Founded in 2009 by house and disco devotees Stu Clarke and Matt Neale, Wolf Music Recordings is a London-based label built on a love for all things that get you moving.
Steering clear of mainstream trends, Wolf Music champions underground house and disco and carved out a reputation for unearthing hidden gems and nurturing fresh talent. Their artist roster boasts international names alongside local heroes, all united by a passion for authentic house music with a timeless appeal.
Wolf Music isn't just about the music; it's about creating a scene. They've become synonymous with quality club nights and DJ sets, fostering a dedicated following who share their love for the deeper side of house. Through their dedication to a specific sound and a commitment to building a community, Wolf Music Recordings has become a cornerstone of the underground house scene.
Review: Retromigration makes a triumphant comeback to WOLF Music with Cloudin - six tracks of deep disco tinged house music just like we like it. It follows the artist's debut album Straight Foxin on the label which sees the German producer once again proves his stripes by seamlessly blending dusty samples with original beats, bassline compositions, and PH-fat grooves. Taking it back to the classic disco-driven, pad-powered, and woozy-Rhodes sound from sometime before 2010 - WOLF Music is still your one-stop shop for Retromigration for sure.
Review: UK-based Kiwi duo Manuel Darquart serve up some quality deep house grooves on this new three-track, four-mix EP for London label Wolf Music. 'Jerry's Song' is up first and opens with calypso-style percussion before breaking out into what's effectively a homage to the deeper side of early 90s Italian house: the duo cite labels like Irma and Antima as key inspirations and that influence has never been so apparent! 'Del Soul' itself is a bassier variant on the same theme before Space Ghost gives it a beefed-up makeover with hints of Afro percussion, with 'The Vibe' then playing us out on a slightly mellower, late-night tip.
Review: Fresh from blurring the boundaries between Balearica, soul and deep house in the company of Nathan Haines and Mr Beale ('Sun Circles' on Be Strong Be Free), Gratts joins forces with more talented musicians and vocalists on his first Wolf Music Recordings outing. Brandon Markell Holmes and Leito lend a hand on 'Pretty Lights', a wonderfully warming, musically expansive picturesque chunk of Balearic deep house soul that comes in both full-length and edited variations. 'Polaroids', featuring Tee Amara, is a more upbeat and even more soulful affair, with Gratts smothering a shuffling 128 BPM beat in dreamy pads, sci-fi synths, twinkling pianos and a gorgeous lead vocal. Glen Davis remixes, re-framing the track as a pitched-up, late '80s Chicago deep house gem with added deep space chords.
Review: After releasing a wealth of EPs since making his debut in 2020, Malik Kassim is ready to unleash his first album, 'Straight Foxin', for the constantly inspiring Wolf Music Reordings. Framed as a kind of mixtape, with head-nodding interludes sitting side by side with club cuts, the 14-track set features a wealth of appearances from horn player Mauricesax, as well as collaborations with Bezzix (see the deep dancefloor jazz of 'Be Someone' and the organic deep jazz house of 'New Cribs'), Passion Deez (the skittish, uptempo deep house-goes-ghetto house warmth of 'Kush Love') and 'Nephews' (the deep, Bukem-influenced D&B flex of 'Bad Knees'). Throughout, Kassim offers a near perfect blend of dusty instrumental hip-hop, nu-jazz and the deepest and warmest of house grooves. Recommended!
Review: Malik Kassim has yet to receive many plaudits for his productions, despite so far releasing a string of impressive EPs for the likes of Handy and Wolf Music. Hopefully he'll get more props for his latest outing as Retromigration, which sees Kassim showcase his trademark take on U.S style deep house and J Dilla style instrumental hip-hop. Check first the echoing strings, synth chords and twinkling pianos of deep and steppin' house jam 'Hafenluft', before admiring the swirling deep house jazz of 'Mad Fox' and the more driving but similarly jazzy 'Tinger'. Elsewhere, 'Be Alright' is a mid-tempo number that combines deep house elements with flashes of '80s synth funk, while 'Disk Yard' and 'Nur Weir' are dusty, stoner-friendly head-nodders.
Review: Fresh from dropping a pair of fine fusion EPs with Dele Sosimi on Wah Wah 45s, Medlar returns home to Wolf Music Recordings with his most expansive release since 2013 debut album Sleep. In keeping with his musical evolution since then, Aerial is a thrillingly eclectic, colourful and imaginative affair, with Medlar flitting between the Wally Badarou-on-acid vibes of the undeniably cosmic title track; the acid-fired, cowbell-rich strut of 'Iguanadon'; the percussion-rich Dinosaur L mutations of 'Elephant Bingo'; the downtempo jazz-funk of 'Elv'; the late-night, drum machine driven weirdness of 'Cr78-108'; the '89 NYC garage-meets-New Jack Swing flex of 'Phoenix Lights'; and the slow-motion, bass-heavy Balaearica of 'Sin Prisa'. In a word: ace!
Review: Having slipped out a 7" earlier in the year, Wolf Music unveils the self-titled debut album from North Rhine-Westphalia project Velour! Combining contemporary electronic jazz with strokes of lo-fi indie and rough beat-making experimentalism in tracks like "Tom's Garage", Velour's ambient and folkloric splendour can be explored all the more in "Among The Popular Attractions". With strong elements of songwriting to be found inside the band's sound, Velour's style can easily be described as a warm, dreamy and moody that lifts some of its notes from Detroit house and sub-pop to lounge-time blues or the free flowing techno-jazz and rave sessions of "Luminate". A great debut that 4AD or XL probably wished they'd signed themselves. Read all about it.
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: If a week is a long time in politics, then a decade is the equivalent of a lifetime in dance music terms. It's for this reason that so many labels are keen to mark their tenth birthday with a special release, just as Wolf Music - one of the UK's most reliable deep house imprints of recent times - has done here. Instead of opting for all new material, the imprint has decided to gather together some of their favourite "Wolf slammers" - cuts that have always done the business on the dancefloor. There's naturally plenty to set the pulse racing throughout, from the loopy R&B/disco/deep house fusion of Fantastic Man's "Look This Way" and the fabulously analogue Chicago retro-futurism of KRL's "Nothing You Can Teach Me", to the sample-heavy, riff-happy bounce of Red Rack'em's "Do Or Die" and the bass-heavy stomp of K98's warehouse-ready revision of Thrilogy's "Heaven".
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: 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: 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: 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: 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: 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: 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: 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: 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: David Cabanne (no, another one!) is based in Bordeaux, France. The young producer has released for Waxtefacts Records and Khasia Hills Records previously but now for Brighton based house heroes Wolf Music. First, we have the dusty and disco-fied deepness of "Here I Am" and "Freshly Squeezed" respectively which utilise rusty and skittering old drumcomputer patterns with tastefully borrowed diva vocal samples to stunning effect. Then, the solemn and emotive "Flip The Script" closes out this fine little EP out in style.
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: 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: 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.
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: 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: 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: 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: 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: Current darlings of the deep house Wolf Music continue on with what they do best on these three reliable dancefloor fillers courtesy of Bristol's Thrilogy. First up "Heaven" and its uplifting piano roll complete with jazz vocals and a pumping swing fuelled beat does the business quite well. Next we've got "Hold Me In Your Arms" which takes things deeper, with sultry female backing vocals and rolling bassline.. But the uplifting piano roll remains; don't worry! Lastly the K 98 remix of "heaven" injects some serious stomp and tempo into the track that tears through the speakers with its hard house intensity.
Review: It's no surprise to see Amsterdam man Fritz Wentink issuing his debut album through Wolf Music, as the London label have been staunch supporters of his work with two 12" contributions over the past two years. The wonderfully named Rarely Pure, Never Simple adds to Wolf Music's growing artist album profile following long players from main men Medlar and Greymatter and further develops the all encompassing production style Wentink has displayed so eloquently for Detroit Swindle's Heist Recordings and others. He seems most impressive on the more downbeat tracks done in collaboration with Loes Jongerling who possesses a quite astounding vocal delivery, though those craving some proper house will totally dig on cuts like "The Excitement Happens At Page 320".
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: 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: While he's hardly a newcomer - his first release on Holland's Triphouse dropped at the tail end of 2012 - there's still something fresh and exciting about the booming, bass-heavy productions of Dutch 20-something Frits Wentink. All three of the original tracks here are undeniably sparse, offering dubbed-out, delay-laden takes on stripped-back US house, with sub-heavy basslines and cut-up vocal samples providing the obligatory contemporary twist. The wonky, acid-flecked "Goose" is probably the pick of the trio, though the quirky, twisting "Geeses" is not far behind. There's also a remix of the latter track from Wolf regular Ishmael, who effortlessly blends Wentink's bass-heavy rhythms with his own starbust synths and subtle nu-disco influences.
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: 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: 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".
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