Back in stock: Deep House

Review: After spending the majority of his 20-plus-year career flitting between the Kompakt and Coneme labels, Matias Aguayo makes a rare outing on another label - a delayed debut for Matt 'Radio Slave' Edwards' REKIDS imprint. In its' original form (side A), 'El Internet' is a typically off-kilter affair in which his own poetic, spoken word vocals (in Chilean, of course) and fuzzy, elongated synth sounds ride a beefy but wonky bassline and the long-serving producer's usual South American-tinged, hand percussion-enhanced hybrid house/techno grooves. It comes accompanied by a vocal-free instrumental mix, where the full breadth and depth of Aguayo's production can be heard, and a useful acapella DJ tool.

Review: Colin Curtis - an early purveyor of rare groove and jazzdance whose credo rings far and wide - has been helming his own label of originals for some time now. Presently focusing on the best live-feel broken beat, house and jazz in his orbit, his latest curation, Cengiz and Ishfaq's 'Vibrations', is no break from this general rule. Each artist helming one side respectively, Cengiz' 'Motf' and its remix work a steadily built progression around faint jeers, metallic percs, filterpassed tom fills and space-age risers, the latter of which is much more skeletal than the former; while Ishfaq's 'Wonderjazz' moves impressively somewhere in the lost interregnum between speed garage and techfunk.

Review: The spectroscope of Cool Million's soundworld doubles in width, as 'One Of A Kind' marks a new phase of innovation in their patented boogie funk sound. This latest single hears Danish soul singer Seest - a longtime collaborator with the Danish production duo - add her doubled, tripled, nigh quadrupled vocal overdubs to the already well collieried disco track. With the ensuing EP packed with allusive, fiery effrontery, bringing inspirations from Earth, Wind & Fire, Kool & The Gang and The Crusaders, we must warn you: this is a volatile disco 7", one that should really come with a fire hazard warning.

Review: Danny Krivit is currently known as one of the music community's greatest purveyors of top quality disco & house as he continues to perform regularly before sold-out audiences around the world. With his unique ear for what works on the dancefloor he has also become known as "King of the Re-edit." Danny has a deep connection to Kim English's "It Makes A Difference" release on Nervous Records from 2006. Krivit worked with writer Kyle Smith on the remixes that originally made this tune an anthem at his 718 Sessions parties as well as one of the highlights of club nights from Tokyo to New York to London that appreciate quality soulful house. The B-side is Danny's re-edit of one of the most famed dubs from the Nervous catalogue as well as for the producers Mood II Swing. Upon its release in 1993 this dub emerged as one of the defining sounds of summer 1993 at Ministry Of Sound which had just recently opened the year before. The "rushing rushing rushing" hook is well knownby golden era of house afficianados around the world and he does an amazing job bringing this essential hook.

Review: Caleto Records's eighth outing takes the form of this various artists compilation featuring exclusively Polish producers. The Etat Cru duo of Olszewski and Pawlescu kick off with the wire and sinewy synths and tech house pomp of 'Jasmina' then Jerry M offers two cuts. 'Gutek' is a nice spaced-out tech cruiser with flashy astral pads and 'Gondin' rides on well-designed breakbeats with an old-school bassline. Robsessive's 'Look After You' is a deeper, dubber, grittier cut for late-night vibes and SIM ON's 'Brudas' is all glitchy and dystopian urban landscaping. Poland sure has plenty of talent based on this EP.

Review: UK label Rezpektiva unearths another gem from the archives, this time shining a light on Fade 2 End, the elusive duo of Nick Woolfson and Mark Shimmon. Their output may have been limitedijust two releases in 1996ibut what they left behind is a masterclass in deep, rolling, late-night techno. 'Sundance' sets the tone with its undulating rhythms and hypnotic loops, while 'The Passage' weaves together tough beats and drifting synth lines. 'Dreams' and 'Daze' lock into a mesmerising groove, all heady atmospherics and resonant grooves. On the flip, 'Another Day' and 'Another Night' explore the contrast between euphoria and tension, their hypnotic vocals pulling the listener deeper into the groove. 'Feel The Magic' rounds things off with a shimmering, dreamlike quality, balancing lush pads with crisp drum programming. Fade 2 End had a rare touchitracks that feel alive, shifting and evolving as they play out. Now, thanks to Rezpektiva, these lost classics finally get the attention they deserve.

Review: Italian duo Lorenzo Fortino and Brody return with their third collaborative release, further refining a sound that drifts between deep house, electro and moody, politically conscious techno. Their work has always carried a sense of purpose, but here it feels more dialled-iniless ornamental, more direct. Opener 'Our Truth' stretches over seven minutes, layering synth washes and sparse drum work around processed vocals that feel halfway between meditation and manifesto. 'Homemade Mould' is tougher, rooted in chunky house drums and dubbed-out atmospheres, tapping into the rawer side of their shared palette. On 'Deep Freedom', they introduce vocalist Veronica Marini, whose debut here is remarkableiher voice rises with clarity and control through a lyrical call to action that's both elegant and forceful. That same control shapes 'Leave Those Memories', where she softens into something more introspective, folding jazz phrasing into a smoother, bittersweet house groove. Both tracks also appear in instrumental form digitally, but it's Marini's presence that elevates them into something quietly luminous. While rooted in the familiar structures of club music, this release reaches for something deeper and often gets there.

Review: The always-cultured Sushitech is back with another of its well-chosen reissues, this time focusing on the London-based Get Fucked. These tunes dropped in original from back in 1999 on Eukahouse and have since become cult classics. First is an unreleased Sweet mix of 'Dreams Are Made' which is lush, dubbed out tech with some magnificent jazz chords. On the flipside, Kenneth Graham steps up with his She Likes To Ed-It remix which is silky smooth and hypnotic for late-night zone-outs that will lock in the real heads. This is a superb limited-blue splattered vinyl that looks as good as it sounds.

Review: A true Chicago veteran with over 100+ releases to his name(s) steps into a fresh chapter with this first EP on a new label, delivering four cuts that reaffirm his mastery of deep house expression. 'Lush' opens with silky, melodic textures, driven by emotive keys and a warm, jazzy touchipure late-night soul. 'Magic (Gherkin Syndrome Mix)' ups the energy, blending jackin' rhythms, funky basslines and a misty atmosphere, while still rooted in deep house sensibility. Flipping to Side-B, 'Showing Off' cools things down with a laid-back piece that is a worth alternate to all the heat elsewhere on this disc. Closing track 'U Don't Own Me (Destructive Beauty Inst)' dives deeper still, a spacious, textured instrumental that has a timeless, defiant spirit. Every track feels like a personal statement from an artist still pushing forward, rooted in tradition but reaching more great emotional heights.

Review: Sometimes it's wise not to over-attach oneself to a set of four walls and a roof and call it "home". Joeski and Troy Dillard prove to know it as much on 'Music Is My Home', a brilliantly soulful Afro-house roller of tearjerking proportions, and which comes backed by an wildout dub mix on the B. We'd not be surprised if this one did well in the charts; Dillard's vocals unfold over and above Joeski's static shuffles like elysian sobs, singing of safe places to go and defiant personalities to adopt, in stark contrast to what or who anyone else thinks Dillard should be. Brooklyn-Queens emigre Joeski says of the song, "This is a continuation of my collaboration with Troy Dillard from over 20 years ago when we worked on 'Hold on to Your Love', which went on to become my biggest record. Reuniting with Troy and working on this project has been special" - we don't doubt it - could it become his second biggest, even?

Review: Selected Pieces from Berg Audio is a fantastic EP that features four standout tracks, each offering a distinct flavor of deep house, perfect for the dancefloor. On Side-1, Kolter kicks things off with 'What A Day,' a track that embodies deep house with its soulful build, warm atmosphere, and uplifting vibes. The clever use of a vocal sample adds an extra layer of emotion, making it an instant crowd-pleaser. Traumer follows with 'Don't Stahp,' a classy, more techy cut that still maintains deep house roots. The dubby chords inject extra depth, turning it into a smooth, dancefloor groover. Side-2 opens with Mihai Popoviciu's 'Waitin,' which features rich, soulful chords that envelop the listener, creating a laid-back yet engaging vibe. Moor closes the EP with 'Kashif,' an uptempo track that stands out with its energetic keys and undeniable party feel. Selected Pieces is a versatile EP that offers something for every deep house enthusiast.

Review: On his new 12" for his own kickstarter label Cosada, easy riser Laseech beseeches us to dance. Jazzy, soulful house music enlists the emosh but unrushed voice of Swaylo, snaring the essence of heartfelt house in a power-of-three-tracks net. Awakening the legend Ron Trent from his slumber, his deep, percussive touch and copy-paste-happy vocal science adds a happily haphazard twist. Inspired by the melodic landscapes of the Adriatic, the inaugural label name "Cosada" holds out a personal meaning for Laseech, drawing from both an idyllic island and the street where his studio lies, symbolising his continued hope to make timeless music.

Review: Ten yeras ago, when it first was released, Young Corner marked the triumphant return of Swiss producer Alex "Lexx" Storer, renowned for his ability to craft evocative atmospheres and emotive journeys on the dancefloor. The standout track, 'Turning Tides,' blends deep house rhythms with Balearic flair, featuring sun-soaked textures and lush disco-inspired guitars destined to create unforgettable moments. 'Mahogany' takes a slower pace, with bold electronics and crisp guitars layered over a deep, dub-infused bassline. Rounding out the EP, 'Serenity' elevates the Balearic vibe with dreamy chords, clipped guitars, and cascading electronics, offering a serene escape into blissful sonic landscapes. Lexx's artistry shines through in this mesmerising collection.

Review: After originally dropping on 7" in edited form back in early 2022, Sophie Lloyd's wonderful gospel-disco sing-along, featuring righteous lead vocals from Pauline Taylor, finally makes it onto a 12".. The full-length take on 'Angels By My Side' - all rubbery disco bass, sustained organ chords, punchy horns, cut-glass strings and Taylor's awe-inspiring vocals - comes accompanied by two fresh re-rubs from Detroit duo Floorplan (AKA minimal techno originator Robert Hood and his talented daughter Lyric Hood). They first serve up a bouncy, non-stop gospel-house dub full of cut-up vocal snippets, hands-aloft piano stabs and stomping drums, before throwing their arms skywards on a similarly loved-up, full vocal remix.

Review: REPRESS ALERT!: The Plastik People label kicks off its new year with a trio of top garage jams from Romeo Louisa. 'Challenges' is a perfect feel-good sound with silky smooth chords and nice dusty drums and hi-hats all topped off with a classic vocal packed with emotion. The irresistibly catchy vibes continue with 'Lost Bottle' which is another timeless US house sound of the sort the Dope Jams crew became so well associated with. Last but not least is 'Keep Me Deep', another perfect blend of US garage and house with horns, deep kicks and lush chords.

Review: The long-time preservers of house heritage at Chiwax welcome Nacho Marco for more timeless sounds that arrive perfectly for sunny days. Opener 'Cherry On Top' has a nice gentle Balearic feel with vocals off in the distance and supple piano chords in the foreground next to more widescreen synth smears. 'Tequila Sunrise' brings organ lines to the fore with a 90s New York feel while more Balearic energy comes from the lead sax. 'Black Velvet' is more strident and textured for the nighttime club sessions and 'Twinkle' closes with a joyous sense of celebration, old school bass and unbridled piano happiness.

Review: Originally tucked away on a 2020 12", Quiroga's 'Snaporaz' EP gets the treatment it always deserved with this expanded, four-track edition from Balearic archivists Archeo. Based in Naples, Quiroga stretches his original into a languid, Rhodes-soaked jazz-house glide on the A1ifull of crackling percussion, soft-focus pads and a bubbling low end that carries the melodic line into increasingly heady territory. A loose hand drum finale seals it with flair. 'Escorpiao' on A2 is subtler but no less vibrant, a slick fusion jam where keytar and cowbell meet over a featherlight grooveibalancing restraint and virtuosity in equal measure. The B-side belongs to Rome's Francesco de Bellis, appearing under his L.U.C.A. alias. Known for his Edizioni Mondo material, he warps 'Snaporaz' into a dreamlike new age dancer, slowing the tempo and steeping it in hazy atmospheres and woozy melodies. His 'Quirky Beat' version strips it further, letting skeletal drum edits carry the mood alone. Bridging Neapolitan warmth and Roman oddball finesse, this is a limited edition reissue that more than earns its second life.

Review: Radio Slave making a record in tribute to the late, great Terry Hall was not on our bingo card for 2024, but the resultant workout - based on the much-loved vocal hook from 1981 workout 'The Lunatics Have Taken Over The Asylum' - is both undeniably dancefloor-ready and fittingly forthright (the original song was, of course, a scathing commentary on Thatcher-era Britain). The EP-opening 'Club Mix' places at the vocal refrain at the heart of the action, surrounding it with hazy vocalisations, thunderous bass, heavyweight tech-house drums and horn sounds that offer knowing nods to the classic 2 Tone sound. The accompanying 'A Clinic Full of Cynics Dub' leans into the ska sound of the original more, placing echoing horns and steel pan sounds atop a deep, dubby bassline and unfussy house beats.

Review: First released in 1999, Swayzak's 'Floyd/Doobie' shook the British duo's catalogue. Though it wasn't 'Bueno' or 'Fukumachi', this deep house cut was the next best choice for followers of the then burgeoning tech house circuit. Swayzak were already favourites on this and the deep house scene, and had clawed in acclaim for their involvement in both as early as 1993. One particularly prolix bio deems them the incipients of "1st wave 2000-era progressive deep minimal", which is too analytic even for us manic categorisers. No, we prefer to take these two big-hitters as they are: brimming with enthusiasm for a gadget-packed future, 'Floyd' fizzes and twitches with the pulsing blurts of a saw synth, as if to suggest constant magnetic stimulation from above. 'Doobie', meanwhile, hears our protagonist disrobe the techno utility belt, returning to a wireless home, so to gaze out over a subtly detuned chord landscape set to munching percs.

Review: Detroit techno outfit Three Chairs is one of the most revered in the underground game with heavyweights Theo Parrish, Kenny Dixon Jr and Rick Wilhite all part of it. Back in 1998 they dropped this classic EP and now it's been repressed by Theo's Sound Signature. It still bangs, obviously, starting with 'Good Kiss' which is a slow, dusty and jazzy deep house methane with candle-lit pads. 'Blue Out' has heavier kicks but they're still scuffed up and scruffy with some loopy keys up top and last of all is 'Transit' with its more disco leaning loops, funky bass riffs and atmospheric vocals making for a nice cosy house party vibe.

Review: If you're on the look-out for suitably big, party-starting workouts that make liberal use of samples from classic cuts and slept-on disco gems, this five-track label sampler from Tasty Recordings is well worth checking. Vinny Terranova sets the tone with 'Let's Go People', a barnstorming funky house slammer that boasts samples aplenty from an Arrested Development classic, before Disko Junkie pitches up a Grover Washington Jr classic and turns it into a bumpin' disco-house number. Elsewhere, Discotron's 'De La Disco' is a nu-disco edit-not-edit of a 'daisy age' hip-hop classic, HP Vince's 'Oh My Love' is a disco-house take on Luther Vandross, and Fraser's 'Chicago 93' is a thickset disco-house slammer that uses the same disco samples as a famous funky house classic of the early 2000s.