In a bid to celebrate 16 years in business, Mallorca-based Garito Cade Bar has joined forces with the like-minded souls from Sweden's Local Talk imprint. The result is a collection compiled and mixed by resident DJ Nacho Velasco, featuring both well-known and previously unheard gems from Mad Mats and Tooli's well-loved label. While many people will have some of the better known material here - think Fred Everything's excellent "Brothers & Sisters (PM Atlantic)", HNNY's "Fr The Very Forst Time" and Kyodai's "Something Special" - it's the previously unheard selections that make it Music Joined Us worth investigating. Of these new cuts, it's Tommy Rawson's lusciously loose "7 Days" and Jesse Futerman's smouldering "Life Is A Gamble" - smoky soul re-made as Latin-tinged deep house - that stand out.
Ultra Bass is a label that has been gaining steady ground with its UKF-flecked bass-house bangers. Here David Eliza adopts the well-rounded soulful tones of vocalist Jael for the synth washed break-step jam "Amazin'" and the deeper, housier "The Ride". Standout remixes here include Rare Candy's sumptuous poolside rerub of the latter and Tommy Mc's deliciously dirty basement garage rework of the former.
Here's a deliciously simple idea from Matias Aguayo's Comeme label: DJ friendly re-edits of tracks from Russian producer Philipp Gorbachev's decidedly off-kilter Silver Album. Aguayo shows the way, turning the loose and eccentric "Distance" into a heads-down chunk of no-wave house complete with military drum rolls and a whisper of acid freakery. Elsewhere, look out for an inspired EBM style reinterpretation of "Arrest Me" from Optimo man JD Twitch - arguably our pick of the bunch - and a brilliant, slo-mo blend of "New Sound" and "Silver Symphony" from Ana Helder. Oh, and a no-nonsense reinterpretation of "What Do You Need" from fast-rising, former Hot Creations man Danny Daze.
This is a significant moment in the development of Michael "Huxley" Dodson. Following six years building his reputation via a constant trickle of singles, the London-based producer has finally delivered a debut album. It's a little more expansive and varied than many of his singles, and variously touches on many of his regular inspirations - UK garage, deep house and bumping techno, in particular - as well as some he's not previously explored (see the pitched-down rave breaks of "Give 2 U" and the "Circles"-ish liquid D&B of "MXR"). The result is a polished, floor-friendly set that impressively straddles the line between club tracks and home listening fodder.
Proud Yorkshire label Hudd Traxx have been putting out a reliable stream of quality deep house since 2005, with artists like DJ Sneak, Rick Wade, Iron Curtis, Jay Bliss and Agnes just some of the many names to appear on the label. This 46th release features three debutants, while the fourth name, J.T. Donaldson, spearheads the release with a wishy-washy, bassline driven deep house vocal cut "Got Myself Together". Hudd Traxx provides Dusseldorf producer Maximiljan with his first physical release with the track "Son Of A" which merges the linear 909 house style of Norm Talley with smooth chords and cheeky vocals similar to the now defunct Swiss house duo Azuni. But most interesting for the label on this release, it's the two new names in Professional Gigolo and Tuneon that prove Hudd Traxx still know where to look when it comes to unearthing new and vibrant talent.
It has been four long years since South African producer Culoe De Song last graced Dixon's Innervisions imprint. Happily, this belated return - a year after dropping his impressive Exodus album on Soulistic - sees him at the top of his form. "Y.O.U.D" is, in many ways, what you'd expect - a dense but picturesque blend of thick tribal percussion, fluttering electronics, sampled yelps and eyes-wide-shut melodies. He opts for altogether deeper vibe of "Geyser", layering dreamy chords and hazy melodies atop a hypnotic, shuffling groove blessed with delicious atmosphere. Strong stuff, all told; it's a pity it's been so long between drinks.
While Italian producer Nicholas has always been obsessed with classic house - be it the piano-laden release of early '90s Italian productions or the New Jersey bump of later period Nu Groove - he's more than capable of producing deep house laden with soulful intensity. That's what's on offer across these four tracks, beginning with the heavy bass, dreamy chords and sensual vocal (provided by Shaun J Wright) of "Love Someone". The Italian wisely provides a darker, chunkier dub of the same track, before exploring acid and sprawling pianos on the deliciously effective "Message". Finally, "J.U.N.E" features an attractive blend of hazy freestyle vocals and cute Rhodes keys riding a fizzing, late '90s US deep house groove.
Numbers aren't giving much away about the identity of Deejay Deer - unless, of course, he is genuinely a forest-dwelling animal with a sideline in synth-laden late night house, as their amusing press release claims - but in many ways it doesn't really matter. Both tracks here are superb, with "Natural" offering a fizzing, melodious take on deep house with clear Floating Points, Tiger & Woods and Joy Orbison influences. There's also a touch of Caribou about virtual flipside "Unantural", whose fluid waves of synthesizer and exotic, almost psychedelic chords seductively crash over a wide-eyed, loose-limbed jazz groove. It's impressively produced, suggesting this is the work of a seasoned pro rather than a little-known newcomer.
Since making their debut on Lost My Dog last year, Mountal's profile has risen dramatically (thanks, mainly, to the success of a sneaky remix of Pharrell's "Happy"). This sophomore EP builds on their debut, delivering five more chunks of undulating, bass-heavy deep house. Highlights are plentiful, from the "Bar A Thym" style cowbells, riffs and rolling grooves of "Nothing To Undo" and sub-heavy, UKG-influenced wobble of "Masterkill", to the deep and dreamy flex of the extra-intoxicating title track. That track is given the remix treatment by US house veteran Mr V, who drops two contrasting versions; the tech-tinged deep house shuffle of his Sole Channel Mix, and the sparse-but-attractive electronics and minimal-influenced rhythms of the 2AM Mix.
It's safe to say Midland is now one of Aus Music's marquee artists. This Duster EP provides the Englishman with his seventh release on Will Saul's label since 2010 with that killer split 12" with Ramadanman (now Pearson Sound). The title track features a Caribou-like bassline and synths which swell and vary in size over a skipping house beat. "Replex" is rougher and frenetically percussive while still remaining melodic, while "Pitch Drift" is the deepest production on the record that some how, in amongst the trippiness of it all, stays tropical.
Pomelo has been releasing music since 1994, with tracks in the early days coming from DJ Hell, Punk Anderson and Hi-Lo, while in more recent years the label has been a platform for Alex Cortex, DJ Stingray, Brendon Moeller and Tin Man. This second 20 Yrs various artists EP adds to Pomelo's milestone celebrations by featuring tracks from Tin Man, who delivers an archetypical acid techno production called "Detroit", while Macro associates Elektro Guzzi provide a vamping "Radicale" which is forever peaking. It's Digilog who pulls out the wild card though with a cavernous, 303-fuelled "Mind Gap".
It's taken Baba Stiltz a while to settle on a sound of his own. While his early material - released as far back as 2011 - stuck rigidly to skwee and hip-hop influenced downtempo grooves, latter projects for Studio Barnhus have seen him head in a much more immersive deep house direction. This imaginative and eccentric debut album, presented as a doublepack with full artwork, stitches together these disparate strands. The results are impressive, with vibrant, Balearic-influenced deep house cuts nestling side by side with robust acid jams, scratchy downtempo grooves, grandiose synthesizer soundscapes and skewed instrumental pop. It's an assured and curiously off-kilter debut, which should appeal to those who enjoy more leftfield strains of deep house.
China's house scene is still in its infancy, but it's good to see new label Guangzhou Underground promising to represent it worldwide. This debut release, though, comes from experienced European producer Alex Agore. Aside from the deliciously melodious closer, "Mistakes" - a trip into '80s instrumental slow jam territory - Agore goes straight for the jugular, delivering a series of bumpin' cuts that take much influence from vintage US house. "Do It" is positive and smile inducing, with heavy organs and sampled horns combining well with driving beats. There's more of a DJ Duke-meets-UKG feel about the booming "Tygah Style", while "I Miss Your Luv" sounds like a classic Night Grooves release dragged kicking and screaming into the 21st century.
At once foreign and familiar, Desert Sound Colony brilliantly scores a nostalgic journey through the proverbial looking glass. The plaintiff vibe of "The Way I Began" envelopes the listener in warm guitar licks and hushed vocals, transporting them to a time when innocence and insecurity gave way to transcendence. The road takes a turn with "Fire Egg", a classic stomper that drives introspection with looping guitar melody and bouncy bass. And before we return to size, "Iris" carries us further inward with scattered claps and a skipping kick, before releasing us into a deep and chugging, eyes-wide-shut, euphoric roller.
Having previously built up a solid relationship with legendary New York deep house producer Ben 'Cozmo D' Cenac via their 2012 reissue of his Dream II Science 12" from 1990, Rush Hour once again mine his back catalogue with impressive effect. Bang The Drums, his first and only album under the Push/Pull alias, has long been regarded as something of a slept-on deep house classic. It's similar in style to the Dream II Science material, but with greater use of African rhythms and instrumentation. Given when it was made, there are also nods to hip-house (check the groove and stabs on "Africa", as well as the title track) and, perhaps most interestingly, classic New Jersey garage ("Zanzibar", seemingly a tribute to Tony Humphries' club of the same name).
Remix compilations can be a little hit-and-miss, but this one - gathering together five years of eccentric and often inspired reinterpretations from German veteran DJ Koze - is anything but. Koze often saves his best work for the remix domain, delivering imaginative reworks that take the original material into surprising new places. So, Herbert's "If Only" is turned into a sparse chunk of atmosphere-rich late night deep house, Caribou's "Found Out" is blessed with a new sense of wonky, left-of-centre purpose, and Zwanie Johnson's "Golden Song" is given a decidedly Balearic, beatless makeover. Highlights are plentiful, with Koze's dubby, low-slung afro-jazz reinterpretation of Soap & Skin's "Marche Funebre" standing out.
Following a single-track salvo on a split release from the eccentric Play More Terrys label, Hot 'N' Heavy has handed a debut EP to Ian Place. The Washington D.C-based producer takes his chance impressively, delivering a couple of solid, floor-friendly rubs shot through with warm deep house flavour. "Control" features warm chords sprawled over a bumpin', low-end heavy groove and vintage US garage-influenced drums. There's a bit more shuffle to the drums on "Old Fashioned", but it's the sub-heavy UKG style bassline that really catches the ear. A promising debut is completed by a pair of remixes of "Control" from Bob Citrus (snappier and wonkier) and Tone Chaser, Commodore 69 and Fansea (deep house with dub techno influences).
The Squatters touch down on Vicious Bitch with a debut two-tracker for the label! Both the artists and the label are known for their nomadic qualities, where the former has released on countless up-and-coming labels, and the latter has taken on many artists from different spectrums of the bass scene. "Nudge" is a gorgeous, garage-leaning house track for the end of the night, while "Thirsty" is a little more playful and a little more funky. Deep!
More from Munich-based Lino "Alkalino" Rodriguez, who, having recently showcased his re-editing and original production skills, delivers a pair of previously unheard remixes. There's a warped, bass-heavy, techno-tinged late night feel to Rodriguez's version of Arno's "Lokalderby", with the Portuguese producer wrapping rave-influenced stabs and late night electronics around a booming, after party-friendly groove. There's a similarly murky feel about Rodriguez's version of Deep Blast & Ricco Rizzo's "Lufthans", with detached electronics and bittersweet melodies riding a shuffling, early morning groove. Both tracks seem designed to be played loud in dark German basements, somewhere around 4am.
Former Les Petits Pilous man Jean-Patrick Simonetti has a new alias: Workerz. Here, the French producer presents his Back Office debut under the new pseudonym, a three-track trip though rubbery electronic deep house with a soulful synth-pop bent. There's plenty to enjoy, starting with lead cut "Deep Stress" - a radio-friendly blend of skittering, Chicago influenced drums, shimmering chords, impassioned vocals and heavy, low-end bounce. "Alkaline" throws in a little Todd Edwards style cut-up garage flavour whilst retaining the classic house influences and drawn-out chords that feature heavily in the title track. Finally, the garage influences come to the fore on "Douglas", a three-minute blast of wide-eyed goodness built around fluttering riffs and oh-so tipsy vocal samples.