Freerange was founded by childhood amigos Jamie Odell aka Jimpster and Tom Roberts in 1996. The label was launched with the sole purpose of releasing Jimpster and his alter-ego Audiomontage’s electronica, jazz and house magic into the world. With the wheels in motion, Freerange went on to host deep, groove-based, soul-tinged house music from a range of artists including: Dam Swindle, Love Birds, Milton Jackson, Manuel Tur, Square One, Demuja, Clavis and many others.
Review: Although he has previously released music on Jus-Ed's Underground Quality label, Apoena (real name Henrique Casanova) has spent much of his near decade-long career putting out cuts on his own imprint, Allnite Music. It's for that reason that this surprise outing on Freerange Records is such a big deal. The Brazilian's many years of experience shine through on assured opener 'Must Go Deeper', a rolling, hypnotic and atmospheric affair in which hazy stabs, bleeping electronics and hissing cymbals ride a crunchy, snare-heavy groove. 'Mind' is a more groovy, positive-sounding affair that boasts bolder bass and more colourful chords, while title track 'Dark Emerald' boasts billowing chords, dark string stabs, infectious bass and rolling deep house drums.
Review: Believe it or not, 15 years has now passed since Barry Christie AKA Milton Jackson first appeared on Freerange Records. He recently returned to the imprint for a collaborative EP with his long-time friend (and studio buddy) Shir-I-Khan, and here delivers his first solo missive for Freerange since 2015. There's plenty of highlights to be found across the pleasingly strong five-tracker, from the locked-in late night bump of 'Remember' - a proper after-hours affair featuring subtle nods to Pepe Bradock's 'Deep Burnt' - and the sparkling, sun-kissed lusciousness of 'Lockdown Love', to the chugging mid-tempo bliss of 'Adriatica' and the pitched-down synth-pop/electronic disco shuffle of 'Miami Voice'. In a word: gorgeous!
Review: Earlier in the year, long-serving US deep house duo Solid Gold Playaz returned to action with a fine EP on Freerange. This speedy sequel for the same imprint more than lives up to its predecessor, with all four tracks bursting at the seams with peak-time-ready audio goodness. There's naturally plenty to get the heart racing throughout, from the seductive spoken word vocals, jaunty acid bass and swelling pads of 'Next To Me', to the Andres-esque, MPC-driven deep house jazziness of 'Who's Playin' For Ya?' Elsewhere across the EP, 'Do You Think' is a warming and bass-heavy chunk of clarinet-sporting deep house headiness and 'My Soul Is Quiet' is a jazz-funk flavoured house excursion that's dustier than an antiques shop and infinitely more alluring.
Review: Given that Jimpster's productions are always musically rich and full of intricate sonic details, you'd expect this new collection of remixes of classic cuts to be similarly minded. It is, of course, resulting in some genuinely brilliant revisions. Space Ghost delivers deliver a twinkling, Larry Heard-inspired analogue deep house mix of 'One', while Jon Dixon joins the dots between jazzy deep house and early 2000s tech-house futurism on his version of 'Smile For a While'. Elsewhere, darker late-night house vibes are provided by the Teflon Dons (a killer dub of 'Where You Are'); Kai Alce's revision of 'Inside The Loop' oozes sun-kissed positivity; Kareem Ali turns 'Brought to Bare' into a deep-tech roller; and Solid Gold Playaz reach for the percussion on a deliciously druggy mix of 'Echoes In My Head'.
Review: For his latest missive on long-time home Freerange Records, Tom Szirtes AKA Shur-I-Khan has joined forces with long-time friend and fellow deep house veteran Milton Jackson, a producer who was particularly active throughout the 2000s. Check first chunky but picturesque title track 'Paper Cut', where stirring strings, undulating lead lines, bubbly electronics and a wonderfully rubbery sequenced bassline wrap around dusty deep house drums. Next, get your ears around 'Hit Thinking', an ultra-melodious, positive and summery breeze of an electronic house gem (all fluttering flute sounds, cheery pianos and more rising and falling synth sounds), before admiring closing cut 'Sixth Section', which sees them successfully tiptoe the fine line between chunky peak-time heaviness and breezy, early evening positivity.
Review: Germany-based Simon Hinter has most frequently released music on Dutch label Phil, though last year his profile rocketed thanks to appearances on Quintessentials and Freerange. Here he returns to the latter label with an assured and attractive three-tracker that should further enhance his reputation. We're particularly enjoying opener 'Helena', whose evocative strings, fluid pianos, effective bassline and unfussy drums recall the spine-tingling beauty of Pepe Bradock's 'Deep Burnt'. He opts for a slightly more lo-fi sound on the more densely layered and percussively punchy 'Heating Element', while 'Airbear' sits somewhere between weighty, filter-sporting disco-house, Rhodes-heavy jazz-house and driving, early morning deep house.
Review: Freerange co-founder Jamie 'Jimpster' Odell recently reached a significant musical milestone, namely the passing of 25 years since the release of his first record. To mark the occasions, he's been releasing a series of retrospective compilations. This is the third and, like its predecessors, is packed to the rafters with career highlights. For the most part the set focuses on the more downtempo end of Odell's output, flitting between evocative nu-jazz ('Bad Hair Blues', the ultra-dreamy lusciousness of 'Maiden Voyage'), squelchy electronica ('Makin' Weird'), jazz-funk-fired broken beat ('Standing Wave'), bruk/hip-house fusion (Capitol A collaboration 'Left & Right') and slow-motion soundscapes ('Fluorescent Blue'), with only occasional forays into deep house. In a word: superb!
Review: It can't have passed you by that the 25th anniversary of the 'French touch' sound has inspired a fresh wave of celebratory, filter-sporting disco-house records. 'Your Kissing', the debut single from Florence-based Belcampo, fits this narrative, with British singer Elizabeth Troy singing sweetly over looped, lilting strings reminiscent of Tom Trago's 'Use Me Again', driving disco bass, swirling synth chords and breathless, non-stop house beats. Belcampo's 'Extended Remix' is a more Cassius-esque filter house roller that rightly emphasizes the summer-ready strings, while bonus cut 'Delisei' is a brilliantly chopped-up, excitable disco-house loop jam of the kind that Daft Punk used to knock out in their sleep during the early days of their career. In some ways, it's even cheerier and more celebratory than the admittedly superb 'Your Kissing'.
Review: Since he first started appearing on records a decade ago, Lazarus Mathebula has collaborated with dozens of rising stars and well-known producers. For this outing on Freerange, he's finally gone solo for the first time, adding his now famous spoken word vocals to a track he produced himself. 'Here We Are' really is rather good, with lo-fi synthesizer flourishes, woozy electronics and his poetic vocals wrapping themselves around a slipped broken house groove and warming deep house bass. It comes backed by Mathebula's own instrumental version and a sparkling 'Nutty Nys' version that smothers crunchy deep house drums in sparkling synths and fluid, atmospheric piano motifs.
Review: Having popped up on Kanzlermat Music on numerous occasions over the 16 years, Solid Gold Playaz has transferred to Freerange Records. The American duo's first outing on the long-running British label is as confident and quietly impressive as you'd expect, with the pair combining punchy percussion and rolling beats with waves of attractive electronics and atmospheric synthesizer sounds. This is arguably best exemplified by opener 'Mind in a Daze', where undulating, intergalactic lead lines tumble down across sustained chords and crunchy beats, though the sci-fi sounding 'Optical Illusion' and 'The Kiss' - both of which employ starry chords and bubbly melodies - aren't far behind. If you're after some late-night sleaze, get your ears around fine bonus cut 'Let Me See You Jack'.
Review: Astonishingly, a quarter of a century has now passed since Jamie 'Jimpster' Odell delivered his debut single, Martian Arts. While his sonic style has gradually evolved in the years since, his ability to craft warm, rich, emotive and sonically detailed music remains as strong as ever. That much is proved by 'Soul Spectrum', a sumptuous slab of organic deep house in which Odell's melancholic keys and Greg Paulus' similarly bittersweet trumpet lines ride above a percussion-rich groove. It's available in a slightly more stripped-back, effects-laden Dub Mix form, too, for those looking for added energy and heaps more hand percussion. Elsewhere, 'Sanguine' is a slightly more driving deep house number rich in colourful synth sounds and fluid piano lines, and 'Think of You Always' is ultra-deep and jazzy (think Boulevard-era Saint Germain, and you're close).
Review: A warm welcome back to the hugely talented Simbad Stanislas, who returns to action with his first solo single since 2019. He begins his third outing on Freerange with title track 'Peaceful Revolution', a deliciously swinging deep house number in which stirring, string-style synth chords, rubbery electronic bass and Lwandile's weary, sadness-tinged vocals rise above rolling, snare-heavy beats. Simbad delivers an even more immersive and percussively interesting 'Shaolin Dub' of the track later in the EP, too, and that's well worth a listen. Elsewhere, let go is a tough but ultra-deep affair featuring sustained organ chords, distant gospel vocal samples and enveloping chords, while 'Soulful Jam' is a jazz-funk-goes-slow-house shuffler smothered in spacey synth solos and gorgeous pads.
Review: Having initially made his name as an associate of the Visionquest crew, producer/trumpeter Greg Paulus has spent the last few years building up a quietly impressive catalogue of EPs. The City of Movements EP sees him appear on Freerange Records for the very first time via a three-tracker that's slicker and more densely layered than anything he'd done before. For proof, check impeccable EP closing cut 'Mr Lee's Trophy Theme', a gorgeous and immersive mixture of drowsy chords, slowly shifting electronic motifs, crunchy beats, meandering trumpet solos and eyes-closed vocals. Further proof arrives via classically bouncy deep house opener 'Breezy Point', where he speaks and sings seductively over dirty analogue bass and heavenly electric piano motifs, and the jazzy, soul-fired deep house warmth of 'Do You Love Me'.
Review: To round off another rock-solid year, Freerange Records co-founder Jamie 'Jimpster' Odell has decided to offer-up an EP made in collaboration with Matt Masters, a producer who has been on the imprint's staff for many years. The resultant three tracker is as strong as you'd expect, with the two friends first radically re-imagining Evelyn King boogie classic 'Love Come Down' as an ultra-trippy, spaced-out slab of dub house/deep house fusion rich in rubbery bass guitar, delay-laden boogie synths, off and tidy peak-time drums ('Dub Come Down'). 'Area E3' is a warmer, breezier and more colourful fusion of electrofunk synths and deep house nous in the style of Metro Area, while 'No Normal' delivers a glorious mixture of squelchy synth-bass, sparkling chords and Floating Points style synth squiggles.
Review: 18 months ago, Thomas Arroyo AKA Laroye delivered one of the strongest singles to date on Alex Attias's Visions Inc imprint, a double A-side affair full of spiritual intent, layered melodic elements and deliciously intricate instrumentation. Here he brings his brand of grown-up, mood enhancing house music to Freerange for the very first time. The headline attraction is 'Be The Change', a percussion-laden chunk of samba-soaked cosmic house positivity laden with life-affirming chords, colourful synth solos, glistening guitars and inspirational lead vocals courtesy of Carlos Mena. It comes backed with a variety of alternate takes and DJ tools - including a drum-heavy 'Percapella' and the deep and lovely 'Moody Dub' - as well as jaunty and jazzy bonus deep house workout 'Twisted'.
Review: Jamie "Jimpster" Odell has long been one of deep house's more positive producers, with much of his material being as musically delicious as it is dancefloor ready. Even so, new single "Smile For a While" is particularly positive. Built around twinkling, eyes-closed vocal and harp samples, the track sees Odell layer waves of colourful electronics and kaleidoscopic chords atop a chunky bassline and snappy deep house beats. It comes accompanied by two takes on "Echoes in My Head". We get an original version that adds Osunlade style live percussion, ambient techno chords and spacey synths to a driving, retro-futurist house groove, and a Larry Heard-esque revision (the "Head in the Clouds Mix") that's as positive and rush-inducing as they come.
Review: After spending much of the first half of the last decade quietly building up a reputation, Simon Hinter has been almost silent since 2016. It's therefore heartening to see him finally return to action with arguably his most high-profile release yet: a fresh EP on the effervescent Freerange Records. All four tracks are suitably strong, particularly thickset, bass-heavy opener "Tired Up", whose explicit, female spoken word vocals, filtered loops, chunky bass and jazzy flourishes reminded us a little of the work of Thatmanmonkz. "Heaven & Hell" offers a sparkling, life-affirming take on glassy-eyed deep house hedonism, while "Lifestreams" adds some welcome nods to jazz-funk and disco while retaining a classy house vibe. To round things off, Hinter returns to a jazzier deep house flex on "Looking Back".
Review: Comprised of German deep house veterans Manuel Tur and Adrian Hoffmann, Clavis is the new name they release under in tandem with their Amberroom project - where they collaborate with Ramin Nouyan. Once again it's for Jimpster's ever reliable Freerange, following up last year's terrific Boyd EP. The Wirefire EP sees them continue on with their deep, Afro-inspired electronic grooves of previous releases, which is evident on the euphoric dance floor narrative of "Camira". Elsewhere, there's the moody minimal tech house chugger that is the title track, reminiscent of each respective producer's style back in the mid noughties. Finally, they end things on a glassy eyed and bittersweet note on the emotive deep house epic "Matinada".
Review: After two years away in which they offered up a wealth of releases on other top-tier labels (Pets Recordings, Ton Tonics and Madhouse included), Italian twosome Black Loops returns to Freerange Recordings with another must-check EP. As usual, there's far more hits than misses. We're particularly enjoying the loose-limbed deep house funk of opener "Fresh 16", a canny combination of chunky, funky grooves, classic Italian house chords and synthesizer melodies so sunny they might burn your skin if you wallow in the track's majesty too long. Elsewhere, "Something Special" - named in honour of the Peech Boys track it sneakily samples - is a pitch-perfect chunk of swinging New Jersey deep house warmth, while "Blue Pill" adds a tech-house touch to a vintage Italian style chunk of glassy-eyed, loved-up deepness.
Review: Put up the bunting: Jimpster's back! The Freerange Records co-founder has been rather quiet of late, with the "One EP" delivering his first new material for nearly two years. Predictably he's in fine form from the off, successfully joining forces with Osunlade collaborator Casamena on brilliant opener "One" - a jaunty, loose-limbed fusion of jumpy broken house beats, huggable chords, sweaty percussion fills and a post hip-house spoken word vocal from the track's guest star. Detroiter Waajeed re-frames it as a bass-heavy chunk of starry deep house positivity before Jimspter offers up bonus cut "The Way It Is", a slightly more rubbery jog through ear catching deep house positivity rich in jazzy piano solos and squeezable synth bass.
Review: Given his track record, it's something of a surprise to find that this is Crackazat's first outing on Freerange. It's less of a surprise to discover that it's a superb EP. Lead cut "Valentine" is little less than sublime: a warm and floor-friendly mixture of bumping US garage influenced drums, jaunty jazz-funk bass, spacey synthesizer flourishes and jazzy piano motifs that veer from poignant and heart-aching to celebratory and rush-inducing in the space of five minutes. "Back Of My Heart" is a bleeping skip through bass-heavy deep house while "I Heard You" is a bluesy and jazzy house number straight out of the top drawer. If that's not enough to get you drooling, Patrice Scott's remix of "Back Of My Heart" is a warm, loose and languid intergalactic treat.
Review: Dutch duo Lovestad are unusual in that they prioritize live performance over recording music, something that has earned them cult status in the Netherlands. Here they make their official debut on Freerange with a single that started life as a hardware jam. In its' original form (track three), "Miles" is sensually sumptuous, with hazy melodic flourishes, jazzy guitar licks and warming chords sashaying in and out of skipping drum machine beats and a wonderfully rubbery bassline. Freerange boss man Jimpster provides two typically club-ready remixes: a tight "Edit" that's arguably even more glassy-eyed than Lovestad's original mix and a "Dub" that focuses on the beats, liquid chords and lilting synth solos.
Review: Fresh from their fine collaborative single on Running Back - the rather heavy "Desire" - Butch and C.Vogt join forces once more for an outing on another admirable house imprint, long-running London label Freerange. In its original form, "Vogue" is undulating and gently mind-altering, with the pair wrapping angular electronic motifs, soft-touch chords and dreamy synth sweeps around crunchy, drum machine style percussion. Label co-founder Jimpster provides the headline remix, opting for deeper bass, warmer chords and oodles of layered tribal percussion, which Butch provides a "Bonus Edit" that seems even dreamier than the original mix. The EP includes another tasty bonus in the shape of Vogt's edit of saucer-eyed retro-futurism gem "Windeck".
Review: Matt Masters has been part of the Freerange family for a long time, though this is the first time he's released music on the label. The four-tracker is a taster for his imminent debut album, "Never Ending Nights", which sounds like it could be an essential listen for all those who enjoy languid, fluid and distinctive deep house that boasts its' own unique shuffle and swing. Our picks of the bunch are the rubbery, funk-fuelled dustiness of "Memory of Chimes" and the dub-flecked dancefloor bliss that is LP title track "Never Ending Nights". That said, plenty will enjoy the intricately produced brilliance of "Once Again" and "Gonna Make", both of which sound like they were heavily influenced by Floating Points' house tracks.
Review: Johannesburg-based producer Bruce Loko prides himself on making music that's "far from bog-standard South African house". Here he makes his debut on Freerange with a fine four-track EP that expertly showcases his trademark sound. Leading the line is "The Black Pearl", a spacey, woozy, quietly picturesque and surprisingly hazy chunk of atmospheric deep house/tech-house fusion. "Sacrifice" is, if anything, even more dusty, deep and spaced out - all minor key, lo-fi synth melodies and broken house drums - while "Sunset Over Water" duly lives up to its evocative title. FKA Mash provides a breezier, warmer "Glitch Dub" of the same cut that's arguably even better than Loko's sublime original mix.
Review: Since first joining forces as Clavis back in 2015, Manuel Tur and Adrian Hoffmann have delivered occasional EPs of high quality, dancefloor-focused deepness. Here the German duo return to regular home Freerange with their first outing of 2019. We're not sure whether title track "Boyd" was written in tribute to the late, great New York house legend Boyd Jarvis, but with its jammed-out bass, rushing piano riffs and proto-house style synthesizer solos it could well have been (even if the groove underpinning it all is a touch darker and more tech-tinged than the former Timmy Regisford collaborator would have come up with himself). Either way, it's superb. The package also contains two versions of "Floyd": the druggy, proto-house-meets-Paul Woolford's "Erotic Discourse" flex of the original take, and a slightly more up-lifting and dreamy "Remix" that adds some sparkling synths and choral vocals into the mix with impressive results.
Review: As befits a producer and label owner with his level of experience, Jimpster has done a great job in hand picking producers to rework his double A-side single "Burning Up/Becoming Cyclonic". Perhaps the most ear-catching tweak comes from Bawrut, whose inspired revision flits from off-kilter, polyrhythmic madness to wonky, angular and percussive insanity midway through. It's unusual, but also undeniably powerful and filthier than a skip-load of 1970s jazz mags. That said, Telfort's smooth, spacey and rush-inducing deep house take on "Becoming Cyclonic" is also superb, while Charles Webster's woozy, organic-sounding, mid-tempo rework of "Burning Up" is a deliciously deep, slow burning delight.
Review: Since making his debut a few years back, Maurice "Whitesquare" Uzzan has notched up appearances on such highly regarded labels as Culprit, DFTD, Toy Tonics, 20:20 Vision and, most recently, Jimpster's Freerange Recordings. Here he returns to the latter with three more atmospheric and polished chunks of European deep house. The real peak-time beast is "Ligai", a typically woozy and slowly building affair that layers alien synth-bass, foreboding chords and metallic electronic riffs atop a percussively powerful tech-house groove. The EP's other two cuts are deeper, breezier and more delicately layered, with the South African inspired goodness of "Stina" being followed by the blissful and melodious electronic deep house warmth of "Sand".
Review: Since making tehur debut in 2013, Black Loops has been one of the most consistent deep house duos around. It's no doubt due to this fine track record, which includes a string of killer singles on Toy Tonics and Neovinyl, that the Italian twosome has been snapped up by Jimpster's Freerange label. They predictably hit the ground running with "7Hills", a tribute to Rome (or, at a push, Sheffield) that peppers a sturdy but swinging rhythm track with elongated organ chords, alien electronics and some suitably jazzy electric piano riffs. It comes accompanied by a slamming May Rey remix, which sounded to us like a deeper and dreamier take on Terrence Parker's bouncy techno sound, and suitably chunky, deep and picturesque bonus cut "King Paul".
Review: Given his long friendship with Freerange co-founder Jimpster, it's perhaps surprising that Simbad Stanislas has not previously released a single on the label. Naturally "Take My Hand" was worth waiting for. In its' original form, the track is a lusciously evocative and musically complex chunk of soulful deep house underpinned by heavyweight sub-bass and drums that swing to the loose-limbing timing of jazz. Simbad provides two alternative "Zulu" versions built around slightly more tribal, Afro-centric percussion, though both the vocal "Remix" and "Dub" still retain the swirling strings and soulful wooziness that makes the original version such a stunner. For more straight-up dancefloors, Jimpster's hybrid tech-soul/deep house revision is probably the pick of the bunch.
Review: Unswerving in all his capacities as a label owner, DJ and artist, Jimpster continues to burn into another vintage year with this superlative three track EP on his own Freerange imprint. "Curve" hits with the shimmers almost instantly but gets progressively cosmic as more layers are added while "The Sweetness Of That Song" eases us deeper into the dance with a maze lead layers all pointing the same mildly jazzy direction as a meatier electronic arpeggio runs amok beneath. "Simmering Down" lives up to its name on a much more introspective slower note that sounds best either at the very start or end of a perfect party.
Review: London scene stalwart Tom Szirtes is back on Freerange, a label he's no stranger to - he's only had nearly a couple of dozen appearances for Jimpster and Co. over the years! The Dark Energy boss is in top form as always on his new State Of Emergency EP, serving up three deeply compelling grooves on the emotive tip. Features the deep down and dusty title track with its subtle acid flourishes, the sensual late night mood lighting of "Out At Night" and ending with the bittersweet boogie-down antics of "Three Of A Kind".
Review: Chilean producer Massiande has had some great releases in recent times for top labels like Phonica White, M>O>S> and Housewax. You can bet that he's on point for his new one on Jimpster's Freerange imprint, where he serves up some more fine classic house perspectives. From the timeless Stateside bounce of "Yesterday Today Forever" that's jam packed full of evocative elements and will have you reminiscing of tunes back in '92. This is further strengthened by the powerful "By My Side" featuring some Kenny Bobien like vocals. Then, Massiande again captures the soul and warmth of classic American house music through a modern lense.
Review: This EP offers a double dose of debuts, with both Bugsy (a hotly tipped Milanese DJ/producer) and Astroloop making their bows. They begin with "Svegsy", an impressively deep, woozy and fluid concoction that peppers a loose, percussion-rich deep house groove with hazy chords, tactile synth bass and a vocal sample once utilized by acid house sort Armando. Elsewhere, "New Vision" sees them wrap a chunky, analogue-rich bassline and rhythm track with spacey electronics and "Ghost Song" is a quietly soulful trip into rolling, ultra-deep house. Boo Williams steps up to remix the latter track, serving up a superb interpretation that sounds like a trippy tribute to Omar-S's more electronic moments with added synthesizer solos.
Review: Stefano Ritteri should be a familiar name to many, having dropped several well-received releases on key labels such as Pets, Rockets & Ponies and Get Physical as well as his own monthly Rinse France radio show. The Italian producer, now relocated to London, has a studio chock full of vintage synths and hardware outboard which keep him inspired and ensure his output sounds fresher and fatter than most, as can be heard on this excellent two-tracker entitled A Different Happiness EP. The slinky, emotive and slightly Afro influenced tech house of the title track has an Innervisions kind of vibe about it which we really into while "Pocket Melody" offers yet more spaced out and futuristic dancefloor vibes on a more minimalist tip.