Review: Aroop Roy is next up on Lazy Days, bringing his well honed house tones to the label in four varied takes on chunky hardware deep house. "Afrika My Home" is utterly infectious with its shuffling groove and warm, buttery keys. "Le Pasteur" takes some choice disco licks and runs them mercilessly through a filter for blissed out funk of the highest order, while "I Listen" gets into a sprightly, uplifting frame of mind as the most outright party starter on the record. "Afrika My Home" gets dubbed out at the end of the record and sounds even more potent for late night dancefloor sessions.
Review: Paying tribute to house music's most timeless aspects, "Elephants" will find favour with anyone who's much as sniffed a DJ Gregory or John Ciafone record. Positive Balearic fusion with just a touch of emotion in the minor keys, it's an instant pleaser for ravers or chillers. Elsewhere we enjoy a slab of Womack-style soul over cascading strings ("Myself, My Body") and get instantly sedated by the dreamy cosmicity of "The Right Moment". Arty on dudes!
Review: It would be fair to say that Ludovic Lllorca rarely fails to deliver the goods, especially when operating under the now familiar Art of Tones alias. His latest missive on Lazy Days offers further supporting evidence of this theory. He opens with two versions of squelchy, synth-laden deep house cut "Thunder": a chunky "Original Mix" built around undulating acid bass, sparkling electronic motifs, chunky drums and effects-laden vocal snippets, and a tougher dub that features even more of the ear-catching bassline and sweaty, swinging percussion. "Secousse" is a much more jaunty, bouncy and bumping affair, with the veteran French producer once again making great use of colourful synths and electronic bass. Fred Everything gives the track a far deeper, late-night hue on his warm and woozy accompanying remix.
Review: The unstoppable Lazy Days imprint shoots to kill with this latest nugget from two of its regular sharp-shooters, Art Of Tones and Lay Far. The former, Ludowic Llorca has made appearances on everything from Local Talk to Belgium's We Play House label so it's safe to say that he knows a thing or two about house music! "Koniokola" is a chord-heavy pipebomb with beautiful swirls of delay and balearic charm, a truly effective piece for DJ action. Lay Far, who has also appeared on Local Talk and other quality outlets such as 4 Lux, delivers the perfectly dusty and cowbell-heavy "Coming Back". True house beauties with a magic touch.
Review: Fred Everything's Lazy Days label is a veritable institution by this stage in the game, and it's no surprise to see a label of such stature reaching out to an artist as highly regarded as Atjazz. Martin Iveson, as he's also known, ditches the alias here but the mood is consistent with his reputation. "Leave Me Here" is a jazz-soaked beauty in its original form and when Jimpster takes the controls for a remix. On the flip comes Art Of Tones, whose "Koniokola" gets not one but two versions from Fred Everything. Both the remix and "re dub" deal in masterful tech house from a true champion of the genre.
Review: To celebrate five years of his Lazy Days imprint, Fred Everything gets Crazy P, Art of Tones, Greg Wilson and Ian Pooley to provide a bunch of remixes of some of the label's best-loved tracks. While all provide solid reworks - particularly Crazy P, whose two rubs of Fred Everything's own "Friday" are excellent - it's Art Of Tones who really excels. His three reworks of Tortured Soul's 'Found A Way' are everything a disco-loving house head would wish for; loose, bumpin' and deliciously soulful, riding a wave of loose-wristed live drums and classic synth strings.
Review: We were full of praise for Fred Everything's 2018 album "Long Way Home" - the Canadian's first full-length excursion in a decade - so we have high hopes for this expansive remixed version. There's naturally some revisions by friends and high profile remixers, with Atjazz's deliciously intergalactic deep house take on "Spacetime", Ilia Rudman's slow Balearic boogie revwork of "Palma" being arguably the most notable. Elsewhere, the Lazy Days co-founder offers up a string of fine alternative versions of his own - see the sparkling, piano-heavy "7AM in Tisno" dub of "Barbarella" and the stunning, beat-free "Somewhere Ambient Version" of "Something for starters - as well as a handful of fine dubs and some previously unheard tracks ("Un Dimache Soir", "Alright (Original Mix)").
Review: Fred Everything's Les Jours Paresseux series, which launched earlier this year, sees the long-serving producer paying tribute to the saucer-eyed, loved-up bliss of late '80s Italian deep house. This second volume in the series continues the trend, delivering cuts that bristle with period flourishes - see the loon bird samples and sweeping chords of "True", or the piano-laden humidity of "Truth" - and colourful authenticity (the spine-tingling rush of "PSC Theme" sounds like a long lost Morenas production). The EP also boasts another fitting tribute to the period in the shape of a brilliant "Beatless" version of "Organ Theme", which sounds like a long lost early '90s ambient house classic.
Review: Normally at this point we'd go into a rambling spiel about the credentials of the producer involved in this release, but in the case of Fred Everything it hardly seems necessary. After all, the Lazy Days co-founder has been releasing high-grade deep house for decades and his quality threshold rarely dips. "Wherever You Go" sees the French Canadian producer continue his recent fascination with glassy-eyed Balearic-era house, in the process serving up a deliciously warm and colourful tribute to classic Italian dream house. Phillip Lauer handles remix duties, first wrapping the original mix's hazy vocal samples around a wild, acid-fired analogue house groove on the Dos Main mix, before necking something naughty and reaching for the pianos on the slicker and dreamier "Akai Mix".
Review: Long Way Home is the first Fred Everything album in a decade, but it has been worth the wait, as the Canadian producer delves into musical territories. "Cinema Paradiso" is underpinned by lush strings and crisp break beats, while "By Day" features the soulful vocals of Sio, accompanied by gentle piano lines. Even the title track focuses on a more electro-funk sound than the typical Fred Everything sty;e - albeit one that is soaked in strings. The pace finally picks up on the electronic disco of "Un Dimanche Apres-Midi" and fans of Fred Everything's deep house style will not be disappointed, with the blissed out vocals and trippy keys of"Wherever You Go" sounding like one of the most soulful tracks of 2018.
Review: 'Here (Now)' first appeared as the B-side of the 2020 Vision released 'Over You' single way back in 2003. The deep house stalwart decided to revisit it last year and here presents the results alongside the still delicious original - an ultra-deep, locked-in late-night affair full of drowsy chords, arpeggio-driven synth bass and spacey keys that still sounds as good as it did all those years ago. The Canadian's own '2020: A Space Disco Odyssey' revision undoubtedly takes it up a notch, focusing more on the arpeggio-driven bassline while adding starry electronic flourishes, melancholic strings and deep, intergalactic chords. Equally as impressive is Prins Thomas's epic 'Discomiks', a ten-minute workout that sees the Norwegian layer Fred Everything's keys, chords and samples atop his own live-sounding drums and dub disco bass.
Review: Since Fred Everything has a track record of making rather good deep house, and vocalist Robert Owens has a bigger claim than most to be "the voice of house", you'd expect this 'I'll Take You In' to be rather good. It is, of course, with the pair conjuring up a warming, musically detailed chunk of deep house bliss that sounds like a saucer-eyed update of Dubtribe Soundsystem's 'Do It Now'. Fred Everything also provides two fine 'BDTW' mixes: the fluttering synths sounds and vintage Chicago house grooves of the 'Deep Mix', and a more stripped-back 'Vox Dub'. Best of all though is Martin 'Atjazz' Iveson's rework, which recalls the fluid synth sounds, jazzy flutes and intricate percussion programming that marked out his early 2000s work on Mantis Recordings.
Review: Here's something to set the pulse racing: a collaborative, three-track excursion from long-serving deep house producers Fred Everything and Hollis P. Monroe. As you'd expect, the composition and production is on point throughout, with the new studio buddies achieving a near perfect balance between club-ready grooves and ear-pleasing melodiousness. Opener "Dawn" sees the duo wrap rising and falling synthesizer lines and blissful electronic melodies around a shuffling deep house groove, while "Anywhere" is a much more low-slung and bass-heavy affair (albeit blessed with the colourful synth riffs and melancholic chord progressions). Arguably best of all, though, is closer "There Is A House", which pits the analogue synthesizer-driven melancholy of the Pet Shop Boys' Behaviour album against the snappy drum machine percussion of New York proto-house.
Review: You couldn't wish for a more expert duo than Fred Everything and Crazy P mainstay Chris "Hot Toddy" Todd. Either solo or in collaboration with others, they've been responsible for too many fine records to mention over the last two decades. This collaborative affair is rather good, too. "Same Old Sound", a deep, slow-motion nu-boogie number rich in sparkling, glassy-eyed chords, catchy synth-bass, tasty jazz-funk guitars and head-nodding drum machine beats, sounds like a particularly loved-up tribute to Dayton classic "The Sound of Music". This is particularly evident on the original mix, which also boasts a robotic vocoder/talkbox vocal reminiscent of the 1983 classic, but the influence can also be heard on the drowsy, sunshine-friendly "Guitare Dub" version.
Review: Fred Everything, who has appeared on the very best of house labels including 20:20 Vision and Drumpoet Community, teams up with the rising Fred Iveson for a split EP on the US' Lazy Days imprint. Everything's "Gentle As The Sun" is a bouncy and docile house gem for the early morning, a tune which cleansed the soul. Iveson's "Leave Me Here" is similarly placid and soothing but with a more stripped back approach recalling the sorts of percussion sounds heard in many darker minimal tracks.
Review: Fred Everything's recent collaboration with the undisputed "voice of house", Robert Owens, was exceptional: a nostalgic chunk of vocal deep house greatness that boasted a number of sonic nods towards the hippy-house brilliance of San Francisco's Dubtribe Soundsystem. Here the Canadian offers up two new mixes inspired by classic Chicagoan acid house. The single-opening 'BDTW Acid Mix' adds Owens' inspiring vocals to an immersive backing track rich in wriggling TB-303 acid lines, chunky acid bass, crunchy, jacking beats and starry, deep space chords. Arguably even better is the accompanying 'Acid Dub', in which selected snippets of Owens' vocals rise above rougher, more angular acid lines, even more jacking drums and some deliciously glassy-eyed musical flourishes.