Back catalogue: House

Review: A San Francisco house producer who is taking jazz influenced house music to another level is Coflo aka Cody Ferreira 'Syncopatience' is a stunning deep house release that highlights his signature blend of soulful rhythms, intricate grooves, and rich musicality. Each track brims with personality, that blend clever and creative vocals and lyrics to a deeper level than just for the dancefloor. Side-1 starts off with 'Get Down, Show Love', a collaboration with Fenyan that exudes a hip, jazzy charm. Playful yet refined, it features catchy vocal work and a high-level jazz flair, effortlessly blending house with improvisational energy. Next, Coflo's remix of 'Cee.Side's Elektrify' brings atmospheric depth, wrapping Latin influences around a funky, sultry groove that's as hypnotic as it is danceable. Side-2 delivers Ecru, where Coflo, Steve Howerton, and Niya Wells craft a deeper, tech-tinged house cut with sharp, clever lyricism. Its polished production and layered instrumentation elevate it to a higher plane of jazzy house, demonstrating Coflo's versatility and artistry. 'Syncopatience' has the solution on how merge soulful textures with dancefloor energy in a unique way.

Review: House Hippo drops a fat one to get its life underway, and who finer than house authority Terry Farley to be behind it alongside Wade Teo. This limited 12" distills a wide range of house sub genres from garage to New York to soulful. 'Come On Now' is a nice breezy opener with swirling, filtered synth loops bringing a nice French touch vibe to rolling beats, then 'Harry Hippy' gets more cut up and raw. 'Dexter' goes deeper with shakers and muted piano chords colouring the drums and last of all is the deepest of them all - a late night and smoky sound for heady escape.

Review: Get ready for two of the most heartfelt big room bangers aroundiStay Here and Writeriborn from a recent machine jam between Fort Romeau and Gold Panda, masters of emotional dance music. 'Stay Here' starts with simmering synths, slinky guitar licks, and gentle vocal touches. Over on the flip, 'Writer' delivers restrained euphoria, steady beats giving way to a fragile, beatless acoustic finish. A sprinkle of acid throughout keeps everything hypnotic. Wrapped in Eliot Axelsson's striking design, this is pure Studio Barnhus magic.

Review: DeepStitched branches out into the world of vinyl here with a first real on wax. It comes from long-time label associate Forteba who blends deep house and dub techno into his own unique forms. To kick off with 'Misteria Sinensis' goes slow, languid and atmospheric with starry-eyed pads and drifting vocals. 'Lyra Iblett' is couched in dub traditions with its liquid synth ripples and 'Danz Metika' is brilliantly weighty with heavy heart kicks barely turning under a microcosm of deft synth craft. 'Emblema' is the final journey to the deep, this time with a gentle wash of Balearic chords and gentle guitars. Quality artwork on this one, too.

Review:  Eddie "Flashin" Fowlkes is a pioneering force in techno who was there in the early days but is often rather written out of the story meaning plenty of his peers get more acclaim. His beats tan up on their own though and here he is all these years later still serving them up. This one is a reissue of his iconic 'The Truth' EP originally released in 1995. 'The Truth' is a funky and full-blooded house sound with snappy percussion and melodic bass. 'Planet Claire' picks up the speed with tightly programmed beats that float above the floor and 'Freestyle' brings some future machine soul. 'CBR' shuts down with more inventive percussion and analogue machine goodness.

Review: The 1984 classic 'Come Back Lover' by The Fresh Band receives an official remastered reissue from the original tapes. Produced by Darryl Gibbs of The Strikers and expertly mixed by Tony Humphries, this disco boogie gem soared in underground dance clubs across Chicago and New York, championed by DJs like Mancuso, Larry Levan, and Ron Hardy. Are 'N Be (see what they did there?) presents this special re-release on translucent green vinyl featuring two versions mixed by Humphries: the mesmerising original plus the Dub, with deeper, more atmospheric vocals and stunning piano breaks. Do not sleep on this one.

Review: Inspired by "cosmic vibes and alien sounds", Cut Line Records is a freshly minted imprint founded by New York-based producers Majak and Diego Knows. Wisely, they've decided to set their stall out via a multi-artist EP that offers more than a few hints about what we can expect to hear in the months and years ahead. Naturally, they contribute, rounding off the EP via the collaborative 'Electrik Funk', a smooth, spacey and sub-heavy slab of tech-house funk marked out by cut-up vocal snippets, intergalactic-sounding motifs and rubbery beats. There's plenty to set the pulse racing across the rest of the EP though, from the acid-flecked tech-house funkiness of Pedro Goya's 'Celeste', to the star-fall haziness of Digital Pimps electro roller 'Warning Bells', via the electro-goes-breakbeat shuffle of 'Alien Vision' by Frankula and St Xose.

Review: Stand Tall marks another adventurous venture from versatile producer Flevans, showcasing his knack for infectious hooks across a spectrum of genres. From disco to soul to electronica, with a surprising nod to drum & bass, Flevans demonstrates his ability to seamlessly blend diverse musical influences. Standout tracks like 'Say Yes' featuring Laura Vane strike a perfect balance between pop, funk, and dance, while 'Carry Them' exudes upbeat energy with its fusion of funk, breaks, soul and electronica elements with a touch of melancholy. 'Wild Shadows' offers a smooth, downtempo experience with soulful vocals and catchy melodies, while 'Dreamer' uplifts with its disco-infused positive rhythm and blues dance vibes. Overall, "Stand Tall" is an uplifting record that showcases Flevans' versatility as a producer and multi-instrumentalist. With its diverse sounds and infectious rhythms, it's sure to engage listeners across various musical tastes.

Review: The fifth Flaoting Points album Cascade is a culmination of creative evolution. In late 2022, Shepherd found himself in the California desert, crafting a new sonic journey via his acclaimed Promises, where he ventured into airy dreamscapes with saxophonist Pharoah Sanders and the London Symphony Orchestra, earning a Mercury Prize nomination and a sold-out Hollywood Bowl show in 2023. With Cascade, Shepherd returns to his electronic roots, craving the pulse-racing communion of the dancefloor. This album serves as a sequel to Crush, diving deeper into ravey, experimental realms, unexplored due to lockdown cancellations. Tracks draw inspiration from Manchester's record shops and California's desert landscapes, blending Buchla rhythms and glitching melodies. Shepherd's journey, from orchestral collaborations to laptop productions, underscores his relentless pursuit of innovation.

Review: Floating Points, also known as Sam Shepherd, returns with a new album that pushes his sound even further into exciting new territories. This album, consisting of eight tracks, offers expansive explorations of sounds and grooves, with each piece allowed to develop and evolve over up to eight minutes. Nearly a decade after his acclaimed debut Elaenia, Shepherd continues to blend his experimental inclinations with dancefloor appeal, a fusion that has become a hallmark of his style. Cascade is conceived as a follow-up to Shepherd's rave-reviewed second studio album, Crush from 2019. While Crush introduced listeners to Shepherd's more introspective side, Cascade aims to bring the traditional Floating Points experience back to the dancefloor. Bursting with Buchla rhythms and glitching melodies, it should be more in line with his dance singles. Shepherd describes the album as a continuation, which is reflected in the vibrant artwork by Akiko Nakayamaia colourful sleeve with fluid imagery that mirrors the album's dynamic soundscapes. The album's evocative title, Cascade, suggests movement, beauty and pressure, themes that resonate throughout its paces.

Review: Master drummer and producer Alexander Flood debuts his rhythmic first record on Atjazz, following up the sumptuous first single 'Life Is A Rhythm'. A truly exciting record on foliate green vinyl, this LP packs a production paradox, bringing both boomy bodyweight and a shape-cutting, 2-stepping sense of ease at the same time. With extra layers of perc in the rhythm section, with Brazilian percussionist Aduni on congas and Cuban percussionist Alexander Scull Castillo on bata, it's actually really the dance-flooring production that grabs us here, heard best in the plum chords and erratic pianos of 'Don't Wait For Me', and/or the live bruk ghost dance 'Sidestep'.

Review: On their fourth studio album, The Masters Plan, Robert and Lyric Hood - the father-daughter duo behind Floorplan - deliver a masterclass in house and techno that's as diverse as it is cohesive. Released on Luke Solomon's Classic Music Company, this 18-track odyssey showcases the Hoods' uncanny ability to blend the sacred and profane, the light and dark, into a sonic tapestry that's uniquely their own. From the opening chords, it's clear that Floorplan's Detroit roots run deep. The gospel-infused 'We Give Thee Honour' sets the tone, its uplifting vocals and rolling rhythms invoking the spiritual ecstasy of a Sunday morning service reimagined for the dancefloor. This spiritual thread weaves throughout the album, most notably on tracks featuring local Detroit vocalists like the soulful trio Dames Brown, Earthtone, and Lowell Pye. But make no mistake - The Masters Plan isn't all celestial bliss. The Hoods aren't afraid to get grimy, as evidenced by the pummelling beats of 'What A Friend'. Here, they demonstrate their mastery of techno's harder edge, crafting a track that wouldn't sound out of place in the sweatiest basement clubs of Berlin or London. It's this deft navigation between styles that makes 'The Masters Plan' so compelling. The dreamy house soundscapes of 'Feel It' provide moments of blissful respite, while collaborations like 'Fake & Unholy' with label-mate Honey Dijon inject a shot of pure dancefloor adrenaline. What's most striking about 'The Masters Plan' is how seamlessly Robert and Lyric blend their generational perspectives. Rather than a handicap, their age gap becomes a strength, allowing them to draw inspiration from decades of electronic music history while still pushing the sound forward. Ultimately,
The Masters Plan feels like both a celebration and an invitation.

Review: If there is a more hyped artist in the world right now than Fred... again we aren't sure who it might be. The lad who grew up close to Brian Eno and has since worked with him in the studio is a global star who has also collaborated with Four Tet and Skrillex, played all over the world, won various awards and dropped several albums now presses up his acclaimed USB to gatefold double vinyl. It is a collection of his early singles that captures his lo-fi, lived-in, diaristic sounds across a range of experimental electronic styles.

Review: During the global lockdown, Frederic Blais found inspiration in four simple words: Love, Care, Kindness, and Hope. Scribbled on a post-it note, they guided his creative journey in crafting his fifth album as Fred Everything in a secluded studio near Montreal. These sentiments echoed throughout the music-making process and have resulted in a deeply personal and sonically rich album. Collaborations with esteemed vocalists like Robert Owens and Stereo MC's add depth to Blais's trademark deep house sound, while nods to classic electronic albums from the late '90s and early 2000s offer a nostalgic touch. Each track evolves from rough sketches into magical compositions and reflecting Blais's mantra of love and hope