Review: Manchester's Kevin Gorman really found his sound with the Adesse Versions project, mixing the dark and techy sensibilities of his old Mikrowave imprint with his love of house music to stunning effect. "That's What Friends Are For" is testament to this, featuring seductive vocals used sparingly backed by dark strings and a razor sharp bassline that'll set any dancefloor on fire. The dub version up next is quite handy for those of you not keen on the vox. "In The Sticks" injects some latin flair with layer upon layer of rich and exotic percussion not limited to steel drums and congas with some rich synth tapestries to boot. The kind of track you could imagine Derrick May or Laurent Garnier playing mid set; it's a sweet one.
Review: Bryan Kessler has already released on labels like Get Physical, but this outing for Numbers really sees him prove his worth as a techno producer. The emphasis here is on grimy warehouse techno; it starts with the woozy chords and insistent stabs of "Super Boo" before heading into a scuzzy direction on "Hi How Are You", where dollops of dirty bass and some crowd whoops prevail. Air raid sirens, train shrieks and tough drums come together to create a killer title track and it's only on the final track "Power Flower'' - where Kessler rattles snares over a toy-town synth - that some sense of melody appears.
Review: As ever with Numbers, we embrace a wide collection of sounds and influences in this latest full length album project they have unveiled from Complete Walkthru entitled 'Scrolls', featuring 11 saucy original creations. From the more contemporary rhythmic ideas of 'Believe I Can Do This' and 'Lean In' to the soundscape lead themes of 'Leavin' Church Early', this one is dripping in colourful delights, oozing class from start to finish. For us there are a few clear highlights, with the soulful harmonics of 'Cardio' being an immediate standout, alongside the rolling drums of 'Getting Ridiculous' and stunning synthy landscapes of 'Just Like We Like It'.
Review: "Minger": Ace title, naughty beats. All spiked out and fist-thrusting, it's charged with a surging sense of raw drama and driven by nifty, unpredictable drum dynamics with cool amen fills spluttering in and out of the mix. "Yeah Yeah Yeah (Dun Know)" provides a neat contrast; crisp, chilled and breathy, it's the soothing sexy yin to "Minger"'s raging ugly yang. A highly comprehensive release. But we'd expect nothing less from both Numbers and Danny Brown affiliate Darq E Freaker.
Review: UK producer Deadboy will always be synonymous with Jackmaster's Numbers label, having inaugurated it back in 2010 with the one sided If U Want Me 12" back in 2010. It's fair to say Numbers rise since then has been stratospheric, and along the way they managed to coax more killer dancefloor material out of man like Deadboy on a roughly annual basis. The suitably titled Return offers a true display of Deadboy's production palette, with a title track that could feasibly suit a film soundtrack. "Des Niles" meanwhile is reminiscent of the 16bit club stylings of label mate Redinho, while there are further classic Deadboy hybrid dancefloor slayers in the form of "YHVH" and "Life Code".
Review: Excellent release here from Deadboy on Glaswegian imprint Numbers, who returns to the imprint after dropping their first ever 12" in early 2010. The Brighton based producer serves up the epic "Wish U Were Here", which locks into a 4/4 pulse with euphoric Virgo-style synths and a deftly tweaked vocal snippet - solid end of night tackle right here! Up next you'll find "Here 4 U" and "Ain't Gonna Lie", with the former's rolling congas and snare patterns complemented by the latter's syrupy vocals, pinball percussion and straight up garage rhythms. Serious heat once again from the Numbers crew.
Review: Numbers aren't giving much away about the identity of Deejay Deer - unless, of course, he is genuinely a forest-dwelling animal with a sideline in synth-laden late night house, as their amusing press release claims - but in many ways it doesn't really matter. Both tracks here are superb, with "Natural" offering a fizzing, melodious take on deep house with clear Floating Points, Tiger & Woods and Joy Orbison influences. There's also a touch of Caribou about virtual flipside "Unantural", whose fluid waves of synthesizer and exotic, almost psychedelic chords seductively crash over a wide-eyed, loose-limbed jazz groove. It's impressively produced, suggesting this is the work of a seasoned pro rather than a little-known newcomer.
Review: It would be fair to say that both of Denis Sulta's EP singles on Dixon Avenue Basement Jams are "in-demand". It's likely that this first outing on Numbers - a single-track salvo - will go the same way. It's typically of his analogue-rich, retro-futurist sound, with starry, Detroit-influenced synth lines and intergalactic melodies riding a virtual wave of drum machine hits and skittish cymbals. It feels like an early '90s British experiment in fusing the best of house and techno, but that's no bad thing. It's certainly bristling with late night positivity.
Review: Given their previously proclaimed love of ghetto house and its' various similarly minded offshoots, its little surprise to find Glasgow's Numbers crew putting out a "greatest hits" EP from long-serving Chicago producer (and former Dance Mania regular) DJ Deeon. The four cuts that make up Deeon Doez Deeon are not necessarily meant to be his finest moments - though they are all killer - but instead represent the Numbers' crew's favourites. There's plenty to get excited about, from the organ craziness, bumpin' beats and classic disco vocals of "2 Be Free" and blistering "House-O-Matic", to the classic, cut-up vocals and stuttering, ghetto rhythms of "Freak Like Me" (first released way back in 1996).
Review: Always adept at delivering hooky, attention-grabbing house music for all manner of crowds, Doc Daneeka is at once more for Numbers, with the piano-led charge of "Treptow" marking a particularly direct approach for the producer. Using a one-chord stab throughout, Daneeka clearly knows a thing or two about making the most out of a few core elements in this finely balanced deep house tryst. "Paname (Piano Version)" on the other hand has a more leftfield line in rasping percussion arranged into sharp lines of rhythm, while the titular piano lingers more in the distance compared to the lead tune.
Review: As Mial Watkins continues to fortify his reputation as a force to be reckoned with on the frontier of modern British house music, so Numbers get in on the action with this solid pair of club rockers. The chances are you've heard "Walk On In" sending a dancefloor into rapture with its classic soul sister vocal hook over a slinky, detailed groove, as Watkins drafts in emerging producer Ratcatcher to chip in on the production duties. "Trife (Part II)" takes a more duplicitous stance with its mixture of house structure and low-end toms creating a measured but deadly hybrid banger served with lashings of heady synths.
Review: Ill Blu's debut for Numbers kicks off with the much talked about eponymous track of the EP. "Meltdown" acts as the perfect entree, with a reverberating vocal sample and a similar synth/bassline sound to Redlight's tune "Stupid". It makes for a compelling listen with plenty of dancefloor driven panache and synth flourishes colouring it along the way. "Overdose", up next, is more comparable to the aforementioned "Bellion" than any of the rest, building from a sparse intro with echoing cooing and tripping, crispy beats, into a more bleepy, high pitched main tune, masterfully counteracted by throbbing low end b-line action and jungle style chirrups. "Chelt" brings the EP to a close, with a more tech-ed up approach, accelerating into the drop with a clamour of jingling SFX, rumbling atmospherics and quirky, bubbling synths. Dreamy rippling waves drive things forward, underpinned by a thunderous b-line, making this another late night party starter and one to add to the record box if UK funky is your thing.
Review: Ever committed to their position on the wild frontier of glossy party sounds, the first Numbers release of 2012 reveals a brand new production duo from London who go by the name of Kodiak. Kicking off on a jagged UK Funky rhythm, "Spreo Superbus" piles on the drama from the first bars as whipcrack snare delays and rushy synth pitch bends lead to the first of many drops. The production is immaculate, packing scores of detail into the framework, from ranging synths to a multitude of vocal snippets, off beat bass stabs and clattering yet precise percussion. Tempering those rambunctious attributes, Actress snakes in with his Uraeus remix and pares things down instantly with a low slung beat, spacious chords and vaporous hisses. It's not until the twilight of the track that a nasty bassline comes crawling in to ruffle the feathers of its sonic compatriots. Girl Unit isn't pulling any punches with his reworking, riding a smoother beat but keeping the delirious synth energy of the original intact before slamming down into an electro-fied freak-out full of edgy ripples of melody. While the remixes do well to give credit to the source, it's the original that really shines on this release for sheer flair and studio prowess, not to mention a deadly knack for creating hype out of pure digital freakery.
Review: Here's something of a pleasant surprise: Studio Barnhus co-founder Kornel Kovacs turning up on Glasgow's masters of all things dancefloor-friendly, Numbers. While there's a little more of a garage swing to opener "Lighthouse" - think darting string samples, booming sub-bass and energetic deep house drums - the Swede doesn't seem to have wandered that far off-piste. So, we get some undeniably classy, jazz-flecked deep house (the rubbery and flexible "Gangsta"), a surging, saucer-eyed dose of piano revivalism ("Malon", featuring Marcus Price, and some suitably jumpy drums), and, best of all, the late '80s Paradise Garage Latin house brilliance of "Pantalon". Stellar stuff, all told.
Review: Having risen to prominence with a string of releases on the Whities imprint, Lanark Artefax aka Calum MacRae now spreads his wings with a releae on Numbers. "Cora Linn" is a wild mixture of Venetian Snares-style percussive intensity underpinned by a throbbing, powerful bass and cinematic synths. On "Moo Orphaned Drift", MacRae deploys similarly noisy percussive elements, but this time he uses them as a basis for mournful melodies and tempo shifting rhythms that are redolent of his previous, Aphex Twin-influenced records. Rounding off yet another highly distinctive Lanark Artefax record, is the spooky piano soundtrack and twisted vocal samples of "Ferthenheap".
Review: The latest release from the Glaswegian imprint adds a further sheen of excellence in a year where Numbers has really knuckled down and concentrated on a schedule of multi faceted releases. Such has been the demand for Mosca's debut on the Numbers imprint, the London based producer cheekily took to touting advance DJ copies of Do Me Wrong via Facebook. Both tracks here are fully poised for the floor, priming a throwback Bassline / UK G swing dipped in a nowness from Mosca that's been evident on drops for Night Slugs and Fat City. Unusually, it's the B Side that's garnered the most attention, which is odd as "Done Me Wrong" is excellent, reigning in vintage female hollerations over clipping rhythms, swamping basslines and parping synths that pay homage to the classic "RIP Groove". Flipside, the more celebrated "Bax" is a dual assault on your senses, murky sub bass jabbing at your ribs, whilst the sweet cooing vocals whisper sweet nothings in your ears. All this is underpinned by a skipping mid 90s flex heavy on the neon stabs that has warehouse jam written all over it.
Review: Numbers drop Mr Mageeka's latest offering, the wonderfully and weirdly unique, "Different Lekstrix." Sounding like a blend of early Warp style bleeps and a 21st century UK house production, this track is a loopy, untamed affair. It joins the dots between UK funky and a kind of London-centric house sound with intensely hypnotic jacking rhythms. Backed with a L-Vis 1990 remix, the original is taken to the next level, pushing to the point where it almost blows its own top.
Review: Long before he began work on the collaborative Tiger & Woods project, Marco Passarani was much loved for his solo productions, which effortlessly joined the dots between techno, electro, Italo-disco and synth-funk. Analog Fingerprints, his first solo single since 2011, is a thrilling blast from the past. Those who dug his earlier productions on Nature will love the thrilling alien synthesizer motifs, sweaty drums and throbbing acid flashes of "Quarto" - think vintage R&S Records stompers fused with wild electronic disco abandon - while "Tribalonios" feels like a long-lost new beat slammer pitched up to suit house clubs. For those who fancy a cheery chunk of synthesizer-heavy dancefloor bliss, opener "Wonky Wonky Wonky" should more than tick those boxes.
Review: We were very excited to get involved with this one as Numbers bring together this top draw seven track masterclass from Perko, showcasing just how versatile he can be as a producer. We explore the weird and wonderful throughout, with tracks such as a 'Water Memory', 'Polly' and 'Grace' giving us epicly soundscaped backdrops, whilst 'Rounded' and 'What Otters' provide us with a more rhythmic base, still being packed full of harmonic energy. The subtle 4x4
drum beats of 'Songbirds' then gives us a very unique sense of urgency, with the creamy arpeggiators of 'Sky Host' soothing us over. Very creative stuff indeed!
Review: This release sees Jackmaster's always on-point Numbers label with their first reissue, and they've pulled off something quite special with this reissue of Pierre's Pfantasy Club's seminal "Mystery Girl (Set Me Free)". It's a full on piece of vintage analogue 303 jack, characterised by its synthesised slap bass and catchy-as-hell vocal. Considering this is vintage acid house, the 303 line is actually quite restrained, only drifting in briefly, but is made no less furious by the cut up vocals that see the track out. Up next, Numbers employ veteran UK producer Seiji to provide a "Bassrub" of the track. It's actually incredibly sensitive to the original, letting it do its own thing for the most part, forgoing his usual funky tempos, but cutting the vocals up further and adding some devastating subs that will blow out bass-bins everywhere.
Review: Glaswegian imprint Numbers maintain the release pressure that's built up a head of dizzying steam in 2011 with their 20th drop being a label debut from Randomer. The Norf Londoner's musical path began with jungle and that's more than apparent on the title track "Real Talk" which will get a certain SoYoer called Blawan worried about his status as the best drum programmer in town. It's the sort of disjointed, thumping house track that provides immediate gratification, especially when the sub destroying bass purge comes through. "Lime Pie" is equally thrilling, gradually aligning into a ruffed up 303 flex and concrete thick drums, whilst "Stalker" throws pots and pans into the rhythmic equation with neck snapping results. Possibly our favourite NMBRS drop to date.
Review: Whereas Redinho's early work was marked by an ability to work quickly while fusing grime, hip-hop, dubstep and wonk-hop influences, this debut album - some three years in the making - is a much more vibrant, considered and kaleidoscopic affair. Using the distinctive, Rustie-influenced pulse of Glaswegian beat science as his canvas, Redinho paints colourful aural images that doff an oversized snapback to '80s boogie, early electro and intergalactic electronica. That means vivid synthesizers, skittering rhythms, blissful melodies and lashings of unmistakeable talkbox vocals. The results are surprisingly soulful and always enticing, making Redinho a particularly assured and impressive full-length debut.
Review: Post dubstep vibes on this constantly shifting and mesmerising track from Canadian production unit Sibian & Faun, making their debut for the Glasgow based Numbers label. "I'm Sorry" employs soulful, R&B influenced cut up vocals and twisted up synths to give this a late night feel. Meanwhile the mammoth bass frequencies and glitchtastic beats are guaranteed to achieve maximum impact through your bassbins. Melodic yet brooding mastery from this promising duo, this is futuristic dance music at its finest.