Chubby Dubz - "The Way It Used To Be" - (5:17) 122 BPM
Loz Goddard - "Your Last Lover" - (7:28) 122 BPM
Review: Detroit label Kolour Recordings pack in some heavy weight artists with this three-track release and first up is Iron Curtis who takes a break from his Achterbahn D'Amour collaboration to return to the label first the first time since 2011. He delivers a chord progressive house jam that pitched up could qualify as hiNRG, while Firecracker artist Chubby Dubs goes all out woozy with dreamy Rhodes that give way to a plodding bassline and smoky male vocal. Enter Loz Goddard with "Your Last Lover", a jazz flecked house tip reminiscent of Mic Newman and Francis Inferno's earlier work.
Review: There's something pleasingly old-fashioned about "Frame Of Mind", the latest EP from space-obsessed deep house type Loz Goddard. The spacey pads, calming chords and stargazing grooves featured throughout hark back to the ambient house/intelligent techno days of the mid-to-late '90s, without sounding particularly out of date. All three remind us of late nights and early mornings spent slavishly tuning into "chill out" shows on various pirate radio stations on the way back from all-night parties in unusual spaces. All three tracks have their charms (particularly the horizontal opener), but it's arguably closer "Moon Kiss" - all LTJ Bukem pads, chunky house grooves and old skool pianos - that really floats our boat.
Review: Poor Loz Goddard, it must be a nightmare having a name that virtually everyone misreads as 'lolz'. Still, when it comes to this prolific young Mancunian's productions it's certainly no laughing matter. Here we catch him flexing his re-edit skills on four tracks for Editorial - "TJB" kicks things off sounding like an explosion at a Shalamar wine bar gig circa 1983 (if you're into sharp soul, that's a very good thing indeed) while "Sliced N Diced" is deep percolating house, "Shakedown" is thumping party funk and "You're The One" is warm and fuzzy filtered disco-house.
Review: The talented Mancunian Loz Goddard delivered a trio of fine EPs for Dirt Crew, Quintessentials and Razor 'N' Tape Reserve, in the process significantly enhancing his reputation. Happily, his first release of 2017, which also marks his return to Outplay after a two-year absence, is also rather good. Check, in particular, "Hazy", a groovy, disco-influenced deep house roller full of swinging drum fills, twinkling keys and swirling samples. He's in immaculate, Larry Heard-meets-early St Germain mode on "Peaches", then pays tribute to lazy, sun-kissed afternoons on effortlessly Balearic, jazz-funk influenced deep house closer "Murmur".
Review: Junktion, Daniel Leseman and Kristoffer Ljunberg's Outplay imprint has been going strong for a couple of years now and the label heads have started branching out to new talent after each one of them put in an appearance early on. The dudes have picked up the up and coming Loz Goddard who comes through correct with four discofied floor cuts on the deep house side of things. Luscious basslines, gorgeous keys and intricate vocal chops make for an effective collection of tracks. Our pick is certainly "Monkey Tears" thanks to its jazzed-out vibes and rattling mass of kick drums...check "Move It On" for that French filter house sound, too!
Review: After some brilliant appearance on Dirt Crew,Quartet Series & Quintessentials, Manchester-based DJ and producer Loz Goddard is back on a solo flex with the Drunken Monk EP for the Reserve sublabel from NYC edit crew Razor N Tape. Four tracks deep, this EP has that slinky, glossy feel to it that sounds just right on Razor N Tape, with the Love Unlimited Orchestra does disco house shuffle of "Lovin'". Then "Moovish" sees young Loz veer off into heavily filtered house territory, throwing in what sounds like some nifty RAMP sampling while he's at it. The appropriately-titled "Something Special" rounds out the P in fine style with a bit of a French Touch.
Review: Los Goddard continues his steady rise up the deep house ranks. He's delivered some excellent material this year already, via EPs on Razor 'N' Tape Reserve and Dirt Crew Recordings (the latter in cahoots with Harry Wolfman). This EP on Quintessential may be his strongest to date. There's naturally much to admire, from the woozy, pitched down vocals, rich keys, woozy chord progressions and crunchy drums of "Slap Dancer", to the sensual dreaminess of rolling groover "Flavour". The EP's title track, a pitched-down shuffler complete with sustained note strings, bubbly acid lines, crispy drum machine handclaps and sumptuous chords, is also excellent.
Review: When he initially burst onto the scene back in 2012, Loz Goddard found it hard to maintain his momentum. Happily, he returned to action earlier this year with a fine EP on Outplay - his first since 2013. Here he follows it up with an even better EP for Secret Rebels. While "A Way We All Expect" is fairly standard - if nicely playable - sample-heavy disco-house, there's a pleasing looseness and surging positivity about the Floating Points style synthesizers, loose drums and heady vocal samples that make up the superb "Fifth Flight". This attention to melodic detail is maintained on "4000B's", which features some delightful piano solos and ear-pleasing soulful vocal samples amongst its' breezy deep house treats.
Review: As the nights grow darker and the air turns chillier, the Editorial crew are at hand to make us glow with an excellent selection of glowing disco cuts from five top-notch producers. Highlights include the sea breeze and cocktails vibes of Sunner Soul's "Heaven's Rhodes", its deeper, late night cousin "We Can't Stay" and the slick, bassy shuffle of "Mossa" by Funkyard.
Review: Thanks to two superb EPs, Quartet Series - so-called because each release features a track each from four different artists - has already established itself as a must-check label. Predictably, there's more sonic gold to be found on the imprint's third EP. Tell kicks things off with "Hope Springs Eternal", a woozy, kaleidoscopic, garage-inspired bumper smothered in electronic positivity, before Darko Kustura moves further towards early Floating Points territory with the loose, warm, fluid and spacey "Messier Object". Loz Goddard's fine "Home" successfully melds crispy drum hits, undulating melody lines and rich chords with a bluesy vocal sample, while Bal 5000 impresses with the psychedelic, outer-space madness of "The Acid Is Mine But I Share".
Review: Although famed for delivering killer cuts of vintage disco and boogie jams, Razor-N-Tape has released plenty of life-affirming house jams, too. As if to prove the point, JKriv and Aaron Dae's Brooklyn-based imprint has decided to release a second selection of back catalogue house highlights. Highlights come thick and fast throughout, from the bluesy bounce of JKriv and Free Magic's "Eunice" and the classic deep house warmth of Jimpster's killer remix of Mr V's "Something Wit Jazz", to the fizzing synth riffs and life-affirming percussive shuffle of "Stretchin" by Luvless and the groovy, jammed-out musical headiness of Lay-Far's tidy remix of "Just One" by Body Music. Also worth plenty of peak-time plays is Chrissy's chunky revision of Ragtyme's rap-laced 1987 Chicago jam "Fix It Man".
Review: Notching up a decade of releases requires something suitably celebratory. That's exactly what Germany's admired Quintessentials has served up on this tenth birthday compilation. It comes packed with previously unheard cuts of the highest quality, from the sun-bright swing of Borrowed Identity's UK garage-meets-deep house opener "For You", to the atmospheric, synth-heavy chug of Ooft's "Freak-E-Groove", the smoky late night jazz-house of Loz Goddard's "Leaves", and the foreboding, jazz-funk-biting sample-house dustiness of S3A's "Searching". Also worth checking are the drowst chords and bumpin' beats of KRL's "Baltimore" and the low-slung, gospel-influenced deep house pump of 4004's "Continuous Dialogue".
Review: As you'd expect, the latest volume in Dirt Crew's regular Deep Love compilation series features far more hits than misses. As with previous installments in the long-running series, Deep Love 2017 is mostly made up of previously unheard material from label favourites and like-minded guest producers. Highlights come thick and fast throughout, and include the horn-laden Latin disco-house brilliance of M.ono's "Jamas", the jazzy, Compost style broken beat deepness of Felix Leifur's "Record", the loved-up shuffle of Loz Goddard's impeccable "Now is Where We Are" and a touch of 21st century jazz-funk/deep house fusion by Ponty Mython. Also worth a listen is the contribution from Sheffield beat-smith Thatmanmonkz, who once again delivers a hazy chunk of ultra-deep, soul-flecked dancefloor bliss.
Review: More from the popular and hard-working Editorial camp, as they unfurl another five track exercise in joining the dots between disco and house. Label regulars Ed Wizard and Disco Double Dee kick things off with "In Funk We Trust", a groovesome disco-funk edit with just the right amount of contemporary production wizardry (think tightened up grooves and drawn-out filters). Loz Goddard dips a toe into deep disco-house territory with the woozy "Over Ur Shoulder", while Tonbe gives a classic funk tune the 4/4 treatment on "Boss of Funk". The two standouts, though, are Brutal Disco's baggy, boogie-influenced head-nodder "Get Down", and Woodhead's midtempo delight "You Gotta Go", a low-down chunk of pitched-down soul.