Kaoz Theory Vinilo y CD

Review: Kerri Chander's sound is so unique it almost deserves its only genre. He brings more musicality to house than almost anyone and for that reason is often called the Stevie Wonder of the genre. His latest album is a real labour of love that saw him write each of the tunes on the very dance floor of the clubs that are mentioned in each title. In some cases, he used found sounds, calculated the delay of kicks off a wall to phase them through a mix and even record himself playing on a green room piano at Printworks to use in the final tune. It might be the best album of his career and a selection of the tunes from it make it onto this third essential sampler.

Review: New Jersey house don Kerri Chandler is rightfully lauded as a hero of the scene. He continues to pour his heart and soul into every record and imbue his music with real-world emotions that elevate his tunes. He is of course a master of a deep but driving sound that borrows from soul, funk and jazz in ignitible ways. The third volume of his Lost & Found EP series on his own label Kaoz Theory is packed with more gold, from the slinky depths of 'Let It (Give Me Back My Love)' to the soul staring vocal work of 'Another Dawn' via more paired back sounds on 'The Bassline' (Kerri Dark mix) and the percussive energy of 'The Breeze.' Yet another essential Kerri 12" for your collection.

Review: Kerri Chandler's first album in over 14 years, 'Spaces and Places', is a celebration of club and sound system culture. The album features 24 tracks, each inspired by and recorded at a different club around the world, such as Ministry of Sound, Sub Club, Watergate, Output NYC and more. The album showcases the veteran NYC producer and DJ's signature sound of soulful, deep and groovy house music, with vocals, piano, sax, strings and synths. 'Spaces and Places' is a testament to Chandler's love for music and dancefloors.

Review: There are two kinds of house-hunting. The first and most popular kind is unfortunately the one that scams unsuspecting people out of their money for the basic human right that is shelter. The other kind, however, is much more enjoyable - it involves scouring the internet or local record shops for the genre of music known as house music. Kerri Chandler is our favourite estate agent (words we never thought would escape our lips) in this regard; his latest EP series 'Lost & Found' is sure to help you remember the joy of the latter kind, and forget the former. Dubby and soft pulsers like 'Fluff Rehab' are futuristic bouncers for the highfaluting ear, replete with rapid-delayed spring noises and ruff chord stabs. Ensuers 'What If', 'Who Are You' and 'Dem Joy Ride' are pure and nigh-perfect deep house ruminators, and all are lifted from Chandler's coveted archive.

Review: As the title suggests, this four-tracker from the mighty Kerri Chandler is made of material recorded in - but for whatever reason never released - in the late 1990s and early 2000s. He first unfurls 'What Shall We Do', a sturdy but snappy New Jersey deep house number rich in attractive organ stabs, warming bass and bluesy lead vocals from 'Grampa', before unveiling the squelchy acid bass, dreamy pads, colourful melodic flourishes and loved-up harmony vocals of 'Tonight'. 'Into The Night' is a beefier, bolder and weightier slab of intergalactic peak-time deep house, while 'This & That' manages to be both funky, jazzy, loose-limbed and stuttering - a remarkable achievement in anyone's book.

Review: Evergreen house master Kerri Chandler digs back into the vault for 'Lost & Found Vol. 4', the latest instalment in his archive series on Kaoz Theory. A genuine house pioneer, he continues to shape the genre while staying mighty true to the scene's roots. And it's fair to say there aren't many out there making more authentic house music than this veteran US producer. Vol. 4 unearths more hidden gems, including 'Since I Met You' featuring the late Michael Watford, the piano-laced joyride of 'Grandiose Garden' by Alopeke, and the brooding soul of 'Circles' featuring Natalia. Closing things out is 'The Dark One', a deep and driving cut built for the floor, with its dramatic string stabs and searing synths.

Review: Remarkable future deep house from an artist whose reputation speaks for itself, nonetheless through the wing-flapped wings and freedom trills of the past. As he came of age in New Jersey in the mid 1980s, Kerri Chandler's groove-driven productions and rapt DJ sets could easily be said to have "evangelised" the dancefloor, with the deep and soul-bearing tilt of his sound seeming to promise salvation. Undoing and atonement come to those who shrive not in speech, but by moving their feet. 'Caged Bird' first came in 2020 - well past Chandler's 90s purple patch - but nonetheless contained as ever the slickly sophisticated jazz and vocal reflections likely inherited from Chandler's father, the late great jazzer DJ Joseph Chandler. Nae sings on the track, and her lyrics name-check Maya Angelou, who adapted the infamous poem 'Sympathy' by Paul Laurence Dunbar under the name 'Caged Bird'.

Review: He may have been at it for more than 30 years, but New Jersey hero Kerri Chandler is still capable of delivering fine, life-affirming music with soul. 'Caged Bird', featuring vocals from South African rising star Nae, is one of the legendary artist's most ear-catching and soul-enriching efforts for some time. For proof, check his 'Full Vocal Media Mix', where Nae's pretty, picturesque vocals, bittersweet piano refrains and sultry strings rise above a crunchy, unfussy, hot-stepping deep house beats. The accompanying remix package is predictably strong too. Italian producer Moplen steps up first, opting for bouncier, NJ-influenced beats, squelchy synth bass and some rather lovely electric piano chords. Atjazz handles the B-side, delivering vocal and instrumental takes that up the tempo, showcase tech-tinged deep house sounds and cannily loop up Chandler's simmering strings.

Review: 'Organized Kaos' is a new series from Kerri Chandler's Kaoz Theory label that offers first vinyl outings for cuts from the imprint's vaults. For volume one, Chandler has selected missives initially released digitally in the middle of the last decade. First up is the legendary New Jersey producer's own 'Who's Afraid of the Dark', a typical late-night roller in which sci-fi synth stabs, pianos and his own hushed, spoken word snippets rise above detailed drums a dark, infectious analogue bassline. Turn to the flip for Josh Butler's 'Sunday Club', a subtly UK garage-influenced number that pairs crackling, swinging drums and deep sub bass with woozy deep house chords and mind-mangling, low-register analogue riffs.