Review: With DJ names like Take It Easy and Friso, it's probably to be presumed that German duo Adana Twins don't take themselves too seriously. That tongue in cheek attitude can be heard on "Everyday", a delightfully loose and languid cut that sounds like a funkier, groovier and, well, slightly less overbearing take on the work of Benoit & Sergio. Despite being propelled forward by a superb synth bassline, it lazily slips from the speakers rather than jumping towards you like a ninja on speed. "Strange" continues in a similar vein, offering a laidback, Soul Clap style cover of The Doors' "People Are Strange". With nice pianos. However odd that may seem on paper, it's actually superb.
Review: Dutchman Bas Roos is the latest producer to contribute to Exploited's Shir Khan-curated Black Jukebox series. He kicks off a fine EP via "Downtown", a lumpy, bumpy chunk of dusty, piano-laden peak-time goodness driven forwards by bustling drums and a killer disco style bassline. You'll find more blissful piano solos on the similarly hustling, low-slung "One Way", which also makes great use of impassioned disco-soul vocal snippets and restless handclap samples. Elsewhere, "Take Life Easy" is an impeccable hybrid of jazzy disco samples and swinging deep house percussion, while "Ugly House" sounds like a long lost collaboration between Kevin Saunderson's Inner City Project, Chez Damier and Sheffield-based dusty house specialist Thatmanmonkz.
Review: Shir Khan unleashes another thrill-a-minute selection of disco-inspired workouts to get the dancefloor swinging. Bas Roos and Guy Steve kick things off with the good-time breeze of "Piece of Soul", where jazzy electric piano solos and ricocheting vocal samples ride a lolloping disco-house groove, before Freiboitar makes a stomping, French Touch style disco-house monster out of samples from one of the best-loved disco records of all time. Over on the flipside, Claus Caspar and Steve Philips whip their shirts off, reach for the poppers and lay down a stupendous slice of muscular late night disco-house. Featuring heavy, Moroder style arpeggio bass, razor-sharp disco strings and meaty house loops, "Sex Sells" is something of a sweaty party-starter.
Review: Mystery surrounds the identity of Berlin-based production combo Claptone. Perhaps it doesn't matter, but it would be nice to know who's behind this four-track selection of sharply floor-focused tech-house, deep house and disco blends. There's a driving intensity to the heavyweight disco-tech of "Make Me Feel", a relentless bumper that loops up vocal snippets from a familiar Sylvester tune. "Maximum" offers a deeper, Chicago-influenced cut along similar lines, whilst lead track "She Loves You" rises magnificently thanks to some cute vocals and hooky riffs. "Wicked", meanwhile, offers a rolling contemporary take on ragga-house - all loose breakbeats, thumping bottom end and quirky dancehall vocals. Check it.
Review: The Exploited imprint returns in fine style with an EP by one of the most interesting new deep artists on the block. Compuphonic's take on the 4/4 variety is quite unique, with the artist blending elements of synthpop and indie with ease, almost making the genres sound like they should be aligned all the time. Two tracks here, and both of them will be imprinted in your mind thanks to their delicious synthlines and seductive vocals. Class.
Review: Since first pitching up on the label back in 2014, experienced producer Compuphonic has become one of Exploited's most productive artists. Here, he returns to action for the first time in 2017, in the process serving up a pair of tracks that combine his deep-rooted understanding of deep house dynamics with melodic elements more regular found in Balearic and nu-disco cuts. The most obviously floor-friendly of the two tracks here is "Slow Bilbao", a locked-in deep house shuffler that makes great use of chiming melodies, heavy sub-bass and tropical style motifs. While good, the real star here is "Metropolis", a woozy and dewy-eyed concoction that wraps heady female vocal samples around a dreamy, head-in-the-clouds backing track.
Review: Consistent's second release on Shir Khan's Exploited label sees him again share the same platform as respected producers like Adam Sky and Siriusmo - and like the first release, he doesn't fail to impresses. "Feel" is an insistent rolling techno track that appears to focus on dub-fuelled repetition - however, it unexpectedly veers into a disco-fuelled breakdown and from then onwards remains a filter-fuelled club track. There is nonetheless an alternative dub version, and it is this mix that fans of Basic Channel and Chain Reaction will reach for. Its repetitive dubby groove and deep stabs are reminiscent of Pelon's classic "No Stunts", albeit infused with a sunnier, more upbeat feeling.
Review: With a name like Jim Rivers he might sound like your local 'pool cleaner' therefore he opted for the alias Copy Paste Soul; just the young guy playing b2b with Laurent Garnier this year at Nuit Sonores! It's surefire tech house, hands in the air and all on "Flare" with its rapid fire snares and house keys going off all over the shop. It then goes all Rene Pavlovitz style warehouse rave techno on "Blurred" where Shed himself would be impressed. Finally "Gotta Know The Truth" shows us he knows how to make a minimal track that's all druggy and reductionist fare for afterhours complete with pitch shifted vocals and rolling basslines to boot. It seems Copy Paste Soul is a jack of all trades and more power to him!
Review: You'd expect any collaboration between seasoned studio veterans Andre Crom and Martin Dawson to be suitably solid, and "Need U Back" doesn't disappoint. In fitting with many current deep house records, it looks back for inspiration, infusing its tech-tinged deep house grooves with bumpin' New Jersey bass and hypnotic, bleep-heavy riffs reminiscent of the NYC's finest mid-90s cuts. Homework's laidback remix adds some much-needed shuffle to the previously rigid beats, throwing some spine-tingling breakdowns into a delightfully spacious and heartwarming mix. If anything, it's better than Crom and Dawson's driving original.