Dirt Crew Recordings was founded in 2004, Berlin, by Felix B Eder and Peter Gijselaers, otherwise known as the DJ and producer duo Dirt Crew. Known for its deep, funky and minimal house grooves, the label has put out over 150 releases by artists including: Dam Swindle, Harry Woolfman, Tiger Skin, Brame & Hamo, James Flavour, Nachtbraker, The Revenge, Dirt Crew and more. Sub-labels include Players Paradise and Spiel.
Review: Earlier in the year, Idan Hana impressed via a debut EP for Outsiders that delivered a perfect balance between hazy dancefloor hypnotism and jazzy deep house. The producer's follow-up, a first outing on Dirt Cew Recordings, is similarly on-point. Hana first joins forces with Black Loops on the jazzy, trippy and crunchy headiness of 'Stam', before wrapping analogue bass, elongated chords and jazzy keys around a more intricate deep house beat on 'Peanut Crunch'. Elsewhere, 'Scale 4' is a sparse and alien chunk of deep electro, 'HWLM' is a maximal ambient excursion built around positive-sounding synth motifs and 'Lo Fi Hi' is a piano-sporting outsider house treat.
Review: If you like your deep house on the slightly more leftfield/experimental side then check for this four-track from Marcus Holder, a Berlin-based Australian house producer, saxophonist and former heavy metal guitarist. 'After' tops quite a funky, chugging bassline (hints of 'Ma Foom Bey' here) with otherworldly synths, 'WEH' takes us on a late-night ride into outer space, 'The Fluff' sounds a bit like what you might end up with if Kerri Chandler tried his hand at making a progressive house track, while finally 'Knee Deep' drops the tempo and could fit into more leftfield-leaning disco as well as house sets.
Review: Given the multi-coloured dreaminess of the synthesizer chords on EP opener 'When This is Over' - a quick blast of immersive Balearic goodness - it's not that surprising to find that Love Will Say No is a new project from one half of Italian disco duo Fare Soldi. You'll find more blends of colourful dream house sonics and weighty dub disco elsewhere across the EP - see the driving but deep 'Days Of Nothing' and the more percussive and energetic 'We Are Choices'- alongside a spot pf luscious ambient acid ('Post Modern Ballad About You and Me'), some synth-laden Afro-tech (the really rather good 'Now Say Goodbye To Your Friends') and a Mauscovic Dance Band style psychedelic punk-funk workout ('She Likes Blood').
Review: As Clive From Accounts, Richard Day has previously delivered a handful of EPs for the likes of Outplay and No Brainer Records, all of which are vastly more fun than Excel spreadsheets, expenses forms and tax returns (though, to be fair, that's not a high barrier). He's at it again here via a Dirt Crew Recordings debut that adds spacey synth synths and electrofunk flourishes to a delicious deep house base. Our pick of a very strong bunch is opener 'Toucan', a gorgeous mix of intergalactic deep house tropes, undulating analogue bass and restless disco cowbells, though the more colourful 'Gravitate' and electro-influenced 'Altar' are also excellent. Dan Only remixes 'Toucan', re-framing it as a UKG-influenced, techno-tempo bumper full of deep sub bass, bouncy beats, warped electronics and deep space chords.
Review: Harry Wolfman seems to save some of his best material for Dirt Crew Recordings, a label he first joined four years ago. There's certainly plenty to savour on his fourth EP for the long-serving German imprint, with the sometime House of Disco Records and Toy Tonics man sashaying between sparkling, sample-heavy deep house headiness (the sun-kissed treat that is 'Walk With Me', piano-and-strings-laden ambient bliss ('Phlosto Paradise' and Mona Vale collaboration 'Courage'), bass-heavy breakbeat house dreaminess ('Sly Contrast'), jazzy and loose-limbed downtempo beats (the Indonesian folk music-goes trip-hop flex of 'Workit Shep') and the pretty much impossible-to-pigeonhole immersive warmth of 'A21z'). An excellent EP all told.
Review: As its' rather matter-or-fact title makes clear, this 15-track opus gathers together some of the finest remixes released on Dirt Crew Recordings to date. It's well worth a listen, featuring as it does an attractive mix of loopy, bass-heavy hedonism (Nachtbraker reworking The Revenge), sumptuous NYC deep house warmth (the legendary Kerri Chandler adding a chunky new spin to Dam Swindle's Mayer Hawthorne hook-up), analogue-rich hypnotism (Mark E re-imagining Chymera), rushing brilliance (Strip Steve flipping Lorenz Rhode), jazz-house-goes-hip-house (Fouk re-framing A Bunch of Guys) and much more besides. We're particularly fond of the remixes by Morning Factory, Art of Tones and Jesse Futerman, though the quality and variety is so good throughout that picking out highlights is genuinely difficult.
Review: We were astonished to discover that the Sandpaper EP is in fact Lorenz Rhode's first solo single in two years. So was it worth the wait? We'd say yes. The title track in particular is superb, with blue-eyed soul man Jamie Lidell providing a typically brilliant lead vocal over a rubbery, hybrid electrofunk/house number full of jazzy electric piano riffs and pliable synth-bass. The track's boogie/synth-disco leanings are explored further on the accompanying Sound Support remix, which makes great use of a throbbing, arpeggio-style bassline and some shimmering chords. Elsewhere across the EP you'll find radio edit and instrumental takes, as well as the cheery, smile-inducing old-school house flavours of 'On The Nightshift'.
Review: With this rock-solid EP, Dan Only (real name Danny Voicu) notches up his third annual EP on regular home Dirt Crew Recordings. The hardware-obsessed Toronto Native is naturally in fine form throughout, offering Decidious Dubs that make judicious use of a range of beat patterns, bass textures and colourful melodic refrains. Check first sparkling, dubstep-influenced broken beat number 'Gateway Shuffle', where pin-sharp synth lines dance above crunchy beats and rumbling sub-bass, before admiring the deep space electronics, dubby bass, spacey chords and building deep house drums of 'Terraforming'. Denser but bouncier house grooves are the order of the day on hazy late-night treat 'It's Inside You', while closing cut 'Macrodose' is a deep D&B cut of the sort that Good Lookin' Records once delivered on a regular basis.
Review: Somewhat confusingly, A Bunch of Guys isn't a group of men, but rather a new solo project from Utrecht producer Rob Scholtens, previously best known for being one half of DJ duo Pablo Discobar Soundsystem. He's clearly a talent, because this Dirt Crew debut is packed with high-grade treats. Our pick of the bunch is the jaunty, piano-laden jazz-house bounce of "Let The Rhythm Hit 'Em", a sweaty, percussive, piano-laden treat that comes accompanied by a sleazier, groove-focused rework from Fouk. Also impressive are "Filthy Rhodes", a pumping old school piano house number smothered in electric piano solos, and the drowsier deep house-goes-deep electro haziness of "Launch VII". In a word: excellent!
Review: Boat-based London producer Dampe has so far impressed with his output on Dirt Crew Recordings, which is crafted using a combination of dusty old hardware, live instrumentation and obscure, hand-picked samples. He's in good form on EP number three, too, kicking off a three-track excursion via the squelchy acid bass, bustling percussion, starry-eyed synth chords and fizzing electronic riffs of "Chak Wakk". The fast-rising producer flips the script entirely on "SE1 Bossa Nova", a deliciously lazy, hazy and relaxed affair in which languid jazz guitar solos ride a lo-fi drum machine bossa-nova groove, before adding steel pan style melodies to a deep two-step garage beat on inventive (and suitably sub-heavy) closing cut "Shadwell".
Review: We absolutely adored Ouer's previous release on Dirt Crew, spring 2019's "Stingray Nebula EP", so our hopes are naturally sky-high for this belated sequel. As befits their love of warm-sounding analogue hardware and improvised production techniques, lead cut "Homecoming" offers a hugely attractive mixture of loose-but-crunchy breakbeats, chunky bass, layered synthesizer chords and melodies so tuneful you'll probably end up humming them in the shower. If anything, the deep and rolling cut that follows, "The Long Goodbye", is arguably even better, in part because it builds attractively towards a suitably glassy-eyed conclusion. To round things off, they go in a deeper and jazzier direction via the ultra-deep haziness of "Morning Routine", which sounds like it was largely recorded in one take.
Review: Simbad Stanislas AKA SMBD has released music on some terrific labels over the years - think Freerange, BBE, GAMM, Apron and City Fly, for starters - but this EP marks the first time he's appeared on legendary German imprint Dirt Crew. As you'd expect the quality threshold remains impressively high throughout. The London-based Frenchman first delivers tome string-laden, tech-tinged deep house bounce ("Piano Lick"), before successfully upping the tempo on the colourful and spaced-out "-8-". Groovy, organ-heavy deep house swing is the order of the day on "Glory", while title track "Purple Winds" is a sumptuous slice of atmospheric broken beat goodness. There's also a wonderfully symphonic bonus ambient cut tagged on the end of the EP, "Nan Madol".
Review: An artist long associated with the Dirt Crew label outta Germany, Harry Wolfman turns in the deep, dubby, sometimes ambient and discofied Always 3 EP. Across five tracks it dips into the blurry sunshine and water music of "Step by Step" to an uplifting and piano-active lead track "Speaking Raman". Softly distorted and floating jungle makes an appearance in "A Way You Come Home To Me (feat Christian Crow)" alongside some dirty yet polished electro in "Green Trees". A sweetly ambient title-track pulls at the strings of nostalgia in a EP that takes as much inspiration from Modern Love as it does Smallville or of course, Dirt Crew.
Review: Perhaps the most impressive thing about Dampe's second outing on Dirt Crew is its subtle eclecticism. Compare and contrast, for example, the soft focus, ultra-deep electronica of superb opener "A Basement, Ten Years Ago", with the track that follows it, the dubbed-out, spaced-out deep house bliss of "727 And Arp Breaks (Original Mix)". It's a pattern that continues throughout the EP, with the Rhodes-laden ambient jazz of "Live Birds" making way for the synth-laden, two-step tech-jazz of "Garden" and the tropical dub shuffle of "France". The EP also boasts a fine remix of "727 And Arp Breaks" by Liverpool techno type ASOK, whose brilliantly re-imagines it as a hot-stepping slab of deep space dancehall.
Review: Now that we've all had a chance to enjoy S3A's typically dusty and evocative debut album, "Pages", Dirt Crew has decided to offer up a swathe of fresh interpretations of tracks from the set. The standout mixes come from Art of Tones, who offers up 'Remix', 'Beats' and 'Dub' interpretations of "Friends" that brilliantly re-casts it as a synth-sporting chunk of loose-limbed jazz-funk/disco-boogie fusion. Nachtbraker gets his mitts on the same track and opts instead for a bouncy deep house revision rich in booming sub-bass, fluid synth motifs and garage-influenced drums, whole Lorenz Rhode turns "Clarence J Boddicker" into a string laden, synth-heavy house roller. There are also two contrasting takes on "Fever": a gentle, head-in-the-clouds downtempo version by Dampel French and a deep, druggy and driving peak-time deep house team from Felix Leifur.
Review: The Revenge brings his "Roar Groove" sound to Dirt Crew for the fourth time, in the process offering up a quartet of tried-and-tested deep house cuts. As usual, the synthesizer sounds are spacey, the basslines thickset and groovy, and the beats crunchy and on-point. We're particularly enjoying "Prizefighter", where Syclops style electronic motifs and woozy synthesizer lines peek out above a crunchy rhythm track, and the delay-laden intergalactic positivity of fluttering early morning deep house gem "We Have So Much We Can Gain". That said, opener "Like An Ending" is pleasingly deep, dubby and hypnotic, while "Work Out Right" is a glassy-eyed delight that makes merry with ear-pleasing samples from what sounds like a deep synth-pop gem from the 1980s (but don't quote us on that).
Review: Toronto resident Dan Only is renowned for the quality of his warm and groovy deep house productions, with the support of German titans Dirt Crew proving his "rising star" status. His latest EP for the long-serving imprint offers a five-track showcase for his trademark sound, where ultra-dreamy chords and dusty samples - think bluesy pianos, jazzy instrumentation and so on - envelop tough but tactile deep house grooves. There's plenty to excite across the five tracks, with highlights including the jaunty synth-bass and lilting Balearic lead lines of "Emulsion", the musically rich deep dancefloor hustle of "Someday (featuring AHKI)" and the sunrise-ready breakbeat/deep house fusion of "Breathe" and "What I Want".
Review: Fans of sample digging deep house maestro S3A take note: the producer has finally dropped his long-promised debut album on Dirt Crew. While there are a couple of subtle musical references to his hip-hop style beat-making past - see the blunted, off-kilter beat science of "Joint No. 5" and the drowsy mid-tempo dustiness of "Interlude For Marc" - the majority of the album has its sights firmly set on peaktime dancefloors. Amongst the plentiful highlights you'll find the swinging, leftfield jazz-funk/jazz-house fusion of "Greed", the fuzz-bass propelled stomp of "Fever", the funk-sampling heavy house genius of "Clarence J Boddicker" and the heady disco-house warmth of "Friends".
Review: Debutant Dampe resides in South East London, making tracks that fuse distinctively UK influences - think broken beat, the resurgent British jazz scene, Britfunk and off-kilter bass music - with nods to African music and the comforting sounds and dreamy chords of high quality deep house. You'll find all this and more on this expansive first outing, whose many highlights include the gentle tropical deepness of the Floating Points style brilliance "Zongo Junction, At Night", the beat-less, slowly unfurling bliss of "Move Me" and the drowsy broken house brilliance of "Peach Shuffle". That track is also remixed by Nebraska, who beefs up the beats and adds some jaunty new synths while retaining Dampe's deep and intoxicating vibe.
Review: Some two years on from their last recorded output, improvised house and techno specialists Ouer (AKA Oliver Gehrmann and Xavier Hirsch) pitch up on Dirt Crew Recordings with a typically melodious and colourful collection of cuts. While they have included something tough, driving and distorted - see the percussive and mind-altering strut of "Inside" - for the most part the EP ripples withy sun-kissed instrumentation, heartwarming chord sequences, blissful electronics and loose, languid deep house beats. This blend is arguably best executed on the loved-up, guitar-flecked rush of "Undine", though many will naturally be drawn to the blissful, arpeggio style synthesizter melodies and glassy-eyed intent of sumptuous title track "Stingray Nebula".
Review: It would be fair to say that Lorenz Rhode's greatest asset is his reliability. He doesn't release all the much music, but what he does put out is always on the money. That's certainly the case here. Title track "Belair" is a chunky, dust-encrusted deep house thumper tailor-made for peak-time plays, while "Jubilee" sees him get even jauntier via wild Clavinet solos, punchy P-funk bass and crunchy disco-house drums. Elsewhere, Strip Steve re-imagines "On Top" as a quirkily swung, stab-happy chunk of MPC house madness, before Tensnake steals the show with a brilliant revision of "And I Said" that sits somewhere between turn-of-the-90s New York house and jammed-out jazz-funk madness.
Review: While he's also released on Bobby Donny and LaGaffe Tales, Felix Leifur's best material has often been reserved for Dirt Crew, a label he debuted on back in 2016. His latest missive for the German imprint is, as expected, pretty darn strong. Highlights include the alien chords, organic-sounding beats and woozy atmosphere of ultra-deep chugger "Hamburg 3011", the jazzy, early morning dancefloor sleepiness of loose-limbed broken beat number "Modern Soul Classics" and the horizontal drowsiness of blissful closing cut "Merlot 1988". Arguably best of all, though, is the chunky dancefloor pressure of jazzy deep house opener "Between Us", which reminded us a little of fellow German producer Soulphiction.
Review: On their Deep Love 2018 compilation, you'll find label stalwarts to newcomers alike for respected Berlin imprint Dirt Crew. Their seventh compilation in the series, the label claims that it is the most complete in terms of sound and flow - and will blend in perfectly with that laid back, late summer mood. From moments of dusty and chilled-out deepness courtesy of Lorenz Rhode or Felix Leifur, lo-slung acid jams like Ponty Mython's "It's All Understood" or funked-up disco house like Frenchman S3A's "Modern Soul". Elsewhere, we have got the kind of slinky and sensual tech-house you've come to expect from the label - best exemplified by Canadian Dan Only or Jaxx Madicine's particularly sublime "Blue Bird". Essentially, it's more of the fine quality you've come to expect from this house music institution.
Review: Roar Groove main man The Revenge returns to Dirt Crew with a third serving of tried-and-tested dancefloor treats. First on the menu is "Times Get Tough", a bouncy, breezy and deliciously positive loop jam (complete with chopped-up vocal samples from an '80s soul classic) that recalls the Scottish producer's fine early work for Instruments of Rapture. There's a choice of main courses - the locked-in peak-time deep house hypnotism of "Subconscious" and the skipping, sub-heavy Red Zone shuffle of "Searchlight", while brilliant retro-futurist closer "Come Down" is as good an early morning palette-cleanser as a sizeable serving of home-made Lemon sorbet.
Review: Alex Kruger has been releasing electronic music for the past 20 years, and his experience and skills shine through on his latest album. Caves & Cages, his first long player since 2012, moves from the smoky beats of "Ghost Button" into the lush deep house of "King's Cave" and the dubbed out minimalism of "In Air". Kr?ger then moves up the tempo with the deep but angular techno of "Helix" and "Nervana", but it turns out to be only a temporary shift. "Future History" typifies the rich deep house sound that the Dub Taylor project has become synonymous with, and which makes Caves & Cages such a rewarding listen.
Review: More quality deep house from Toronto's Dan Only on Berlin institution Dirt Crew (his second in only six months) and follows up additional releases on top labels like New Kanada and indie label DETH Records. The Wurly Chronicles features four cuts of the more deep and lush variety, from the sensual late night groove "It's Clear" to the bittersweet and emotive deepness of "Be Major...Believe". We particularly enjoyed the dusty and sunkissed MPC-styled jam "Truffles" which calls to mind the work of Berlin based producers such as Glenn Astro and Max Graef of the Money $ex crew. If any of this is an indication: Dan Only is certainly one to watch in 2018!
Review: "Sekou Babe is this other face you have to keep to yourself," writes the Dirt Crew promo team about the label's latest signing. "It's the side of the known producer that gets lost in the moment." Whatever the real identity of "newcomer" Sekou Babe, this debut EP is really rather good. Check, for example, the bustling breakbeats and tasty soul samples of party-starting opener "Perspectives of the Youth", the electric piano-laden, up-tempo deep house bounce of "Sekoun" and the saucer-eyed, sunrise-friendly Balearic jazz bliss of killer closer "Crown Collection". Elsewhere, there are two versions of "Treize Zero Zero Trois"; Sekou Babe's warm and melodious, synth-laden original and a chunkier, peak-time focused revision from Heist Recordings regular Nachtbraker.
Review: It's been a long time between drinks for Lorenz Rhode. Remarkably, this is the former Exploited regular's first EP in nearly five years. As usual, the emphasis is on classy, party-starting fare, from the jammed-out electric piano keys, synth bass and sampled '80s soul vocals of "And I Said" to the big builds, jaunty synth riffs and crispy drums of "Xpandau". Heavier workouts come in the shape of "Risa", where druggy electronic motifs ride a sleazy, Chicago jack-influenced backing track, and K.98's "Rubbadub" mix of "And I Said", a warehouse-friendly romp fired by bombastic kick-drums, DJ Sneak style stabs and Todd Edwards-esque vocal cut-ups.
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: For his second outing on Dirt Crew, Roar Groove boss The Revenge is in full-on peak-time mode. There's no hypnotic slow house chuggers or mid-tempo loop bumpers, just a quartet of tried-and-tested slammers. The veteran Scottish producer gets straight down to it with the loopy disco-house celebration of "Every Night", where judicious chops are used to incite a rapturous response on dancefloors, before cooling things down a little via the retro-futurist, late '90s New York house bump of "Grit". "Never Learn" is a percussive and stripped back outing that pits vintage, Tenaglia style drums and bass against wonky, alien electronics, while "Krokodile" sounds like a Chicago jack-track after a round of shooters with the Emperor Machine.
Review: Since making his mark via some fine releases on House of Disco, Harry Wolfman has delivered top-notch material on Lost My Dog, Secret Reels and Dirt Crew. Here he returns to the latter label with another five reasons to be cheerful. EP buyers can choose between the dreamy, dusty, fluid and percussion rich deep house bliss of "Fermi", the rich and spacey dancefloor shuffle of "Ice Thin", the fiendishly fuzzy, jazz house-goes-disco bump of "Downstream" and the yearning, sun-kissed Balearic bliss of 112 BPM closer "Outro Version". Rising star Jesse Futurman provides a brilliant remix of "Ice Thin" that sits somewhere between vintage Floating Points, Larry Heard and St Germain.
Review: Scott Moncrief's debut album as Thatmanmonkz, last year's excellent Columbising, was arguably one of the most overlooked sets of recent times. It was packed with highlights, and saw Moncrieff showcasing not only sublime deep house, but also all manner of tasty, floor-ready concoctions influenced by his hip-hop roots. He's predictably in fine form on this outing for Dirt Crew, too. Opener "Manna For Poppa" is a deliciously sleazy and slow-burning affair, with hard-wired sax lines riding a bustling, bass-heavy groove and impressively layered percussion. The horns return on the fluid, emotion-rich deep house melancholy of "Intrinsic Divine", while "Space Jam 2017" is a light-touch jazz-house affair blessed with eyes-closed guitar solos and impressively loose drum work. Fittingly, he rounds things off with the bluesy, smoky shuffle of 104 BPM groover "Evolver".
Review: Icelandic producer Felix Leifur made a big impression with his first EP for Dirt Crew, last year's The Sunday Club. This action-packed follow-up is, if anything, even more impressive. Over the course of six dusty, head-in-the-clouds cuts, you'll find skewed, effects-laden drums (think Theo Parrish crossed with Chaos In The CBD), alien chords, punchy jazz samples, J Dilla influences, sweaty percussive build-ups, fluid jazz-funk instrumentation, twisted R&B vocal cut-ups, and a serious amount of tape hiss. The result is a collection of tracks that shimmies between loose and groovy deep house, instrumental hip-hop goodness, and club-ready jazz-house heaviness. In other words, it's pretty darn tasty.
Review: Having put out their last release on Chez Damier's Balance imprint (the rather fine Tried & Tested EP), 25 Places return to their previous home, Dirt Crew Recordings. As you'd expect, the Party In The Hills EP contains another clutch of floor-friendly deep house explorations. The title track, which successfully blends chopped-up Brazilian vocal samples, sustained note chords, dirty analogue bass and a hustling deep house groove, is undeniably the EP's strongest moment, though the bold and fizzing "Closing Title Song" and chiming, riff-heavy "Backyard Stories" aren't far behind. Those who fancy something a little more ragged should check Laurence Guy's disco-house-meets-acid rework of "Closing Title Song".
Review: Just like a well-placed lamp, coffee table or framed painting of dogs playing pool, Nachtbraker's latest EP for Dirt Crew Recordings Really Ties The Room Together. Interior design advice aside, the title track is one of his strongest for some time; a thrusting, energy-packed bumper packed full of intricate percussion hits, cyclical chords, fuzzy vocal samples, occasional horn stabs and subtle Latin influences. The fun continues with the warm, low-slung bass, drowsy chords and metronomic drum hits of "Rew". Arguably best of all, though, is the accompanying "Rerub" of that track, which transforms it into a swinging, acid-laden jacker.
Review: Congratulations to Germany's Dirt Crew Recordings, which marks a century of releases with a celebratory volume of the popular Deep Love compilation series. As befits the momentous occasion, the 11 tracks on offer are all exclusive and previously unreleased. Predictably, there's plenty to enjoy, from the dusty, crackly deep house warmth of Felix Leifur's "Feels Like", and classic U.S garage swing of Ponty Mython's "New York, New York", to the sweet, jazz-flecked haziness of Harry Wolfman's "Rainbow Set", and Huerta's dreamy, glassy-eyed Balearic deep house cut, "Blvrd". Throw in fine contributions from big hitters Detroit Swindle, Nachtbraker and The Revenge, and you have an undeniably essential collection.
Review: Dirt3000's unstoppable force known as Dirt Crew is back with Berlin local tech house hero Tigerskin, who enlists a bit of help from Grambow on the smooth and melodic deep house of "Looking For Mushrooms (featuring Das Eb)". On "Tsukiji" they go for more of an uplifting house tune complete with swing fuelled rhythm, happy pianos and bumpy bassline that'd make even Kollektiv Turmstrasse stand up and notice! "Octocat" goes for something techier, darker and low-slung; better for the afterhours and finally "Red Fox" goes for more of the hazy and esoteric vibe that'll help you drift like a Crosstown Rebels or All Day I Dream track.
Review: Reykjavik's Felix Leifur has appeared previously for local homeboys Lagaffe Tales but really hits the big time now with his second release on Berlin's Dirt Crew with The Sunday Club EP; five delicious servings of dusty deep house goodness! The title track and "Berg Toppur" are the kind of lo-fi, hip-hop influenced house grooves that would make even Glenn Astro stand up and notice. Equally suited to a stoned Sunday afternoon stroll through Mauerpark is "Giving" however the sampled up soul/disco vibes makes for something more funky and sultry. There's a pretty sweet remix of "Berg Toppur" too by Hidden Spheres which goes for a more straight up and polished production with added dancefloor dynamic.
Review: Dirt Crew Recordings have long been fans of The Revenge's Roar Groove imprint, so asked the Glasgow-based producer if he fancied putting together this collaborative release. He begins in full-on anthem mode, delivering an Italo disco-Chicago house hybrid that pulses, throbs and wobbles in all the right places. "Do The Right Thing" sees The Revenge exploring the loopy middle ground between shuffling deep house, bubbly disco and loved-up Balearica, while "New Attitude" is deep, sparkling and acid-flecked. Dirt Crew regular Nachtbraker provides two remixes; a wild, bass-heavy tweak of "Do The Right Thing", and an impeccable deep house revision of opener "Conkers".
Review: It's pretty damn clear that Waze & Odyssey are considered to be two of the best producers in the deep house game, not least by the impressive number of outing on all the best labels out there - 2020 Vision, Crosstown Rebels, Visionquest, you name it. In fact, it's easy to see why a tune like "Go Go Go" is picked up by Germany's Dirt Crew; its slick and effective groove is a wish-wash of deep and sensual vibes, powered forwards by a dusty percussion swing that must lock ever so tightly around just about any other track. "We Go Home", on the other hand, is quirkier, a little less smooth around the edges, but works perfectly well as a build-up track. Lovely.
Review: Following quietly impressive outings on Hudd Trax and Heist, Nachtbraker returns to Dirt Crew Recordings, the label on which he made his recording debut in early 2014. There's much to admire, beginning with the rich, analogue-sounding chords, loosely programmed deep house beats and cute electric piano flourishes of "Hump". "Backstabber" and "Time Is Of The Essence" are chunkier, bass-heavy, late night affairs, with the latter subtly doffing a cap towards Floating Points more dancefloor-friendly excursions. Frenetic, hissing jazz percussion comes to the floor on deep roller "Monday Morning", before "Yaaa" brings the curtain down on another solid EP via smooth grooves, comforting chords and well-placed hip-hop samples.
Review: Alexander Kruger is still going, in a career that has spanned over a decade and showing no signs of slowing down. From releases on Morris Audio to Highgrade and Moodmusic, he's back with another one for Berlin's Dirt Crew. Starting off with the steady groove of "Faint" he soon gets down to business on the blissful hands in the affair that is "Descent" and the funky groove of "Hippies". However there's some deeper moods and grooves on tracks like "Stay" and "I Miss Chris".
Review: Lithuania-based Russian Ponty Mython has quietly been building an impressive discography over the last few years, with releases on No More Hits, Royal B-Sides and Quintessentials emphasizing his growing credentials. Here he pops up on Dirt Crew with an impressive EP of loose, winding and spacey deep house/future disco fusion. "Apple Arp" sounds like Floating Points jamming with Todd Terje and Axel Boman, while "Mila, It's Not Over" fixes stargazing electronics and hazy deep house chords to a fluid, jazz-flecked groove. Elsewhere, there's a classic, Nu Groove era deep house feel about "Narcolepsy", and Paulette feels like an aural tribute to some chilly Eastern European sunrise. The sweet, disco-influenced melodiousness of "Face Down", a hook-up with Sebastien Vorhaus, is also pretty tasty.
Review: While they've been part of the Dirt Crew family since contributing to the Deep Love 3 compilation in 2013, Love More marks Rotterdam duo 25 Place's first 'proper' release for the long-established German label. They've gone all out to make it special, too, delivering five tracks of impeccable deep house. There's the string-laden late night hedonism of "Love More", the ultra-deep pulse of the enveloping "Strange Days" - complete with yearning, bluesy vocal samples - and some more rush-inducing fare in the shape of "Sometimes" and the piano-laden "These Moments". Oh, and a dash of ambient house-inspired goodness that's as fluid and picturesque as the Pacific Ocean (the wonderful "Ecstatic States").
Review: Germany's Dirt Crew have always put out top quality house and techno over the years, with the likes of Adultnapper and Ricardo Villalobos sprouting up on their catalogue from time to time. However, they're also experts in delivering music by new and interesting talent out there in the field such as this latest collaborative EP by Urulu and Steve Huerta, who between them have seen an impressive run of form over the last few years. If you're into swinging, percussive-fuelled dub house the this is the ticket for you, and these guys mean business when it comes to the dancefloor. We're particularly find of Urulu's "Laura Don't Touch That", a discofried house bomb that just keeps on givin'.
Review: Following excellent releases on Fata Morgana and Freerange, St Petersburg dweller Kito Jempere pops up on Dirt Crew with an EP that perfectly encapsulates the richness and accessibility of his trademark sound. Opener "Do You Know Me" is a particularly good example of Empere's style, with melodious flourishes and sinewy vocal samples riding a woozy but breezy groove. The deeper "A Thousand Times" impresses, too, with jazz-inspired off-kilter rhythms providing a good foundation for soulful vocal samples and dreamy chords. The accompanying remix package is strong, too, with Nachtbraker adding some sweaty fizz to "A Thousand Times", and Roberto Rodriguez delivering two contrasting versions (one dreamy and Balearic, the other loose and jazzy) of "Do You Know Me".
Review: Hailing from Belfast, it sounds like Schmutz is a new production force to be reckoned with. Indeed, this release on Dirt Crew sees them take influence from a range of styles without sounding derivative. The title track is a drum-heavy techno workout, with waves of droning sound unfolding over relentless, pummelling drums. "The Charge" sees them take influence from Technasia and the leaner end of Steve Rachmad's catalogue as dramatic chords and strings surge over a driving rhythm. "Sherara" focuses on the same territory, albeit with an acid-tinged hue, while "DDLF" has an old school feeling, its rhythm peppered with rave-era vocal samples.
Review: This long-serving house duo follows up on last year's Molly Brown release for Dirt Crew with Arkansas City. Unlike some of their peers who slavishly attempt to copy US producers, this pair uses American house and techno tropes as mere starting points. It explains why they uses a doomy Detroit bass as the backdrop for the fractured rhythms and chopped up vocals of "Hey" or why the conventional acid licks and electro bass on "Dance" have morphed into a futuristic-sounding groove. A similar approach applies on "Arkansas City" and "Real Talk", with the strings and funk basslines from disco classics past integrated into the duo's dubby, evocative grooves.