Wednesday, 31 August 2011
Tuesday, 30 August 2011
Wednesday, 24 August 2011
Tuesday, 23 August 2011
On the first note… opener We Magnify His Name even manages to be stylistically varied within the one track. It starts out sounding like a good-time filter disco cut, then surprises you by bursting into an all-out gospel number before settling down into a rollicking carnival-esque groove to see out the rest of its 9-some minutes. Fantastic stuff.
Opener Bathtub Gin is a midpaced tech-house groover, with a slightly syncopated, garage-y feel and chopped-up female vocal snippets alongside a male voice repeating the EP title from time to time. It's quality stuff and it'll have you bouncing in your seat for sure. Then there's Wooden Collar Paper Tie, which comes in no fewer than five mixes – the original, plus rubs from Groovik, Pete Weasel, People Get Real and Melos & Kyber. Some of 'em lean a little too far towards the minimal/glitchy/techy side of things for these ears, but the old skool Balearic-meets-acid house of M&K's mix is definitely worth a shout.
Sunday, 21 August 2011
Saturday, 20 August 2011
Bang Bang have never been a straight-up house act, though, and this certainly isn't what you'd call an out-and-out house record. In fact, Hate Fleeting, with its soulful vocal and summery feel, is probably best described as dance-pop, in all honesty. But I should stress that's dance-pop in the sense of "accessible, pop-leaning tunes inspired by the lazy west coast house of Naked Music and the good-time funk of Earth Wind & Fire et al," rather than the "shit pop with horrible trance-lite synth riffs" those words would normally imply!
Mixes - five of 'em in total - come from a pretty impressive line-up of current talent, including Sasse, Submantra and Martin himself. Between them the mixes cover a range of deep styles but it's Sasse's lush, laidback deep disco that's working best for me… but even better than that is bonus cut Innocent Eyes, a slightly more uptempo cut which gives the female vocal plenty of room to breathe atop a 303 bassline and some lush keyboard stabs, in a way that recalls vintage Stonebridge garage productions from the early 90s. Nice!
Out: This week
About: As I said… Deep Edition aren't that old as a label but pretty much everything they've done to date has been bang on the money. Check 'em out for yourselves on Soundcloud (where you can currently HEAR THIS) or Facebook.
Some people seem to think it's all about cheesy Nero/Magnetic Man purple pop with the horrible AutoTuned pop vocals. Alternatively, they think it's all about the gnarly tear-out gorestep (AKA 'chavstep' round these parts) side of things. It's like someone thinking that Hed Kandi comps reflect all there is to know about house music! If those people would just dig a little deeper, they'd find quality nuggets like this.
There are three tracks on offer. Cagney VIP is an eight-minute cinematic number sprinkled with pianos - you imagine it'd work best in a DJ set as a tension-builder before a BIG drop. Laura is more ethereal, bordering-on-ambient affair, not a million miles from the dubbier moments on early Orb albums, and then finally, Foundation itself is another moody, midpaced soundscape piece with some fine analogue synths of the kind more normally found on nu-disco records and cheap 80s sci-fi soundtracks.
Friday, 19 August 2011
Five tracks and a total of eight mixes here from rising UK talent J Fader, who hails from Portsmouth – not generally known as a hotbed of house talent – and who's had stuff out before on Clean House and Slick Music (it says here).
For our purposes today though, we're gonna have to treat Mr Fader (I very much doubt that's his real name, don't you?) as an unknown newcomer… which makes the quality of the music contained herein all the more pleasing. Cast your mind back to a time around 1995 or so, when UK garage was just on the brink of emerging but hadn't quite yet fully distinguished itself from US house – think early productions by Booker T as Underground Mass, Grant Nelson, Fran & Ricky in various guises, Gavin M in his 'DJ Face' days, etc – then you're somewhere in the right ballpark as regards the overall vibe here.
Not going to go into individual tracks one-by-one cos there's too many of them, but the EP as a whole is long on crisp, skippy beats, live-sounding basslines, warm pads, jazzy minor-key piano licks, yada yada yada… you get the idea. If you remember the days when UK garage had more in common with the deep house scene, long before loads of hip-hoppers came in and spoiled it… well, you're gonna love this. Class in a glass… of Moet, natch.
Out: This week
About: This comes atcha on Beats Me Music, who are based in the equally unlikely location of Eastbourne, and from whom this is the fourth release. Hmmm..... is there some kind of south coast 'proper house' revival going on that I don't know about, or something? That may merit some further investigation… so here's their website.
Thursday, 18 August 2011
Wednesday, 17 August 2011
Tuesday, 16 August 2011
The original is a deep house cut with a tribal/Afro kinda slant, the kind of thing you might expect someone like Jerome Sydnenham, Danny Krivit or Jephte Guillaume to play. The Re:You Remix has a more chopped-up, skippy vibe and de-emphasises the vocal, Pete Moss takes us into 'deep n' proggy' territory, Pablo Fierro's mix is more stripped-down and spacey and finally Frogs In Socks make the most of the vocals while also going for a skippier feel, making the hype sheet comparisons to Todd Edwards not entirely unjustified.
Monday, 15 August 2011
As is fairly typical for Bid Muzik, Summer Track is a unpretentious, energetic and uplifting slab of disco house based on a VERY familiar sample. There's just the one mix, so not much else to say really, except that you've got to give it up for anyone called Evil Chris Sword. I wonder if his parents christened him that?
Out: This week
About: You can HEAR THIS and find out anything else you need to know at Bid Muzik's Soundcloud and Facebook pages
Opener Crackhouse ain't nothin' but a steady, driving tech-house groove, but there's nothing wrong with that, is there? Stronger itself takes a while to get going, but about two and half minutes in, it explodes into a proper funk-fuelled romp and no mistake guv'nor. And then finally, Take Me Baby is another funk-driven cut, this time nodding cheekily to a certain Lipps, Inc classic in the b-line department and chucking all manner of freaky-deeky synths'n'FX over the top. Quality.
Sunday, 14 August 2011
Saturday, 13 August 2011
Thursday, 11 August 2011
Every Day itself is a deep, dreamy tech/tech-house cut with a floaty female vocal… it reminds me a little of something but I'm not sure what, maybe Underwater Love by Smoke City, or something by Nicolette? But I'm kinda preferring the Dub mix anyway. Rounding out the EP you then get Free Your Mind, which is my favourite cut of the lot – an unhurried, smoked-out slab of deep, dubby techno to delight your cerebral cortex.
Out: This week, properly, though it's been on Beatport for a little while already.
About: You can find Evasive Records on MySpace.
Admittedly, Atlas itself is a bit too much of a straight-up drummy techno affair for me personally, though it'll work on the right floors for sure. But for TIWWD's purposes today, we'll be flipping straight to the B-side, where the Kley Remix goes down more of a tech-house route with jaunty beats and the vocal brought to the fore – making this another winner from Messrs Pattison & Shipley. Hurrah.
Out: This week
About: As with a lot of Deepgroove's stuff, this is coming atcha on Underwater. And here's Deepgroove's own Facebook page as well.
Wednesday, 10 August 2011
Tuesday, 9 August 2011
Contract Killers bring us The Life Moments, which is a hi-octane roller and no mistake guv… yet while being energetic enough for the festival crowds, it also has enough musicality to appeal to the more discerning heads too, with nary a nasty electro/trance riff or cheesy vocal in sight. There's a couple of breath-getting breakdowns in there for ya as well. Over on the B, meanwhile, PFM (etc) come with If You Were Mine, a liquid-y stepper with a distinctly soulful vibe, making a pleasing contrast with the frenetic energy of the A.
And so to this, the latest in Great Stuff's pretty much essential Munich Disco Tech series. After what I said a few posts back I feel it's only fair to point out that there's NO oompah-loompah beats and cheesy swing samples here… just five cuts of underground house/tech-house jackery from (deep breath) DJ Chus & D-Unity (with Burn In Hell in two mixes), Anthony Attala & Tone Depth, Rainer Weichold & NIck Olivetti, and Solo. Mostly familiar names this time out, then, but that's no bad thing cos in this instance it makes for a very strong EP.
Not gonna go into all the tracks individually cos we'd be here all day. Suffice to say there's not a duff cut among 'em, but if pushed I'd pick Attala & Tone Depth's weirdly-named Lionel Cookie as a highlight.
Monday, 8 August 2011
Connection Lost itself is, admittedly, exactly the kind of East Midlands-ish deep house bumper you'd expect from this pair, and this label... not that TIWWD was ever gonna have any problem with that. But then Mister Marvellous takes an altogether more discofied route to the dancefloor, working that late 90s disco-house revival vibe, albeit in a slightly more subtle and understated manner than most. And then finally we have Techno Idiots, which is (as the name might imply) an altogether techier affair that draws comparisons on the hype sheet to the early Croydon tech-house scene (cast your mind back to the days of Wiggle, Terry Francis, the late Kenny Hawkes, etc), and quite justifiably.
In total, you get two originals plus a remix of each. The original of The Ex... itself is a jaunty tech-houser with swing flourishes, of the kind so beloved of the likes of Erase and Great Stuff; it's fine but I'm personally preferring the slightly deeper and more chugging David Herrero remix. Fish & Chips is in a similar vein, albeit this time with more of a main-room, almost proggy feel. Again, though, it's the deeper remix I'm feeling more, which this time comes courtesy of German duo DENIED.
When We Dance itself is a midtempo deep houser that builds slowly from a percussion-led intro with some nice warm organ stabs and snatches of vocal; there's also a breakdown in the middle with faint echoes of Def Touch's classic Nasty Rhythm, which is certainly never a bad thing. Tsuba boss Kevin Griffiths then ups the dancefloor ante a notch on his Basement Dub of the same, replacing the two-note synth bassline of the original with an altogether funkier and more organic-sounding part.
Sunday, 7 August 2011
Said mix starts with a simple enough percussion loop, out of which a big phat bassline and some LUSH chord stabs slowly emerge. Those are then topped off with two competing vocal samples – a random voice intoning 'get bump' or something equally nonsensical, and snatches of what sounds like police radio – and the occasional, VERY brief horn stab. And even that's making it sound busier than it is – this is a proper sparse, heads-down delight.
Out: This week
About: This is on Street King, who of course are an offshoot of the mighty King Street. Find out more about one of the all-time great US house labels here.
Tonite in its Original form is a chugging, driving kinda affair with a female voice (sampled, I'm guessing?) entreating you to "tell him that I want to make love to him tonight". Possibly a more personal message than I'd necessarily feel comfortable passing on personally but there you go! It's still an energetic enough number to work on mainstream floors, but with enough of a classic house feel to suit more knowledgeable crowds as well.
The real treat for me, though, is the Nonfiction Remix, which comes courtesy of one Jose Tobar (AKA Nonfiction, you understand). Here, the classic house feel is accentuated thanks to some barely-there but well-chosen vocal snips… whether they're samples or 'homages' I'm not sure but older heads should recognise elements of both Naked Music NYC's I'll Take You To Love and Hardrive's Deep Inside tucked away inside the mix. Which should bring a few smiles.
Friday, 5 August 2011
In keeping with a lot of Erase's recent output this works the familiar tech-house + jazz formula... this time though, Scottish duo Dynamode have eschewed the usual cheesy swing in favour of a lovely little minor key piano lick. As long as you're not too tired of those oompah-loompah beats just yet, it's a really rather likeable cut, coming complete with a more stripped-down and serious-minded remix from Italy's Andrea Loche & Corrado Zonnedda.
Out: This week
About: Find Erase online here... or check out Dynamode on Soundcloud
First up we have the no-nonsense rolling deep/tech house of The Red Spotlight by young Danish producer Chris Sane, who also serves up Listen From Behind, which is in a similar kinda vein – think San Fran to Berlin via the East Midlands and you're somewhere in the ballpark. Bumpin'.
Tuesday, 2 August 2011
Monday, 1 August 2011
In 2D's inimitable style it blends ska and (proper) dub influences into the dubstep pot to create a damned heady brew that's sure to make you, ahem, wind up yer waist. Or something. Anyway it's ace, and here it is – I'd SERIOUSLY recommend grabbing this one even if you think you're not a dubstep fan. It rocks, quite frankly.
2D -POST URBAN DJ Mix by resin records
And as if that wasn't enough, you can also get your hands on 2D's own In The Cold Night in all its full-length glory:
2D - In the Cold Cold Night by resin records
All this freebie goodness is by way of promoting 2D's new single, Soundboy Chronicles. So it's only fair for me to mention that you can buy that and other Resin Records releases here HERE.