Review: If you like your deep house on the more 'out there' side then this EP from Casino Times, AKA the London-based duo of Nicholas Church and Joseph Spencer, is one to check for sure. 'The Breakdown' blends space-y blips n' bleeps and house pianos atop a fractured, jazz-inspired backing, 'A Vision Of Time' has both Afro and progressive leanings and 'Rhythm Expander' is one for lazy, hazy afternoon sets. Remixes then drag the first two cuts onto the dancefloor, Panthera Kraus tech-ing up 'The Breakdown' to the max while Dawn Again rework 'Rhythm Expander' into a dubbed-out small hours excursion.
Review: Last year's Decoded EP for Omena was arguably one of Casino Times' strongest releases to date, so naturally hopes are high for this belated sequel. The talented twosome hits their stride immediately via the fizzing, bass-heavy bounce of peak-time workout "Voices", before wrapping alien chords and memorable electro melodies around a humid, tropical-influenced broken house rhythm on the notably deeper "Sambra Heat". Elsewhere, the duo's electro influence comes to the fore once more on Extra T's/Newcleus tribute "This Is My Channel", while closer "Display End Sequence" is a deliciously delay-laden chunk of ultra-dreamy deep house bliss.
Review: Casino Times is the project of producers Joseph Spencer and Nicholas Church that was born out of a love for disco and odd electronics. Since first starting in 2010, the duo has steadily been crafting a back catalogue that reflects their varied tastes and unique approach to music. This has seen them release on a wealth of respected labels such as Wolf Music, Futureboogie Recordings & Permanent Vacation, just to name a few. The Decoded EP consists of four tracks highlighting a distinct development of their musical style. Starting off with the off-kilter retro sci-fi vibe of "System Translator" which then leads into the seductive classic house of "Keyboard Warrior". "Simulation Bamboo" is absolutely lush: this serving of neon-lit deep house was definitely a highlight. Finally "Man Machine Interface" really has attitude: in an '80s experimental pop kind of format.
Review: The latest release from the reliable Wolf Music camp features two previously unheard remixes of tracks from Casino Times' Familiar Circles full-length. Al Zanders does a stellar job reworking "Carlotta", in the process laying down a hypnotic, percussion rich deep house shuffler full of bright cowbell hits, sunset-friendly jazz guitar licks and bubbly electronic melodies. Then you'll find a more than pleasant surprise: a deep, dreamy and utterly beguiling drum & bass remix of "Oddity" from Smallville regular Moomin. Its expert combination of evocative musical elements and crispy, snare-driven D&B rhythms is reminiscent of the golden age of Bukem-style liquid D&B.
Review: Wolf Music doesn't release many albums, but when they do, the resulting set is invariably superb. Familiar Circles, Casino Times' long awaited first full length, is certainly quietly confident, with the British house duo delivering a range of hazy, evocative cuts shot through with a hazy sense of loved-up positivity. While breezy, Balearic deep house is their go-to sound - and there's much of that evident throughout - the album also includes nods to "Belfast"-era Orbital (the shuffling electro/deep house hybrid "Oddity"), early Funkineven (the jumpy, modern boogie bliss of "What (Miracle Beat)"), drowsy ambience ("Transit"), and early '90s style intelligent techno (the psychedelic electronics, ambient house melodies and fleeting acid lines of closer "Foundations (End)").
Review: Nicholas Church and Joseph Spencer's Casino Times collaboration makes its way onto Wolf Music for the first time with the four-track Wolf 23 EP. First up is the ravey, French house-influenced broken beat disco throwback "Principles", which leads into the rich sounding, piano sprinkled "AWD". Things become all the more low slung on the moody, rhode-driven "Stirling" featuring the Galchwer Lustwerk-esque vocals of High Hope, which Damiano von Erckert turns into a tribal, deep and dubby late night rhythm. A killer rework indeed.
Review: To celebrate notching up ten years in the game, London blog and party-turned-record label SlothBoogie has decided to offer-up their most ambitious release to date: an epic collection of previously unheard cuts from a mixture of imprint regulars and like-minded friends. There's naturally plenty to set the pulse racing throughout, with highlights including the sparkling jazz-funk-meets-deep house sunshine of Levan's "U R Beautiful In The Face", the deep, breakbeat-driven dreaminess of Philippa's "That's What I Mean By Free", the piano solo-heavy disco-house bump of Leatherette's "Your Love", and the dub disco-meets-acid house heaviness of "Rewind Run" by Pablot. Throw in similarly impressive contributions from Kassian, Luvless, Casino Times and Soul Wun (the classic jazz-house of "Thank You, St Germain") and you have a must-have collection.
Review: 2019 marks a decade since the Needwant label first sprung into life. Those ten years have been action packed to say the least, as this epic anniversary compilation proves. What's on offer is a mixture of label highlights from Needwant's bulging back catalogue, a handful of previously unheard tracks and the odd exclusive remix. There's much to admire throughout, from the spacey deep house goodness of Kim Ann Foxman's "Return It" and the delay-laden late night retro-futurism of Tuff City Kids' acid-fired rework of VIMES' "Minds", to the throbbing, Italo-influenced brilliance of Res Mo's "Train To Kyoto", Octa Octa's atmospheric early morning tweak of Few Nolder's "Porcelain" and the Revenge's slo-mo, glassy eyed cover of SOS Band classic "Just Be Good To Me".
Review: Having rightly made a name for themselves as purveyors of high-grade goodness, House of Disco continues to churn out the hits. Following hot on the heels of their collaborative compilation with Dikso Records comes another hook-up, this time with Kolour Recordings. Given the similarity of both labels' output, it's little surprise that House of Kolour is a bit of a winner. Musically, it's jam-packed with warm, groove-laden cuts that straddle the line where deep house, disco and re-edits meet. Highlights are, naturally, plentiful, from the shimmering beauty of Debonair's Fantastic Man rework and the funtime bounce of Hystereo's "Choral Twist", to the loopy-but-swinging soul of Sleazy McQueen's "Pretty Baby", and the hustling deep house goodness of Medlar's previously unheard rework of Noodleman's ace "Starlight".