Review: Religion, and specifically gospel music, always played a key part in shaping the sounds and emotions of easy house music. It is clearly going to have just as much impact on this new label God Iz Enough which debuts with an EP of the same name from Tomi Ahmedeus. His style on the opener is to lay down raw and dusty beats with an early Windy City feel and infuse them with evocative, guttural gospel vocals that really bring them to life and make them inescapably emotive. 'The Rise Of The Guttersnipe' strips things back a little and brings a shuffling tech vibe with some glistening melodies while 'Ms Ludus' is a gorgeous ambient closer.
Review: Aleqs Notal shares a machinic new EP of counfounding delights for the Industrial Light label, also run by the artist and based out of Paris. Named after the artist's debut release which shared equal sides with fellow producer Modern House Quintet, here Notal changes the game, occupying a full four sides of wax. The A-siders 'City Smile' and 'True I Am' bring atmospheres of motoric rigidity, functioning as premier schema for the human navigation of comparatively less human urban environments. 'Let Me In' and 'Confused Reaction' offer similar blueprints, though there's an ever so slightly upped acidity on the B2.
Review: Naarm-based producer Sam Alfred shows no signs of slowing down as we continue to be impressed by the material coming out of Australia right now. After releasing the energetic 'Suzuka' EP, completing a sold-out headline tour and playing a packed set at MODE Festival, he's now back with more full flavour beats. This one disk off with a real house anthem inspired by 90s club music with punchy piano, airy synths, and a driving cowbell rhythm. 'Care 4 U' has carefree garage house vibes a la salute, 'Keep It' brings some euro dance and trance energy and 'Distance' is a peak-time acid-laced pumper. Brilliant stuff.
Review: Philpot's Traxworx series got off to a blinding start earlier this year with the dust down from Roman Rauch and label regular Ike and it looks to be quite the promising endeavour if the line-ups remain as strong as this second duel featuring Arttu and Hakim Murphy. Neither artist really needs a formal introduction here and both are well suited for the floor focused nature of this series. Arttu is first up with "Can't Get Down" a collaboration with Kaye that bounces along with loose and deadly intent - if you liked the Geeeman stuff on Clone you will love this pappy, especially when that sax comes in! On the flip Innerspace Halflifer Hakim Murphy goes for the abstract approach on "ES1" which features some superb drum edits.
Review: Los Angeleno AshTreJinkins is up next for London/Tokyo joint venture NCS, who as some of you may know by now: only release in very limited runs: so get in quick! Named after the famed American soft drink that tastes like mouthwash, the Root Beer EP features four servings of lo-fi house which will certainly fit in with the status quo currently set by the likes of Lobster Theremin, E-Beamz et al. The tough and driving vintage techno of "Dead Or Wounded" kicks off the EP in good from, while "Frozen" with its hypnotic chord progression and jagged rhythm patterns create a unique groove that really gets off the grid. Finally, the tribal house tool "Adware Nigga" calls to mind Canadian Hayden Andre Brown's seminal jams from the early '90s, but backed by some L.I.E.S. style analogue techno grunt.
Review: Those with even a basic knowledge of Italian dance music will have come across Alex Neri productions before; during the 1990s, he recorded loads of house (and less frequently, techno), under a wide variety of aliases. In 1991, he donned the Axe Corner alias (alongside studio buddies Adriana Dodici, Marco Baroni and Pietro Peretti) and delivered Tortuga, an EP of moody blends of house and techno that now sound surprisingly far-sighted. A-sides 'OUT-SLD' and 'IN-SLD' are both forthright but funky techno outings whose bleeping lead lines and thickset grooves pay tribute to the then-massive bleep & bass sound (albeit without the colossal sub-bass and dub reggae influences that style was famous for), while flip-side cuts 'BAD-SLD' and 'SLD-Effects' deliver tougher, late-night takes on the organ-rich Italo-house sound.
Review: Eclectic technoizer Basic Bastard locks arms with Detroiter Orlando Voorn, their dual sonic output being the new 'Drama' EP. The three-tracker is nothing short of a sonic adventure, spanning acid, to dub, to uncategorisable entrainments. Bastard's original 'Drama' nails the art of the acid loop, a tricky tactic that is much less masterable than one might think. Voorn remixes the track my miring its elements in a cruddy ambience, while also greedily occupying the entire B-side with the urban-hellish jazz-noise-house cut 'Survival'.
Review: Ali Berger has long been known for crafting soulful, dynamic house music whether through his label Trackland or releases on Spectral Sound, Clave House, Firm Tracks, and FCR. He also performs solo or with Davis Galvin as Hits Only when his unique touch always remains evident. This new 12" features four tracks that blend uplifting and introspective house vibes and it oozes class. Opener 'Sun Rising On Harmony' boasts an infectious bass line and melody, while 'Inside,' offers a classic acid house feel. On the B-side, you have the lovely 'Thoughts Like Light Snow' which delivers an alluring electro twist, while 'Mint Leaf' closes with a rich bass line and intricate details.
Review: Henri Bergmann and Wennink's Guardian Angel marks an impressive debut on Crosstown Rebels, delivering a track that expertly fuses melody with depth. Bergmann's knack for sculpting rich, atmospheric landscapes is matched by Wennink's haunting vocals, creating a piece that feels both expansive and intimate. It's the kind of collaboration that hints at a shared vision without ever losing individual identity. The original track opens with textured percussion, slowly unfurling into an emotive soundscape as Wennink's vocals hover above like an ethereal guide. There's a melancholic undertone, but it's balanced by an uplifting drive, showcasing their ability to blend light and dark seamlessly. The remixes take Guardian Angel into uncharted territories. Stimming strips things back, opting for a more minimalist approach that sharpens the focus on rhythmic intensity, while his subtle use of effects amplifies the track's ethereal quality. It's a remix that feels lean but still full of intent. Hardt Antoine, on the other hand, plunges deeper into the shadows, pushing the bassline forward and letting synths stretch into eerie, sci-fi realms. His reworking is darker, stranger, and ultimately a satisfying close to the EP. With this release, Bergmann and Wennink add another strong entry to the Crosstown Rebels roster, proving that their partnership is one to keep watching.
Review: Billy Nightmare, aka "Mystic Bill" Torres, grew up in Miami and spent much of his life involved in various parts of the music industry, but he's hardly seen good recognition for his work until now. Following its re-cropping-up online in late 2018 (the album was thrown up on the net by the artist himself) Sounds Records have ridden the wave of revived interest in the 'Reality Check' EP with a new vinyl reissue. Dreamy and industrial, we're nicely jostled by this one's cold sonic waves.
Review: Coeur De Glace on DKO Records (DKO 34) delivers four fantastic electro tracks, each with unique influences and directions. Side-1 kicks off with Binary Digit's 'U Want Dis,' an exuberant, high-energy track that pays homage to old-school rave with its lively vocal samples. Fasme's 'Morning' follows, blending smooth electro with soft keys and a whimsical AFX melody for a perfect combination. Side-2 features GGGG's 'La Cueillette,' a feel-good, fun and melodic electro tune. The EP concludes with Mud Deep & Sans-Qui's 'Mesonyx,' offering IDM goodness reminiscent of Rephlex, Squarepusher, and AFX. Coeur De Glaceis a vibrant and diverse collection, sure to delight fans of electro and techno.
Review: Border Patrol (Stu Adam) brings his talents to Rezpektiva, who gladly represent his first and only EP for the 29th edition of their EPs series. Originally recorded for Middlesboro's Tumblin' Records in the mid 90s and released only in small quantities, the EP displays a canny sense of variety in painting pictures of house music's many possible worlds. The hilariously named 'Mobius Trip' leads the way, trailblazing a fiery string of pitched-up synths and watery stabs in its wake; the more experimental of the bunch, 'D'ya Want Business', is our favourite, bringing pure lowpassed kicks, infectious two-tone electroclash-ish basslines, and what sound like computer keyboard and lasershot sound effects into one heady cyberspatial stew.
Review: Byron The Aquarius (Byron Blaylock), from Birmingham, Alabama, debuts his latest EP for French Synchrophone sublabel Phonogramme, 'Dey Know Vol. 1'. Topping up an already hugely impressive backlog of releases on the label recently - from the likes of Abacus, Steeve O'Sullivan and Vitess - the producer and water carrier adds to their catalogue for a varied scrubdown of the more militant ends of techno's sonic politic. An impressove sense of variation is achieved on the expositionally minimal 'Black Is Black', which contrasts greatly to the ensuing space-quagmires of 'Dr Devil' and then the crude, bleepy and frank analog sonics of 'Real MF From The Avenue'. Dreamy narrations of local life abound, precluding the closing 'Rock That 808!!!', a track that is far more sophisticated and well-developed in sound than its wilfully blase title might suggest.
Review: Groovin Italy landed a monumental reissue for the label with C'hantal's 'The Realm'. Originally released way back in 1990 on the dance and early Brooklyn based Powertraxx records. Staying true to the original release, it offers the 'Love In D Minor' mix but does one better in tucking in the Acapella version to the A-side so the B-side 2 versions have a little more room to breathe. The added bonus has to be putting on the more rare "Wild Club mix' to the party along with the original 'Rave Mix'. All and all, a very packed reissue of some of the best versions of the track, all on one record. This might just hold the number one spot for best techno reissue so far of 2024.
Review: Not everyone 'gets' house. First, there are those who dismiss it as mindless 4x4 schlock; then, even amongst those who ostensibly enjoy the moods that the genre lays down, there are still individuals who fail to appreciate the subtleties that glue the spaces between the beats, or the musicality that holds the tunes together as opposed the lacks thereof that might make them flop. Whatever the case, Calisto's Definitive Classic (TM) 'Get House' is an ahead-of-its-time house pioneers' artifact, coming as an early example of what some might call tech house, albeit nowadays most would simply assume is acid or breakbeat. Indeed, to truly be able to appreciate the differences betweem genres, you have to just, you know, kinda, just 'get it'.
Review: Derek Carr's brand of Detroit-influenced electronic futurism has always oozed class, with the Irish producer prioritising mood, melody and ear-pleasing synth sounds above all else. It's this blend - both club-ready and perfect for home listening - that makes his releases worth checking. We'd highly recommend Electro Statik Part One, the first in a series of vinyl excursions that as usual blur the boundaries between styles. He begins with the immersive chords, jumpy lead lines and smooth house beats of 'In Transit', before diving headlong into deep electro-meets-IDM waters on the impeccable 'Mimas'. Turn to side B for the skittish, far-sighted and picturesque electro-not-electro number 'A Star Dies', as well as the warming, pitched-down electronic melancholia of 'Dione'.
Last Night (feat Harriet Brown - MAD vocal mix) (7:11)
Last Night (6:27)
Phone Sexting (5:23)
New Life (5:19)
Review: One-man dance music production line Tom Carruthers - a regular contributor to L.I.E.S and the man behind the admirable Nonstop Rhythm label - makes his bow on Make a Dance's M.A.D imprint. Fittingly, the fast-rising duo kick things off with their take on title track 'Last Night', delivering a vintage-sounding house cut featuring sublime lead vocals from Harriet Brown that sits somewhere between Frankie Knuckles' turn-of-the-90s productions and Larry Heard's late 80s deep house jams. Carruthers' gorgeous instrumental original mix follows. Over on side B, 'Phone Sexting' sees Carruthers blur the boundaries between proto-house and early Chicago jack tracks, while 'New Life' is a picturesque slab of deep techno loveliness.
Review: Oh yes, we love it when Theo represses some of his most sought after tracks and this one is particularly well-timed. Leron Carson is still an unknown figure, a kid who used to make viciously raw and futuristic techno tracks in the late 1980's! "China Trax", alongside the rest of his tracks on a different Sound Signature double 12", is totally ahead of its time and if it was truly made in 1987 then it is nothing short of amazing. Of course, it's not just the year it was made in that's interesting but also the fact that it's music without an age, able to be appreciated by any generation of techno freaks. Theo's own "Insane Asylum" on the flipside is also pretty monumental; rigged beats, off-kilter grooves and that familiar spontaneity so heavily associated to the label.
Review: Casino Times is a London-based project of producers Joseph Spencer & Nicholas Church; a partnership that is rooted in house & techno since 2010. The duo have released on labels like Wolf Music, Mireia and their own Casino Edits. This one's courtesy of Swdens Omena imprint, the new label run by Tooli of Local Talk fame. A Change In Motion Part 2 sees the pair enter a new phase sonically, experimenting with the more experimental side of the spectrum. There's some punchy and futuristic electro to be heard on 'Ultra Synthetic' and 'Unfold', as well as sublime downbeat offerings like 'Tides' and 'Run Mods' and some swung-off kilter beats offered up on 'Something Else' (feat DUANE).
Review: Needs' commendable charity drive continues to bring forth the goods, both in terms of good causes and world class club music. Rallying round in support of World Mental Health Day 2020, Shanti Celeste kicks the record off in style with the rapid fire, deep-diving workout 'Fantasma'. OCB keeps the pressure up with the psychotropic techno of 'RS3', while Michelle works up some delightfully freaky synths on playful jacker 'Aesthetic'. Bobby's 'Free Your Mind' is a 90s-tinged, full fat techno production indebted to Detroit, Peder Mannerfelt keeps things stripped and raw on 'Our Levels' and Yu Su weaves a beautiful tapestry of interweaving rhythms on 'Brittney'. Adam Pits' trippy techno sounds resplendent on 'Wind Tunnel' and DJ Sports completes the set with the inventive, dembow slanted funk of 'Needs Dub'.
Review: Three distinctly outer space-themed cuts from Greece's Alex Celler, each with a linear minimal/tech skeleton that has other, interloping musical influences draped elegantly and classily across it. 'Ancient Astronuats' has the weird, wired mystical stirrings of early Black Dog about it, complete with melting, bendy electro notations that coax it along and add a psychedelic dimension. 'Stargate To Cosmos' has a playful, Drexciyan feel to it, with crunchy, organic drum beats flirting alongside the more rigid electrics. 'Object In The Sky' is the most minimal of the pack, sleek and stalker-like, but still contains enough action - mainly floating around up there in the ether - to hold and build attention.
Review: Ceri's 'Don't You Wanna' is a cult cut that has now been remixed several times. Following in the footsteps of the likes of Mr. G and Fred P and D'Julz, this one features four more on-point artists adding their own spin. It's Paul Rayner who goes first brings old school 90s synth lines that bubble up through the mix. The Zombies In Miami remix is more buoyant with raw stabs and drums, Cici then hammers home a tribal techno groove with psyched-out synth patterns and last but not least is a warped, ritualistic and tribal dance rework from Dee Diggs with her excellent Whisper mix.
Review: Bristol's cultured Innate label is back with a first outing of the year and it returns to their various artists format with a mix of talents all making their mark. UK veteran Tom Churchill opens up with 'Unknown Unknowns (Edit)', which brings plenty of fuzzy and lo-fi aesthetic to jacked up drums and spaced-out pads. Rai Scott then shows her class with 'Suasion' that sinks down deep into immersive drums and is subtly lit up with simmering strings. Innate co-founders Owain K and Gilbert then hook-up under their brand new alias Curved Space and showcase their love of electro with 'Reverie,' a dreamy cut that glows with nice celestial melodies and will have dance floors in a zoned-out state. Last of all it's Lisbon mainstay Jorge Caiado who debuts with the chord-laced 'Floating Without Lifting,' a sophisticated and serene jazz-techno cut that takes you to the stars.
Santonio Echols - "Piano In The Light" (Emanuell Echols mix)
Brian Kage - "This Saturday Night"
Ryan Sadorus - "Down Below"
Review: Upstairs Asylum is kicking off the year in some style with a couple of killer new EPs. This one is the first in what is presumably a new series to showcase the talents of the Motor City. Mike Clark & Marcus Harris get things underway with 'Hey' which has a subtly uplifting feel thanks to the bright, sustained chords and cuddly drums. Santonio Echols's 'Piano In The Light' (DJ Emanuell Echols mix) is laidback, playful deep house with magical chord work and Brian Kage brings his classy depths to the smooth grooves of 'This Saturday Night.' Ryan Sadorus brings things to a close with the smoky 'Down Below.'
Review: JIN09 marks a significant step forward for Cosmo, one of Seoul's most dynamic DJs and producers. Since her debut in 2017, she's become a fixture in the city's vibrant club scene, holding residencies at BBCB: Beton Brut + Concrete Bar. On her first solo EP for the Jin Records label, Cosmo weaves a dreamy, ethereal sound that taps into the traditions of house and balearic music. The A-side opens with lush, flowing melodies that gently chug along, creating an atmosphere that feels both expansive and intimate. These tracks, with their atmospheric textures and hypnotic rhythms, encapsulate a sense of cosmic journeying. On the flip, Cosmo delves into grittier, more tech-focused territory. Here, the beats take on a harder edge, with driving rhythms and a rawness that pushes the energy forward. While maintaining the ethereal quality that runs throughout the EP, the B-side brings a sense of tension and release that's sure to resonate on dancefloors. With this release, Cosmo demonstrates her versatility, effortlessly blending contrasting styles while retaining a cohesive, signature sound. It's a confident, forward-thinking EP from a rising star, and one that signals even more exciting things to come from this talented producer.
Review: Notorious internet motormouth Thomas Cox dropped the first EP on his own new QED label back in 2020, but only now is the vinyl arriving with us. It was worth the wait, however, because as much as it would be fun to find the sort of faults in his music that he does in everyone else's, these are three raw as you like tracks that go direct to the soul. Detroit influences of course loom large throughout, with each cut layering up dirt and grime, dusty drums and rusty synths to hypnotic effect. The standout might be the unresolved loops and cosmic-gaze of 'Starry Ave,' but any of these will make an impact on the right dance floor.
At Les (Christian Smith Tronic Treatment remix) (9:44)
At Les (Christian Smith Hypnotica remix) (9:14)
Review: Christian Smith revisits Carl Craig's iconic ambient masterpiece 'At Les' with two exceptional remixes, originally crafted in 2010. This reissue on Tronic revives the deep house genre with a fresh perspective on a track that first appeared on Craig's 1997 album, More Songs About Food and Revolutionary Art. On Side-1, the 'Tronic Treatment remix' injects a pulsating energy into the ethereal original, blending rhythmic depth with the serene atmosphere that made the track a legend. Smith's remix maintains the emotional intensity while adding a driving beat that propels the listener forward. On Side-2, the 'Hypnotica remix,' where Smith delves into a more immersive, trance-like state. This version is all about loops and intricate layers, creating a soundscape that feels both expansive and intimate. Smith's reimagining of 'At Les' pays homage to Carl Craig's genius while introducing new sonic dimensions. Still, 14 years later...this is a club ready peak time record.
Review: Ecuadorian maestro Nicolas Cruz is back on Rhythm Seciton to follow up his last EP Subtropique which proved a big hit. "I'm always trying to re-interpret this Afro-Caribbean feeling, and trying to figure out how I could humanize this through the machines," he says of his approach and it certain is the case here. He mixes up some worlds rhythms with twitchy techno drums and electronic synths to make for something totally new on all of the tracks. The heavy, skipping kicks of 'Residual Heat' is a real favourite while 'Self Oscillation' is a catering percussive jam to pack the floor. Another great outing.
Review: Shall Not Fade has proven over the last five plus years that whatever sounds it turns its hand to it does with style. Mostly that is deep house and garage but here we have some warehouse-ready techno from Dasco. 'Powerful Woman' has mid-tempo drums that are run through with a supple and subtle acid line and repeated vocal phrasings that lock you into the trip. 'Acid Queen' jacks a bit more, with raw analogue drums and vintage cow bell sounds before the 303 takes over, then Johannes Volk really bangs the box with his hardcore house remix, full of splintered kicks and dusty hi hats. Chicago Skyway brings plenty of Windy City texture to his version.
Review: Berlin's Cocktail d'Amore and Tokyo's Ene Records have come together once again to present the music of Solidair. The duo of Cocktail alumni Luigi Di Venere and Jules Etienne present three tracks aimed to induce a dance floor hypnosis. Orgonite (Riding the Waves) does just that, a slow build awash in the ebb and flow of acid tinges, just enough to wet your whistle on a Saturday night. The original mix keeps the skeletal support but throws in a life preserver of 8 bit gaming synthesis. Frisky arps call and respond to each other before making way for sinewy pads to lift off. Tiger's Eye sets itself onto cruising speed incorporating elements of late 90's acid techno with the sleek and smooth clubbing aesthetics of modern day Berlin.
Review: Whenever we get wind of a new DJ Koze 12", we're hooked. Few artists are as left of centre and loveable as Stefan Kozalla, the Pampa Music boss who has recently worked with Roisin Murphy on her essential new album. Here he is in solo mode on 'Wespennest' though Sophia Kennedy features on what is a dreamy and deep house cut awash with fizzing synths that radiant the same heat as a summer sun. 'Candidasa' is a more intense and dense sound with myriad different melodies all interweaving tightly. Two interesting cuts, as you would expect.
Review: It was 1993 when Chicago's DJ Skull first released these four face-melters, and we can only imagine the faces of the dancers hearing this for the first time, amid a frenzy of other, softer variations of house. Be warned: this is still a frightening prospect on the dance floor today, as it was almost 25 years ago. The Southside DJAX affiliate re-drops the never-ending tunnel of a tune that is "Stomping Grounds", followed by the more minimal, stripped-back percussion shots of "Don't Stop The Beat". On the flip, "Stomping Grounds 2" ups the tempo and chucks in a layer of hypnotics round the lower tones, while "The Kissing Game" reduces the tension and aggression of the previous tunes down to a softer, more soulful house swing guided by that dusty drum machine programming that makes it signature Skull material.
Review: Just as the year draws to an end, GTO launches itself into the world with a first release that is destined to get plenty of parties pumping. DJ Tommy Starck is the man in charge and he opens with big, filtered disco-house loops that pack an emotional punch. 'Disco' then hist harder than Deontay Wilder with its raw, slamming kicks and loopy synths echoing the early work of DJ Sneak. The flip side is given over then 'Yesterday,' a deeper cut with warm pads and muffled vocal cries that eventually get taken over by some wild sine waves.
Review: The low-key but high-class Acquit label is back with some more brilliance from DX 9 press dup to nice translucent orange vinyl. 'Beans' (Owen Ni remix) opens up with elastic deep house beats and heady pad swirls. In original form the cut is a weight dub house pumper and elsewhere is the quick-stepping deep house of 'Galaxy', stripped back and scruffy dub house of 'Greed' and the cosmic trip that is 'Orange' with its swirling synth clouds and wispy lead lines over a deep, meaningful bassline. This is hi-tek soul with a timeless edge.
Review: Chris Barratt aka Eagles & Butterflies possesses the rare ability to unite a larger-than-life peak time personality with the understated production method of comparatively underground records, techno pop and Italo. Bridging such gaps of authenticity and palatability can be a mean feat, but Barratt sacrifices few opportunities on his new 'Heartbreaks & XTC' EP to really think about how both poles can be met. Focussing on skeletal, hands-off mixing and yet apotheotic buildup production, Eagles & Butterflies truly do fly in unison on this stonker.
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