club-focused cut in ages - a thrusting chunk of rumbling, peak-time techno built around heavy bass, sweaty drums, twinkling electro piano motifs and raging, foreboding electronics. Shepherd teases in the most melodic, rush-inducing elements, introducing spacey synthesizers and dreamy chords midway through. It's breathtakingly good. Flipside "Coorabell" is similarly potent, with acid style electronics, warm chords and sun-kissed electronics wrapped around swinging, two-step influenced house beats and a weighty, sub-heavy bassline. In a word: essential.
Review: St. Petersburg-based imprint Soviett is rather restrained when it comes to releasing music on wax, with this tidy EP marking only their third vinyl excursion in as many years. It is, though, packed with quietly impressive treats. Label co-founder Ivan Starzev kicks things off via the woozy melodies, dreamy chords and Pet Shop Boys circa "Behaviour" grooves of "Waiting", before Claes Rosen ups the tempo a little via the liquid deep house bounce of the undeniably picturesque "Cumulus". Over on side B, Hideo Kobayashi wraps warm and drowsy chords and trippy acid lines around a chunky, dub-fired deep house groove on "Perfect Perception", while Nightdrive joins the dots between analogue disco, razor-sharp synth pop and hazy deep house on tasty closing cut "Je T Aime".
Politics Of Dancing X Chris Carrier - "Track 1" (6:45)
Politics Of Dancing X Nail - "Track 2" (7:35)
Review: Politics Of Dancing continue their adventures in the studio with friends and kindred spirits, this time teaming up with two tech house titans that paved the way for the sound they're immersed in today. Fellow Parisian Chris Carrier sounds right at home sparring with S.M.A.L.L and Paco on "Track 1", where an irresistible bassline groove underpins some acid licks that burrow deep into the night time frame of mind. On the flip Nail is the partner of choice, and the UK veteran helps whip up a crisp and chunky workout heavy on the drums - a serious DJ workout for those craving solid gear for their sets.
Review: Groovy, beguiling and hypnotic- Tusk Wax is a label where anything can happen while still boasting coherency throughout its catalogue. If that sounds vague that's the point; elements of house, funk, jazz, acid and tech never far from the mixing desk. This, the imprint's 30th outing, is another limited press continuing in that fine form thanks to the always-solid Loz Goddard, formerly of Dirt Crew. One made for summertime sessions, intriguingly it could score late night hallucinatory forest raves or sun-drenched terrace parties. It just depends which cut you go for. 'Redrum' is a low-lying cosmic treat, repetitive female vocals ensuring dancefloor potential contrasting the lackadaisical melodies. 'BHD' takes us down an expanding disco wormhole, Ron Basejam's remix of 'Redrum' places the emphasis on live bass and sass, a perfect precursor to the contemporary funk of 'Drumble'.
Review: Just four releases into its life, London imprint Counterfeit Soul has managed to draft in some serious pedigree for this one, with bossman Frazer Campbell leading the charge via the gloriously heady heights of 'Cloud 909'. Shades of soulful Detroit more than a little audible, it's a warm and uplifting opening number. Logically, given its name, 'Doom Dub' from Jorge Zamacona is a stark contrast in terms of vibe. Less delicate, much more direct and relentless- barely letting up- it's an ever-growing and more than likely ever-green slice of what deep techiness should sound like from the legendary producer. Those looking for more of a Windy City tip can find plenty of Chicago influences on Jorge Caiado's 'Drifting With Aliens', while Ste Roberts goes raw, unpolished and compulsively danceable for 'Last Saturday Day!'
Review: Madonna, Depeche Mode and Kelis - what do East End Edits have in store for us next? This seventh instalment harks back to the charming deep jazzy house of their inaugural release - think of the legendary St. Germain and that should give you a fairly good idea. The track's smoky, late night jazz bar vibe is complemented by a rolling bass and swinging rhythms that should appeal to the likes of Rhadoo or Petre Inspirescu - legends of the Romanian scene who themselves have lent their deft hand to the French producer's work as remixers in the past, too.
Review: Emerging slowly from understated beginnings, 'Running Into The Sun' sees Komodo deliver the kind of expansive tones that easily establish a vibe on the dancefloor, nodding to progressive house's fundamentals while borrowing plenty from earthier, more organic-sounding ends of the four-four scene. Eric Duncan does the business on the remix, taking it into tougher territory and throwing in a cacophony of drummy intersections that help build the atmosphere, placing the whole arrangement on a knife-edge. 'Slow Burning' does what it says on the tin, growing and grooving its way through spiralling synths and acidic inflections, adding some gentle chords to bring in some welcome melody. Latrec evidently has a different understanding of the phrase given his remix, cutting back to throbbing kick drums while allowing just enough of the harmony to enter earshot, with trance-like results.
Review: You should know by now that Plastik People is the go-to spot for the most upfront garage house done in a classic style, and they're spelling it out good and proper with The Sound Of Garage House. Marc Cotterell leads the way with the jazzy vibes and deliciously liquid chords of "Those Days" before Ed The Spread brings a nagging shuffle and sharp string stabs to hard-stepping bumper "The Bauhaus Movement". Grant Nelson keeps things tuff with the natty piano hooks and diva slices of "Move Close" while Rocket Dubz ups the funk to 11 for hands in the air party starter "Dirty Bath".
Review: Detroit mainstay Waajeed is back on the case with another heavyweight slab for his Dirt Tech Reck label. "Heavy" pulls no punches - this track is peak time soul music turned up to 11 not least thanks to Wu-Tang songstress Blue Raspberry under alias Candi Lindsey's staggering diva vocal. The track also comes in instrumental form, but trust us and reach for the vocal to send a crowd into rapture. Lindsey returns on "Deeper Into Blue", another sprightly house cut with melancholy and hope in equal measure. "Too Black" rounds the EP off with a twitching broken beat groove that speaks to Waajeed's accomplished history in the truly soulful end of contemporary club music.
Review: Nebraska's Friends & Relations series continues to serve up the finest disco-sprinkled house delights, following on from the previous installment of Disco Dubs with another on point reduction of dusty grooves through the mixing desk. These jams are stripped back and oh so heavy, with FX flaring in all the right places to give an eerie, trippy tint to the jams. It's like walking into the deep end of the session where Walter Gibbons jams with King Tubby uptown, and you'd be right in thinking that's a match made in far-out disco heaven.
Review: Having previously blessed us with "Ocean Side" two years back, Benedek and Tom Noble return to Superior Elevation with two more Balearic gems. One for the night time, one for sunrise; "World Gruuv" hits the boogie spot with spiralling keys wandering freely up and down a tight shimmering synth-bass led groove. Meanwhile "Profesora" on the B brings us back into reality softly with its addictive percussive hook, aquatic backing and totally tropical taste. Imagine Art Of Noise on Claremont 56 and you're on the right route.
Review: Giles Smith and James Priestley have left an indelible mark on house and techno culture in the UK, not least thanks to their fabled Secretsundaze parties. These days they're taking that iconic stamp into the studio, and following up on strong turns for Mule Musiq and Phonica last year they're finally dropping a full length EP on their own label. The quality is as high as you would expect, from spicy, snarling fire starter "Mezcal" to the transcendental swirl of "Stand Up". On the B side, "Testing" takes things a little deeper with a heady stomp and a tricky disposition that will satisfy all the selectors.
Review: Having demonstrated the breadth of his artistic vision with the excellent One Against Time album last year, John Dimas returns to Half Baked with a focused 12" of dancefloor heaters that keep the vibe varied but the beats ever-present. "5putn1k" is a cheeky, boxy workout with plenty of swing and some wriggling bassline flex. "@L5d" takes a trippier route through spaced out synth lines and a subliminal rhythm section for maximum lock-in, and then "5p@c3 T@lk" heads skywards with a gorgeous tapestry of melodious expression strapped to a rock-solid groove. "@rkyn" completes the set with a snagging 2-step funk and plenty of the space in the mix for the meditative crew to get all eyes-closed to.
Review: The 1 Life crew had a strong start with the likes of Kerri Chandler, DJ Spen & Karizma and Joey Negro contributing to a disco-fied house sound. Volume two on the label is no slouch either, ranging from Vincent Inc & LA's smoky "Cafe Tropical" before launching into Rico De Almenda's sassy, joyous take on "Watermelon Man". Venus Attack Project get into a deeper, percussive mood on the incendiary "Grass Culture" before Vincent Floyd completes the set with the heartfelt acid bubble of "Trail Of Tears". From organic sounds to box jams, these tracks speak directly to the foundations on which house music was built.
Review: Four years deep into its disco, beatdown and edit adventures, Smokecloud's status is nigh-on impeccable. Here we find them uniting four of their most creative craftsmen for four straight-up dancefloor pacifiers. Highlights include the sludgy slo-mo Edwin Starr on acid flavoured "Caught Up" and the Diana Ross homage that is the sun-skanked reggae party jam "CC Tribute" by VinylAddicted & SMQ. Instant smiles.
In Flagranti - "Kachi Kachi" (feat Ayakamay - DJLMP edit)
Review: Take It Easy made a splash with their first release from Dirty Channels - they've clearly got an ear for crowd-pleasing house music built for the big arena. This second drop comes from DJLMP and deals in a few different flavours of peak time party music. First up is the fierce and fabulous piano stomper "Blow Your Mind," which is followed up by the leftfield disco chops of In Flagranti's "Kachi Kachi", given a bang tidy edit by DJLMP. "Tiger Cat" takes on freaky cosmic disco with a French touch, and then "Angry" completes the set with an Afrobeat-laced workout that juggles tension and release masterfully.
Review: Apart from a very limited under the radar release in 2015, it took Vincent Halliburton 13 years to deliver a follow-up to his 2002 debut single on Ferrispark "RM1x Files" (both records go for silly money). The Detroiter hasn't left it quite so long this time, with this alluring three-tracker appearing just four years after its predecessor. Clearly Halliburton believes in quality over quantity, because "Vibe Under A Different Frequency" is superb. Check first the swirling deep space chords, delay-laden vocal snippets and layered, Ron Trent style deep house percussion of the fittingly titled "On A Deep Groove", before gaping in awestruck wonder at the dreamy, deep and hypnotic "Going Away", which boasts some suitably breathy, out-there vocals from none other than Sade. He rounds things off in style via the groovy warmth and sun-kissed dancefloor positivity of "Go Down".
Review: Frits Caroe, AKA Popmix, unleashes some fascinating sounds on his debut release, which should score with discerning listeners looking for those tracks that standout without making a scene. Occupying somewhere between deep house, IDM, slo-mo and techno, there's mass appeal here but with niche noises. 'Funtema' has one of those wasp-in-jar synth lines that threaten to drive you crazy, or at least send the dancefloor into a frenzy, but avoids all intensity, balancing things out with playful keyboards and expansive refrains. 'Klub Frimis' is more of a plodder, its stabbing low end and twisted glockenspiel chords inviting everyone to get stuck in. Closing out on 'Teenage Club Fantasy', a sparse, low tempo acid-inflected epic that never veers from the course it's sets out on, you can have a lot of fun with what's here.
Review: A mysterious white label from a mysterious source with no details or even track titles. All we know is that there are only 200 copies and that they absolutely bump. "Track 1" is a real heads down driver with a well-known female vocal ghosting through the groove while "Track 2" brings home a job lot of funk with a much looser, off-grid groove and a breakdown to melt into. Get lifted.
Review: Fresh from dropping some heat on Leftroom, Alex Arnout continues his productive streak with this sterling return to Jack's House after he last graced the label with its first release back in 2016. "Sync Jam" packs a serious shuffle that hits squarely in the pleasure plexus for any discerning tech house head, while "Calling U" adopts a playfully spooky tone as it wriggles through a plethora of freaky synth squiggles. "Resergen" completes the set with a spirited dash through hooky techno drum programming and a mean chord line that captures a little old-skool optimism in the process.
Review: London duo Dusky are up next on Running Back, with what appears to be the first volume in their new Life Signs series. Best described by Gerd Janson and Co. as British bass science applied on classic house tropes, where breakbeats underpin transcendent melodies and IDM meets UKG. The lads behind the much lauded 17 Steps label are in fine form here: from the electrifying Italo disco influenced number "Boris Borrison's Trip To Morrisons" on the A side being unlike anything we've heard from the pair before. On the flip, it's a throwback to the illegal dance parties of the early '90s on the pitched-down hardcore breaks of "Lea Valley" and harking back to a similar era is the euphoric "Static".