SECURE SHOPPING
Good news for house lovers of the deep variety: production buddies Mike Monday and Will Saul (both pictured looking silly above) have teamed up for a new EP on the latter’s Aus Music imprint.
Mike Monday & Will Saul team up
by Juno Plus on 17.08.2010 at 15:27pmArto Mwambe – Live At Robert Johnson Vol 6 review
by Juno Plus on 13.08.2010 at 16:23pm
The selection process for the Live At Robert Johnson mix series has been flawless so far – with the renowned venue in Offenbach, Germany enlisting Prins Thomas to mix up some delectable disco, Roman ‘Alter Ego’ Flugel to present his uniquely bleepy new school techno vision and Parisian Chloe to select refined house cuts on the inaugural volume. The choice of Arto Mwambe for the sixth volume seems a perfect fit; Christian Beisswenger and Phillip Lauer have made some serious remixes in recent times which have keenly blurred the lines between house and disco. It’s worth mentioning their Friendly Fires remix which in retrospect is much more impressive than Aeroplane’s ubiquitous effort.
Those with good hearing cannot fail to be impressed by the clutch of Arto Mwambe releases on their own Brontosaurus imprint either. The Frankfurt duo provide one of the best mixes in the series to date, eschewing the chance to show off their record collections in favour of staying true to the album title and recording a one hour live set of existing and unreleased Arto Mwambe tracks. The distinctive clap of the Roland drum beating out over hypnotic chords on the intro track “M.T.A.I.” sets the mood for what follows – vintage house sounds that veer between classic 90s percussion, deep melodies that draw you in, warm basslines that sit in your cranium and rhythms that set you off. What strikes you as the last kicks of closing track “BTWO” sound out is how well the eleven tracks flow, the mixing is perfectly judged and you are left with nothing but a craving to witness them repeat it in a club setting. Mission accomplished then.
Tony Poland
Kassem Mosse – We Speak To Those review
by Juno Plus on 13.08.2010 at 11:41am
“Kassem Mosse lives in a nighttime world somewhere on the edge of forever,” we are warned on his MySpace page. Dark enough. But he continues… “Can it all be so simple? Choose your steps carefully, as black holes pave our way through the shadows (…) will the night last forever? I remember nothing.”
Cryptic, slightly sinister, are these mere ramblings or lucid, idiosyncratic thoughts? Who knows. One thing’s for sure, the German maverick – a purveyor of the deep, ambient side of techno and house dipped in a distinctly European aesthetic – is certainly an interesting character. He’s had releases on Mikrodisko and Workshop; comparisons have been drawn with deep house don Theo Parrish and his previous efforts have quite rightly garnered widespread applause and admiration. This time, he goes in on a deep, experimental tip for a release on increasingly eclectic Instra:mental owned label, Non Plus.
“We Speak To Those” begins with the thumping pound of marching drum beats, like hob nail boots trudging down a tarmac path. Solid as steel, the ticking percussive hiss kicks in, along with warm atmospheric waves and melodic vocal snatches. An organic flow of sound is sustained masterfully, with a hint of Autechre in there, and a pervasive sense of drift as sounds entwine themselves around the steady paced tempo, coming in and out of focus like wind down a tunnel. “Hi Res”, on the flipside, completes the package with a tripping, tribal pattering intro, which leads us to a more spaced out, experimental mid section. A warm, evocative background is hinted at behind a flurry of ecstatic sounds and hyperactive kinetics, creating an immense soundscape.
Belinda Rowse
Juno Podcast: Deep House 39
by Juno Plus on 09.08.2010 at 16:08pm
This week’s deep house podcast has just come out of the oven and is ready to serve.
Lost My Dog competition winner announced
by Juno Plus on 09.08.2010 at 14:21pm
Those of you who follow these pages with a hawkish eye will remember a couple of months back we ran a DJ mix competition with our friends at Lost My Dog Records and Soundcloud. Well, the winner has now been decided – drumroll please…
Kyle Hall – Sun Goddess review
by Juno Plus on 05.08.2010 at 17:18pm
When the closing weeks of this year approach and the Juno Plus scribes have a meeting over who deserves what in 2010, it’s highly likely that the name Kyle Hall will feature prominently. Lesser mortals might be filled with envy at the prodigious talent the Detroit native has shown since the onset of a new decade. We prefer to focus on how lucky modern electronic music is to have Kyle Hall.
Not content with killer releases for Third Ear and Hyperdub and sharing space with some absolute legends for Rick Wilhite’s Vibes series, Hall has also graced our ears with outer galactic rerubs of Space Dimension Controller, Jimmy Edgar and Hundred In The Hands. The latest entry in Hall’s Annus Mirabilis is The Sun Goddess EP, the fourth release on Hall’s own Wild Oats imprint which comes on IRN BRU coloured vinyl.
A Side “Solar Funk” is an excellent slice of stuttering futuristic dub boogie, with crunching kicks aplenty sandwiched by warm synth washes and an off kilter organ melody. Flip over for clubbier jack of “Dance With A Sun Goddess” with scattergun hi hats giving the track a crazed feel which is compounded by the oscillating buzz that sweeps beneath throughout. Both tracks display Hall’s typically unique understanding of Detroit techno aesthetics.
Tony Poland
Juno Podcast: Deep House 38
by Juno Plus on 29.07.2010 at 13:43pm
Our deep house podcast is getting older and wiser – we’re now up to number 38 – but the tunes are as fresh and warm as ever.
Wolf + Lamb – Love Someone review
by Juno Plus on 15.07.2010 at 13:38pm
When first hearing that Wolf + Lamb’s debut LP is more like a disparate collection of tracks as opposed to an album proper, you would be forgiven for feeling a little cheated. Yet when you take it all on board it starts to make wonderful sense. The fact that it is a collection of songs seems fitting considering that they were made last year whilst on the road, gigging off the back of the success that has turned Gadi Mizrahi and Zev Eisenberg into a truly worldwide act these past eighteen months. The tracks were recorded in Zurich, Matt Tolfrey’s London studio, Berlin and of course, The Marcy Hotel in Brooklyn. All this seems right for the album as Wolf + Lamb are now recognised as much – perhaps even more so – in these European hotspots as they are in the US. The fact that there was a brief hiatus at the start of the year when Zev travelled and Gadi DJ’d and released slew of impressive solo productions also seems to round off the most important part of Wolf + Lamb’s history so far rather nicely. As of course, does the very fact the record is called Love Someone.
It is a short album but one that displays diversity and innovation, whilst keeping the deep house sound at its core. No tracks display their diversity more than the experimental art-jazz workout “Monster Love” which is as detached from dance music as they could conceivably go. The record comes with all the emotion that has littered the Wolf + Lamb label catalogue and parties also. Tracks like the slow, dubbed out “Sunshine Boogie,” “Want Your Money” and “Therapist” display a kind of melancholic attitude twisted around their sleek and minimal, deep underground tastes whilst title track “Love Someone” unashamedly jumps into a joyous celebration of funk, house and general good times. Label cohort Dyed Soundorom also makes an appearance with a lush remix and we see Wolf + lamb’s experimental approach to dance music bear some delicious results from “I Know You’re Leaving”, “I’m” and “Must Be Brooklyn”.
Review: Tom Jones
Al Tourettes & Appleblim – Lipsmacker EP review
by Juno Plus on 09.07.2010 at 16:46pm
As long-standing friends from the days when Bristol was a city in musical transition, it was probably inevitable that Lawrie Appleblim and Al Tourettes would join forces at some point. That they have now is, perhaps, less predictable – though the results are pleasing. As you’d expect, this collaborative EP – featuring two originals and a pair of fine remixes – fuses elements garage, techno, dubstep and glitchy electronica, and there’s even a sly nod to UK funky amongst the beats.
Lead cut “Lipsmacker” most clearly shows the benefits of this Bristolian meeting of minds, most comfortably blending the two producers’ individual styles. On one hand, there’s Appleblim’s smoky atmospherics and ear for a bassbin-bothering groove. On the other, there’s Al Tourettes’ love of glitchy electronica, alien melodies and intense vocal cut-ups. What emerges out of this fusion is a claustrophobic tech-garage groove tightly wrapped in a blanket of unnerving late night paranoia. “Mr Swishy” continues the darkroom flavour, peppering a snare-heavy steppas beat with darting electronics, swirling chords and a bubbling bassline. It’s good, but pales in comparison to the A – not to mention the excellent flipside remixes.
Deadboy leads the way with a rolling 2-step take on “Lipsmacker” that plays down the original’s darker elements in favour of something halfway between the intense futurisms of early Maddslinky and the eyes-wide-shut blissfulness of Joy Orbison. A strong package is rounded off by a sublime Linkwood rework of “Mr Swishy” – all yearning trumpets, slick Rhodes chords and intergalactic melodies. With its air of stargazing beauty and luscious deep house groove, it’s the EPs stand-out moment. Perhaps Lawrie and Al should get together more often. Certainly, this EP shows definite promise.
Review: Matt Anniss
Juno Podcast: Deep House 37
by Juno Plus on 09.07.2010 at 12:34pm
Motor City Drum Ensemble, Chez Damier, Gerd and Ekkohaus all feature in the latest edition of the ever popular Juno deep house podcast series.
Jimmy Edgar – Hush EP review
by Juno Plus on 08.07.2010 at 11:41am
You never quite know what you’re going to get from Jimmy Edgar, but chances are it’ll be worth a listen. Edgar is a true musical chameleon, seemingly able to turn his hand to everything from scattergun electropop and wonky electronica to slick Detroit techno, deep house and bumping old skool electrofunk. More often than not, the results of these musical experiments are impressive – even if the attached artistic concepts can come across as a little pretentious.
This five-tracker for Glass Table is classic Edgar. It sees him impressively flitting between various dancefloor styles across 25 indispensable minutes. As ever, the production is deliciously warm, slick and emotive in the best traditions of the Motor City. It’s Edgar through and through.
Lead track “Hush” sets the scene magnificently. Bubbling along at little over 100 BPM, it fuses tightly programmed beats – think smacked-out 80s electro fused with Larry Heard style deep house – with rich pads, off-key chords and jittery vocal samples. Much-checked Detroit newcomer Kyle Hall takes on remix duties, turning in a ‘Detroit Retro Metro’ version that roughs up the beats and adds some wonderful analogue touches. Thankfully, he loses none of the original’s understated appeal, adding some subtle Detroitian strings of his own.
Flipside “BThere” is just as good. All intergalactic atmospherics, bubbly low end wobble, reverb-laden vocal hooks and retro-futurist stabs, it’s the year’s slowest dancefloor burner. It might only be 104 BPM, but it packs some serious late night punch. Then there’s “JNS-2000”, Edgar’s contribution to the evolution of dubstep and future garage. Think Jimmy Edgar meets Joy Orbison, and you’re close. If you like the latter’s sound, you’ll love this – especially since Edgar’s productions feature authentic Motor City machine soul, rather than the Anglicised version peddled by Orbison and co. There’s more steppin’ out action on final cut “Vrandaktor Hell”, an unassuming chunk of contemporary Detroit techno that’s unsurprisingly old skool in outlook. The beats are crunchy, the synths cosmic and the bass pleasingly heavy – just like it was in the good old days.
Review: Matt Anniss
Tony Lionni is at one
by Juno Plus on 02.07.2010 at 12:59pm
British born, Berlin based house producer Tony Lionni will release his debut album At One this October via the Freerange imprint.
Interview: Basic Soul Unit
by Juno Plus on 23.06.2010 at 14:49pm
Born in Hong Kong but raised and based in Toronto, Basic Soul Unit is Stuart Li, a producer and DJ who’s been honing his craft since 2003. Gaining increasing widespread attention, particularly in Europe, Li is definitely one to watch. His releases have appeared on a plethora of well-respected labels: Ostgut Ton, Philpot, Left Of The Dial, Versatile, Mule Electronic, Mathematics Recordings, and Creme Organization. Sure, we all know that early Chicago and Detroit house and techno helped to shape his sound, but did you know that jazz, soul and Latin do as well? Juno Plus contributors Helen Luu and Steve Phillips caught up with this underrated producer to find out more.
Juno Podcast: Deep House 36
by Tony Poland on 23.06.2010 at 11:22am
The Juno Deep House podcast hits it’s 36th edition with the DJ Linus track from the Gigolos compilation sampler, the superb Brothers Vibe remix of DJ QU and the new Freerange release just a taste of what to expect.
Orlando B – Beneath The Surface review
by Juno Plus on 22.06.2010 at 18:17pm
The “Beneath the Surface” EP sees yet more divine, deep house music emanating from Andy Vaz’s Yore base. Scotsman Orlando B is at the helm this time as the contemplative imprint returns with the third release from their Yore Limited series. The now London based producer, who has always swayed on the side of funky and raw sounding techno on his previous outings for the likes of Night Drive Music, Elektrax, Finest Blend and his own Eastbound Recordings, naturally focuses mainly on warm and smooth house grooves on his first outing for Yore.
Opening track, “A Feeling” is a contented, dreamy, summertime tune wrapped up in an eight minute ode to classic deep house. Wistful keys and dreamy strings glide over the top of some unassuming beats. With a light and breezy sentiment, the track drifts along infused with a Latin sense of funk as piano sprinkles and a crisp, hi-hat tinted groove and vintage female vocals add yet more style and finesse. “Esoteric” delves deeper into Orlando B’s raw yet funky, bass-led house beat. This warm and acidic bassline builds throughout until a synth solo squeals over the top in sheer delight. Thrusting with more of a subtle jack, “New York Tale” sees Orlando B soothing his raw techno backbone with warm chords and a charming and loveable house swing. On “MJ12” however, he runs away with his techno minded tendencies as he delivers the standout track of the EP. Going for out and out dubbyness he uses a surge of swelling dub chords and a spoken voice sample to create the ice cool atmosphere that makes this the best cut on the release. A release full of warmth and feeling, Orlando B’s four smooth jams sound perfectly at home amongst the classic sound of Yore.
Review by Tom Jones
Pezzner – The Tracks Are Alive review
by Juno Plus on 14.06.2010 at 13:43pm
Dave Pezzner has kept a pretty low profile so far throughout his career. Honing his production skills steadily and subtlety, we were given the impression that the Seattle based artist was a relative newcomer to the world of electronic music. Although that is partially true, in that he is proportionally fresh to deep house specifically, he has been producing music for TV, advertising and games for over fifteen years now. He has also been putting out electronic music as Jacob London with Bob Hansen for years. However, The Tracks Are Alive, his fourth overall release for Jimpster’s Freerange imprint, is Pezzner’s first LP. Whilst exploring a very local sound, the Seattleite treads the line between a rich, disco influenced sound and a more hypnotic, modern house sound. All of the tracks are previously unreleased except “Almost Here Part 3” which was included on his debut EP in 2008.
The record is in drenched in the wet, soggy and rainy atmospheres of his Seattle home. Infused with the sense of melancholy that is inherent with grey drizzle, the album is deep and evocative without ever straying into the depressive tendencies of the city’s grunge scene that prevailed throughout the late 80s and 90s. Moments like Larissa Kapp’s sweet and reassuring vocals on “Find Me” and the contented, soulful deep house of “Dewolfe” are perfect examples of his ability to flood a track with colour. We see the rainy moodiness in tracks like “Hunt & Gather” where woozy synths conjure the image of morning drizzle, and on tracks such as “Almost Here Part 3,” “Blacklist” and “Philip (Parts 1 & 2)” where clever percussion is used to enact the sound of rain smattering the ceilings and windows. We also see some tougher, more club orientated numbers in “The Tracks Are Alive” and “Chiuso Per Ferie” whereas tracks like “Drones”, “Tagschlaf” and “Last Call” all explore a thoughtful and emotionally stirring kind of down tempo electronica.
Review: Tom Jones
Juno Podcast: Deep House 35
by Juno Plus on 07.06.2010 at 13:41pm
The latest deep house podcast is dripping with quality: Chez Damier, I:Cube, Tony Lionni, Henrik Schwarz and Sascha Dive all appear on a tracklist that will have you salivating.
Sasse & James Flavour – The Right Way review
by Juno Plus on 01.06.2010 at 12:52pm
Following on from their recent hit, “Who’s In The House” on Dirt Crew Recordings, James Flavour and long term pal Sasse continue their recent production assault with “The Right Way” on Sasse’s own Moodmusic imprint. This is another stellar release from the German imprint, merging the vast experience of three top producers (Tony Lionni is on remix duty) who blend together a deep and dynamic yet bubbling house EP. All four tracks on the EP have infectious vocal snips, rumbling sub bass and tight percussion.
“The Right Way” is a result of a long session at Sasse’s Black Head Studios in Berlin. Pushing drums move the track forward above a simple groove, deep synth stabs and the male vocal which proudly proclaims that we are going ‘the right way.’ After a gradual build which sees the vocal’s importance step up a gear, the bass drops and we are plunged lovingly, into a delightful old school sound. Berlin based Tony Lionni, who rarely remixes, is on hand for two of his own reworkings of the track. The first is a Detroit influenced deep house chugger, with orgasmic keys and warm synths washing over the 909 drums and the same assuring vocals. His second offering, the Deeptech Mix hints at the early sound of techno whilst also dropping in some tight, modernised beats, not to mention a huge rolling bassline that sweeps you up and takes you along the right way by itself. James Flavour and Sasse finish proceedings with a killer Piano Dub, stripping the original down into simplicity and rebuilding this workout with raising piano chords. Everything these boys touch at the moment is causing a stir on the dancefloor. Arriving on an in form Moodmusic, “The Right Way” is set to do more of the same for this highly talented partnership.
Review: Tom Jones
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Efdemin – Chicago review
by Juno Plus on 25.05.2010 at 11:48am
Dial records is really on a roll these days. After recently releasing a beautiful album by Pawel and their remarkable 10 year anniversary compilation, Dial comes back at us with the long awaited second album from Efdemin, Chicago. Berlin-based Efdemin (aka Phillip Sollmann) has been associated with the Hamburg-founded label since its inception a decade ago. His self-titled debut in 2007 was a stunning affair that resonated deeply with both the house and techno communities. After three years and several singles in between, Efdemin has finally graced us once again with nine new soul-striking tracks that combine the beauty and deepness we have come to associate with Efdemin’s production.
“Cowbell” starts things off with a vocal snippet, warbled organs and slow drum rolls as a prelude to “Shoeshine” which kicks things into higher gear with its tough drums and precise high-hats. All tracks seamlessly flow into each other, a concept many artists tend to overlook when making a full length album. This overall sense of flow makes it pleasure to listen to uninterrupted in order. Instead of finely balancing the line between house and techno, Chicago has more of a jazz-induced feeling to it- which is not to say that it’s light or too refined, but rather more intriguing and textured than your standard fare of straight up deep house or deep techno.
“Night Train,” “Le Grand Voyage” and “Round Here” are three tracks fans familiar with Efdemin’s first album will certainly find their groove in. Another highlight has to be the schaffel, swing beats of “Oh My God” complete with horns and organs interspersed with dripping percussive sounds that perfectly fall into the grooves of the beat. Efdemin has definitely taken a leap forward with Chicago.
Review: Steve Phillips
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Adonis Presents Late Invitation – The Invite review
by Juno Plus on 18.05.2010 at 10:23am
Having made a tantalising appearance on the excellent Music From Mathematics, Late Invitation make their debut release with three live tracks of retro-vintage house and boogie. Lost Brother, Crouch Dash and Millipede are a three piece outfit from Liechtenstein whose crazy names match their on stage attire. With an appetite for dressing up for live dates, the seemingly idiosyncratic nature of the trio appears to rub off on their music, if this release is anything to go by. They have built their own, inimitable style that wafts in and around deep house but in a nu-disco, dubby, stepping kind of way.
“The Invite” is a warm piece of jacking, disco house led by fat, fuzzy kicks and smudged synth keys. Whatever the track’s low end lacks in upfront potency, it more than makes up for with an abundance of funk. Adding more charm, you cannot help but love the wonderfully simple piano that drops in halfway through. It is “The Late Invitation Theme,” however, the track that appeared on the aforementioned Mathematics CD, where the low end beefs up in spectacular fashion. As the deep sub bass calmly squeezes along, warm synth stabs ease into the mix alongside a blissful guitar motif. It is slowed right down to perfect effect, allowing the track to stew in its own druggy, Chicago disco vibes. “Thus” stretches itself out into an eight minute plus, vintage boogie edit. Full of warmth and emotion, this is a track perfectly suited to the last few tracks of Sunday morning’s carry on.
Review: Tom Jones
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