Review: Japanese artist Sunao Gonno's idiosyncratic sound has appeared on labels such as Endless Flight, International Feel and Beats In Space over the years, where he's dabbled in shoegaze, kosmische and psychedelia as heard on 2015's breathtaking "Remember The Life Is Beautiful" or on last year's contemporary jazz outing "In Circles" with Kazuhiko Masumura. An accomplished DJ also, he's no stranger to Berlin's Panorama Bar, where Nick Hoppner (Touch From A Distance) has long held a residency. The two artists collaborate for the first time on "Lost", featuring three sublime sonic journeys: go deep into the exotic on "Bangalore" with its world music influence, or chill to the vivid downbeat tones of "Love Lost" until "Start Trying" returns to the program with its neon-lit aesthetic plus breakbeats reminiscent of the rave era.
Review: Altered Moods strides into its 11th year of active service with a delectable platter of sumptuous house music presented by Jesus Gonsev. The Spanish producer has previously been spotted on deepArtSounds, Music With Content and his own Troubled Kids label. "Fuerza" is a billowing, dreamy trip loaded with heavy pads and submerged acid, leading into the gritty but soulful crunch of "Old Times." "Gargantua" is a loose-knit creation that celebrates skittering drums pinging around the anchor of the kick while wistful keys smooth the whole jam out. Life Energy taps into this feeling and runs with it on a remix of "Gargantua" that creates a more pumping backbone while amping up the romantic wooze of the melodic content too.
Review: Spanish label Bucketround kicks off a new series called Deep Encounters with this four-track various artists release from some lesser known talents with some seriously fresh ideas. Jesus Gonsev taps into the mood of labels like Pleasure Zone and the stripped down Romanian sound, but there's other forces at work in the meditative bliss of "Terminal 5". Tominori Hosoya takes things in the direction of Dubbymann style deep house, all pattering bongos and sweeping melodic content before Allstar Motomusic brings a tougher, old-skool New York approach to steamy house music. Manuel Costela finishes the EP off with the delicately balanced "Mind Purveyor", holding back on the drums and leading with the chords instead.
Review: Apparently, Rene Pawlowitz doesn't already have enough production aliases. Having already released killer material as Shed, Head High, Craft, WK7, The Traveller and War Easy Made (to name a few), he's now adopted another moniker: Zigg Gonzalezz. "High Jackin" sees him expertly doffing a cap to Nuyorican Soul-era Masters At Work and similarly loose-limbed US house from the turn of the millennium, layering sparkling deep house chords and sweaty vocal samples over a bustling, Africanism-style rhythm. "The Kind" explores similarly territory, though it feels a little deeper despite the presence of denser, tribal-influenced rhythms. As for "The Kind (Storm Dub"), it feels like a long lost DJ Duke jam from the tail end of the '90s.
Review: Sheffield's Moment Cinetique has laid down a distinctive MO within the deep house field, favouring dusty, sample-heavy rollers from a close circle of artists. On this various artists release they call on friends new and old, leading in with Felipe Gordon's rolling and tumbling "Rio" which is as crooked as it is funky. Label mainstay Freudenthaler has some choice jazz licks strapped to an irresistible beat and wandering bassline on "Bel Air", while G. Markus channels a touch of Moodymann vibes on the looped up, feverish "Cherchez Le G". Reece Johnson takes things smooth and smoky on the top end of "Montreux", but flips it with a gritty kick drum to lend the track some rugged weight for the dance.
Review: Harlem NYC based 13th Hour return with more music for the witching hour on their third release, after having previously shown off great grooves by Belgian Ricky Razu, Tbilisi's Hamatsuki and local lad M. Vaughan. This time round they have decided to focus on two select talents, with the A side being taken care of by Colombia's Felipe Gordon. He takes a break from the three-piece Mercury to deliver the Jazzmatazz inspired cut "I'll Become Blue" and the dusty, emotive deepness of "The Last Time I Saw You". On the flip, things start to heat up with Australian Loure (Apparel/Slothboogie Jamz) who serves up some sexy late mood lighting on "So Dive" and vocal-led cut "Club Shade".
Review: Iranian born and now Ibiza-based scene stalwart Nima Gorji of NG Trax returns to Bondage-Music after nine years to present his first EP. "White Metal Rat EP" boasts a quartet of vinyl-only tech house weapons. We're particularly enjoying the entrancing polyrhythmic groove of "Love You Feel", slinky and seductive late night deepness of "In Da Dessert" and the groovy minimal funk of "Like This", which is perfect mood music for the warm-up or afterhours.
Get Up To Get Down (feat Erik Rico - Art Of Tones remix)
The Love Is Gone
The Dub Is Gone
Review: That Hudd Traxx powerhouse keeps on pumping out the jams, with regular Hudd hood Goshawk back in the saddle with some of his most assured beats to date. "Get Up To Get Down" channels a limber, Prince indebted funk, straps it to a simmering house beat and then drafts Erik Rico in for a killer vocal that takes you right back to the best of '90s vocal house. Then Art Of Tones jumps on for a remix that beefs the original up with some more big room elements, as one might well expect from the French titan. "The Love Is Gone" gets into a spaced out disco house frame of mind, which "The Dub Is Gone" then shuffles up into a slinky little groover.
Review: Rhythm Plate's Goshawk project is the best thing to come out of Matlock Bath since the opening of child-friendly theme park Gulliver's Kingdom in 1978. Here the veteran East Midlands house duo pitches up on Bristol imprint Boogie Cafe, enlists the services of Erik Rico's honeyed tonsils and serves up "Piano" and "Percussion" variants of the rather fine "Home". It's the former versions that reside on the A, with the vocal and Dub variations both making great use of an elastic, rubbery rhythm, jaunty piano riffs and occasional organs. As the title suggests, the "Percussion" versions boast tons of additional drum hits, though it's the smart, old school U.S garage vibe that's really getting our blood pumping.
Review: Berlin-based Korean Peggy Gou has been surprisingly quiet since first bursting onto the scene back in 2016. Here, she returns to action having graduated from Technicolour to parent label Ninja Tune. Many may already have heard EP standout "It Makes You Forget (Itgehane)", a percussively ambidextrous beast based around a bouncy, off-skilter, snare-heavy rhythm track. It has been much discussed online after Gou included it her recent Resident Advisor podcast. On the B-side you'll find tracks representative of her developing style, which draws together elements of European deep house, electro, early '90s U.S house, the rubbery disco eccentricity of Maurice Fulton and the instinctive polyrhythms more often found in traditional African music.
Review: Peggy Gou has had a busy debut year thanks to her opener on Phonica's white offshoot, and now two EP's out on Rekids in quick succession. Her sound is a subtle, minimalistic blend of house and techno, exactly the sort of tech-minded groovers that have appeared on Radio Slave's label in the past. "Jen High", for instance, takes a dusty being of drums and wraps them around delicate blends of chimes, whereas "When Round, They Go" heads deeper into space with the help of a sublimely cosmic swarm of sonics. The special piece comes from Terekke's remix of the latter, and the LIES man adds his signature touch to an already very deep house tune, making his version that one toke over the line!
Review: Over the course of his career, Max Graef has proved to be rather adaptable, variously turning his hand to dusty deep house, revivalist jazz-funk, drowsy hip-hop beats and nu-jazz. On this EP he touches on many of those styles, but it's the angular, techno-influenced analogue electronics, Motor City chords and shuffling beats of opener "Thrillhouse & Bonus Beat" that really sets the pulse racing. Graef's obsession with raw, lo-fi sounds is further explored on "2 Cool 4 U", which sounds like a cross between tropical house, early UK bleep and wayward techno, while closer "Bunds" sees him wrap deep space electronics around a sparse, pitched-up, high-register drum machine beat. As for the rest of the EP, it's deep, dusty, jazzy and really rather good.
Review: OYE crew and Berlin purveyors of dusty, hip-hop inspired deep house make their major label debut for Ninja Tune and good on them. It really is their time at present, what with their Money $ex and Box Aus Holz imprints going from strength to strength. "Magic Johnson" inspires the greatness of the song's namesake. All dusty jazz breaks, dreamy rhodes and xylophones and whirring organs are the perfect soundtrack for a Sunday stroll through Prenzlauer Berg after a night of clubbing on no sleep, finishing off in Mauerpark for falafel and record digging. Want something moodier and sleeker? The pair are on hand with the dubbed up "Tape Johnson" take on the B Side.
Review: There's much to enjoy about the output of the Kimochi label, not least the bespoke, spray-painted sleeves and their habit of releasing only the deepest, most hypnotic electronic music. Their latest must-have release is another super-limited affair that drifts lazily between ultra-deep cuts shot through with dub-wise rhythms, atmospheric shoegaze motifs, echoing ambient chords and beats straight out of the early '90s ambient techno playbook. It's utterly gorgeous and deliciously hazy, with slow-burn melodies and undulating electronics slowly rising above reverb-laden chords, warm basslines and occasionally skittish rhythms. There's something particularly special about the locked-in drums and hypnotic bassline of "Elljus", but the ambient soundscapes "Heden" and "Inland" are also superb.
Review: Promising new label Criminal Practice is based in Kiev, Ukraine and headed up by DJs and producers Ghetto Sunrise, Hopper Field and Roman Khropko. They're certainly aren't messing around on their inaugural release, getting straight down to business in bold fashion. Grec serves up the hypnotic blip, blurp and bleep of "Worm" on the A side, followed by the infectious retro techno bounce of Sasha Zlykh's "Coulda Play For Dynamo" which will appeal to fans of Art Of Dark or Time Passages. On the flip, bust out those robotic dance moves to the sci-fi electro breaks of Hopper Field's "Big Ben" and take a trip down memory lane courtesy of Ghetto Sunrise's early UK techno tribute that is "Mocujin".
Review: There is a colour TV program which airs nightly which is called: "The Most Beautiful Train Routes Of Germany"! During the show a locomotive travels over the tracks and the person on-screen is via the camera perspective at long last the conductor. It's a wonderful idea, where you seem to be somewhere between monotony and fascination. With this scenario in mind, you will be taken into the night and this is the soundtrack. The conductor must stay awake, and this music is the caffeine to get it done. The thoughts are freely suspended without the concentration having to suffer! The pillars of this music are melancholy: power and volition (will) which is thus paired with tenderness and passion. This is in connection with an irresistible swing of effortless movement out in the open revealing confidence in the darkness. Confused thoughts are with only a few ingredients steered to a specific determination of the sound cosmos helped by freely breathing. The concept all formed by a certain Douglas Greed who has a solid reference with two releases on the Combination Records. This one is actually well-known as a drum & bass activist in Thuringia. However, as it always is with the music "Schizo-Aficionado", the type must be stamped with a synonym for the crowds to put a face to, in this case powerful yet at the same time tender odes. It's for nothing for musical needs to be dimmed with psycho-pharmaceuticals, only because the ol'doc doesn't understand the split personality is an essential element. Mr Greed accompanied in the future by his familiar 'Live-Laptop-Action' handle spreads his musical seeds of dance fertilization over the speakers. When there 3 tracks don't comprise a proper bid there is only one alternative: migrate to an island and just play the bongos and didgeridoo! "Curie" from the darkness awakes the driving power of the gloom which within, brings light to the depths. Therein lies the guttural hovering of a bat of steel covered in soft golden feathers sauntering about. The further you descend, hope that all mourning has been defeated and the belief of positive in all is rekindled. "Fresh and Clean" the immaculate conception inside of an enormous machinery building! The devices are all dumfounded, only life matters - everyone experiences the resurrections of happiness. Through the milky glass streams the driving power of love. The intense ecstasy can be danced to! "Let's Roll" picture the docks at sunset. Everything moves along slowly, the will of the sea has been conquered on arrival just the effort needed. Everything is rhythm and melody, every finish and activity even the raising up the anchor and the drone of the propeller creates a sound of vastness. The dance on the water can now begin!
Review: ** Camera's ready. Prepare for the Repress ** Curtis Jones is never one to rest on his laurels, as his staggering back catalogues as Green Velvet and Cajmere can attest but such is the force of his personality that a new release still feels like an event. "Bigger Than Prince" capitalises on Jones' knack for a vocal that lambasts the less earnest quirks of the dance music industry, while creating the hook to make the track a bomb in the same instance. Production-wise, there's a measured strut to the track with some choice growling bass synths and an underlying disco flavour that suits Jones just fine. On the remix front, Circus turn to The Martinez Brothers to hammer out a rolling, percussion focused version perfect for big room mixing, while Hot Since 82 turn out a similar line in boompty peak time damage.
Review: Juan Ramos and Luca Trentini AKA Trent have had a couple of prior outings as Greenvision, especially impressing with their excellent 12" on ESP Institute last year. Now they're back to where it all began, Cocktail d'Amore, with the lurid, pysched out freakery of "Mountain Of Madness". It's a truly devilish track, coming on heavy like a dangerous incantation, which is of course a good thing. On the flip, things stay firmly out on the wild frontier with the Sativa mix of "Rolling 2 Joints". The message is clear - this is music to lose your mind to, and you'll have a thoroughly wonderful time doing it.
Review: We at Finale Sessions are glad to have Grey People aka Alex Michalski raining from Chicago he is one of the new up and coming producers from the windy city that has flavor that Finale Sessions really likes and we present you with his first track called "Feeling Strange" with its weird but funky bassline and its dark synths gives it a peak time feel with its spooky chords that sets this track apart from the rest, Then we have the track called " Defeated"which really has this Depeche Mode feel with its wicked bassline and its solid claps but we also dig the pads and synths also. Then last but not least is the track " Forget The Peak" is my favorite track of the ep its solid chords and pads give this track a melodic feel and very dancefloor friendly vibe ..We want to thank you from the bottom of our hearts for your on going support of Finale Sessions ....We Love You