House Новости

Echovolt records begins a new series of official re-issues, shining light on productions that formed the label's identity.
First up is the underground NYC house smash 'Give Ya Luv Show Ya Luv' by Vil-N-X originally released on Island Noyze Records back in 1992. Two essential mixes from two highly sought after gems from the golden era of deep house remastered and pressed LOUD.

..2 BE HEARD". 9 track double pack from the Chicago based MATHEMATICS labelboss featuring a mix of tribal and live electronics, field recordings, andnu age house. Fans of his distinctive brand of Chicago styled acid traxand analog compositions will not be disappointed. All brand new cuts.

The follow up to the coveted ghetto track from JODY "FINGERS" FINCH brings two fantastic remixes from Chicago's DERRICK CARTER. On the A-side, the "BHQ ACID VOCAL MIX" finally sees its release and delivers a straight up jack track with the instrumental on the flip. (LET'S PET PUPPIES)

Fourth release on the Black Ops sub label from the SLEAZYBEATS crew...

While in Europe for a tour slash trip last year, Andy Hart (of Melbourne Deepcast fame) met up with Max Graef (Berlin's golden boy) in Berlin, they hit it off like Batman and Robin and got dirty in the studio together very successfully.
They've been pinging ideas and tracks back and forth ever since, which led to the duo releasing some awe-inspiring dusty deep house together on Box Aus Holz (Graef's own label), Melbourne Deepcast and recently on Ali Ooft's FOTO imprint.

It didn't take long for the Black Ops camp to cotton on and squeeze the splendid 'Heavy Setters' EP out of this odd couple, the fourth release on the Sleazy Beats offshoot project.

The A side of the record is reserved for 'Biting', the delightful inaugural venture of the EP - and perhaps the most groove-oriented of the bunch.
Set at a leisurely pace, it combines moody, hazy organs with a classic bass and loose woodblock claps. Hart & Graef tease us with some well-placed soul/jazz vocal samples before properly unleashing things at the breakdown with a jazz cat banging on about his take on all things 'hip'.

Flip over for title track 'Heavy Setters', where you'll find the 'full-on and lights off' affair of the EP.
Reaching immediately for the jugular, Heavy Setters pulls you under and doesn't let go for 7 glorious minutes. A repetitive keynote arrives on the kick and remains firmly on display here, while open cymbal highs are cemented within the heavy drums and a sci-fi flashback sample.
Things get ever so deep for a second at the halfway break before kicking back to the nasty. A monster slice of chuggy deephouse that works a real treat on a packed floor.

Also on the B is 'Pass the Mortek', a bongo-laced groover that climbs nicely alongside more open cymbal brass and another crisp organ line. Not too intense but also wary of venturing too deep, Hart & Graef create a killer groove with vocal snips and heavy-ass keys. One of those tunes that is perfect to take a dj set in either direction, right up to the next level or down a notch, depending on mood, vibe etc.
Small pops and crackles from sampling from a dusty turntable add to the overall charm of the record and the lovely lady winking at you from the center sticker seals the deal here.

A great EP then, and a great addition to the Black Ops roster.

Cabin Fever are back once again, this time with a fine 12" from the mysterious Edward Mixx.
"Dr Beat" is a straight up Acieed rocker that takes u back to the sweaty proto house raves of 1987.
On the flip "Olati Beat" hits nice & slow and is one hell of a drum machine workout.

From the depths of the cavernous Restoration Headquarters comes the debut album from the notorious Analogue Cops and marks their return to the infamous Berlin imprint. After a busy 2012 curating the Third Side project together with Steffi, the duo pair up for this filthy, distorted and crackling collection of hardware oddities, body stompers and circuit-bending analogue excursions built for total dance floor annihilation. From the pouncing, distorted kicks and funked-out-as-fuck samples of 'Steffi's Disco Crime' or the the seductively grooving house swirls of 'SecondDiscoCrime' featuring Steffi herself, the LP immediately sets the scene for what evolves into a standout work from the Cops. Separated by crafty infusions of machine drones, each side of the two wax plates emanates ferocity, such as on 'Blackmails' - a scorching, industrialist viewpoint on techno and even the broken, percolating beats of 'Fraudulent Advisors'. UK techno crafter and Parassela co-member, Blawan, injects his inimitable grit into 'Light Reduction', a fearlessly scorching bundle of distorted percussion and improvisational sonics; whilst the uncontainable bursts of drums on 'Vopo' are guaranteed to send your jaw into a twist...Last but not least, 'Grove Line Forcing' showcases the duo's undeniably individualistic sampling methods, whilst 'Pearls Robbery' (featuring the mysterious Stanley Anscorm) heads down murkier, more convoluted paths, where lo-fi bass lines meet glitched-out percussion breaks for an early morning mutant techno workout. Watch your back - techno restoration is upon us...

Let's Play House began the first half of 2013 with a single by label co-founder Jacques Renault, and now the guys are kicking off the second with three fresh remixes by international heavyweights Tom Trago, Fantastic Man (a.k.a. Mic Newman), and Francis Inferno Orchestra.

The 12' initiates with Trago's interpretation, which takes most of the infectious and instantly recognizable elements of the original (the thumping drums, the hummed melody) and pumps them up to the next level. Complimenting his maximalist approach is Fantastic Man's pared down rendering, which strips the tune of most its bells and whistles, instead obsessing over the horns and elastic riff that the track is built around. It's a slow burner, but one that will relentlessly, deliberately tear up dancefloors.

The flip features Francis Inferno's spacier take on Renault's work. Like the Paradis mix found on the first single, it launches the song to outer space for a more cosmic exploration, only gently gliding back down to earth at the very end.
Keep an eye out for new material from Renault on LPH, too—there's plenty in more in store!

As Apple Pips continues to explore its opening mantra of echo, depth, swing and bass within the duplicitous realms of modern
electronica, it welcomes to the fold two long-standing friends of the label and in turn sheds light on their own fresh avenues within
house music.
You might already know Lrusse as ID or Behling, commonly found kicking up the dust alongside Sam 'Baobinga' Simpson in all
manner of styles and tempos, while Bleecker has an accomplished back-story in dubstep as Wedge & through his own If Symptoms
Persist imprint. In their new venture both producers fuse their dancefloor inclinations with more searching, experimental textures and
tones, placing crafty sound design on a level pegging with the more immediate tropes of groove and presence.
'Dot Product' dives out of the speakers with a direct hook of a lead synth, but all around it shards of sonic matter flutter and twirl in
the finely spaced mix, from micro-samples of percussion to dismembered vocal snippets. With a limber, easy-strutting beat and some
sub-baiting bass to boot, the track manages to be both leftfield and utterly accessible all in the same breath.
Plotting a less obvious course, 'Stairwell' comes to life in an atmospheric haze of found sounds and shapeless drones, until a subtly
swung beat slips through a crack and into the foreground. The same embrace of intricate detail is present on this cut, but wielded in a
more restrained setting that rises slowly over the duration rather than kicking in from the off. Even the central melody comes draped
in a finely filtered veneer that implies as much as it elicits, making for the perfect foil to the unabashed extrovert Aside.
This record is a decisive step forward for both Lrusse and Bleecker, staying true to their past achievements whilst showcasing the
vitality and imagination inherent in both their shared studio adventures and their individual forays to come. 'Dot Product' has already
been included on Will Saul's brilliant recent Essential Mix for BBC Radio 1.

Club Mod is proud to present 'Believe/One Day' by Sydney's Softwar, on
Modular's imprint aimed at the head, hips and heart.
Representing the new wave of electronic artists sweeping through Australia's
dancefloors, Softwar have been tipped as 'ones to watch' by Time Out Sydney
magazine. No wonder - the Sydney-based pairing of Myles Du Chateau & Jeremy
Lloyd are making some serious noise on the global house scene.
The lads have earned respect from dance music bibles Mixmag and Resident
Advisor, have garnered exclusive plays on BBC Radio 1 and high rotation
spins and live mixes on triple j, and their remix discography reads like a dream festival lineup including 2 Bears, Azari & III, Temper Trap, Bag Raiders, Groove Armada, RüFüS and Clubfeet.
Check out the DJ's reaction so far:
"Love this.. great tune" (Rob Da Bank)
"Great summer feel even though the sun isn't out" (Crazy P)
"Nice one, def gonna play these out" (Jacques Renault)
"Great stuff guys! love it! Club Mod in da house" (SymbolOne)
But back to the present, and their new foray down the musical rabbit hole presents Believe - a late night ode to the time when music was the answer, a
true moonlight-maker. It's backed with a remix from Melbourne's Francis Inferno Orchestra who turns it into his own dark workout.
On the flip, One Day is Softwar in their finest, finest form; It's a
reach-for-the-sky moment that will become a staple for festival sets, with remixing duties coming from Amsterdam up-and-comers, Detroit Swindle.

Romansoff strikes again with his second release on his own label, providing 4 jacking tracks for all of you analogue-heads and bringing some of that old-school house vibes to the dancefloor. Bag it while it's hot !

Deep Cosmic House from the one and only Vakula on his own Bandura label.

With what might turn out to be one of the biggest tracks of the year, the massive 'What I Might Do' by Ben Pearce is here. Solomun, Seth Troxler, David August and Jamie Jones are all already on board with championing this slick combination of raspy soulful vocals and irresistible grooving deep house Up first is the original club mix which builds graduall y with stripped back percussion, vocal murmurs and airy synths drifting in and out the mix. After a baseline is teased in a couple of times adding to the climax, the super soulful vocal is let rip to dramatic effect, a guaranteed weapon in any DJ´s bag in the coming months.
Harry Wolfman injects a bit of the old school into the original with a more jackin´, housed up version characterised by lazy sub bass, shuffly highs and a postmodern organ line which has become so synonymous within the new house sound prevalent in the UK scene at present.
One Records boss Adam Shelton takes things a bit deeper with his interpretation. A dark kick, clave and snare pattern drive the rhythm section throughout whilst deep pads and piano chords juxtapose to create a really emotive piece, subsequently giving the vocal a new meaning.
Last but certainly not least, one half of PBR Streetgang, Bonar Bradberryrounds things off with a cut aimed straight for the dancefloor with its driving low end and distorted tom-line. Creative use of the vocal and an ever evolving acid line work wonderfully together and give the track real drive and purpose.

Serving as a little taster of the full double-CD 'Retrospective' album, this sampler features 3 exquisite Mr. G tracks cherry-picked by the man himself. Originally released on Berlin's Careless Recordings, 'Song For My Cantor' is a beautifully mellow house track - conceived as a tribute to a deceased friend, it perfectly encapsulates the soulful, introspective side to Mr. G's music. Taking influence from a similarly ethereal source, 'Lights (G's Out Dub)' was produced during the solar eclipse of August 1999. Perhaps the alignment of the sun and moon looked like a gigantic disco ball in the sky to Mr. G, as this is one seriously funky groove that would fit right into a peak time DJ Sneak set - this one was snapped up by Defected Records in no time. 3rd track 'Moments' keeps on with the upbeat vibe, channelling the latin spirit - its relentless feel good carnival loop filtering up and down to devastating effect. From Mr. G to Mr. C, this little beauty saw a release on the record label associated with highly esteemed and much missed London club The End.

2nd white label from Future Boogie following BF001 - Father Father.

Criminal Love' is the welcome return of Culprit's biggest young discoveries of 2012 - Climbers - to the label. It's their third Culprit release and yet another single aimed to sweep this summer season's best daytime parties, in the wake of success of last year's '2 Come Back'.

repress!! Following up the well received Relapse EP on Machining Dreams, DJ producer Steven Tang presents Mmmmmusic'under his Obsolete Music Technology moniker. The 4-track, 12 vinyl single focuses in on melody; which has become the signature sound and of his label, Emphasis. Upon first listen of the main title track, you will hear a driving TR-808 drum intro. Then lush, emotive pads and strings comes in over the top to give the listener that emotional hook. But setting off the track is the funky synth bass voice sounding off, Mmmmmusic! Backing the title track is the stripped down 'Reprise Version' and Chicago Skyway's Pay Toll Mix, where the synth bass voice is extracted and cut up into Skyway's frenectic drum programming style reminiscent of Steve Poindexter's Work That Motherfucker. Also includes the track, Distance. Check!!

Local lads Hakim Murphy & Ike Velez are bringing the heat worldwide w/their contemporary take on raw classic Chicago house sounds. Here they give us "Body Flicker", "Fan Nation", & "Outer Path".

Australia's most exciting new export Contemporary Scarecrow makes a triumphant return this June with a four tracker from Mr. G, following the labels critically acclaimed debut from Boo Williams.

The Contemporary Scarecrow brand takes on two forms, record label, and clothing company, delivering uncompromising quality in both fields. The imprints inaugural EP from Chicago house veteran Boo Williams picked up support from the likes of Lawrence, Jovonn, Hunee, Phil Weeks and Sascha Dive, a striking indication of the sheer quality embodied from the get go. Here the second release welcomes Rekids and Hypercolour artist Mr. G aka Colin McBean, a man whose prominence in the house and techno industry over the years has never faltered and who consistently delivers refreshing, analogue workouts, regardless of the format.

The release kicks off with 'Potent', which sees Colin employ his signature gritty, shuffled analogue drums, raw chord stabs and a bulbous tom-driven bass line as the driving force. Subtle variations in the stabs and vocal snippets further fuel the infectious groove, resulting in a dark peak-time number. Next up is 'Dancefloor', and as the name would suggest, it's a direct, hooky rhythm aimed at the discerning house head, with saw wave bass, soul-laden vocals and penetrating chord sequences.

On the flip side, Mr. G drops 'Tune In', tipping its focus towards a more refined, deeper sound, with sparse drums, heavily reverberated vocal murmurs and subby low-end tones, the focal point introduces a warm, cossetting organ hook, bringing some additional musicality to the cut. Last up to close the release is 'Seapuss', which winds down the EP in a dark and moody fashion, the dropped-tempo number focuses on punchy lowslung drums, elongated bass-lines and swirling white noise to create a profound atmospheric record with a hypnotic, psychedelic feel.