Review: Shiny-assed contemporary house flavours from Toyboy & Robin's ever-reliable Cool Kid imprint. "Lost In Here" is a twinkling strutter that nods mildly at progressive pastures while retaining a certain timeless house feel. Dig deeper for "Turn It Up", an evangelistic roof-raiser that guarantees some absurd late night air piano action and "Comin' Back", a funkier, bass-friendly jam session that showcases great use of a vocal sample and builds up with a tasty full-bodied synth hook. Trust us... You'll be coming back for more.
Review: London bassheads Toyboy & Robin rose to prominence last year with "Jaded", a bumpin' fusion of contemporary tech-house electronics, a dash of UK funky and lashings of vintage UK and US garage influences. They're at it again on this much-anticipated follow-up for Cool Kid Music. "Feel It (Dub)" ticks all the right boxes, with throbbing sub and pleasingly energetic beats underpinning a grandiose fusion of classic vocal samples, jaunty stabs and old skool garage melodies. As for "Don't Just Say", it sounds like an anthem in the making - think bold rave pianos, hustling beats, cut-up female vocals and sweeping chords.
Review: Since launching this time two years ago, London's Cool Kid Music has built up a reputation as a label to watch, thanks in no small part to its talent for spotting and developing new artists. Devon/London trio Panda fit into that bracket. This first EP for the label shows them to be particularly adept at blending vintage dance music influences with contemporary dancefloor sounds. "Eighty Nine" and "In Your Eyes" offer refreshing blasts of retro-futurist house action (think wonky, pitched up/pitched down vocal samples, booming bass and old skool rave pianos). "You Had" sounds like a humid, sub-tropical take on the mid-90s Todd Edwards sound, while "The Storm" fuses wide-eyed soundscapes with revivalist broken beat rhythms.
Review: Skanky - the pseudonym of choice for young Londoner Louis Johnson - could be onto a good thing with debut single "One More Night", certainly if the plethora of positive comments on Cool Kid Music's Soundcloud page are anything to go by. Blessed with a decidedly old skool feel - think a big sampled vocal hook, early '90s pianos, big strings and skippy, garage-influenced beats - "One More Night" has all the makings of a big dancefloor hit. It doesn't do anything particularly new, but Shanky's commitment to getting that early '90s sound just right is impressive. Expect to hear it a lot in coming months.
Review: Here, little known - but arguably fast-rising - British producer Mculo invites us to throw our Digestives in the air like we just don't care. "Shake Yo Biscuit", as crumbly as the title suggests, layers decidedly wonky ingredients onto a fearsome base of jumpy, relentlessly building military percussion and speaker-rattling low-end wobble. It's a little eccentric, if truth be told, but more powerful than a right hook from David Haye. Doffa remixes, layering watery chords and ice-cold melodies atop the original bassline and even more out-there percussion. It's hard to accurately describe, but it's certainly pleasing. Garibaldi techno anyone?
Review: Toyboy and Robin's rather large recent bass-house smash "Jaded" gets the remix treatment here, with hyped up producers Amtrac and Village shuffling the parts and adding their own twist. Village's version builds impressively, layering up elements - tipsy chords, the original's woozy vocal, tasty pads - over a shuffling groove that's deceptively heavy. Amtrac makes more of the vocal, beginning with a dash of cut-up acapella action before giving it pride of place over a touchy-feely, stripped back deep house-meets-garage groove. If anything, it's even more instantly addictive than the original version, and that takes some doing.
Review: This chap originally hails from Portugal but has lived in Iceland for ages. It kinds of sums up his sound too, as his productions are hot blooded but executed with an icy cool. There's nothing to fault here on these two tracks - "Calia" packs some serious bass and partners it with crisp, clicky beats, while "Romario's Theme" is a slick slice of anthemic tropical bass. Classy!
Review: Cool Kid Music return with another silky collection of bass tracks, this time from rising talent Danglo. "Introverse" slows things right down, with a beat that is somewhere between R&B and downtempo deep house, nevertheless filling the gaps with crafty UKF snares, billowing synths and expertly treated vocals. "Liar Liar" offers a similarly relaxed cut, combining elastic Jacques Greene style synths with complex percussion. Finally, Werkha steps up to remix "Introverse", upping the tempo and making it more dancefloor ready with its deep dubstep style subs and intricate 4/4 rhythm.
Review: Werkha is a rising talent championed by like-minded fledgling label Cool Kid Music. In keeping with the label's aesthetic, Werkha has delivered a three track EP that fuses neo soul, sparse garage beats and lots and lots of synths. "Cube & Puzzle" starts all hazy before launching into Bowski-style stripped back garage. "Le Roitelet" is a bizarre mix of fuzzy digital soul and jazzy French female vocals. "Bottle Trick" keeps the jazz, this time guitar, and marries it to slo-mo beats and layered vocal loops.
Review: The fledgling Cool Kid Music return with the debut release from the promising David Marston. "What We've Got" is the perfect track for the dying days of summer, filled with minimal garage beats, smooth melodies and vocals that have been shattered into a thousand glassy pieces. "Top Off" is the real killer though, a smooth piece of rubbery future soul with an R&B sensibility that recalls the devastating jams of Jacques Greene rolled into an unexpectedly threadbare sensibility.
Review: Sassier than a slap from a glam queen crunked up on sarsaparilla, "Hands" is both cuttingly sharp and stupendously silky. Futuristic garage with echoes of neo soul and soft whispers of classic Chicago house, each of the three numbers on offer reverberate with grooves strong enough to seep into tomorrow. "Hands" shimmies with spine-tingling R&B chords before dropping into a clanging late night bassline frenzy, "I'm Gonna Lose My Baby" is both tribal and twinkling with its robust 4/4 and laser-loving toplines while "And So We Find Ourselves" could sit happily both on daytime radio and on the deeper floors. A rare breed.
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