Review: The brilliantly-named Griffin James continues his meteoric rise with the delivery of another strong EP, this time for Kolour Recordings. "Sing To Me" is a touch different to previous Francis Inferno Orchestra releases, but still boasts Griffin's trademark production and attention to detail. The lead cut builds a lolloping deep house groove around lazy midtempo drum breaks, offering both laidback shuffle and effortless atmospherics. Both the brighter "Go Easy On Me Girl" and Deep Space Orchestra-ish "All Up In This Shit" return to more traditional deep house pastures, mixing chunky 4/4 grooves with delicious organs and intoxicating pads.
Review: Kolour Recordings are understandably proud of their association with Bulgarian produced KiNK, and here ram home the point with an EP of vintage tracks from the label's back catalogue. There's predictably much to enjoy, from the shuffling voodoo drums, razor-sharp strings and simple electric piano melodies of "Tropic", to the slap bass-sampling deep house funk of hustlin' fave "At Night". There's some extra-dreamy deepness in the shape of the luscious "Fish Feeling" and, arguably best of all, the paranoid jazzwise pulse and loose, rave-era breakbeats of "Trevoga". Despite being four years old, it still sounds impeccably fresh.
Review: The Detroit based Kolour Recordings reach their sixth release with Manchester's Moodymanc's latest jazz infused house ensemble, "Gretsch". The title track sees the producer merge a rolling bassline with jazzy, soulful sincerity, lush piano chords and brass instruments. Michael J Collins turns in a more stripped, dubby down version before Manchester At Work's summer mix of "Thief" slows the EP down to just the thud of its dubby beat and the persistent, stretched piano chords. "Bitz" is much funkier with quick percussion and a delightful horn wavering over the top.
Review: Having released well received EPs on Tensnake's Mirau label and Mule Electronic in recent few years, as well as numerous others, Iron Curtis here finds himself on Kolour Recordings for this similarly fantastic EP. "Goma" is a warm piece of deep house that utilises a curious pitched down vocal sample which is particularly dark in its execution, whilst "You" is a slow moving piece of foggy disco, with a bassline so low it's almost melodically imperceptible, whilst synth chords undulate beneath the surface. The San Soda remix of "Goma" lightens the mood by sharpening up the percussion and adding some rippling keys, whilst the Mano Le Tough remix of "You" removes the haze and adds some virtuoso piano over the original's deep groove.
Review: Although the title may be Deeper Detroit 2, don't be fooled as the artists on this latest various release for Kolour Recordings come from distinctly different places. Francis Inferno Orchestra has been setting alight his home turf of Australia with a refined take on deep house that sits comfortably in the Session Victim field of funk-infused grooves, which comes through in abundance on "All Up In This Shit". Istanbul's Sinan Kaya takes a more dubbed out approach on the luscious "Day On Vine", while Melbourne's The Tortoise gets remixed by Genius Of Time into a steamy, decidedly stripped down slice of wild frontier house.
Review: With its hazy vocal samples, tactile riffs and touchy-feely melodies, "Slow Down" is the deep house equivalent of having your oily nether regions gently groped by the man or woman of your dreams. It's closer to deep house than nu-disco, if truth be told, but like most Kolour releases it sits somewhere between the two genres, bobbing along at a serious head-nodding pace. Frank Brooker ups the tempo a few notches on his deliciously deep late night take, while Ethyl explores the potential of vintage drum machines on his version. The EP also includes a brilliantly deep and melodic solo cut from Lokiboi, "Soul Twist", alongside a delay-laden tweak from Rhythm Operator.
Review: Toronto production talent The Noodleman is at the helm for the latest release from the always impressive Kolour, and like the label's prior output you don't want to miss out on the Starlight EP as there's some impressive remixes to boot. The original is a fine example of low slung deep house, emerging slowly from the depths with impressive shimmer into the sun kissed laid back main refrain that's subtly dominated by a hypnotic bassline. The Noodleman's more celebrated compatriot Eddie C is the first to remix the track, offering a smart digital dub wise take that's notable for the percussive crunch and sudden deviation into accordion led skankout! Up next, Wolf Music's Medlar adds to his rising repute with a clipped house effort that swiftly settles into a nice bouncing refrain led by the simmering synth patterns, whilst OOFT graces Kolour for the first time with a straight up house refix. Tip!
Review: Kolour Recordings' Undertones offshoot has impressed to date with outings from heavyweight producers such as Delano Smith, KiNK, Red Rack'em and Moodymanc. To celebrate the milestone tenth release, East Berliner Alex Agore is called upon to grace Undertones with his classy brand of deepness. No stranger to the Detroit label having provided one of their best releases in last year's Promised You Love, Agore is in fine form again as demonstrated on the EP title track. Filled with languid keys, "Love Confusion" is a subtle excursion into simmering house tension made notable by the crafty layers of drums and percussion. Complementing this, the orchestral flourishes of "Protect Me" are underpinned by a delightfully gloopy bassline and skittering drums which lay down the foundations for an excellent vocal hook. "Don't Need No One" meanwhile has summer time written all over it!
Review: It's rare that a bonus cut outshines the A, but that's the case on this four-tracker from deep/tech-house stalwart Sebastian Davidson and Enthousiaste Gasten. The bonus cut in question is "Jonesey", a delightful deep house groover that benefits from the addition of a wonderful original blues vocal. It's brilliantly simple, heart-achingly beautiful and just percussive enough to ensure it'll work and dancefloors. That's not to say lead cut "That Song" isn't good. It's impressive, too, featuring just the right balance of hissing techno hi-hats, bassy bump and twinkling piano riffs. The remixes from Huxley and Reinoud Van Toledo are suitably playable, too, making this a near unmissable EP.
Review: Having previously impressed with a contribution to Sccucci Manucci's Three's A Crowd EP, The Glue make their solo debut with an EP for Kolour Recordings. "Love Generator" is impressively fluid, a tactile fusion of old skool disco values, contemporary deep house and intoxicating nu-disco. The result is something fresh and casually funky. "No Turning Back" sees them traversing the mountain pass of touchy-feely slo-mo disco-house, while "Keyboard Cat" displays their skill for crafting memorable deep house. As if that wasn't enough to get the juices flowing, there's also a tasty remix of "Love Generator" from The Dead Rose Music Company that turns it into a sparse, spacey, vocal deep house jam.
Review: If you're good for 'melodic' modular synth workouts right now, and instead are looking for more trad-style deep house goodness, then you need this EP in your life! Demarkus Lewis's remix of 'Your Love' gets the ball rolling in organ-led, garage-y fashion, 'Plough Hand' is a discofied, DiY-esque deep house excursion, 'Always There' takes a jazzier turn, Daniel Solar's remix of 'Take Your Time' with its Robert Owens-esque vocal will suit the soulful house floors and 'Down The Road' has a blues-tinged, St Germain-y feel. Stand-outs are subjective, so just be assured that this is classy stuff all round.
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