Review: Up next on Kerri Chandler's acclaimed imprint is the highly lauded Canadian act Art Department. Now solely comprised of Jonny White since the departure of Torontonian veteran Kenny Glasgow, the No. 19 Music boss has certainly changed his tune since going solo: The Breeding Ground EP's first two tracks "Industry" and "Exit To Eden" are tough rolling, roughed-up and well functional tools that take their cues from the current sound of UK tech house. He then goes stateside on the emotive deepness of 'Boa" which no doubt got the stamp of approval from Chandler himself as it follows in the man's own idiosyncratic style.
Review: Last year Kevin Pierre AKA Demuir made headline-grabbing appearances on Hot Creations, Desolat and Robsoul Recordings. Here he belatedly kick-starts his 2020 campaign with another high profile release, this time on Kerri Chandler's Kaoz Theory imprint. The Toronto-based producer kicks things off with the sunny soulful house chunkiness of "Lusting U", where Bluey Robinson's effortlessly soulful lead vocal rides a chunky, synth bass-propelled good-time groove. It feels like a summer anthem in waiting. Just as impressive is "Espiritual", a sprightly, synth-laden slab of fireside-warm Latin house bounciness that comes in both vocal and dub mix forms.
Review: French house master DJ Deep has always had a knack for associating himself with the very best from the dance game. Throughout the 00s, you could find him chilling on Tresor or up on the Distance label, but his speciality was certainly spinning records. In fact, that's how he struck up a relationship with NYC's mighty Kerri Chandler, going on to form a long-lasting relationship that would land him on Deeply Rooted House and, as of now, Kaoz Theory. For The Love Of Kaoz is a tripped-out pile of percussive dance sketches, all wrapped up in a noticeably tribalistic sort of flair. "Thai" and "Tuesday Record Shopping In Paris" are slower, more warm-up pieces, while "Guardian" and Cavalier Drums" pump out that classic DEEP sound we all know and love...pushing it far and hard.
Review: He's Hot Natured, tres Freak 'N Chic (once upon a time) but now he's gonna raise Kaoz on the dancefloor: business as usual from the UK tech house legend Jamie Jones. It's more of the smooth and slinky house you'd expect from Bangor's finest on "Illicit Behaviour" often copied but never matched. He ups the ante on next track "New Skool Acid" which is much more fierce and funky. This dirty and druggy shuffler is definitely for the peak time. There's a bunch of killer remixes of said track too: we're particularly feeling Matthias Tanzmann's rendition where the Leipzig legend gives it a dark and atmospheric makeover for late night sleaze. Stephane Ghenacia's however is smooth and sultry deep house for chilled Sunday sessions with floating pads, bumpy bass and lush Rhodes keys doing all the right things.
Review: Experienced tech-house producer Josh Butler has been rather prolific of late. Amazingly, this outing on Kaoz Theory is his fourth EP of 2017, and we're barely five months into the year. The headline attraction is undoubtedly "Sunday Club", a bouncy, peak-time slammer complete with crackly high-end percussion, bowel-bothering sub-bass and mind-altering electronic riffs. There's still much to enjoy elsewhere, though, from the bustling percussive bounce and cut-up vocal samples of "Tracks", to the basement-bothering late night throb of "Jackal". Also worth checking is Seb Zito's deep, warm and woozy remix of "Sunday Club".
Review: Somewhat remarkably, it's been two years since the last single from former Get Physical and Crosstown Rebels producer Just Be. Here he re-emerges on Kerri Chandler's tech-house focused Kaoz Theory imprint. "Snakes In The Bed" is an excellent example of the London producer's work. Tiptoeing the fine line between European darkness, Visionquest style powder house and the sort of stretched-out moodiness that was once Danny Tenaglia's trademark, the track quietly rises and falls in all the right places. The accompanying remix comes from Magda, who retains the shuffling percussion while adding a killer, acid-inspired sub-bass line.
Review: Chandler originally released Pianos back in 2005. Based upon the seminal Steve Reich minimalist composition of the same name, it saw the US producer fuse the experimental artist's melodic flourishes with the driving rhythms of house music. On this latest version, the original track's soaring strings and insistent groove are available in their full 12-minute plus glory. Chandler has also tapped some well-known contemporaries to rework it. Loco Dice's take is quite different from the original, with a dubby, bumping rhythm and scratchy riffs combining to create a version that shares the same repetitive aesthetic as Reich. Stephanie Ghenacia's take is deeper, with hypnotic keys unfolding over rolling drums as cosmic sounds flit about overhead. Both are fitting tributes to Chandler's pioneering vision.
Review: With past releases on Rebirth, Atal and his own Krome label, Lyon's Klement Bonelli has been rather quiet in recent years on the musical front, but he is now back with a vengeance! This release on Kerri Chandler's mighty Kaoz Theory is absolute proof of that. The Quattrocento EP features two sublime and majestic cuts, from the deeply hypnotic tunnel vision of "Majeer" which is reminiscent of Swedish maestro Sebastian Mullaert's work, while the restrained mentalist drive of "Inaktiv" will no doubt bear comparisons to the work of Croatian legend Petar Dundov with its razor sharp and entrancing use of melody.
Review: Alexandre Paounov aka French producer Popof is probably more known for his releases on imprint Heretik (which he runs) not to mention appearing on a who's who of labels from Hot Creations and Turbo to Cocoon. He now appears on Kerri Chandler's newly formed Kaoz Theory with the One Chance In Three EP. First up is the title track which gets straight down to business on this tribal house journey reminiscent of classic west coast tech house of the late nineties. "Summer Passion" or "Record In" (which is particularly sexy/funky) are more classic NYC deep house jams reminiscent of label boss himself Chandler or the legendary Mr V, with some very cool and inspirational lyrics.
Review: The latest release on Kaoz Theory features new music from Satoshi Tomiie, the veteran Japanese house DJ. One of label owner Kerri Chandler's contemporaries, Tomiie shows that he has developed as an artist on "Dubmatica". The rhythm is steely, the percussion raw and hissing and the tonal bleeps plunge to the deepest frequencies. It makes for an irresistible piece of futuristic techno. However, Tomiie has not forgotten his New York house roots either; "512 Jam" resounds to tough, rolling drums, screeching FX and the kind of deranged organ riffing that used to feature on Nu Groove releases. Despite the passage of time, some things never change.
Review: Stephane Ghenacia and Thomas Roland want to "Save The Rave". To that end, they've put together this attractive and club-ready EP. The original version of their party-championing title track is a wonderfully low-slung and bass-heavy affair, with all manner of weird noises and late night electronic melodies clustering around a relentless, punk-funk style bassline and loose, hissing machine percussion. Prolific French producer Djebali opts for a tighter - but no less groovy and bass-heavy - vibe on his hypnotic Parisian tech-house take on "Save The Rave", before Ghenacia and Roland return to wrap spacey chords and evocative vocal samples around a bustling drum machine rhythm on dreamy closer "Diving in Oasis".
Review: Kerri Chandler has long been an enthusiastic supporter of Benson Herbert and Leo Pickings' Voyeur project. He's already put out their singles on Madtech and Madhouse, and here brings them to his newest label, Kaoz Theory, in order to release their debut album. It's a pleasingly varied and assured set, too, moving from string-drenched, cinematic moods, to shuffling, atmosphere-rich tech-house, via African influenced tribal workouts, woozy downtempo hip-hop instrumentals, and dreamy, jammed-out deep house. Despite this eclecticism, it hangs together impressively thanks to Herbert and Pickings' assured use of mood and melody. File under: quietly impressive.