Review: Bwana aka Nathan Micay has already seen a release on Will Saul's Aus Music and his fluid, freeform house music returns with "Tengo", a melodic progressive house nugget that's both spacey and fit for any dancefloor. The same goes for "Drop Mechanism", an ethereal house stepper, while "Due West" goes in a lot harder with a vicious bundle of Power House drums punching and kicking their way across its chords. Effective floor bombs.
Review: Geeeman is arguably one of Dutch producer Gerd's better-known alternative aliases, thanks to occasional - but well regarded - EPs on Clone's Jack For Daze offshoot. Here he dusts off the pseudonym for its' first outing for two years, surprisingly popping up on Will Saul's Aus Music. The original version is a loving tribute to the glory days of ghetto-house, with chopped-up, pitched-down vocal stabs combining with a booming bassline, thunderous drums and sleazy synth-sax to create a sweaty, basement-bothering mood. There's a little more vintage Chicago swing to the bouncy Tribute Instrumental, before Clone veteran Alden Tyrell delivers two brilliantly intense and slamming ghetto-acid-meets-Joey Beltram style interpretations.
Review: Ewan Smith's first 12" of 2018 sees him return to the welcoming embrace of Aus Music, a label he last graced almost three years ago. This time round, there are three tracks to choose from. A-side "Ideal-Passage", a bouncy, techno tempo workout blessed with a restless, undulating bassline, dreamy chords and the kind of clipped guitar samples that were once the preserve of French Touch producers, undoubtedly steals the show, offering the perfect balance between funk-fuelled dancefloor antics and head-in-the-clouds beauty. This vibe continues on the arguably deeper and even more melodious "Thewizzwasfordillysmissus", while closer "Sicko" wraps a chunky, UK garage-influenced rhythm track in tech house style electronics glitches and yearning synth stabs.