Review: Back in the early-to-mid 2000s, Warren Harris AKA Hanna was responsible for making and releasing some of the most sumptuous and seductive blends of future jazz, broken beat, soul and deep house around. This 12" from Melodies International offers a neat reminder by serving up two tracks previously featured on a CD-only album from 2004. A-side "I Needed" is the clear standout: a glassy-eyed and loved-up slab of jaunty dancefloor deep house that combines the swing of future garage and the snappiness of jacking Chicago house with the smoothness of soul and the kaleidoscopic synthesizer lines of jazz-funk. Flipside "Intercession, On Behalf" is similarly minded with more of an emphasis on vibrant jazz-funk and the soul motifs and the soul-powered swing of U.S garage.
Review: Cheeky upstart label Club Of Jacks follows up on a strong opening statement with this boisterous bout of house workouts geared towards the peak time. "Follow Me" is on a serious garage flex, with rude bass, hooky sax leads and some naughty breaks chops all feeding into the melting pot. "Bring It Back" is a more soulful jam with some great vocal licks and sweet piano leads, while "Need Your Loving" keeps the heartfelt heat up with another powerful diva vocal and a buttery smooth bassline. "Don't Know You" takes things deeper without losing that powerful vocal presence, providing a perfect balance to this solid, all-rounder house 12".
Review: It's been a while since we last heard from the Mellophonia label and its star attraction, A Vision Of Panorama, but now the producer known as Mikhail Khvasko is back with a new record that expands on the soft and silky Balearic house sound he established himself with across some wonderful EPs and 2016's "Aquafusion" album. The sun is still very much shining down on this new record, which leads in with the fittingly titled "Delicious Saw". Khvasko's whole sound is geared towards celebration of gorgeous synth tones, and so it goes here thanks to that seriously tasty sawtooth wave. "Lum" cools down the boogie bump of its predecessor for something more reflective, while "Euphoria" gets into an oh-so-sweet house funk that would sound at home on Strictly Jaz Unit. "Fourth" finishes the EP off with a seriously sticky bassline squelch and some effervescent piano lines - another melodic marvel on a record full of them.
True To Myself (Karizma Kaytronik Truth dub) (6:57)
Review: New label LDF clearly understands the need to make a big first impression, because this soul-flecked single from Angel-A and producer Rahaan - one of Chicago's true underground heroes - is a very impressive debut. Rahaan's A-side "Original Mix" is rhythmically tough and crunchy - think weighty drum machine kicks and snares - but also warm and woozy, with Angel-A's superb vocal rising above rich electric piano chords and jazzy synthesizer flourishes. Over on side B Karizma takes over, offering up a "Kaytronik Truth Dub" that wraps hypnotic, mangled electric piano notes, analogue bass and tech-tinged flourishes around a wonderfully locked-in but percussively lively rhythm track. It's very different to the original but exceptionally deep and floor-friendly.
Something For The Dancers (Kerri Chandler Dark mix) (8:33)
Review: On the one-to-watch list for those in the know, Lea Lisa has released on Mona Musique, Memories and Chez Damier's Inner Balance Recordings, alongside her role within the InnerDisc record store family. Presenting "The Legacy EP" for the ever-reliable Wolf Music here, she showcases her unquestionable talent across the two opening cuts. The soulful, emotive and near spiritual vibes of opener "Something For The Dancers" reaches near Ron Trent like moments with its weighty synth lines, dream-like pads and powerful bass tones, and the sensual late night deepness of "From Garage" which combines sultry vocals, analogue keys and thumping percussion doffs a cap to Chicago and Detroit deep house classics. Arguably best of all though, is the remix on the flip by the one and only Kerri Chandler - the Kaoz Theory chief serves up a heavenly slice of house with his "Dark Mix"; a shuffling garage house beat blending beneath sustained string synths and signature stabs. Classic Kerri style.
Yoshiko Okabe - "Tree 4" (Yamuraka club mix) (6:54)
Review: House Running are back with another of their signature compilation 12"s, calling on a host of talented producers keeping the house dream alive. Paris-based producer Colkin is bringing nothing but good vibes on piano chopping, lately bass-ing burner "Central 13". He also gets a second look in with "Gonna Be", which features none other than Detroit breakthrough star Javonntte on impossibly powerful vocals. On the flip, Meemo is on hand with the spaced out funk of "Untitled" while Yoshiko Okabe's "Tree 4" gets a 90s-style, club-ready re-rub from Yamuraka. If you're looking for high grade deep house music, look no further.
Don't Want This To Be Over (feat Satchmode) (5:16)
Sommeron (feat Imugi) (4:39)
Twilight (feat Izo FitzRoy) (5:47)
Echo Park (2:33)
Same Blood (feat The Palms) (4:54)
Say The Word (feat Nic Hanson) (5:44)
24 Hr Fling (feat Wolfgang Valbrun) (3:48)
Sweet Time (feat Izo FitzRoy) (3:29)
Guilty Discomforts (feat Wolfgang Valbrun) (4:39)
Out In The Daylight (feat Gavin Turek) (3:14)
I Think (feat Berenice Van Leer) (3:01)
Naked (feat IVAR & Berenice Van Leer) (5:26)
Review: Since debuting in the early 2000s, Dutch trio Kraak & Smaak have established themselves as one of Europe's premier purveyors of eclectic, funk-fuelled dancefloor positivity. It's little surprise then to find that their new album "Pleasure Centre" - their sixth studio set in total - is another joyous romp. This time round, they've drawn more influence from West Coast style blue-eyed soul and yacht rock while continuing to offer nods towards boogie, P-funk, synth-pop, '80s soul, jazz-funk and Rotary Connection (see the superb "Twilght", with vocals by rising star Izo FitzRoy). It's a wonderfully warm and attractive blend, with the result being a superb collection of dancefloor cuts and heady downtempo numbers that all adds up to their best album to date.
Review: Tomoki Tamura and Tuccillo are back together once again as Doublet, with both seasoned tech house champs having fun in the studio jamming out the kind of stripped back, heads down grooves you'd expect to hear them play out. "Tee's 8" is a cheeky A side jam with the kind of acid line that goes down easy and then works you from the inside out. "Three Thousand Men" has a slight dubby thread to it which sits comfortably amongst the sturdy groove of the drums, and then "Tentation" switches gears for a bright and melodic creation that skips around in funky syncopation without even needing to worry about a kick drum.
Paxton Fettel - "I'd Like To Know You Better" (5:50)
Kristy Harper - "Uncle Jungle" (5:27)
Manakinz - "Robopubez (Rust In Peace)" (6:59)
Maxime Alexander - "BSA Freestyle #1" (feat $hakes) (5:01)
Review: London-based Ben Gomori is back with the fourth installment of "Dialogues" on his Monologues imprint. It's another various artists affair featuring four choice cuts that pursue all things deep, emotive and sensual. Copenhagen's Paxton Fettel kicks off proceedings with some boompty and disco-fied vocal business on the loopy "I'd Like To Know You Better", followed by the smoky late night groove by Kristy Harper's "Uncle Jungle" featuring some infectious roaring diva vocals. On the flip, go deeper into the night on the sweltering and hypnotic vibes of Manakinz' "Robopubez (Rust In Peace)" where Sub Club resident Harri collaborate with his bud Max, and finally Maxime Alexander reps South Africa on the sultry mood music of "BSA Freestyle #1" with $hakes on the mic.
Review: Having previously only appeared on WotNot Music in the past couple of years, K15 now slides over to Wild Oats to deliver a wholly appropriate slab of fluttering house romanticism rich in Detroit dreams and Chicago cheekiness, wherever the music might have been conceived. The cheekiness is no doubt most noticeable on "GWRH" with its homage to "Gypsy Woman", turning it into a fluttering Latino house jam, but before that comes the plush bump n rub of "The Story Of Her Life". "Insecurities" gets into a sexier kind of deep house funk, which "Gratitude" dutifully carries on until "Yellow" can round the record out with some largely beatless piano business.
Review: The most impressive thing about Thatmanmonkz debut album, 2016's "Columbusing" on Delusions Of Grandeur, was the Sheffield-based producer's seemingly innate ability to fuse elements of deep house, jazz, hip-hop, Detroit techno and broken beat. That distinctive grasp of dusty, soul-fired fusion once again comes to the fore on this belated follow-up. There's much to enjoy from start to finish, with highlights including the jazzy, sax and organ-heavy deep house of "Easy Still (with A Brother Is)", the raw and off-kilter acid insanity of "Chai Tea", the samba-house soul of Ms Fae hook-up "Them Thangs", the dancefloor jazz-funk bounce of "WhatUThinkIDo" and the Moodymann style Malik Ameer collaboration, "Thee Others".
M&M Vs Andrei Swipe - "Analog Express" (Don Carlos remix) (7:29)
Review: There's an undeniable air of quality that lingers over the 12"s emerging on 14th Level Of Paradise, the mysterious label presenting originals, edits and repressed tracks for true house devotees. First up is a little known track from Sasha Makin and Suntetic, given a shimmering polish by Don Carlos and Steven Perri to become a heavy funking masterpiece, before Joe Claussell drops in a percussive dub delight on Monday Michiru's "Higher". On the flip, Vincent Inc and LA get things pumping with the slow but chunky, jazz-licked "Red Room", before Carlos returns for another deep house reverie as he remixes M&M and Andrei Swipe's "Analog Express".
Pieces To Share (Kyle Hall & Steve Lehane mix) (3:14)
Nothing To Fear (4:00)
Review: Some ultra-limited business here from Kyle Hall, which remarkably marks his first release of 2019. The Detroiter is in fine form from the off, first peppering a hip-hop tempo "beatdown" groove with 8-bit sounds, jazz-funk synth doodles and rich Fender Rhodes motifs on "Rising" before breaking up the beats and channeling Kaidi Tatham/Dego on the warm and luscious "Full Play". Turn to the flip for the similarly inclined, loose and languid, analogue-heavy melodiousness of "Pieces To Share" and the delay-laden sunrise shimmer of "Nothing To Fear", a glistening and smile-inducing number that's almost overwhelmingly positive.
Review: Hot on the heels of a re-work of Bobby Caldwell, edit stylist Caserta is back with another golden nugget. This time he turns his attention to the one and only Luther Vandross and serves up two equally essential but very different tunes that pay homage to his unique voice. The King Street Mix is all hip swinging claps and nodding bass riffs that are organic and heartfelt, whereas the Henry Street Mix nods to the '90s heyday of New York. With warm neon organ stabs that will get any floor pumping, both interpretations have Luther's soulful voice front and centre.
Review: Alphonse has already dropped a pair of 12"s on Especial in the past, but he's on especially excellent form this time around. A veteran of the halcyon rave days of the 90s, he's got a lot to draw on to conjure his particular kind of machine jams. "Moan Up" is a truly dazzling track, all twinkling synth lines interweaving around a crisp old school groove. As well as the loved up peaks of the original, there's also a beatless mix of the track that lets the melodies shine on their own. "White Pepper" takes things moodier and lets some sultry sax wail over the top, while retaining some of that boxy drum machine energy. There's even space for some tasteful guitar wailing - excellent.
Review: In 2009, two years after the original version appeared on Somi's debut album "Red Soil In My Eyes", Joaquin "Joe" Claussell and Brian Bacchus joined forces as Soul Feast to remix Fela Kuti cover "African Lady". A decade on, Claussell has decided to reissue the package's most potent and percussive moment, the layered "Drum Dub" on a tasty seven-inch single. While there are key elements of Somi's original version present - the killer bassline, some delay-laden horns and fleeting glimpses of guitar - the mix is dominated by layered Afro-house percussion. This time round, the mix comes backed with an "Acapella EFXS" version, which contains all of Somi's superb vocal and is closer in tone to the duo's 2009 club mix. Like the A-side, it's superb.
Praying For You (Louie Vega NYC Fender Rhodes Solo) (4:55)
Praying For You (Louie Vega Vonita dub) (5:43)
Praying For You (KDA remix) (6:10)
Praying For You (album version) (6:11)
Praying For You (Louie Vega Expansions NYC dub) (5:41)
Smile (David Morales remix) (7:01)
Review: Earlier this year, DJ Spen and Teddy Douglas's long-serving gospel-house group Jasper Street Co returned to action with their first album in 16 years. It's from that album that "Praying For You" is taken, though the selling point here is not the LP mix but rather a suite of reworks from Louie Vega. Our picks of the bunch are his jazzy and breezy "Main Mix", the brilliantly bass-heavy "Vonita Dub" (think righteous call-and-response gospel vocals and a killer groove) and the sleazy "KDA Remix". The latter is a basement-bothering stomper rich in fuzzy organ stabs and spacey electronics. The smooth, slick and pleasingly colourful David Morales remix is also rather good (it reminded us a little of vintage Frankie Knuckles rubs, which is no bad thing).
Catch Me If You Can (Jorge Savoretti Ethereal dub) (7:08)
Review: Michael James' "Winds Of Change" EP was a big look for Constant Black, and now the eminent minimal house label draws on a hit list of sharp shooters to deliver some deadly remixes. Huerta is up first with an angular but rolling dub twist on "Catch Me If You Can", before Nick Beringer pings things in a wonderfully hazy direction with his "7am Dub" of "Stormy Skies". Pascal Benjamin gets into a tight, focused funk on his version of "Reservoir", and then Jorge Savoretti flies in an "Ethereal Dub" of "Catch Me If You Can".
Review: The Aesthetic label is steadily growing as yet another strong side to the Constant Sound empire, and they're sounding fit as a fiddle with this latest drop from Niko Maxen. "Aesthetic 04" leads in with "Calibans Dance", a swirling, dubbed out affair with intriguing percussive tones to add an intriguing edge to the stripped back house groove. "Lessons" has a heads down, twitchy demeanour it's impossible to resist, and then "Twelvty" summons up some elegant synth strokes that hover in between the shuffling beats. The latter provides more than enough inspiration for Kepler to deliver an astounding remix that plays around with bouncy arps and pointed house rhythms in his inimitable style.
Poisoned Words (Ricardo Villalobos remix 1) (6:35)
Poisoned Words (Ricardo Villalobos remix 2) (13:39)
Review: The Mandar dream team of Lazare Hoche, Malin Genie and S.A.M revisit "Poisoned Words" with a double dose of remixes from none other than Ricardo Villalobos. The minimal overlord lives up to expectations on both flips of the original track, needling into the tiniest sonic details and holding down an insistent groove that will sit beautifully in the mix. The A side features a simmering version that revels in wriggling sound design with ample space to flex and mutate, while the B side stretches out into a quintessential Villalobos wormhole of a remix. Unmissable sonics from one of the scene's true legends.
Review: "Der Say Ah" has long been a banger on dance floors tuned into international sounds. It's the sort of bouncy afrobeat and sax-laced classic that has been fetching huge amounts online. DJs like Gilles Peterson and Nightmare on Wax have been playing it for yonks and now, after many years of it being out of print, it is back courtesy of Push The Fader. The Akoya Re-Rub mix here was mixed by Ben Kane who worked on D'Angelo's Black Messiah, so this sounds beyond good. The 7" version comes from DJ Spinna with extra keys from Ticklah, psyched out bass and extra dub feelings.
Review: Two years after they offered up the first part in the "Retrofitted Future" series, Primary Perception partners Mahy and Nichel Cruz return to Slow Life with volume three. They hit the ground running with "Valis", a crunchy romp through bold analogue bass, twisted acid lines and spacey electronics, before bouncing their way through more melodious, warm and ear-catching territory on the aptly named "Sci-Fi Jazz". Side B boasts two versions of "Funky Emotions" - the low-slung, bass-heavy and decidedly futuristic original mix and the altogether deeper and dreamier "Break mix" - as well as utterly gorgeous ambient track "Space Is An Ocean".
Review: Valencia's Pepe has built up quite a discography over the last few years, with this fine outing on Church following similarly impressive releases for Let's Play House, Lobster Theremin, Loose Fit and Sprung. The EP's impressive title track is available in two variations: the sparkling, breakbeat powered "Roll Mix" - think hip-house style drums, weighty dub bass and occasional dreamy chords - and a "Bleep Mix" that beefs up the sub-bass while adding some suitably sparse, computer game style electronic melodies. Another clear highlight is "You Must Not Be Me", a fine combination of rush-inducing, sunrise-ready electronics and bustling breaks, while closing cut "Recollection" is a rather lovely drift into opaque ambient territory.
Review: Pretty much anything Call Super has touched in recent years has turned to gold. This new collaboration with Parris is no different: it is a self-released project with a fictional backstory involving an ageing writer called Mortise Koshimitsu who lived in a small apartment. The music itself is uptempo but deep, with shimmering wooden hits gliding on elastic drums as ambient synth beauty bleeds into the spaces left behind. "Majenta" is a more cavernous and dreamier track that is as good for home listening as it does for tasteful dancing.
Review: Munich duo Rhode & Brown have been bringing the good stuff to Toy Tonics for some time now, and they're sounding especially vibrant on this new joint. "Nine To Shine" is a sweet and soulful, 90s flavoured deep house jam with catchy vocals and a bittersweet mood to help you throw off the baggage of the working life once the weekend rolls around. "Honeymoon Affair" piles on uplifting piano chords and smooth acid bass for a full-fat house burner, while "Sumthin" chops up some serious funk samples for a massive dose of feel-good. "Your Beauty Is A Spoiler" completes the set with a wistful mood centered on an impeccably edited soul hook, making this a house 12" with plenty of mileage for a multitude of situations.
Review: Atjazz & Jullian Gomes released their "Big Bad Crazy" album nearly a year ago to wide acclaim, and here is one of the LP's standout tracks which receives a rework from Freerange/Delusions Of Grandeur chief Jimpster. He replaces the sensual late night deepness of the original version of "It's My Time" with a slinky, hypnotic and absolutely mesmerising vibe, awash in shimmering melodies, delay drenched snippets of the original vocals and an absolutely addictive bassline. There's a handy instrumental on the flip too. Braintree's finest delivers the goods once again on this hit that's sure to have wide crossover appeal.
Review: Fresh from delving into his ambient side on the pastorally-enhanced "Loom Dream" album for Whities, Leif revives his self-manned Tio Series with another double-shot of delicate but impactful cuts outside the conventional slipstream of modern techno. The rhythms fall crooked, the synths trickle, bubble and cascade around the groove and the atmosphere remains humid and heady, especially on ear-snagging B-side "Rumex". "Montpelier" sports more explicit dubby flourishes and a spread of sonic flora and fauna in the middle distance that truly brings the track to life.
Review: In 1996, Dreamscape's Ed Marshall donned a new alias, Aplomb, and delivered the first fruits of his new project to New Age House Records. Only one track was ever released on a limited label promo, "Wondering". World Building's Ari Goldman, who previously put out a compilation of Marshall's work as Dreamscape, is a fan and has decided to rescue it from obscurity via this single-sided 12". The track itself is hard to accurately pigeonhole, combining as it does dense, carnival style drums, female scat vocals, warm bass, dreamy deep house chords and synthesizer flourishes reminiscent of early '80s jazz-funk. Either way, it's a sunny and groovy chunk of obscure house positivity that's well worth a place in your collection.
Review: Plastik People cast their gaze back to a garage house staple and give it a new lease of life on this cool and deadly white label. The original "Blues For You" by Logic is a pinnacle on the Strictly Rhythm catalogue - some might say untouchable - but Danny J Lewis and Marc Cotterell are here to tell you otherwise. Lewis lands on the A side with a version that keeps the structure of the track intact, and speaks those iconic hooks through a different set of instruments that gives the track a new lease of life. Cotterell meanwhile smooths the garage jerk of the original out into a more linear house thrust while working the vocal samples with glee - it's a respectful approach that simply repositions the groove of the original to give it a fresh flavour.
Kerri Chandler - "Peace Of Mind" (D'Julz remix) (6:46)
Lafayette - "Better Late Than Never" (Kettama Garage remix) (5:00)
Jiletta Riley - "The Way It Was" (Marquis Hawkes Classic club vocal) (6:57)
Review: There's little better, house-wise at least, than vintage Kerri Chandler productions, though these fresh remixes of tracks by the New York maestro would certainly run them close. German producer Henrik Schwarz steps up first to re-imagine Chandler and Jerome Sydenham's "Powder" as a fluid but hypnotic chunk of building, synthesizer-heavy house in his usual melodic, tech-tinged style, before D'Julz turns in a wonderfully warm, locked-in revision of "Peace of Mind" full of drum machine handclaps, woozy chords and fizzing electronics. Over on side B you'll find a superb Kettama Garage mix of Lafayette's Chandler-produced classic "Better Late Than Never" - think late '90s UK speed garage and you're close - as well as a partoculalry reverential take on Jiletta Riley jam "The Way It Was" by Marquis Hawkes.
Review: Tomorrow Is Now, Kid! are never shy to support exciting new talent, and so it goes on this sublime 12" from breakout producer Poko Poko. The "Petrichor EP" kicks off in bouncy fashion with the sweet and lilting "Hurdy Gurdy" before shifting stance to the sweet boogie inflections of "Iglozub". "Stipperflip" presents a more dusty, rattling strain of deep house that positively quivers with hand-crafted energy, and the title track completes the set with a seriously funky, soul-soaked get down packing one of the coolest basslines we've heard all year.
Review: Given that Fantastic Man's last outing on Kitjen, 2016's "Galactic Ecstasy", was one of his more interesting and on-point releases to date, hopes are high for this belated return to the German label. First up in "Solar Surfing", a spacey affair built around stuttering machine drums, intergalactic electronics and a thickset bassline. Acid-fired workout "Native Power" follows, with psychedelic TB-303 lines and minimalist bleeps riding a flowing electro groove, before closing cut "Avocado Conception" sees the Australian combine Balearic-minded synthesizer flourishes and bubbly acid lines with a slower groove. Like the rest of the EP, it's ear pleasing but surprisingly off-kilter.
Don't You Let Go (feat Kenny Wesley - DJ Spinna Galactic Soul remix) (8:21)
Don't You Let Go (feat Kenny Weslet - Caserta At Work remix) (7:17)
Review: Sol Power Sound has had a solid 2019 but they aren't done yet: this new one features an all star cast with remixes by legendary DJ Spinna and LA's Joseph Caserta. DC-based vocalist Kenny Wesley is at the heart of the operation and features on "Don't You Let Go", with multi-layered drums and dub weight soaring to the skies. "Number One Station" features Daniel Meinecke and is a golden broken beat with all the hits and scattered percussion that make this such perfect body music. Spinna's remix is pure feel good, good time house music with old school spirituality, while Caserta pays more than a subtle tribute to Masters At Work's famously chunky drums with his "Caserta At Work" remix.
Review: Ever-dependable hero of deep house since the good old days, Glenn Underground is back with fresh goodies for his Strictly Jazz Unit imprint, and if you liked what he's done before then there's no doubt you'll like this as well. "Shiloh (A King's Return)" is a steady roller, defined by the synth-sax freestyling over the top of a crisp beat and bluesy chord workout. "We, The Party (Let's Get Down)" is a more soaring affair, with some neat kinks in the drums and a sumptuous spread of Rhodes action all delivered in that quintessentially Blue Note GU flavour.