Review: The peeps behind the People Of Earth label claim that Rick Wade is on top form on their latest release. While that's undoubtedly true, the Detroiter has incredibly high standards and rarely puts out anything mediocre. The four tracks here are all deliciously deep and fluid, with the Fender Rhodes solos, meandering organ lines, warm bass and chunky beats of "Never Give Up" delivering just the right blend of instrumental goodness and dancefloor-ready weightiness. "Seen At Night" is an even deeper and hazier treat, while "Forever Alone" sees Wade wrap bongo-laden beats and eyes-closed electric piano chords around a ludicrously warm and heavy bassline. Solo-laden closing cut "Rooftop" is also superb - a proper sundown selection of the highest calibre.
Review: Baby Ford and Dazmos take the limelight on this first release on Nice 1. We Are Syd's original "Gently" is a mellow downtempo roller featuring choice vocals from Shea Seger, but it's the remixes here that get pride of place. Ford and Dazmos lock into an understated drum machine funk draped in hazy pads on the A side "Backroom Mix", while on the flip they push the club elements to the forefront. Riding the rhythm section with intent while still retaining the smoky spirit of the original, the pairing come up with an impeccable "Frontroom" club cut that should nestle comfortably into the bags of all deep digging house heads.
Review: Having first appeared on Toolroom way back in 2013, Richard Dinsdale AKA Weiss is one of the label's longest serving artists. He's also one of the most prolific, with this strong outing being his 16th single for Mark Knight's imprint. "Let Me Love You", a bouncy contemporary cover of Kariya's 1988 house classic, has all the makings of a massive hit. The A-side original version combines classic elements - bold piano riffs and synths that subtly doff a cap to Kariya's version - with heavy electro-house bass and bumpin' beats. Over on side B, Dinsdale pumps it up further on a jacking piano-house take that's sweatier than a sauna full of gyrating, leather-clad bikers.
Nata Alma (feat Sidsel Endresen & Bugge Wesswltoft - club Smash Hit version) (8:38)
Venq Tolep (Hit club version) (6:25)
Review: Veteran German producer (and one half of Wighnomy Brothers) Robag Wruhme returns to Pampa Records with two delightful servings of his idiosyncratic sound. The glassy-eyed and bittersweet daydream fantasy of "Nata Alma" (Club Smash Hit version) features some right legends of the Norweigian jazz scene: Bugge Wesseltoft on piano accompanied by a heartfelt vocal performance by vocalist Sidsel Endresen. On the flip, "Venq Tolep" (Hit club version) is equal parts melancholic yet utterly evocative, and is the title track of his first album-length release on DJ Koze's label in eight years.
Review: Church founder Seb Wildblood may only be six years into his production career, but he already has an impressive slew of EPs and singles under his belt. "Sketches Of Transition", is the South London producer, DJ and label boss' long-awaited debut album and arguably his most musically expansive and on-point set to date. Largely warm, gentle, summery and sunrise-ready, it sees Wildblood drift between sumptuous Balearic grooves ("Twenty Eight"), sumptuous neo-soul ("Thought For Food"), liquid deep house ("Small Talk"), dusty-but-toasty workouts ("Bahn"), ultra-deep synth-pop (the Andras & Oscar style goodness of "Amelia") and impeccable ambient tracks capable of making the hairs on the back of your neck stand on end ("One For Malcolm").
Review: Kamaal Williams has described The Return, his now reissued debut solo album, as "a natural evolution from the Yussef Kamaal project". Yet while that was made in collaboration with drummer Yussef Kamaal and played around with jazz in its myriad forms, The Return sees the man sometimes known as Henry Wu stamp his own mark on proceedings. So while "visionary jazz" (as the press release puts it) is his aim, this manifests itself in a range of ways. Contrast, for example, the leisurely jazz-funk flex and stoned feel of opener "Salaam" with the more groove-driven, dancefloor vibes of "High Roller", where sinewy strings tumble down over hip-hop influenced live house beats, meandering Herbie Hancock style synths and a superb bassline.
Nata Alma (feat Sidsel Endresen & Bugge Wesseltoft (You Might Say)) (4:22)
Bezique Atout (feat Oxia) (4:08)
Ende #2 (4:29)
Anton III (2:31)
Ila I (3:05)
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? Undoubtedly! 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.