House Novedades

Fresh off their recent single on Avotre, the California duo of Yooj and Steve Huerta return in fine form, this time with their Retrofit debut. The pair's creative partnership began back during their final year of university where they discovered a shared affinity for a sound quite divergent from the preferences of their 'EDM' addled peers.

'Take Your Time' opens the EP with myriad distinct influences. Thick progressing stabs, stuttering bass, and a plaintiff female voice make this a perfect peaktime track for the summer. 'Love Me Right' goes for a more heads down, late night approach with a deep rhodes line, guitar licks popping in and out, and a thick, chugging groove that rarely relents.

Best known for their work on labels like 2020vision and Exploited, the Amsterdam duo Homework lend their expert ears to the title track, spreading the original's chords out far and wide, surrounding it with several new melodic elements and a jacking Chicago groove - a combination that will find itself in many a set over the following months. To round things off, 'I Said' alternates boisterous upbeat moments alongside a moody, insistent groove.

With Local Talk release no. 30 we're moving further into territories of straight up no fuss dance floor action.
Already having releases on Dirt Crew Recordings, murmur & Hypercolour Elef knows a thing or two about delivering jacking tracks.
Wake Up Call comes in two versions. The original version is a kick & snare pattern driven monster track with heavy arpeggios and deep pads.
On the flip Brennan Green doesn't hold back either. The main melodic pattern together with percussions is unleashed straight on and as the tracks evolves he adds TR-303 lines making the track even more epic. As Elef described the remix 'perfect for a Panorama Bar set'. The remix is worthy enough based on that one side alone.

Little is known about mysterious producer Tommy Rawson.

Our first acquaintance was the aptly named 'Shy Track' on Red Rack'em's Smugglers Inn 001 release. We tried to find out more but the trail got cold pretty quick. It was not until hearing Gilles Peterson playing a version of Hugh Masekela's 'Don't Go Lose It baby' on his show that word got around, Tommy Rawson was back.

This particular anthemic track found it's way to Mats who then started playing it out and every time, in every club no matter where in the world the reaction was same, people completely lost it on the dance floor!
We had but no choice to release the track and luckily enought Tommy must have a sixth sense because at the same time Mats blasted the track at the Local Talk office to convince Tooli shouting 'this is the next big release for Local Talk, I'm telling you!!' another track made it into his mailbox, the soulful house jam Brenda Done Died With No Name. Both tracks ended up on this 12' of course.

Mr Rawson has delivered the goods here, warm, sunsplashed music all the way. A name to watch for this year and probably not mysterious for long.

Boska ist das beste Beispiel dafür, dass Norweger eben nicht nur Disco oder Krautrock können. Boska steht für House-Musik, die an Elektro, B-Boy-Breaks und UK Bass geschult ist. Inzwischen ist der Produzent aus Tromsø nach Berlin umgezogen. Nach Veröffentlichungen für Love OD Communications und Studio Barnhus folgt auf Permanent Vacation nun 3-Track-EP mit bassiger House-Musik, die ganz gemütlich zwischen den Genres sitzt.

Stenciled Sleeves....Limited Edition..... HEAT!

Hirofumi Goto AKA Rondenion made his debut releases on Still Music back in 2005. Shortly after, he released a streak of Detroit infused House 12 on Rushhour, Aesthetic Audio and more to great critical acclaim.


A DJ and producer born in Japan. He began working as a recording artist in the late 90s under the name Hirofumi Goto, and released his global debut, 'Ameria EP'. It drew attention for its dark beats, unusual for a Japanese artist, and was played by top DJs like Derrik May. He changed his name to RONDENION to show respect to Chicago and Detroit, and began working on an overseas release. Ultimately, his 'Love Bound EP' was released by major labels such as 'Rush Hour' and became a big hit. It reached the top on the RushHourStore sales chart, and became popular in Europe. In 2012 he formed 'Ragrange Symphony' with his old friends NO MILK and KEZ YM, and he is currently working on a number of projects for his own record label, 'Ragrange Records'.


After being approached by Roundabout Sounds for a remix, discussions shortly after were directed towards a plan for releasing Rondenion's
debut album on both vinyl (Roundabout Sounds) and Digital (Plug Research). The result is the Luster Grand Hotel debut album, ready to drop in September 2013.


Luster Grand Hotel is the most accomplished project from Rondenion, an absolute blend of Detroit and Chicago house, reminiscent of the music from Moodymann, Theo Parrish and Rick Wilhite. A must have for any real house music fans.

First up is a killer house EP from one of this years biggest names, Waze & Odyssey.
Early DJ support from:
Bicep, Dusky, Kerri Chandler & Pete Tong (BBC Radio 1 Play)

The Emperor Machine aka Andy Meecham is slowly re-emerging ahead of a full on return to the scene in the coming months. Following on from this latest missive on Southern Fried Records (which comes complete with a trio of Ewan Pearson remixes) 2014 will mark a return to DJing for Andy, followed by a full-length album and a brand new live show.

A key collaborator in all this, featuring on a number of album tracks and at the forthcoming live dates, is the hugely talented London vocalist Michelle Bee. Bee is someone with whom The Emperor has worked before and someone who helps raise his productions to the next level. On top of all that, the bona-fide gear head that is Andy Meecham is also working on the Future Four project with Erol Alkan, so fans have plenty to be excited about.

The first cut here, 'Hey' is a bristling brew of writhing synth lines, pixelated melodies and quick-licked disco beats that dazzle as much as they drive. Vamping chords bring the tension and frantically arp'ed melodies bring plenty of colour whilst the anthemic vocal cries from Michelle Bee help finish this off as a sure-fire dancefloor destroyer.

As well as a dub version, Ewan Pearson wades in with his own Skronk Disco Mix. It's just as overloaded a track. Layered up with squiggling machines, but there's a more direct urgency and psychedelic curiousness to this version. It also has some stunning sax moments courtesy of guest musician Gave from The Rapture who delivers a performance that really sticks out and lodges the track firmly in your brain. A dub of the same track is also included, as is a dubstramental that's just as dizzying and colourful.

The Emperor Machine then steps up once more with 'Mandy Mutron', which sees him marry big dirty guitar licks to smaller, funkier, tighter riffs and a dubby undercurrent. The results are inescapably and infectiously funky and come laced up with trademark sci-fi synth craziness to ensure maximum impact on the dancefloor. This is another fine product from The Emperor Machine that more than whets the appetite for what is to come from him in the months ahead.

After the recent success of their expansive debut full length on Idle Hands and while they bask in the glory of their recently well received Resident Advisor podcast, Jacob Hodge and Matt Lambert push on with a new EP on Bristol's Futureboogie. To date Outboxx have fomented their own ebullient house style that is imbued with a keen sense of uplifting melody, plenty of analogue dust and some heavyweight bass, largely on Bristol based labels, and this new EP sees them continue in that fine form.
The EP kicks off with 'The Fade', a lively deep house cut with sandy hi hats and harmonic melody hits that surfs and skips with a subtle but sensuous energy. Growing increasingly garage in style as it rolls on, chopped up vocal patches add more oomph before 'Rikkies Groove' gets nimble within its authentically aged house framework. Serene and golden pads twist and turn behind frazzled melody stabs and twinkly colours add that late night feel Outboxx are such masters at evoking.
'Letting Go' is more in line with the downbeat trip-hop that made up the latter half of their debut: the glowing vocals of regular collaborator Naomi drift between loose drum hits, scattered beats and genuinely jazzy melody motifs. The results are inescapably dreamy and delightful.
Finally, 'Need You' is a cavernous construct of echoing claps and buried deep kicks that swells and subsides, implodes and explodes. The titles refrain is repeated over and over and bleeds seamlessly into the arrangements between big string sweeps, noodling horns and classic cymbal splashes.

Once again Outboxx prove that feel-good house music needn't be lowest common denominator or weak-ass house but that it instead can be as richly musical and artistic as any avant-movements.

Cool new release with sick JTC acid remix on Minimal Rome Records! Polysick has the honour to have the 25th release of the label, with two tracks for the MRX-Patiendum Est series. From the mysterious hypnotic visions of Digital Native (Planet Mu) and the Proustian reverie of Daydream (AudioMER), Polysick moves towards an obscure and sinister dancefloor with a 12" that hosts on the B-side a whirling acid remix by JTC.

NYC-based Japanese dub trio joins w/hot Japanese trumpet player Takuya Kuroda (Jose Jame's band, Akoya Afrobeat) for a house-tempo jam. Out-of-this-world remixes by Area & Intrusion, for some boundary-pushing sounds.

DJ W!ld's history in music dates back to the tail end of the 80's where his young and fascinated mind embraced the explosion of Graffiti culture, Disco, Funk and Hip-Hop in his hometown of Dijon. Later as the infectious sounds of Detroit Techno and Chicago House filtered through to Europe, and Laurent Garnier exposed them to Paris, W!ld's interest was peaked and a move to the capital was made. He's now at the forefront of electronic music culture, DJ'ing at some of the worlds leading nightclubs and boasting releases on OFF, Robsoul and Adult Only, as well as running his own Catwash and The W Label imprints.

The release opens with 'Rendez-Vous Love', a dubbed out house number, employing sparse, organic drum programming, insistent low-end tones and subtly delayed guitar licks to take the lead. W!ld rides this groove out for the tracks eight and a half minute duration, while the focal stages introduce ethereal pads, emotive vocal snippets and whispering reverse effects to create a stunning, intricate record. Up next is 'BCN', taking on a different format entirely, with its brooding bass, dark, swirling synth stabs and heavily distorted kicks, showing a brilliantly contrasting side to the Frenchman's productions, this time he delivers a raw, edgy cut full of grit, while the slow blooming structure truly does the elements justice as they intricately evolve throughout.

On the flip side, first up is 'Boys Don't Cry', staying on a moody tip, W!ld opts for minimalistic, swinging drums, alongside resonant acid lines and tension building pads, soaked in reverb, the result is a classy, afterhours number for those head-nodding moments. Then to close the release, title track 'Feel Me' is offered up, taking things in a deeper direction this time, as soft chords, bubbling background atmospherics and weighty drums lead the way, the latter stages see things stripped back to a celestial breakdown with glitchy electronic tonesand warm strings, alongside Latin vocal lines, adding a unique character to the record.

New We Play House summer special. Tracks by Kiani & His Legion, Metrobox and a remix of FCL by David Morales.

Cassy Britton's status as a DJ is hard to rival: she currently holds residencies at four top clubs—Panorama Bar, Trouw, Rex Club and Output—and used to work behind the counter at famed Berlin record shop Hard Wax. "The tracks on the mix all represent what I love about electronic music, and what I love playing," she says. "Simply, each track is individually beautiful-there is not much more to add." Her 17-track effort includes tracks from Norm Talley, John Talabot, Basic Soul Unit, Emptyset and Marco Zenker among others.

fabric 71 will be Cassy's fourth commercially released mix, following 2006's Panorama Bar 01 and two subsequent efforts for Cocoon. She adds: "The project has come at a perfect time for me in terms of me being able to communicate where I am at artistically. I have aimed to get back to the roots of what this should be about for every DJ—namely playing records for the love of playing records—and not because of anything else."

4 seriously boomptified edits from the main man from the Windy City.
Only 200 white labels out there...

Principal Records follow up the superb debut from S & M with the 'M' from that partnership (That man Monkz) alongside the mysterious Mr. Vasir
As before it's the finest, roughed up soulful House which could just as easily have emerged from Detroit as Sheffield. Mr Moncrieff is going from strength to strength !
Fellow Steel City heavy-hitter and exciting new talent Squarehead handles the remix, turning in a rough and ready club workout that really hits home.

Released earlier this summer Rachel Row's beautiful single created a storm both on the White Isle and across the world, and this superb set of remixes look set to further elevate it to anthemic status. First up are Belgium duo FCL with their 'Gentil Mix'. Being a lover of prominent vocals in their own productions (see 'More Than Seven and the massive 'It's You' for further details) it's not surprising to see FCL really focus on Rachel Row's voice, with a square, bassy hook breaking up ambient synths and Row's silky vocals with mesmerising results. Next up is Breach, following on from the massive success of his own 'Jack' record. His effort is a killer production which contains deep and seductive garage vibes which merge together beautifully. Almost unrecognizable from the original, Breach Hood Remix is the Mr Hyde to Rachel Row's Dr Jekyll; transformed from a blissful summer anthem to a bassy dance floor monster. The original record's producer KiNK also returns to bring us his 'Bass & Beats Mix', a version which does exactly what it says on the tin by featuring prominent percussive elements that move towards a growing drop that is dominated by both bass and snare.