Review: Bristol-based Kieran "Komon" Lomax and Laurie "Appleblim" Osborne deliver an impressive follow-up to the recent Jupiter EP, their first collaborative release. Like its predecessor, Motion Blur features a range of angular, off-kilter tracks that fuse their techno and deep house sensibilities with a range of bass music influences. The title track sounds like classic US garage given the loose two-step treatment, while the more atmospheric but no less rubbery "Key Vision" douses smooth textures in acid-flecked electronics and bubbling, horror-influenced chords. The EP is completed by two solo tracks. Lomax's "Astir" is woozy, melancholic and built around decidedly live-sounding drums. Osborne takes a different but no less intoxicating path on "Echo's Retreat", which is a heady chunk of otherworldly techno in his distinctive style.
Review: Gate is Nathan 'Bwana' Micay's third release on Will Saul's Aus, and sees the Canadian-in-Berlin drop more complex, futuristic house music. Opening track "Homeboy", with its granular percussion and one-note filtered stab, is redolent of big room minimal, while at the other end of the spectrum, there's "50% Maximum Power". Here, the beats are heavy, the claps crisp and the synths full of the bright-eyed optimism of early 90s techno-trance. Add in some well-placed screeches and the track has a real old school feeling. Finally, just to show that he is effortlessly chameleon-like when it comes to productions, Bwana drops the big diva wailing-house of "Muscle Powers Final Hour".
Review: For this expansive double-pack of reworks of tracks from Cassy's debut album, Donna, Will Saul has assembled an impressive cast of remixers. First out of the blocks is Marcel Dettmann, whose hypnotic, late night interpretation of "Move" fixes dubbed-out organ riffs to a bustling techno rhythm. Ron Bacardi's version of "All I Do" sounds like a cross between Twilo-era tribal house, and bumpin' old skool U.S garage, while Radio Slave is at his druggy, early morning best in stretching out "Keep Trying" (first on the club-friendly "Feel Raw" mix, and later on the K-hole embracing, pitched-down "100 Reasons Remix"). If that wasn't enough to set the pulse racing, there's also a brilliantly melodious and emotion-rich remix of "Feel" from Yoruba Soul.
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: 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.
No Love Lost (feat Kid A - Seven Davis JR remix) - (7:23) 65 BPM
Lacuna Slide - (4:15) 129 BPM
WAL - (6:35) 129 BPM
Review: Surprisingly, this is the first time Aus Music boss Will Saul has released on the label under his Close moniker, following the eclectic wooziness of his Getting Closer full-length for !K7. It's a bit of an all-star affair, with Second Storey (AKA old pal Al Tourettes) and vocalist Kid A coming along for the ride. While the bonus cuts explore familiar bouncy, off-kilter, heavily electronic house and techno territory, the real killer is "No Love Lost" - a Nicolette style post trip-hop jam which places Kid A's vocal atop heavy post-punk bass, dark textures and jazz-flecked, near jungle tempo rhythms. Man of the moment Seven Davis Junior provides a superb remix, too, re-casting the original as a two-step influenced chunk of loopy deep house.
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: Having made his Aus debut last year, restless producer Tom Demac makes his return to Will Saul's ever-dependable stable of talent with Linda's Theme. The title track is a raucous combination of raw, off-kilter drums and resonant 303 bass in the Gerry Read mould, characterised by its bold sample which sounds like it was ripped from a lost psychedelic 7" from the 1960s. "Vocoder's Revenge" is a little more what we'd expect from the producer, combining deep, sleazy sub bass and the titular vocoder which sounds like a codeine addled Daft Punk, while "Days with Poly" starts out as a stern tech house bumper before travelling into more emotive territory thanks to its soulful female vocal and warm pads. For peak time house fare, you'll find little better this month, that's for sure.
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: 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: 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: 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: London producer Fold has built up a small but respectable discography of 12" releases, largely for local capital concerns Man Make Music and Electric Minds. He's also got something of a penchant for humorous titles, which is on full display for this debut Fold 12" on Will Saul's Aus Music label. Calling your record Netflix and Chill might put off the house purists with no time for internet memes, but you can't fault the standards of Fold's productions here. Lead cut "Calmer Mood" features some fine sampling over skipping drums and a hefty bassline, whilst the appropriately named "Wallop" could be mistaken for a Maurice Fulton track. On the B-side, the drum heavy jungle-house hybrid makes for a refreshing change of tone and is backed by a killer Kassem Mosse remix.
Review: Polish power duo Catz 'N Dogz of the esteemed Pets recordings imprint take on three dynamic tracks from Will Saul's equally credible Aus Music and deliver their take. They certainly had their work cut out for them, but they deliver as always. Take for instance their booming, rusty and downright dusty rendition of "Geeeman's "Wanna Go Bang", their emotive deep electro version of Irish duo Bicep's "The Game" and of course their edit of ManMakeMusic head honcho George Fitzgerald's "Hindsight" where they get into some old school Relief Records style hard house business. All in all some very good tracks by Szczecin's favourite sons!?
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: n the six years since he made his debut on Cecille Numbers, Huxley has racked up an impressive number of releases, showcasing his bass-heavy blends of deep house, garage and tech-house on the likes of Hypercolour and Tsuba. It's arguably Aus Music that he's most associated with these days, though, and here he returns to Will Saul's label with another pleasingly varied four-tracker. Opener "Still Love" builds steadily from a dreamy start, eventually turning into a stomping blend of bumpin' drums, heady vocal samples and deft melodies, while "Weapon" is a typically booming UK garage/techno hybrid. Flip for the early '90s revivalism of "Vok (Decent Mix)" - think bleep and rave hardcore influences - and "SinkHOLE", another bass-heavy roller.
Review: This is a significant moment in the development of Michael "Huxley" Dodson. Following six years building his reputation via a constant trickle of singles, the London-based producer has finally delivered a debut album. It's a little more expansive and varied than many of his singles, and variously touches on many of his regular inspirations - UK garage, deep house and bumping techno, in particular - as well as some he's not previously explored (see the pitched-down rave breaks of "Give 2 U" and the "Circles"-ish liquid D&B of "MXR"). The result is a polished, floor-friendly set that impressively straddles the line between club tracks and home listening fodder.
Review: Rag & Bone is the latest in a long series of releases - including an album - by Huxley aka Michael Dodman for Aus, and sees him explore a big room sound. It also represents a major coup for the UK producer, who has managed to get Roy Davis Jnr to provide vocals for "Do You Feel Me". These are delivered in the American's trademark sultry, velvety tones - including the breathy 'walk with me / talk with me' vignette - and set against a backing of dub-fuelled drums. On two versions of "Weapon 3", including a dub take, Huxley goes for the jugular; the drums are pounding, the bass booming and the rhythm relentless, with just a vocal repeating 'love you baby' the only human element.
Review: As his Blurred LP still leaves its crossover mark on switched-on ears all over the shop, Huxley dives back in to stand-out cut "I Want You" and gets a host of sympathetic Aus Music-related heads to take to the parts with their own distinctive creative visions. Deetron creates a delirious cocktail of wild synth tones and big room pressure on his version, while Shenoda ups the techno content with some tense percussion and poignant stabs. Komon cools proceedings down with a sensual, disco-infected shower of arpeggios before Hxley drops his own extended mix of the original.
Review: Huxley's recent LP Blurred saw the rising UK producer offer a more comprehensive display of his production range, dipping more thoroughly into his influences for an eight-track set that covered UK garage, deep house, bumping techno and pitched down rave. This latter avenue was best explored on "Give 2 U" the collaboration with vocalist Femme, whose stirring tones were a perfect match for Huxley's winding production. It's got single material written all over it, so kudos to Will Saul for this EP, which features a darker house Club Rerub from Huxley himself as well as a brukkish remix from the Saul man and Bristolian Komon. Huxley fans will also appreciate the presence of a new production from the man that closes out matters.
Review: Huxley's come a long way since his formative releases on labels like Cecille Numbers, Tsuba and Kolour Recordings. In recent times he's delivered the goods to Rinse, Hypercolour and Defected with last year's impressive Chatsworth Sound collaboration with Shenoda. His second EP for Will Saul's Aus Music is a varied affair with something to please everyone with a taste for UK flavoured house. It's a certainty the bassline of "Callin" will make this track a summer smash - festival dancers watch out - while the grittier low end frequencies of "Machina" are more suited to a underground club vibe. Huxley goes deeper into the minimal end of tribalish house music on "Tendered Mess" while "Oil Spill" is a signature of Huxley's trademark bassline style.