Sanderson Dear - "A Place For Totems" (extended version) (6:10)
Review: Sanderson Dear's Stasis Recordings released the original Time Capsule compilation in 2020 - a 20-track exploration of ten different ambient techno artists exploring two ideas each in compact form for a box set of 7"s. Now the label has revisited some of the project's standout moments and offered a chance to enjoy extended versions gathered on a single 12". From Maps Of Hyperspace shaping out atmospheric halls of synth work on 'Beta' to Glo Phase offering some gorgeous, sparkling grooves on 'Fire Flies', there's plenty of ground covered on this release. Of course the mighty John Beltran is a big drawer too, and his typically stellar 'The Descendent' doesn't disappoint in its full extended version.
Review: Antonio Ocasio is a spiritual house veteran truly embedded in the story of NYC house music since he minted the Tribal Winds label in 1998. There were a few years where things went quiet, but Ocasio has been back in action in 2023 and swiftly following up the Soulciety Music Series release with this stunning 12". On the A-side we get Sugah Lyrics offering her hushed, poetic vocal tones amidst the rolling percussion and dreamlike synth work of 'Sacred Tones'. The flip takes a different path as a mellow, soulful composition lays the groundwork for Nina Hadz Antich's sweet singing on 'That Something', once again affirming Ocasio's gifts as a songwriter and producer as well as an NYC deep house staple.
Antonio Ocasio & Coflo - "Protecting My Peace" (7:44)
Antonio Ocasio & Cee Elasssaad - "Agbara" (6:44)
Review: Although nowhere near as celebrated has his New York contemporary Joaquin "Joe" Clausell, Antonio Ocasio has been offering up spiritually enriching house music on the Tribal Winds label since the late 1990s. Here he debuts the Soulciety Music Series via a 12" containing two ear-catching collaborations. COFLO lends a hand on A-side 'Protecting My Piece', a fine slab of synth bass-propelled spiritual house piled high with Latin percussion, elongated synth solos, dreamy pads and addictive piano hooks. Cee Elesssad joins Ocasio in the studio for B-side 'Agbara', a deliciously positive, sun-soaked number that adds excitable, jammed-out organ solos to a rubbery and life-affirming piano-house groove
Review: Oceanvs Orientalis and Ilhan Ersahin first entered each other's orbits by chance at a performance at Turkey's Cappadox Festival in 2018. Orientalis is renowned for his fusion of Eastern musical motifs and traditions with cutting-edge electronica, while Ilhan Ersahin has long plowed a unique path uniting assorted musical strains from around the world via an exploratory jazz-improv sensibility. Following two tracks ('Mesta' and 'Pire') co-written by Ilhan and OvO and released as collaborations, as well as two more Ersahin / OvO co-writes ('Revenge Of The Wankers' and 'Television') released under OvO's name alone, a fresh and exciting new song, '1980', now heralds a full-length collaboration slated to land in Spring 2024. The track's title hints at a certain nostalgic bent, all while still keeping its gaze firmly fixed on the future as it evokes sun-drenched, bygone good times. The 10" edition adds several extra versions, one of which spotlights the multi-instrumental mastery of Darkside's Dave Harrington, and the other the mesmerizing vocal stylings of Gaye Su Akyol.
Review: Despite some FXHE releases containing playful artistic references to the films that undoubtedly referenced the titles, this Romancing The Stone double pack from Omar S is sadly lacking in any MS Paint renditions of the Michael Douglas and Kathleen Turner 90s vehicle of the same name. It does however contain four more fine examples of the fact no one does it quite like Omar S. Lead track "Leave" sets the tone, as ripples of percussion emerge from a pool of simmering sonic emotion and embarks on a masterclass in slow build dancefloor revelation at breakneck pace. "Romancing The Stone" pulls from the same palette of anthemic Omar S productions as "Here's Your Trance, Now Dance" and "Psychotic Photosynthesis" as a lead array of synths, keys and chords weave with supple grace over crunchy drums - watch out for the track finishing abruptly. On the second 12", "Frogs" dovetails from a simple disco guitar loop into fucked up abstract acid techno territory with little prior warning whilst "Surpass" finds AOS ending with some anthemic maximal piano house.
Review: Originally released back in 2011 in conjunction with Scion Audio/Visual now repressed by Omar S on his FXHE label "Who's In Key" features Theo Parrish!
Review: Opolopo and Alafia recently united to embark on a fresh musical odyssey that birthed two intricately crafted percussive marvels. 'Axxanxxan' and 'Axxiove' were irresistibly captivating, blending Afro rhythms, disco allure, and synth ingenuity into dancefloor dynamite pulsating with tribal vitality. Now, both cuts get served up as instrumental cuts. On the A-side, metallic basslines, choppy guitars, and swirling synths conjure a tropical ambience, while the flip side features pronounced drums and entrancing rhythms infused with a cosmic allure. These Canopy treasures shine as brightly as the original versions.
Review: Opolopo and Alafia have hooked up here to work together on a new musical journey that takes the form of these two richly layered percussive monsters. 'Axxanxxan' and 'Axxiove' which arrive on this 12" from Canopy are as addictive as it gets - they fuse Afro rhythms and disco dazzle with synth innovation to create a pair of dance bombs with real tribal energy. The A-side is detailed with metallic bass, choppy guitars and swirling synths that add up to a nice tropical sotmg, while the flip has more prominent drums and hypnotic rhythms that have a subtle cosmos twist. Two gems from Canopy, then.
Review: Conoley Ospovat's 'Transcontinental Trip' on Continental Drift captures a lush, bass-driven vibe that's both grounded and explorative. The title track kicks off with a jazzy, rhythmic pulse, setting a warm atmosphere that flows into the loose drumming and field recordings of 'Hold On,' evoking the understated style of Ricardo's Sei Es Drum. 'Sunbreaks' showcases Ospovat's melodic touch with a moody, layered groove, while the EP closes with the hazy, atmospheric 'Pacific Coast Rain'ia sparkling finish to an EP that bridges ambient textures with club-ready energy.
Grasslands (feat Mitchell Yoshida & John FM) (5:41)
Visions Of You (feat Mitchell Yoshida & John FM) (5:56)
Totall Recall (feat Mitchell Yoshida, John FM & Carla Azar) (2:29)
Car Dates (feat Tyesha Blount & Carla Azar) (4:22)
Slide (feat John FM, Mitchell Yoshida & Billy Lotion) (6:18)
Keeping Me (feat Mitchell Yoshida, John FM, Troialexis) (5:41)
Growing Old (feat Mitchell Yoshida, Amir Hasan) (6:02)
Morning Ride (feat Mitchell Yoshida) (5:35)
Selinho Na Calcinha (feat Alexia Bomtempo & Mauro Refosco) (11:53)
Saturn Eats His Young (feat Supercoolwicked) (3:57)
Review: If anything, the hugely prolific Motor City mainstay that is Omar S seems to be getting even more prolific as time goes on. His vast catalogue grows once more here with Fun House, which finds Alister Fawnwoda exploring a wide range of dance music styles alongside guests such as FXHE regular John F.M., plus Mitchell Yoshida, Super Cool Wired, Troi Alexis, Tyesha Blount and more, with all the production, lyrics and mixing taken care of by Omar S himself. The tracks range from seductive deep house to edgy mechanical techno, dubbed out downbeat joints and smooth electronic Detroit soul. It is yet another crucial chapter in the FXHE and Omar S story.
Review: Some years back, Ben Norris AKA O'Flynn looked set for a major breakthrough, with his EPs on Blip Discs and Ninja Tune getting singled out for praise. Since then, his career has stalled, though we wouldn't be surprised if this impressive debut album propels him into the spotlight once more. It's a wonderfully fluid, evocative and enjoyable set that attractively sashays between languid ambience, Afro and Latin-influenced cut-up club cuts that cannily fuse disco, nu-disco and deep house, drum dubs and percussion jams, and off-kilter affairs that defy simplistic categorization. Highlights are plentiful throughout, from the dreamy dub disco flex of "Tru Dancing" and jazzy deep house warmth of "Painted Wolf", to the huggable dreaminess of two-step shuffler "Celestine" and the loved-up haziness of enveloping closing cut "Neptune".
Review: Celebrated UK producers and DJs O'Flynn and Frazer Ray (who was previously known as Soundbwoy Killah) join forces here for new collaborative album Shimmer on Ninja Tune's Technicolour label. The record pays homage to the UK dance music the pair so loves from speed garage to breaks and hardcore. As such it is a record that takes you to the heart of the dancefloor but also offers a great escape from everyday life with evocative synth soundscapes over compelling beats. As much as there is plenty of physicality here, there is also tenderness of emotion and deftness of design that brings an artful quality to their take on party sounds. Top stuff.
Review: Steve O'Sullivan has been a prolific collaborator around the deep techno and minimal scene for a long time now, and he really hammers that point home with this expansive new project on Sushitech. Across eight tracks, the Mosaic maestro teams up with artists ranging from premier league titans like Ricardo Villalobos and Brawther through to emergent talents such as Soela and Ben Buitendijk. Each guest artist brings their particular slant to their track, but O'Sullivan's overarching deepness is the glue that binds the release together in a swirl of dubby pads. The results are consistently classy, but you knew that already right?
Review: We didn't see this coming but we're very much delighted it has: the peerless dub techno don Steve O'Sullivan with a full length of past triumphs and unreleased gems on Nina Kraviz's always adventurous Trip label is always going to be worth hearing. The Brit stretches his legs and pulls out all the stops here to cover plenty of ground while reaming true to his signature sound design excellence: bouncy, minimal but strobe-lit cuts like 'Kesk', twisted 90s techno sounds like 'Grun', barely-there IDM-adjacent sounds like 'Groente' and ice cold dub cuts like 'Botala'. A real masterclass.
Review: Antonio launched his own label Tribal Winds all the way back in 1998 so big up to him for still serving up new releases over a quarter of a century later. This one is a killer, too - a worldly melange of influences from house to Afro, disco to funk. 'Nibakhulu' kicks off with a hefty tribal feel then 'Ashe' (feat Morris Revy) gets more percussive. 'The Old Ones' (feat Taola) rides on funky drum patterns with lush string sounds and big claps powering it along and last of all 'Africa Me Llama' (feat Ziphezinhle Celeste) comes with fresh percussive patter and jumbled drum funk. Each of the tunes gets a side each to play out and really make its mark.
Review: Crosstown Rebels continues its spell of dance albums releases with a fresh one from Oceanvs Orientalis (Safak Oz Kutle), Portrait Of The Obscure. After three superb singles on the label over the past four months, this nine-track LP offers a comprehensive exploration of the Istanbul-based talent's rich, globally-infused, captivating sound. As if to bottle the essence of the awe of travel, either everyday-real or astral - and the personal developments and realizations that come of it - onto a single record, Portrait Of The Obscure skirts the possible limits of progressive dance, fleshing out a talent for layering that we'd wager many artists only ten years or so ago would've thought impossible. Just listen to the hullabaloo that is 'Neutrality'; despite the name, it's hardly neutral at all, coming as an immense positivisation of moving parts and godlike sonic entities, which sound to dance around a central kick axis, one that we're surprised Oceanvs was still able to fit into the mix.
B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition
I'm (Not) Sorry (6:08)
That Groove (6:50)
Don't Change (6:04)
Solid Soul (5:08)
Rollercoaster (4:51)
You & Me (6:09)
The Long Drive (5:21)
Love Transmission (5:12)
Laid Back (4:31)
Insane (6:48)
Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***
Embark on a journey through Berlin's pulsating house music scene with Italian-born, Berlin-based Luca Olivotto, who infuses his beats with the energy of the city's underground while blending in his Mediterranean roots. This album encapsulates the essence of Olivotto's musical universe: a fusion of cultures, a celebration of diversity, and a testament to the universal language of music. Highlights include 'I'm (Not) Sorry,' which delivers a smooth New York house sound, embodying late-night beauty with its uplifting and deep tones. It's a perfect combination for those seeking a soulful experience. 'Don't Change' offers another excellent eyes-closed house burner, maintaining the album's deep and introspective vibe. Also, 'You & Me' stands out as the hands-up moment in any house set with the peak energy and communal spirit of the dance floor at its heart. Olivotto's ability to command dancefloors as a DJ and evoke emotion as a producer shines through in this double pack.
Review: Embark on a journey through Berlin's pulsating house music scene with Italian-born, Berlin-based Luca Olivotto, who infuses his beats with the energy of the city's underground while blending in his Mediterranean roots. This album encapsulates the essence of Olivotto's musical universe: a fusion of cultures, a celebration of diversity, and a testament to the universal language of music. Highlights include 'I'm (Not) Sorry,' which delivers a smooth New York house sound, embodying late-night beauty with its uplifting and deep tones. It's a perfect combination for those seeking a soulful experience. 'Don't Change' offers another excellent eyes-closed house burner, maintaining the album's deep and introspective vibe. Also, 'You & Me' stands out as the hands-up moment in any house set with the peak energy and communal spirit of the dance floor at its heart. Olivotto's ability to command dancefloors as a DJ and evoke emotion as a producer shines through in this double pack.
Money Hit Da Floor (feat Supercoolwicked & Amir Hassan)
Aaayoooooo (feat Alister Fawnwoda)
Can't Change
Inner Luv (Intrumental mix)
Bend Who (feat Milf Melly & King Milo)
Whale Sex
Multiple Orgasms
Ice Cream (feat Alandra O Smith & Supercoolwicked)
Miss Hunn'nay (feat Mad Mike Banks)
My Momma & 'Nem Said I Don't Have To!!!
Start This Over Again (feat Supercoolwicked)
Jump
Outer Jass Authority (feat Supercoolwicked, De'Sean Jones & Ian Finkelstein)
Review: Omar Alex Smith's development as an artist is such that these days, it's hard to predict what he'll put out next, musically speaking. Can't Change, his first album for two years, is a great example of this. While there are examples of his trademark hypnotic, driving, heavily electronic Motor City house sound (see 'Whale Sex', 'Inner Love' and the acidic 'My Momma and Ned Say You Don't Have To'), these rub shoulders with tracks that more expressly explore his different inspirations, as well as nods to Detroit musical history. The results are predictably impressive, with our picks including the jazzy, soulful and sun-kissed dancefloor pressure of 'Virgil', the mutant R&B/hip-hop of 'Bend Who', revivalist piano house sing-along 'Start This Over Again' and a jaunty workout featuring vocals from UR's 'Mad' Mike Banks ('Miss Hunn'ayy').
In My City (feat John FM - Rick Wilhite mix) (6:27)
Don't Leave Me Standing Yeaa (5:44)
Mell'like Boom Boom In'dair! (4:28)
Washtenaw County Horn Section (6:03)
You Gotta Beat The Clock (4:24)
Simply (7:16)
Review: There's been plenty of online chatter about the confrontational title of Omar-S's latest full-length outing, and arguably not enough focus on the music itself (or the fact that the guest list contains Rick Wilhite, Norm Talley and OB Ignitt for that matter). This is unfortunate, because as usual Alex 'Omar' Smith has hit the spot. The six untitled tracks are impressively varied, with Smith effortlessly moving between 21st century P-funk (track one), cowbell-powered deep house funk (track 2), sparse and synth-heavy acid house hypnotism (track three), disco-house jack (track four), sub-heavy Detroit-meets-Sheffield minimalism (track five) and sunrise-ready dancefloor dreaminess (track six).
A Toast To Momma Rose (Crowd Claps Jacked By Norm Talley)
That's Lil'Boy (feat Ian Finkelstein)
Second Life (feat John FM)
The Sound Of Neptune
Don't Get In My Way
This Love Is 4 Real
Oops
Hear Me Out (feat John FM)
Ambiance (feat John Cloud & L'Renee)
Coming Home Hum
1993
Review: Those who've been paying close attention will know that Alex 'Omar' Smith has been mixing things up musically of late, veering away from the deep Detroit house he's famed for in order to explore a wider range of influences. New album "You Want" doesn't exactly reverse this trend, but it is far more rooted in his particular brand of seductive, off-kilter deepness and techno-tinged hypnotism than recent singles. That's undeniably a good thing, because nobody does crunchy, machine driven club jams better than the Motor City producer. There are nods towards Italian style piano house, disco, broken beat, jazz funk, Masters at Work and - more surprisingly - industrial techno (see the filthy closing cut) - but the resultant cuts don't sound like anything other than tried-and-tested Omar-S club jams.
Review: The second part of Omar S' You For Letting Me Be Myself album in vinyl form sees another 8 tracks across four sides of wax; aside from the '80s inflected sounds of the album's title track, the 303 workout of "Ready My Black Asz" finds itself with the dubbed out loops of "Messier Sixty Eight". As a bonus for those who already have the album, this part contains two vinyl exclusive tracks; the soothing deepness of "She's Sah Hero Nik" and the delayed organ weirdness of "Broken Bamalance Horn" - both more than worth the price of admission alone.
Review: As much as Detroit legend Omar S can do utterly freaky and experimental sounds, he also knows how to kick out some floor filling jams. On this double album from back in 2005, he manages to do both. The bleepy madness of 'Strider's World' with its meandering bass and raw drums was a classic that got hammered by everyone at the time, while 'Congaless' was another favourite on cultured floors with its lovely claps, hissing synth details and low slung beats. In between are plenty of archetypal Smith cuts, but the best might be 'A Victim' with its aching vocal.
Review: Last time it was only Omar S that could do it; this time he's thanking us for letting him be Omar S. That's right the FXHE boss returns with an eagerly awaited new album brandishing some 14 tracks. Omar S albums naturally tend to sell themselves but, for those still curious, Thank You For Letting Me Be Myself sounds like a perfectly executed culmination of the ideas AOS has explored on the numerous 12"s since his last album. As soon as the crunchy mechanical dramatics of opening track "I'll Bring U Ah Lil Sumpin Back" launch into action you feel like you're in for quite the journey and the subsequent swerves through Detroit flavoured electro, piano flecked house, beatdown and techno come with satisfaction guaranteed.
Review: Alex "Omar" Smith has always come across as fairly militant in terms of his musical output, so it's still a surprise that he's chosen to celebrate the first decade of his FXHE label by putting out a series of mixes. This second installment expands on the first - released earlier this year - mixing familiar staples and scene anthems (Smith's own "It Can Be Done But Only I Can Do It") with lesser known gems. Musically, it's impressively raw, with Smith moving through a range of tough, stripped-back techno grooves and dystopian acid house gems before reaching for more melodious cuts such as the shimmering "Flying Blind" and melancholic "Three Blind Rats".
Review: Six brand new shakers from Omar S...This is the sh*t! Never confined to one particular genre, Omar is again blending house, techno and even minimal styles into one big pot of deep Detroit underground funk. There's even some Basic Channel / Deep Chord vibes going on there somewhere. Simply killer.
Review: Omar S and Shadow Ray hooked up back in 2005 as Oasis and turned out a low key classic with Collaborating. It's an essential double album packed with signature Motor City heat and dishevelled deep house workouts for mind, body and soul. Things open with the slow paced crawler 'Oasis 4' then take in 'Oasis 11' with its pinging percussion and stripped back grooves, the standout 'Oasis 1s-1/2' with its gorgeously melancholic synth bleeps and heart melting chords and the darker energy of 'Oasis 7'.
Review: Oasis Collaborating is the name of two different double albums that Omar S and Shadow Ray put out under their Oasis alias back in 2005. They are both hugely original and essential works of stripped back Motor City house music perfection. This one is packed with gems like the wispy pads and metallic synths of 'Oasis Fifteen', the low slung rawness of 'Oasis Seventeen' and the brightly, optimistic melodies and twanging chords of 'Oasis Twenty Five'. Each of the tracks sounds like they were recorded live, with two masters of their machines just jamming away, tweaking knobs and cooking up pure house magic.
Review: The Orb's 13th album is a carefully crafted collection of tracks that are couched in minimal techno and ambient house. The first half embraces so-called 'Schaffel' rhythms, while the second half explores classic Orb sonic landscapes and features guest appearances from Schneider TM and Ulf Lohmann. The likes of 'Captain Korma' are warmly infused melodic jaunts with shimmering vocals, 'Cool Harbour' is a lumpy, dubby and off-balance workout and 'Kompagna (Zandic mix)' is a raw, experimental blend of harmonic tones, smeared samples and ambient bliss. This one, then, continues The Orb's legacy of genre-defying music which started in the late 80s when they pioneered chill-out and ambient house.
Review: The longevity of Alex Patterson's Orb project never ceases to amaze. While the ambient outfit has gone through many changes since making its debut in 1989 - longtime production partner Thomas Fehlmann being the man at the controls these days - Patterson shows little sign of wanting to call it a day. Here the duo delivers their 21st album, returning to the stargazing obsessions that have served them so well over the years. Consisting of four typically epic workouts, Moonbuilding 2703 AD doffs a cap to many of their obsessions of recent years - hypnotic Berlin techno, classic ambience, woozy tech-house and dub, primarily - with the jazz-funk-meets-ambient dub flex of the title track standing out.
Review: It may have taken a while - his massive debut single 'Hyph Mngo' was released 12 years ago - but Joy Orbison has finally got round to recording his debut album. It's a highly personal affair, peppered with speech snippets from various family members (including his mum, dad, sister, cousins and famous uncle, Ray Keith). It's a narrative device that works well, providing a unifying thread throughout a woozy, musically eclectic concoction that sees the now veteran UK producer give his distinct spin on ambient, slow house, two-step garage, deep house, post-dubstep beats, dubbed-out soundscapes, British bass music, experimental electronica, cutting-edge deep D&B and much more besides. It's perhaps not the all-out assault on the dancefloor some may have expected, but it is a genuinely brilliant and entertaining album.
Ringa Ringa (The Old Pandemic Folk Song) (feat The Mediaeval Baebes) (4:13)
Day One (feat Dina Ipavic) (5:15)
Are You Alive? (feat Penelope Isles) (7:34)
You Are The Frequency (feat The Little Pest) (4:37)
The New Abnormal (5:08)
Home (feat Anna B Savage) (4:13)
Orbital & Sleaford Mods - "Dirty Rat" (5:16)
Requiem For The Pre Apocalypse (7:42)
What A Surprise (feat The Little Pest) (4:37)
Moon Princess (feat Coppe) (5:04)
Review: After the 30 Something retrospective that landed during 2022, comes a new Orbital album proper, Optical Delusion, set to be accompanied by a busy summer of gig and festival dates by the looks of it. The album's taster single 'Dirty Rat' was a corker, too, full of post-Brexit/Boris bile and a biting vocal from Sleaford Mods frontman Jason Williamson, not to mention some striking Orbital musical trademarks. It could well point the way forward for more interesting collaborations - perhaps taking a leaf out of Leftfield's book - on the album, though only time will tell. Either way, a serious portion of new material from one of the dance world's most enduring and best loved acts will be feverishly anticipated.
Are You Alive? (feat Penelope Isles - edit) (3:31)
Style (edit) (3:56)
Dirty Rat (edit) (3:31)
Review: This new and career spanning album A Beginner's Guide is a 'best of' collection tailored for both new or curious Orbital fans. Whether you discovered the duo after their iconic Glastonbury 2024 performance, during their global tour celebrating the Green & Brown albums, or through a track featured in a film, this collection offers an ideal introduction and recap of what makes them one of the most enduring acts in all of electronic music. It compiles there Hartnoll brothers's biggest hits in their edited forms and album includes utter classics like 'Chime,' 'Belfast,' and 'Halcyon' all of which give a fine a taste of the duo's influential electronic sound, all in one package for the first time ever.
Review: Early 1990s classic The Green Album features iconic Orbital tracks like their breakthrough single 'Chime' and the legendary comedown tune 'Belfast.' After the success of 'Chime,' Pete Tong signed Orbital to London/FFRR Records and granted them the creative freedom to craft an album beyond the typical rave formula. Influenced by Kraftwerk and Cabaret Voltaire, the Hartnoll brothers came through and then some as they aimed to create a fully immersive and innovative album full of ambition which helped the duo become pioneers in electronic music, influencing artists from Bjork to Bicep and collaborating with figures like Madonna and Kraftwerk. Their second self-titled album solidified their visionary status, while their groundbreaking live performances are also by now the stuff of legend.
French Audacity - "The Final One" (feat Valerie) (4:34)
DJ Spike - "Gaps In Space" (2:55)
Interdance - "Kurz" (5:25)
Bad Behaviour - "Living On Smoke" (Edgware mix) (4:09)
Frequency - "Systematic Input" (4:53)
Diffusion - "Lushes" (5:49)
MFA - "Blue To Be Happy" (7:18)
RIP - "EOPan" (5:49)
Mad Professor - "Oh Hell" (4:02)
Review: Orpheu The Wizard is a Dutch DJ and co-founder of the infamous but sadly now defunct Red Light Radio. Coming through for the fifth edition of the Sound Of Love International series - which showcases the eclectic musical tastes of the DJs who play at the Love International festival in Croatia - this fresh selectors' comp hears Orpheu crate-fiddle through cosmic disco, Balearic pop, synthwave and ambient, by the likes of Khidja, Benedek, Donato Dozzy and Gaussian Curve.
Review: Osunlade's latest release continues his transformative journey, evolving from a major-label ghostwriter to one of deep house's most spiritually attuned and culturally conscious figures. His Yoruba Records imprint has long been a conduit for globally infused, soul-drenched house music, but here he turns inward, stripping things back to something more meditative while maintaining his signature warmth. 'Wiggle Room' opens with rhythmic vocals, strings and congas that gently invite movement. The pace slows in 'PASS!!,' building a quiet tension, before 'Hang Nail' introduces Middle Eastern-inspired melodies and sharp, punchy beats. 'Luv' offers a burst of warmth with lush chords and smooth vocals, capturing the essence of that classic deep sound. In 'She Represents,' heavy 303 basslines pay tribute to Shirley Chisholm, intertwining excerpts from her iconic speech with commanding rhythms. 'So Long...Stranger' reflects on the isolation of the pandemic, a quiet moment of introspection, before 'Modular Movements' closes the collection with an emotionally charged resolution. This set offers a journey that balances movement and stillness, reflecting Osunlade's own pathideep, unhurried and reverent, like the house music he's crafted throughout his career.
Review: Overmono have become real techno darlings in the last two years. And rightly so - they have served up a fine run of EPs in that time which now brings us to their debut album Good Lies. They are also an award-winning live act who have brought new energy and invention to techno as well as a next level grasp of sound design. As such the pair are two of the most revered artists in the UK with a hardcore fan base who pack out their every gig. They will find plenty to love here on an adventurous record that features all the hallmarks you would expect of this duo as well as plenty of freshness.
Review: With a run of knockout singles on XL reaching back to 2016, Tom and Ed Russell finally deliver the album we always knew they had in them. Overmono is a project which happily gorges on the best bits of rave culture and spits back out something fresh, universal and yet still headsy enough to keep the underground faithful happy. Good Lies builds on that promise in every way, threading in anthemic vocal hooks and massive emotive brushstrokes without losing that legit bite which has made them so enduringly popular. 'Is U' has an eye on the charts for sure, with plenty of big festival moments bagged along the way for their live shows and everyone else DJ sets. 'Walk Thru Water' hits a more melancholic note with St. Panther on vocals, but it's still masterfully crafted to bring out joyous escapism with gnarly synth flex on top. Something for everyone, then.
Review: This is Oye Manny's second album and it is a fine progression from his first across six tracks that blend classic Salon-style house with the producer's own unique rhythm-forward sensibilities. His personal Houston roots and a wider sphere of timeless deep house influences all feature in dynamic and percussive tunes that are built on propulsive beats and rich textures. Congas, bells and timbales weave seamlessly into four-to-the-floor rhythms as each track reflects Manny's skill as a producer and composer. This one hits a perfect sweet spot between classic and contemporary and is sure to sound good all year long.
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