Following on from their successful hook up with 2020 Vision, nu-disco heroes Crazy P have now joined forces with the Classic label (how has this not happened before?!) and here we get the "Truelight EP". Spacey retro soul balladry gives way to filthy cosmic funk on "One True Light" and "In My Hands" is nasty Padlock EP-style disco of the highest order. Hot Toddy (aka Chris Todd of Crazy P) remixes the latter into hypnotic acid and band co-founder Ron Basejam turns the former into chugging, sun-warped Balearic boogie.
If you've been to a festival this summer, it's likely that you will have heard "Surrender", the first collaboration between Running Back man Gerd Janson and Black Jukebox curator Shan. A pleasing slab of feel-good disco-house with added carnival percussion, the track's appeal likes as much in the duo's ability to place life-affirming peaks (built around colossal disco samples) in all the right places as the rock solid nature of the production. Basically, it sounds like an anthem and is fast turning into one. There's a similarly old school feel to "Gentle Place", too. The track's analogue bassline and layered, carnival house style percussion is brilliantly off-set by the kind of swirling Balearic chords and eyes-closed vocal samples so familiar from Janson's Talamanca System work with Phillip Lauer and Mark Barrott.
Considered the anti-hero of disco music, Argoman literally means 'lazy man', however it's also a combination of three Italian producer's names who started the project about one year ago. Any guesses who they might be? We will leave that to you! The track "Chimicalissimo" is new wave Italo disco at its finest, featuring peak-time dancefloor energy completely produced with analogue synths and drum machines. Gerd Jason and Fabrizio Mammarella team up again as Black Spuma and their remix turns the track into a slow burning disco monster. The dub version gives more space to a melancholic piano melody that culminates through analogue arpeggios to an unstoppable build.
David Cabanne (no, another one!) is based in Bordeaux, France. The young producer has released for Waxtefacts Records and Khasia Hills Records previously but now for Brighton based house heroes Wolf Music. First, we have the dusty and disco-fied deepness of "Here I Am" and "Freshly Squeezed" respectively which utilise rusty and skittering old drumcomputer patterns with tastefully borrowed diva vocal samples to stunning effect. Then, the solemn and emotive "Flip The Script" closes out this fine little EP out in style.
Steve Young may be Werkshy, but he's no layabout. Everyday is his third EP of the year to date, building on the success of outings on Midnight Right and Guesthouse. This time round, he's in a thoroughly cheery and summery mood, first impressing with the effortlessly soulful grooves of "Everyday". The track, which features samples from a self help record as well as some vintage soulful vocal snippets, sits somewhere between hazy deep house and reggae-inspired dub house. If you fancy a slightly straighter, U.S deep house style revision, the 4004 Remix should fit the bill. Also worth a listen is EP closer "Everybody", a rolling chunk of disco-driven deep house goodness with added electrofunk bass.
Apologies for banging on about this, But Session Victim's recent Listen To Your Heart album is one of the best Balearic-minded house sets we've heard this year. It goes without saying, then, that this third sampler EP is packed full of playable goodness. While they've naturally included an obligatory slow jam (wonderfully dreamy Balearic beats cut "Castle For Sale") and a rush inducing, gradually building Balearic soundscape (EP highlight "Thermal Explorer"), the other two tracks jostle for position in the "best for peak-time plays" stakes. Choose between the tactile nu-disco/deep house fusion of "Head Over Heels" - all sweeping strings, bubbly synth bass and twinkling piano flourishes - and "Almost Midnight", a wonderful trip into disco deep house territory that's as rich and musically expansive as they come.
Since starting their career with a couple of well-regarded EPs on Toy Tonics in 2013, Black Loops has been label hopping. This return to the German imprint follows four years spent churning out EPs for Gruuv, Neovinyl and, most recently, Pets Recordings. Opener "Le Mirage" is a bustling and bass-heavy affair, with melodic deep house pleasantries wrapping themselves around a chunky, U.S-garage influenced groove. The rhythmic skip and bass-heavy bounce continues on "Red Light", where fuzzy electric piano parts come to the fore, while "Sex (Part 2)" effortlessly joins the dots between the hazy loveliness of Italian dream house and the bustle of classic Kerri Chandler records. 'Sex", which boasts a wonderfully sleazy spoken vocal, completes another ear-pleasing package.
Having contributed a track to the split EP that announced Voyage Recordings, founder Andy Hart has since largely focussed on building the label through some canny A&Ring that's seen singles from the likes of Harvey Sutherland, M5K and Urulu. There was the introduction of Hart's Auslander project with Tom Lalley and Fantastic Man in the label's 2015 output too, but the recently-settled Berlin resident hasn't offered up any solo output in some time! Which makes the clutch of brushed deep house burners that feature on this Mistress of your Mind EP most welcome indeed Andy. There are hints that Hart's new surrounds and regular gigs in Berlin are starting to bleed through into his productions - see the heat-treated "Sorayama's Mistress" and full throttle percussive onslaught of "Vienen." It's a development we wholeheartedly approve of!
Mallard was once a frequent face at Bradley Zero's Rhythm Section parties. After dancing hard on countless occasions, the trainee jazz double-bassist eventually plucked up the courage to hand over demos of his bedroom productions. It's those - reworked, polished and professionally produced - that make up the bulk of this debut EP. As first releases go, it's a bit of a doozy. Highlights come thick and fast, from the floatation tank chords, loved-up new age melodies and languid broken house beats of "Aquitaine (606 Lake Mix)" and the drowsy, horizontal bliss of "Marco's Mango", to the sunrise-friendly house breakbeats and fluid chords of "Track 4 (Breaks)" and the modern ambient house warmth of closer "Verte".
Issued on his own Senso Sounds label, Rotlicht is a taster single for Oliver Huntemann's new album, Propaganda. It suggests that his fifth long player could be the German's best yet. Populated by shrieking sirens, morose, tone-shifting stabs and some of the most oppressive bass notes that electronic music can offer, the title track swaggers in a particularly menacing fashion. There is also a less intense interpretation from Raxon. Centring on a woozy, out there riff and a loose rhythm, it still contains a punch, albeit in a more tripped out manner. If you are looking for maximum impact though, stick with Huntemann's bruising original.
Rather confusingly, Girls of the Internet are not scantily clad ladies with a passion for music production and webcams, but rather two mask-wearing blokes who closely guard their secrecy. This is their first single since 2014 and marks their first appearance on Derrick Carter and Luke Solomon's long running house imprint, Classic. Interesting, "When U Go" is something of a slinky and seductive affair; an unfussy, slow burn deep house shuffler blessed with in immaculately soulful vocal and some subtle jazz guitar flourishes. Italian producer MoBlack provides the obligatory remixes. His two revisions (vocal and dub) add a little rhythmic pressure (thanks to some jaunty, bossa-house beats) and subtle dreaminess, whilst retaining the best parts of the duo's simmering original mix.
With this EP, Local Talk is giddily introducing the world to their latest signing: Milanese trio Jaxx Madicine. Made up of experienced producers Turbojazz and Parker Madicine with jazz-funk keys-man Veez O, the Italian outfit revels in delivering loose, soulful and life-affirming fare that draws inspiration from the likes of Kaidi Tatham, the Mizell Brothers and dusty, boogie-influenced deep house. As you'd expect, all three tracks are musically expansive. For dancefloor rotation, it's a straight choice between the jazzy, jammed-out keys, squeezable synth bass and shuffling deep house beats of "Surround Seas" and the broken house/jazz-funk fusion of piano-laden opener "Montreux". That said, "Innerlude" - a sparkling chunk of sunrise-friendly analogue warmth reminiscent of Nu Guinea or Mystic Jungle Tribe, is also superb.
Long established label-hopper Ponty Mython (AKA Russian producer Alexander Pietnev) adds another imprint to his resume via a rock solid four-tracker for 20:20 Vision offshoot Fina. He begins with "Why Can't We Both Be Right", a bustling but groovy deep house cut full of woozy vocal samples and crunchy drum machine handclaps, before jazzing up the beats and reaching for the swirling orchestral samples on lolloping groover "Morning in a Boing 747". EP highlight "Rejoice" sees him successfully revisit his disco-house roots, while Soul of Hex hook-up "Surf Mode" sits somewhere between humid afternoon disco and chunky deep house.
Throughout his career, Be Svendsen has largely been associated with hypnotic and atmospheric tech-house. For this three-tracker on Earthly Delights, he's decided to do things differently. Opener "Decoy", an exotic mid-tempo chugger full of Persian instrumental flourishes and throbbing post-punk style bass, sounds like the sort of thing you'd hear Andrew Weatherall and Sean Johnston play at A Love From Outer Space. The same could be said about "Nabia", whose lilting swamp guitar licks and undulating electronics are almost psychedelic (despite the presence of drums straight from the tech-house playbook). The real killer, though, is "Hide", a gentle Middle Eastern/Balearic hybrid that attractively bobs and weaves for 15 minutes.
Henry Saiz hails from Spain; he's a music producer who's highly regarded, someone even called him a genius once (although there is a possibility that it was he himself who said it), and here he takes the reigns of the 19th volume in the Balance Presents series. He embarrasses a legion of sham DJs too by weaving a mix that utilises vinyl, cassette, reel-to-reel tapes and over 100 field recordings. All the material here is exclusive to this mix and the hypnotic, primal trance-electro-disco-house blend is once heard, never forgotten. A genuine artist at work.
Having thrilled dusty-fingered crate diggers with a reissue of Denis Mpunga and Paul K's impossible-to-find mid-'80s cassette album Criola - an unusual but rather fine combination of post-punk and traditional Congolese music - Music from Memory has decided to give some of the tracks the remix treatment. As you'd expect, there's many more hits than misses. Dutch rising star Dazion delivers a wonderfully cosmic revision of "Intermezzo B" full of fluttering new age synth lines and drum machine polyrhythms, while Tolouse Low Trax turns "Veronika" into a woozy and dreamy chunk of dub-flecked, loved-up downtempo bliss. Late night dancefloor thrills are provided by Interstellar Funk's intergalactic tribal techno take on "Intermezzo 2" and Prins Emmanuel's tactile take on "KWEI!", which sits somewhere between dub disco, boogie and proto-house.
Acclaimed DJ, producer and label boss Riva Starr is excited to announce the first release from his brand-new imprint, Brock Wild. The EP's title-named track kicks things off, serving up a free flowing, groove-laden cut that seamlessly blends elements of house, hip-hop and breakbeat. Encompassing an abundance of lo-fi Rasta-esque vocal samples, ferocious synth blasts and an excellent use of dub-style effects. Closing the EP is "Pull Up", featuring Amsterdam-based artist, Zanillya, one of the producers of Major Lazer and the Neptunes among others. The track begins with steady 4/4 groove and a deep sub bassline, gradually introducing several manipulated vocal snippets, a wealth of TR-909-laden percussion and other off-kilter effects throughout its six-minute duration.
Mobilee boss Anja Schneider moonlights for Hot Since 82's label. The title track sees Schneider at her most dance floor-focused, with jittery percussion and siren riffs leading a pacey groove. By contrast, "Free Fall" is a minimal track in the classic sense - centred on a pitch-bent vocal that insinuates itself gradually into the arrangement, it is accompanied by a niggling acid line at every step of the journey. Knee Deep have commissioned two fine remixes; William Djoko turns the title track into a noisy, workout, led by a jarring rhythm, while on the Alex Arnout version of "Free Fall", the spirit of Lil' Louis is channeled for a spine-tingling, swirling chord climax
Cin Cin are pleased to present their eighth instalment and it's what they themselves best coined as 'a down under double header!' First up are Melbourne's Statue who give us a pair of percussive workouts engineered for maximum hip wiggling. "Base" nailing that classic house sound from the synths to the drum machines while "Face" goes for a more funky balearic vibe. Then fellow Melburnians Ara Koufax take us for a swim with two prime time cuts of pseudo-psychedelic acid nouveau. The noisy "Natural States" features some rich and spangling arpeggios over tough rhythm patterns while "Test Dream" is more fierce but inadvertently nails that Kompakt dreamy and evocative style of house.
"Testify" is part gospel anthem, part joyful house workout; a perfectly formed song with a heart that reaches out to move you. Originally released in 2016 on Sean's own Plastique Recordings, the track has grown and hooked fans organically, making the playlist at BBC Radio 2 and taking on a life of its own. Signed to Defected in 2017, the label wasted no time in delivering a killer remix package. Steve Mac takes the track underground with industrial drums and a killer four to the floor beat. Tom Stephan aka Superchumbo introduces a Latin flavour into his dub version with syncopated drum work and a beefed up bassline that takes the original's gospel elements up a few gears. Finally to complete the package is an original extended version, with two bonus minutes of the uplifting instrumental bridge.