Review: Listen up, cos this one's just a little bit confusing! Audaz released the first of their 'Lolita' re-edit EPs in October 2019; by February 2021 there were 32 volumes in the series, each packing 10 tracks. Now here comes a five-track 'best of' selection credited to label boss Alkalino, who presumably is finally owning up! Reworking obscure dancefloor cuts from AKB, Detroit Emeralds (okay, that one's not so obscure), Radiance, Catherine Miller and Johnny Taylor, the EP will serve as a useful introduction to the series for anyone who's yet to become familiar, even if long-term fans will own all these tracks already.
Review: The ever reliable Alkalino returns on his esteemed Audaz label with a new offering titled the Old Memories EP. As we"ve noticed from recent relases by the Munich-based artist, there's been more of a tech house influence creeping into his work, much to impressive effect. From the hypnotic and bass-driven main room groove of "Rumble", to the sensual late night mood music of the title track - which is top shelf deep house if we do say so ourselves. Finally, he channels that dusty Berlin hip-hop influenced sound, as popularised by Max Graef and Glenn Astro, on the urban vibe of "Pizza Minelli".
Review: Alkalino - aka Portuguese producer Lino Polonio - serves up a three-tracker on his own Munich-based Audaz label. Audaz's catalogue spans both nu-disco and deep house, but we're firmly in the latter camp this time out, with the squelchy, synth-y 'Mariposa' itself getting the ball rolling on a Detroit-y kinda tip before 'Ricochete' takes us on a dubbed-out excursion that'll be perfect for weary 4am floors which are already locked-on and deep in the zone. Completing the EP is 'Formel', which is more uptempo and urgent in feel, with lots of electro-y glitches and bassline nods to the rave daze (think Acen or early 4 Hero).
Review: Audaz boss Alkalino's productions regularly flit back and forth between disco/boogie and deep house, but on this latest three-tracker we find him firmly in the latter camp. 'Hope For The Future' is quite a tuff, pacey affair, and easily identifiable thanks to its familiar Cuba Gooding Jr/Acen vocal sample and warping 90s synth hook. The squelchy 'Kohra' then takes us into the jackin' zone with a spoken male vocal that's vaguely reminiscent of Logic's Strictly Rhythm classic 'The Warning', while finally 'Gimme Some' is a dark, urgently pulsing cut with a little more of a techno kinda feel.
Review: Alkalino is back on his Munich-based Audaz label, with some surefire tech infused grooves. There's the adrenaline-fuelled "Depp House" kicking off the new Warp Speed EP, with its razor sharp arpeggio cutting through syncopated rhythms and roaring gospel vocals. It's a little more familiar of the Portugese producer on the druggy nu-disco of "Ventilator" combined with a minimal techno influence and awash in lush melodies. Closing it out is the seething slow burner "Reproduction" taking things down a left hand path.
Review: Munich machine Alkalino returns on his esteemed Audaz label with the Matcha EP, which carries on with the prolific Portugal-born producer's new pusuit of minimal/tech-house sounds - all infused with his good ol' love of nu-disco grooves. From the slinky and hypnotic mood music of "Pythagoras" which is reminiscent of the Diynamic label's early output, or the aptly titled "Back To Minimal" which funnily enough has more of a dub influence (but still very much worth your while) and - proving that there's yet more in his sonic repertoire - he goes out all guns blazing on the fierce, Berlin-themed techno banger "Ice Cold" (version 2).
Review: Munich machine Alkalino is back, with a brand new piping-hot jam for his esteemed Audaz label. "Growth" is a surprising departure from what we have come to know from the Portugese producer; this sublime and hypnotic exploration in dancefloor drama has more in common with the sounds of Life & Death or Afterlife than disco - but the intermittent diva vocals throughout are a signal that it's still an integral part of his sound. "Growth" (part 2) takes a more sinister turn, going deeper and darker into the afterhours in tunnelling fashion. Finally, he gets his funky groove on with the White Isle tech house party vibe of "Stay Sane".
Review: Audaz boss Alkalino serves up three quite different-sounding cuts on the label's latest EP. 'Anima' is up first, opening with a disco drum beat before bringing in a big ruff-edged bassline that's soon joined by a cascading, metallic synth hook and, eventually, a spoken vocal with a distinctly 80s feel. 'Sing The Blues' is up next, and features the unusual but surprisingly effective combination of house drums, a dub bassline and a nasal male country-blues vocal, while finally 'Watch Yourself' is a dark slab of vaguely disquieting electro-disco. Three cuts that are hard to pigeonhole, then, but thankfully nice n' easy to dance to!
Review: Munich-based Portuguese producer continues to move away from the re-edits with which he made his name, instead offering up regular missives of quietly impressive original productions. There's much to admire on his latest three-tracker, starting with the moody late-night house flex of "Upside Down". The track's addictive power derives mainly from a bold, faintly foreboding bassline and intricately programmed drums, though the hazy male vocal samples employed throughout also plays a significant role. Elsewhere, he updates hip-house via the tech-tinged deep house bustle of "The Password", before wrapping mind-altering electronic riffs and stabs around a booming bassline on "To Be Follow".
Review: Lino Pol?nio aka Alkalino returns to his Audaz imprint to deliver this superb EP. "Mad About Kelly" is a highly distinctive track; underpinned by a clanging bass and powered by rolling drums, it sees the label owner also weave in some infectious vocal snippets over its skipping rhythm. it's like a steel-plated, turbo-charged fusion of underground techno and 2-step. On "Less", Pol?nio changes tact; the rhythm is straighter and led by tribal drums and an ominous bass, but once again, he uses a hypnotic vocal sample that intones the term 'less is more'. In the case of both tracks, this sentiment proves to be correct.
Review: If you've not heard of Alkalino by now you've been living under a rock. The prolific disco house specialist of late has been dabbling in the beefer, more club ready, industrialised end of these genres, with EPs like Moonchild being a perfect example. Channeling warehouse dub vibes in "I Need Ya" an undeniable bassline produces both the melody and rhythm in both versions here while expect something more minimal and US house related in "All Lies In The Hands Of The People" that touches on classic strains of soul from Chicago and Detroit, with a touch of UK pop spirit.
Review: Audaz boss Alkalino's latest offering is a three-track EP that could find favour with house lovers from right across the spectrum. 'Blow Attack' is up first and sits somewhere between classic Heard-style deepness and Balearic prog, with lingering, string-like pads and a fluttering, euphoric topline that's almost guaranteed to see hands raised in Pavlovian response out on the dancefloor. 'Anker', although quite a pace-y affair, has a deeper, dubbier feel and hollow, almost whistle-like synth sounds that are oddly reminiscent of [classic UK kids' TV show] 'The Clangers', and finally 'Vulture' owes a debt of inspiration to 'French Kiss'.
Review: All time great Alkalino looks to the headlines for a Dark Room Scandal! Sending in deeper house vibes for this three-track release, there's a playful spirit to the dark side of this EP. "Orson Welles" sees the slightest of disco influences maintained in the track's percussion alongside deeper basslines, melodies and tripped out vocals. Dubby bassline house is paired with starry synths loops in "Dancing With Somebody", with the title-track doubling down on its clap-track, industrial atmospheres and suspenseful strings. Alkalino goes deep.
Review: Two very well-known samples lie at the heart of this latest EP from Audaz boss Alkalino, which should help ensure maximum dancefloor appeal. 'Nightmare Walking' borrows the "I am a nightmare walking" line from Ice-T's 'Colors' (as famously used on Kid Unknown's rave-era Warp classic 'Nightmare') and places it atop a solid, rolling house backdrop. Or at least, Version 1 does: the accompanying Version 2 is a more bottom-heavy, instrumental pass and perhaps better suited to deeper floors. 'Gimme A Fat Beat' also harks back to the rave days with its cavernous bass and reedy organs, while lifting the titular vocal snip from Kraze's much-sampled 'The Party'.
Review: Audaz boss Alkalino takes time out from curating the label's stream of 'Lolita' re-edit EPs to serve up three heavily sampled-based tracks of his own. 'Let You Go' purloins the vocal intro from On The House's early (1986) house gem 'Pleasure Control' and places it over clattering beats and warping, reversed-sounding synths, while on 'Ice Cold' a chugging, bass-y tech-house groove underpins a snatch from Frankie Bones' 1989 classic 'Call It Techno'. The inspiration for 'Another Generation' is harder to pinpoint, but that distorted 303 bassline is frustratingly familiar! Three very solid cuts that join the dots between past, present and future.
Review: Germany's Alkalino serves up a three-tracker on his own Audaz label. 'U Have To Understand' is up first, a throbbing, pulsing instrumental houser with something of an early prog feel - think Guerrilla Records circa 1993. 'Grey & Hot' marries more of those 90s synths to tuff percussion, Daft Punk-ish bleeps and a Hamilton Bohannon "New York is red hot" vocal loop, while completing the EP is 'Roda Da Sapateiro', a darker, slightly techier cut that's built for the small hours, with a barely-there snatch of disco vocal and a bassline that owes more than a little to 'Plastic Dreams'.
Review: Having spent the last couple of months offering up weekly compilations from mystery re-editor "Lolita", Audaz boss Alkalino has decided the time is right for him to return to the long-running imprint. The four tracks are all original productions, too, with the Portuguese producer fusing a few choice samples with tech-tinged house grooves, darkroom rhythms and evocative electronics. Our picks of the bunch are hypnotic closer "I Can Tell You", where opaque, echo-laden stabs rise above a locked-in groove, the warm and trippy goodness of "Straight On & On" and "Somewhere", a deliciously sleazy late night workout rich in bouncy beats, stabbing analogue bass and - more surprisingly - a classic vocal sample from the KLF's "Chill Out" album.
Review: You're only five years old once, so why not celebrate in style? And here Warrington lad Danny Worrall's disco and re-edits label Masterworks Music do just that, with an anniversary collection packing a whopping 50 back catalogue nuggets. You'll excuse us the full track-by-track, then, but suffice to say that this is the label that helped launch the careers of Dr Packer and Natasha Kitty Katt, both of whom feature here, and with names like Ziggy Phunk, Rayko, Alkalino, Chuggin' Edits and Fabiolous Barker also on bill, you should already have a pretty good idea what to expect. Classy stuff all round, and a great VFM package - here's to five more years!
Review: Known primarily for his re-edit work, here Audaz boss Alkalino - a 30-year scene veteran - serves up two original productions. 'It Grows On You' is a shuffling deep houser, quite pacey by today's standards, that's long on otherworldly swirling synths, and that borrows the vocal - old habits die hard! - from 1994 Murk classic 'If You Love Someone'. The accompanying 'U Can Not Have It All' rides simpler thudding 4/4s with cut-up male vocal snips and New Jersey-organ parps, then introduces some acid squelch as the track nears its end. Both are quality cuts and will keep house floors moving for sure.
Review: Berlin-dwelling Portuguese producer Lino Polonio, AKA Alkalino, serves up a truly distinctive house release on his own Audaz imprint here. Musically, 'We Shall Go Down' is a fairly simple affair consisting of crisp but unassuming percussion, a throbbing bassline, handclaps and fluttering flutes, but it's the vocal that makes it stand out: it's sung in English but in a west African style, with perhaps a little hint of African reggae in there as well. An alternative Version 2 brings the bassline further the fore, but whichever rub you plump for that chant-like vocal is a guaranteed earworm!
Review: Three very different tracks here from Munich-based Portuguese producer Alkalino, coming on his own Audaz label. The clue's in the name with 'Rave Selection', as Prodigy-like toytown keyboards, big buzz bass and rave sirens bring the fuzzy nostalgia while a more contemporary-style vocal keeps us grounded in the present. 'Metal Strain' harks back to the tribal era in mid-90s NYC with relentless, pounding drums, a chunky, funky bassline and cut-up diva vox, before 'Recent Places' closes out the EP, a track that's harder to pigeonhole but that blends elements of tech-house and filter disco.
Review: A very distinctive-sounding EP here from Berlin-based Portuguese producer Lino Rodrigues Polonio, better known as Alkalino, coming on his own Audaz label. 'Rastafari' is a midtempo deep house groove, long on sweeping pads and topped with a spoken Rastaman vocal, with the overall effect recalling the work of the mighty Mutabaruka. 'Haile Selassie' veers more towards leftfield electronica with its slo-mo drums and synth bleeps, and sports just a looped female "Selassie-I!" by way of a vocal. It's really the former that will be of most interest to house buyers, though 'Haile Selassie' could still find its way into longer, more adventurous sets.
Review: Having spent more studio time working on original productions rather than re-edits, Audaz boss Alkalino seems to be in a good place artistically. Certainly, the two tracks here are among the strongest we've heard from the Munich-based Portuguese producer. Check, for example, opener "Silon", where delay-laden vintage soul vocal snippets and alien electronics buzz around a restless, mildly foreboding bassline and crunchy house percussion. "What Up" is a little deeper in tone, with fuzzy analogue bass, attractive electric piano motifs and sparkling electronic riffs catching the ear. Despite its' warmer and mellower tone, it still packs a punch on the dancefloor, thanks in no small part to Alkalino's crispy, rolling percussion.
Review: Munich Machine Alkalino is back with more well crafted grooves that you've come to expect from the man - courtesy of his always reliable Audaz imprint. Although more renowned for his edits in the past, the Portuguese producer has now made the transition to the studio proper - and producing his own creations to rather impressive effect. The most surprising thing is that it's not disco - as the slinky and hypnotic tech-house of "Flaucher" pleasantly demonstrates. Something reminiscent of the early noughties electroclash scene can he heard on the frantic groove of "Latest Joint" followed by some dirty boogie-down bounce on the tough closer "Storm 2"
Review: Scene stalwart Alkalino continues to serve up new material at a furious rate. A matter of days has passed since the release of his muscular, house and Italo-disco flavoured "From Minga To The World" EP, and he's already back with another trio of original productions. There's plenty of variety, too. So while "My Disco Passion (Beats Tool)" offers a chunky, bass-heavy, percussive and filter-rich take on "French Touch" style disco-house, "People Have Stopped" is a fine chunk of deep house/nu-disco fusion rich in jammed-out electric piano riffs, breathy female vocal samples and squidgy, acid style electronic motifs. Then there's relaxed and groovy EP opener "Simple Tune", a Balearic nu-disco bubbler fit for eyes-closed moments and seaside afternoon DJ sets.
Review: For the time being, prolific Portuguese producer Alkalino has turned his back on the re-edit scene in which he made his name, preferring instead to focus on original productions. You'll find a trio of these on From Minga To The World. He begins with the pulsating, body-jacking throb of "Remodel", where throbbing synthesizer arpeggio lines, druggy riffs and spacey electronics catch the ear, before peppering a bustling, muscular house groove with chunky bass, creepy chords and meandering spoken word samples on peak-time workout "Sagan". You'll find more rambling, psychedelic-inspired speech on deeper and slower closer "Spiritual Awakenings", which benefits greatly from alien sounding electronics, undulating acid lines and jaunty, jammed-out electric piano riffs.
Review: Urban Warrior is the latest release on Alkalino's Audaz imprint and again sees him bring his vast DJ experience to the production sphere. "Fight For My Right" is punctuated by gurgling acid lines that shift up and down the frequency spectrum and are supported by loose tribal drums. It's an intoxicating combination and is made all the more distinctive through the use of a repetitive vocal sample. On "Tanuki", the veteran Portuguese DJ draws on a similar approach; on this occasion, the pace is quicker but the drums are just as effective, as they underpin an array of vocal samples. Closing out the release is "Storm", where Alaklino veers more towards a techno direction, the track's snaking bass leading the way.
Review: More from prolific Portuguese producer and noted social media rant-machine Alkalino, who here serves up two of his most potent original productions to date. First up you'll find "Mountain Top", a rolling, early morning affair that wraps sparkling, delay-laden synth stabs and trippy electronics around ricocheting, drum machine style percussion and one of the heaviest analogue basslines you'll hear this year. This simultaneously deep and heavy number is accompanied by "Move Everybody", a cheeky, old school style affair that pits the shoulder-popping rhythmic swing of U.S garage against the rubbery bass and chiming synthesizers of nu-disco.
Review: Since delivering a set of solid re-edits for KAT in the summer, Alkalino has been on a mission to showcase his original house productions. This is his fifth and presumably final EP of the autumn and contains four reliable chunks of dancefloor goodness. We're rather enjoying the bustling and foreboding late night nu-disco synths and exotic electronic melodies of "Do You Wanna", as well as the organ-driven late night house throb of "Grow Effekt". That said, closer "Ballash", a saunter into the kind of hazy, dub-driven deep house that was once the hallmark of Miguel Migs' productions for NRK, is also rather good. "Glance", a swirling fusion of trippy electronics and elastic drums, completes a tasty package.