Feel good deep house on offer here yet again from Hamburg imprint A Room With A View, adding to their illustrious discography which this far has included such greats as Andre Lodemann and Joel Alter. This cheeky Dutch duo present us with "Heavy On the Bacon" which is further testament to their sense of humour in all its sultry and funky late night sense of groove. On the flip "Coconuts" is on the deeper side with all its funky mono synth leads doing their magic over a funky bassline. This would be ideal for fans of other Hamburg imprint Dessous; there's something about the north of Germany, what more can we say!
Since first pricking our collective consciousness back in 2011, Adam Ratana, Preslav Lefterov and Thomas Cox's Pittsborugh Track Authority project has gone from strength to strength. Following a wealth of releases on Further Records, Argot, Rotating Souls and their own Pittsburgh Tracks imprint, they've been snapped up by Jimpster's Freerange Records. This label debut features a trio of tasty treats. Opener "Your Situation" is a breezy delight, with classic sounding synthesized strings and bubbling electronic riffs smothering a snappy groove. "RT28" is a deeper and groovier, Jus-Ed influenced affair that features some brilliantly spacey synth solos, while "Gold Trim" is a surprisingly live-sounding fusion of loose, organic drums, cascading flute solos and smooth boogie bass.
Starting as he means to go on, Judge Funk debuts on Midnight Riot with some serious dancefloor law-giving on this five track banger. It's all about the 80s, with the highlight tracks including: an expertly tweaked and extended version of Shelia E/Prince's A Love Bizarre ("Wildest Dreams"), the manic energy of Klymaxx's Meeting In The Ladies Room ("Wildest Dreams") and a discreet rejig of a rare SAW Balearic mix of Princess' Saying I'm Your Number One ("Close To You").
Irish imprint Splendor & Squalor serves up its second release and it's from Hamo again. He's previously done stuff on Detroit Swindle's Heist and also Dirt Crew. It's a bit of dreamy, dusty deep house that fans of Uncanny Valley would dig like on "Cotton Club" and "Wonce (Kickflip Mike Remix). Then it ventures into some smooth and blunted urban flavour that fans of Max Graef and Glenn Astro will most definitely be down with on "Wonce" and "In Control" which features the impressive flow of lyricist This Side Up. He serves the best for last though, "The Black Lodge" whose funky groove complete with swirling Rhodes piano and warm analogue drum shuffle, is just made for drifting!
Through releases on his own Good Timin' imprint - both solo, and as part of Conga Radio - Jex Opolis has proved adept at re-packaging a variety of NYC-friendly influences, from boogie and analogue funk, to proto-house and early garage-house. "Studio E", the opening cut from this first Jex EP for Running Back, doffs a cap to both the muscular throb of Twilo era Danny Tenaglia, and the Italo-influenced shuffle of dark-room nu-disco. Elsewhere, he expertly combines Konk style Latin-disco percussion with an undulating, analogue house bassline on "Laxmi Tool", fuses Scandolearic disco and vintage deep house influences ("Harpa"), and returns to his warm boogie influences on the Metro Area-ish "La Casa".
Veteran French electro-disco dude Damon Jee is back and we're glad to report he's still keeping things goth. The Summer No Summer EP features two slow and deep body music cuts. The title track is minutes of depressed electro-pop, in the coolest possible way, whilst "Cuir Rouge" is a suspense-filled slice of menacingly throbbing new beat. Also the former is given a post-punk overhaul by Hardway Bros, whilst the latter reappears as a livelier Giorgio Moroder-esque "Il Est Villaine Cuir" reinterpretation.
FINA Records presents Terrence Pearce's Last Night Lover EP featuring Francis Inferno Orchestra on the rework. Having previously released on a number of prominent labels including Futureboogie, Wolf Music, Petfood, Kolor, Dark Energy and Freshmeat, Cape Town based soul Terrence Pearce has emerged as a talented and sought after artist. The long and drawn out spacey synths of the title track fade in and fade out with subdued strings, while "Come On Yah" provides a warm and effortless disco edged groove, characterized by its infectious low-end throb and clever concoction of playful rhythms, punchy hats, staccato strings and off kilter chords. "Taxi" is wonderfully leftfield amalgamation of horn beeping, door slamming, taxi hollering madness, and Francis Inferno Orchestra returns to FINA by remixing the track with his signature drum machine rhythms, early rave like samples and rainforest atmospherics.
Dirtybird and Futureboogie signing Eats Everything lands on Method White alongside the great Tiga and Audion, for a collaborative one-tracker. "Dancing (Again!)" is a Saturday evening house bombshell with a poppy, above board edge, and its bouncy shells of bass jump to and fro between the "I wanna go dancing" vocals - instantly recognizable and surely a winner. There's also a radio edit for listening playback in there...bang!
Denver, Colorado based deep house imprint Hotbox Recordings are back with a full length from Dubai based artist Jus Tadi. He delivers a dozen shades of groovy deep house here that are perfect for the warm up or the afterhours alike. There's the funky and filtered (but definitely deep) floor fillers in the form of "Can't Take That Away" "Diskach" and "Wishing". But also the more driving percussive tech house of "Come Together" and "Sorcery Of Spectacle". If that wasn't enough there's also a bit of modern deep house style on tracks like "Waves Beyond" and "You Always Sing The Same" which sound reminiscent of stuff on Jimpster's Freerange label. Not a bad thing!
Markus Lang's Eintakt imprint out of Berlin was been at it for the better part of fifteen years and showing no signs of stopping yet. It presents us with some more late night deepness courtesy of UK rising star Cottam who delivers something a bit different here in the form of the rather mysterious yet shuffling and infectious "All About a Groove Thang" but gets into more familiar territory on the sublime, acid driven "Feelin' No Love". Not much is known about Lohouse other than that he's done stuff previously on sublabel Townhousemusic. He delivers two beautiful cuts in the form of the dusty and lo-fi yet ever soulful "KIS" and the delightfully dreamy "Hopeukeilit".
In a shock turnaround, house convert Alkalino has returned to his disco roots for the brazenly uplifting "Morgengrauen". There are two fizzy jams featured here: the euphoric musical fireworks of "Better Believe" and the hypnotic Afro-disco-house of "Lets Get Together". Sheer joy!
Spanish deep house/disco fusionist James Rod has enjoyed a productive 2015, releasing a wealth of material on labels such as Midnight Riot, Hot Digits, Cosmic Sumo, Audaz and Rare Wiri. Here he returns to the latter with more colourful, summery dancefloor fun. Lead cut "Afro Gerops" is particularly potent, with Afro-centric vocals, funk guitars and rubbery nu-disco synths wrapping themselves around a rolling disco groove. It's arguably stronger than title track "Disco Rocket", which successfully blends alien chords, P-funk attitude and slick, nu-disco attitude. There are a number of remixes to enjoy, too, with Situation's spacey electro take - all delay-heavy drum machine hits and intergalactic electronics -impressing the most.
Mr Absolutt has gone deep into the glitzy world of mid-80s soul for his latest, the "Show Girls" EP. We get the intense, male/female duet "Serious", the title track's saucy tropical grind, big-drummed pounder "Superfine" and cheap n' cheerful Italo-disco on "Bad Boys".
It's been another prolific year for Hot Creations, with Jamie Jones' label slamming out nine EPs and an album already, the latter being from Popof. In the interests of keeping dancefloors the world over fuelled with that distinctive sound, here comes the next bomb from the label, and Doorly and Hauswerks are the brains behind it. "The Illusionist" takes the lead with a brooding, heads down style that prizes subtlety over dramatic fireworks, until that is the trumpet-laden breakdown rears its head. "Swamp Donkey" meanwhile keeps the funk up and then whips right into an audacious bass-rich melt-out that should get the crowd itching for that impending drop.
Toby Tobias' Rising EP, released in May 2015, signaled the forthcoming release of his belated second album, Rising Son. With that set now imminent, Delusions of Grandeur has decided to treat listeners to two more album highlights. Both "The Wonder" and "Only Getting Better" are undeniably spacey, with the emotive, melancholic vocals of Atwell adding extra intensity to the London producer's analogue-rich, Detroit and Chicago influenced, retro-futurist grooves. Of the two, it's arguably the bolder "The Wonder" - all squidgy synth bass, acid flashes and swirling Motor City chords - that's the pick. Franc Spangler provides a tasty dancefloor re-work of "Only Getting Better", focusing the action on a killer, low-slung acid house groove, select vocal snippets and rolling deep house chords.
Young Nottingham house sensation Philip George claims that he just wants to dance. He clearly likes to dance a lot, as this new track "Alone No More" (with pal Anton Powers) comes with a whopping 11 remixes to choose from! If you don't find something here to make you dance, well, we give up! The original is pure, radio-friendly commercial dance, with breathy needy vocals and an infectious Robin S-style melody. Remix highlights include Tom Zanetti & KO Kane's more underground electro-housier and Distant Light's choppy 2-stepper.
Big, bad Roska 's, Roska's Kick & Snares, is back this week with something a little more Germanic tha usual. Frederique is up on the UK label with three house tunes that verge dangerously onto the techno sphere, but seeing as they're his good then we're totally fine with it. "Just Me", the title track, is a fine example of subtle, driving tech-house with a minimal edge and some killer electronics. It's god to see our old Roska diversifying like this, hats off.
After outings on Project Allout and Spinnin Deep, Low Steppa dives his way back into Simma Black's rapidly growing catalogue with four new hurters. "The Art (Being A DJ)" is a bouncy UK house stepper with a fluttering bassline, but "Drums Rockin" goes for a more US Chicago house approach - it's swinging drums are particularly alluring, and are bound to go down a storm on any dancefloor. "The Joint" offers a little garage spirit thanks to its fast-paced percussions, while "Meatfeast" digs in deep with its swarms of low-end coming in left, right, and centre.
Having taken time out to establish his Interzona13 label - a job well done, all told - Tiago Miranda returns to DJ Kaos's Jolly Jams label for the first time since 2012. Perhaps unsurprisingly, there's plenty to enjoy on The Good Times Are Killing Me, with Miranda touching on a variety of sweltering, dancefloor-friendly styles. He begins with a heavy chunk of rolling disco revivalism, the action focusing on a killer clavinet line and some tasty percussion. The second track boasts more of a Balearic piano house feel, with additional disco percussion and breakdowns to accentuate the sunny moody. As for the B-side, it's a decidedly breezier affair, with Miranda expertly combining Latin-inspired drums, chiming melodies, and a (sampled) spoken word vocal from Doors front man Jim Morrison.
On this latest two-track assault, Munich-based Portuguese producer Alkalino is back in re-edit mode. This time round, he's sidestepped the usual disco, Balearic, soul and funk influences in favour of two tracks that mine the dark, dub-informed worlds of post-punk and punk-funk. He begins with "Next Phase", a deliciously heavy blend of dub-punk bass, punk-funk attitude, trippy deep house touches and an annoyingly familiar, cowbell-laden sample. "Morph" begins with dense, African-influenced tribal drums, before building into a Liquid Liquid-style percussive banger with extra voodoo. Like the A-side, it's the kind of rolling, bass-heavy builder - with additional flashes of deep house wonkiness - that should keep dancefloors going in the wee small hours.