Somewhat surprisingly, it's been three years since Spanish deep house veteran Pablo Bolivar popped up on Maurice Aymard's Galaktika imprint. "Drop It" is a fine return to the label, with the title-track delivering a woozy, spacey chunk of deep house blessed with delightfully loose drums, undulating chords and intergalactic melodies. Bonus cut "Question of Time" continues on a similar theme, with Bolivar peppering a military groove with wild synthesizers, bold chords and an almost jazz-like, freestyle feel. John Tejada takes care of the remixes, offering a smooth, deep and rolling main rework, plus a jaunty, piano laden alternative.
Back in the mid 2000s, Jake 'Rex The Dog' Williams was touted for future greatness on the back of a string of singles that joined the dots between Kraftwerk, synth-pop, '80s electro and melodious nu-disco. Somewhere along the way, he lost his mojo, and the releases began to dry up. Happily, Sicko - his first single for two years - sees him back at his imaginative, mesmerising best. The title track bobs and weaves brilliantly, lacing trippy, stuttering electronics and yearning chords on top of a sparse, beatbox electro-influenced Balearic house groove. "Korgasmatron" is arguably even better, with Williams brilliantly fusing dirty, bubbling bottom-end electronics and warped acid lines with a killer, rave style vocal hook.
German house duo Andhim have been whipping up a storm with their releases on Get Physical, Terminal M and Sunset Handjob, fusing Caribou-friendly pastoral tones with intricate, glitchy electronics, and they're at it once again on this new single for DJ T's label. "Spayce" is a soaring beast that rides on an energetic beat even as the effervescent synths reach skywards. "Domplatte" plies a slightly more measured trade, even if the sound is no less plush and fulsomely produced with its swathes of vocal coos and hooky chords. When it comes to emotive house music for starry nights these guys really know what they're doing
Gregor Thresher is no rookie when it comes to club-ready tech-house joints for the big room DJ. The dude has released on all the big ones: Josh Wink's Ovum, Adam Beyer's Drumcode, Moon Harbour and even the trend-setting Cocoon Recordings. This time, he makes his debut with a two-tracker on John Digweed's prog-fuelled Bedrock imprint and it is about time too! "Goliath" is a synth-heavy 4/4 beast which is certain to go down like a storm on any large system, while "Stormblade" is more in key with the rest of Bedrock's output, blending touches of progressive house together with minimal techno and plenty of FX trickery.
With a few scattered releases behind him, Denney makes the leap to Hot Creations with the self-assured strut of the Pimp Out EP. "Low Frequency" has the potential to be a huge track with its slick use of acid touches, hooky bassline and catchy vocal sample. "Pimp Out" gets more tripped out in its own use of 303-esque sounds, keeping the drum machine rhythms pattering and flying in playful touches of melody to keep the warmth in there. Luca Cazal steps up to deliver a remix of the latter track, working it into a drum focused slice of dancefloor functionality which should prove useful in a plethora of situations.
It's been a long time between drinks for Berlin-based Herzel, whose last releases surfaced way back in 2012. Here he resurfaces on John Talabot's Hivern Discs imprint. Herzel's three original tracks - "Daydreamer", "Closure" and "Shades" - are all superb, with fuzzy melodies, Balearic chords and shuffling beats wrapped in the kind of hissing, atmospheric production that will have the hairs on the back of your neck standing to attention. Of the three, it's the dubby, tumbling, sun-kissed deep house of "Daydreamer" that most impresses. Lobster Theremin regular Palms Trax remixes that cut, delivering two tasty versions; the chugging "Backroom Office Tool" and the impressively breezy, melodious "Nothing But A Dreamer Mix".
Having notched up remix jobs for Green Velet and MK last year, Weiss now turns his attention to his own productions, with devastating effect. The title-track has many of the producer's trademark elements - chopped up vocals and insistent stabs- and is supported by a rolling rhythm and building chords that gush from the speakers. "The Light" follows a similar route; based on a rolling, nagging rhythm, Weiss deploys insistent filters with high-pitched vocals to create a dramatic big room sound. He may have put the remix work on hold for a while, but his unique sound remains the same.
Calling Matteo Luis a "club Mozart" as has been done might be slightly exaggerated, but there is no doubt the young German producer has an ear for melody. It comes to the fore on the title track, which features an insistent, acid-soaked disco loop providing the backing for a spaced out melodic progression. "Serious Trip" also sees Luis show his musical prowess; he integrates a trippy 303 into the arrangement's dubbed out drums as a murmuring vocal slurs its way through an atmospheric haze. The label has commissioned a series of remixes, with Tim Engelhardt and Niju making "Watermelon" sound by turns more stripped back and stepping, while David's version of "Serious Trip" pushes it farther down the 303 rabbit hole.
Pablo Diaz-Reixa originally posted these tracks online and they were subsequently released on John Talabot's Hivern label. Now Turbo has got in on the action and has commissioned remixes of "4" and "5". If you haven't heard the original tracks, this is a good opportunity; "4" is like Herbert doing tribal techno, its tough drums deconstructed, the central rhythm skewed and knackered in places, with chopped up vocals and jazz licks inhabiting the break downs. "5" is slightly more routine and straighter, with a buzzing bass fused with clipped drum loops. Both provide great fodder for remixers. Pilooski delivers a grinding take on "4", while Thomas Von Party drops the tempo, adds subsonic bleeps and makes the vocals slower. Completing the package is Clarian's acid-fried take on "5".
Oh my, it's number six in the Patterns series for London's Hypercolour! The previous compilations have all been absolute gold, blending house and bass-heavy clusterbombs like there's no tomorrow, so we're pretty psyched about this latest affair. There's plenty of exciting from all over the sphere on this one, namely some new appearances from Analogue Cop Lucretio and his lovely and soulful "Do It Forever" track; an absolutely cracking house-electro hybrid by Marco Bernardi in the form of "Japanese Firecracker", and a whole load of other bangers by the likes of West Norwood Cassette Library, Canada's Kevin McPhee, Luke Vibert and even Smallville's Christopher Rau! Essential comp vibes!
For Italian DJ Danilo De Santo's latest release, it's a case of subliminal by name and nature. The title track is a peak time affair. Led by up tempo drums and acrid 303 undercurrents, its insistent stabs and rolling groove are sure to work well in big rooms. The addition of rolling snares and screeching sirens augments its effectiveness and also suggests that De Santo's production was influenced by the tough, tribal house of New York label Subliminal. On "Revelation", De Santo favours a similar approach, with rolling drums, crashing snares and the kind of high-pitched, screeching sirens that suggest a major air offensive is taking place in the middle of the dance floor.
The latest release on Argot comes from two producers who have been bubbling away in the house and techno underground for some time, previously coming together for a release on Wazi Wazi in 2012. Chicago-based Savile and his sparring partner Olin have concocted a snappy pair of versions of "Thanks, Karl" to throw down in a neat hybrid of techno traditions mixed with contemporary flair. The Savile version has a crisp funk at its heart, thanks to a neatly arranged drum break and a playful bassline, while Olin opts for a more linear, purist approach that uses tidy delays to accent the groove while keeping the percussion tight to the beat grid.
Usually familiar with a realm of music more suited to dubstep, Grizzly delivers a two-track techno release which falls somewhere between the sounds of Tin Man, Terence Fixmer and Milton Bradley. "Journey To X11" has slight acidic touches, with percussions sounding off like sparks in a reverberant car manufacturing plant. Synths and glimmers of strings give the dark production some warmer lightness, while "Morph AD (BC)" is stripped back and brooding, with a broken beat sequence to boot!
Following on from his Lost release on Circus, David Glass invites Carpe Diem Collective (CDC) to contribute to his latest outing on Yousef's label. The collective's "Pick Myself Up" is a curious one, a rolling club groove that manages to sound understated and subtle. This is in large part due to the filtered synths and atmospheric break down. Glass' "Everybody's Fly" also shuns going down the obvious route. Shuffling break beats and a warm bass provide the backing for a breathy vocal that implores the listener to 'take me!' Glass has also catered to fans of the label and both the title track and "Es Cana" will appeal to anyone thirsting for tribal beats and filtered builds and drops.
France's Shiba San gets the break of his career thus far and lands most vertical on Claude Von Stroke's Dirtybird label. With previous outings on Ultra Records, this is definitely a step up in the game for the tech-house producer and "Planet Floor" is a certified party-shaker with one gruesome bassline and a whole load of atmospheric trickery for floor dwellers. "Show Me, Show Me" is bouncier but nonetheless eerie; it's another low-end-heavy mutant for the peak time hours. Slick and effective DJ tools.