Review: Italian artist Paul Santangelo has been having fun messing with the sometimes po-faced traditions of the house music scene through a raft of home made productions on SoundCloud, but now with his Venetian Causeway label he's able to prove the clout to be found in his music. On this 10" the arch title "Generic House Traxx" actually does a disservice to the quality of the music contained within - Santangelo does a fine job of whipping up monosynth bass and ethereal pads astride an uptempo beat that, while familiar, has an atmosphere with considerable depth to it. "Please Him" on the B side goes further out on a mellow electro tip, plaintive leads and aqueous chords flirting with 808-style beats.
Review: Minuendo calls upon Vincent Inc and Danijel Kevic to kick off their latest single, and they do so in fine style with the luxurious sweeping chords of "Space". Twinkling pianos, speech samples and a carefully measured set of deep house drums make this the consummate slice of pool-side dance music for those who can still find some sun at this time of year. Lola Allen steps up to the B side with something a little more sassy in the shape of "Afrofusion Jazz". As the title might suggest, there's a mixture of influences tumbling into this track, most notably with some wildly filtered jazz organ and funk licks stewing in the pot, and just when you think it's going to break it swerves off into submerged Moodymann territory. This is unpredictable house music at its finest.
Review: Brooklyn label Razor-N-Tape get in on the Record Store Day action with this 10" edition of Beatin Tha Breaks from Nashville-based Magic In Threes. It's the remixes that come first, with Dutch artist Fouk going into similar house territory to Kenny Dope with plenty of live instrumental touches blessing the bristling percussion. It's a totally different vibe on the Freddie Joachem remix, with the Californian opting for some midtempo funk breaks that stay closer to the sound of Magic In Threes' original version . This closes out the RSD release on the B-side and is an easy-breezy affair dripping with soulful guitars and harmonies.
Review: Detroit/Houston based Kolour have had some pretty credible names feature on their new 10 inch series this year, such as Eddic C, Napoleon, Frank Booker and Lady Blacktronika. Now it is over to the Belarus based disco DJ Funkyjaws who serves up two irresistible jams on Vol 8 of the series. On the A side, we have the soulful and life affirming African boogie of "Them & Us". We have not heard the original but it sounds pretty seamless to us: a respectful edit indeed. On the flip, we have one seriously mad boogie-down jam in the form of "Peasant Dance" which is a truly exotic affair from god knows where! Accordions, wah-wah guitar and some super string arrangements clash wonderfully. This may sound like an unholy mixture but this is exactly the kind of disco deviance that truly floats our boat! The Grodno based producer last appeared for the label on Kolour LTD 22 a couple of years back, and in the meantime has also appeared for the likes of Shadeleaf Music and Austrian imprint Pusic.
Review: Leipzig's finest M Ono and Luveless are back on Houston via Detroit's Kolour with volume three of their new limited 10" series. Starting out with the deeply uplifting soulfulness of "Never Gonna Leave You 2K16" they are then into "Losing Memory" on the flip which gets more reduced, dubby and emotive, giving a nod to the kind of loopy deepness as heard on labels like Office or Slices Of Life. There really is something in the water out in Leipzig at the moment, great stuff!
Review: Although most house and techno heads know him under a variety of different pseudonyms, Anthony Nicholson has been releasing smoking tunes since the 1990's for labels such as the mighty Prescription, on which he used to call himself African Blues. He's back in 2015 under his birth name, and he's landed on the lovely DeepartSounds, a home to artists such as Dubbyman, Giorgio Luceri, and the one like Ron Trent! On the A-side, "Optimum" fills your soul with a soothing array of gentle house swings, powered by sublime vocals and mid piano keys; the flipside is "Destination", and it's a funkier sort of tune, one that is a little less deep and little more disco. Beautiful house music for those looking for meditative gear.
Review: Italojohnson has clearly decided that less is more, having limited their output to one self-released 12" a year since 2013. Volume 10 in the mysterious threesome's self-titled series predictably contains more twisted, tried-and-tested material. The untitled A-side sounds like a modern update of a breakbeat-boasting Frankie Bones classic, with hectic bursts of percussion, surging sub and a classic riff taking it in turns to impress. There's more of an acid house feel to the similarly untitled flipside workout, with booming, mangled vocal snippets and sharp electronic stabs riding a thunderous groove, '80s electro hits and a classic Chicago bassline. There's little subtle about either track, but they sound like guaranteed floorfillers.
Review: "Is the Cornuta Sound's return after a long resting time. This new 10" contains one of the most saved songs by Above Smoke (Deep Explorer) that runs into the jazz world and an outro take for djs. The flipside brings a great rework by the label boss (W&P Hgg)."
Review: Original Chicago deep house producer Vincent Floyd has enjoyed something of a career renaissance since the release of Moonlight Fantasy, a collection of previously unheard 1990s productions, on Rush Hour in 2014. Here the Dutch label dips into his vaults again and unearths another gem from the late 1990s. "Hard to Love" is every bit as warm, rich and loved-up as you'd expect, with Floyd providing a yearning, soul-fired vocal to accompany his rich Windy City grooves and cascading synthesizer melodies. On the flip you'll find a fabulous instrumental version that closely mirrors the vocal take. That it stands up on its own without the headline vocal is testament to Floyd's impeccable composition and production skills.
Review: Hot on the heels of "Mission" earlier this year, Shuya Okino's Kyoto Jazz Sextet troupe present another gem from last year's Unity album complete with a remix of the highest calibre. This time the cascading, Latin rhythm and frenetic horn leads of "Rising" are given the midas dancefloor touch by none other than Ron Trent. Maintaining the wily spirit of the original while coating in warm organ blasts and subtly bumping kicks, it's a precision translation that brings the original into a whole new context.
Review: Church's latest release - a rather tasty, two-track ten-inch single - comes courtesy of South London sorts DJ Malcolm and Dabriel Garius. A-side "Lulo", a jazzy deep house cut smothered in expansive piano solos, dreamy synth chords and sampled female vocals, is particularly potent, with the duo expertly layering up the percussion to give the track a sun-kissed, carnival-friendly feel. Flipside "Guava" displays a similar jazz influence, with the duo trading electric piano and trumpet solos over elastic synth bass and swinging, semi-broken deep house grooves. It's what we imagine a contemporary collaboration between Phil Asher and 2000Black boys Dego and Kaidi Tatham would sound like, which is high praise indeed.
Review: This is Adam Wickens' - aka ADMIN - first appearance for Kolour LTD, and we're happy to see the UK deep house producer continuing his steady path to maturity. This two-tracker is part of the label's 'LTD 10s' series, and this particular one is the fourth instalment; we love it not only for the quality that has graced the releases up till now, but also because we're fools for the ten inch format. "Reach For Love" sounds like it could be on Moodymann's Mahogani, a sensual house charmer complete with gorgeous piano keys and assembled with pure hypnotic delight. Side B's "You've Got Me" is similarly cool and laid-back, but the beat is speedier here, the percussion more floor-centric and the vocals sexier than ever. What a gorgeous little tip - cop it!
Review: Chevals, who brilliantly describes himself as a "French house producer, disco cutter and horse", came to our attention last year via a fine debut on Better Listen. You'll find further proof of his "rising star" status on this tasty, two-track contribution to Kolour LTD's 10-inch series. Both tracks are essentially re-edits, though there are enough additional touches and new musical elements to elevate them way beyond your average scalpel re-arrangement. The Frenchman kicks thing off with "I Can Prove It", a gently tooled-up and reworked version of a soaring, glassy-eyed disco-soul gem that will sound fantastic at this summer's open-air events. Flipside "Free Love" is an altogether more low-slung affair, with a fizzing, funk-fuelled groove building towards a rush-inducing Philadelphia Soul-goes-disco-house conclusion.
Review: Bruno E has plenty of history in the field of future jazz and downtempo, and now he's been snapped up by D3 to deliver some of that cold-chilling lounge business with some interesting remixers on board. Pat Van Dyke is up first, creating a blissful version of "Ventos De Outono" that feels as cosy as a warm fire and a glass of whisky on an autumn evening. The original version of the track is actually a peppier affair with a broken beat lilt that wouldn't sound out of place alongside the Dego and Kaidi Tatham crew. Kirk Degiorgio is a natural fit for another remix given his jazzy roots, and his swirling techno treatment is the perfection lotion to pour over Bruno E's excellent original ingredients.
Review: Publicist is longtime producer/performer/musician Sebastian Thomson. His tracks approach house music from a darker angle, adding processed vocals and noise to a raw foundation that also takes cues from New Beat, acid house, and Detroit techno.
When performing live Publicist sequences the synths and not the drums, preferring to play an electronically treated drum kit in the middle of the dance floor. This adds an element of sweat, excitement and virtuosity not found in most electronic producer's live performances.
Sebastian Thomson is also known as a founding member of post rock pioneers Trans Am and as the drummer of heavy metal innovators Baroness.
Living in Brooklyn by way of Buenos Aires, Washington DC and London, Publicist has spent the last four years touring Europe extensively.
Review: DJ Sotofett's Wania imprint closes a wild and entertaining 2017 off with a pair of masterful EPs, both of them showcasing the Norwegian's genre-crossing tastes and outlook. First up is this steely 10", spear-headed by newcomer Salik, out of London Town. Up until now, the imprint has predominantly focussed on the US styles of dance music, a rough and ever-quirky blend of house and techno, but Salik's "Inna Brixton" verges on much more UK-centric territories with its near six minute spew of moody energy, clicking and bouncing steadily to the sound of deep, treacherous sub bass. The flipside features DJ SO-PHAT himself, coming through with a beatless away of acid-tinged melodies that blend into a tight little rhythm, before dissipating into a loose pool of drones and bass - Sotofett at his most outlandish. An essential buy.
Review: With two releases already under their belt, the quintessential anonymous producer Crue is back with another exercise in dynamic analogue house and techno. "Track 1" is a steady 90s house workout, rich with warm chord stabs and a punchy beat, primed for slotting in amongst other garage shuffle revivalists. "Track 2" is where things get spicy with the primal, Detroit-weighted clatter of the drums falling in an almost-breakbeat, and the melodic stabs zipping in overhead. It's a staggeringly fresh sounding track, even whilst using methods of the past. Whoever they might be, Crue is clearly in command of some serious kit and a keen ear for what works,
Review: Ekkohaus is no stranger to the house scene!! You can hear his intelligent, funktifying rhythms and grooves on imprints like Morris Audio, 2020 Vision, Circus Company, Flumo, Eklo, Mule Electronique, Brut, Moon Harbour, Holic Trax, Claap, Gruuv, Hudd Traxx, Diaphan Music and now MixxRecords!! We welcome the Greek native with open arms...
This special 10" purple colored vinyl is most appropriate as for the entitled "A" side is called "Purple Divine" and divine it is!! Playful percussion and drum-work along with a simplistic, melodic bass groove keeps you in hypnosis just longing for more!
You'll find a more jacked-up and jazzed up pump on the "B" side with "Ordinary People". DEFINITELY a house banger!!
Review: Firecracker Recordings' Unthank label has been a decidedly intermittent concern since it's eye catching arrival back in 2010 with the Parris Mitchell mangling antics of Berlin dwelling Estonian producer Bakey USTL. It makes for somewhat poetic reading that the label's sixth release should usher in the return of a producer whose last apparent production credit was a contribution to the Fudge Fingas cut "Fidgety Friends" way back in 2007! Quite what the West Yorkshire based Denaji has been doing in the subsequent years is not clear, but your focus should be on his contributions here, with the Wuhti 10" quite sublime. The title track and "Dharma Dharma" are the sort of star gazing boogie and fizzing deep house that fit snugly into the overarching Firecracker sonic canon and do check the wondrous remix of "Wuhti" from Norwegian Sex Tags mastermind DJ Sotofett.
Review: Miltiadis Merentitis is one of the greatest exponents of the underground Greek scene. After several releases on Nous, Echovolt and Synapsis he joins Jose Rico's Spanish imprint Freebeat with the Epitome Of Things EP. Miltiades explores the driest of territories through his characteristic chords, kicks and percussion which will transport you to another world. Take the first cut on the A side for instance: a deep hypnotic techno cut that creates perfect trance induction by relying on the most basic of analogue elements. On the flip, the second track is a gothic lo-fi house jam reminiscent of New York City's Patricia while the final offering channels the spirit of early '90's Detroit on this fine serving of hi-tech soul.