Local Talk At Juno Download

Review: This great value five-tracker sees former Swedish Brandy producer Opolopo launch a new moniker, Actual Proof. Musically, it offers a slightly more varied diet than his previous work, variously touching on deep house futurism (the rather quite spellbinding "Huff & Puff"), bubbling, sub-aquatic deepness (two excellent mixes of future late night staple "Hubble") and gritty, stripped-back disco/deep house fusion (two dubby versions of lead cut "The Grit"). As usual, it's all immaculately produced, offering the sort of far-sighted but groove-centred deepness that always impresses dancefloors. This boy will go places.

Review: Madness is the work of a young Swedish producer, even though it sounds like it was crafted by a seasoned artist. As its title suggests, "Electric Piano On The Run" is a freeform, jazzy house jam, with slinky piano tinkling and lush strings supported by an offbeat groove. "Drumming Man" does what it says on the tin, with dense, live drums underpinning dramatic, plucked riffs. Best of all though is "Forest Dance"; achieving the near impossible balancing act of fusing 70s sleaze soundtracks with early techno synths, its loose organic rhythm and subtle jazz keys provide the backdrop against which these seemingly incompatible worlds meet and get it on.

Review: Since setting up shop last year, Mad Mats and Tooli's Local Talk label has provided discerning dancefloors with some delicious, old skool flavoured house. This EP from Finnish producer Deymare continues that pattern, offering up four tracks that pit the piano flourishes and vintage drum machine grooves of Mr Fingers with the bumpin' basslines and heady soundscapes of Nu Groove-era NYC house. "1990" itself is near perfect, but it has more than able support from the subterranean New Jersey vibes of "Time To Move", mid '90s grooviness of "Keep On Movin" and early Masters At Work bump of "The Beat Is Back". Highly recommended.

Review: Brilliantly, this has one of the oddest concepts we've ever come across - a deep house cover of ESG's "Moody" with added Neneh Cherry vocal samples - yet it works magnificently. Musically, it's structured around a groove that recalls classic MK-era US garage - all shuffling beats and rolling organ riffage - on to which all manner of subtle samples and acid tweaks are added. It's simple but devilishly effective - think deep, driving and emotion-rich. The Butt Jackin' Remix adds some more late night riffage and boompty-influenced beats, while the Short Edit (not so short at nearly 9 minutes) shaves off all of 90 seconds. Still, stellar stuff all told.

Review: The title of this second release on the Local Talk label gives a hint as to what's to come. Lead cut "First Time House", in particular, evokes thoughts of riotous parties in sweaty New York basements circa 1992, when shirtless dancers would go crazy for the latest MK remixes. It uses organs, bumpin' basslines, beats, strings and vocal samples in a similar manner, making it a retro-futurist gem. "I Like It" treads a similar path, adding classic Detroit drum programming into a delicious New Jersey-New York mix. Sure, both tracks cover old ground, but they both sound great - to our ageing ears, at least!

Review: Newcomer Shane Linehan is the latest producer to hop on to the runaway train that is Sweden's old skool-inclined Local Talk label. "Do You Know Who You Are" is in many ways typical of the Local Talk approach, offering up a decidedly retro-futurist blend of 90s New York percussion and chiming, late night melodies. Flip for the Fulbert remix, which opts for a classic deep house sound and extra-punchy claps. It's arguably the better of the two tracks and sounds not unlike a long lost collaboration between Frankie Knuckles, the Burrell Brothers and Red Zone-era David Morales - high praise indeed.

Review: Since launching at the tail end of 2010, Swedish house imprint Local Talk has provided sophisticated househeads with a wealth of quality releases, many of which take classic US house for inspiration. This two-tracker from Wil Maddams offers a slight detour, mixing sumptuous old skool flavours with notably deeper sounds. "Tell Me" sounds like classic Kerri Chandler (think mid to late 90s, pre "Bar a Thym") - all fire-hot organs, snappy snares and comforting bounce. "Cut & Cap", though, is distinctly deep - as if Omar S and Rick Wilhite got together and made a track whilst submerged in a capsule on the bottom of the Pacific Ocean. That, my friends, is very deep indeed.

Review: Stockholm's ever-reliable Local Talk imprint returns, this time with a second two-track outing from rising star Wil Maddams. As with previous releases on the imprint, there's a decidedly old skool vibe to proceedings, with lead cut "Handle The Change" - a suitably deep and chugging combination of tingly irffs, twinkling synths and chunky bottom-end pressure - recalling the halcyon days of early '90s New York deep house. There's a drifting, hissing feel to the more jazz-influenced "Stand In For Love" - all high-end cymbals, snappy snares, lazy grooves and eyes-wide-shut breakdowns. It's the aural equivalent of a warm hug from a saucer-eyed stranger, with the promise of more good times to come.