Tommy Vicari Jnr - "Because You Can't See Dreams In The Light" (5:59)
Tommy Vicari Jnr - "L I W F U" (6:30)
Review: It's been a while since the Albion stable graced our platters, but they're back in style with more of that on-point house music voodoo for the heat of the night. This single is a vessel for the various sides of Tommi Vicari Jr, who rolls out his Czevski alias to deliver a bruising remix of "57 Hertz" by 76-79. It's a reverb-soaked, dubbed out affair with a rock solid rhythm section and plenty of trippy FX tweaking on top. On the flip it's a different story with a similar feeling as we get the straight up Tommi Vicari Jr material in the shape of two killer tracks crafted for transcendental moments of dancefloor hypnosis.
Michael James & Benjamin Joseph - "The Island" (7:53)
Nick Beringer - "Nyx" (5:52)
Pascal Benjamin - "Falkhill" (6:32)
Review: The next airdrop from the good ship Constant Black is a various artists affair with four tracks from four artists guaranteed to find a home in your extended micro sesh. Pascal Benjamin takes the lead with "Falkhill", locking into a Romanian-flavoured minimal breaks formation that rolls in resplendent fashion with a particularly choice vocal lick from an undisclosed RnB track. Michael James and Benjamin Joseph nudge the pitch fader up and dial in the swing for the decidedly funky wiggler "The Island", and TIJN keeps things bumping but works in some sharper drum sounds for the tough but bouncy "Maybe". Nick Beringer finishes the record off with the chunky funk of "Nyx", calling to mind Mike Shannon amongst others.
Gus Gus - "Your Moves Are Mine" (Sanasol remix) (9:24)
Thor - "Black" (7:32)
Biogen - "Stream" (Sanasol Lost In Time remix) (6:39)
Review: Next up on the ever-excellent Oscillat is "Spellbound" by the supremely talented Matthew Dekay. This moving deep house jam uses a few key elements to make a soul-stirring confection for truly spine-tingling moments in the middle of the dance. From the slithers of vocal to the insistent key riff that bounces throughout, this is an outstanding slice of contemporary house music loaded with feeling. Mandar then take the original and inject it with a feisty peak time energy shot through with a little trancey magic and an acidic undertone. It's not a raging beast but rather an energizing workout for the brain and the body - just what you need in the midst of a marathon.
Review: Tevo Howard's deep and emotive brand of deep house and Tracey Thorn's legendary mournful voice are a match made in heaven - we know that - and here Rebirth offer a superb addendum to the original release with a couple of superb remixes, pressed up on clear vinyl. The Dixon edit of the Marcus Worgull vocal remix (Dixon loves doing this doesn't he?) sees late night chords slowly rising from the ether to work in truly emotive harmony with Thorn's vocals. A more bumpin' refix can be found in the form of the Hyena Stop remix over on the flip.
Review: EYA Records branch out with this crafty, wriggling slab of freaky techno diversions on new imprint Lonewolf. Meta4 twists all kinds of gnarly subversion out of "Four Body Centers," where the funk of foundational Detroit techno collides with the rampant machine messing of UK acid for stunning results. There's an eerie ghost train vibe hovering over Jorge Gamarra's "Pact", while "Langan" by Twophaseu drops a fresh UK twist on electro. Meta4 returns to bookend this ear-snagging EP with the equally catchy oddball trysts of "666blank", another devilishly deviant slice of underground party music for the ghoulish crew.
Review: There are four heavyweight names on this next one from Residual: Dutchman and Red Light Radio man Nachtbraker goes first with the dark and loopy "Ojo Rojos" which keeps you on edge. German deep houser Christopher Rau layers up and elastic bassline with some warm acid. Cult American house man and Residual boss then steps up with "Pursuit Of Ma'at" which is one of his famously smooth minimal rollers. Last of all, another pivotal German artist in S-Max closes things out with "Lil' Lightyear Wants To Ride" a bubbly number with a drilling bassline and sci-fi motifs. Very useful stuff.
Review: Italian DJs Jamma & Max have been promoting Bread & Butter since 2008. Well known for the consistency and quality of its events, the London-based party has now established itself on the club scene, carving out their own niche musically and using their nights as a platform. Their third various artist release includes the return of hyped Romanian producer Victor Pavlovschi aka Piktor. It's quality over quantity as far as this young Vienna-based DJ is concerned, and his mesmerising contribution 'Everythingship' is featured on the A side. On the flip more 'Rominimal' awaits, with Miroloja's tough rolling main room groove "Karrezze", followed by Triptil who delivers his typically arcane aesthetic on 'Mrwho!'.
Review: The first release on Kamarads pulls together a solid mix of established tech house figureheads for a classy, versatile set of club tracks. Politics Of Dancing goes up first with 'Ote', a deep and rugged groover geared towards hypnotism and total immersion. Djebali follows up with an equally stealthy roller that will appeal to those who like it stripped back. Terence: Terry takes things in a swirling, trippy direction with the afters-ready 'Eastern Boy' and Stephan Bazbaz finishes up with a gorgeous, lilting deep house lullaby to soothe the weary raver's soul.
Review: Transmitting out of Birmingham and representing the cream of the sleek tech house crop, Adam Shelton's One Records continues to forge valuable connections with the global scene while staying true to the label's roots. Shaun Reeves and Tuccillo have been doing their thing for long enough to know how to throw down a surefooted deep groover, and that's just what you get with "Smile". Meanwhile The Mole does a sterling job of working some complex percussion into the bones of the track and creating a hypnotic, understated version that will appeal to the freakier end of the floor.
Review: The latest joint on Constant Black is from Subb-an and Thoma Bulwer, who work together to bring forth some seriously smart ruminations on minimal techno with an inventive modern edge. "Apollo Sun" holds court over the A side with an artful, modulating synth voice that sounds as though it could well have been cooked up through a tangled network of patch leads. On the B side, "Cosmic Breaks" has a strong set of drums that crunch in all the right places, and plenty of dreamy seasoning to make for a truly smart midtempo roller. "Spray" completes the set with the spiciest joint on the record, all tightly wound beats and nagging rhythmic wriggles both built for functionality but equally intriguing on the ear - a perfect DJ tool with enough sass to stand on its own.
Review: Japanese techno titan Fumiya Tanaka is no stranger to Perlon, having first appeared on the lauded label back in 2012. Even so, Ab still marks the veteran producer's first appearance on the Berlin-based imprint for the best part of five years. Tanaka hits the mark straight away on A-side "On A Bass", a perfectly crafted, low-slung tech-house roller that pits the rhythmic swing associated with Ricardo Villalobos against a locked-in bassline, creepy deep space chords and all manner of twisted, cut-up vocal samples. In comparison flipside "Dreaming Perfect Zebras" feels rather classic and old school, with Tanaka drawing on both his love of early UK tech-house, Motor City influenced deep house and the crunchy tech-house percussion of contemporary imprints such as YYY.
Review: Fumiya Tanaka's long-awaited return to Perlon after five years away is a two-part affair. This is the second 12" ("A/B" is available separately), and like its predecessor features a pair of high-grade workouts from one of the Japanese techno scene's greatest servants. Side A sports "Telephone at the Window", a typically trippy and clandestine affair that sees Tanaka pepper an undulating minimalist groove (think deep bass and crunchy machine snares) with post-apocalyptic vocal samples, spine-tingling electronics and manipulated modem noise. Over on the flipside, "I Don't Know Enough Continued" is a smoother and more shuffling late night workout, with only the producer's foreboding riffs and more mind-altering vocal samples punctuating the otherwise locked-in mood.
Review: Japanese techno legend Fumiya Tanaka returns to his own Sundance imprint with a brand new 12" with a customary strange and cryptic title. While information is scarce on the theme behind "We Would Like To Do Song For The Step", we can happily report that the Berlin-based artist's penchant for deep, hypnotic minimal house is on full force across the EP. We can easily imagine the dusty and understated title track being played on a Sunday afternoon at Hoppetosse, along with "In A Memorable 2018" where ethereal samples sit atop a groovy percussion layer. If you're longing for some old Tanaka material, the bass-driven and rolling minimal funk of "Don't Stuporous" calls to mind some of the quality grooves found on his acclaimed "Beautiful Days" series a couple of years back.
Review: Since 1995, Fumiya Tanaka has been Japan's foremost producer of minimal techno and tech-house. In that time, he's built up a vast discography and continues to offer-up regular doses of crunchy, mind-altering goodness. He's predictably in fine form again on this Sundance double-header. The A-side boasts two versions of 'Dance Tonight': the organ-rich, gently warming tech-house snappiness of the original mix (A2), and an acid-fired 'Dub' that drags the track further towards late-night, heads-down territory. He repeats the trick on side B, pairing the rubbery, minor-key heavy tech-house shuffle of 'If So Remember' with a loose limbed and bass-heavy dub, rich in alien sounding chords, cascading melodies and drifting vocal snippets.