Review: Boss of Amsterdam's Bobby Donny imprint Frits Wentink teams up with man of the moment: London based Aussie DJ Boring (he of "Winona Ryder" fame) for a bunch of classic house perspectives by two heroes of the nu-skool. The skittering, swing-fuelled rhythms of early '90s garage seem to be a consistent element on Wasted Years Of Pumping Iron. From the dark, hip-house flavoured bounce of "Oli Coony" or "Derek Antony", through to the trippy deepness of "Chad Brothers" with its woozy keys and Todd Edwards style rhythms pumping away beneath all that lo-fi tape saturation.
Review: If you're on the hunt for some unusual, off-kilter house with swing, weight and tons of fuzzy analogue sounds, we'd recommend checking this Clone Royal Oak outing from Frits Wentink. It opens with one of the most sub-heavy tracks we've heard in a while, the two-step garage-meets-leftfield-deep house insanity of 'Trouble Man'. While it derives its power from an incessantly stabbing bass motif and loose-limbed drums, the track also boasts plenty of madcap melodic motifs and oddball electronic flourishes. In comparison, bass-and-piano-heavy peak-time workout 'Friends' is positively straightforward, though those who follow Wentink's career will know it's anything but. As for closing cut 'Double Man', it's as dusty, percussion rich and weighty as they come, with the Dutchman's heavy sub-bass offset by sparkling synths.
Review: Expect only the most leftfield of deep house bizniss here from Dutch producer Frits Wentink (real name Steve Mensink). 'Filthboi69' rides a deep, Afro/tribal-tinged house rhythm with all manner of weird n' wobbly synth and organ sounds, creating an overall vibe that's one-part flotation tank to one-part lounge bar in outer space. 'Discosizer' is a more upbeat number with seriously wonked-out synths underpinned by a steady bass throb, 'Space Babe' sounds like The Clangers making dubbed-out house for those eyes-down, 4am moments and finally the glacial 'Stealth' marries 80s electro beats to delicate keys. Far out, man!
Review: Having partied hard to celebrate notching up 50 releases, the Wolf Music crew is not letting the grass grow under their feet. They've already served up missive number 51, a single-track salvo from label regular Frits Wentink that has apparently been gathering dust in the producer's archive since 2014. "Frogs, Toads and Newts" is typical of the Amsterdam producer's work. Based around a dusty, slipped deep house groove blessed with swinging, MPC style drums, heavy sub bass and rubbery double bass samples, the cut's power is partially down to Wentink's canny use of echoing R&B vocal samples and suitably woozy, minor key chords. It's a bit like S3A covering Mark E's "R&B Drunkie", which in our eyes at least is a very good thing indeed.
Review: Wolf Music - London purveyors of the real proper deep stuff - deliver on the same underground quality once again, in the form of this nifty little EP by Frits Wentink: one of Holland's finest. The final in a three-part series, the Bobby Donny boss continues to showcase his distinct style of lo-fi, wonky house - both quirky and unconventional, yet instantly endearing in the same breath. From the late night swing-fuelled groove of "Theme 09" to the slo-mo boogie down vibe of "Theme 11" (a tribute of sorts perhaps to Morgan Geist's neon-lit aesthetic) to just the same good ol' loopy jams you've come to expect like "Theme 12" that are jam packed with Wentink's usual dancefloor dynamics - dusted down, lo-slung and well bowled!
Review: The first volume in Frits Wentink's Two Bar House Music and Chord Stuff series won plenty of plaudits when Wolf Music slung it out last summer. Happily, the eccentric Dutch producer seems to have raised his game even further on this fine follow-up. Check, for example, deliciously trippy opener "Theme 5", where vocal snippets, organ riffs and sci-fi synth sounds are drenched in tape delay and wrapped around a skewed deep house groove, and the bolder, bass-heavy bustle of saucer-eyed peak-time wobbler "Theme 7". Elsewhere, he combines the dreamy dustiness of Mood Hut style deep house with the cheeriness of Italian piano house on "Theme 8" and gets locked into a soulful, deep and bass-heavy vibe on the similarly impeccable "Theme 6".
Review: First in a three part series by Dutch producer Frits Wentink, presented in a hand stamped picture sleeve. Wentink has been one of The Netherlands' most steady artists since his first release in 2012. As the head honcho of both Will & Ink and Bobby Donny, he is known for pushing quality house music. Starting off with with the neon-lit late night groove of "Theme 01", the slo-mo boogie down groove of "Theme 02" is equally impressive and had us reminiscing of classic Metro Area. "Theme 03" is the EP's most straight up moment: this kind of dusty deep house with sexy retro synths and sleek vox samples are right up our street. "Theme 04" is a woozy and disjointed groove, with its broken beats and skittering melodies getting and inventive groove on: that's for sure.
Review: Part of the appeal of Frits Wentink's productions has always been their inherent wonkiness. While his take on deep house has always drawn on classic US house influences, these are often combined with curious synth melodies, off-kilter jazz samples or subtle nods towards UK garage. All of these inspirations can be heard on the Dutch producer's latest outing for Heist Recordings. There's much to admire on the toy-box melodies and bumping beats of "Child Of The Universe", the fluid, late night deepness of "Worldwide Deluxe Edition", and the drunken jazz-house shuffle of closer "Yeah But Maybe Never". Best of all, though, is "Rising Sun, Falling Coconut", a delicious fusion of slipped US garage grooves, heady late night vocal samples and wild, P-funk-on-acid synth lines.
Review: Earlier this year, Wolf Music regular Frits Wentink had the honour of delivering the first release on pal Steve Mensink's Bobby Donny label. Here, he provides a swift follow-up, serving up for left-of-centre workouts. He begins with "Horses In Cornfield", a delightfully skewed fusion of crazy electronics, wobbly sub and bumpin' electronics, before showcasing the more downtempo side of his work on the experimental, analogue beat science of "Girls In Matching Bathing Suits". Flip for the rolling, swinging beats and fuzzy melodies of "Man At Parade", and the cracked, distorted, bluesy late night deep house of "Bouquet At Rest".
Review: Wolf Music continues to evolve as a label, with recent releases showcasing a much more mature, dustier and quietly soulful feel than some of their earlier outings. Certainly, there was a smoky, jazz-flecked vibe to Medlar's recent 12", and this EP from regular contributor Frits Wentink is suitably fuzzy, glitchy and groovy. Opener "Blaise Montoya" sets the tone, with watery riffs, grainy jazz samples and bluesy vocal samples riding an undulating, US-garage influenced groove. There's a similar, if chunkier, feel to "Hummel", while "Etna Devine" goes further into left-of-centre, jazz-influenced deep house territory. Like the EP's other tracks, it feels a little more inventive and out-there than your average deep house jam.
Review: By and large known for his work at Will & Ink and Bonny Donny to other labels like Royal Oak, Heist and Wolf Music, Frits Wentink brings to Dekmantel a very personal concept album that takes in the inspiration of American visual artist Erik Madigan Heck to the whispered guest vocals of Hollywood actress Tilda Swinton. A largely ambient, choral and classical experience graced by poetic passages of the forlorn, a bridge into techno is crossed by the radical and deconstructed grooves of tracks like "A Fracture In The Vapor" next to Frits Wentink's 'Garden' mix of "Safe Passages". Find walls of noise in BvDub's remix next to the hype DnB sounds of "Delusion Of Safety" in an album that Dekmantel calls a soundtrack in which many people will find solace in those they remember. Find extra digital only remixes from Matthew Herbert and The Soft Pink too!
Review: If a week is a long time in politics, then a decade is the equivalent of a lifetime in dance music terms. It's for this reason that so many labels are keen to mark their tenth birthday with a special release, just as Wolf Music - one of the UK's most reliable deep house imprints of recent times - has done here. Instead of opting for all new material, the imprint has decided to gather together some of their favourite "Wolf slammers" - cuts that have always done the business on the dancefloor. There's naturally plenty to set the pulse racing throughout, from the loopy R&B/disco/deep house fusion of Fantastic Man's "Look This Way" and the fabulously analogue Chicago retro-futurism of KRL's "Nothing You Can Teach Me", to the sample-heavy, riff-happy bounce of Red Rack'em's "Do Or Die" and the bass-heavy stomp of K98's warehouse-ready revision of Thrilogy's "Heaven".
Review: If Mark Knight and Co. aren't busy enough celebrating Toolroom's big 15 year birthday at present (and its global parties in celebration of it), they've also found enough time for another mandatory volume in their esteemed Ibiza Underground series. With another collection of surefire hits and soon to be anthems that are sure to rock The White Isle this summer - this is all you need right here. A wide range of cuts (50 to be exact) that venture into darker territories come from the likes of New York duo Blondes on the fierce and broken "Quality Of Life" (Struction remix), the surprising addition of Scottish IDM wunderkind Lanark Artefax's "Touch Absence" (Intimidating Stillness mix), Dutch techno-bass merchant Martyn on the futuristic "Feel The Magnetism" and American retrovert Matrixxman on the tunnelling acid trip "Horizon". Rest assured that there's faire more typical of the label like Josh Butler, Franky Rizardo, Rick Wakley and birthday guests Booka Shade. For your convenience, the collection comes as two continuous mixes as well.
Review: With this year's Miami Music Week fast approaching, UK bigwigs Toolroom kick off 2018 with the first in this year's Underground series; Introducing some fresh faces and new producers to the tracklist, 'Miami Underground' explores much more eclectic genres than previously but rest assured that they deliver all the regular surefire quality in tech-house and house. Highlights here include: the euphoric "The Phoenix Part 1" by the controversial Marquis Hawkes, the deep down and dirty "Paradise" by Patrick Topping (with the one and only Idris Elba!), "Day One" by Primitive TRust which gets a stellar remix by BRSTL homegirl Shanti Celeste and the surprising addition of industrialist Perc with his stomper "Rat Run" getting a groove injection by Matrixxman. Completing the bundle are two expertly crafted full length mixes.
Review: Heist Recordings brings down the curtain on another successful year with their now traditional Roundup release, an expansive EP featuring "family remixes" of material released over the previous 12 months. As usual, there's much to enjoy, from the cheery, disco-tinged goodtime bump of Detroit Swindle's rework of Obas Nenoor's "Wakee", to Frits Wentink's jazzy, lo-fi, swinging deep house remake of Detroit Swindle's "Future Imperfect". Other highlights include a skuzzy, acid-fired interpretation of Nebraska's "It Won't Be Long" by Nachtbraker, and Nebraska's sunny, jammed-out fix-up of Frits Wentink's "Rising Sun, Falling Coconut". Best of all, though, is Ouer's remix of Nachtbraker's "Pollo Con Pollo", which boasts twinkling electric piano solos riding a thrusting analogue bassline and breezy disco guitars.
Review: In his quest to master the art of 'wonky' house, Dutch dweller Frits Wentink has set up the Bobby Donny label, and it's a rule-free home for his 'hardware jams on the Rhodes, Juno 60s or a MPC'. "Dwayne Young" kicks things off with a distorted soul sample held down by some raw, slammin' house for a truly warped dancefloor jam. Elsewhere "Rio" is a swirly interlude, "Guacamole" is a sparse 4/4 workout, "Q&A" is an extra terrestrial lo-fi garage joint and "Aquarelle" sounds like an easy listening record plunging to the bottom of the Mariana Trench.
Review: It's no surprise to see Amsterdam man Fritz Wentink issuing his debut album through Wolf Music, as the London label have been staunch supporters of his work with two 12" contributions over the past two years. The wonderfully named Rarely Pure, Never Simple adds to Wolf Music's growing artist album profile following long players from main men Medlar and Greymatter and further develops the all encompassing production style Wentink has displayed so eloquently for Detroit Swindle's Heist Recordings and others. He seems most impressive on the more downbeat tracks done in collaboration with Loes Jongerling who possesses a quite astounding vocal delivery, though those craving some proper house will totally dig on cuts like "The Excitement Happens At Page 320".
Review: Thanks to a string of well-received releases on Wolf Music, Dutch deep house producer Frits Wentink is a man in demand. Here he builds on his growing reputation with a typically bass-heavy, floor-friendly four-tracker for Heist Recordings. Wentink's production style - eccentric but danceable, and prone to blending fuzzy, analogue-rich bottom end with all manner of curious musical flourishes - is unique, and all four tracks come blessed with his usual intriguing touches. "Ligament" is the most obvious deep house killer, though we're particularly fond of the rubbery bass, watery vocals and jazz keys of "Sauce" - though the bouncy "Shrewd" has the most cross-over potential. Either way, it's another excellent EP from the Dutchman.
Review: While he's hardly a newcomer - his first release on Holland's Triphouse dropped at the tail end of 2012 - there's still something fresh and exciting about the booming, bass-heavy productions of Dutch 20-something Frits Wentink. All three of the original tracks here are undeniably sparse, offering dubbed-out, delay-laden takes on stripped-back US house, with sub-heavy basslines and cut-up vocal samples providing the obligatory contemporary twist. The wonky, acid-flecked "Goose" is probably the pick of the trio, though the quirky, twisting "Geeses" is not far behind. There's also a remix of the latter track from Wolf regular Ishmael, who effortlessly blends Wentink's bass-heavy rhythms with his own starbust synths and subtle nu-disco influences.
Review: Dutchman Fritz Wentik has steadily built up a following over the last few years with a slew of acclaimed releases, largely on the Triphouse label. Here he looks set to raise his game considerably via a hook up with Wolf Music. Boasting an unexplained murine theme, the EP contains three infectious housey shakers with no cheese in sight! "Mouse" is a snappy duel between a soulful male vocal sample and retro organ melodies, "Mice" is more sensual and lithe with plenty of glistening synth work and finally "Mices" evokes memories of early '90s New York clubs like Sound Factory.