Futureboogie Recordings At Juno Download

Review: Occasional Leftroom types Waifs & Strays pop up on fast-rising Bristol imprint Futureboogie Recordings. While distinctly chunkier and tech-tinged than previous releases on the label, there's an old skool sassiness and late night feel to "Be Patient" that fits in with the current Futureboogie ethos. It doesn't perhaps gurn quite as impressively as Julio Bashmore's "Father Father", but its comfy combination of jangling pianos and hooky synth bass should certainly raise more than a few smiles on the dancefloor. If anything, it's the Bashmore-ish, touchy-feel calypso-house of "Feel" - all rubbery P-funk bass and synth steel drum melodies - that most impresses.

Review: For all the polished productions they've released, Bristol's Futureboogie crew have always known where the party's at. This latest label release proves that they've not lost their sense of fun in a rush to represent the slicker side of Bristol's blossoming house scene. In its "Full Acid Vox Edit" form, Waifs and Strays' "I Saw Yo Girl" is a bit of a beast. Sat somewhere between pulsating acid revivalism and the UKG-influenced bounce promoted by the likes of Huxley and Julio Bashmore, it bristles with party-starting intent. The stripped-back "Dub Mix" is almost as large, getting just the right balance between hip-wigglin' bump and acid tweakery. Bluesy bonus cut "Remedy" is cut from the same cloth.

Review: Since launching their record label at the tail-end of 2010, Bristol-based party-starters turned musical shapeshifters Futureboogie have become big news. Here they celebrate 10 years of parties, after-parties and day after-parties with a special anniversary set featuring a slew of unreleased cuts from their ever-expanding roster. There's a nod to their nu-jazz past in the shape of Typesun's gorgeous "Last One Home" and Crackazat's piano jazz-meets-bassy deep house jam "Passagem", alongside retro-futurist house bangers from Maxxi Soundsystem, Simpson, Christophe and currently hyped duo Eats Everything (alongside Bristolian deep houser Lukas). Oh, and an absolute killer from Behling which is the epitome of bass-heavy Bristol house.

Review: Given the mystery surrounding this release - unnamed "well known London DJ/ producer" joins forces with (also uncredited) "star Bristol musician and vocalist" - it would be easy to let the music pass you by. Yet "It's You" is excellent - arguably one of the strongest Futureboogie releases to date. It eschews the label's usual styles in favour of a low-slung combination of sparse, Hot Creations-ish house rhythms, soul-aching vocals and Prince-ish 80s funk squelch. It's a great combination. Crazy P man Ron Basejam offers a deep and sunny house interpretation, whilst Bristolian housers Eats Everything and Christophe deliver a fluid fusion of disco percussion and bubblin', retro-futurist acid house.

Review: Having previously appeared on similarly hyped house label Wolf Music, South African producer Terrence Pearce is an excellent addition to the Futureboogie roster. Here, he supplies the Bristol-based label with a quartet of decidedly positive tracks. There's something for everyone, from the rumbling low-end pulse and saucer-eyed rave riffage of "Kings N Queens" and sparkling, hip-hop sampling deepness of "Up and Down", to the rush-inducing, sax-laden powdered deep house of "Halcyon". "Poise", a blossoming exercise in the simple joys of melody, is also pretty tasty.

Review: More commonly found indulging in muscular electro and techno for the likes of Clone, Scottish-Italian stalwart Marco Bernadi makes good on his move to Bristol by linking up with the Futureboogie crew for this foray into a lighter, house orientated affair. Driven by colourful arrangements of keys and chords, "Motorways" finds its groove with ease and happily rides it out for the duration. "Space Coral" shows a greater deference to the foundations of Detroit electro, letting glorious patterns of sci-fi melody come raining down on a steady house beat, while "Cosmic Aroma" gets into equally harmonious mischief with another bold deployment of synths courtesy of someone who knows how to handle them.

Review: This EP from Last Waltz is a big step forward for Futureboogie Recordings. Previously, they've released plenty of high quality dancefloor fare, but little that really tugs at the heartstrings musically. "Trinket", in particular, is very impressive in this regard, taking the label's "cocaine house" blueprint and wrapping it up in the most heartaching of piano lines and fragile, crystalline melodies. It really is excellent. The slower "Ashes" also ticks all the right boxes, sounding like a smacked-out fusion of sleepy deep house and intergalactic electronic disco. For those in need of more obviously upbeat fare, the Bad Passion remix of "Trinket" delivers carnival drums and MDMA builds as well as those pianos.

Review: Julio Bashmore closes proceedings on a breakthrough year with the release of the smartly titled Riff Wrath on his own Futureboogie imprint. Back in the misty eyed days of early January we plucked out young Bashmore as one of ten producers that we predicted would do great things this year, and the West Country dweller has more than delivered on this promise. Everyone Needs A Theme Tune, his EP for the fledgling PMR imprint has remained one of this year's most enduring releases and was recently endowed with a much overdue repress by the label. Subsequent EPs for Martyn's 3024 label and the newly established Futureboogie have also left an impression, whilst Bashmore has honed his remixing skills for an array of labels, turning up on heavy hitters such as Turbo and Sound Pellegrino. The sixth release on Futureboogie contains a double dose of deftly described filmic house music which pairs the vocal lead track "Ensnare" with some instrumental business in the shape of "Well Wishers", and we thoroughly recommend you check it out.

Review: Having previously impressed with 2012 releases on Wolf Music and Losing Suki, James Welsh continues his ascent towards deep house superstardom with a typically fluid and atmospheric EP for Futureboogie. "Craven" sets the tone, lacing a touchy-feely, tactile house groove with tough 808 cowbells and an intoxicating vocal sample. Regular collaborator Terri Walker makes an appearance on the shuffling, cymbal-heavy old skool garage jam "King Edward Street", while "Bill Murray Came To My House Party" largely lives up to its riotous title. "Horse Fight", with its minor key chords and sprightly synth bass, also hits the spot.

Review: Eats Everything arrives on Futureboogie Recordings and, clearly, it's all going off. "Tone Music" is a slice of majestically wasted raw house that centres around a beguiling sci-fi synth riff, plinky plonk noises and the tormented warbles of a mad man. Oh, and a snare, a ridiculously massive snare. "Lo-Fi" is loose, dirty, garagey house that has a really urgent sense of spacey sleaze. Lastly "Doldrums" ends things on high with huge build-ups and, infectious rubbery bassline, skippy beats and a relentless cheap keyboard riff. In other words, pretty much perfect dancefloor material.

Review: Following a killer EP of more downtempo leaning grooves on Astro:Dynamics earlier this year, Bristol's Crackazat returns on Futureboogie with some material aimed squarely at the floor. "Book On The Beach" combines caffeinated congas with a laid back Chi town groove, while "Panic Aggressive" is a more low slung affair combining a sleazy guitar lick with lo-fi keys. However, the real star is the nine minute epic that is "Tunnel". Raw and chunky with an impeccable sense of rhythm, and combining deep atmospherics with madly tweaking synths, this is possibly the most original house track we've heard this year. Highly recommended.

Review: In the words of Futureboogie's El Harvo, they'll release nothing unless it passes the A&R ears of fast-rising house starlet Julio Bashmore - and he's "very hard to please". Given the fluid, eyes-wide-shut sound employed here, it's not all that surprising that Bashmore was keen to release this collaborative three-tracker from Bristol veterans Christophe (Redux) and Lukas (Dirt Crew). "Tearbox" blends the former's usual piano heavy, almost Balearic sound with the latter's deep house nous and just the right amount of Bashmore-ish synths. There's plenty of similarly piano-friendly, rush-inducing goodness on the two flipside solo productions. Of the two, it's Lukas' "Reel Love" - all build, cut-up vocals and colossal old skool riffage - that impresses most.

Review: Chameleonic producer Jabru and label hopping bass producer Hackman come together to form the snappily named Bruh Jackman with this platter for Bristol's Futureboogie imprint. The duo is clearly mindful of Julio Bashmore's success since his Futureboogie releases a while back as this three track EP contains a healthy dose of soulful vibes. Lead track "Miss My Love" is a dusty little number with snapping percussion augmented by lush chiming melodies but dominated by that uplifting vocal. The brilliantly titled Joel Culpepper lends some real soul to "California", a glistening, laid back ride through seductive neo-R&B that justifies the vocalist's comparison's to Frank Ocean whilst "Just To Keep" can be filed alongside the current crop of vocal hook heavy, melodic deep house.

Review: Having recently impressed with a delightful Faith Evans bootleg, mysterious Bristol-based combo Behling & Simpson (a new pseudonym for a well-known production duo) make their full debut on hometown imprint Futureboogie. It's arguably Futureboogie's best yet, a delicious four-tracker of slow house and bumpin' midtempo grooves that simply bleeds Bristol. Of the four cuts, it's the low, slow grooves and cut-up R&B vocals of "UFO" that most impresses (inspired, incidentally, by the Bristol club night of the same name), though the dubwise "Yenisei" and dreamy "Left Behind" are almost as good.

Review: Since the launch of Futureboogie Recordings last year, Bristol cellar dwellers Behling & Simpson have consistently delivered some of the label's finest material. Here they're at it again, blending rush-inducing deepness, spine-tingling pianos, drifting vocal samples and heavy basslines inspired by their secret former lives as bass music stalwarts. This time round, Well Rounded Housing Project type James Fox has lent a hand. Lead cut "Work That Body" is arguably the pick - it's formidably wide-eyed and tactile - but find time to check out the bumpin', R&B-sampling "Good Thang" and the midtempo beauty of "Tangled". "AAW" is pretty damn tasty, too.