Review: Robert Crash's new TC White alias offers an ulterior shade of raw here, made possible by Swiss newbie label Moto. This is proper bangin' material from start to finish, kicked off with the liquid-like patterns of "Cow", a grungy house banger masterminded by heavy folds of mutant bass and crusty drums; "Muffin" splits the tempo down to a magnificently awkward broken beat with a deep, off-kilter sensibility. On the flip, "Cool" travels under a much murkier, more swamped sort of disguise, while "Cheese" is barely able to contain its inebriated groove from melting apart amid distorted tape hiss and loose instrumentation, which leaves "Mountain" to provide a little disco comfort to this mighty fine, utterly loopy EP of true-school house music.
Review: Original music from Vancouver based producer NAP has been intermittent on the electronic music scene, but now the Isla boss has finally dropped a 12" of deadly, textured and fresh-sounding electro for our bodies and minds. "Transhumano" features ZDBT and has all the hallmarks of Stingray-friendly future shock machine funk, but the particular approach to pads and melodies has a distinctive, moody slant that chimes with the hazy sound of Canada's West Coast. "Anestesia General" is another needlepoint, uptempo workout that packs layer up on layer of darting rhythms and blippy synth lines into the mix. "Sin Sistema" completes the set with a more subdued but no less detailed box jam workout.
Review: Central Processing Unit chief CP Smith is keeping tight-lipped about the identity of the shadowy producer(s) behind the Secret State project. Smith describes this debut EP as "an attempt to rise above the all-pervasive, vacuous, decaying culture." We'll let you judge whether the men or women of mystery have succeeded in that aim, but we certainly think it's a fine EP. By CPU standards, it's a rather eclectic affair, flitting between druggy, arpeggio-driven alien funk ("CIA UFO Google Search"), ghetto-tech influenced deep electro (the wonderful "De-Pattern"), sparkling dacenfloor electro positivity ("The Sleep Room") and glistening, bass-heavy techno/proto-house/deep house fusion (sublime closer "Weep For Joy").
Review: New label Pointillisme Music return after some great releases by Disuasiv (Andi Parlogea & Dragosh) and the always impressive Ukrainian KiRiK. It's now over to Esoteric Workshop, who has released previously on Sensual and 87 Records and rest assured that the Zern EP certainly follows in suit. Starting out with the deeply hypnotic subtlety of "Travers" featuring a gentle broken beat, emotive pads and tripped out atmospherics: this one ticks all the right boxes. The remix of said track up next by Anestie Gomez stays faithful to the original, but gets dubbier by injecting more tempo and shuffle into the rhythm complete with a rolling bassline which works even better. On the flip, the mysterious producer experiments further with broken beats, like on is the classic Chicago deep house sounds of "Loren" and then back to four/four with the tough, electro-infused analogue driven groove of "Sera".
Review: Credo boss Alex Bau returns with some deep dub techno excursions on the fittingly titled Echo Echo imprint - a new Echocord sublabel. With previous releases on top labels like CLR, Kombination Research and Cocoon - you can trust this veteran A.M. specialist. From the glacial and cavernous "Clouds" and the introspective dub of "Contour" nailing that Basic Channel vibe of old. On the flip, we get two versions of "Zenstory". The first (prelude) being a chilling ambient version while the second is a stripped back epic that builds full of tension and suspense throughout.
Review: All good things come to an end. Part ten of ten in Ostgut Ton's tenth various artists' compilation and they've recruited some of their superstar residents to give their very best. Marcel Fengler's restrained fury on "Fallin' (feat. Elif Bicer)" almost sounds like something off the soundtrack of a sci-fi film where dramatic elements face off with Bicer's angelic voice. Etapp Kyle's "Nolah" is another example of his well executed hypnotic techno with a nod to the master himself Robert Hood. Finally Steffi's "Loweborschtel" is the kind of surefire sub-aquatic electro funk and the standard in quality you'd always expect from the Dolly boss.
Review: Callum "Paleman" Lee is one of Swamp 81's most decorated artists, having released a string of well-regarded 12" singles for the hyped, bass-obsessed imprint. Yrs Ago is his third EP for the label's 81 offshoot, and sees him joining the dots between techno, post-dubstep bass music, and angular electronica. The title track sets the tone, with robotic voices, creepy electronics and smooth sub-bass riding a metallic, broken techno groove. Flipside "Animus" is a marginally more melodic affair, with spacey chords and bubbling arpeggio lines riding a punchy electro rhythm. Both tracks are naturally rather heavy, and undoubtedly amongst the producer's strongest work to date.
Review: German producer Martin Matiske has been sporadic in his appearances dating back to 2002, but when he releases a record he makes it count. Following previous turns on International Deejay Gigolo and Stilleben, he now brings his fulsome electro sound to Vivod sounding fresher than ever. "Die Nibelungen" draws on a fine tradition of German electronica while using that mechanical melancholy you might find in a Bochum Welt track. "Bayerischer Wald" is a cheery synth-pop celebration, and "Virtuosic Mechanic" is a more snappy club track with plenty of Bunker-friendly darkness packed into its bones. "Kammermusik" cools things down with a lovely meander through plaintive bleep lines and plastic synth leads.
Review: Rush Hour's latest reissue focus is Vincent Floyd, a producer with a small clutch of 12? releases in the mid-90s for Dance Mania, Relief and Gherkin Records offshoot Resound Records. Although more from the producer is promised in the year to come, the first record is Your Eyes, a reissue the producer's debut for Dance Mania. Released back in 1990, the five-track 12? brandished a title track that was pretty much a perfect example of vocal deep house from the era, and this reissued edition from Rush Hour pares the record down to just three tracks, with the Chan-featuring title cut complemented by an instrumental and "I'm So Deep," described by the label as a "sinister haunting instrumental jackin track".
Review: Hold tight for a shocking, rare discovery from the dusty vaults of a forgotten 90s breakbeat house outfit's MiniDisc archives. The two tracks that make up the repertoire of the Two Bad Jews crew are steeped in the wistful optimism of the good old days - they just don't make them like this any more. "Holland Memory" rolls on a measured use of a break and a simple chord sequence that could melt on for days, plus there's space for the odd cheeky sample to remind you of the unpretentious era these tracks herald from. "Tony Hayers (dub)" meanwhile ups the DX7 funk with a rollicking house cut that would sit right with any true deep house head who wants a little UK attitude in their soul stew.
Review: Burial's first multiple-track release since "Rival Dealer" three years ago: "Young Death" takes the lead with weave of deep, scratchy and evocative human textures while soulful vocal shards yearn and flutter over soft faraway beats. "Nightmarket" takes an even more introspective meander through the shadowy unknown with fractured arpeggios, distant whispers and thick graininess that envelops almost overwhelmingly. As forward, unusual and unique as ever, Burial remains in a league of his own. Limited.
Review: "You're Back" by Lloyd McTaggart is one of Wackies' earliest and most obscure 12". Recorded around the same time as the monumental "Revolution/The Time Is Now" by Leroy Sibbles & Stranger Cole, it features the Love Joys' backing vocals, lots of 70s synth percussion, the weirdest trumpet part and a wicked version as part two on the flipside.
You Can't Have Your Cake & Eat It Too (vocal) (5:59)
You Can't Have Your Cake & Eat It Too (instrumental Cake mix) (6:53)
You Can't Have Your Cake & Eat It Too (6:25)
Review: West End's occasional reissue series continues with a timely repress of one of the renowned New York label's standout cuts from the boogie era, Brenda Taylor's dancefloor anthem "You Can't Have Your Cake & Eat It Too". With its strong vocal, killer synth bassline, honky-tonk piano solos and delay-laden drum hits, the original vocal version should be familiar to anyone with a love for early '80s NYC club culture. On this press, the definitive vocal version by David Todd and Nick Martinelli is also joined by their brilliant "Instrumental Cake Mix" - where the dubbiness of the original production can be heard far more clearly - and a slightly different, less celebrated early vocal mix.
Review: Laroze is flying the flag for US inspired house music in France, wearing influences from Nu Groove to Mahogani Music on his sleeve and delivering that classic strain of deep house that never dulls with time. "Bring It Down" is a soul-stirring boost of energy fuelled on the hedonism of optimism of vintage 90s house, from the chords to the vocal hook. "Port De La Lune" does a damn fine job of looping up some feel-good disco licks, and "You Better Give Up" shows a different side to Laroze that feels as indebted to R&B and downtempo as house music. Kosme comes on board to do a remix of the track that reframes it as a rolling breakbeat number.
Review: Forever faithfully mining the past to keep your shelves stocked with gems that might have otherwise been consigned to history, Emotional Rescue turn their attention towards Carl & Carol Jacobs' cult slice of early house music, and what a treat it is. "Yonge Street Jam Band" comes in the form of two mixes that serve as impeccable examples of late 80s club music in all its culture spanning glory. The playful sample slicing and triggering of the second mix is the winner, although the vocals on the original version are equally on point if you want a little more soul in the mix. Jonny 5 then steps up on the flip for a bold but measured re-rub that stretches the vibe out for nine minutes of perfect party fodder.
Review: The sixth vinyl missive from Soul Print Recordings is a double-header featuring two tracks apiece from Leonid and Laak. The former handles the A-side, laying down two deliciously intergalactic chunks of spacey deep house. On "Urania 1", he wraps psychedelic acid lines, supernova chords and Motor City melodies around a snappy drum machine groove, before working the acid lines further on the deep and hypnotic "Urania 2". Laak takes over on the flip, peppering a bouncy, off-kilter drum machine groove with cyclical melody loops and undulating acid lines on "Sp". "Waiting For Tomorrow" is arguably even better, with the fast-rising producer wrapping a tactile, synth-bass heavy backing track with fluttering electronics and sunrise melodies.
Review: The high grade, leftfield approach to house music Lyssna have set out as their MO continues in fine style on this new Colours series, starting with the Yellow EP and a strong cast of characters from the outer reaches. Riciar Ghir opens up proceedings with the tumbling deep house of "Cargo", making the keys dance with distinction and injection a subby rumble where it counts. Minimal Afrika follow that up with a percussive tryst entitled "Drakma Queen" that blossoms into a sumptuous ambient excursion. Robotalco takes a very different approach with some classically pumping sample-powered house music to shake feel-good fists to, and then Klubbhuset finishes up with an impassioned romp through peak time disco licks for the peak of the night.