Review: KC Lights is a runaway success story from Glasgow's house music scene, and his stock has only risen since signing with the mighty Toolroom in 2020 for the knockout single 'Girl'. Since then he's perfected his craft in working with strong vocalists to create a chart-ready, crossover kind of house music that speaks to sunny days, and that's explicitly spelt out on this latest hit-in-the-making. 'Better Days' features Lapsley on vocals calling out to life's peaks and troughs, leading to good times on the horizon. It's just the right kind of sentiment to step into the new year with, and this one will fast-track you to summer quicker than you can book a ticket to Ibiza.
Review: More proper tacker makes it way to vinyl here courtesy of the blow label who enlist four more producers of this latest various artists EP. Kitchen Plug's 'Cheat Code' marries the best of tech, garage, dub and house into a kinetic bit of body music that oozes warm and lo-fi soul. CYMKA brings kaleidoscopic colour and squelchy acid to 'Sweet Peach' then it's all pout old school piano rave madness from Batenko on 'Inside Summer 21'. Last of all is the searing electro funk of Les Hauts with 'Passing Clouds', a blisteringly quick trip into another dimension with some rueful chord work. Sensational EP.
Leftwing: Kody, James Hurr & I Jah - "Music Is The Medication" (4:58)
Review: The mighty and unmovable Toolroom offers up a snapshot of where it is at right now with a fifth volume of its Sampler series. The boss himself Mark Knight kicks off with a collaborative tune with Crusy: 'Daddy Shhh' is loopy, tribal, full flavour tech with jumbled drums and lots of buffed metal. Huxley's 'All I Need' is one of the UK producers warm house sounds, a smart vocal brings a sense of pain over simple but effective beats. Essel's 'Lennon' then brings peak time energy with strobe-lit synth sequences and churning drums, and Leftwing: Kody, James Hurr & I Jah shut down with 'Music Is The Medication', a muscular bumper with dub-wise vocals.
Mark Knight, Darius Syrossian,James Hurr - "I Got All This" (5:56)
Low Steppa, Jewel Kid - "Big Busta" (5:05)
CASSIMM, Mahalia Fontaine - "Say Yeah" (5:48)
Wh0 - "Sunglasses" (6:58)
Review: Toolroom is a house label for big moments big tracks, big rooms, big DJs and main stages. This 15th sampler offering gives a snapshot of where the label is at right now with some new cuts from its biggest players. The boss himself, Mark Knight, kicks off alongside Darius Syrossian and James Hurt n 'I Got All This' which is bouncy and full of energy. Low Steppa, Jewel Kid offers the deeper, low sung and bass heavy menace of 'Big Busta' and CASSIMM, Mahalia Fontaine then come through with 'Say Yeah' (extended mix) which is a a passionate vocal anthem which throws it back to the early days of house. Wh0's 'Sunglasses' shuts down with a blaze of melodic stabs and filtered sweeps to lift you off your feet.
Mark Knight & James Hurr - "You Are A God" (feat Cari Golden) (6:16)
Qubiko - "Talking To Myself" (5:44)
Leftwing : Kody - "Mallet" (6:34)
ESSEL - "Try" (5:27)
Review: Toolroom Records are partly responsible for the recent upsurge in jackin' deep house in the early 2020's; this sampler record, the second in their compilations EP series, serves as yet another tour of their grand new deep house estate. Delusions of grandeur are expressed on 'You Are A God' - which, for a track so deitylike, measures itself with rather a lot of restraint - while 'Talking To Myself' contains a vocal sample that is so mouthy and infectious that we really are beginning to believe ourselves to have been possessed by Metatron. 'Mallet' swerves into tribal territory, while ESSEL's 'Try' could be a contender for dance-chart-topper, assuming its piano weaponry is effective enough at swaying the radio pluggers. Joyous stuff.
HoneyLuv & Mason Maynard - "XTC" (Jamie Jones remix) (7:31)
Lauren Lane - "Ryde Or Die Anthem" (5:23)
Carloh - "Quisiera Tenerte" (6:58)
Review: Hot Creations' latest vinyl sampler delivers four essential cuts, each with its own distinct flavour, while maintaining a coherent, subtle progression. Kolter's 'Red Alert' opens the A-side with a thundering intensity, its old-school house energy and relentless groove laying down a powerful foundation. Jamie Jones's rework of 'XTC' follows, taking the original into a deep, bewitching realm with dubby atmospherics and a head-nodding rhythm that perfectly complements the previous track. Flip it, Lauren Lane's 'Ryde Or Die Anthem' offers a playful rework of DMX's 'Ruff Ryder's Anthem', blending rolling basslines and rapped vocals with transcendent guitar stabs for a tripped-out ride. Finally, Carloh's 'Quisiera Tenerte' injects a lively Latin groove, dripping with enthralling basslines and hooky vocals that ensure the groove never falters. Each track is finely tuned to create a mix that's full of energy but never overcomplicated, seamlessly connecting one moment to the next.
Review: This compilation delves into the depths of electronic music, showcasing a diverse range of artists who blend retro influences with futuristic sounds. It's a captivating journey through hypnotic rhythms, atmospheric textures, and captivating melodies, with each track offering a unique perspective on the ever-evolving landscape of electronic music. Kosh's 'Back To The Future' sets the tone with its pulsating energy and nostalgic synth lines, while Christopher Ledger's 'Steady Process' creates a mesmerizing atmosphere with its hypnotic rhythms and evolving soundscapes. Reflex Blue's 'Super Sweet Feeling' injects a dose of Italo-disco-infused energy, its infectious melodies and driving bassline guaranteed to get bodies moving. Luca Attanasio's 'Mystery Freak' closes out the compilation with a darker, more experimental vibe, its haunting melodies and intricate textures leaving a lasting impression.
Review: The collaboration between Public Possession and Running Back has yielded a nostalgic gem with the release of 'Boli Boli', a track that revives the essence of 80s disco-synth-pop infused with Balkan emotionality. This autumn, Krystal Klear and La Raf present a record that melds cultural nostalgia with contemporary sensibilities. 'Boli Boli' stands as a tribute to the bittersweet and evocative soundscapes of the 80s. The track emerged from a spontaneous session between Krystal Klear and La Raf in London, where the Croatian singer channeled personal experiences of heartbreak into the song's lyrics. La Raf's evocative vocals, paired with Krystal Klear's distinctive production, capture the essence of a bygone era while celebrating the emotional complexity of Balkan self-pity. The production is marked by a seamless integration of La Raf's expressive vocal delivery with Krystal Klear's knack for creating melodies that are both reflective and rhythmically engaging. The result is a track that balances introspection with an infectious danceable quality, offering a unique exploration of grief that is both poignant and celebratory. The release of 'Boli Boli' thus not only revisits the golden age of disco-synth-pop but also enriches it with a distinctive Balkan touch, reflecting the artists' ability to infuse personal and cultural narratives into a universally resonant sound.
Review: After a (rare) completion of a vinyl record series, Musica da Discoteca, producer L'Oggetto returns with a standalone display of melodious might on wax. Exploring sounds emitted between his native Italy and his adoptive home in the USA, Marco Scozzaro delivers a muted but jubilant record here, covering every affective angle from snappiness to drowsiness. 'Dippe' and 'Can't U' peck at feeds of lo-fi and deep house, while 'Raschiante' and 'Rotolante' each serve to further estrange the vibe, through glassblown chords and downtempo hydrolyses respectively.
Review: Some 13 months on from the release of volume two, L'Oggetto (real name Marco Scozetto) delivers the third volume in his ongoing Musica da Discoteca series. The New York-based Italian is in fine form throughout, smoothly moving between the lilting chords, eyes-closed electronic textures, acid bass and kick drum-driven deep house beats of 'Aquatico', the oceans-deep, TB-303 powered dancefloor immersion of 'Fluido', the New Jersey garage-meets-early-90s Italian dream house lusciousness of 'DeepOrg' and the gorgeous -house revivalism of 'AltVers', with its synth-flute riffs, chunky bass and tactile pads. In other words, it's a well-rounded EP full of genuinely playable deep house club cuts.
Review: Ben La Desh shows off his elegant take on deep house on the Dirt Crew label here with five well appointed tunes. 'Heel Goed' has loopy, subtle broken beat loops taking you on a trip through the cosmos next to swirling pads and daubs of colour. 'Lift Adrift' is a gorgeous tune laced with ambient beauty and 'Fine Rise' is warm, comforting and inviting. The drums are paced and the pads are spaced out. There is some meticulous drum programming to 'Asanti' that again heads off up amongst the stars and 'Expanding Signal is a perfect back room sound for cosy and intimate dancefloors.
Review: La Pointe, a trio formed by Geneva-based techno pioneers and a New York City stalwart, make an impressive debut on Damian Lazarus' Secret Teachings. The original mix is a hypnotic exploration of light and shadow, blending atmospheric melodies with deep, pulsating rhythms. Nathan Fake's remix takes the track into more intricate and textural realms, while Jonny Rock injects a raw, off-kilter energy with his signature blend of disco, funk, and house influences. Captivating soundscapes that resonate both emotionally and physically, a perfect fit for Lazarus' label as he continues to champion boundary-pushing artistry.
U Need Me (instrumental - feat Todd Del Giudice) (4:56)
Review: The blistering, one-of-a-kind West Coast disco-funk record 'U Need Me' by LA Propinquity surfaces as part of a new body of historic productions initially intended for compilation on a full-length LP. For reasons undisclosed, this never happened; instead, Italian sonic exhumers Cannonball Records have been afforded the privilege of reissuing these tracks across a series of 7"s themselves. Hardly and criminially under-recognised in their day, the L.A. Propinquity were nonetheless composed of the angelic city's finest, with drummer James Gadson forming a prominent part. A blast from the 1970s, 'U Need Me' is a beaming slice of unrequited longing, set to delicious funk tones that are as maximized as they are unstrained.
Review: The Austere label deals in deep house music that is anything but, and now it clocks up a tenth release with LAAK at the helm. As ever things open in smooth fashion, with warped chords bent over deep, lazy drums and brought to life with subtle but colourful arps. 'Norm-alise' is a little more upright with jangling percussion and icy tinkles peppering the groove and 'Natural Selection' is another dusty but dynamic house sound that reminds of the late great Mike Huckaby. 'Obsolescence' closes out and is a super humid basement tackle with a gentle tumble of toms and congas over the dubby drums.
Hold My Hand (Octo Octa Sapphic Trails In Bloom mix) (7:54)
Sing The Blues (6:17)
Hold My Hand (6:32)
Review: Akua Grant's outings as Lady Blacktronika are always worth checking, and her first full outing on Peggy Gou's Gudu label is no different. 'Baby I Got It' is full-on aural madness - a bombastic blend of beefy, redlined house drums, ghostly chords, pitched-up vocal samples and discordant minor key melodies - while 'Sing The Blues' is a deliciously drowsy chunk of wayward, dub-flecked deep house that's as beautiful as it is trippy. Best of all though is the locked-in deep house hypnotism of 'Hold My Hand', which features some superbly soulful vocal samples, metronomic bass and spacey electronic textures. Octa Octa provides a fine remix of that cut, too, re-imaging it as a stomping slab of lo-fi, funk-fuelled breakbeat house headiness.
Review: Ladymonix brings the class on the four tracks she lays down for Frizner Electric. 'Club Nowhere' is like a superbly deep Fred P track if he were a more extroverted character, while 'Mood' manages to marry dreamy pads to heavy weight kicks with a real sense of drive. The house gets raw and steamy on 'Gonna Let' then closer 'Movin On' is a super silky late night jam. What's more, a portion of sales from this EP will be donated to support Femme Queen Chronicles, a series about the lives of four black trans women in the city of Detroit.
Review: Connoisseurs of the European underground will be well-tuned to the sounds of quality operator Nico Lahs. And as for house operations over in the States, they don't come much finer than Kai Alce's NDATL Muzik, which means this a superb coming together. And so it proves with 'Over Me', offering slouchy, low-slung deep house beats with nice aloof, soulful samples. 'Searching' has a zoned-out late-night feel with swirling pads and a super smooth groove, then 'Overcome' brings a little more percussion and jazzy key work which Alce flips into one of signature and smoky shufflers.
Review: Housewax proclaim Mr. Lico Lahs as the don of Bari house, a supposedly local form of the international dance music genre based in and around Bari, situated on the east coastal heel of the booted peninsula of Italy. With a haggard, bleary-eyed, verging on narcotised sound - reminiscent of the opiate excesses of Chicago house - 'Coming Down Baby' and 'Time Shine' season the pan with additional lo-fi and filter house elements, commanding shoulder exposures and suggestive side eyes the whole floor over. Closer 'Luv You The Right Way' cleverly goes full stereo on the kick, providing a mood of apparitional nostalgia for the holiday sun.
Review: Having set out his stall via an EP for Crosstown Rebels' Rebellion sub-label, Puerto Rican producer Cali Lanauze graduates to Damian Lazarus's main imprint. His love of South American and Caribbean percussion sounds comes to the fore on opener (and title track) 'Borderline', where Cari Golden's atmospheric lead vocals rise above a booming bassline, raw analogue electronics and punchy house beats. Lanauze once again doffs a cap to Latin rhythms and drum sounds on the deeper, creepier and even weightier 'Temple of My Confessions', before adding sinewy strings, deep space chords and trippy spoken word snippets to a sub-heavy tech-house groove on the gargantuan 'Talk To My People'.
Review: A few years back, legendary Alt-jazz saxophonist (and original Philip Glass Ensemble member) Dickie Landry handed LCD Soundsystem's Korey Rich a tape of a very NYC-sounding punk-funk track he recorded in his native Louisiana way back in 1986. Finally out, 'Hang The Rich' sounds like a long-lost downtown dub-disco gem that joins the dots between Patrick Adams' more eccentric disco productions, Bristolian punk-funk mavericks Maximum Joy, and McFadden & Whitehead after a fistful of psychedelics. Optimo's JD Twitch provides the obligatory 21st century dancefloor tweak - a stretched out, DJ-friendly revision blessed with bonus jacking drum machine rhythms and some trippy synth motifs. It's breathlessly brilliant, as anyone who has heard him and Optimo partner Jonnie Wilkes DJ over the last three years will confirm.
Comik Sans - "Brainfreezer" (Natural Goofy mix) (6:05)
Natural Goofy - "Ensename A Mentir" (6:41)
Kurilo & Mili - "Tu M'en Veux" (6:07)
Review: Planka Records continues to lay out its musical agenda with a fourth EP that takes the form of a forward-thinking compilation that blends fresh talent with trusted names. Hypnotic rhythms, shimmering textures, and fearless experimentation define this release, creating a soundscape that's equally suited for deep club immersion or solitary reflection. House, electro, and techno influences blur seamlessly, crafting tracks that transcend time and genre. Each cut pulses with enigmatic energy, pulling the listener deeper into Planka's evolving sonic universe. With PLNK004, the label reaffirms its role as a tastemaker-consistently championing innovation while staying true to its raw, underground roots. An essential, boundary-pushing listen.
Review: American producer LaRosa makes his first appearance on the esteemed Eastenderz imprint, bringing with him a quartet of killer, club-ready cuts. He sets his stall out with 'How Do You We Do', a chunky, tech-tinged roller piled high with deep, dubby sub-bass, bleeping melodies and intergalactic pads (plus a wonderful, saucer-eyed breakdown), before reaching for gently chiming melodies, bustling beats, smoother bass and trippy noises on 'Chagondoo'. 'The Fifth Story' is a little deeper and more subdued - though the sub-bass is even weightier and the melodies more bleeping - while 'Easier Said Than Done' is a rock-solid tech-house box jam of the sort that Eastenderz has always done so well. Keep an ear out for some very subtle disco vocal samples and acidic squelches.
Review: Definitive Recordings throws it back to 1994 for 'Do It' a house classic by Las Americas, which is a legendary project by David Alvarado. Newly remastered for 2024, this edition includes the original version as well as a refreshed Chuck Phulasole remix and two dynamic new takes from Italian producer St. David, who brings his vintage-inspired style in all its glory. He delivers a playful 'Big Tool Mix' with vocal flips and infectious grooves alongside a funkier 'Drum-Tool Dub' packed with sharp guitar licks. The original's hypnotic basslines and soulful vocal hook still shine, while Phulasole's deeper remix adds rich keys and Moog warmth. Lovely stuff.
Review: The latest in broken beat's best and brightest comes from Croatian producer Laseech, who is a relative newcomer to the scene. He's nevertheless managed to enlist the help of its greatest stalwarts for remixes, owing to his veritable 'rising star' status. Namely, Dego and Patrice Scott are on remix duties for this already steamy extremity-oiler; the original 'Hey Love' has a laid-back flair enough, but Dego's version has a bit more of a nu-funk verve to it (as ever showing off the longtime production player's versatility), and Patrice Scott's is equally as infectious with its comparatively straighter 4x4 house rendition. The star, though, comes from Laseech himself, on the one-off B-sider 'You See', which proves the undying spirit of broken beat with what could be one of the most hypnotic tracks to come out in the style in years.
Review: On his new 12" for his own kickstarter label Cosada, easy riser Laseech beseeches us to dance. Jazzy, soulful house music enlists the emosh but unrushed voice of Swaylo, snaring the essence of heartfelt house in a power-of-three-tracks net. Awakening the legend Ron Trent from his slumber, his deep, percussive touch and copy-paste-happy vocal science adds a happily haphazard twist. Inspired by the melodic landscapes of the Adriatic, the inaugural label name "Cosada" holds out a personal meaning for Laseech, drawing from both an idyllic island and the street where his studio lies, symbolising his continued hope to make timeless music.
Review: It has been a bit of a while since we heard from edit king and seductive groove maker Late Nite Tuff Guy. Thankfully now he is back after his hiatus with more of his brilliance in the form of a third entry into his Soul Cut series. He brings his magic fingers to a pair of dazzlers here, with a hearrt-wrenching version of a latter yaers Motown anthem, with a modern update that leaves the original vocals in place but adds a little more drum weight. On the flip, 'Don't Look' is a much more smoochy and seductive late-night sound for cosy dances.
Review: Late Nite Tuff Guy's Soul Cut #04 offers three expertly crafted edits that breathe new life into classic 70s tracks, blending disco, jazz, funk, and pop into a seamless listening experience. On Side-1, 'Beijo' sets the tone with a smooth, disco-infused reimagining of Earth, Wind & Fire's classic interlude. The track has a light funk undercurrent, creating a vibe that's perfect for dancing all night, with a Balearic twist that adds a fresh touch to the original. Side-2 kicks off with 'Sunshine,' a tasteful edit of Roy Ayers' iconic 'Everyone Loves the Sunshine.' Late Nite Tuff Guy maintains the soulful essence of the original while adding his own groove, making it a perfect summer anthem. The EP closes with 'U Got It Bad,' a rendition of Stevie Wonder's 'You've Got It Bad Girl,' reworked into a smooth, jazzy track that's both nostalgic and timeless. An excellent 12" for fans of classic disco, funk and jazz, with a modern twist.
Review: Electric Tools Vol 1 ignites with a four-track electro explosion, showcasing the talents of four very strong producers for one electric 12". Side-1 kicks off with the dynamic collaboration of Latent & Retrolog on 'Super Villain,' a fusion of electro and breakbeats adorned with captivating samples and a bassline that hits hard. Bok.p follows suit with 'Creator,' channeling early UK techno and bleep-styled vibes reminiscent of the golden era, evoking nostalgia akin to classics like 'Rhythm is a Dancer.' Flipping to Side-2, Lamalice presents 'AAS,' a melodic journey through early 90s techno, intertwining lush melodies with driving beats for a nostalgic yet forward-thinking experience. Closing the EP, Dixia Sirong's '23rd Step' offers a catchy blend of early 90s trance and techno, guaranteed to transport listeners to the heyday of electronic music. Electric Tools Vol 1 is a great example to the enduring appeal of techno, seamlessly blending retro influences with contemporary production techniques to deliver an electrifying listening experience that will leave fans craving more.
Review: Psychedelic dance technicians explore the recesses of weird emotion with their latest release with Latrec. The original 'Kutika' is like a pocket calculator gone rogue, blending an electrified MPC-style jam on the beat with dubbed-out vocal samples and an oddly resonant bass synth. Paranoid London member Quinn Whalley crops up on the B-side, together with Matt Cowell under the name The WC, for a remix - the toilet humour is apt, since this version of the track does sort of sound like it's sloshing around in a washbasin, with its verbed-out delays on the bass. Remotif, meanwhile, throws a driving trance curveball on the B2.
Review: The one and only Phillip Lauer continues his flawless sonic journey on 'Seventy Seven Zero Zero Seventy Seven'. The Frankfurt-based producer never puts a foot wrong, as his ever-morphing club sound moves through undulating sonic landscapes. His latest effort features a pair of originals coupled with inspired guest remixes, covering a fair few dancefloor bases. The title track features a hypnotic vocal hook soaring through dreamy pads, pulsing acid bass and plucked guitar, before Khotin ramps up the acid and toughens the drums for a slightly more robust rework. We enter new wave territory on 'Felt Bat', with a bassline that would make Peter Hook proud, euphoric synths and snare-driven rhythms. Yu Su steps up on remix duties, transposing the track deep into heads-down territory, as rolling breaks power paranoid drones and psychedelic synth lines across an immersive nocturnal trip.
Review: Lauer will need no introduction to anyone reading this. He is a long-standing pillar of the underground and a real house master. Here he brings some throwback 90s vibes and rave Ibiza energy to opener 'Centurio' with its acid-tinged synth and hands-in-the-air chords. 'I Don't Know' pairs things back a little with slapping drums and acid-tinged stabs and 'Trig Out' gets back to peak time and sun-kissed main room house fun complete with a curious whistle. 'Longo' closes out this bright, ageless EP with another mad mix of wonky pianos and sizzling house beats.
Boris Dlugosch, Marc Romboy & CAR - "Survivor" (6:19)
Boris Dlugosch, Marc Romboy & CAR - "Survivor" (Johannes Albert remix) (6:02)
Review: Germany's always club-ready label Frank Music is back with another beefy 12" that finds mainstays and newcomers unite in fine fashion. Johannes Albert and Lauer open up with a trio of collaborations that go from full throttle, chord led house on 'Based on Boss' to the deeper grooves of 'Four 44' and far sighted, soul drenched tech of 'Posh-O-Rama'. Boris Dlugosch, Marc Romboy & CAR step up on the B-side with the woozy and hypnotic 'Survivor' which also gets remixed by Johannes Albert into something more raw. Useful grooves for sure.
Review: Communique Records has been digging deep into the annals of house history and secured the right to reissue this little gem from Ralph Laurenn. His Proper Etuquette EP landed first back in 1997 on the sub-label Party Rock and sits right on the verge of deep house and tech house. 'Right Direction' has fizzing, pixelated and sugary chords over snappy drums. 'Clover' is more loose and fast then 'Hear Me Out' offers a beautiful downtempo excursion into noodling jazz melodies. 'The Touch Of Skin' carries on the old school hip-hop vibes with a dusty broken beat viber for late-night get-togethers.
Review: Vick Lavander is on fire right now having recently minted Brett Dancer's new label Ethnic Blend Music and now comes back with more of his humid and authentic deep house. This one is also to start a new label - Sophisticado, his own new imprint - and first up is 'Deep Root,' a cosmically included deep house cut with gospel-style organ chords and chunky drums that work you into a lather. 'Hustle' then picks up the pace with more superbly warm chords and this time some Balearic acoustic guitar riffs and impossibly sunny grooves. Life-affirming tackle for joyous dancefloors.
Review: In the world of house music, it's often the B-sides - more adventurous or deeper alternatives to the peak-time-focused lead cut - that often last the test of time. It's a conclusion that Vick Lavender has come to, at least, because this limited-edition EP marks the first in a 'B-Sides Series' in which all cuts are bonuses, alternate takes or 'tributes' to other artists. He begins by paying tribute to Dexter Wansel on 'A Space of My Own', layering dense hand percussion, spacey electronics and intergalactic synth sounds over a rock-solid kick-drum pattern. He then slams down two versions of the King Sporty sampling 'Mr Sporty': the sax-squelch-and jammed-out keys-heavy brilliance of the 'Time Traveler Re-imagined Mix' and the more leisurely, synth solo sporting deep house warmth of the 'Drums & Life' version.
One More Time (Vick Roundabout instrumental) (7:47)
One More Time (Casamena Living Room remix) (7:49)
One More Time (Casamena Living Room instrumental) (7:48)
Review: This soulful, busy, heated and sultry 12" vinyl record features the work of two of Chicago's most eminent producers around today. On production duties comes Vick Lavender and Carlos Mena, and they're complemented by vocalist Amma Whatt (who appears on the cover), with respect to making a funky housey tribute to soul and jazz and bossa nova, producing a steamy whirlwind of a track that is hard to place, yet stellar. The various mixes are up-front and mega-roomy, but Whatt's vocals hit softly despite.
Vick Lavender - "The LOVE Song" (feat P Jehrico - main mix) (9:12)
Funkey Munkey - "Make Me Feel It" (7:46)
In House II - "Love To Love You" (Heat Of The Night mix) (4:46)
Review: From Chicago to New York via the UK, Freedom Party rack up mega phono-mileage on this retrotextual deep house steamer. The label have set foot on this bold, folk artistic sound-quest since 2023, when the first V/A emerged amid black-and-yellow steams of equably danceable produces from in-house charcutiers Look Once, Mederic Nebinger and Steal Vybe. Now a completely fresh crew is welcomed aboard, with just three new mates added to the original four: Vick Lavender deals in impossible erotism on the long out-of-press vocal jam 'The LOVE Song', with anachronistic beat tech and sampled, 1930s-feel vocals. Funkey Munkey follows up with 'Make Me Feel It', an ambitious retro-rave sound-splay, and In House Ii offers to take us home on 'Love To Love You', a sultrier refit of an all-time-classic, Donna Summer surestarter.
Review: 24 years into his career as Lawrence, Peter M Kersten continues to deliver devilishly deep house workouts that somehow manage to be both effortlessly immersive and percussively propulsive. There's plenty of examples of this trademark style on the Gravity Hill EP, which marks his return to Smalleville after a nine-year absence. Check first the title track, where soft-focus pads, poignant piano motifs and deep bass ride a rock-solid house groove, before turning your attention to the dusty, opaque, slowly unfurling dancefloor beauty of 'Beaver'. Kersten opts for a warmer, drowsier and more hypnotic deep house sound in the similarly gorgeous 'The Swamp', before he doffs a cap to Green and Brown Album-era Orbital via the looped intergalactic synth sounds, analogue synth-bass and swinging house beats of 'Stargazer'.
Review: Lawrence's Epiphany Remixes, a release from the German record label Giegling, presents four distinct interpretations of the title track. Each remixer brings a unique approach to the original piece, resulting in a diverse and captivating soundscape. Zoe Polanski's version transforms the track into a crystallized melody, creating a cold yet beautiful atmosphere. Lowtec's remix explores deep techno, delivering a smooth and dreamy ambiance with a touch of sadness. M Pittman Ladder's interpretation adds a gritty, chunky bassline, while Tobias' remix elevates the tempo, creating a pulsating and mechanical percussion elements. These remixes showcase the versatility of Lawrence's original composition, demonstrating how different artists can reinterpret and reshape it to create new and engaging experiences.
Review: The consistently excellent Game label is back with more of its ageless dance floor goods, this time in something of a deep house vein. Lay Far is behind the two grooves on this 12" and both are meticulously well-crafted hits. The first is a tweaked version of 'Without You' which has some psyched-out 60s guitar work and classic Philly strings soar high above a deep and dusty disco-house beat. Lavish vocals add an extra elegant feel while 'Our Connection' then features on the flip. It is a similarly smooth and infectious groove, this time topped with noodling jazz keys and some magical Rhodes vibes
Review: Crosstown Rebels compere Damian Lazarus teams up with fellow musician and singer-songwriter Jem Cooke, with new track 'Searchin'': a primeval precognition of the big bad boss man's upcoming fifth album on the label, Magickal. Though it's been released digitally with a focus on Bullet Tooth's remix on the B-side, this blue-innered vinyl edition compiles all three of the track's versions, also clocking a sure-to-be much-spun Radio Slave remix on the B. The original is an FM-led brooder with posterities of bleep techno and darkside fidget house. Cooke's vocals belt searchingly against burbling synthwork, while Bullet Tooth's remix takes a tempting dark garage turn, risking briar-shod paths of bass as Cooke's refrain is made gothic. Slave's version is, as ever, hardly slavish, preferring a more tensile daytime vibe of subtle piano and muted vox.
Review: Damian Lazarus returns to Crosstown Rebels with 'Sunrise Generation', featuring the celebrated vocals of singer-songwriter Fink. Set for release on November 8, 2024, this highly anticipated track marks Lazarus' first solo material on the label in over a year, following his Grammy-nominated collaboration with Diplo and Jungle. 'Sunrise Generation' captures the euphoric energy of sunrise, blending emotive soundscapes with Lazarus' signature atmospheric style. Norwegian talent Meera, a rising star within the Crosstown Rebels family, contributes a deep, textured remix, adding fresh layers to Fink's haunting vocals. This release reaffirms Lazarus' position as a visionary force within the electronic music scene.
Review: Damian Lazarus and JOJO ABOT's work here is a powerful collaboration that pushes the boundaries of what we expect from the Crosstown Rebels label. On the surface, it's a pulsating dancefloor track, but there's so much more lurking beneath the surface. Built on a foundation of driving rhythms and intricate textures, the track weaves JOJO ABOT's bewitching vocals with hypnotic grooves and subtle amapiano influences, creating something that's both immersive and unpredictable. The Major League Djz remix elevates the energy, turning up the intensity with a deep, groovy progression that feels like it could keep the party going for hours. Meanwhile, Raxon's rework introduces a darker, more atmospheric edge with his signature off-kilter bassline and sharp, rolling percussioniadding depth while still maintaining the track's core essence. Warrior Dance shows Lazarus' unerring ear for talent and his ability to curate soundscapes that speak to both the mind and the feet.
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