Review: Without fail, Futureboogie Recordings' annual "Summer Riot" EPs are always amongst the Bristol-based imprint's finest releases of the year. This year's edition - the eight in total - is no different. It's five floor-friendly cuts include a locked-in chunk of late night techno hypnotism by A Sagittarian (undulating opener "Machine Elf"), a raw and wonky, mind-altering analogue house jam full of Yellow Magic Orchestra style computer bleeps (Red Flower Union's "Natural Self") and a piano-sporting chunk of old school house revivalism from Statue ("Ivory"). Manchester producer Neil Diablo hits the spot with the starburst Italo-disco chug of "Colorado", while Kincaid gleefully dances through New York freestyle and Bobby Orlando style hi-NRG on EP standout "Bulfas".
Music Will Save The Day (dub mix) - (8:22) 124 BPM
Music Will Save The Day (vocal mix) - (8:22) 124 BPM
Music Will Save The Day (Auntie Flo's Hidden Garden remix) - (7:53) 124 BPM
Music Will Save The Day (Christophe remix) - (8:28) 124 BPM
Review: Anyone who has been to Oban on the North West coast of Scotland will confirm that it's a rather picturesque place. We shouldn't be surprised, then, by the intense beauty that courses through "Music Will Save The Day", the first Austin Ato release by experienced Oban-based producer Colin Bailey (he of Drums of Death fame). Skillfully combining chiming bells, meandering synthesizer lines, crunchy drums and sparkling piano riffs, "Music Will Save The Day", which is available in both Dub and Vocal variants, is something of a summery treat. It's backed by two terrific remixes: a kind of Reichian minimalism meets new age version by Auntie Flo, and a thrilling peak-time take from label regular Christophe, who joins the dots between jacking acid and hands-aloft piano house.
Review: Bristolian merchants of the finest lo-slung grooves Futureboogie return, with this absolutely hot release by Holding Hands boss Desert Sound Colony and label mate Baby Rollen. The Beta Burner EP comes with added psychedelic flavours courtesy of an A Sagittariun Remix. From the bumpin' late night acid funk of the title track, it then gets a Yorkshire style '90s bleep techno rework by A Sagittariun (Re-Dream) before the loose and off-kilter electro breaks of "Dumpster Truck" (original mix) goes for something looser. Finally DSC goes solo on the funky "Seismic Soy Bean".
Review: Julio Bashmore closes proceedings on a breakthrough year with the release of the smartly titled Riff Wrath on his own Futureboogie imprint. Back in the misty eyed days of early January we plucked out young Bashmore as one of ten producers that we predicted would do great things this year, and the West Country dweller has more than delivered on this promise. Everyone Needs A Theme Tune, his EP for the fledgling PMR imprint has remained one of this year's most enduring releases and was recently endowed with a much overdue repress by the label. Subsequent EPs for Martyn's 3024 label and the newly established Futureboogie have also left an impression, whilst Bashmore has honed his remixing skills for an array of labels, turning up on heavy hitters such as Turbo and Sound Pellegrino. The sixth release on Futureboogie contains a double dose of deftly described filmic house music which pairs the vocal lead track "Ensnare" with some instrumental business in the shape of "Well Wishers", and we thoroughly recommend you check it out.
Review: Having recently impressed with a delightful Faith Evans bootleg, mysterious Bristol-based combo Behling & Simpson (a new pseudonym for a well-known production duo) make their full debut on hometown imprint Futureboogie. It's arguably Futureboogie's best yet, a delicious four-tracker of slow house and bumpin' midtempo grooves that simply bleeds Bristol. Of the four cuts, it's the low, slow grooves and cut-up R&B vocals of "UFO" that most impresses (inspired, incidentally, by the Bristol club night of the same name), though the dubwise "Yenisei" and dreamy "Left Behind" are almost as good.
Review: A few years ago, International Feel Recordings treated us to a handful of inspired 12" singles by Black Spuma, a collaborative project helmed by Fabrizio Mammarella and Phillip Lauer. Here the duo returns - this time on Bristol's Futureboogie Recordings - with a first new single in two years. Title track "Crunch Level" is nowhere near as "retro-Balearic" as their previous work, instead offering a mind-altering blend of ghostly vintage synthesizer chords, robotic machine guns and foreboding, arpeggio style sequenced bass. It's the kind of thing we'd expect to hear if Alexander Robotnik and John Carpenter got together in the studio. Elsewhere on the EP, "Agguato" is a funk-fuelled chunk of early '80s new wave/Italo-disco fusion, while "Adamantine" is like a "Behaviour"-era instrumental Pet Shop Boys B-side.
Review: Futureboogie's annual Summer Riot EP rarely disappoints. This year's instalment of the multi-artist extravaganza - the fifth in totak - is every bit as essential as its' predecessors. Long time friend of the family Bonar Bradberry steps up first with "Analogue Express", where bubbly synthesizer lead lines rub shoulders with Chicken Lips style bass and rich, life-affirming piano chords. Experienced Italian DJ Rocca fuses brain-melting acid lines, dark electronics and African influences on the wonky "Voodoo", before former Fila Brazillia man Steve Cobby drops a lolloping chunk of audible sunshine in the shape of "Lefthanded Books". Arguably best of all, though, is Field Theory's "Rituals", a swirling fusion of dreamy deep house, mind-altering acid, and warehouse-friendly rhythms.
Review: It's been almost a year since the last Futureboogie release, and it was about time the Bristol label landed a new artist on their roster; after all, they're only responsible for bringing out talent such as Julio Bashmore! Although Cassio Kohl surfaced a couple of years ago, he's been quiet on the releasing front, but he's back with three hot 'n' bumpy floor nuggets coated in a house flavour. "Let It Be Me" has a Chicago lick with a bouncy bassline and plenty of sweet atmospherics, while "Hear Me" is funkier with that fuzzy slap bass, and "Come Together" goes for the swing thanks to those skippy percussion stabs and rolling bass shots. Seductive and effective, perfect for the warm up hours.
Review: Given that he's been involved in shaping the artistic direction of the label from the very start, it seems fitting that graphic designer-turned-producer Christophe should have the honour of delivering Futureboogie's 50th release. There's an argument to say that it's his strongest release to date, too; certainly, the fizzing, saucer-eyed Acid-jack of "Dance Pants" and throbbing, low-slung, late night disco-acid of "Caravanaramabar" come straight from the top drawer. The Bristol-based Welshman showcases his love of dreamy, fluttering slow jams via the drawn-out Balearic climax of "Savanna", before tipping a wink to the twin attractions of acid-flecked Italian dream house and stripped-back electrofunk on high-grade closer "Key Largo".
Review: Bristol's premier bastion of boogie inflected house music continues unabated with this release from central label figure Christophe. Bringing in the vocals of Danielle Moore, "Comeback" is a refreshing departure from the sample ripping techniques most use and in the process of originality brings a curious Detroit romanticism into the 80s electro funk context. Casino Times switch up into a more straight-up deep house groove that chugs away dutifully, while Christophe brings his regular cohort Lukas on board for a 'mastermix' that further builds on the Detroit tones with a serious Inner City flavoured version. The instrumental of the original rounds the package off nicely with a greater focus on those dirty funk elements of yesteryear that never grow old.
Review: Futureboogie's annual multi-artist EP has become as big a part of our summer as tedious festival queues, soggy outdoor parties and complaining about the British weather. Label stalwart Christophe kicks off this sixth edition via the clattering machine drums, glistening Balearic flourishes and thrillingly psychedelic acid lines of "West Side Critters", before Zombies in Miami go all Eastern on the sitar-sporting house exotica of "The Legends of the Hidden Temple". There's more of a sun-warmed Balearic feel to the shuffling beats, tumbling chords and jangling pianos of Forriner's tasty "Spero", while Yuki Tosaya steals the show with "Acid Dawn Breaks", which is the kind of saucer-eyed, sunrise thriller that was all the range back at the turn of the '90s.
Review: Following a killer EP of more downtempo leaning grooves on Astro:Dynamics earlier this year, Bristol's Crackazat returns on Futureboogie with some material aimed squarely at the floor. "Book On The Beach" combines caffeinated congas with a laid back Chi town groove, while "Panic Aggressive" is a more low slung affair combining a sleazy guitar lick with lo-fi keys. However, the real star is the nine minute epic that is "Tunnel". Raw and chunky with an impeccable sense of rhythm, and combining deep atmospherics with madly tweaking synths, this is possibly the most original house track we've heard this year. Highly recommended.
Review: Magic Feet boss Craig Bratley is not the most prolific producer in the world, but his sporadic EPs are usually excellent. Certainly, this outing on Futureboogie Recordings contains some superb music. Pulsating opener "99.9" - a body-jacking, Italo-influenced throb-job high on horror-influenced synthesizer melodies and foreboding riffs - is particularly potent, though wholehearted Italo-disco tribute "Italo Love" and the slo-mo chug-fest "Take Me To Bedford or Lose Me Forever" are almost as good. The EP also includes a sublime interpretation of "99.9%" by Andrew Weatherall, whose stretched-out take places exotic, snaking synth lines and yelping vocal samples over a Love From Outer Space-ready pitched-down groove.
Review: With an intrinsic link to the Futureboogie crew in the live arena, long-serving UK house crew Crazy P bring their broad sound to the label with gusto, maximising on the skills the component member possess. Most apparent of these is Danielle Moore with her arresting croon shining through the most on "Clouds", and also popping up in snippet form on "Burning". There is a spread of different moods at work across the tracks from seedy electro tones on the first track to the sizzling disco flavour of "Virtuality", leaving plenty of room for Outboxx to lay down a blissful slice of keys-rich deep house in their inimitable style.
Review: Since moving to New York in the '90s, Bristol-born Milo Johnson has specialized in making raw, dusty, off-kilter deep house workouts that draw heavily on obscure samples from his epic record collection. The former Wild Bunch DJ is at it again here on another strong outing for Futureboogie Recordings. Check first the spacey, dubbed-out chords, booming bass and sweaty disco drums of "A Moment", before admiring the suitably wonky minor key synthesizer solos that help make "Siliconada" one of his wildest house tracks yet. The "NBs Mix" of the same track adds a little soulful flava into the mix via a variety of jazz-funk samples, while "Flutter" is a low-end heavy chunk of loopy disco-house for the dystopian generation
Review: NYC-based Bristol exile Milo Johnson AKA DJ Nature has long enjoyed a good relationship with Futureboogie Recordings, having first provided remix services for the West Country label back in 2013. This, though, is still his first EP for Dave Harvey's imprint. His loose, groovy and jazz-flecked style of deep house naturally comes to the fore on warm and melodious opener "Born Lifted", while the slightly more driving, sample-heavy "My Life" recalls his early '90s work as Nature Boy. "What Isn't" is a dusty deep house producer's take on electro-tinged instrumental hip-hop (reflective of his '80s work as part of Massive Attack's Wild Bunch collective) while "Loving You More" cannily joins the dots between lo-fi deep house, Balearic dreaminess and classic jazz-funk.
Review: Australian oddball producer Dreems breaks away from his usual home; Thomas Von Party's Multi Culti imprint, for an appearance on Bristol institution Futureboogie with the Studio Glucose EP, where he collaborates with buddy Jamie Blanco from London. On "Percussive Racing Cars" the pair reference classic Chicago deep house, complete with Juno 106 and 303 basslines but with a modern twist. "Party Mix" goes for some woozy, groovy, tribal tech house geared for the late night or afterhours while "Red Frog, Green Frog" goes for a strange 80s/balearic tinged groove that many other Australian producers in Berlin are doing at present. There's also a brilliant remix of "Percussive Racing Cars" by Israeli man of the moment Moscoman, giving it a dusty and rusty acid house makeover.
Review: Eats Everything arrives on Futureboogie Recordings and, clearly, it's all going off. "Tone Music" is a slice of majestically wasted raw house that centres around a beguiling sci-fi synth riff, plinky plonk noises and the tormented warbles of a mad man. Oh, and a snare, a ridiculously massive snare. "Lo-Fi" is loose, dirty, garagey house that has a really urgent sense of spacey sleaze. Lastly "Doldrums" ends things on high with huge build-ups and, infectious rubbery bassline, skippy beats and a relentless cheap keyboard riff. In other words, pretty much perfect dancefloor material.
Review: Following fine early outings on Cin Cin and Warm, psychedelic-minded house fusionist Elliott Lion pops up on Bristol's Futurebogie Recordings with more energetic, otherworldly club tracks. Title track "Ecstasy" is a typically swirling, densely layered and intoxicating affair, with spiraling electronics, "Tomorrow Never Knows" style exotic audio textures, feverish effects and dewy-eyed vocals rising above a loose-but-booming rhythm track. Rom Flugel runs with the "just necked a tab and I'm starting to hallucinate" vibe on his accompanying remix, in the process making the track even more trippy and mind-altering. To round off the EP, Lion serves up a more hypnotic bonus cut that sits somewhere between Isolee, Hardway Brothers and Futureboogie regular Christophe.
Review: It's some 13 years since Fernando Pulichino made his debut as part of rubbery, dub-disco/deep house fusionists Silver City, and seven since his first solo outing on Redux. Here, he pops up on Bristol's Futureboogie Recordings with more pleasingly dubbed-out disco chuggers and sparkling nu-disco workouts. "Ride On" is classic Fernando, with the Argentine producer expertly combining a trademark punk funk bassline with spiraling synths, fluttering electronics and rolling beats. His electrofunk, Itallo-disco and Balearic influence shines through stronger on the trippy and dubby "Trespassing", while "Mid Decade" is a kind of bubbling, sun-kissed analogue nu-disco jam. There's also a neat bonus in the shape of DJ Nature's rework of "Ride On", which turns Pulichino's original into a woozy, guitar-laden deep house gem.
Review: After delivering an impressive contribution to Futureboogie Recordings' recent Summer Riot IV release, Phil Gerus has been given the chance to showcase his wares with an EP all of his own. He impresses from the off, effortlessly fusing classic house vocal samples, rubbery boogie bass and spacey synth flourishes on the superb "One More Button Down". Gerus then doffs a cap to 80s electro and space-funk on the wobbly "Better Sing It To Me First", before charging off on a sparse electrofunk-meets-rolling house tip on the brilliantly flexible "She Rides Shotgun". He argiuably saves the best till last, though, with the Chicken Lips-meets-Serious Intetion style proto house-meets-electro business of "Now Is Gone".
Review: Newly-transplanted-to-Bristol producer Hackman makes good on his allegiance to the city he now calls home with this offering to one of the West Country's most fervent outposts of plush, disco-inflected house music. Lead track "Change My Life" fits neatly into the label aesthetic with its neon daubs of synth and soulful vocal croon over a firm but gentle groove, given extra bite by some rugged rhythmic chops to balance out the sugary melodic blasts. "Lost From Me" takes a more mysterious direction with its spooky snippets of vocal and slippery sampling until the curtain drops on a bombastic chord progression, making for an emotionally powerful romp. "We Make Delicious" is by way of contrast a slow-burner that prefers a stripped-back drum template and plaintive dashes of melody over heavy brushstrokes.
Review: Having spent the last few years quietly building his reputation via decent EPs for ESP Institute, Saft and Keep it Zen, Ian Blevins has had a relatively quiet 2017. This outing on Dave Harvey's Futureboogie Recordings label is only his second release of the year. It is, though, rather good, with Blevins gleefully sprinting between acid-flecked, Italo-disco inspired Balearic house (tidy opener "Round Trip"), rush inducing, organ and acid-driven positivity ("Roland's Rat") and rolling, slow-building late night goodness (the bubbly melodies and elongated chords of "Can You Count My Dream"). The obligatory remix is provided by Lobster Theremin and Uncanny Valley regular Panthera Krause, whose Moroder-on-happy tablets version of "Round Trip" is a warm, hazy and life-affirming delight.
Review: Chameleonic producer Jabru and label hopping bass producer Hackman come together to form the snappily named Bruh Jackman with this platter for Bristol's Futureboogie imprint. The duo is clearly mindful of Julio Bashmore's success since his Futureboogie releases a while back as this three track EP contains a healthy dose of soulful vibes. Lead track "Miss My Love" is a dusty little number with snapping percussion augmented by lush chiming melodies but dominated by that uplifting vocal. The brilliantly titled Joel Culpepper lends some real soul to "California", a glistening, laid back ride through seductive neo-R&B that justifies the vocalist's comparison's to Frank Ocean whilst "Just To Keep" can be filed alongside the current crop of vocal hook heavy, melodic deep house.
Review: Futureboogie is the label arm of the UK booking agency and welcomes the multi-talented James Welsh to the roster. While he's just as adept at making punk and playing bluegrass, Welsh has also a long track record in making electronic music - and can lay claim to remixing Depeche Mode and Britney Spears. All of this experience bubbles to the surface on Hammers: the title track is a deep, rolling affair, populated by spiralling acid lines and hushed chord sequences, while on "Denergy", he opts for a more stripped back affair, as a menacing bass underpins complex, 303-laced rhythms. Rounding off the release is a sweeping, rolling take on the title track by Bristol artist Hodge.
Review: Next up on Bristol's Futureboogie is Alex Warren aka Kiwi who has had previous releases on the likes of Optimo Music, Blase Boys Club and Sneaky Music in addition to promoting for well known London parties and clubs like Orlando Boom/Kate Boss and The Nest. The versatile producer wastes no time getting stuck in, starting out with the explosive "Orca" which features one of the most amazing arpeggios this side of "I Feel Love". There's more vintage, synth driven disco vibes on "Minke" or "Logmans Break" while the feel good nu-disco vibes of "Pygmy" are reminiscent of modern greats like Jay Shepheard or Milton Jackson.
Review: Alex "Kiwi" Warren is undoubtedly a star in the making. Since he last appeared on Futureboogie in 2016, his stock has risen further thanks to fine outings on Moda Black, Blitz and 17 Steps. Predictably, this is another fine EP. We're particularly enjoying the horror-inspired Italo-disco chug of "Amityville", where Warren makes terrific use of notable vocal samples and a thickset arpeggio bassline, though DJ Tennis's breezier, disco-tinged deep house re-make is almost as good. There's more dark and throbbing Italo-disco style fun to be had via the thrillingly heavy and pulsating "Warriors", while EP closer "Paco" - all glacial, tumbling synthesizer melodies, undulating acid bass and unfussy drum machine beats - offers a more considered option for those searching for solid warm-up fare.
Review: This EP from Last Waltz is a big step forward for Futureboogie Recordings. Previously, they've released plenty of high quality dancefloor fare, but little that really tugs at the heartstrings musically. "Trinket", in particular, is very impressive in this regard, taking the label's "cocaine house" blueprint and wrapping it up in the most heartaching of piano lines and fragile, crystalline melodies. It really is excellent. The slower "Ashes" also ticks all the right boxes, sounding like a smacked-out fusion of sleepy deep house and intergalactic electronic disco. For those in need of more obviously upbeat fare, the Bad Passion remix of "Trinket" delivers carnival drums and MDMA builds as well as those pianos.
Review: Given Futureboogie boss Dave Harvey's notable links to Adriatic festivals (he was previously the musical programmer of Garden, before launching his own Love International shindig at the same site), it's perhaps unsurprising that the label's releases should have a touch of Croatian sunshine about them. This latest EP from Tuff City Kids man Lauer is an excellent example. Both tracks bristle with woozy, sun-kissed positivity, with virtual flipside "Kilian" - all eyes-closed synthesizer melodies, chugging arpeggios and humid beats - sounding like it was tailor-made for sweaty boat parties and tipsy sunrise sessions. "Birsk" is similarly inclined, albeit with a quicker pulse and sounds which drag it further towards shimmering Balearic house territory.
Review: Having first graced Futureboogie Recordings late last year with the brilliant Brisk EP, Phillip Lauer returns to the Bristol-based imprint for a second sortie into loved-up, retro-futurist house territory. While you'll find a fine example of his usual glassy-eyed, Balearic-minded deep house sound (the wavy riffs, melodious bass, cowbells and tuneful electronics of "Tyco"), it's the trippy and gently psychedelic moments elsewhere on the EP that most impress. "Clipper", a kind of saucer-eyed synth-pop-meets-house number smothered in cascading synthesizer melodies and Italo-disco, is very enjoyable, while darker, acid-flecked opener "Pile" - think moody Detroit techno at a house tempo with flashes of EBM-era dancefloor sleaze - is arguably even better.
Review: Getting his name out there following a single on Winding Road Records in 2013, Lonely Boy is making his intentions clear on this single for Futureboogie. The LA-based producer has a strong handle on the kind of sleazy, four-to-the-floor house music that the Bristolian label favours, and the title-track delivers on every level. "The Subtle Frenzy" has a powerful emotive streak at the core of its own fuzzy synth lines, while "Take Your Time" drifts into slower, more thoughtful territory to show there's more than one side to this boogie-loving beatsmith. The Emperor Machine, meanwhile, whips up a chunky electro-house version of "I Like Disco" that adds a little more meat for the more pumped-up dancefloors.
Review: It's been a while since Bristol's Luke Turner last released new material, with his most recent outing on Futureboogie (the Maison De Cheval project with fellow West Country dweller Christophe) appearing way back in 2011. Happily, Back To Boogie finds him in good form, delivering a series of vividly coloured house gems. There's the wide-eyed, bright-and-breezy piano house pomp of "Narwhals", the cowbell-laden late night science of electrofunk-meets-deep house jam "Bassoon" and the woozy sax, tumbling chords and booming bass of the sensual "Drunken Master" (complete with a vocal sample from a familiar favourite). If that wasn't enough, he also drops some pitched-down vocals, spooky melodies and sub-bothering rhythms on the intoxicating "Is It True?"
Review: Given their extensive shared musical history and influences, you'd expect this hook-up between former Classic/Music For Freaks types Luke Solomon and Jonny Rock to contain some belting cuts. Predictably, it does. Dancefloor sweatiness is guaranteed from the start, via the undulating, Moroder-inspired bass guitar, spacey electronics, clipped guitars and dense disco percussion of "Luca Frangipan", and its' suitably trippy, more heavily electronic companion Dub. There's a breezier, looser feel to "Groovin' To La", which expertly teases out soulful vocal samples and soaring strings atop a bouncy Italo-disco/deep house/classic disco fusion groove. The accompanying Dub mix is, if anything, even stronger. Sadly, this digital version of the EP doesn't feature DJ Fett Burger & Jayda G's killer remix, so you'll have to buy the 12" to get that.
Review: Geoff "Man Power" Kirkwood has been friends with Futureboogie Recordings founder Dave Harvey for years, so it's little surprise to see him releasing an EP on the on-point Bristol imprint. "Barranquilla Trifle" is arguably one of his most ear-catching cuts to date, too - an exotic, humid and mind-altering fusion of bubbly electronics, glassy-eyed synthesizer riffs and hustling drum machine beats propelled forwards by wave upon wave of mind-altering acid lines. Mancunian hero Ruf Dug's accompanying "Zouk Remix", which sounds like a long lost synth-zouk classic from the original Balearic era, is arguably even better. The cosmic deep house shuffle of bonus cut "Kaon" completes a superb package.
Review: Mark E has spent the last few years re-tracing his loopy edit roots with the E Versions project, while exploring Balearic pastures with brother-in-law Nat Woodcock as Project E. Those who've always enjoyed his more peak-time productions will love this new two-tracker for Futureboogie, as it sees him applying his love of loop jams to suit darker, sweatier dancefloors. "Basement Trax 1" sets the tone, looping vintage, Twilo-era organ motifs over a tactile but chugging, nine-minute groove. "Basement Trax 2" is a little more musically expansive, with dreamy chords and similarly ear-catching organ motifs slowly building over a punchy house rhythm and undulating synth bassline.