Review: Alphonse has already dropped a pair of 12"s on Especial in the past, but he's on especially excellent form this time around. A veteran of the halcyon rave days of the 90s, he's got a lot to draw on to conjure his particular kind of machine jams. "Moan Up" is a truly dazzling track, all twinkling synth lines interweaving around a crisp old school groove. As well as the loved up peaks of the original, there's also a beatless mix of the track that lets the melodies shine on their own. "White Pepper" takes things moodier and lets some sultry sax wail over the top, while retaining some of that boxy drum machine energy. There's even space for some tasteful guitar wailing - excellent.
Review: In 1996, Dreamscape's Ed Marshall donned a new alias, Aplomb, and delivered the first fruits of his new project to New Age House Records. Only one track was ever released on a limited label promo, "Wondering". World Building's Ari Goldman, who previously put out a compilation of Marshall's work as Dreamscape, is a fan and has decided to rescue it from obscurity via this single-sided 12". The track itself is hard to accurately pigeonhole, combining as it does dense, carnival style drums, female scat vocals, warm bass, dreamy deep house chords and synthesizer flourishes reminiscent of early '80s jazz-funk. Either way, it's a sunny and groovy chunk of obscure house positivity that's well worth a place in your collection.
Review: Atjazz & Jullian Gomes released their "Big Bad Crazy" album nearly a year ago to wide acclaim, and here is one of the LP's standout tracks which receives a rework from Freerange/Delusions Of Grandeur chief Jimpster. He replaces the sensual late night deepness of the original version of "It's My Time" with a slinky, hypnotic and absolutely mesmerising vibe, awash in shimmering melodies, delay drenched snippets of the original vocals and an absolutely addictive bassline. There's a handy instrumental on the flip too. Braintree's finest delivers the goods once again on this hit that's sure to have wide crossover appeal.
Review: After years of promoting events, Percolate has decided to embark on a new project - Percolate Records. They welcome longtime friend, British producer Austin Ato, to take them on the first steps of their new journey. Ato has appeared on a wide variety of imprints lately, from Me Me Me and Delusions Of Grandeur to Futureboogie and even Defected. "When Love Gets Cold" opens with the sweltering and finely filtered disco loops of the title track, paving the way for bouncy and euphoric house anthem "To Fall In Love" (which is equally as disco-fied!) and emotive Detroit house banger "All I Want". Speaking of the Motor City: he shows he is equally competent at hi-tech soul (with a UK rave influence too) on the breakbeat-driven and evocative "Blessed".
Review: Having previously impressed on Argot and Home Taping Is Killing Music with her blends of evocative deep house and floor-friendly Chicago rhythms, The Black Madonna tries a different approach on this debut for the recently launched Night Owl Diner label. You could certainly describe both tracks as "Balearic", and there's a real air of wide-eyed positivity about the tumbling melodies, swirling synth-strings and mid-80s pop production of head-nodding deep house cut "Stay". It's pretty darn tasty, all told. Almost as good is "Requiem", which appears to be built around a loop lifted from Cherrelle and Alexander O'Neal's "Saturday Love" (with, of course, additional synths and tuneful electronics).
Review: Mainz-based house hooligan Butch teams up with good studio pal Christian Vogt (Yellow Tail/Rebirth) once again for their new thumper - a remix of Andy Gibbs of The Bee Gees' 1980 hit "Desire". Said to have been circulating for more than a year on selected USB sticks, it's finally available for all. The sexy and low slung main remix is sure to burn up any dancefloor, and is backed by a groovy and swing-fuelled dub version, a handy and functional drum tool and a nifty vocal tool too. It's what Gerd Janson & Co. best described themselves as "blue-eyed R&B house.. made to please and evoke those unifying and uplifting dancefloor moments".
Review: Pretty much anything Call Super has touched in recent years has turned to gold. This new collaboration with Parris is no different: it is a self-released project with a fictional backstory involving an ageing writer called Mortise Koshimitsu who lived in a small apartment. The music itself is uptempo but deep, with shimmering wooden hits gliding on elastic drums as ambient synth beauty bleeds into the spaces left behind. "Majenta" is a more cavernous and dreamier track that is as good for home listening as it does for tasteful dancing.
Review: Hot on the heels of a re-work of Bobby Caldwell, edit stylist Caserta is back with another golden nugget. This time he turns his attention to the one and only Luther Vandross and serves up two equally essential but very different tunes that pay homage to his unique voice. The King Street Mix is all hip swinging claps and nodding bass riffs that are organic and heartfelt, whereas the Henry Street Mix nods to the '90s heyday of New York. With warm neon organ stabs that will get any floor pumping, both interpretations have Luther's soulful voice front and centre.
Kerri Chandler - "Peace Of Mind" (D'Julz remix) (6:46)
Lafayette - "Better Late Than Never" (Kettama Garage remix) (5:00)
Jiletta Riley - "The Way It Was" (Marquis Hawkes Classic club vocal) (6:57)
Review: There's little better, house-wise at least, than vintage Kerri Chandler productions, though these fresh remixes of tracks by the New York maestro would certainly run them close. German producer Henrik Schwarz steps up first to re-imagine Chandler and Jerome Sydenham's "Powder" as a fluid but hypnotic chunk of building, synthesizer-heavy house in his usual melodic, tech-tinged style, before D'Julz turns in a wonderfully warm, locked-in revision of "Peace of Mind" full of drum machine handclaps, woozy chords and fizzing electronics. Over on side B you'll find a superb Kettama Garage mix of Lafayette's Chandler-produced classic "Better Late Than Never" - think late '90s UK speed garage and you're close - as well as a partoculalry reverential take on Jiletta Riley jam "The Way It Was" by Marquis Hawkes.
Review: The unstoppable Cromby lets rip on Unknown To The Unknown. His first release on DJ Haus's U2TU motherlabel, he's gone in all rave guns blazing. "Cruising" is a thumping Detroit-edge acid meteor shower. Wave after wave of 303s and rising big-blast pads, there's some serious momentum in this track; just mix it in and watch it demolish. "Gigolo" shakes its money maker with a little more uplift as chords climb and chime throughout the mix, constantly reaching higher and higher. A little like Cromby's profile right now.
Review: Ovine build on the momentum of their first EP with another new house offering that is beautifully deep. It features two tracks each from Dan Piu and Pohl, and they all hack back to dreamy Italo, classic Mr Fingers and the more pensive Chicago greats. "Depresismatica" is a real highlight with its meandering basslines and infinite cosmic horizons. "Mello Phone" offers more pixelated melodies and busy beats and "Space In The Distance" has the sort of freaky edges and dusty analog textures house lovers always fall for. Already, then, this is a label that is setting a high standard.
Review: The latest Hands Off joint features three artists making waves in intriguing corners of the deep house firmament. Desos opens up the A side with the dreamy groove of "Dubs", before Space Age lays down the classic, Mr Fingers-flavoured haze of "Sunday Rain". Desos returns on the flip with another subtle yet punchy cut, keeping the melodies submerged and sublime on "Jaaa" before Common Mode takes things in a distinctly dubby direction with "Beauty Queens".
Review: "Der Say Ah" has long been a banger on dance floors tuned into international sounds. It's the sort of bouncy afrobeat and sax-laced classic that has been fetching huge amounts online. DJs like Gilles Peterson and Nightmare on Wax have been playing it for yonks and now, after many years of it being out of print, it is back courtesy of Push The Fader. The Akoya Re-Rub mix here was mixed by Ben Kane who worked on D'Angelo's Black Messiah, so this sounds beyond good. The 7" version comes from DJ Spinna with extra keys from Ticklah, psyched out bass and extra dub feelings.
Review: New label Nuances de Nuit kick off in fine style with a various artists 12" that draws on some emergent names to lay out a vision of cross-style dance music that favours the deeper end of the pool. Things get going with an organ-rich house bumper from DJ Steaw that pumps in all the right places, before Armless Kid switches things up with an untitled slice of dynamic, richly layered electro. T. Jacques thumps out a crafty, swinging cut with techy inclinations and oodles of groove, and E. Wan takes things in a more linear, deep techno direction laden with gorgeous synth work and plenty of artful effects processing.
Review: Eliphino continues to explore his emotionally charged, modern sound with this new mini LP for Secretsundaze. Following the trend laid out by his previous turns on Hypercolour, The Love Below and Meda Fury, he unfurls a richly harmonic sound that places emphasis on melodic progression to tell a particularly personal story, ranging from the emotive "Studio Time" to the crooked break-flecked "Old Lemons". "Second Sunday" flirts with electro and "Breaking Up Is Hard" veers towards jungle, but throughout Eliphino's personality binds the record together in fine style. Thoroughly contemporary and unbounded by genre restrictions, this is the sound of someone making the record they want to make.