Review: Up next for Defected's In The House series is the UK's DJ Haus, 'a decidedly untraditional DJ, producer, originator and DIY label innovator.' The Unknown To The Unknown and Hot Haus Recs boss has received big props from the underground house community and in Defected's opinion: he's an ambassador for the future of house music. Quite a compliment there! Serving up a a wicked collection of raw and jacking sounds that encompass electro, Chicago house, disco, techno and UK garage: and all very much on the lo-fi tip. The supporting cast on DJ Haus In The Haus is quite a remarkable one and musical highlights are not limited to: NYC hero X-Coast (who is fresh off a killer release on Underthesea) with last year's sleeper hit "Mango Bay", Aussie larrikin and Steel City Dance Discs boss Mall Grab with the wicked "Pool Party" through to stateside jams by Justin Cudmore - who gives us a taste of the acid life on "Forget It" and so does the master Matrixxman on the epic "The Spell" (Original Mix).
Review: Fast-rising Belfast producer Garry McCartney aka Ejeca delivers a killer release for Ellen Allien's label. McCartney's skill lies in drawing on established house tropes and putting his own spin on it. "Charger" sounds like a textbook deep house tune, with its flowing chords and insistent groove, but then it veers off course with a series of blaring sirens. "Bound To The Pump" is in a similar vein, but on this occasion, Ejeca utilises firing percussion and insistent vocal snatches to stand out from the slew of samey deep house. Meanwhile, "4Mula" and "Swey" sees him strip back his sound and focus on swinging, primal rhythms, with the latter impressing most.
Review: Belfast's Gerry McCartney enjoyed a productive 2013, delivering a slew of hyped house releases on Loft Records, 2020 Vision, W&O Street Tracks and Delayed Audio. Here he pops up on the similarly well-regarded Moda Black, delivering a pair of certified late night bangers. "What You Think" combines bold, bumpin' beats with swirling sampled strings, choice vocal samples and just the subtlest hint of disco flavour. Arguably even stronger is "Alone", a thick, murky but rush-inducing trip into late '80s, early '90s territory - think "Good Life" meets New York basement house, circa 1992, and you're close. David Jach remixes "Alone", turning the original into a swinging chunk of late night bass-house goodness.
Review: In a short space of time, Garry "Ejeca" McCartney has become a man in demand. Here, he follows acclaimed outings on Tusk Wax, Needwant, Aus and Last Night On Earth with a typically entertaining EP for 2020 Vision. Choose between the classic, shimmering deep house-meets-90s New York house flex of "Jump" (complete with delicious synth-strings), the saucer-eyed warm-up fodder of "Purnsley", the simmering late night delight of "Home" (a suitably relaxed but still floor-friendly concoction), and the standout "Agent of the Deep". All are up to his usual high standards and come blessed with just the right balance between floor-friendly bump and headphone-friendly atmosphere.
Review: Ireland's Ejeca returns after some killer releases on Aus, Bpitch Control and 2020 Vision with this new one for Sasha's Last Night on Earth entitled Dizorn EP. The title track is a dark and brooding effort which packs in a nasty stomp beneath its seething 'Reese' style hoover leads and wonky synth stabs. "Tajmahal" is a more restrained and atmospheric cut with its sonar bleep techno style melody and minimal rhythms creating a sense of suspense and tension throughout. Netherlands based young gun Budakid also gets onboard to deliver a remix of said track which takes it down a much more progressive house style vibe and with even more elaborate production values: very impressed by this one.
Review: Since muscling his way into the higher echelons of club culture back in 2012 - thanks in no small part to delivering a string of hot-to-trot dancefloor anthems - Ejeca has barely paused for breath. This, though, is his first single of 2018 following an action-packed 2017. "Find Me" is an unashamed blast from the past: a gloriously sweaty and glassy-eyed fusion of early '90s house tropes (think delay-laden diva vocal samples, relentless piano riffs and snappy percussion) and on-point 21st century retro-futurism. There's a similarly nostalgic feel to "Mesh", too, which sounds like a long lost David Morales Red Zone dub from 1990. To complete a rock solid package, Addison Groove delivers a tougher, sweatier and even more bass-heavy take on "Find Me" that's arguably even better than Ejeca's original mix.
Review: Dressed head to toe in a jump suit, Ejeca serves up an EP of chunky, tried-and-tested dancefloor treats seemingly inspired by everyone's favourite 1980s adventure game show. He first opts for a physical task on opener "Unloving", a boisterous, retro-futurist big room house workout. Crystal safely tucked in his pocket, he charges through the all-new Jacking Zone (see "Standard Acid House Track") before pausing to catch his breath in the Industrial Zone, where the psychedelic atmosphere and raw analogue grooves of "Crystal Maze" await. Paul Woolford dons his Special Request guise to claim another crystal via a typically hardcore-influenced, bass-heavy re-make of "Unloving", before Ejeca heads towards the Crystal Dome to the accompaniment of late night techno shuffler "ISWHATIS". Start the fans please!
Review: Making all the right moves with previous form on Aus, Needwant and Tusk Wax, Ejeca is well tapped into the revivalist house zeitgeist with these hale and hearty jams for Waze & Odyssey. Solid Inner City chords and crisp, bright drums abound on "Night Rays", a track sure to inflict some damage with its fulsome square wave bassline. Meanwhile, Waze & Odyssey themselves bring a smoother, deeper vibe to bear on their remix of Ejeca's "Riddim", pulling the melodic content right back to subtle flecks for a greater dramatic impact.
Review: Ejeca - real name Garry McCartney - is a Belfast-based DJ and producer. He returns after releases on Yom Tum, PETS Recordings and Unknown To The Unknown with two trance-infused deep house cuts for label Soft Computing. Be prepared for a throwback to the mid '90s on the evocative "Hours" - this slinky and hypnotic cut is so mesmerizing that it could have been on Sasha and Digweed's Northern Exposure series of mix CDs back in the day. This is followed by "Shatter" - another melodic and intoxicating cut full of shimmering sequences, brooding pads and restrained rhythms all together perfect for drama and mystique on the dancefloor.
Review: In the early stages of his career, Gerry "Ejeca" McCartney was renowned for delivering deliciously rushing, glassy-eyed peak-time anthems. In recent times, he's added a few more strings to his musical bow, though he can still smash it out if he needs to. For proof, check out the opening gambit of this EP on Shall Not Fade, "BetterB", which flits between glacial, Biosphere like ambience and bustling, rave-igniting dancefloor pressure. That pressure is maintained via the acid bass-propelled, stab-happy house retro-futurism of "Never Should" and the slamming "Polar", which is sweatier than Neil Ruddock's jockstrap after five minutes on an exercise bike. Elsewhere, "Nation" is a slick and spacey slab of electro, and "Real" is a thunderous big room techno romp laden with warehouse-ready synth stabs.
Review: Having recently collaborated with revivalist house hipsters Bicep, Ejeca's profile has risen considerably in recent months. This latest solo EP for Last Night On Earth should see his stock rise further. It continues to build on the "Nu House" style he's made his own, sitting somewhere between US garage revivalism, nu-prog (see the early Sasha vibes of "Hi Rollin") and fluid late night pump. "Neva 2 Far" recalls late nights spent dancing in abandoned warehouses sometime in the mid '90s, while the lush, long builder "Nassau Storm" - all sparse, dubby rhythms, enveloping chords and spacious ambience - could have been made by Pete Namlook or Orbital (circa "Snivilisation").
Review: Garry McCartney aka Ejeca returns to Last Night on Earth with a hypnotic dance floor EP. The title revolves around a brooding bass and hollowed out kicks, which he uses as a basis for uplifting melodies, tropical forest samples and haunting tribal chants. On "Your Mind", he ups the pace to deliver a pumping club rhythm that resounds to repetitive vocal samples and crisp claps. "Artmeis" sees him veer back towards a tranced out route, led by shimmering synth lines and dubbed out kicks. Finally, "Diskord" sees Ejeca display his techno credentials, with a pumping groove underpinning the kind of churning chord sequences that prevail on classic Force Inc releases.
Review: Loft have scored somewhat of a coup here with this split EP capturing two acclaimed talents on the cusp of great things. Garry "Ejeca" McCartney specialises in complex lushly textured production that is aimed for both the feet and the heart, and "Rosario" with it's deep house groove, beautiful strings and layers of classy musicality does both with ease. Citizen tends to go for a combination of smoky, velveteen late night sexiness and upbeat house. On the sexy, moody and dark "U Give Me Love" we get exactly that. Both Mic Newman and Nicolas deliver solid, if more straightforward, remixes.
Review: Scandinavian nu-disco imprint Skycreaker debuted recently with a solid three-tracker from electrofunk/nu-disco fusionist Satin Jackets. Here, they attempt to give a flavour of the label's future direction with a split, four-track EP. There's plenty of promise amongst the grooves, which casually flit between boogie-flavoured house, compressed electrofunk and off-kilter deepness. Casual Encounters impress with their synth-heavy "Million Dollar Smile", while Flash Mode layer up the organs on the deep and dreamy "Solo Flight". There's also a deliciously deep and atmospheric chunk of late night house from Ejeca and a long, midtempo builder from Mike Salta. On this evidence, Skycreaker will be a label to watch in 2012.
Review: Since launching early last year, Jaymo and Andy George's Moda Black imprint has forged a reputation for delivering the sort of fluid, action-packed deep house that takes as much influence from synth-laden nu-disco as tech house, '90s garage and Visionquest-ish slickness. Here, the two bossmen curate a second label compilation featuring a mix of unreleased gems and recent hits. There's plenty to enjoy, from the classic late night wooziness of Eats Everything's "Jazz Hands" and Huxley's rolling, UKG-influenced "Diesel", to the Hot Creations-ish flex of Danny Daze/Maxxi Soundsystem collaboration "Karoline" and Medlar & Pedestrian's '90s US garage groover "TR Wilson".