Review: Endell Street returns with a strictly limited 10" that features some rare gems that were originally produced back in the early 00s by Timmy S. Plenty of heads will know these have been expensive to cop on the second-hand market but now they have been restored and remastered by Yossi Amoyal in collaboration with Eukahouse's Nils Hess. Deep tech house doesn't get more authentic than this with the slick, driving drums and nocturnal pads of 'Wake Up' and the more percussive darkness of 'A Trip To London' both sounding superb.
Review: Fletcher and Steve O'Sullivan have often worked or appeared together in the past so it makes sense that the former now invites the latter to be the first person to release on his newly minted and always sure to be worth checking Social Currency imprint. They take the reins together across floor-focussed cuts that are marbled with deep pads and introspective sounds. 'Cold Calling Blues' is warm and airy with smoky vocal sounds and precision dub techno drum loops, 'Midnight At 1:30' hits a little harder but is still zoned out and serene and 'Shatner's Groove' takes on subtle deep space moods with deft pads and spoken word additions.
Review: The Soco Audio label was a vital one for tech house lovers at the turn of the millennium and that is when genre pioneer Eddie Richards stepped up with this EP. It's one we have found while digging around in our warehouse and it features four superbly crisp and still-contemporary sounding cuts. 'd.comm' pairs snappy metallic hits and tightly programmed kicks with an expressive vocal stab then 'Xtrk gets more deep with wispy pads and a smoky late-night feel. 'Someday' is a more physical and jacked up groove but still one with a sleazy vocal element and last of all is a remix of 'Sinful Sadie' that is more weighty and dubby.
What Is House Muzik (Ricardo Villalobos What Is dub - Emanuel Satie edit) (7:31)
What Is House Muzik (Jazzuelle Deeper Acid mix) (7:34)
Review: Way back in 1994, while he was riding high with the stomping, raw and druggy Wild Pitch sound, DJ Pierre released 'What is House Muzik?' as Phuture Scope. This clear vinyl reissue from Get Physical celebrates the track's 30th birthday, accompanying the acid house pioneer's original Wild Pitch mix - a typically stretched-out, Sound Factory-ready concoction with raw loops, weighty beats and bass and fizzing synth stabs - with the original spoken word acapella and two later reworks. The most notable of these is Emmanuele Satie's on-point edit of Ricardo Villalobos's epic 2015 dub, which cuts it down to playable length while retaining the Chilean's wonky and out-there mix of barely audible orchestral samples, crunchy beats, weird noises and spoken word snippets. Throw in Jazzuelle's tidy 'deeper acid' mix and you have an essential reissue.
Review: An elusive producer, shrouded in mystery, emerges with a fresh batch of irresistible edits. With a knack for crafting infectious grooves and a growing reputation amongst discerning DJs, this anonymous artist is set to ignite dancefloors with their latest offering. Having garnered support from tastemakers like Hunne, CC: Disco and Shanti Celeste, this release is guaranteed to ignite dancefloors and satisfy discerning DJs. 'Forgive Me 1' sets the tone with its irresistible energy, while 'Forgive Me 2' offers a slightly different flavour, maintaining the infectious groove while exploring new sonic territory. Expect a collection of expertly crafted cuts, brimming with energy and primed for peak-time moments. With its limited availability, this a must-have for those seeking to add some heat to their record bags.
Get Fucked - "Time For A Quickee" (On The Kitchen Counter edit) (7:14)
Get Fucked - "Momentum" (The Smart Alex dub) (5:28)
Green Eyed Monster - "All Gone By" (6:07)
Strange Weather - "Infinite" (6:31)
Review: Laurant Webb, Dave Coker, Justin Bailey, and Dave Pine were the key figures behind Strange Weather Studios, which was a creative hub in Southeast London that helped shape the very early sound of tech house in the capital. Collaborating with friends and partners on several projects, they produced a number of influential records that defined the genre including under aliases such as Housey Doingz, 7th Voyage, and Space Bunny. This release on Sushitech, which always does a fine job of offering up the best tech house past and present, pays tribute to the studio and its collaborators with representative tracks carefully selected by Laurant Webb and label head Yossi Amoyal. Restored and remastered from rare DATs and pressed up to no fewer than six sides of vinyl, it's a great look at a significant moment in the evolution of tech house.
Review: Gideon Jackson and Eddie Richards are bona fide tech house titans who have more than helped to shape the genre since day dot and the All Rise EP sees three of their finer past glories gathered together and remastered and pressed on lovely red wax. The excellent 'Biscuit Barrel Blues' opens with exactly the sort of compelling drum work you would expect and it is imbued with some prying synths and sultry vocals. There is an irresistible glitch and dryness to 'Pull Tab 2 Open' and its smeared pads that make it perfect body music then 'Crying' (Gideon Jackson remix) brings a more heavy tech house sound with extra dub weight. Perfection.
Review: There's a different swagger to Chris Stussy's latest release, a tracklist that's as confident as it is infectious. From the opening beat, you're drawn into a pulse that never quite lets up, carrying you through layers of deep bass and slick rhythm. It's clear this is music made for the dancefloor, but there's something else to it i a subtle energy that goes beyond the usual house formula. You can hear the growth in the artist's sound, a new level of clarity, groove, and precision that feels fresh without abandoning its roots.
The Missing Member - "Cold Knights" (Re edit) (6:53)
Nathan Coles - "Burning Remixed" (6:46)
Flunky - "Rattlesnake" (7:45)
Review: Alongside co-founder Nils Hess, Sushitech's main man Yossi Amoyal ventures into new territory with Endell Street, a fresh imprint named after a bustling London thoroughfare that was home to the Eukatech record store. The label's focus? Reissuing gems from the Eukahouse archive. With Amoyal's expertise and dedication to curating quality releases, Endell Street is poised to make waves in the realm of deep house and beyond and it does that with this EP. Featuring a trio of no-frills, original tech house sounds that are primed and ready for the club, The Missing Member, Nathan Coles and Flunky all feature.
Review: Weirdo minimal tech soul, anyone? Any takers should be directed towards this oddball release from Melchior Productions and Paul Walter. Two tracks of serious strangeness: timestretched vocals and repetitious yeahs blossom between the beat-thickets of Melchior's 'Yeah X 3', while many more percussive hits and cuts and clicks and pops and booms come courtesy of Walter's B-side, 'Xvive'. It's an impressive first foray for Maria Newyen's new imprint Scious; let's hope future 12"s stay just as weird.
Review: French house innovator DJ W!ld has roamed through many different stylistic terrains over the years and now finds himself in stripped-back minimal mode for the excellent Trelik. 'The Night Owls' opens up with tight drum loops and off-grid synth daubs that hypnotise while making you move. 'Drunkin' is a kicking cut with well-designed drums enveloped by sub-bass and topped with swirling and smeared chords. 'Fashionistas' is another perfect bit of stripped-back body music with low slung kicks and little else but they are enough to keep you locked. 'Comment On Baise Dans Le Hardcore' closes out with another mix of physical kicks and heady synths.
Everything (No Statues) (previously unreleased version) (5:03)
Don't Do It Like That, Do It Like This (feat Donna Black) (5:56)
Crazy For Your Love (previously unreleased Recording) (4:18)
Together (6:53)
Sycologic PSP (5:09)
Self Hypnosis (previously unreleased mix) (5:37)
Silicon (live At The Brain club - previously unreleased version) (4:11)
Review: The Nexus 21 'Mind Machines' album finally sees the light, bringing the shelved UK techno classic to eager fans. Originally recorded in the early 90s, these tracks capture the essence of Detroit-inspired UK techno, fusing raw energy with British flair. Standouts include 'Nexodus' and 'Everything (No Statues),' with Motor City talent Marc Kinchen and Anthony Shakir lending their touch. While only two tracks saw official release back then, this album unearths unreleased gems and alternate mixes, showcasing the duo's groundbreaking sound that influenced both Nexus 21 and their rave-alter ego, Altern 8. A long-awaited landmark.
Review: Anil Aras' latest effort strikes with unexpected force, blending deep house with subtle nods to dub and techno. The EP has a tangible weight, where basslines resonate with a satisfying depth and rhythms maintain a fluid, hypnotic quality. Aras doesn't rush, opting for a slow, deliberate groove that feels like a late-night conversation. There's no push for flashiness, but rather a focus on space, restraint and atmosphere, allowing each track to breathe and shift in an organic, almost meditative fashion.
Review: Having built their reputation through 12" singles for the likes of Crosstown Rebels and Poker Flat, Dan Berkson and James What deliver their debut album, on their freshly minted imprint Modelmaker. Interestingly, Keep Up Appearances is an altogether warmer, melodious and more evocative set than you'd perhaps expect, with a smattering of rich downtempo cuts joining a solid selection of dancefloor-friendly deep house. You can hear a classic dub techno influence in cuts such as "Keep Up Appearances" and "Shadow Theory", while the acid-flecked, soul-soaked "Make It True" sounds like classic Osunlade. Best of all, though, are the more forthright efforts, with the ragged "Seraphim" standing out.
Review: Release Sustain, a London-based underground label, is pleased to introduce a new EP by Moody Waters, the label's founder. "Beneath the Moon" is a four-track EP that offers a refreshing blend of deep techno and house sounds. With steady beats and intriguing vibes, "Beneath the Moon" is a versatile addition to any DJ's collection. This EP explores an underground sound that combines the essence of house and techno, making it an enjoyable listen for those interested in electronic music in 2023. Don't miss the chance to check out this latest offering from Moody Waters and and awesome remix from Fred P. Grab your copy of "Beneath the Moon" and discover why fans are appreciating this new release from Release Sustain.
Review: Iceland's Thule offshoot label 66 Degrees was a vital label back in the day. After a 20-year hiatus, it came back strong in August and now follows up quickly with a second superb EP. This one is a carefully curated various artists collection that pulls together some local house anthems new and old. Ozy's 'Sequential Dub' is a super smooth deep house number with lush chord work. Sanasol brings heavier, more raw house drums and grinding bass that will get floors in a sweat. Oz Artists mixes up a raw, mechanical groove with balmy, dreamy pads up top to make for something utterly compelling on 'Atomox; while last of all Terry Cummingz pays homage to dusty Windy City house on his perfectly lo-fi 'Cherry Bon Bon. Classy business for sure.
Review: This is the fourth and final installment of Sushitech label head Yossi Amoya's reissue series focussing on the work of Eric Spire and his Silver Pearl label. The Los Angeles based producer was on a hot streak back in the late 90s, fomenting a new take on West Coast house music with hard drums and psychedelic synths that lay down something of a blueprint for later tech house a la Craig Richards, Wiggle and co. This useful 12" packs another punch with potent drums and razor sharp percussion across three cuts from some of the Silver Pearl mainstays.
Review: Since launching in 2006, the men or women of mystery behind the sneaky Digwah series have delivered a couple of sought-after, single-sided 12" singles that blend familiar samples with rock solid tech-house grooves. Predictably, this third volume in the series sticks closely to the blueprint, wrapping twinkling electric piano motifs and a restless, looped bassline around a rhythm track rich in jazzy hi-hats, snappy drum machine snares and tough, locked-in kick-drums. It's arguably closer to deep house than its predecessors, with the tactile and warming samples - lifted, it seems, from the late '60s West Coast rock record - helping to create a rolling, late night feel. The previous Digwah releases sold out quickly, so you'll have to act fast to secure a copy of this one.
Review: It has been some years now since Nail came back from the wilderness after one of his early EPs was re-released by Fear of Flying. Since then he has turned out plenty of new material as well as digging deep into his vast and vital vaults to serve up the sort of lo-fi but kicking house sounds that made him and his Nottingham crew such a driving force back in the 90s. And that's what we get here on For Those That Knoe - no fewer than eight masterfully stripped-back cuts of deep house. Some are laced with dreamy melodies, some roll deep for days, some are raw and textured pumpers and some are jazzed-up bangers with charm to spare. Essential stuff.
Review: Peter Kersten, better known as Lawrence, is the veteran deep house producer and gallerist who many of you may know as chief of Hamburg's Dial Records and who made external outings previously on Japan's Mule Musiq where he released several lauded long-players. His latest one comes courtesy of Berlin's Sushitech entitled Earthshine, a 3XLP featuring 12 tracks written and produced by Kersten over the last five years. All in all it's a diverse selection put together by one of the scene's most highly regarded artists.
Review: REPRESS ALERT!: Margaret Dygas may be based in Berlin but her unique sound can't be tied down to any one city or scene, as she proves on her latest 12" across three tracks for the consistently exciting Half Baked label. Not that there's anything half done here, of course, with A-side tune 'Butterfly Effect' a prime slice of groovy. resonant techno that's understated and restrained enough to gain comparisons to Jaydee's 'Plastic Dreams' classic. 'CC Is 33' is warmer, with nicely slidy, jazzy organ chords and itchy technofunk rhythms, with the most minimal of the three tracks, the static-infused, atmospheric 'Subliminal 20A7', coming last but by no means least. A great showcase for a great, original talent.
Review: This isn't Interstellar Beats' first rodeo for the UK's OGE Music. This upstart Cheshire cat also made an earlier self-titled four-tracker in 2023, and now comes fresh on its heels with a glassy glamp housing four more beady beds of sound. 'Space Loops' and 'Small Talk' are twin siren songs of sfumato funk and house, not treading too lightly nor too heavily. 'Room Service' and 'Do It Again' follow as jankier, verging on bluesy blowouts, their titles giving vibes of a luxury hotelier's idealistic fantasy. The B2 is especially gritty and echoes the more streetwise garage house sounds of old, though we've come a heck of a way to minimal.
Review: A repress for four prime slices of classic Baby Ford minimal tech gear, from the rhythm-centric drum machine fest 'Very', the resonant bleepy tones of 'Test', the sparse and spacious 'Down' and the subtle acid undertones of 'Percy'. Baby Ford is finally getting his props as one the UK acid and techno scene's true innovators and pioneers, and these four very mixable tracks are four more reasons why this is only right.
Review: Rubicon marks the first physical edition of Galcher Lustwerk's driving-themed alias, Road Hog. Collecting tracks from seven releases spanning from 2014 to 2021, Rubicon serves as the project's Greatest Hits (for now). Including tracks from the Cleveland-dedicated album 'Tour De Hog' as well as the sharp toothed 'Spares' and 'More Spares' the pithy 'Haul Ass' plus some cinematic favorites from 'DWB' and 'On The Lam'. Originally meant to be digital only and listened to while driving, demand for certain tunes to be pressed to vinyl has risen with each release. From the Road to the Club, Lustwerk's got you covered.
Review: We know you're not supposed to because it's often said to be a cheap marketing gimmick but frankly, we love a good anonymous new producer to get wondering about. And here we have just that in the form of Skat who opens a new series with a one-sided 12". 'Skat 01' is a worthy tech cut with minimal drums loops and brushed metal surfaces all wound up into a tight groove and overlaid with some rudely vocal raps. It's the sort of tune that brings a unique character to any set and is sure to get the crowd demanding its ID.
Review: It has been a while since we heard from Subb An, the Brummy beatmaker who arose on the crest of a new school house wave more than 15 years ago now. He lands on My King Is Light here with a nice and stylish EP that brings dub and minimal to his usual tech sounds. 'Hoarfrost' is an icy and frictionless opener rippled with soft melodies that soothe the soul. 'Hoarfrost' (Meditation dub) is a beatless lullaby, and 'Point Of View' then brings a little more drive but still has plenty of depth to its designs. 'Breeze' is the best of the lot - a nice Bluetrain-style dub-out for the afters.
Review: Minimal and tech house doesn't often come on 7", let alone a picture disc, so this one has got us interested and it doesn't disappoint. VNSSA is behind the tune which comes in two different versions. 'One Pill' is a chunky party starter with monstrous drums and raw bass, spooky vocal leads and a generally trippy, haunting feel that will get big reactions. 'One Pill (Reversed)' is the freaky B-side that plays the vocal backwards for even more occult madness. Wonderfully weird!
Review: Job De Jong's latest release for PIV Records delivers a four-track exploration of deep, groovy house with a touch of underground flair. 'Move' opens with a driving bassline and crisp percussion, setting the tone for what follows. 'Undercurrent' takes a slightly darker turn, with layered synths and a hypnotic rhythm, while 'Wonky' introduces an experimental edge, pushing the boundaries of the deep house sound. Closing with 'Our Sound,' the EP rounds off with a warm, soulful vibe that's both refined and captivating. Throughout, De Jong showcases a masterful understanding of the genre, crafting a release that'll appeal to house heads and underground enthusiasts alike.
Review: Ukraine has a well-established and cultured underground scene that tends to operate on the minimal and tech-house end of the spectrum. This new label, Scarab, backs that up with four tracks of exactly that. They come from a pair of key local producers, starting with Rozquit's 'Battletoads' which is all fizzy synths and stiff, mechanical beats. Lisovskyi then offers 'Spoiled Glue' with a more rubbery low end and some eerie pads and alien vocals. Rozquit's second offering is 'Carolina Reaper', an abstract blend of rasping bass and deft sine waves with loopy, rolling beats. Lisovskyi shuts down with the bumpier tech and future stylings of 'Double Sided Saw.'
Review: Politics Of Dancing once again gets our vote here with some balmy deep house propositions from the eponymous production team working alongside French stylist Djebali. 'Close To Gate' layers balmy pads and smeared chords over punchy and dynamic drums with plenty of cosmic effects up top. There is a little more urgency to 'Soul Brothers' which skates and skips along nicely beneath shimmering vocals sounds and wispy melodies. 'Simple Minds' brings more physical drum work and infectious finger clicks while the Franco Cinelli remix gets things on more of a breezy and rolling tip. A useful, heartwarming EP of modern deep house music.
Review: Ray Mono started out as a resident in Leeds at the cult mono_cult party and has since gone on to emerge as a top talent in the studio. He has a fresh blend of minimal, house and tech that has taken him to labels like Moxy Music but now it is that OG home of mono_cult that welcomes him for a first release on the new label. True to form this is silky and irresistible tech with liquid grooves and smart samples, seductive synth lines and plenty of emotion as well as dancefloor clout. Mihai Pol and Sota remixes completely Ray's standout originals to make for a fine first outing from this label.
Review: New label Autochrome kicks off with good intent - not only does this one come on nice heavyweight wax with a cheeky Homer Simpson logo, but the minimal tech beats are fresh indeed. 'Ritmatic' is all bubbly lines and underlapping bass, with gurgling synths making you move. 'Powermood' then gets more funky, with clipped bass vocals smeared into the arrangement to bring soul and dynamism. 'Mucanue' closes out with balmy cosmic pads swirling around clacking drums. A fine debut.
Review: Constant Black knocks it out of the park once more here with more of that tasteful dancefloor dynamite. This one is a tasty split between Pascal Benjamin and Daniel Akbar. The former goes first with the deeply stylish minimal number that is 'On The Wing' with its bumping drums and goes bass get you in the vibe right off the bat. Next comes 'Twofold', a minimal house cut that is tightly coiled and damn infectious. Flip this one over and you'll be treated to the brilliant brace of gems from Akbar. First is 'Another Chance' with has an effortlessly breezy feel with warm chord smears and then 'Groove' closes down with balmy pads swirling round a loose rhythm that you won't want to end.
Review: This is a welcome reissue of some textbook deep Detroit dub and techno. 'Verdichtung' opens up with some superb rhythms and prickly percussion, all softened by prying synth leads and smeared pads. 'Verdrangung' is just as deep with silky broken beats and more woozy, alluring pads lodging deep in your psyche. 'Einfuhlung' ups the ante with more raw and direct drums and techno leaning hi hats but still plenty of warm machine soul and 'Ersetzung' shuts down with acid-tinged lines, zippy synths and compelling, physical drum patterns.
Flare's Grip - Prism Remix (Herbert's Make It Right dub) (6:39)
Vol 03 - 02 (6:16)
Review: Remastered rarities by the late Susumu Yokota under his 246 and Prism monikers. Go Up was originally a defective release which has since been corrected and remastered and Vol 3 - 02 was not released. It also features a megamix of Ambient Love and Squeeze Up (which feature on Cosmic Soup 005) by Gene On Earth and a remix of Flare's Grip - Prism Remix by Matthew Herbert titled "Herbert's Make It Right Dub". Three legends on this EP. Superbly remastered and cut by Mike Grinser at Manmade in Berlin. Artwork by John Williams.
Review: Marking over 16 years as an artist, Robert James unveils his debut album Battle of The Planets. A milestone in any musician's career, the LP illustrates the breadth of Rob's tastes and influences, exploring the rugged terrain of planet electronica. Ranging from breaks and electro to house and techno, Battle of The Planets was made during lockdown, a period of creativity and isolation for many artists around the world. Across 10 skillfully produced cuts Rob takes us on an intrepid adventure into the cosmos, where mysterious atmospheres and uplifting melodies sit side by side with captivating dance floor rhythms. Many shades of his personality come through on this album, all tied together by his unique sonic identity; informed by his years spent on the dance floor, behind the decks and in the studio. On Battle of The Planets Robert James presents a distillation of his extensive knowledge and experience into one succinct, highly engaging body of work.
Review: Aussie label Foul Play Records snip the red tape with a logographic roll of the dice, and an initiatory two-tracker by resident producer Solar Suite. Described rightly as two techy peak-time cuts, 'Plumb' and its sibling tune 'Second Wind' are alleged to have been made following a near religious experience experienced at Amsterdam club DOKA in 2021. The holy frenzy that follows is indeed a kind of percussive enthusiasmos, centring on deep, resonant sampled shouts and slippery sound design between fidgeting drums. 'Plumb' moves only ever so slightly more harmonic, its underlying chords and "ah" stutters functioning as audial anchors.
Review: Sushitech has always done a fine job of preserving and spotlighting the roots of house and techno and some of its key protagonists. This second volume of A Sillybration does that once more by bringing together some of the most sought-after tunes and vital classics from legendary UK talents Terry Francis, the late Nathan Coles, Laurant Webb, Dave Coker and Justin Bailey aka Housey Doingz. Of these 16 plenty of them have only ever been released once so are pricey if you want an original, and some have never been on wax before, at all. They have all been re-mastered directly from the original DATs and make for a vital collection of dance floor heaters that have aged like fine wine.
Review: The Horizontal Games EP by Arapu and Gescu on Liniar delivers three tracks that are tailor-made for the dancefloor, each bringing a unique energy and groove. Side-1 features 'The V2,' a track that blends a funky electro groove within a solid techno structure. The deep and atmospheric vibes make it a great mix that's both engaging and danceable. On Side-2, 'Horizontal' begins things with a bouncy tech house vibe, perfect for getting the crowd moving. It's playful and energetic, making it a go-to track for setting the party mood. The EP closes with 'Games,' which features a strong bassline and beautiful keys that add depth to the track. It's a deep and sophisticated cut that rounds out the EP nicely. The Horizontal Games EP is ideal for DJs looking to inject some fun and groove into their sets.
Review: Andrew Macari's next offering comes on the small but already well-formed Vessel Recordings label and it delves into some super deep house sounds. 'U Hold Me Tight' is a shuffling, gently percussive number with swaying drums and the sort of groove to lock you in. 'Don't Make Me Wait' is a slower groove with drums that drag their heels in an intriguing way then 'Hana's Jazz Cafe' gets more funky with some playful swing. 'Curiously' shuts down with a nice raw and dusty sound topped with some freaky vocals.
Review: First released by Snuff Trax in 2015, but potentially recorded much earlier, 'U Won't C Me' is one of Mystic Bill's most potent cuts - an analogue-rich hybrid Chicago deep house/acid house cut which sounds like Larry Heard jamming with Adonis circa 'No Way Back'. This Nu Groove reissue naturally features the long-serving producer's original mix, the original bonus track 'Like a Dream In The Night' (a moody, low-slung chunk of warehouse-ready, late 80s style Chicago deep house) and two reworks of the title track. Stefan Bratz ups the acid house factor, reaching for driving drums and mind-mangling TB-303 bass, while Jake Savage's 'Acid Re-Rub' is a jacking, sweat-soaked affair smothered in red-raw acid lines, cut-up spoken word snippets and a ghostly melodic motif.
Review: Terry Francis and the late Nathan Coles (who were the men behind seminal UK party Wiggle) as well as Laurant Webb, Dave Coker and Justin Bailey were Housey Doingz, a vital production outfit that lay the foundations of early tech house. Now some of their best work has been pulled together for a two-part collection called A Sillybration. All the cuts have been remastered from the original DATs, many have never been reissued since the original release, and some have never been on wax at all. They are all timeless and effective tracks that you simply cannot pass up owning.
Review: Burnski and Kelper are two of the hottest artists in the game right now - their output is relentless, and their quality is always high. It is now on the former's Constant Sound that they appear with three fresh new collaborative cuts aimed squarely at the floor. 'Follow Me' has nice hooky drum loops and subtle synth stabs under a seductive vocal. It's fun and functional in equal measure and on the flip things get more naughty with hints of a dirty speed garage bassline under 'Frequency'. The vibe flips again on closer 'Frequency' which has disco-tinged loops and more laidback groves that bring a little warmth and sunshine.
Review: The late, great Detroit mainstay Mike Huckaby had one of the most distinctive sounds in deep house. His always smoky tracks did the basics exceptionally well so never relied on gimmicks to win the attention of DJs and dancers. Never was that more evident than on his standout genre-study, 'Baseline 88-89' which served up a pair of smoky basement tracks with iconic basslines. We have found a few old copies of this cult EP on his own Synth label and it kicks off with 'Baseline 88' with its languid synth bass drunkenly falling about beneath buoyant and dubby kicks. 'Baseline 89' has a darker bassline and loopy drums with a little more edge and bite. These are two perennial favourites amongst underground heads.
Review: Having made his debut on Kompakt with "Out Of Time" earlier this year, the legendary Sasha now breaks the seal on another prominent German label: Watergate. Flexing his darker technoid muscles, both "Gameovr" and "Trigonometry" are proud late night stampers that twist, weave, spell-bind and hammer in equal measures. The latter is exceptionally spellbinding thanks to its epic 10+ minute weave. Remix-wise we're spoilt rotten as Cassy punctuates "Gameovr" with pile-driving beats and La Fleur refixes our focus on a warmer, housier side to "Trigonometry". Play again?
Review: Almost 30 years on from his Loxodrome EP debut on Jumpin & Pumpin, Jamie Odellibetter known as Jimpsteriresurfaces his Loxodrome alias for 'The Drop Out' EP on Cyphon. The title track takes a deep dive into shadowy, minimal realms, packed with squelchy modular synths, a jacking drum groove, and a hefty Juno 106 bassline. 'Emberfall' brings saturated 808s and a rolling 303 acid line, channelling classic 90s Italian Dream House vibes. The dub strips things down for a tougher club workout. Rounding off, 'Fornax A' goes full electro, drawing on Black Dog and B12 influences, with glitchy breakbeats and lush, filtering synths.
Review: Is A Feeling follows up its debut 12" with a classy and varied house offering from Triform. It kicks off with some old school and jacked-up sounds on 'Not For Radio' where analogue drums, silvery cowbells and ticking hi-hats get you in a sweat. Then it's a more drum-led and low-slung affair on the swinging 'Dub 3'. 'Mr Chr$ (65)' shows this artist's range as things become more stripped back and tech-inclined, with silky drum loops and watery droplets backed by diffuse chord work. 'Timeless Groove' then heads back to the old school with lush piano chords and sustained pads bringing the good times.
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