Review: Although the title may be Deeper Detroit 2, don't be fooled as the artists on this latest various release for Kolour Recordings come from distinctly different places. Francis Inferno Orchestra has been setting alight his home turf of Australia with a refined take on deep house that sits comfortably in the Session Victim field of funk-infused grooves, which comes through in abundance on "All Up In This Shit". Istanbul's Sinan Kaya takes a more dubbed out approach on the luscious "Day On Vine", while Melbourne's The Tortoise gets remixed by Genius Of Time into a steamy, decidedly stripped down slice of wild frontier house.
Review: Big release for both artist and label here as London-based Australian producer Francis Inferno Orchestra comes through with A New Way Of Living, a debut album on the Voyeurhythm operation, which doubles up as its first full-length project. Having first surfaced in 2010 and dropped numerous 12"s along the way, you feel now is the right time for Griffin James to show what he's capable of over the length of an album and this is a very confident set. The dusty, sample laden house sound Francis Inferno Orchestra is known for is very much in evidence here but there's plenty of diversity shown over the seven cuts to keep you coming back for more. The daisy age goes house vibes of "The More You Like" and the weighty beat down "Rap Beef" are immediate standouts.
Review: Brand spanking new label Sccucci Manucci launches with this offering containing cuts from four different but equally pleasing sources. Those of you who hang out at the crossroads where disco meets house will no doubt already be keenly aware of the stylings of Aussie pup Francis Inferno Orchestra, and here he turns in piano-driven stomper "Horizon Beat". No less euphoric is "Scare The Night" by Jonno & Tommo - alas not a production duo from Far North Queensland but the considerably less tropical climes of London - who drop an oven warm slow-mo jam that brings to mind I:Cube's epic "Falling". Up next, Scott Featherstone & Tino TCB, with "Circles" guaranteed to raise a smile from the more discerning corners of the dancefloor. Portuguese newcomer Ramboiage rounds off the release, dropping some Cottam-esque heavy thud house on "Pretty Baby".
Review: Melbourne native Griffin James has been busy over the past few years, snapping up releases on Sleazy Beats, Join The Dots, Drumpoet Community and Fina in a whirlwind of contemporary deep house. As such it makes sense to see him sliding over to Let's Play House for another bout, leading in with the riotous party atmosphere of "Hezbolla". It comes on like the more flamboyant end of Moodymann's layering techniques, all shot through with a hooky central drum that wanders through a range of pitches. "Vibrations" gets into a more soulful kind of snag, all fragile beats that could crumple at any second and heartfelt key loops. "Hezbongobongo" is a more outwardly metallic edit that lets the drums shine through without the heated social ambience for those who like their beats with clarity.
Review: Following impressive outings on Under The Shade, Kolour and Sleazy Beats, Melbourne-based producer Griffin James brings his Francis Inferno Orchestra project to 2020 Vision offshoot Fina. Thankfully, he's stuck to his usual style, delivering a trio of deliciously wide-eyed cuts. "Astral Breeze" sets the tone, offering a thrillingly touchy-feely fusion of saucer-eyed chords and hands-in-the-air pianos. "Here's To Feeling Good All The Time" retains this retro-futurist feel, combining bumpin' beats and melodic touches with classic old skool samples. A fine EP closes with "Silk & Smoove", a gorgeously sunny disco-house groover built around some classic strings from an oh-so familiar record.
Review: The brilliantly-named Griffin James continues his meteoric rise with the delivery of another strong EP, this time for Kolour Recordings. "Sing To Me" is a touch different to previous Francis Inferno Orchestra releases, but still boasts Griffin's trademark production and attention to detail. The lead cut builds a lolloping deep house groove around lazy midtempo drum breaks, offering both laidback shuffle and effortless atmospherics. Both the brighter "Go Easy On Me Girl" and Deep Space Orchestra-ish "All Up In This Shit" return to more traditional deep house pastures, mixing chunky 4/4 grooves with delicious organs and intoxicating pads.
Review: The House of Disco site launches its new label endeavour of the same name with an impeccable selection of cosmopolitan sounds from four of the contemporary disco scene's most valued selectors. The ubiquitous Nicholas kicks things off with the slinking "Talking About Love" which leans on a soul classic with aplomb, and it's matched by the most upwardly mobile number on this release from Australia's Francis Inferno Orchestra. "Sun Up" is driven by one of those incessantly energetic filtered cores and surrounded by a thumping groove and leaves you gasping for the moment the vocal hook and hats finally kick in. Up next everyone's favourite South American dwelling East European exponent of super slow disco does his thing on "Outstanding" whilst Psychemagik indulges in some carnival leaning house boom on "Carnaval De Transoco". A deft release that corners all aspects of the modern discoteria needs.
Review: The underground disco network operated by Under The Shade reaches out to Australia to showcase the sounds of Francis Disco Inferno. Fans of the Wolf Music and Dikso imprints might be familiar with the work of the young Melbourne based producer, and the rest of you will probably make a mental note to keep your ears peeled for future FDI missives on the potential shown here. There's an inherent warmth to the rich piano melodies that filter through "Meet me In Salt Lake City" but the sloppy drum hits give the track an unpolished idiosyncratic feel that's all too absent from contemporary disco tinged house. Soul Clap drag the track back towards proto house territory with a stripped to the bone warehouse rhythmic thrust running throughout, dark pulses of bass augmented by reverberant key stabs and subaqueous melodies. In contrast, the remix from Eddie C embellishes all the elements, dipping the track in a swathe of delightfully bubbling delay.
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