Home Taping Is Killing Music At Juno Download

Review: With two strong releases already under their belts for Southern Fried showcasing their dubby, Visionquest-style house grooves, Jack Fell Down move to Home Taping Is Killing Music for their latest release. This time round, they've got designs on the shuffling, mid-tempo garage house sound that Huxley does so well; the title track achieves all this and more with its atmospheric vocals and thick bassline, while "My Body" continues the theme with its snappy percussion, spacious atmospherics, swaggering bassline and smooth synth buildups. "Provision" meanwhile is another deep excursion into midnight dancefloor territory with its dubbed out, rolling bassline and crisp hi-hats. The Revenge provides his own remix of "My Body" and its expectedly brilliant, imbuing the original with an added sense of urgency and depth.

Review: If there's one trend that defined 2011 - at least for those with a disco persuasion - it was the continued blurring of the boundaries between deep house and disco. Here Scotland's home tapers get in on the act, unleashing an EP from Klic that treads a similar path to that walked by the Wolf Music and Sleazy Beats labels. Both "Disco Music" and "Bump" happily dance between the two camps, fusing choice disco samples with rolling house grooves and deep keys. If you enjoyed the Medlar and Bicep tracks on Wolf, you'll love Klic's creations. The package includes a couple of handy "Bump" revisions, including the excellent extended Ducktape Edit. Well worth checking.

Review: Stepping up to Home Taping Is Killing Music, the increasingly impressive Italian producer Nicholas drops this slinky groover with all the classic elements a house head could wish for. Diva vocal snippets? Check. Bouncing hats? Present. Vibing keys? All there. Grooving bassline? Relentless. If "Love Message" doesn't get into the majority of record bags it will be very surprising indeed. "From The Roots" is a more streamlined affair, with punchy drums and a serious disposition for the fist-pumpers out there. Clearly well versed in the language of house music, Nicholas is turning into a very eloquent artist indeed.

Review: Having previously dropped a gem on Rush Hour's fine Amsterdam All-Stars comp, up and coming Dutch producer Simon Weiss unveils an excellent three-tracker. Sitting somewhere between Cottam, Deep Space Orchestra and the Detroit house stylings of Kenny Dixon Jnr, "Yesterday Is Around" offers a delightful balance between smooth jazziness, string-laden beauty and shuffling peak time goodness. The flexible beats, duvet-warm keys and reverb-laden sounds on "Bird Movement" have an Omar S-ish quality, while "Body Signature" sounds like a blissful tribute to early Theo Parrish. As a whole, it's pretty impressive - and certainly the best Home Taping release for some time.

Review: Chicago producer The Black Madonna burst onto the scene earlier this year with the excellent "We Don't Need No Music (thank you Rahaan)" on hometown label Stripped & Chewed. Here he confirms his status as "one to watch" with another impressive slab of beefy, basement-friendly deep house for Glasgow's Home Taping crew. Constructed around densely layered percussion, minor key chords and a brilliant blues vocal, "Alright This Morning" just seems to keep building throughout its breathless, eight-minute duration. Nicholas remixes, bringing a bit of classic US house bounce to the Black Madonna's sweaty drum grooves. It's a good alternative, but for us the original still wins out.

Review: The Black Madonna has been responsible for some superb, Chicago-influenced music over the last 18 months, not least Home Taping debut "Alright This Morning". Here he returns to the Glasgow-based imprint with arguably his strongest cut to date - the formidably stripped back "We Still Believe". Sitting somewhere between early '90s trackiness, sparse '80s acid and British bleep, with melodies and acid tweaks inspired by Orbital style 'intelligent dance music', it's near perfect in its dancefloor simplicity. The Revenge provides a near anthemic, hands-in-the-air inducing rework (check out the ridiculously heavy bassline), while bonus cut "Say My Name" sounds like Maurice Fulton after a skipload of downers.