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As with their first various artist compilation EP, Let's Play House has chosen to grab tracks from a handful of artists both new and old to the label and party. Portuguese duo Johnwaynes released the I Can See EP on the imprint in July of 2012 and Belgium's Mugwump has been part of the company's NYC party stable since 2010. The newcomers here—montel and Last Waltz—are obvious shoe-ins for inclusion in the roster.

As with the last V/A, this one tells a cohesive aural story. montel kicks the thing off with a no-nonsense jackin' house boogie, underscored by a slightly-out-of-tune and elastic bass that infects your whole body. Johnwaynes darkens the mood a bit without loosing montel's sense of urgency. The track throbs forward with the assistance of another thick bass, scattered synth ditties, herky-jerky hats, and breathy overlaid effects, giving it a cavernous vibe.

Brussels-based troublemakers Mugwump start the flip with a tune that seamlessly fits into their cannon—it sounds so familiar that it's hard to believe it's only just come out. As always, the duo's foundation is a choppy, hook-laden bass that's wrapped in playful synth lines, water-submerged effects, and big drums suitable for the largest of rock stadiums. Then Last Waltz wraps the whole affair up with their own melodious house boogie. As with the A2, theirs is more somber and spooky, yet just as catchy and addictive as the brighter montel and Mugwump songs. Imagine this EP as a miniature rendering of one of LPH's warehouse parties: it's big, bold, and lots of fun, while still having an obvious sense of a buildup, peak, and comedown.

Vae Victis can't hide their love and passion for raw house and techno. On this 5th release there is another fine selection of hybrids between styles perfectly expressing their love for genre bending music. Durant exsists out of a small collective of producers with main roles for Steve Murphy, Die Roh and Lucretio, alongside Blawan. "The Dove Ultimatum", a 4 tracks ep of punchy analogue electronic music! On the a-side lay General Motors and At Ten, 2 broken beat electro techno tracks a la Drexciya showing the hardest and most experimental side of the project. While on the flip the trio bring things on a housier field, though staying loyal to the a-side vibe by delivering 2 dark and obsessive raw house tracks.
Support:
Ben UFO, Analogue Cops, Truss a.k.a. MPIA3, Tessela, Happa, Herva...

the second part of the in-demand " Cero" by Galarude ( DJ Kent and homies from Sly Moongose and Tokyo No. 1 Soulset ) that had been a secret weapon of a selected few DJ glitterati since it's original Japan-only release in 2004 delievers another set of knockout mixes: Prins Thomas flatens the originals tribal elements with hard whiping beats and a forceful steamroller of a bassline yet keeps the headmessing ingredients intact with all those swirling, spinning soundparts that one can also enjoy in higher dosage with the "ambient miks" for daytripping on your homecouch. Tuff City Kids aka Lauer and Gerd Janson corrborate how they persistently tweaked themselves to the a-list of remixing teams with two expertly constructed, infectiously swinging house mixes that keep the acid purity level high and carry the promise of a neverending summer of love.

True house music on The A side with Self Enemy and huge house beat also on the A2 with DJ Aakmael. SEEKER'S BAND with remixes by JACK THE BOX & CORES FOR SPIN !
Self Enemy aka as Parisian Professor Inc & Detroiter Kris Wadsworth play it slow here. Picking on some classic sample, highly tweaked synth and dj friendly structure. Second opus of this raw collaboration.
Dj Aakmael picks another Billie's song, This time it's heavy orchestra chords on a hard kick singing the blues on the house core.
On the B Side, the SEEKER'S BAND aka Miguel Benavides composes with at Vocals: Mathieu Boko, Percussion: Eric Konnert (plays with St Germain, Martha Galarraga..), Bass: Francois Barbe, Tenor & Soprano Sax: Stephane Becarie, Keys: M Benavides and produced by Professor Inc & Miguel Benavides ; inspired by the first house school, jazz accents, afrocuban classic percussion, a tasty radio version right here !
It comes with a remix by the Berliners Tyree Cooper & Bobby Star aka JACK THE BOX. Dj friendly and deeply rooted with one of the pioneers perpetuating the style.
To conclude this ep, a special short dub version by CORES FOR SPIN

Terror Danjah's second Hyperdub album is 'The Dark Crawler', a well-paced and much more upfront and energetic journey through his musical world than his debut 'Undeniable'. The album revolves around the 'Dark Crawler' theme, a blistering grime track that pops up several times, vocaled by MC's Riko Dan, Mayhem, Deadly and Saf One, and then lastly Trim and Kossie. That's not to say the album is one dimensional or relentless. It's subtley balanced with the 'Dark Crawler' thread of tracks allowing the album to spin off in a web of directions without losing any focus. It's a much more contained body of work, paced to keep the listeners interest. From the 'Dark Crawler' intro into the cartoonish horror soundtrack of 'Mirror's Edge', which tricks you into thinking its just any dubstep tune, before scattering into Terror's signature broken kicks and claps. 'Dark Gremlinz' featuring D.O.K. is a classic peak-era asymmetric grime instrumental. The album then drops down into the 130ish speed of 'Air Max 90' featuring Champion, which builds from a soca-like drum drill stretching the rhythm to the point of collapse with a wonky synth, before concluding on a driving baseline house 4/4. The first 'Dark Crawler' vocal is next, with a ferocious performance from veteran Roll Deep MC Riko Dan, who drops bloodthirsty threats at a breakneck pace. Next, the tempo drops down again to the drunk funk of 'Full Hundred', with criss cross claps and a rasping bassline breaking down into live drumming and tight trap door edits. Things speed up a little again with the intricate 8 bar funky of 'Rum Punch', a hard drum tattoo rolling out over a heavy detuned bassline and intense bleeps. On the second 'Dark Crawler', mic duties are shared by Birmingham MC's Mayhem , Deadly and Saf One. Their hard vocals contrast with lush styled R'n'B of 'You Make Me Feel' featuring Meleka. The album then rolls out into the galloping drums and smooth G-Funk synths of 'Baby Oil'. Trim and Kossie drop the final 'Dark Crawler' vocal, with Trim dropping deadpan threats contesting with Kossie's focussed hysteria. Next up 'Delicately', with Ruby Lee Rider, starts in slow motion R'n'B mood, sweet Rhodes chords drift and bubble up as the track doubles up into dreamy drum and bass with a fluttering tabla keeping the time, and Ruby's tender vocals tempering the pace and aggression. Overall, it's a brilliant exercise in breathless rhythmic arousal. 'Moschino', on the other hand is a darker, chunkier and grimier mirror image to 'Delicately', switching up into a ferocious metallic riffage, before the album closes on an outro of 'Dark Crawler' again. Form, function, energy and talent fuse perfectly over 'The Dark Crawler' s length. Enjoy the ride.

RAWAX IS PROUD TO WELCOME MR. K-ALEXI SHELBY TO THE FAMILY!
Mr. K Alexi Shelby
Like a moth drawn to a flame, there is something utterly infectious about the music of Mr.K Alexi Shelby, better known as K-Alexi one of the founding fathers of house music direct from his home city of Chicago. Since the late 1980s, he has pioneered the true house sound, leading to a DH and production career spanning over 20 years, including collaborations with artists ranging from The Pet Shop Boys to Derrick May and from Larry Heard and Felix da Housecat to Will Smith, as well as gigs across the globe.
An impressionable young teenager, Mr.K Alexi Shelby developed friendships with Frankie Knuckles and Ron Hardy whilst attending seminal venues like The Warehouse and The Music Box in the mid 1980s. Being here at this embryonic stage of dance music culture, there were no rules or precedents, so K Alexi drew on a rich musical heritage that had seen him grow up in the 70s and 80s listening to Stevie Wonder, Prince, Curtis Mayfield and David Huff. Those roots continue to influence his music to this day.
It was under the moniker Risque III that Essence Of A Dream was released in 1987, firmly establishing the name of Mr.K Alexi Shelby amongst the most prominent of all house producers at the time. Moreover, those early tracks are still recognized to be the quintessential Chicago house sound. The rumbling and dark bass, smooth strings, incredible percussion and the spoken word poetic and erotic lyrical flow became the trademark for classic Chicago house and the template for everything else that followed. To reiterate, there was no template before this. This was the beginning.
This initial success has lead to Mr.K Alexi Shelby working with the leading names across the electronic music world and beyond. Collaborations and remixes for Chicago peers like Mike Dunn, Mr. Lee and Marshall Jefferson merely served as the springboard for Alexi to work with the best in the electronic scene, from Derrick May to Paul Johnson ,Ron Trent Dave Angel to Felix ad House Kat. Furthermore, his talents have also lead to him working with The Pet Shop Boys and Will Smith.
On top of this, his tracks have appeared on compilations by artists varying from Laurent Garnier to DJ Hell, who used It's Me 2010 contribution to the Body Language series for Get Physical Music. Produced under the Club M.C.M. moniker, the 1991 EP It's Me/Club M.C.M. has been a frequent selection for compilations for 20 years and is rightly regarded as a true underground techno classic.

Shadow Ray is best known in house music circles as the co-producer of the Oasis 1, 13, 13 1/2 and 14 releases with Omar S, although he is also well known to the Ryan Correctional Facility for more nefarious reasons. The Detroit-based producer has spent the past four years at Ryan earning not only a hard knocked life but a trade in Sound Engineering. That was until Alex Smith (aka Omar S) made a presentation to the facility s parole board to commission a remix of his recent hit >Heres Your Trance Now Dance< as part of Rays work release program! Rumour has it the parole board was inhabited by at least one old school house head, and we re delighted to see Alexs idea come to fruition, with Shadow Ray really nailing it with this remix. Staying true to original s shimmering melody, Ray opts to bolster the bottom end with a raw bassline that creates a nice, fat rolling groove

5 KING'S "Love & Then Sum" : 5 KING'S is five motherfuckers and this one from Chicago shows once again his very natural heritage/memory of Ron Hardy. Taking you into a more than 11 minutes deep house classic blend, classy, spiritual and dj friendly. Once again, core and essence of house music in its purest form ; continuity of & by the pioneers.
Tracklisting:

Like hardly any other ambassador of modern Rhein Main House music, Christian Burkhardt has experienced a true rocket-like takeoff in the last year. Burkhardt's Cocoon debut EP "Stopover Goa" has, after one year, still a place of honour in many DJ's record cases.

The new album will be released across a series of 4 limited edition 12" vinyls. This is the 2nd 12 inch From Tronic Jazz The Berlin Sessions. A Guy Called Gerald has spent the last couple of years flitting through shadows, turning up on labels like Perlon, Beatstreet and Sender like a peripatetic prophet of the Berlin underground, seeding the scene with cryptic singles that return to the past to suggest alternate futures. Now he returns to Berlin's Laboratory Instinct label with the follow-up to 2006's Proto Acid: The Berlin Sessions, the album that re-established Gerald as an acid hero and techno auteur. Tronic Jazz: The Berlin Sessions builds upon the foundation established by its predecessor to create an even more powerful statement of intent, one that communicates more persuasively than ever Gerald's vision for techno in its third decade of existence. One immediate difference stands out, this time around. Where Proto Acid offered a seamless mix of 24 cuts, recorded in one epic session, Tronic Jazz collects 13 standalone tracks. That's welcome news to DJs. After so many years of digital anything-goes, you might have forgotten the kind of sounds that are possible with "old" machines: the way a lead stacked against tuned percussion and shrouded in pads can evoke still other sounds, hidden in the mix, or maybe not really there at all. It's a ghostly, suggestive presence, a kind of evocation of infinite possibility within the context of a limited set of inputs. In that sense, Tronic Jazz follows a certain minimalist impulse, but it's far too lush ever to be mistaken for the dread "mnml" of recent years. This stuff is wide-eyed and full of life. When it funks, it funks hard, and when it smoothes out, it can be as intimate as a hand-written note left on a lover's pillow. As "class ic" as Tronic Jazz may be, the album refutes any notion that "class ic" equals "retro," that the ideas have all been expressed before. Tronic Jazz takes the foundations of house and techno as though they were a kind of language, and speaks volumes with them.

Microtonal proudly presents SQL from Amsterdam with his Vinyl Debut EP. After hitting the scene hard with "Distorted Reality" which topped Beatport Charts for weeks and reached heavy support from Richie Hawtin and Marco Carola the boy delivers another primetime tune with a remix by Tickles (Ipoly Music). The B-side is a much more progressive tech-house tune for fans of Deadmau5 & Co.

These days, skat fights with his other personality, oleg, the russian housemaster, weapons are big house beat, basses, rhodes, perks, pads, and on eklo skat is banging hard with his da hunterz ep

Kenny Gino and Big Mike a.k.a. the Solid Gold Playaz both started playing records in the late 70's/early 80's. Having family from Chicago, who were DJ's and down with some of the big guys at the time, "heavily influenced our music and production styles" both say. "Living so close to the city, we could go down to all the legendary night spots. The Rainbow and the Warehouse, the Box, the Shelter... places where you could just feel the vibe. And you could hear guys like Farley Funkin' Keith, Ron Hardy, and Jammin' Gerald (the Chicago DJ/producer who is Kenny's cousin) play these incredible records". They both were hooked on the house sound, and would bring it back to their home, a small city named Racine, Wisconsin, located about an hour and half north of Chicago. They continued to develop their DJ and production skills into the 90's, but musically, weren't taking things very seriously until they met Chicago producer Louis Bell. He introduced them to many of the people who were building the mid-90's Chicago sound. "Louis gave us access... access to places we hadn't been before. He took us into the offices of Cajual/Relief Records and Underground Construction, and suddenly we were face to face with guys who were doing what we wanted to do... Cajmere, Paul Johnson, Glenn Underground... showing us that we could do this too. We did a few releases just to get our name out, and soon we had some pretty big named DJ's playing our music. We had DJ's actually looking for our records, and telling us how much they liked our sounds... that just blew us away, especially with very little promotion and in the limited numbers we were pressing... our music just started to build a name for itself."