Review: Berlin house and disco producer Till Von Sein looks to the early 80s for inspiration as he serves up a convincing slice of instrumental disco/boogie. 'Barocula' creates a bed of warm bass and frenetic Rodgers-esque guitar chops, which it then tops with a descending plinky-plonk synth hook and a magnificently 80s-sounding mournful sax line, with some space disco stabs for good measure. Larse's remix pumps things up in a more overtly nu-disco style, so whether you go for maximum authenticity or maximum 2020s dancefloor impact is up to you! A set-builder rather than an anthem-in-waiting, perhaps, but still checkable.
Review: Germany's Till Von Sein (Tilly Jam/Dirt Crew/Suol) teams up with fellow Berlin resident Ulrich Harrison - a German-Jamaican vocalist better known as Tender Games - to bring us two classy contemporary boogie/soul jams. 'Let Go' rides muted but hefty 4/4s and a lovely fat, squelchy, 80s-sounding bassline with synthesized strings and a vocal from Harrison that should garner it mucho plays on the soulful house floors. 'You & I', on the other hand, leans more overtly to the boogie side of the equation, and as such is probably one for the more purist soul, funk and disco spots.
Review: If you can handle the cold, there's a lot to love about winter, not least crisp mornings, stunning mid-afternoon sunsets and the possibility of snow days. Tilly Jam founder Till Von Sein is clearly a fan, because his latest EP sounds like the perfect soundtrack to crystal clear winter nights and mornings when getting out of bed is a struggle. Particularly potent is "Feels Like Winter", a sparse and seductive slab of gently percussive deep house rich in simmering strings, eyes-closed vocal samples, glacial chords and piano motifs that take the breath away. He continues on a similar theme with "61 State of Mind", a similarly swung affair where hissing cymbal patterns, elongated synthesizer chords and bubbly synth-bass catch the ear.
Review: Till Von Sein continues to serve up tasty treats on Tilly Jam, the imprint he set up in the autumn of 2017. This time round, there are two tracks to choose from. First up is "Cruise Control", a wonderfully warm and tactile affair where waves of sun-kissed chords, seductive piano motifs and Balearic guitar flourishes gently rise above shuffling, cowbell-driven drums and a rubbery synthesizer bassline. This toasty, sunrise-ready goodness is followed by "Ocean", an impeccable chunk of deep and melodious house music smothered in loved-up pads, lilting melodies and the kind of slick, undulating bassline that should make smiling, saucer-eyed dancers go weak at the knees. In a word: delicious.
Review: Only the fifth outing here from Tilly Jam, the label that German deep house producer Von Sein set up in 2017 after numerous releases on Suol, Dirt Crew Recordings and other labels. It's a two-track affair, and opens with 'Aloha' itself, which is a laidback deep house groove that's bordering on slo-mo Balearic territory and which, as the title suggests, is replete with Hawaiian sounds. The accompanying 'Mission Muizenberg' operates at a more standard deep house tempo, but is still probably one for those longer sets, afternoon sessions and mellow moments, not least thanks to the dreamy, floaty breakdown in the midsection.
Review: The 'Nina Knows' EP finds Till Von Sein in a laidback kinda mood, serving up three tracks that are more about lounging by the poolside than they are about throwing yourself around with wild abandon on the dancefloor. The title track is comprised mostly of a rolling, vaguely African-leaning backbeat and cascading chimes, to which are added African chants, birdsong, whistles and other atmospherics. 'These Days' is a smoother nu-disco chugger with a sumptuous, hazy feel, while 'Catching Rays' nods to synth-pop legends like Paul Hardcastle, Jan Hammer or Jean-Michel Jarre. Order up a large Mojito, lay back and soak it all in!
Review: Berliners Meggy and Till Von Sein have already appeared a few times as a powerful force committed to pushing house music forwards. But now, with their latest joint EP, this duo's sonic language has reached a new level of effortless ease. The title track is an excellent example of this development. "Haza" builds on a beat, which gives the impression of having been assembled with velvet gloves on. The cool spirit of electro hisses through the treble, while heavy droning spaces ooze from the low end. "Ricky On Charlie" adds some more weight to the beat. Snares and claps wrestle stoically for supremacy with old-school house chords and commits itself entirely to the essentials. This direct approach is continued in the final track "Drei", with small swing concessions and warming harmonies. The diversely filtered synth basses wind their way through the final third of the track and underline the overall impression of the sound.
Review: For his latest outing on regular home Suol, Till Von Sein appears to have distilled the essence of carnival - at least on standout "U.N.U". It seems tailor-made to raise temperatures at outdoor parties, with distinctive cowbell lines, clipped guitars and well-placed disco cymbals riding a speaker-shaking sub-bass line and sturdy kick-drums. In contrast, "Itiswhatitis" boasts the German producer's trademark shuffling tech-house drums, alongside all manner of lilting electronic motifs. The summery mood returns on closer "Dappat Se Gat", where tumbling guitars, synthesized steels drums and swirling pads cascade down over an elastic deep house groove. His EPs are rarely less than solid, but this is one of his finest for a while.
Review: The first audio missive of 2011 from Germany's Dirt Crew finds the label in good form, offering three positive house cuts from regular collaborators Tigerskin and Till Von Sein. Lead track "Sirene" is particularly optimistic, building a quietly uplifting deep houser via some gorgeous chords, snappy percussion and good use of background party noise. "Looking So Good" continues the party-centric theme, fusing P-funk guitar and synth samples with hectic percussion to good effect. "U Never Know", meanwhile, offers the best of both worlds, hovering between classic deep house territory and sweaty percussive grooves for eight breathless minutes. Solid stuff all told.
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