Review: Luca Murgia is Two Thou - an alias which has seen him land intriguing releases on Burek, Fields & Forests and his own Gifted Culture label. Now he's been snapped up by Uzuri with some star-gazing cuts that straddle broken beat, deep house and something more altogether cosmic. "Clavinet Discourse" is the consummate lead track, a true showstopper with astral synth flex and a sharp, snappy beat. "Talking Song" has a more pronounced deep house bump and leads that wouldn't sound out of place on Strictly Jaz Unit - the dub version does away with the leads if you want something subtler. "Thousands Of Chimes Together" completes the set with a spiritual throwdown to invigorate any open-minded dancefloor.
Review: Returning to production with his first LP in 13 years, Will Saul's "Open Too Close EP 1" is said to be a journey through the influences that have helped shape the Aus Music boss' career and his forward-facing, unblinking passion for new music. It is a concept which reflects on Saul's extensive experience as a selector, with all tracks being dancefloor ready and exactly the sort of material he'd be proud to play in his own DJ sets. Split across two releases, the first volume features the deep and emotive swagger of "Openings" and "Visions", the evocative classic house vibe of "Pingalatu" calling to mind anthems of The Windy City from the late '80s and the hypnotic Todd Terry influenced rhythmicity of "Moorings".
Review: Ovine build on the momentum of their first EP with another new house offering that is beautifully deep. It features two tracks each from Dan Piu and Pohl, and they all hack back to dreamy Italo, classic Mr Fingers and the more pensive Chicago greats. "Depresismatica" is a real highlight with its meandering basslines and infinite cosmic horizons. "Mello Phone" offers more pixelated melodies and busy beats and "Space In The Distance" has the sort of freaky edges and dusty analog textures house lovers always fall for. Already, then, this is a label that is setting a high standard.
Review: Following up a great release by Wyndom Earl earlier this year and a couple of wicked ones by label boss Arsy, the ever reliable Hamburg stalwart Christopher Rau (Smallville/Money $ex) presents the next installment for Berlin-based Rixdorf Jams - serving up material that's much more ferocious and upfront than we've ever heard from him. From the hard hitting subterranean electro-bass of "Lapidem", to the hypnotic tribal techno banger "MTP" and the mesmerising B side cut "Drei Und Zwanzig Karl Heinz", this is exactly the type of utlra-deep mood music you have come to know and love from Rau.
Review: German artist Ben Rau has been amassing a fine back catalogue on two of his own labels, Inkal and Meta, since first debut on Fuse in 2011. Seth Troxler and The Black Madonna have been dropping plenty of his material in recent times and this firmly club focused new 12" is another useful weapon. "Out There" in particular is a big house track with propulsive drum programming and busy bass that will get large crowds bumping. "What Is Love" on the flip is a deeper but driving cut with spaced out pads that will be perfect for later in the night when things get more cosmic and introspective.
My Love Is For Real (feat Haddaway - live At The Cathedral)
Review: We've long thought that Austrian artist Wolfram Eckert is destined for greatness - or, to be more specific, crossover success - but to date his authentically produced but often tongue-in-cheek take on Euro-pop has yet to catch on with the public. "Amadeus", his long awaited second album, has all the ingredients to be a massive hit. Rich in bold synthesizer motifs, knowing nods to classic new wave and Euro-disco hits, atmospheric electronics, on-point grooves (we can hear nods to Italo-disco, Hi-NRG, acid house and the Pet Shop Boys) and high profile collaborations (Egyptian Lover, Haddaway, Peaches and, bizarrely, Pamela Anderson all appear), it's an album that brilliantly combines a mature synthesizer sound with the catchy hooks and giddy rush of the best pop music.
Review: Despite being one of London's premier dancefloor-focused fusionists of the last two decades, Simbad Stanislas has not released very many albums. In fact, "Collections" is only the soul and jazz loving producer's second full length outing, with his first, "Supersonic Revolution", dropping way back in 2007. This, then, is a long overdue excursion. It contains tracks recorded (but for the most part never released) between 2003 and 2017, and includes collaborations with a wide range of vocalists and fellow producers. Musically, it's as vibrant and addictive as you'd expect, delivering tracks that effortlessly join the dots between soul, hip-hop, jazz, broken beat, jazz-funk, deep house, two-step garage and much more besides.