Review: It appears that contemporary DJs and label owners are finally twigging that BRS made some killer deep house in the early 2000s. Here, Wolf Music serves up a freshly remastered reissue of 2003 EP "Spring Dom", which follows hot on the heels of Situationism's new edition of outstanding 2000 cut "Lovin' Me". It remains a superb collection of cuts, with the bumpin' UK garage-influenced/San Francisco deep house fusion of "Clubtronic" and the more analogue-rich "Miss You" being joined by the wonderful dub house/piano house/boogie fusion of title track "Spring Dom". This time round, there's also a fresh remix of the latter cut, with Wolf Music regular Medlar re-casting it as an all-action chunk of boogie and electro-tinged proto-house goodness.
Review: In conjunction with the London based label celebrating its eighth birthday, Wolf Music return to the various artist format that sees them releasing forgotten gems and exclusive tracks from label mates. BRS' "Bouncing" was originally released back in 2000 on Sunshine Jones' Imperial Dub and is a firm favourite of the label for many years now. They see it as an opportunity to introduce it to a new generation of record buyers. Slovakia's Paradiso Rhythm self released "Greetings & Salutations" early in 2016 but Wolf have reissued it because it is, in their own words a 'killer record in every way.' Also of note: Ishmael & Medlar supply a collaboration recorded last year at the Red Bull studios and finally an updated version of KRL's "I Wanna Be With You" that was originally released on WOLFEP003.
Review: Nicholas Church and Joseph Spencer's Casino Times collaboration makes its way onto Wolf Music for the first time with the four-track Wolf 23 EP. First up is the ravey, French house-influenced broken beat disco throwback "Principles", which leads into the rich sounding, piano sprinkled "AWD". Things become all the more low slung on the moody, rhode-driven "Stirling" featuring the Galchwer Lustwerk-esque vocals of High Hope, which Damiano von Erckert turns into a tribal, deep and dubby late night rhythm. A killer rework indeed.
Review: The latest release from the reliable Wolf Music camp features two previously unheard remixes of tracks from Casino Times' Familiar Circles full-length. Al Zanders does a stellar job reworking "Carlotta", in the process laying down a hypnotic, percussion rich deep house shuffler full of bright cowbell hits, sunset-friendly jazz guitar licks and bubbly electronic melodies. Then you'll find a more than pleasant surprise: a deep, dreamy and utterly beguiling drum & bass remix of "Oddity" from Smallville regular Moomin. Its expert combination of evocative musical elements and crispy, snare-driven D&B rhythms is reminiscent of the golden age of Bukem-style liquid D&B.
Review: Wolf Music doesn't release many albums, but when they do, the resulting set is invariably superb. Familiar Circles, Casino Times' long awaited first full length, is certainly quietly confident, with the British house duo delivering a range of hazy, evocative cuts shot through with a hazy sense of loved-up positivity. While breezy, Balearic deep house is their go-to sound - and there's much of that evident throughout - the album also includes nods to "Belfast"-era Orbital (the shuffling electro/deep house hybrid "Oddity"), early Funkineven (the jumpy, modern boogie bliss of "What (Miracle Beat)"), drowsy ambience ("Transit"), and early '90s style intelligent techno (the psychedelic electronics, ambient house melodies and fleeting acid lines of closer "Foundations (End)").
Review: Having already unleashed a killer full-length excursion, "Earth Tones", earlier in the year, it would be fair to say that former 1080p and Public Release duo Earth Boys are in the musical form of their lives. There's certainly plenty of high-quality fare to be found on this surprise mini album for Wolf Music. Check first the tipsy sub-bass, Latin house percussion and ultra-dreamy chords of "Piff Party", before admiring the breakbeat-fuelled, loved-up house of "LSD", and the Larry Heard style deep house beauty of "Love Yourself". "Upstate" is a slightly sweaty chunk of analogue deep house haziness, while "A Deal With The Devil" is tough, late-'90s US garage groover. Fittingly, closing cut "Earth Song" is pleasingly woozy, dreamy and tactile: a sunrise-ready excursion that lingers long in the memory.
Review: Wolf Music continues to evolve as a label, with recent releases showcasing a much more mature, dustier and quietly soulful feel than some of their earlier outings. Certainly, there was a smoky, jazz-flecked vibe to Medlar's recent 12", and this EP from regular contributor Frits Wentink is suitably fuzzy, glitchy and groovy. Opener "Blaise Montoya" sets the tone, with watery riffs, grainy jazz samples and bluesy vocal samples riding an undulating, US-garage influenced groove. There's a similar, if chunkier, feel to "Hummel", while "Etna Devine" goes further into left-of-centre, jazz-influenced deep house territory. Like the EP's other tracks, it feels a little more inventive and out-there than your average deep house jam.
Review: Having partied hard to celebrate notching up 50 releases, the Wolf Music crew is not letting the grass grow under their feet. They've already served up missive number 51, a single-track salvo from label regular Frits Wentink that has apparently been gathering dust in the producer's archive since 2014. "Frogs, Toads and Newts" is typical of the Amsterdam producer's work. Based around a dusty, slipped deep house groove blessed with swinging, MPC style drums, heavy sub bass and rubbery double bass samples, the cut's power is partially down to Wentink's canny use of echoing R&B vocal samples and suitably woozy, minor key chords. It's a bit like S3A covering Mark E's "R&B Drunkie", which in our eyes at least is a very good thing indeed.
Review: The first volume in Frits Wentink's Two Bar House Music and Chord Stuff series won plenty of plaudits when Wolf Music slung it out last summer. Happily, the eccentric Dutch producer seems to have raised his game even further on this fine follow-up. Check, for example, deliciously trippy opener "Theme 5", where vocal snippets, organ riffs and sci-fi synth sounds are drenched in tape delay and wrapped around a skewed deep house groove, and the bolder, bass-heavy bustle of saucer-eyed peak-time wobbler "Theme 7". Elsewhere, he combines the dreamy dustiness of Mood Hut style deep house with the cheeriness of Italian piano house on "Theme 8" and gets locked into a soulful, deep and bass-heavy vibe on the similarly impeccable "Theme 6".
Review: First in a three part series by Dutch producer Frits Wentink, presented in a hand stamped picture sleeve. Wentink has been one of The Netherlands' most steady artists since his first release in 2012. As the head honcho of both Will & Ink and Bobby Donny, he is known for pushing quality house music. Starting off with with the neon-lit late night groove of "Theme 01", the slo-mo boogie down groove of "Theme 02" is equally impressive and had us reminiscing of classic Metro Area. "Theme 03" is the EP's most straight up moment: this kind of dusty deep house with sexy retro synths and sleek vox samples are right up our street. "Theme 04" is a woozy and disjointed groove, with its broken beats and skittering melodies getting and inventive groove on: that's for sure.
Review: Wolf Music - London purveyors of the real proper deep stuff - deliver on the same underground quality once again, in the form of this nifty little EP by Frits Wentink: one of Holland's finest. The final in a three-part series, the Bobby Donny boss continues to showcase his distinct style of lo-fi, wonky house - both quirky and unconventional, yet instantly endearing in the same breath. From the late night swing-fuelled groove of "Theme 09" to the slo-mo boogie down vibe of "Theme 11" (a tribute of sorts perhaps to Morgan Geist's neon-lit aesthetic) to just the same good ol' loopy jams you've come to expect like "Theme 12" that are jam packed with Wentink's usual dancefloor dynamics - dusted down, lo-slung and well bowled!
Review: London young guns Wolf Music are still at it, pursuing their love of new wave deep house sounds and they're still doing good, we must say. They've drafted current scene favourite Frits Wentik with a little help from fellow Dutchman Loes Jongerling for Rarely Pure Never Simple (Club Edits). First up is "Nevertheless" which is Berlin style dusty/hip-hop inspired deepness in the vein of Glenn Astro and Max Graef. The vibe continues on "In Addition (Club Edit)" which adds a bit of emotive and soulful synth work reminiscent of classic Larry Heard into the mix. Finally the title track gets all reduced and dubby on us, galloping away in subterranean and mysterious fashion but those Rhodes keys and sexy vocal loop on top are a worthy addition.
Review: Back in November 2017, Gene Tellem debuted on Canadian imprint SOBO with "Who Says No", a three-track assortment of blissful, saucer-eyed deep house and techno treats. There's a slightly different feel to this belated follow-up on Wolf Music, but the showcased music is no less deep, dreamy and melodious. He begins by smothering crunchy machine drums in spacey chords and gentle starburst melodies on the sumptuous "Phase Memory", before tipping a nod towards early Orbital classics on the retro-futurist shimmer of "Omni". Elsewhere, "Big Bill" offers up a killer combination of jazzy bass, loose-limbed electronic drums and rolling synth riffs, while "NYC Meditation" sits somewhere between off-kilter turn-of-the-90s deep house, IDM and ultra-deep broken beat.
Review: Graham 'Greymatter' Luckhurst has always been tricky to pin down. Initially inspired by soul, hip-hop and broken beat, his 2010 debut album Mind Over Matter joined the dots between those genres, garage and left-of-centre house. Having spent the last few years dropping quirky deep house floor fillers for Wolf Music, he returns to the London imprint with his sophomore set. Visions is an intriguing and entertaining set that's typically hard to categorize. While it has analogue deep house at its' core (as displayed via collaborations with Sophie Brown, Medlar and KRL), there are distinct nods to jazz, wonky downtempo electronica, and twisted, out-there acid.
Review: As Wolf Music reach their 20th release it seems quite fitting that three names synonymous with the London label pretty much since its inception should feature. Greymatter, KRL and Medlar have been collectively responsible for some of Wolf Music's most memorable releases and together here offer an excellent demonstration of their production prowess. This is largely a Greymatter & KRL affair with the duo combining on three of crisp London house manoeuvres that commence on a MCDE gone garage tip with the excellent "Straight Billin" - all about the ruff drum break and shuddering bassline here. "A World Without Love" features vocals prominently too but there's a touch of classic Carl Craig to this cut that demonstrates the duo's production versatility. "Mesh" meanwhile sees Greymatter & KRL trade in sampled vocals for the real thing with a soul tingled turn from Emma Brammer whilst Medlar cranks up the expectation for his forthcoming LP with a wonderful rework of "Straight Billin".
Review: Wolf Music has enjoyed another solid year, and here rounds of 2013 with another strong package. Greymatter kicks things off with "Give Up (Never Gonna)", a perfectly pitched chunk of sparse deepness with hints of smoky late night soul (thanks largely to some warm chords and a cut-up vocal from Sophie Brown). KRL's "The Game" works loops and filters hard, delivering an off-kilter take on sample-heavy house that sounds a little like Andres, while Homeboy's "Spacelift" is pleasingly melodic and intoxicating, with the added bonus of a suitably heavy analogue bassline. Ishmael's "Lumo" sparkles with glistening synths and touchy-feely grooves, while James Welsh employs some clattering snares and sparse melodies on the powder house-included "Sleepless in the Saddle".
Review: Cologne's Hodini has appeared previously on local imprint AVA, as well as Berlin's Money $ex and Toytonics. On his new one for London's Wolf Music (his second for the label since his remix for Mr. Fries last year), he goes for a raw and jackin' house vibe that's dust covered and hypnotic and sits somewhere between the raw sampledelic cyclicality of Motor City Drum Ensemble's Raw Cuts Series and classic DJ Sneak style disco-cut ups. He starts with the funky "Down Up" and the lo-slung "Grigio" respectively. Then it's a much more chill affair, with the blunted hip-hop flavour of "Represent Right Here" which calls to mind his work on the aforementioned label of Max Graef & Glenn Astro. Finally "Parashutes" features a bit of help from Hade on this smooth and soulful nu-disco jam that's aimed squarely at summertime open air dancefloors.
Review: Having spent much of the last few years working alongside pal Glenn Astro, Hodini re-boots his solo career via a first appearance on Wolf Music Recordings for two years. He begins in typically smooth, hazy and groovy mode via the jazz-sampling deep house bounce of "Velved Groove", before getting busy with his MPC on the hybrid deep house/R&B/hip-hop flex of bumpin' number "Special Shoutout". Hulkhodn lends a hand on the head-nodding hip-hop beats of "Doggo Content", while "Where's The Wine" is a bassline-driven chunk of stripped-back deep house par excellence. Closing cut "One4fries", a more percussive and forthright jazz-house cut, may well be the strongest moment on an undeniably brilliant EP.
Review: No 27 in the Wolf Music discography sees the Lupine London label look to the Lowlands (try saying that five times in a row) and introduce their network to the talents of Dutch duo Homework. As Homework, Amsterdam-based Tom Waist and Zip Stolk have racked up a clutch of releases for Shir Khan's Exploited label over the past four years and their brand of classicist Chicago house is most definitely high grade Wolf material. It's hard to describe the three Homework cuts here as anything other than luscious with "Time & Time" a definite highlight thanks to the vocal sample flip. Includes a rather dusty remix from Wolf Music regular Greymatter.
Review: Hubert Clarke Jr's debut EP, a very limited 12" on 100% Silk released in February 2016, marked him out as a talent to watch. Happily, this follow-up, which sees him pop up on British deep house imprint Wolf Music, is equally as impressive. The Sydney-based producer begins with the jazzy piano riffs, tumbling analogue bass and bustling deep house drums of "Paradiso", before moving further towards classic U.S deep house territory on the warm and toasty "No Look For Trouble". The loose, rich and jazzy "Midday at Sudek's" sounds like the kind of organic deep house fare that\s regularly championed by Rhythm Section International, while "With River At The Lounge" adds a little synth-boogie swing to Clarke's hazy deep house template.
Review: The sweet soul sound of the Wolf Music stable continues to course its way through producers new and old, and this time vocalist Ishmael is getting a whole release to himself after a few spots on the various artist EPs the label is prone to. There's a decent spread of moods here, with "Dejong" starting things off smooth and steady with its gentle Rhodes chords, before "Takoma" brings a more feisty kind of synth stab to bear on this late night heater. "Ashbury Roll" gets into a jazzy headspace with its choice keys and shuffling drums, and then Medlar steps up for a remix of "Takoma" that rains an embarrassment of boogie riches down upon the track.
Review: Bristol house type Ishmael got his debut on Wolf Music some three years ago, sharing space with Bicep, Medlar and Casino Times on one of the label's trademark split 12"s and not looking out of place one iota. He's since gone on to contribute several further 12"s to the Wolf cause as well as align with the similarly-minded Church with whom his debut LP, Sometime In Space, was released earlier this year. This new 12" for Wolf picks up where that LP left off as Ishmael runs through deep burnt gospel house ("Mercy, Mercy, Me"), heat-treated vibers ("Doldrums") and buff MCDE-style piano tinklers ("Matilde"). The mighty Soulphiction pops up to lend his own brand of shuffling percussive house class on a closing remix of "Doldrums."
Review: Arriving at a fifteenth release in little more than three years is no mean feat, and the Wolf Music crew have retained a standard of quality throughout that a few other labels could learn from. Once again switching the emphasis from artist release to a quartet of contributors, WOLF 15 opens with a killer Ron Basejam refix of recent Wolf anthem "Nowt" by James Welsh. Originally a louche slice of beatdown, "Nowt" stays at an even tempo in the hands of the Crazy P artist though there are all new levels of seductive funk added. Complementing this are three label debuts of varying style but equal quality, with Squarehead & Mella Dee (one half of Mista Men no less) opting for a brazen concoction of ruffed up garage rhythms and deep house emotions on "Get Together". Next up, breakout house duo Waze & Odyssey add Wolf to their growing CV with the effervescent cut up house rowdiness of "Feel My Voices" whilst South African producer Terrence Pearce might just steal our affections with the skippy, smudged delights of "Magic".
Review: KRL's latest release - his first since 2013, coincidentally - is not so much an EP as a mini-album. Featuring a trio of hazy, quick fix interludes and a quartet of dancefloor-friendly house jams, WOLFEP032 sees the Wolf Music regular in fine form. "Manchester Beat" is a loose, oven-fresh groover built around looped, warehouse-friendly riffs, Lone style electronics and cut-up hip-hop vocal samples, while "You Roll Me" continues the late night, old skool vibe by way of gospel vocal snatches, bold chords and Balearic synthesizer flourishes. KRL joins forces with vocalist Janine Small on the tactile, groovy and luscious "So Far", but it's the retro-futurist pianos and classic US garage bump of "Tell Me Why" that really steals the show.
Review: Having previously plied their trade on ManMakeMusic, Christian Piers and Leon Vynehall have been persuaded to bring their Laszlo Dancehall project to Wolf Music. Happily, this first collaborative effort since the tail end of 2013 is every bit as essential as its' three predecessors. They begin with the baggy deep house grooves, stretched-out chords and bustling bass of the hypnotic "Tide In", before adding booming sub-bass and twinkling keys to the jazzy, Andres style swing of "Channel". "Pelagos" is a little bolder percussively, but still revolves around organic, jammed-out keys (not to mention some subtle disco drum samples), while "Tide Out" offers a thrilling, everything-but-the-kitchen sink take on the EP's opening track.
Shut The World Down Down For A Moment - (6:38) 122 BPM
Review: MPC loving deep house don LB aka Labat rarely gets it wrong, as his previous releases on D.KO, Magic Black, Robsoul Jazz and Wolf Music prove. Predictably, he's in fine form here, too, flitting between the lilting strings and fuzzy analogue grooves of "Scanner", the loved-up deep house dustiness of "Track One" and the saucer-eyed warmth of "Dirty Walk", where distorted Fender Rhodes motifs work away jazzily over a loose and languid dancefloor groove. Those after something undeniably sun-kissed and sunset-friendly should check "Shut The World Down For a Moment", a typically blazed and seductive chunk of languid MPC-house.
Review: MPC-loving Lyon resident LB AKA Labat is a deep house producer with soul. That much is clear on his first EP for Wolf Music, which follows rock solid releases on D.KO, Robsoul, Faces and Moonrise Hill Material. Check first opener "Otari", where haunting and poignant piano lines relax over a driving but dusty deep house groove, before turning your attention to the Andres style, sample rich goodness of "Leaders For The Government", which includes some superbly simmering strings and a rubbery but restless bassline. We'd also recommend closer "Gold Rush", whose stomping, kick-drum driven beat is accompanied by more hazy, eyes-closed piano samples
Review: Since making her debut two years ago, Lea Lisa has delivered a handful of quietly impressive EPs full of on-point deep house workouts. Here the French producer makes her Wolf Music label debut with what could be her strongest outing yet. "Something For The Dancers" is a deliciously melodious saunter through warm, heavily electronic deep house pastures rich in ear-catching motifs and eyes-closed piano solos, while "From Garage" sees her expertly joining the dots between rubbery nu-disco and late 80s, New York style garage-house. The accompanying remixes of "Something For The Dancers" are superb, too, with Kerri Chandler's bustling, near-perfect take on "dark" remix (which, of course, isn't dark at all but rather warm and immersive) just edging out the more hypnotic and synthetic Black Tone "reshape".
Review: Confusingly, Manuel Darquart is not a single producer, but rather a duo comprised of future deep house heroes Louis Anderson-Rich and Sean Whittaker. Here they deliver their highest profile release to date, a stunningly positive and life-affirming collection of cuts on Wolf Music Recordings. The meat of the EP is a trio of tasty tracks that draw direct inspiration from the fluid, colourful, tactile and melodious sound of turn-of-the-90s Italian dream house. Our pick is Don Carlos-esque opener 'Keep It Dxy', though the more Balearic 'Miranda' and bubbly 'Parkour' are not far behind. The EP also boasts a fine bonus in the shape of Medlar's extra-percussive 'Timbales Dub Mix' of 'Parkour', a more intense but no less huggable interpretation tailor-made for peak-time dancefloors.
Review: In 2019 Marina Trench impressed with a two-part debut single on Deeply Rooted. Wolf Music debut the "Waterside EP" marks her first single since and is every bit as alluring as its predecessor. The French producer aims for peak-time perfection on opener "Waterside", wrapping heady female vocal samples and fizzing electronics around a killer techno-funk groove, before slipping into classic deep house mode on the warm, groovy and piano-laden "Get In". You'll find even more bright and breezy piano motifs on tactile, retro-futurist house jam "Train Call", while closing cut "Straight" offers an even warmer, dreamier and more fluid take on turn-of-the-millennium American deep house.
Review: It's been two years since the release of Medlar's excellent debut album, Sleep. He's been relatively quiet since - an EP of 12" versions of album tracks and a collaboration with Dan Shake on Delusions of Grandeur notwithstanding - so this all-new four-tracker for Wolf Music is a timely release. Predictably, it's rather good, with Medlar moving further towards the jazzier end of the deep house spectrum in a similar vein to recent releases on Rhythm Section International. Highlights are plentiful, from the extended, beatless build up and twinkling pianos of "Dawn Chorus", and the Mood Hut style, ambient-influenced new age house revivalism of "Paradise", to the military drums and analogue electronics of "Loon". Best of all, though, is the sticky, humid, off-kilter jazz wig-out "Angel Race".
Review: Medlar, who also produces as Klic, drops his first solo EP for London imprint Wolf Recordings. Lush chords and woozy rhodes partner up with "uh-huh" vocal snippets and tribal percussion in "The Sun". James Brown "uh's" and basic synth progressions make up "Knockard Pearl", which receives a stellar Detroit Swindle remix of bolstered stabs that verge on rave. "Govern" lowers the BPM for a shuffled groove, maintaining the lo-fi brilliance of the rest of the EP. A secret weapon for the transitional DJ.
Review: Having spent the last 12 months sharpening his disco credentials via a variety of re-edit EPs and sample-heavy "secret weapons", Medlar is back on Wolf doing what he does best. In this case, that means sparse, drum machine driven electro/proto house fusion ("Cascinari"), delay-heavy, stripped-back analogue house blessed with dreamy chords and grime style lo-fi synth-strings ("Nisantasi") and Ruf Dug style dancefloor sweetness seemingly created using forgotten old synthesizers, dusty drum machines and a solitary TB-303 ("Priet"). Excitingly, the EP's final track - a bustling fusion of beatbox electro rhythms, layered breakbeats, heavy bass and yearning chords - is a studio hook-up with similarly well-regarded producer FYI Chris.
Review: Fittingly, Wolf Music's 50th release comes courtesy of longtime label artist Medlar. There's naturally much to admire throughout, from the jaunty, sub-heavy bounce of opener "Novanta" - where a nagging, one-note synth hook careers around above elastic drums - to the jammed-out vintage synth lines, swirling nu-disco electronics and chunky, non-stop beats of similarly giddy closing cut "Monday Boy". In between, you'll find the deliciously odd and out there percussion workout "Pampas Drums", whose effects are undeniably mind-altering, and the breezy tropical house cheeriness of sun-kissed house stepper "Paloma". In summary: a pleasingly charming affair that ranks as one of Medlar's most loose, effervescent and off-kilter EPs.
Review: For his first album since 2016's acclaimed A Minor Thought, Sebastian Genz AKA Moonin has upped-sticks from Smallville and resurfaced on Wolf Music. Musically, little has changed, meaning a heady and intoxicating blend of sumptuous, organ-heavy dancefloor dustiness, muddy lo-fi house, jazzier workouts and the kind of sample-rich, hip-hop influenced deep house jams that are currently all the rage. There are a few curveballs dotted throughout, too, most notably the head-nodding instrumental hip-hop deepness of "949494" and a couple of wonderfully deep and evocative, liquid style drum and bass rollers. In other words, it's an excellent album that exudes smoky deepness from start to finish.
Review: The story of how this record on Wolf Music came to be is a shining beacon of how the underground works at its finest. Booked to play Dortmund venue Oma Doris last year, the Wolf lads were handed a CD of demos from young resident DJ Mr Fries which had them very impressed. Soon after label and artist shook hands, and now Mr Fries becomes Wolf Music's Dortmund correspondent with this blissful 5 track EP. The young German is a fine fit for the Wolf cause, brandishing a deep take on house that's got just the right amount of dust and plenty of soul in the samples used. We'd wager Mr Fries was signed up on the strength of lead track "Get Together" alone! Money $ex Records alumnus Hodini and long-time Wolf affiliate Garth BE provide extra sweetness on remix duties.
Review: Dortmund producer Mr Fries was signed to Wolf Music after handing over a CD of demos at a gig. He subsequently made his first appearance on the established deep house label in February 2016. This belated follow-up is packed full of hazy, club-ready treats, from the sample-heavy deep house jazziness of "Justafan" and Moonrise Hill Material style dancefloor warmth of "Anotherbeer", to the jazz-funk influenced slickness of "Indarkdayz (feat Pete De Haan)", where snaking saxophone solos wrap themselves around a wonderfully tactile groove. Throw in a couple of head-nodding interludes (one of which is also turned into a chunk of glitchy deep house by Lab AKA Labat), and you have another essential EP from the talented German youngster.
Review: Dortmund based producer Mr. Fries returns to Wolf Music for his third outing for the London label, with yet more sample heavy/MPC saturated cuts that follows up a terrific EP on Philpot. WOLFEP 045 opens with the sexy late night mood lighting of "Nocturnal" with its creamy Rhodes melody and dusty drums, the funky "Work" and its bass driven/Moodymann influenced groove, and the sunny open-air deepness of "Getright" which you could imagine hearing at a outdoor party on a summer Sunday in Berlin. Speaking of which, the fine EP closes out in blissed-out style with the very Money $ex/Tartelet sounding urban blues of "Thesimplethings" nailing that deep sound of the German capital.
Review: Wolf Music's latest offering sees label regular Mr Fries join forces with Mike Kandinsky, an up and coming producer based in the Northern Rhine city of Aachen. The result is a warm, loose and atmospheric EP that effortlessly flits between jazzy and hazy instrumental interludes (see "Intro", "Fallingasleep" and the blunted hip-hop beats of "Junkfoodmusic (Part 2)") and loose, languid and groovy club jams rooted in jazz-fired deep house. In the latter category you'll find the ultra-warm grooves, bluesy trumpet solos and eyes-closed Rhodes solos of "Strolling Around", the Marvin Gaye sampling late night smokiness of "Downhere" (a kind of contemporary update of the jazz-house sound explored on St Germain's "Boulevard" LP) and the driving, dub-disco informed deep house throb of "Stranger". In a word: superb.
Review: Despite only having a handful of releases to his name, Neue Grafik has earned a reputation for being one of France's most talented beat makers. This EP for Wolf Music follows largely inspired outings for Beat X Changers and Sampling As An Art, and once again sees him blur the boundaries between deep house, hip-hop, jazz, and 21st century boogie-soul. There's naturally plenty to enjoy, from the frenetic drum machine hits, hip-hop vocal samples, jazzy synth bass and jammed-out keys of "Jam For Muhammad", to the woozy, off-kilter deep house swing of "Butter Chicken (DemoCrazy)" and humid, lo-fi dancefloor strut of "We Need To Talk". Best of all, though, is "Witches", a sumptuously soulful, Floating Points style shuffler containing the impeccable vocals of Wayne Snow.
Review: Wolf Music turn 25 and pull out something approaching a curveball in handing a label debut to Ossie. Known best for his work on Hyperdub, putting Ossie together with Wolf Music isn't an equation most people would make, but if you've caught the Londoner DJ you'll know he's super tight at mixing and plays plenty of classic house. Indeed it's nice to see Ossie back on the solo flex, having recently been focused on the Black Orange Juice project with vocalists Tilz and Paul Black. Perhaps that time spent working with others has given Ossie a new sense of confidence as the four tracks here are some of his best work so far. The title track shows off Ossie's innate knowledge of the skip and bounce that characterises UK garage whilst there's something almost '90s Armand Van Helden about the heavy disco influenced house of highlight "Forever".