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Review: Alex 'Omar' Smith has never been one for modesty, so we shouldn't be too surprised that he's called his latest full-length - his fifth in total - The Best. To be fair, he is rather good at producing high-grade deep house, and here unveils another eleven gems. Interestingly, he's recruited an impressive cast-list of collaborators and guests, including Norman Talley, Kyle Hall, OB Ignitt and, most surprisingly of all, Bristol-based Tom Bug. Highlights are plentiful, from the dusty afro and blues influences of the tribal 'Chama Piru's', and hazy, Rhodes-heavy vocal cut 'AhRevolution', to the hip-wigglin' disco-house influences of 'Seen Was Set', and retro-futurist, Inner City style Divinity hook-up 'On Your Way'.
Review: Last time it was only Omar S that could do it; this time he's thanking us for letting him be Omar S. That's right the FXHE boss returns with an eagerly awaited new album brandishing some 14 tracks. Omar S albums naturally tend to sell themselves but, for those still curious, Thank You For Letting Me Be Myself sounds like a perfectly executed culmination of the ideas AOS has explored on the numerous 12's since his last album. As soon as the crunchy mechanical dramatics of opening track 'I'll Bring U Ah Lil Sumpin Back' launch into action you feel like you're in for quite the journey and the subsequent swerves through Detroit flavoured electro, piano flecked house, beatdown and techno come with satisfaction guaranteed. Review: Lazare Hoche doesn't release that much music, but what he does put out is invariably excellent. Following a smattering of singles and an acclaimed collaborative album alongside Malin Genie - 2013's I Don't Sync So Volume II - he's decided to put together a compilation featuring his own productions and those by music industry mates.
Access, then, is a lesson in warm and luscious deep house, with significant contributions coming from Luke Solomon (donning the Jean Caffeine guise on the dreamy and rolling 'Jean Afterthought'), DJ Gregory's Point G project (the ultra-deep pulse of 'La Lampe Du Vizir Adjane'), and pals Skymaster and Mandal. Hoche's own contributions rank amongst the compilation's highlights, with the title track delivering a pitch-perfect lesson in the seductive powers of dreamy, dust-encrusted deep house. Review: It would be fair to say that Studio K7 has pulled off something of a coup in getting Kenny Dixon Jr. To agree to compile and mix the latest installment in the long-running DJ Kicks series. It is, somewhat remarkably, the legendary Detroiter's first commercially available mix set.
This triple-vinyl edition features a whopping 19 cuts - all in unmixed form - from the 30 track mix. Musically, it's a blazed, jazzy, soulful and groovy as you'd expect, and contains a mixture of downtempo beats, nu-jazz and hazy house cuts from the likes of Flying Lotus, Dopehead, Peter Digital Orchestra, Nightmares On Wax, Soulful Session and Lady Alma.
Review: Of all DJ duos currently operating in British dance music, Belfast boys Bicep might be the hardest to pin down (Optimo aside, of course). Certainly, this debut album is not easy to pigeonhole, though it is an enjoyably cohesive listen. This is largely down to two factors; the frequent use of deliciously colorful and loved-up synthesizer parts, and the duo's innate ability to utilize beats tailor-made for dancefloor devastation. So while keen dancefloor historians may notice sly (and not so subtle) nods to '89 rave, U.S house and garage, Italo-disco, late '90s progressive house, jungle and early British hardcore, the album never sounds anything less than a fine set of Bicep tracks. Expect it to be one of the biggest albums of the year. Review: During its lifespan, sadly departed London club Plastic People had it all: an intimate space to dance, an astonishingly good audiophile sound system, and a crew of resident DJs that included the mighty Theo Parrish. The Detroiter's sets there, which ran for a minimum of six hours, have naturally become the stuff of legend.
Three years after the club closed, Parrish has decided to release the recording of his final set there - a thrillingly free-wheeling, three-disc voyage that dizzily and gleefully joins the dots between jazz, soul, disco, funk, deep house, acid, techno and much more besides. The three discs capture Parrish at his most lively and esoteric, providing a musical journey that will delight dancers and armchair listeners alike. Review: Waze & Oddysey's W&O Streetracks imprint pulls together the likes of Eliphino, Ejeca, Citizen and XXXY for its first (unmixed) compilation released this Winter, W&O Streettracks Vol 1. Having clocked up eight releases on Street Tracks, it's the ideal time to throw down a milestone and document the sound of the label in one package and W&O Street Tracks does so with panache. The result of Waze & Oddyssey's plunge into their address book is a 12 track compilation that neatly reflects modern house music.
Ejeca, Citizen and W&O themselves sit alongside newcomers like Mediman and Sage Caswell while the emergent talents of New Jack City and Eliphino make for a nicely profiled piece of work Read more. Review: Given their famously militant approach to music formats, it's a surprise to see Paranoid London's previously vinyl-only 2014 debut album finally being issued on CD. For those who missed out first time around, it's well worth checking. As you might expect, it makes great use of both vintage analogue equipment and similarly old skool influences, in turn doffing a cap to Phuture-style Chicago acid, Inner City, hip-house, Green Velvet, Dance Mania style ghetto-house, and stripped-back, dancefloor-friendly machine soul.
Despite the ragged nature of some of the material, it's both hugely listenable and hangs together impressively - no mean feat given the DJ-friendly nature of the tracks. It all adds up to a retro-futurist treat. Review: Given the success of his 20-year career in house music, you'd forgive Glenn Underground for the odd bout of self-indulgence. There's certainly the odd moment of jazz navel-gazing on Forgotten Art - his 13th full-length - but it's rather in keeping with the album's eclectic, soft-focus approach. The overall impression given is one of a veteran producer letting his hair down.
Forgotten Art is packed full of slick, melody-driven deep house inspired by GU's early inspirations, from jazz-funk, boogie and disco to soul, samba and bossa. As a complete work, the results are impressive, with a high standard of musicality and emotional resonance taking precedence over cheap dancefloor thrills. The heads will love it. Review: Given that he took his DJ/production pseudonym from the name of a 19th century Romanian writer of folk stories, it's no surprise that Petre Insperescu's chosen form of techno is shuffling, atmospheric and classically-minded. Sitting somewhere between Luciano, Ricardo Villalobos and Nicholas Jaar, his sparse but well-rounded productions are simultaneously pleasingly calming and genuinely energetic, full of curious touches (a twinkling, distant piano here, a cut-glass string trio there) and gentle exploration.
Gathered together and mixed into a seamless whole, as on this first mix for Fabric, they offer an intriguing journey that should appeal to all those who love their techno subdued and atmospheric. Review: It's been ten years since outspoken Detroit house legend Omar-S launched his FXHE label, which is no mean feat for a DIY label. To celebrate the fact, he's decided to put together the first in a series of mix CDs highlight the much-loved imprints vast discography.
Entitled simply 1, the 74 minute vinyl only set takes an entertaining saunter through the label's bulging back catalogue, showcasing a range of well-known cuts ('Here's Your Trance, Now Dance' etc) and what the producer calls 'some shit fans might have slept on'. Predictably, it makes for a sumptuous and suitably groovy blend, moving between bespoke soulful house (Omar-S's much-loved 'Sex'), deep Detroit futurism (Omar-S and O B Ignitt's 'Wayne County Hill Cops Part 2'), dreamy jack tracks (Jason Fine's 'Jack Yo Bodda') and tactile tech-house (Fit and Gunnar Wendel's 'Enter the Fog').
Review: A super hot reissue of Moodymann's Forevernevermore album on Peacfrog. This was Kenny Dixon Jnr's third album (following the seminal Silentintroduction and Black Mahogani), released back in 2000. The pleasing thud of 'Tribute' and idiosyncratic deep strut of 'Your Sweet Lovin' linger long in the ears, whether you're hearing for the first time of the 100th.
Indeed everything here is dripping with MPC brilliance; jazzy samples, crackly Detroit atmospherics and the occasional recording of Moodymann's own distinctive croaky voice, making it an utterly essential purchase for Detroit cognoscenti who missed it the first time round. Review: Jazz-wise deep house and downtempo producer Hanna has a string of fine albums to his name stretching back to the tail end of the '90s. Bless, though, is his first full-length since 2008, and sees the Cleveland, Ohio man transfer to Theo Parrish's legendary Sound Signature imprint. Each of the album's ten tracks comes dripping in hazy, late night soul, as Hanna smoothly shuffles between hazy nu-jazz explorations and various strains of sensual deep house. For the DJs there are plenty of floor-friendly moments, while the inclusion of a string of groovier downtempo workouts should please the home listening posse. Review: Given that it's been 14 years since French producer Hardrock Striker established the Skylax label, this retrospective catalogue mix-up has been a long time coming.
Old friend DJ Sprinkles handles disc one, delivering a mix that brilliantly blends her uniquely dubby and spaced-out take on house music with dusty, soulful and largely U.S-centric deep house jams from the likes of Sameed, Lady Blaktronika, Chez Damier, Joey Kay and Carlos Nilmmns. On the second disc, Hardrock Striker focuses on more recent label material, whizzing through a swathe of tactile, deep and groovy retro-futurist cuts from the likes of Octa Octa, Niko Marks, Groove Riddim and Garage Shelter. Review: Martin 'Atjazz' Iveson continues to celebrate notching up two decades in deep house, this time via an expanded reissue of his largely overlooked 1999 debut album, That Something. The album originally appeared on DIY Discs offshoot DIYersions, and saw Iveson combining his love of tactile, atmospheric deep house with jazzy keys, and the kind of sublime synthesizer sounds he later explored more extensively on 2001 full-length Labfunk. This reissue contains two discs of obscure and previously unheard bonus material.
CD2 contains unreleased archive material recorded between 1995 and '98 - including some especially good downtempo gear - while CD3 features alternative versions, bonus cuts from 12' singles, and a smattering of tasty remixes. That it all still sounds fantastic is testament to Iveson's impeccable production skills. Review: Given the brilliantly simple concept behind this fine compilation - contemporary Detroit producers remix Funkadelic - we're rather surprised nobody's done it before. With 17 varied re-rubs stretched across two hugely entertaining CDs, there's plenty to enjoy. Highlights come thick and fast, from the deep house/P-funk fusion of Alton Miller's take on 'Get Your Ass Off and Jam' and Andres' loose, hip-hop influenced revision of 'Music For My Mother', to the thrusting loops and heady late night hypnotism of Anthony Shake Shakir and T-Dancer's version of 'Standing on the Verge'.
While many of the versions stay relatively faithful to the original, the more 'out-there' interpretations - see BMG's outer-space ambient dub of 'Maggot Brain' and Moodymann's epic revision of 'Cosmic Slop' - are also consistently impressive. Review: Thanks to his reputation as a knowledgeable house selector with immaculate mixing skills, hopes are high for Gerd Janson's contribution to Fabric's long-running mix series. As predicted, it's superb. After opening with Luke Abbot's deliciously steamy, marimba-heavy rework of Todd Terje sunset classic 'Snooze 4 Love', the Running Back chief gradually ups the tempo and intensity, along the way finding time for the melodious breeziness of John Talabot, the stripped-back retro-futurism of Shan, a dash of big room business from Joy Orbison and Boddika, and a swathe of lesser-known house gems from the likes of Joe Clausell and Scott Grooves. He also squeezes in Prins Thomas's loose and summery rework of Caribou's 'Sun', which closes the mix perfectly.
Review: DJ Koze's music is very much suited to the album format. Although his last effort through this medium was back in 2013, his explorative nature and wide-eyed, improvisational style are simply made to branch out into areas outside of the more predictable house and techno formats. Knock Knock comes through on his own Pampa label, with its seventeen tracks all providing us with something different and wonderful, from slo-mo r&b sounds to funky, wayward house music that is most certainly at the 'outside' of the house spectrum. There are plenty of special guests, too, including Mano Le Tough, Sophia Kennedy, and many other relevant talents.
A Koze speciality. Review: In 2009, longtime collaborators Frankie Knuckles and Eric Kupper made their production partnership official via the Director's Cut project. This epic retrospective gathers together the best tracks and remixes the duo completed prior to Knuckles' death in 2014. Disc one offers up original productions, including ear-catching re-makes of some of Knuckles' most famous early works (we're particularly fond of the versions of 'The Whistle Song', 'Your Love' and 'I'll Take U There'). On the second disc you'll find the best of their remix work, with standouts including a sublime take on Candi Staton's 'Hallelujah Anyway' and a storming, previously unreleased version of Lou Rawls' 'You'll Never Find Another Love Like Mine'. As a bonus, the third disc mixes the best of the lot together in one suitably gorgeous, non-stop journey.
Review: Having built their reputation through 12' singles for the likes of Crosstown Rebels and Poker Flat, Dan Berkson and James What deliver their debut album, on their freshly minted imprint Modelmaker. Interestingly, Keep Up Appearances is an altogether warmer, melodious and more evocative set than you'd perhaps expect, with a smattering of rich downtempo cuts joining a solid selection of dancefloor-friendly deep house. You can hear a classic dub techno influence in cuts such as 'Keep Up Appearances' and 'Shadow Theory', while the acid-flecked, soul-soaked 'Make It True' sounds like classic Osunlade. Best of all, though, are the more forthright efforts, with the ragged 'Seraphim' standing out. Review: Midland apparently spent much of his years fantasizing about one day playing at superclub Fabric, so it's perhaps fitting that the globe-trotting producer has finally been given a chance to contribute to the club's long-running mix series. Beginning with the woozy, off-kilter electronica of Georgia's 'Pey Woman' and ending with his own 'First Tube', the mix sees Midland effortlessly join the dots between breakbeat-driven house, skewed analogue techno, hypnotic leftfield tech-house, warm and fuzzy ambient house, quirky broken techno shufflers, throbbing electro and lots more besides.
What's perhaps most impressive - aside from the quality and subtle variety of music on show - is the DJ/producer's willingness to flip the script and allow for lengthy beat-less intros, confirming his belief that mixes should be about more than a simple linear journey. Review: The undisputed master of spiritual house music Joaquin 'Joe' Claussell presents Cosmicdelic Afrika: a collection of demos that the New York City based visionary is currently working on in the studio.
The idea for the compilation was inspired by the concept of his event Share: the upcoming Share Afrika will see Claussell digging through his archives and bringing out compositions exploring Afrika, African Diaspora, dub and more. Beginning with the deeply magical and meditative vibe of 'African Drug' (Joaquin's Drugged Out Sketch mix) by Bob Holroyd, the soulful and uplifting deepness of 'Emarofo Tech' (Joaquin's Demo Sketch Mix) by Mampo or Cosmic Ritual's 'Abraxas' (Joaquin demo Sketch mix) which is classic Claussell - reminiscent of work on his seminal Language album from the turn of the millennium.
Review: Given their status as confirmed party-starters who think nothing of turning their DJ sets into a thrill-a-minute romp through a myriad of musical styles, it's heartening to see that Soul Clap has continued this approach on their first Fabric mix. Featuring a dizzying 34 tracks squeezed into 80 action-packed minutes, the mix sprints through boogie, proto house, disco, electro, Afro-jazz, Latin beats, Balearica and numerous variants of house. Along the way, you'll encounter highlights from The Pool, Scott Grooves, Harvey Sutherland & Bermuda, Nu Guinea, Jimi Tenor & Tony Allen, Chateau Flight, Conga Radio and, of course, members of the extended Soul Clap family. Review: For their first foray into the mix market following the conclusion of their original, 100-volume series, London superclub Fabric has decided to offer up a rare DJ mix from genre-defying producer Simon Green AKA Bonobo. It's his first mix of any sort since 2013 and it is really rather good. Beautiful, picturesque, melodious and fluid, the mix not only includes heaps of previously unheard material from the man himself, but also touches on a dizzying number of styles (most notably ambient, loved-up deep house, African and South American drum music, IDM, electronica, techno, electro-soul, broken beat and dreamy breaks). That it all hangs together brilliantly is testament to Green's impeccable DJing and production skills.
Review: Alex 'Omar' Smith has always come across as fairly militant in terms of his musical output, so it's still a surprise that he's chosen to celebrate the first decade of his FXHE label by putting out a series of mixes. This second installment expands on the first - released earlier this year - mixing familiar staples and scene anthems (Smith's own 'It Can Be Done But Only I Can Do It') with lesser known gems. Musically, it's impressively raw, with Smith moving through a range of tough, stripped-back techno grooves and dystopian acid house gems before reaching for more melodious cuts such as the shimmering 'Flying Blind' and melancholic 'Three Blind Rats'.
Review: For almost a decade from the mid 1980s onwards, Hamburg's Front Club was one of Germany's leading bastions of underground merriment. Although its roots were as a gay club for a discerning crowd that demanded better than the commercial fare that was on offer elsewhere, it went on to become a haven for underground dance music enthusiasts of all sexual persuasions. Here, resident DJs Klaus Stockhausen and Boris Dlugosch serve up a two-disc taste of life on Front's dancefloor, giddily joining the dots between experimental European synth-pop, Italo-disco, New York proto-house, early Chicago jack-tracks, electro-funk, Bobby 'O' Orlando style Fairlight-driven high-energy stompers, Detroit techno and much more besides. As you'd expect, it's a sweaty, celebratory and thrill-a-minute ride. Review: Fresh from displaying his intimate knowledge of Italian dream house via the essential Welcome To Paradise compilations, Young Marco once again digs deep in the crates for Dekmantel's Selectors series. There's naturally plenty to gets heads salivating, from the eccentric European electrofunk of Danny Boy's 'Discomix' and the blissful pulse of Ghostwriters cheery synth-out 'Swizzle', to the delay-laden, dubbed-out drum machine beats and tribal chants of '200 FA (Extended Mix)' by The Force Dimension. Elsewhere, check out the ultra-positive Balearic loveliness of Personal FX's 'Objects In Mirrors' and the rubbery, undulating breeziness of Wolf Muller's 'Pfad Des Windes'.
Simply essential. Review: The word 'legend' gets banded about rather a lot, but it is certainly applicable to West London scene stalwart Kaidi Tatham. Further confirmation of this elevated status can be found throughout 'It's A World Before You', a staggeringly good album that marks the musician-producer's first solo set for some seven years. While rooted in the kind of warm, rich and life-affirming jazz-funk-fuelled broken beat workouts with which Tatham is most readily associated (and they're naturally superb), there's plenty of killer diversions dotted throughout.
These include a couple of spacey, soul-flecked ambient rubs, a sublime collaboration with hip-hop/modern soul fusionists Children of Zeus, and a fine head-nodding hip-hop jam featuring rapper Uhmeer. In a word: essential. Review: A couple of years back, Running Back boss Gerd Janson wrote an in-depth article for Red Bull Music Academy about Tony Humphries' legendary 'Mastermixes' - all-action mixes originally created for NYC radio stations in the '80s and '90s.
With this in mind, it's perhaps unsurprising that he commissioned the legendary DJ to give the Running Back catalogue the same treatment. Predictably, Humphries has come up with the goods, delivering a loved-up, melodious and classic sounding trip through mostly synth-heavy, classic-sounding label highlights. That it sounds like the kind of set you'd actually hear from Humphries is testament not only to the quality of his track selection and mixing, but also the suitability of the Running Back catalogue. Review: It's that time of year again. 12 months on from his last album-length outing as FP-Oner, Fred P once again dons the alias for 7, a third numerically titled set in as many years.
As usual, the music is rarely less than immaculate, with the imaginative and talented producer showcasing most sides of his musical personality. Highlights come thick and fast, from the yearning, soft focus melodiousness of quietly jazzy deep house opener 'Smiles' and shimmering Motor City techno futurism of 'Travelling Zones', to the blissful house minimalism of 'Simple Things' and acid-flecked late night hypnotism of closer 'Arigato'. Superior electronic club music composed by a master: what more do you need? Review: If your fame is built on delivering rock solid dancefloor cuts, should your subsequent albums stick to the same approach or mix it up a little?
It's a conundrum that many artists have struggled with over the years. Smartly, Detroit Swindle has decided to hedge their bets with High Life following 2014's Boxed Out. As full length albums go, it's a bit of a peach, and sees the acclaimed Dutch duo flit between sensuous, home-listening fare, jaunty, instrumental-laden workouts (see the cheery, smoky pop-soul of Tom Misch hook-up 'Yes, No, Maybe' and Afro-fired bounce of 'Call of the Wild' featuring fellow Dutch combo Jungle By Night) and tried-and-tasty club tracks (Seven Davis Jr collaboration 'Flavourism', the driving disco-house of 'Freeqy Polly' and 'Cut U Loose'). Review: Celebrating 30 year of the infamous acid house explosion that was the Second Summer Of Love, three of the most influential selectors of the foundation era dig deep and deliver some of the most iconic, cherished and influential tunes that transcended the warehouses of New York, the clubs and fields of the UK and the beaches and terraces of Ibiza. The true Balearic acid house melting pot, Paul Oakenfold, Nancy Noise and Colin Hudd remind us just how timeless and important records such as 'Thunder', 'Chime' 'Such A Good Feeling', 'Pacific State' and so many more truly are.
30 years deep and still future; this is the start of a movement. Review: When developing his Playgroup project in the late 1990s, Trevor Jackson made hundreds of tracks. Since only a few of these were turned into finished tracks for the eventual 2001 set, he was left with a vast archive of unreleased material. It's this that he's mined for Previously Unreleased, a superb two-disc set of typically far-sighted material.
While there are plenty of tracks that explore a similar range of influences to the original album - think punk-funk, dub and electrofunk, for starters - Previously Unreleased also includes a string of killer, acid-house inspired dancefloor workouts, an Italo-disco shuffler ('Doin' It Right'), a freestyle jam ('Live at the Funhouse') and a sprawling, post-rock ambient soundscape ('Little Things', featuring a young Kieran 'Four Tet' Hebden on guitar). Review: You have to admire Leon Vynehall's ambition. Although he built his career by delivering atmospheric, otherworldly club music, his first set for Ninja Tune is a sprawling, largely ambient - or at the very least hazy and horizontal - concept album inspired by the story of his parents emigrating to New York. Thus, the ten tracks that make up the album - crafted from a combination of field recordings, sound effects, orchestral instrumentation recorded at Konk's studio in New York and his own sublime electronics - were produced and sequenced to tell a story.
It's epic stuff, all told, but crucially also incredibly good. It proves, without any shadow of a doubt, that Vynehall is a producer with talent to match his widescreen vision. Review: In recent times, Studio Barnhus co-founder Kornel Kovacs has delivered a string of eccentric, hard-to-pin-down 12' singles that drag house music in weird and wonderful new directions. He's at it again on Bells, the Swede's long-awaited debut album. While largely deep, melodious and quirkily lo-fi - the distinct sound of tape hiss is never far away - Kovacs nevertheless veers off in many different directions over the album's ten-track direction.
So while the pitched-down UK funky rhythms and 8-bit synth melodies of 'Josey's Tune' impress, dancefloors may prefer the rambunctious, redlined Latin-house thump of 'Gex', the sparkling rave revivalism of 'Dance.When The Record Spins', or the rubbery bounce and pulverizing analogue bass of 'Pop'. Review: In the early-to-mid 2000s, when nu-jazz was at its' peak, Compost Records' annual Future Sounds of Jazz compilation was always essential listening. This surprise 13th edition appears five years after its' predecessor, re-introducing the series to a whole new generation of listeners. Happily, its' every bit as essential as the series' earliest installments, and draws together all manner of jazz-leaning productions. You'll hear a string-drenched broken house gem from Falty DL, some Afro tech-jazz from Mr Raoul K, a supremely Balearic rework ofMatanza's 'Existencia' from Acid Pauli, an epic electro-jazz throw down from Butch & C Voigt, and an essential remix of Tony Allen by Ricardo Villalobos and Max Loderbauer.
Throw in fine contributions from Peter Kruder, Axel Boman and Chaos In The CBD, and you've got an essential collection. Review: Munich institution Permanent Vacation is concrete proof that the best record labels evolve over time. Where once bosses Benjamin Frohlich and Tom Bioly were happy to release lazy Balearica and cosmic, disco-fired gems, in recent years they've broadened their horizons further and headed to the dancefloor via singles and EPs that draw much more heavily on contemporary European deep house. The fine music contained on this sixth label retrospective supports this view, flitting between dreamy, eyes-closed Balearic house (Fort Romeau's superb remix of Kauf), low-slung Norse disco (Prins Thomas remixing Lauer), hypnotic Berlin style tech-house (Lake People), heavy percussion jams (Gerd Janson's Conga remix of John Talabot), mind-altering ethno-grooves (Red Axes) and John Carpenter style synth soundtrack fare (Marvin & Guy). Review: South Korean star Peggy Gou continues her seemingly unstoppable rise by serving up her first ever DJ mix CD. It's a contribution to one of the longest running series in the business, DJ Kicks, and she's used the opportunity to showcase the depth and variety of the music in her crates.
Beginning with the classic early '90s ambient of Spacetime Continuum, Gou flits between humid, mid-tempo Balearic house (her own 'Hungboo'), acid-fired downtempo electronica (Pearson Sound), throbbing 1990 peak-time anthems (Weatherall's ace but largely forgotten remix of Sly & Lovechild), hypnotic techno minimalism (Dorisburg), main room throb-jobs (Hiver), pulsating electro (DMX Krew), classic breakbeat hardcore (Shades of Rhythm), post-dubstep (Kode 9), dark tribal drum jams (Black Merlin) and sunrise ready Motor City brilliance (Deniro). Review: Jus Ed is in introspective mood on his latest full-length excursion into atmospheric deep house pastures. As the title suggests, it finds him musing - quite literally, given that he speaks over many of the tracks - on his role as a father and whether he's a good role model to his offspring. It's heartfelt stuff, without being overbearing or sickly-sweet, and sits nicely with the warm, rich, melodic and occasionally off-kilter deep house grooves that provide the headline attraction. While Father Feelings should perhaps be considered one CD-length concept piece, there are still notable highlights, with the Latin-tinged, string-laden rush of 'Celebration of Sound' and late night, sub-heavy pulse of 'Love Pressure' standing out.
Review: There's no sign of 'difficult second album syndrome' to be found on All That Must Be, George Fitzgerald's follow-up to 2015 debut full-length Fading Love. In fact, you could say it's something of a triumph. It was written over an 18-month period and tracks the highs and lows of his private life, largely by eschewing his club-rocking roots in favour of songs and instrumentals that bristle with melancholy, gentle melodiousness and ear-catching electronic instrumentation. Of course, it's still rooted in contemporary club sounds, its just more James Blake or Jamie XX than, say, old pal Will Saul or Special Request. Notably, it's the more poignant songs, including fine collaborations with Lil Silva and Tracey Thorn, which linger longest in the memory.
Review: With the new Inside Out series, Aus Music is aiming to blur the boundaries between traditional artist albums and DJ mix compilations, primarily by asking chosen selectors to showcase their music and that of their close musical companions. To show how the series works, Aus Music chief Will Saul has handled this first edition, serving up a mix of previously unreleased music from his extended friendship circle that moves from woozy ambience and dewy-eyed downtempo electronica, to melodious techno and fizzing, electro-inspired broken beat jams, via a range of deep, atmospheric and rhythmically intriguing workouts. With the likes of Falty DL, Pearson Sound, Mr Beatnick, Lone and Move D contributing tracks, the quality threshold is impressively high throughout, with Saul's fluid mix sparkling from start to finish. Review: It's all change on the 14th edition of Compost's long-running Future Sounds of Jazz series, with the baton being passed to two new curators: Permanent Vacation bosses Benjamin Frolich and Tom Bioly. It was perhaps a wise move, because the duo - compiling a disc each - have taken a much more liberal approach to 'jazz' as a concept. The result is a hugely entertaining two-disc trawl that variously takes in immaculate deep house (Isolee, Marcellus Pittman), inspired electronica (The Abstract Eye), acid-flecked jazz-funk/house fusion (Tee Mango), hypnotic techno and spacey tech-house (Matt O'Brien, Aubrey, Herzel), synth-Balearica (Jex Opolis, I:Cube remixing Jose Padilla), ambient (Move D, Luke Abbot) and, of course, proper contemporary jazz (Yusuf Kamaal, Roman Flugel).
Review: 'The Cry', John Beltran's 1997 album under the Placid Angles alias, remains one of his most beautiful, picturesque and well-rounded works. This belated sequel - the first Placid Angles outing since - is therefore hotly anticipated.
It's wonderfully warm, melodic and atmospheric, with Beltran - a producer renowned for his ambient and techno works - expertly fusing elements of dreamy deep house, futurist Motor City techno, purist 1990s tech-house, early '90s IDM, rolling jungle/early D&B and intergalactic ambient techno. The result is a set of tracks so emotion-rich and evocative that you may want to marry it, or at least take it home to meet your parents. In a word: stunning. Review: While he's tended to maintain a fairly steady stream of singles, Robag Wruhme has never been a prolific producer of albums. It took him seven years to deliver a full-length follow-up to debut EP 'Wuzzelbud 'KK' and another eight to get round to creating 'Venq Tolep', his latest album length exploration.
So was it worth the wait? Beginning with the hazy grooves, gentle melodies and simmering strings of 'Advent', the veteran German drifts between slow-motion ambient pop ('Westfal'), ethereal soft-focus deep house ('AK-Do 5'), intoxicating beat-free soundscapes ('Volta Copy (Ambient Version)') and undulating, glitch-heavy workouts that doff a cap to both pastoral techno and the glistening IDM of British greats such as Plaid and Boards of Canada. 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: Fabric's offshoot label, Houndstooth, has reached the dizzy heights of a century of releases. Fittingly, they're marking the occasion with a new album from Marquis Hawkes, which is also his first since hyped 2016 debut full-length Social Housing. It's an attractive and punchy affair full of good-time grooves, joyous house workouts, bumpin', Chicago-influenced fare and the kind of luscious, loved-up, garage-influenced deep house goodness that sounds like aural sunshine. While there are a couple of woozier downtempo moments, for the most part it's a deliciously floor-friendly affair, with Hawkes serving up seriously listenable cuts that work both at home and in the club. We actually think it's better than Social Housing, and that was pretty darn tasty. Review: Given the runaway success of Marcel Vogel's Lumberjacks In Hell label in recent times, it was almost inevitable that a bigger imprint would come knocking sooner rather than later.
Fittingly, that label was BBE, who asked him to put together a set of previously unreleased tracks that draws on the same classic palette of influences (think soul-fired house, disco, boogie, jazz-funk and shimmering, synth-laden beat-scapes). The resultant set is superb, with Vogel serving up both mixed (CD1) and unmixed variations. Highlights are plentiful - from the wayward, proto-house/gospel fusion of Tom Noble's 'Lord I'm Trying' and the slick, soul-flecked deep house of Jonna's 'Everyday', to the deep dancefloor jazz of Boogie Nite's 'Jazz-o-nova (ooh)', the low-down funk of Beam Me Up and the spiraling disco-funk of Reece Johnson.
Review: Lo-fi house hero Ross From Friends presents his debut album for Flying Lotus' Brainfeeder imprint - this follows up the terrific Aphelion EP he presented on the label earlier this year. Like the title suggests, Family Portrait refers to a very specific personal aspect of Felix Weatherall's life: the influence of his parents. Dance music was always around during his childhood, where he grew up learning about music from his dad - who apparently had a penchant for banging out hi-NRG tracks on the decks. It's a riveting listen from start to finish: from the the intensely vivid groove of 'Pale Blue Dot' to the moody 'Project Cybersyn' with its tunnelling aesthetic - perfectly geared for those heads-down moments later in the night. Review: Given the label's status as the offshoot of a celebrated weekly radio show, it seems fitting that Beats In Space has finally launched a mix series.
The first volume comes from Moko Shibata AKA Powder, a Japanese DJ/producer renowned for the undeniably cosmic and otherworldly nature of her productions and performances. 'Powder In Space' takes this dreamy, intergalactic approach as a base, with Shibata beatmatching and blending her way through an eclectic but interconnected mix of yearning electronica, deep tropical grooves, dreamy experimentalism, soft-focus grooves, seductive deep house, jazzy rollers, elastic techno and oddball ambient. It's one hell of a journey. Review: Norwegian disco titan Prins Thomas returns to his regular stomping ground of Smalltown Supersound with this, his sixth solo studio album. Thomas is sounding as vibrant as ever, his musical ideas spilling forth in glorious arrangements of organic instrumentation and gentling bubbling electronics that melt into a mellow, groovy sonic realm. There are hazy, cosmic moments to be savoured on the likes of 'Feel The Love', and more adventurous rhythmic trysts like the nagging, snaking percussive melee of 'Ambitions'.
Thomas' studio proficiency is more than matched by his imagination and creative ambition - would you expect any less from such a titan of Scandinavian electronic music? Review: It's been three years since husband-and-wife team Jus' Ed and Jenifa Mayanja released their collaborative debut album, Let's Groove. Since then, both have been busy with solo projects, delivering a large volume of releases in their distinctive warm, melodious and loose deep house style. Love It Or Leave It, then, is something of a rare treat for those who dig their wholeheartedly positive and spontaneous take on deep house. It's perhaps a little breezier than either producer's solo work, with less immersive pads (though they are present, particularly on the chiming 'Love Bubbles Change'). It's still deep, though, with cascading melodies, picturesque chords and occasional soul-flecked vocals riding a range of deep, sinewy house grooves. Review: Some three years on from the release of their acclaimed, self-titled debut album, Letherette's Andy Harber and Richard Roberts are finally ready to share the follow-up.
Happily, it's another sublime set. Over the course of 10 impeccably produced tracks, the duo shimmies between dreamy instrumental hip-hop (the traditional Ninja Tune grooves of opener 'Momma'), loose-limbed, jazz-flecked electronica, spacey Dam Funk style electrofunk (the brilliant 'Shanel'), garage-influenced UK house ('Wootera'), blazed downtempo pop (the claustrophobic 'Bad Sign'), and various strains of imaginative, colourful deep house ('Dog Brush', 'Soulette'). They even find time to squeeze in one of the most beautiful cuts of the year, the crystalline 'Rubu'. Review: The first two Jus-Ed curated mix CDs from Berlin's Tape club are now stuff of legend, and in May 2011 the Underground Quality don returned to Germany for a mid week night of nothin' but the finest house jams. On this occasion the Bridgeport don was joined by Panorama Bar resident Steffi and Virginia (who provided a couple of memorable vocal turns on Steffi's recent album), and the results were recorded and put on this here CD.
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No casing on this, just a basic white pouch - raw packaging for some raw tunes! Review: Subversive disco Swedes Studio Barnhus curate and compile the compilations of their lives right here as the label arm of their operations celebrates its breadth and vibrancy with this 19 track, triple vinyl compendium of every groove that glitters. Left sided pop (Man Tear 'Night Fantastic'), 21st century blues (Baba Stillz 'LOVE'), dusty lofi warehouse rattlers (Qaadir Howard's 'Bloodied & A Mess'), trippy seaside love songs (DJ Koze 'Hawaiian Souldier') dreamy pastoral strums (Superpitcher's 'La La La Land') and slinky dubby acid (Axel Boman's dub of Adrian Lux's 'Teenage Crime') are just some of the charming, freeform and high spirited styles and shades on offer here. Review: Theo Kottis becomes the latest rising star of club culture to contribute a mix to Global Underground's legendary Nubreed series, which previously helped turn the likes of Lee Burridge, Sander Kleinenberg and Steve Lawler into household names. The Scottish DJ/producer has naturally grasped the opportunity with both hands, delivering a deep, melodious and atmospheric two-disc mix-up that boasts a seriously impressive track list.
The first disc begins with some fine ambient from Gigi Masin, before Kottis drags us in a variety of deep house and deep techno directions via tracks by Henrik Schwarz, Sascha Funke and KiNK. Disc two sticks more rigidly to the more techno side of Kottis' sound, delivering head-spinning hypnotism and gently unfurling grooves. Review: Daniel Straneus and Falk Shakarchi are Studio Barnhus originals. While they've not put out anything on the Swedish imprint since 2012, they were responsible for the much admired label's second ever release way back in 2010. Given this history, it's perhaps unsurprising that their amusingly titled debut album, Steal Chickens From Men and the Future From God, sounds a little like a CD-length distillation of all that makes Studio Barnhus such an exciting label. Quirky and eccentric from start to finish, it features cut-up MPC loop jams nestling side by side with woozy, deep disco-house shufflers, skewed homemade reggae riddims, glassy-eyed ambient and sample-heavy Balearic house workouts.
It's the sort of album that won't just make you tap your toes, nod your head and wiggle your hips, but also put a goofy smile on your face. Review: It's taken Baba Stiltz a while to settle on a sound of his own. While his early material - released as far back as 2011 - stuck rigidly to skwee and hip-hop influenced downtempo grooves, latter projects for Studio Barnhus have seen him head in a much more immersive deep house direction. This imaginative and eccentric debut album, presented as a doublepack with full artwork, stitches together these disparate strands. The results are impressive, with vibrant, Balearic-influenced deep house cuts nestling side by side with robust acid jams, scratchy downtempo grooves, grandiose synthesizer soundscapes and skewed instrumental pop. It's an assured and curiously off-kilter debut, which should appeal to those who enjoy more leftfield strains of deep house. Review: Last year Kornel Kovacs returned to his 'beautiful, boring' home city of Stockholm, citing a need for both 'friends and inspiration'.
Duly settled in his old apartment, the Studio Barnhus co-founder surrounded himself with collaborators (primarily Matt Karmil, jazz musician Niclas Skagstedt and female vocal duo Rebecca and Fiona) and set to work on his second album, 'Stockholm Marathon'. The resultant set is impressive, with Kovacs offering up a range of ear-catching vocal and instrumental tracks that brilliantly fuse elements of spacey deep house, mutant R&B, leftfield synth-pop, lo-fi electro, tech-jazz and glassy-eyed electronica.
More often than not the collaborations with Rebecca & Fiona hit the mark (see 'Club Notes', 'Purple Skies' and 'Marathon'), but there are plenty of other highlights elsewhere on the album. Review: There was much excitement when Pink Eye, Maurice Fulton's first album under the Syclops album for five years, first appeared online last month. In typical fashion, Fulton hadn't let anyone know it was coming. As with some of his other projects, it's now available on physical formats via German titans Running Back. As with previous Syclops albums, it's wonderfully bonkers and hard to pigeonhole, with the Sheffield-based Chicagoan combining mind-altering electronics, skewed drums, riotous analogue grooves and cheery piano and synthesizer motifs in a variety of hugely impressive ways. There are naturally some suitably filthy club workouts present - check the intergalactic madness of 'Sarah's E Is Back', the druggy, afro-tech romp that is 'Spin Cycle' and the sub-heavy insanity of 'Kelly Is On Her C' - alongside loved-up compositions and productions that indulge Fulton's less discussed often overlooked jazz influences. Review: On his previous two full-lengths, London-based Glaswegian Andy Graham promoted a hazy, evocative take on house and minimal techno.
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On this third studio set - his first for some six years - Graham is much more concerned with the atmospheric potential of electronic compositions that variously doff a cap to classic ambient, IDM, James Blake, the screwed R&B-tronica of Hudson Mohawke, and the loved-up synth-pop of Junior Boys. As a result, Space In Your Mind is a tactile, dreamy affair, with even the occasional forays into deep house territory - see 'Kalstars' and 'Ancestors' - recalling the loved-up feel of classic Visionquest material.