Review: Cinthie Christl's 2020 debut album, Skylines - City Lights, was arguably one of the best dancefloor-focused full-length excursions of recent years, with a distinctly retro-futurist vibe that undoubtedly chimed with listeners. There's a similarly timeless and feelgood flex about the Berlin-based producer's first EP for Shall Not Fade. After opening with the sparkling, smile-inducing piano house revivalism of 'Offenbach Anthem', Christl confidently bounces between swinging deep house chunkiness ('13 Steps to Heaven'), organ-powered, sub-heavy New Jersey garage goodness (EP highlight 'Oh No No No', which sounds like a late-night basement anthem in waiting) and bumpin' brilliance ('What You Mean To Me', whose main attractions are a seriously squelchy bassline and superbly sweaty drums).
Review: 'City Lights' was one of the standout cuts from Cinthie Christl's 2020 debut album Skylines - City Lights, so it's no surprise to see it appear as a single with a swathe of brand-new mixes. The original version, which kicks off the EP, is little less than a synthesizer symphony, with rising synth-strings dancing atop a mid-80s, arpeggio-style synth-pop bassline and Please-era Pet Shop Boys beats. Gerd Janson utilises many of these elements on his Tuff City Kids style Italo-disco rework, before Damino von Eckert re-frames it as a melodious chunk of synth-heavy techno warmth. Perhaps best of all though is the Wanderist remix, which brilliantly re-imagines the track as a bustling slab of deep space electro with a Kraftwerkian twist.
Review: Having impressed earlier in the year via the colossal 'Bassline' single and Skylines-City Lights album, Cinthie returns to her 803 Crystal Grooves record label with a trio of typically high-quality cuts. She begins in fine form via 'From The Vaults', a tough, chunky, bouncy and hypnotic techno number smothered in early Floating Points style synth chords and plenty of deep house nous, before reaching for sweaty, carefree drum machine grooves, sparkling piano riffs and low-slung bass on 'Jack Your Head Higher'. As good as both are, our pick of the bunch is closing cut 'Boss Lady in a Men's World', where short, disco-influenced electronics, mangled vocal samples and ragged acid-style motifs leap above a weighty, up-beat electro groove.
Review: Given that she has been releasing music since the dawn of the century, we were rather surprised to find that "Skylines-Citylights" is Cinthie Christl's debut album. It is of course something of a vibrant, action-packed treat, with the long-serving DJ, producer, label boss and record shop owner combining elements from a multitude of interconnected genres (think Chicago house, ambient house, UK garage, acid, electronic disco, piano house and rave-era old school flavours) to create a string of timeless, joyous cuts. Highlights are plentiful and include - but are no way limited to - the glassy-eyed bliss of "808 The Meme Queen", the sub0heavy sweatiness of "Concentrate", the warehouse-ready future anthems "Bassline" and "Calling", and the hard-to-pigeonhole brilliance of stunning opener "Skyline".
Review: Cinthie Christl's last outing for Aus Music, 2019's "Mesmerizing EP", was a surprisingly disco-fired affair, mixing sounds associated with the resurgent 1970s style with her usual house and techno trademarks. Christl's latest two-tracker for Will Saul's label looks to the sweat-soaked hedonism of the rave era for inspiration, with title track "Bassline" offering a rushing romp rich in glassy-eyed piano house stabs, ear-catching female vocal snippets and crunchy drum machine beats. Virtual flipside "803 The Meme Queen" is a deeper and more musically considered take on the same retro-futurist house vibe, where a bold acid bassline, echo-laden additional percussion hits and starry chords catch the ear.
Review: With too much good music to release in one collection, Toolroom present the second volume of its coveted Ibiza compilation. The list of artists included runs like a roll call of the most exciting producers in electronic music right now with highlights such as: ascendant Brit Weiss on the uplifting vocal house anthem "Let Me Love You", Bristolian bass house hero Will Clarke doing his thing on "Tricky", the ever impressive Eli Brown nailing that peak time vibe on "Always", Hannah Wants getting deep down and dirty on the Kevin Saunderson sampling "Love Somebody" and Toronto's finest DJ Sneak & Demuir doing their thing on "Good Ol' Days". Add to this three continued mixes that cover Poolside, Club and Afterclub, and you have a collection that encapsulates the electronic spirit of Ibiza like no other.
Review: Berlin native Cinthie has been a fixture on the city's scene since the 90s. Known for her work with Beste Modus and Elevate Berlin, last year saw her launch her 803 Crystal Grooves label, from whom this is the third release. 'Australian Summer' is a sunrise-friendly deep houser with delicate synth flutterings, while 'Infinity' is a more driving affair but with a similarly uplifting, Balearic feel. 'This Bomb Is Mine' tops tribal beats with warping synths and what sounds like an FX-mangled sax line, and then finally 'Rave Like No One Is Watching' is a more full-on affair with breakbeats, pounding 4/4s and some very, very rave-y synth action.
Review: Cinthie Christl continues to go from strength to strength, with this impressive return to Aus Music following hot on the heels of a trio of versatile and club-ready EPs on her own Crystal Grooves imprint. Intriguingly, all three tracks on the "Mesmerizing" EP look to disco for inspiration, combining Salsoul style drum hits and sweeping orchcestration with bumpin' bass, vocal samples and drum machine kicks inspired by the Halcyon days of New York house. It's a winning formula all told; check, for example, the swirling samples and peak-time-at-the-Paradise-Garage flavas of "Dancing" and the undulating strings, heavy analogue bass and Todd Edwards style vocal cut-ups of the outstanding title track.
Review: A decade has now passed since Future Disco's debut compilation of colourful nu-disco treats and disco-fired house grooves first hit record stores. To celebrate that fact, they've given their distinctive design a makeover and asked chief compiler Sean Brosnan to serve up another hot-to-trot collection of cuts in their usual style. As you'd expect, Brosnan has picked some belters, with highlights including Darshan Jesrani's sublime, mid-'80s NYC style revision of Galaxians' "How Do U Feel", the D-Train inspired synth shuffle of Flamingo Pier's "Hold It", the sun-kissed '80s soul/Whispers style warmth of Kiwi's "Midnight Driver" and the dreamy, synth bass-propelled deepness of Force of Nature's loved-up rework of Khotin's "Aloe Drink".
Review: A stalwart of the burgeoning Berlin scene for several years, Cinthie is the DJ and producer behind top labels such as Beste Modus (with Steven ain't leavin) Unison Wax and We R House. She brings her infectious sound to Aus Music here on the Trust EP, where she once again looks to classic US house aesthetics but polishes them with an vibrant and modern edge. From the hypnotic bounce of the title track and its lovely marimba led melody, the funked/up polyrhythmic groove of "Lost At Sea" and its irrestibalt Afro influence or the striped back groove tool "Hip Swing" that is perfect tackle for the afterhours - Cinthie brings the goods once again.
Christian Burkhardt - "Hola" (instrumental version) - (7:11) 125 BPM
Review: For their sixth instalment, the Bad Klosterlausnitz based Muna Musik return with their biggest lineup yet boasting the current creme de la creme of house music from their own soil and beyond. Right heroes on here, such as Beste Modus boss Cinthie with the bumpin' classic house journey "Hurt Me", Frankfurt Rhein-Main legend Christian Burkhardt is also on top form with the trippy, latin infused minimal house of "Hola". For something dead set on the main room at peak time, Spanish scene hero Hector Couto has you covered with his new school antics. The tough rolling groove of "Ciroco" really satisfies, as does the deep melodic tech house of Luca Donzelli's "Not Ordinary".
Review: It seems as if 15 years have just flown by since Berlin institution Watergate first opened their doors at the base of the famous Oberbaumbrucke, overlooking the River Spree and where long queues run down the street every weekend to get into one of the best clubs in the world. To celebrate their journey over the last decade and a half, they have put together a special anniversary release of 25 new, exclusive and formerly unreleased tracks. Residents of the superclub all appear, such as Hamburg native Matthias Meyer who teams up with Ryan Davis on the evocative "Hope", famed local duo Tiefschwarz deliver the slow burning and moody tech house of "Control", Sweden's La Fleur (of Power Plant fame) delivers the acidic bump and shuffle of "Femton" and former Stattbad resident and Beste Modus boss Cinthie gets deep on the classic house sound of "Hatschi Hatschi" which has a whole heap of swing to it!