Review: Organ-filled ambient house courtesy of a four-way collab between AP, DJ Tjizza, Eversines and Michelle, who all form parts of the UK dance music collective Picnic. Refractive acid, dreamatic plastics, stoic echoics... every possible corner of trance-inducing dance heaven is scoured on this all-encompassing EP, the highlights of which, in our humble opinions, are 'Nyxation' and 'Panther'.
Review: Norm Talley's Upstairs Asylum label only arrived in 2021 but is already up there with the great Motor City imprints. The boss has been busy putting together a trio of new EPs for the first half of 2023 that showcases a wealth of Mid-West talent. House hero Boo Williams kicks off this one with his typically tight drum programming and party-starting synth work on 'Tickin Clock.' Eric Johnson keeps it raw, deep and loopy on 'Melodic Gruv' then Reggie Dokes brings his signature Atlanta house sound to 'Mother's Child' with its melancholic lead sax and 'End of Time' is a broken beat bliss out.
Review: Latvian label Micronica is back in action with another round of its various artists series, shining a light on some emergent talent from the minimal tech house scene. First up on Volume 3 is Daniel Broesecke with 'Black Matter', a swirling, hypnotic joint draped in exquisite synth work. DIN follows that up with the tricky percussive wrangling of 'In Mind' - a quintessential minimal workout if ever we heard one. JNJS brings a little more uptempo funk to 'Thinking About Money' with some playful speech samples woven into the mix and Electricano & Adroit follow a similar approach with their slinky workout 'Space Adrift'.
Review: The Aniara label out of Sweden has always come at things from its own sideways perspective whether dealing in house, techno, or something in between. This new two track 12" allows different artists to take care of one side each, beginning with DJ Marathon's 'Track 1.' It is the sort of breezy, balmy cut that encourages your mind to wander amongst the stars as you get lost in the pulsing deep house beats. Ebende's 'Elevate' picks up the pace but remains a dubby delight, with warm, molten chords rippling out to infinity and cuddly kicks carrying you to a mindful place.
Review: Having built his reputation via a regular series of self-released 12" singles, East End Dubs is now beginning to make guest appearances on selected labels. Here he pops up on the long established, vinyl-only INFUSE imprint with a trio of club-ready concoctions. On the A-side you'll find "Gradual Steps", a rolling and attractive fusion of bouncy deep house drums, spacey, Motor City chord, thickset bass and glitchy tech-house flourishes. As usual, there's a wonderful swing to his drums and the stretched-out chords are hazy and evocative. You'll find more of these sumptuous pads and chord progressions on similarly-minded flipside cut "Mind Traps", while closer "Enhance" is another deep house/tech-house hybrid blessed with a notably epic breakdown.
Review: London's FUSE is one of those labels that is so dint it has a sound of its own that is often initiated but never bettered. The latest to serve up an authentic twist on the tech house template is returning artist EB Flow whose opener 'Celestial' makes a quick impact. It's a cruising, effortlessly cool groove with cosmic synth sounds and an aloof little vocal hook. 'Boundless' has more tension in its breakdowns and muted pads but the sub-bass is to die for. This sophisticated new school EP shuts down with 'Illusion' which has a gurgling lead wobbling about the mix while the long, leggy, loopy kicks bring great swing to the party.
Andrea Bertoli & DJ Bogdan - "Extremely On Line" (5:36)
Review: Exxtra Beats Records backs up its commitment to pushing things on with a new four-tracker of minimal and tech cuts. Edo Ecker's 'Extraluxxo' has warped synth lines that encourage introspection while the snappy beats make you move physically. Leff's 'Future Problems' has hazy and positive arpeggios that toot away over sustained chords and move at a nice inviting pace. Little Sea offers the snappy drums and gurgling acid lines of 'How I Wanna Feel' while Andrea Bertoli & DJ Bogdan's 'Extremely On Line' is a snappy and upbeat cosmic tech cut with wonky lines adding the charm.
Review: Akka & BeepBeep is a new label from the US that is dropping its first two EPs simultaneously on Valentine's Day. Joradesilver is behind one, and also feature sin collaborative mode on this other 12". It opens with 'King David', a hi-tek house sound with soul drenched pads and tightly programmed drums and bass. 'Mango Strut' slows right down to dubbed out house with clattering percussion and the sound of spacecraft, then 'June Buggy' gets funky with more twitchy cosmic synths and a nice organic house groove. 'Callin' Dybbs' is a deep and smoky closer for the backroom with a sublime sax line drifting throughout.
Review: Innervisions continue their exploration of house music's myriad sub-genres with this EP from Berlin-based Ede. The title of the record is instructive, as this breakthrough artist from the label's Secret Weapons series seeks to fuse the unmistakable sound of Detroit with an unabashed pop streak. The vocals are front and centre on these tracks, and they sound absolutely huge when strapped to a stadium-sized remix of 'Do My Thing' from the mighty Dixon on the A1. 'Your Love', 'When You Need It' and 'On My Mind' are equally powerful though, charged with those star-scraping synth lines which make Detroit techno such an eternally cherished sound.
Review: Berlin producer Ede returns after their 2023 Innervisions debut 'Poptroit', this time for another melodic techno forward-facer. With a papillary front cover - resembling the suckers of an octopus or the polyps of a fantasy coral - we doubt the trypophobics out there will be at ease with this one. That is, at least until they hear the soothing progressives of 'I Am Wavy' and 'Odyssey', which build through and cleanse classic acid, rave and bleep motifs. The latter track has an incredible vocal breakdown, saturating and processing its stabs and chirp-hits just right.
Review: The Edge of Me series operates in the shadows, offering a mixture of sample-heavy cuts from a producer (or producers) who wish to remain nameless, and unauthorised (but often rather good) remixes of familiar and lesser-known cuts. Volume four in the series is, like its predecessors, another mysterious beast containing four untitled tracks. Opener 'Track 1' wraps a well-known hip-hop/r&b acapella around a deep, drowsy, bongo-rich tech-house-tinged groove, before 'Track 2' opts for a more druggy dancefloor take on an analogue-rich, synth-heavy cut of unknown origin. Over on the reverse, 'Track 3' is hypnotic, deep a d trippy with added r&b vocals, while 'Track 4' is dreamy, shuffling and pleasingly sunrise ready.
Review: Astonishingly, 18 years has now passed since Gilles Aiken - probably more celebrated these days for his work under the alternate Desert Sky alias - first offered up off-kilter tech-house tracks as Edward. Last year, he impressed with a wonderfully deep and unctuous EP on deep house imprint Smallville; here, he makes his bow on another must-check label, Kalahari Oyster Cult. In keeping with the imprint's love of all things trippy and otherworldly, opener 'Tentacle' sees him wrap chiming lead lines, psychedelic synth motifs, weird noises and layers of percussion to a chunky, locked-in house groove. Aiken then goes off piste via a skewed, druggy and at times dreamy tech-house remix of Trybet's 'Moodsetter'. Arguably best of all though is impossible-to-pigeonhole flip-side 'Dr Octo', which is immersive, unsettling, tactile and eccentric in equal measure.
Review: EEE keeps it simple, with the artist, label and EPs all given that simple naming convention. It means there is nothing to focus on but the music. Which is fine by us as this 18th such outing is another doozy that should slip into your record bag post-haste. 'Track 1' has 90s organ chords and a deep, rolling bassline working together to soon get you moving while sustained pads and dry per add detail as a tempting vocal lures you in. On the flip, things are a little less pared back with some widescreen synths adding cosmic scale to the potent tech house drums. Tidy tools.
Review: Though now almost at 20 releases deep, the EEE label and production outfit remain a mystery to us. What we do know is that since debuting in 2017 they have served up a steady stream of playful, charming, accessible edits and mash-ups across the house and minimal spectrum. 'Dubs 4 Clubs' takes a classic vocal that keeps pushing on with thudding kicks, a rolling bassline and enough synth detail to make it a standout in plenty of Ibiza sets this summer.
Review: EEE is many things - a huge part of Yorkshire dialect, a rather fun party prescription (apparently) and also the name of a low key but high class label that deals in hand-stamped 12"s that pair fun with function. This 16th such outing is another testament to that. The A-side is a nice deep and dusty tech house cut with cheeky samples that hook you in, and the A-side also has just one track on it and it is built on a chunk y low end, peppered with hits and looping bass and topped with classic vocals Missy samples that you can imagine will do damage in Ibiza the summer.
Review: The shadowy EEE series has already brought us tasty and much-played tech-house interpretations of a familiar jazz-house gem and a string-laden '80s synth-pop shuffler. Their third single-sided affair - as championed by Zip and Riccardo, no less - takes on a much-loved early noughties R&B classic, placing carefully selected and sequenced vocal snippets around a seriously snappy and sub-bass-heavy groove. Although tech-house in style - note the glitchy electronic noises and spacey effects fixed to the beats - the track's infectious rhythm track was clearly influenced by the current electro revival. This added swing and shoulder-swinging looseness, coupled with the familiarity of the vocal elements, makes EEE03 a guaranteed peak-time winner.
Review: More from single-sided specialists EEE, a shadowy crew that specializes in sneaky contemporary club reworks of well-known tracks (many of which are, in their original form, about as dancefloor focused as your average miserable indie band or veteran cabaret crooner). What's on offer this time round is a heavily electronic tech-house groove - all Romanian style beats and bubbling, mind-altering synth notes - onto which is laid cut-up snippets from a famous old blues cut that's previously been sampled on a club cut to great effect. While the vocal does sit slightly awkwardly at times, there's no denying the heaviness or effectiveness of EEE's track. In other words, it's another winner from tech-house's most shadowy crew.
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: EEE stands for East End Edits and beyond that, we know nothing about this white label and production outfit. So far they have seven up their own takes on Madonna, Depeche Mode and Kelis, St Germain stye deep house and smoky late night minimal. This is a one-track wonder on one side of wax and it is a thumping and steamy deep house cut with driving drums and swirling pads. A vocal sample is littered through as the crispy percussion adds texture. It's tasteful and well-designed but also set to do plenty of damage to the dancefloor.
Review: Admittedly, we are always a bit excited when more cheeky bootleg remix action from East End Edits come in. Following up the groovy yet tough rolling tech house of EEE09 and its jazzy flourishes, the subsequent release is an edit of 'Fever' by Peggy Lee, and it's a pretty good one if we do say so ourselves. Deep, sensual and mysterious mood music that's perfect for the warm-up slot, it features a lurking Reese bassline beneath clipped rhythms to support the sensual vocal of the original, not to mention its sombre clarinet solo. Class!
Review: If you dig tried and tested tech-house grooves fused with elements from classic cuts, there's a fair chance you've already snagged copies of numerous volumes in the popular East End Edits series. We'd suggest taking a listen to the clips of the imprint's latest single-sided missive, which not so subtly pitches up and beefs up one of the greatest summer sing-alongs of all time: Bill Withers' 'Lovely Day'. Built around a restless, non-stop house groove - all hissing cymbals, crunchy snares and locked-in kick-drums - the rework builds impressively after introducing the track's famous bassline before introducing the sweeping strings and Withers' iconic vocal. A simple idea executed impressively.
Review: We have seen some pretty inventive remixes and mashups on the new EEE imprint, but this could well be the most exciting yet. Once again it's another hand stamped one-sided vinyl on offer, featuring a groovy minimal/tech-house arrangement with vocal samples of one certain pop princess - namely one of her very famous hits of yesteryear. The artist behind it, as always, is being kept under wraps but there's no hiding the fact that this is some seriously heavyweight club ready business.
Review: It's that time again! East End Edits are back with another cheeky, pop-inflected minimal techno workout. As always, the remixer's identity is under tight wraps but as soon as that vocal drops you'll sure know who they borrowed the hook from. Booming, tough rolling UK tech house aimed squarely at the main room at peak time, the dense bass pulsations of the original compliment this version perfectly, alongside the gorgeous come hither vocal. Hand-stamped, one sided heavyweight 12" vinyl in limited copies.
Review: Eidolon is an alias for Ian Lehman from the US Midwest, who dropped the alias opposite the likes of Agaric around the late 00s. The sound on this release for Ukrainian label Tancido speaks to that era of dark and crafty minimal, but there's an analogue warmth to the synth sounds which suggests this might be newer material made in that vein rather than archival material. The rubbery leads on 'I'll Be A Ghost' are a surefire highlight, and there's plenty of intrigue in the arrangement to add some variation to your marathon DJ set when time starts folding in on itself and the most psychoactive tracks are the fuel to keep the party trucking.
Review: Aniara's output has always been brilliantly designed for club deployment but could never really be considered as mere tools. The artists who appear on the Swedish imprint have a cultured sound and a knack for crafting maximum impact from minimal elements. Enter Mattias El Masouri who does just that with the sublime 'Time Dilation In Ultraviolet'. It's a hypnotic deep house cut with real drive that's down to the deft broken kick drum patterns, pulsing synth and heady pads that swirl above. 'Inre Dimension' is a 13-minute plus sonic daydream with paddy drums, drumming pads and perfectly airy hi-hats that anchor you in the heart and now as your mind wanders.
Review: Time to Play's latest release, "Midnight Love," marks a significant addition to their catalog, courtesy of Japan's DJ Dreamboy. The EP's title track is a masterclass in Japanese deep house, capturing a sound that's minimal yet intense, balanced yet dreamy. The choice of Brazilian producer Zopelar for a tough remix only underscores the track's impact and versatility. On the flip side, "Vibe" kicks off with a minute of atmospheric build-up, gradually exploding into a whirlwind of kicks and acid arpeggios. It's a journey from suspense to euphoria that's bound to ignite any dancefloor. Following suit is "Dream Town," which retains a softer, more contemplative edge, echoing the vibe of the title track while adding a layer of subtle sophistication. The EP wraps up with "My House Style," a high-octane trip through Tokyo's nocturnal landscape. It's a relentless romp featuring deep basslines, ethereal atmospheres and a rhythm that demands you keep moving. If you've ever dreamt of a non-stop dance odyssey, this track's your ticket. DJ Dreamboy's "Midnight Love" not only showcases their signature sound but also sets a new standard for modern deep house.
Review: Satya deals in a certain brand of deep house that is dreamy and organic. It's perfect for the cosier dancefloors out there, the more heady crowds who don't need big drops and samples to get their musical thrills. If you are one of those people then get your ears around this superb new various artists 12". YokoO & Zone+ offer one of the standouts with 'Once I Had It"]' which pairs subtly swirling pads with cuddly deep drum loops. Hermanez has his kickstand with a little more weight but they are no less hypnotic, while Moya (US) brings some enchanting strings and yawning vocals to 'Meliora' and Electricano keeps it nice and warm and liquid with the supple loops of 'Universal Language.'
Review: We're not yet familiar with FM therapy as a psychotherapeutic modality, but we'd sure as hell like to try it. Producer Elias, welcomed for the first time here to the Ranges label, offers up a sampler of this as yet esoteric, but sure-to-become-popular aural masseuse's technique. Admittedly, it doesn't sound far off dub techno; opening with the rainsoaked, padded piner 'Aquatic', it's as if we've entered a parlour doubling up as a humid human greenhouse, with palm plants on the inside and a backlit rainforest vista on the outside. Follow-ups 'Red Lantern' and 'Severe' go further into the dub techno mode, but the latter is especially interesting for its fusion with jukey sonics; finally, the titular 'FM Therapy' rounds things off with a neat return to crackle and ricochet.
Review: The Cimedirapax crew are back with another superb various artists collection that nudges at the borders of tech house and minimal. Eliaz's 'Enbaspremal' is an alien sound with abstract designs and trippy pads and Lapucci then gets deeper and darker on the menacing 'To Be On Top.' F_Phono brings some nu-disco energy and bright 80s arps to 'Sollievo' then Marco Biagioli heads into more occult worlds with the eerie and haunting 'Strange Mirror' before Equinox's 'Intergalactic Space' offers a caustic electro workout.
Review: MyHouse YourHouse based out of Cordoba, Argentina is back with this excellent various artist EP. Get ready to be transported to a world of sound, as they leave you entranced and captivated. Let the rhythm spin you on a journey of excitement and discovery. On the first side, Ruper Eliis nails that classic '90s NYC swing on the groovy "3Dimension" followed by Martin Bellomo (Momentz) with the deep and introspective cut "Earltraxx". Turn over the disc and you're then treated to label boss Rypli's trippy minimal funk jam "Past Is The Past" and finally Bernards serves up some proper late-night mood music on the ultra deep "It Doing Fusion".
Review: Tom Ellis has always worked away in his own little world, crafting immersive electronic music with lush synths, plenty of his own pensive piano playing and a blend of influences from deep house to minimal. His next outing is on the Onysia label and showcases his deft touch across four jams, starting with the jazzy minimal dancer that is 'Moving Target'. 'Grounded' has more propulsive drums but still a lightness of touch that makes it arty and heady then 'Next Year' and 'Process Trust' shut down with cosmic twists.
Review: Eloelo Records's debut vinyl release features three original pieces by label head Elodie and a remix by Michael James. The A-side opens with the title track with its immersive, euphoric vibe that is sure to shine on powerful sound systems. The track is rich with vibrant energy and ear candy and Michael James' remix elevates it to a peak-time anthem with intense percussion and a thrilling breakdown. On the B-side, Elodie explores deeper emotions with 'Like To Dream,' a dreamy, introspective track inspired by Rominimal sounds, and 'Pineapple Ice' is a tranquil yet experimental piece that balances soothing tones with playful unpredictability.
Review: It's time for all minimal fans to jump aboard the Leitmovtif train once more here with this decent split EP from En and Orbit. The latter invites us into his world first with 'Hey Tobit' which is nice and lively tech brought to life with scurrying synths, well-designed effects and a nice sense of colour. 'Niagara' then pairs delightfully cosmic-sounding melodic motifs with a glossy tech house kick. En's 'Laboratorium' keeps things classy with another forward-thinking mix of barmy astral synth designs and effective, stylish drum programming. Last of all, 'Dream About' gets a little trippy with its chilly cowbells, smeared pads and heady atmosphere.
Review: Ida Engberg's contribution to this release marks a striking departure from the Swedish techno DJ and record producer's usual sound, an unexpected, lush journey through the world of 2 step genre that's definitely not typically seen in her catalogue. The track is at once sensual and booming, designed for the late-morning hours when the dancefloor shifts from peak-time frenzy to more reflective, intimate moments. It pulses with a calm intensity, creating a smooth yet exhilarating rhythm that invites the listener into an immersive experience. On the flip side, 'Pink Monkeys' is a true sonic adventure, blending elements of EBM and sawtooth trance to produce a thrilling, psychedelic atmosphere. The track is a festival-ready anthem, charged with energy and unrestrained sound, allowing Ida to stretch her creative muscles even further. Meanwhile, Marco Resmann delivers two tracks that showcase his deep-rooted versatility. 'RIMA feat. Laatz' is a high-octane techno rollercoasterimenacing, frenetic, and impossible to ignore. Its relentless drive and chaotic energy keep the listener on their toes, offering a new, radical take on techno. Then, 'Dimensions' shifts into a more intricate, electro-driven vibe. Its low-slung groove is filled with subtle details, creating a balanced equilibrium that simultaneously engages both the mind and the body. Resmann's approach is detailed and meticulous, ensuring each sound has a purpose and brings the track to life. Together, these four tracks exemplify a mastery of genre-blending, pushing boundaries while still maintaining an infectious, danceable core that connects with listeners on a deep, visceral level.
Take This (feat Margongon - Birdsmakingmachine remix) (7:25)
Review: Swiss-French label Miniclic Records builds on the momentum of its first outing with another cultured EP, this time from Enzo Leep. He shows his knack for crafting kinetic grooves on the quick, tight tech opener 'Ultra Girl 'Elastic 140 Vision' which has all sorts of great and unusual sound designs. 'Forest 2.0' is grittier and more dark then 'Take This' (feat Margongon) is experimental in its blend of blues guitar smudges, female vocals and minimal drums. A minimalist Birdsmakingmachine remix brings more dance floor heft to what is a beguiling original.
Review: Eoin DJ is back with a tune that belies his age and taste: this one is a homage to Nalin & Kane's legendary 1997 classic 'Beachball' which was a huge hit in Ibiza and just about everywhere else in those heady and trance-tinged crossover dance-pop days. The EP blends sparse, organic percussion with potent bass and lush atmospherics that hark back to that era while also sounding contemporary - a fine mix of euphoric vibes and club-ready grooves. The title track you may well have heard as it has been something of a hit for a while in the clubs and has been championed by tastemakers like Job Jobse, Sally C and Spray. Bliss Inc's remix elevates the original into a modern hard-house anthem, while Infinite Well and On Lilac Skies deliver techno restraint.
Review: The Space Trace label keeps quality high with this fourth outing on wax. Eric Os is on the button for this one with 'Underworld' first to lure you into its world with gently broken bets and moody pads setting an eerie tone. 'Stereophysical' is more jacked up with fizzing synth lines and warped pads over future house beats and 'Elusive' bringing some trance energy to its flashy, bright synths. 'Electrodreammachine' is a wonky electro workout with withering sci-fi motifs, puling synth sequences and raw hits. 'Feeling Real' and 'Cherry Red' complete the EP with more blends of house, electroclash and sleazy guitar riffs.
Review: Eris, aka. Enrica Falqui and Dea Dvornik, mint the Plexus 4 label with the 'Glimmers' EP. New outings breed novel vibes; so too does this exciting new house pairing bring future-facing, melancholic electro-progressive flavours to the table with opener 'Kundalini Rising' and A2 ensuer 'Serpente'. Both tracks shimmy and plod through the twinned vibes of alien atmospherics via a driven whimsy, nailing a sweet interplay of seriousness and affability. B-siders 'Anticipation' and 'Game Over' contrastingly move more minimal with things, using, revelling in the natural monophony of, their various analog synths, their delectably dedicated studio gear. The final track ends on an eerier note, suggesting murkier future ambi-topias to navigate.
Review: Escape Artist makes their label debut on Craigie Knowes with Far Away Places, a 12" that captures the final moments of European summer while embracing the Southern hemisphere's party season. This four-track release delivers expertly crafted tunes, blending deep grooves and soaring melodies, perfect for lifting both dancefloors and spirits. Each track stands out with its own distinct energy, offering a versatile sound that suits everything from underground club nights to outdoor festival stages.
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