Once upon a time records that sounded as exciting at this one populated dancefloors all over everywhere. Typifying and exciting the reasons why House Music, in the more fashionable part of the 1990’s, was so supremely wonderful to experience. Demuir has redefined that expectation with his delicious Werq. Feel. Gruv. Vogue. which succeeds in capturing your attention so intently that it reinforces all that was once significant about the genre. I can’t get enough of it! The rigours rhythms employed capture that essence as insanely sassy keys plus rolling bass and drums all work the tension up to fever-pitch, leaving the fierce vocals to ice the cake. Remaining numbers have the pumping, brash chords of The 3nity Returneth and the slinky, breezy refrains of Philippine Sunrise complete the release, though not before time to relish Lady Blacktronika’s intense reworking of the latter.
A Brighter Light feat. Jeremy Glenn
Under the Shade Records
The 40th release from the label sees Justin Strauss and Teddy Stuart aka a/jus/ted show us just how it’s done by focusing the production on the use of the original drum machines and synths which created the sound of House in the first place. Consequently this has a timeless quality to it, feeling strikingly electronic but also most definitely soulful care off Jeremy Glenn’s emotionally rich vocal. Lars Vegas (one half of Detroit Swindle) again provides an excellent remix with a tougher take utilising strident stabs and fizzy keys to add additional atmosphere. The Re a/jus/ted mix finishes with more than a hint of Acid attitude that simply simmers with tension, with an additional Instrumental version of the Original available via the digital release.
How could you not like this song. Jesse Ware sings with typical panache shinning soulfully over Julio Bashmore’s warmly melodic production. Think sunshine but with a sting being the heavy duty kick and bass employed by the producer to give the yearning vocals that very definite edge. Only one version so far but more on the way…
Italian DJ Berny has teamed up with the excellent Harley & Muscle to produce what is undoubtedly a gratifying journey through Deep House and to beyond. Opening with the breathy vocals and rich Rhodes chords of Everything the album is very much about depth of feeling with the breadth of sounds taking in everything from 90’s influences as on Same Things Everyday to then exploring Jazz/ funk sensibilities via the album’s title track Central Park. Furthering the alums scope are tougher moments like the impressive Chicago, although that cool sense of jazziness is what really prevails throughout.
Salvia Sessions EP
Got To Get Higher is one of those tracks whose relentless attack on the senses will shake any complicity out of even the most jaded listener. Its all in the bass and this certainly packs a punch with it. That, and the repetition of pounding beats with just the hint of a Disco sample in there somewhere – so all bases covered really. Detroit’s Delano Smith supplies a great remix which releases more of the Disco element against splashing 909 hi-hats and brooding stabs. Next up is Me! I’m Over Here which delivers thumping tribal rhythms and haunting sounds over the course of several minutes, leaving Watching Eastwood to move in a funkier direction with sassy bass and suggestive voices sounding very inviting.
What better to start the eightieth edition of Magazine Sixty than with the lush production values of Elize. The French artist has created three gems in this release while also highlighting the labels versatility into the bargain. Just Wanna Dance, almost despite what the title claims, fills in the spaces between deep and gorgeous with hypnotic tones alongside dreamy voices combining with tough underlying rhythms perfectly. About This Girl feels that bit friskier with funkier bass and shuffling drums adding an enticing groove before Elize strikes the piano in full effect. All Theses Ices ends sitting somewhere in-between the previous two with moody organ and chunky syncopation giving the process a real kick.
An excellent release from Large that sees the label returning to their 90’s roots with Detroit Swindle’s Lars Vegas delivering an essential production for just about anyone whose into that House sound. Of course, it’s also very telling that the style, and The Game in particular, feels so vibrant today – coming full circle. The title track’s energy is inescapably persuasive with the exuberant vocals, insistent drums and pumping chords all feeling majorly peak time. Break Me Down follows with more strident rhythms and big time keys accompanied by deeper pads for added variation. Homework, supply the remix with their take on the sound being a notably potent one as heavy-duty bass and beats give you that bit more. Extra Large.
Jori Hulkkonnen as Third Culture
Negative Time Remixes 2
My Favorite Robot Records
Having already released the labels first artist album electronic magician Jori Hulkonnen now has this second selection of remixes to further tempt you in that direction. Gonna Track You Down is remixed impressively by Knox who treat you to a diverse set of sounds; some reversed, some played straight but all highly impactful beside the cinematic landscape created. Jori Hulkkonen’s own remix of Liquid Hologram feels somewhat less experimental in comparison, although still features an invigorating sequence of electronic notes alongside captivating, haunting vocals. The excellent Maxxi Soundsytem then rework Do It giving it a temptingly deeper edge, while featuring Olga Kouklaki’s heavily treated voice against a creative progression of sounds. The Model remix of Bass is a Many Splendored Things finishes on a clubbier note with uptempo, pulsating rhythms all receiving that certain MFR twist.
While not necessarily the most promising of titles the Knackered EP does however reignite the word Balearic with four notably good tracks via Argentine label Get Slow. Christian Malloni’s imaginative production prowess is evident throughout beginning with I Got You and its bluesy vocals played over a fashionably taught, moody bass. Where Nobody Knows Your Name, then sees a breezier vocal spinoff against low-slung beats and tastefully atmospheric instrumentation. Next, the title track itself feeds the senses with vocal cut-ups coupled with an infectious, swirling soundscape that really gets under your skin. However, By My Side is the jewel in the crown referencing a summer beach sometime in the last decade as rolling, filtered grooves wash over you alongside acoustic guitar and emotive voices – picture perfect.