Review: Joe has been behind some of the most inventive rhythms and hard hitting club tunes of the past decade. Always happy to veer off-piste while drawing on bass, dubstep, techno, 140bpm workouts and everything in between. Here the Londoner makes a break from home label Hessle Audio to land on the equally cutting edge Comeme. "Rio Lea" is the pick: it's a loose rhythm coloured with samba skip, soul drenched strings and Latin flair that transports you directly to South America. The others aren't bad either to be fair, with "Line To Earth" exploring a slower, dubbed out groove, and "Get Centred" working the dance floor into a frenzy with its mad xylophone melodies, tight, percolating drums and tense chord stabs.
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.
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: 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: According to the hype sheet we have to hand, the "Home Turf EP" is House of Disco's first multi-artist extravaganza for two years. There's plenty to get the juices flowing throughout, from the bounding bounciness of LPM's rap-sampling disco-house cut "Get With It", to the impeccably warm and sun-kissed jazz-house vibes of Purple Ice's "Adeus". In between you'll find the rolling, synth-heavy warmth of Mix & Fairbanks' deliciously loved-up "Shergar's Revenge" and "Me, You, Us" by Shee, a chunky sample-house number full of swirling strings, looped guitar riffs, hazy chords and righteous spoken word samples.
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: Butter Sessions latest must-check release comes courtesy of Melbourne-based rising star Furious Frank, whose recent EP on Paper-Cuts was particularly impressive. "Ahora Si" is similarly inspired, with the young Australian producer placing Ivy Barkakati's "Sueno Latino" style whispered vocal over a bold, alluring blend of jangling dream house pianos, rugged acid lines, sunrise-ready chords and loose-limbed analogue beats. He provides his own dream house style interpretation (the brilliant "Frank's Sunrise Mix") before inviting Ivan to give his take on the track. He adds some tribal percussion whilst retaining the cut's inherent dreaminess before Canadian producer D. Tiffany re-imagines "Ahora Si" as a bass-heavy chunk of UKG/breakbeat house fusion.
Review: A big driver behind Mood Hut's success over the last few years has been their willingness to encourage collaboration between their extended crew of producers. Their latest co-produced affair comes from long-serving crewmember C.Z Wang (best known for his People Plus release earlier this year) and Aquarian Foundation's Chad Thiessen AKA Neo Image. "Just Off Wave" is warm, woozy and bass-heavy, with drowsy chords, fizzing electro noises and trippy vocals (courtesy, we think, of guests Seperated At Birth) riding a hybrid analogue house/electro groove. That beat is cut-up, beefed-up and heavily enhanced on flipside "Open Mic Beat", which is a sweaty drum track - with, it should be said, occasional chords - that should appeal to aging B-boys and girls.
Review: Earlier in the year DJ Seinfeld returned to action with the "Galazy EP", a wonderfully spacey, breakbeat-driven affair that arguably contained some of his most mature and developed productions yet. There's more of the same on the "Lilium EP". The title track boasts serious percussive weight - a result of the producer's layering of bongos and congas above a sturdy kick drum pattern - with a trance-inducing synth bassline, fluid electric piano lines and flowery chords providing the loved-up musical accompaniment. He doffs a cap towards both mid 1980s NYC freestyle and Italo-disco on the Bobby Orlando-influenced brilliance of "Lovejoy", whose drums and synth sounds are impressively authentic in their style and execution, while "Exterrestial" is a pleasingly fluid fusion of breakbeat-driven deep house and late '90s style NYC "dark garage".
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: Since stepping out from the shadow of his mentor Ron Trent, Trinidadian Deep has delivered a string of musically rich and life-affirming EPs that effortlessly join the dots between bespoke deep house and a variety of global sounds, styles and rhythms. He tips a hat towards his Trinidadian roots on "Natty Dread", a calypso-influenced chunk of deep house warm rich in smooth but weighty bass, spacey synths and densely layered Caribbean percussion. "Electric Boogie" delivers on its title by wrapping echoing, delay-laden synth riffs around jaunty deep house beats, bubbly but sweet electronics and tactile, eyes-closed chords.
Review: Just 4 The Beat's first release of the year was well worth waiting for. It comes from Eastern Europe's Urban Haven, who is now based in London but clearly takes great inspiration from deep and soulful Chicago house masters like Glenn Underground and Ron Trent. His first ever EP is an impossibly classy one, and "Roots (Reprise)" is a glorious highlight that starts with luxurious synth puddles and a romantic, conversational sax line. After a three minute build, you sink into a Latin flecked deep house groove of the highest order. This is as musical as house gets and is, unsurprisingly, already big with Mike Huckaby and Kai Alce.
Review: DJ Slyngshot's resurgent Yappin label is back with a second sizzling EP of 2019 after lying dormant from 2014 to 2017. We couldn't be happier about its return when it is unearthing the mind behind deep house like this latest one from Deesigner. Unsettling opener "Bringin The Funk" is a spaced-out late night rhythm with hints of jungle, and "Too Many LFOs" is a lumpy dub cut with muted, woolly synths sending you all gooey inside. "CY-39" cloys things out with some deft drum work and percolating rhythms that are clean, crisp and weirdly pleasing.
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: Manchester-based DJ/producer Yadava hasn't been releasing music all that long, but what he has put out has been superb. Here he makes his first appearance on Omena with a mini-album every bit as inspired as his 2018 debut album on Church, "It Rains Here". As with previous outings, the showcased tracks are imaginative and evocative, with Yadava blending dreamy electronics and jazzy instrumentation with grooves that variously doff a cap to dusty deep house, West African and South American rhythms, jazz-funk and broken beat. Highlights are plentiful throughout, with the richly percussive "Earth Tones", bustling "Message From Poets", jazzy "Ixelles '42" and super-sweet "Good Mourning" standing out.
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: The SlapFunk crew have another new recruit for their mission to match minimal dance aesthetics with tough old-skool punch. Danish producer Martinez has plenty of experience having released everywhere from Guidance to Moon Harbour and Minibar, and he sounds right at home freaking the funk for the Dutch contingent. There's a straight up strut to the jacking drums on opener "Inter Species Relations", while "Aspired Commotion" slips into the kind of wriggling shuffle you'd expect from a SlapFunk release. "No Data" adopts a skippy 2-step stance with some eerie textures on top, and then "Shanty Town" finishes the record off with more swinging business peppered with delightful keys.
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.
Lou Rawls - "You'll Never Find Another Love Like Mine" (Kenny Summit, Frankie Knuckles & Eric Kupper unreleased remix) (7:43)
Kenny Summit, Frankie Knuckles & Eric Kupper - "Loving You" (feat Yasmeen) (6:50)
Review: Apparently made in tribute to the legendary Paradise Garage club some years ago, these two previously unreleased workouts are the work of Kenny Summit, Eric Kupper and the late, great Frankie Knuckles. Side A boasts the trio's near legendary (and previously unavailable) remix of Lou Rawls classic "You'll Never Find Another Love Like Mine". It's a wonderfully positive and life-affirming affair, with the three legendary producers wrapping echoing guitars, warming disco orchestration and Rawls' sublime lead vocal around a deliciously percussive Afro-house groove. The flip features another unseen and unheard gem from the vaults: a loose, groovy and positive soulful house wiggler featuring the seductive vocals of Yasmeen. Terrific stuff.
Review: Over the last 18 months, Secretsundaze duo Giles Smith and James Priestley have proved adept at delivering house records that refuse to kowtow to convention. Their latest effort, "Gigantic Impossibly Large", is a fantastic example of this, with each of the pair's four mixes offering a noticeably different vibe. The EP-opening "10AM Tripp" version is a mid-tempo shuffler full of loose-limbed drum fills, classic ambient house melodies and glassy-eyed spoken word samples, while the "NYC Dub" re-imagines the cut as a cross between Raze's "Break 4 Love" and one of Bobby Konders deep and breezy Nu Groove-era cuts. The "OG Version" fuses ambient chords and hypnotic dub disco drums, and the "B2 Jam" interpretation is horizontal head music of the highest order.
Review: The Verdant label continues to plumb depths others fail to reach in the search for the most immersive techno emanating from the underground. On this split disc, the A side is under the control of Sirko Muller, who unfurls a masterful take on dub techno and minimal house as subtle as it is sublime. RV800 then remixes "Affinity" and makes it into a bouncy, acid-flecked groover that remains true to Verdant's deep dynamics. Jonno & Tommo take on the flip with the sultry mood piece "Efficacy," a spooked-out trip of a track that gets flipped into a slippery electro number by Havantepe.
Review: Clone is one of the oldest active labels in the game, and DJ Fett Burger has been the most singular soundsmiths in the scene for seemingly as long. This coming together of two giants is another successful one with the Sex Tags co-founder flipping Red Scorpions' "Enjoy This Limousine" into a dubbed out techno roller with jittery snares riding on bleeping electronics. Speckgurtel then tackles "Harpo" with an old school rave energy that is muted yet euphoric, before rounding off with his Drumapella version of "Sonnenambiente", which makes an effective early evening house tool.
Review: Under the 2XM alias, super siblings the Murray Brothers have thus far proved to be rather good at fusing heady, smoky deep house with the dreamy chords of ambient house and a variety of interconnected influences. They're in fine form on this EP, too, effortlessly moving between two-step/dream house fusion ("Dancing Styles", which surprisingly reminded us of late '90s Irresistible Force Records), eyes-closed jazzy deep house bliss (the fluid electric piano solos, rich chords and dusty beats of "Doing It"), ultra-deep, Floating Points-esque soulfulness ("Gentle", featuring the evocative vocals of Neil Macleod) and jaunty, synth-sporting dancefloor haziness ("Sorry That You Love Me").
Review: For the last couple years, Montreal's Project Pablo has been busing honing his own unique house sound across a wide range of labels. He's prolific, too, with this being his third EP on Verdicchio Music Publishing this year alone. He favours clean, thin harmonic keys and pads that can be either lush and dreamy or more rave-tinged. "Sofware" is a case of the former, with soft drums and mellifluous melodies getting you swaying. The underlapping drums on "Dead Channel" are to die for as yawning pads get you in a dream state, before "Boingo Myth" quickly wakes you up again with its scribbly, icy pads. "Scroll Up" marks a celebratory breaktbeat finale that will pump the party with euphoric cries and pianos to get hands in the air.
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: 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.