Review: When it comes to delivering deliciously intergalactic house and techno, few can match the sci-fi sounds, lilting lead lines, darting synth sounds and hypnotic beats of Jack Hamill AKA Space Dimension Controller. His trademark sound is naturally evident throughout his first EP for Aus Music. He begins with the deep, cosmic techno of 'Dispatch477', where bubbly acid bass, bustling drums and deep chords combine on an energetic-but-weightless sci-fi treat. 'Upper/Lower' is similarly deep and woozy but arguably more musically expansive, while closing cut 'Polymer Pyramid' sees him wrap drowsy, ambient techno style sustained chords and yearning synthesizer lead lines around a fizzing analogue bassline and snappy machine drums.
Review: Maarten Smeets, one half of Detroit Swindle, introduces his Wanderist project through Aus Music, and vice-versa. It presents a second record for Smeets on Aus (see the Rhythm Girl Swing EP) with the Wanderist project setting itself up as a place for electro breaks, acid and new age synths ("Translucid Dreams") to funky, stripped-back and pacey vocal house numbers ("Machines Have Feelings Too"). A minimal yet harder techno groove arrives in the pumping drum track "U Got Love" (tip) next to the sundrenched trance-ala-house music of "Astral Highways"!
Review: Late last year, Dutch duo Lars Dale and Maarten Smeets decided the time was right to ditch their Detroit Swindle moniker - chosen originally in tribute to Motor City dance music, but one that left them open to accusations of cultural appropriation - in favour of Dam Swindle. This three-tracker for Aus marks their first outing under the new alias and begins with one of their warmest and most ear-catching cuts to date: the Nikki O-voiced vocal deep house number 'Breathe', which boasts some brilliant live bass, twinkling Rhodes flourishes and atmospheric synth-strings. Title track 'Spice Run' is arguably even better thanks to bouncy, Afro-house style percussion, carnival-ready electric piano riffs and synthesized steel pan, while 'Get Together' is a drowsy and deep disco-house number laden with live instrumentation.
Review: Berlin-based Haider Masroor made his Aus Music debut with the '10961' EP in 2019. Now he returns to Will Saul and Fink's label with another three-tracker that defies easy genre categorisation. 'Levitate', for instance, starts out epic and proggy but then breaks out into a kind of EBM/Italo/industrial fusion interlude in the middle, while 'Too Close' has echoes of Orb-style ambient house, hardcore, two-step and the kitchen ruddy sink! The standout, though, is 'Why So Blue?', a moody, broody but irresistible order to dance in which delicate, haunting keys and cut-up female vocal snips surf a surging, pulsating bassline to devastating effect.
Review: Will Saul and Fink's Aus Music label have always operated at or around house music's more leftfield fringes, and this three-tracker from Damiano Von Erckert - a Cologne native who's now based in France - is no exception. 'My Belief, Your Disaster' builds from a space-y, bass-y intro into a small-hours cocktail of twitchy drums and cascading keys, while 'Tears For You' is a pulsating, synthy cut that'd work on 'deep' and 'melodic' floors alike - as would 'Dramatic Romance', wherein a synth bassline throbs throughout, topped with constantly evolving leads. Adrenaline-rush podium stompers these are not, but if you need material for those 4am "journeys" then step right on in.
Review: In case you didn't get the memo, Wanderist is the new solo alias of Maarten Smeets, one half of popular Dutch deep house duo Detroit Swindle. This debut EP under the alias sets out his sonic agenda, offering a few reminders of what many enjoy about his better-known act's work - rich musicality, warm vibes, and positive melodies - while also exploring a different set of electronic music inspirations. The headline attraction is arguably '2r2t', a wonderfully tactile and melodious chunk of loved-up electro warmth that comes accompanied by a wavy ambient revision (lusciously saucer-eyed) and an acid-flecked Dawud remix that joins the dots between sci-fi techno and intergalactic deep house. Elsewhere, '9005' is a dark, muscular and hazy techno roller and 'Fog' is an analogue-rich take on spacey '80s electro.
Review: Sei A aka Andy Graham follows 2016's Space in your Mind long player with this expansive project. Once again, he has chosen Aus as the outlet for his work, with Will Saul's label providing him with the platform to deliver his distinctive take on dance music. Underpinned by dream-like textures, Kinetic Action unravels at an unhurried pace; there's the layered ambience of "Random Rules"; the muggy, seductive break-beat led "Halo" and "High", a dubbed out house groove. Graham's production throughout the album is flawless, which allows him to move effortlessly between languid pieces like "Foundation" and more urgent, break beat tracks like "Forget Now".
Review: Given that she has been releasing music since the dawn of the century, we were rather surprised to find that "Skylines-Citylights" is Cinthie Christl's debut album. It is of course something of a vibrant, action-packed treat, with the long-serving DJ, producer, label boss and record shop owner combining elements from a multitude of interconnected genres (think Chicago house, ambient house, UK garage, acid, electronic disco, piano house and rave-era old school flavours) to create a string of timeless, joyous cuts. Highlights are plentiful and include - but are no way limited to - the glassy-eyed bliss of "808 The Meme Queen", the sub0heavy sweatiness of "Concentrate", the warehouse-ready future anthems "Bassline" and "Calling", and the hard-to-pigeonhole brilliance of stunning opener "Skyline".
Review: New York's disco, noise and electro don The Juan Maclean is back and makes his debut on Aus Music. Pushing a perceivably harder edged or club focused sound for Will Saul's label, Juan Mac turns in three numbers that explore deeper techno, trance and Italo alongside progressive new age disco (and New York soul) that goes all the way in "Outriders Of Planet Shulgin". For the Italo, deeper techno head (with hints of indie sub-pop too) "Here In The Twilight" goes the distance alongside the electrified nu-disco of "Harmine". Wild card alert on this record also o with a remix coming from Whities upstart "Nathan Micay" with a tough, dubbed out and warehouse mix to an epic title track.
Review: Cinthie Christl's last outing for Aus Music, 2019's "Mesmerizing EP", was a surprisingly disco-fired affair, mixing sounds associated with the resurgent 1970s style with her usual house and techno trademarks. Christl's latest two-tracker for Will Saul's label looks to the sweat-soaked hedonism of the rave era for inspiration, with title track "Bassline" offering a rushing romp rich in glassy-eyed piano house stabs, ear-catching female vocal snippets and crunchy drum machine beats. Virtual flipside "803 The Meme Queen" is a deeper and more musically considered take on the same retro-futurist house vibe, where a bold acid bassline, echo-laden additional percussion hits and starry chords catch the ear.
Review: We've rather enjoyed watching the rise of Tom Mangan AKA Tee Mango over the last eight years. His tracks are now in-demand, meaning releases on such admired labels as Delusions of Grandeur, Local Talk and Aus Music. Here he returns to the latter with his first EOP for Will Saul's imprint in two years. Our pick of the bunch is flipside "Music Got Me High", where glassy-eyed piano stabs, sparkling synthesizer riffs and soulful vocal samples ride a classic house groove. That said, for sheer party-rocking thrills you can't beat opener "Time Ain't Nothing", a sample-heavy affair that adds squelchy synth bass and snare-heavy house drums to chunks of a groovy swamp-funk workout.
Review: While some of us have spent the COVID-19 lockdown period watching dreadful daytime TV in our underpants, Marquis Hawkes has been busy producing new music - hence this EP of hot-to-trot "Lockdown House" tracks. He begins via the deep space daydreaming of "Jupiter Jam", where intergalactic synthesizer motifs ride a squelchy, sub-heavy bassline and bumpin' house beats, before doffing a cap to up-tempo 1990s US deep house on the tactile and energetic "Clockin' Out". "Let's Go Way Back" ratchets up the glassy-eyed good-time vibes towards rush-inducing territory - all chiming melodies, old school vocal snippets and chunky beats - while "Walking" successfully channels the spirit of turn-of-the-90s New Jersey garage.
Review: With Dutch producer Tracy's gradual rise into the ranks of well received dance music, Tom Ruijg, aka Tracey, sees himself become part of Aus Music's current vanguard alongside Floorplan, Move D and of course Aus label owner himself Will Saul. Microdancer presents the artist's second offering for Aus Music and is the first since his debut album, Biostar, for Dial in 2019. This record here presents a bass heavy, atmospheric take on melodic breaks, club tracks and cosmic techno. "Lanthana" will appeal to the b-side junkies out there for something a little more syncopated and undulating, while the title track throws down a heavier, enforced rhythm punctuated by solid bass stabs and a frenetic arpeggio melody. Lighter wares can be found in "Ubik" with the tunneling "Gretzoid" getting trippy with vocals from Gretz.
Review: Quartet Series main man Nachtbraker has released music on plenty of high profile imprints over the years - Heist, Dirt Crew and Hudd Traxx most frequently - but he's never released on Aus Music before. His label debut is a typically confident affair, with the Dutch producer dishing up a mixture of proto-house influenced deep house funk ("QT & The Lizards"), chunky house grooves and stunning, synth-pop influenced electronics ("De Zon") and deliciously dreamy, sun-kissed breakbeat house ("Nar Hon Inte Ar Dar (Sunrise Mix)"). Arguably best of all though is opener "Fatoe Morgana", a throbbing, all action mix of razor-sharp acid riffs, rising synthesizer motifs, drowsy chords and restless but sturdy grooves.
Review: By his normally prolific standards, Marquis Hawkes has been surprisingly quiet in 2019. In fact, this three-tracker for regular home Aus Music is just his third outing of the year, following typically well-received releases on Honom and Unknown To The Unknown. Opener "Hashtag Life Goals" is a wonderfully dreamy and glassy-eyed affair, with female spoken word samples, drowsy chords and picturesque melodies rising above booming bass and beats so sweaty they might have a fever. Hawkes successfully breaks up the beats on "Don't Forget To Subscribe", where thrillingly positive synthesizer motifs and woozy chords envelop NYC Freestyle-influenced electro drums, while "CS Groove" is a locked-in deep house box jam full of crunchy machine percussion, headline-grabbing bass and enveloping chords.
Review: It seems to strange, in 2019, to think that Robert Hood was once best known for dark, pounding techno, such has been the success of his more house- and gospel-inspired Floorplan project in recent years. This third long-player finds the father-and-daughter duo in fine fettle, serving up 10 cuts that marry house and disco's sense of groove and musicality to the dancefloor energy that Hood learned during his Underground Resistance years, with wailing church organs helping to provide the album's standout moments on tracks like 'Dance Floor' and 'His Eye Is On The Sparrow'. An uptempo, genre-defying triumph.
Review: Returning to production with his first LP in 13 years, Will Saul's 'Open Too Close' is said to be a journey through the influences that have helped shape the Aus Music boss's career and drive his forward-facing, unblinking passion for new music. It is a concept which reflects on Saul's extensive experience as a selector, with all tracks being dancefloor ready and exactly the sort of material he'd be proud to play in his own DJ sets. Moreover, he stated it's something "that sounds good at home, as well as in the club". Split across two releases, the first volume features the deep and emotive slo-mo swagger of "Openings", the evocative classic house vibe of "Pingalatu" (calling to mind the anthems of The Windy City from the late '80s) and equally on the retro tip is the hypnotising Todd Terry influenced rhythmicity of "Moorings".
Review: Scene veteran Will Saul drops a new single on his own Aus Music label, which comes accompanied simply by a Marquis Hawkes remix. In its Original Mix form, 'Visions' places a good old-fashioned, full-lunged diva vocal atop a fractured rhythm that owes not a small debt of inspiration to 80s electro, both in the sound palette (check those analogue synth sounds) and in the stuttery feel to the drums. For more traditionally 'house-y' pleasures, though, head for Hawkes's refix, which opens with a Tenaglia-esque barrage of drums but settles down into a mid-paced groove with a very Chi-town bassline.
Move D & Benjamin Brunn - "Transit" - (3:06) 122 BPM
REAGENZ meets Thomas Fehlmann - "One Small Step..." - (7:01) 114 BPM
Move D & Fred P - "Building Bridges" - (10:40) 120 BPM
Move D - "Perpetual State" (feat The Poem "Alles Ist Eins" By Thorn Hoedh) - (5:00) 105 BPM
Move D - "Building Bridges" (continuous DJ mix) - (1:05:53) 122 BPM
Review: As his vast discography proves, David "Move D" Moufang is a big fan of musical collaborations. It's perhaps fitting, then, that his latest album is packed to the rafters with co-produced killers. Check, for example, the ultra-deep, woozy and off-kilter "Innit", a superbly dubby and opaque cut made with German rave pioneer D-Man, the intergalactic deep house warmth of Fred P collaboration "Building Bridges" and the semi-orchestrated ambient bliss of Benjamin Brunn hook-up "Transit". His acclaimed collaborative projects also feature: Reagenz (with Jonah Sharp) joins forces with Thomas Fehlmann on the elastic dub techno flex of "One Small Step" and Magic Mountain High (with Juju and Jordash) takes slow-burn, softly spoken deep house/dub techno fusion and runs with it. As you'd expect, the solo tracks are impeccable, too.
Review: Given their fine track record and high profile nature, it's perhaps surprising that "Rhythm Girl Swing EP" marks Detroit Swindle's first appearance on Aus Music. Label boss man Will Saul has once again proven his A&R credentials by picking three suitably strong cuts from the experienced Dutch duo. They begin in fine fashion with "Wado Baya", a rubbery chunk of hot-stepping Afro-house where bleeping electronic melodies and glassy-eyed chords rise above a snappy-but-bouncy groove. "Rhythm Girl Swing" sounds like a slipped and slightly skewed take on hypnotic mid-90s house - all trippy riffs and slowly rising filtered motifs - while "Vibrations" sees them join the dots between warm and woozy early '90s deep house and organ-rich New Jersey flavours.
Review: Cinthie Christl continues to go from strength to strength, with this impressive return to Aus Music following hot on the heels of a trio of versatile and club-ready EPs on her own Crystal Grooves imprint. Intriguingly, all three tracks on the "Mesmerizing" EP look to disco for inspiration, combining Salsoul style drum hits and sweeping orchcestration with bumpin' bass, vocal samples and drum machine kicks inspired by the Halcyon days of New York house. It's a winning formula all told; check, for example, the swirling samples and peak-time-at-the-Paradise-Garage flavas of "Dancing" and the undulating strings, heavy analogue bass and Todd Edwards style vocal cut-ups of the outstanding title track.
Review: Since signing with Aus back in 2013, Andy Graham AKA Sei A has become one of the label's most reliable artists. Impressively, the "Moving Shadows EP" marks his eight release on the imprint since then, with four of those coming in the last 12 months. This time round, he's in a notably deep and melancholic mood. Check, for example, the hushed and hypnotic drums, distant breakers' yard sounds, whispered vocals and spaced-out electronics of "Moving Shadows", or for that matter the late night intensity of "Wolf Moon", a sparse, minimal house affair that's as atmospheric as they come. Sandwiched in between you'll find the slightly bolder "Patter", a chiming deep house roller that subtly offers audio nods towards Maurice Fulton and mid '80s NYC proto-house.
Review: Breaker Breaker head honcho Haider has caught the attention of Will Saul with his eclectic talent. Following his breakout EP for his own label, the 10961 EP is his debut for AUS music. Full name Haider Masroor, the German artist compliments the British label as its newly acquired artist. Features dusty minimal house like on "You" reminiscent of past contributions to the label by the likes of Matt Karmil, Motor City deep house influences by the likes of The Three Chairs on the sublime "Yellow Cake" and timeless electro vibe on "Robocop".
Review: Andy Graham - aka Sei A - returns to Aus Music, where he's become quite the stalwart of the London based imprint in the last few years. His new EP entitled Mode Static is best described by Will Saul & Co. as featuring three deep techno cruisers' and does exactly what it says on the tin. From the the banging main room assault that is the title track and its true warehouse vibe, through to the deep and ubby entrancer "Inter Spaced" and the fittingly titled "Tunnels" that draws you down into the vortex with its hypnotic vibe - this one's a right killer on offer here.
Review: A stalwart of the burgeoning Berlin scene for several years, Cinthie is the DJ and producer behind top labels such as Beste Modus (with Steven ain't leavin) Unison Wax and We R House. She brings her infectious sound to Aus Music here on the Trust EP, where she once again looks to classic US house aesthetics but polishes them with an vibrant and modern edge. From the hypnotic bounce of the title track and its lovely marimba led melody, the funked/up polyrhythmic groove of "Lost At Sea" and its irrestibalt Afro influence or the striped back groove tool "Hip Swing" that is perfect tackle for the afterhours - Cinthie brings the goods once again.
Review: Will Saul comes with a four-track EP on his own Aus Music label, and the results are as classy as we've come to expect. 'Wobbly' gets the ball rolling with a big, beefy bassline and a single repeating chord before introducing first some fluttering keys, then a hint of acid as we near the track's end. 'Slide' is a floaty, drifty affair underpinned by rock-solid 4/4s and operates in the nebulous zone where deep and progressive house collide. 'Come Together' is an unhurried small-hours deep/tech roller with mournful strings and a man's voice saying "dance", while finally 'Start Again' takes us back in time with 909 percussion and electro synths.
Review: UK born, Berlin based producer Matt Karmil first appeared on our radar a few years ago, with his brilliant Fight EP on Mule Musiq sublabel Endless Flight. Testament to his diverse sound, he's since appeared on Bristol bass institution Idle Hands, Swedish oddball house heroes Studio Barnhus and Norway's Smalltown Supersound. It's the latter where he's explored his more disco leaning side - and that's on display here on the Sourced EP. From the slo-mo and sultry deepness of "I Love It", "KO" with its smoky late-night jazz bar vibe and the funky title track - where the drummer gets wicked beneath a bass driven and evocative groove.
Review: Following the inauguration of his new imprint The Brane last year, Ewan Smith returns with a new EP on Aus Music - his first for them in a couple of years since 2016's brilliant There Is No Right Time LP. The Berliner by way of Scotland serves up some flavours that are very much a product of his new environment, and will appeal to followers of minimal techno new wave - as heard on the retro flavoured mini-funk of the title track. We can't quite pronounce "Thewizzwasfordillysmissus" but can best describe its vibe similar to what labels like Traffic or Time Passages are pushing at present, while the aptly titled "Sicko" is deeply beeping and glitching groove that's for perfect afterhours dancing at Club Der Visionaere - a club he frequently DJ's at.
Review: Will Saul recently said that he's feeling more inspired, production wise, than he has done for years. He's certainly stepped up his release schedule this year, and this second EP of 2018 boasts some seriously good material. "By Your Side", in particular, offers a unique blend of breakbeat-influenced electro drums, picturesque electronics, swirling vocal samples and pleasingly dirty acid bass. Those vocal samples are naturally jettisoned on the arguably superior Dub Mix, which somehow seems even more loved-up and saucer-eyed. Elsewhere, "H.O.F" peppers a thrusting and dirty late night groove with stretched-out organ chords and more intensely picturesque electronic motifs, while "Directors Suite (Evil Acid Mix)" is a fiendishly sweaty and intense slab of electro/ragged acid house fusion.
Review: Aus Music welcome the return of London based Glaswegian and label staple Andy Graham aka Sei A, following up from last years Holding EP and some great ones on Life & Death, Turbo and OFF Recordings. These dubby and atmospheric cuts are some of his best works yet. From the deep and aquatic aesthetic of the title track and its textured/hypnotic qualities, the uplifting and melodic tech-house of "Shapes" or the gripping dancefloor drama of "Mangle" featuring evocative strings and powerful chords - this one's a killer!
Review: Following last year's loan move to Shall Not Fade, Fold (AKA DJ/producer Rob Glassett) returns to his regular home, Aus Music. It's his first release on Will Saul's label for almost two years. There's much to enjoy throughout, from the tribal-inspired drums, humid aesthetics and deep Afro-house vibes of "Knobbly Bobbly" and even deeper "Aegean Sea" - a track that simply exudes drowsy, sun-kissed warmth - to the blissful melodies and snappy drums of the undeniably delicious "Marimba Echoes". Shall Not Fade regular Mall Grab provides a fine remix of that track in which he re-imagines it as an acid-flecked chunk of two-step, Afro-deep goodness.
Review: Millionhands head honcho Tom Mangan is back as Tee Mango on Aus Music - this would be his third appearance on the label in less than a year - which speaks volumes really. EP#2 features the lo-slung sexiness of "Make It Last Forever" featuring that awesome Inner Life sample throughout. First, we have something a bit more energetic and harder hitting exists in the form of "Prototypical". A soulful and emotive house journey featuring gritty rhythms, a tough bouncy bassline and trippy stabs that's perfect to take crowd into the later hours. To finish, we have the funky deep-disco bounce of "Wazoo" that's perfect mood lighting for the early evening!
Review: Inside Out is a brand new series from Aus Music label head Will Saul. It invites DJs and producers to blur the boundaries between traditional artist albums and mix compilations. The concept encourages them to showcase their own music, or the music of those in their own individual circles. Depending on who is curating, it will take different forms. The idea stems from Saul's own approach in the club, which often finds him seeking out brand new and unheard music to play for the first time. There's a strong Detroit techno aesthetic throughout his inaugural release for the series: from the emotive hi-tech soul of his own collaboration with Komon entitled "Positive", Amsterdam legend Gerd had no problem channeling similarly timeless retro vibes either, as heard on the funky techno-soul of "Echoes". They save the best for last on the flip, with the legendary Floorplan's riveting rendition of Primitive Trust's "Little Love" - perfect to get that 3AM style strobe-lit tunnel vision in effect.
Review: Last year, Will Saul and Tee Mango (AKA veteran producer Tom Mangan) joined forces for a couple of notable EPs on the former's Aus Music imprint. Here they're at it again, pooling resources for another trip into analogue-rich deep house territory. "Little Love" is arguably their most attractive effort yet, a steaming hot-pot of vintage Chicago deep house grooves (think Mr Fingers' "Can You Feel It"), cascading strings, dream house pads and glistening electronic melodies. Naturally, techno titan Robert Hood emphasizes the track's retro-futurist analogue groove on a superb remix that jacks harder than Ron Hardy's ghost at a heavenly Music Box reunion. To complete a fine package, Mangan delivers a solid dancefloor dub of tactile deep house stomper "Tejon".
Review: Next up on Will Saul's tech house powerhouse is the return of NYC by way of New Haven maestro Drew Lustman aka FaltyDL with some energised modern hi-NRG vibes on "Wondering Mind". With its diva vocals, euphoric arpeggios and energised rhythms all working together for perfect dancefloor drama. Next up, the cleverly titled "Paradox Garage" goes for more reverse looking aesthetics on this evocative acid house tribute, awash in grainy lo-fi aesthetics, bumpy bass and jacked vocals on something reminiscent of classic 808 State. Finally on the flip, we have "I'm Missin You" which is also presented in a brazenly retro aesthetic with its grainy and saturated tape quality. Complete with Jamie Principle style vocals, disco guitar licks and all round neon-lit aesthetic which takes you back to the legendary Windy City days of Trax Records and WBMX Hot Mix radio late night sessions.
Review: With a string of releases on Local Talk and Numbers to his credit, Deadboy now makes his debut on Will Saul's label. Combining his raw drums and rhythms with dreamy, bliss-filled chords on the title track, Deadboy has created a new vision for deep house / techno. It makes for a wonderfully evocative sound. There's a similar mood prevalent on "Defrase", where a rickety rhythm and snappy percussion provide the backing for a spell binding, chiming synth line. "Driftmore", with its rolling, linear groove and squelchy bass, is the most conventional composition on this release, but Deadboy imbues it with a soulful undercurrent that ensures it, like the other tracks, stand head and shoulders above other deep house releases.
Review: The controversial Marquis Hawkes returns with more convincing classic house perspectives on Aus Music. We must say that you are in good hands with Mark Hawkins: a prolific producer whose career has spanned nearly 20 years - releasing for the likes of Pro-Jex and Djax Up Beats, back in the day. But unlike the hard techno exploits he presented on the latter, he's better known these days for more uplifting faire - as heard on "Wanna" that ticks all the boxes with its diva vocals, Strictly Rhythm style organs and all round early '90s styled NYC bounce. Then, we have the euphoric "Sure Thing Baby" that calls to mind classic Steve 'Silk' Hurley with those Kenny Bobien style vocals atop - which really are the cherry on the cake.