Quality techno is back on trend. Maybe it never went away. But with the likes of Italian upstart Joe Drive, mysterious newcomers Gauss and the debuting Common Dreams firing on all cylinders, it seems that right now is a good time for techno.
And what all these projects have in, ahem, common is a keen sense of musicality, harmony and, of course, quality. Common Dreams, both the artist and label, clearly share this vision judging by release number one and with an equally-impressive follow-up from UK producer John Shima also waiting in the wings, it already looks like a project to keep a beady eye on.
As for Common Dreams 01, put simply it’s ace; a two-track, ten-inch techno treat. It does exactly what the label promised in serving up futuristic, rhythmic techno for the heads, hearts and minds.
Side one track Data Waves delivers on all counts being a deep, hypnotic and pulsating force intended to inspire both listeners and dancers. It does.
Over on the flipside, Twisted Future is a little more genteel, a touch less relentless, but its soulful and funky hue means it is every bit as inspired and dance-floor friendly as Data Waves and just as listenable. As for Common Dreams 02, bring it on.
Check out:
Common Dreams @ Juno
Common Dreams @ Facebook
In rock and roll it is the difficult second album. In underground electronic music there is no such luxury. It is the second EP that often proves problematic. No such concerns though for the enigmatic Gauss project who build upon their solid debut release of earlier this year, Braunschweig, with a three-track techno follow-up of even more intelligence, style and quality. That EP is Schwarzgerat.
Hitting the ground running, the title track finds its feet fast as no doubt might you since its woozy groove is both infectious and insistent, its melodies fiendishly catchy creating a cut designed for the more discerning and savvy dance-floors of the underground.
As might be expected of a number entitled F(X), it is a little more prosaic than the opener. Its precision, however, is finely balanced by a charming ambient tincture which, combined with the slower pace, add up to a deceptively hypnotic and rewarding little groover.
Continuing the ambient theme, Quadratic Forms (Prelude) brings the curtain down in dramatic fashion with broad-sweeping synth motions and an orchestral lilt that demonstrate Gauss are more than just your average techno outfit. With rumours already of appearances on other like-minded labels, Gauss are clearly in it for the long haul.
Check out:
Schwarzgerat @ Juno
Gauss @ Facebook
It was only a matter of time before South Africa’s embracing of deep house began to bear fruit. Now its DJs, producers and labels are gradually spreading their wings, making a mark and leaving an impression on the international scene. At the forefront of this charge and taking matters to the next level is the Roots Go Deep imprint.
Until now a digital-only label devoted to the music of South African artists, it has boldly seized upon the zeitgeist and released its first vinyl EP.
And what a debut it is too. A split EP featuring label heads Fred Buddah and Ofuren, Mystical Arts is about as self-assured, striking and unexpected as deep house gets these days. Featuring a solo track each and a pair of collaborative cuts too, the release is a bona fide four-track triumph.
Off-kilter, wonky and by their own admission nodding towards MCDE’s Raw Cuts, Buddah and Ofuren’s opening salvo Floral Synergy is a classy and well-constructed beauty that trips languidly yet purposefully throughout, aided and abetted by a menacingly soulful undercurrent. It bodes well indeed for their partnership.
Solo-wise, Ofuren’s Ripples Through Reflection takes the dubbed-out route to great effect, applying the less-is-more ethos and allowing the space between to do the work every inch as much as the music. Buddah’s individual offering, Ragan, is just as tidy and enjoyable though more ambient and edgy in style.
Arguably saving the best until last, Buddah and Ofuren’s Do Deejays Dream Of Dancing Sheep not only nods to the origins of sci-fi classic Bladerunner, but is also light-years ahead of much of the music masquerading as deep house these days. Sumptuously sub-aqueous, wonderfully wobbly at times, suitably melodic and with a touch of acid too, Do Deejays Dream Of Dancing Sheep is sublime to the very last drop. Deepness as it should be, straight out of [South] Africa.
Check out:
Mystical Arts @ Juno
Roots Go Deep @ Facebook
Roots Go Deep online
Andy Vaz is one of the unsung heroes of house music. Despite a lengthy career of considerable note encompassing numerous essential labels including his own distinguished imprints, he nonetheless goes about his business the right way. No bombast, no hype, no PR overload just a minimum of fuss and a maximum of quality.
Forays onto labels such as Delsin, Chiwax and Soiree Records International in recent years have been well received but it is with his own much-respected Yore Records that he seems most at home these days. Last year’s Bicycle Love EP was a demonstrable deep house classic, albeit in no small part to finely-judged remixes from Brad P and Damon Lamar, whilst his earlier and excellent Straight Vacationing album illustrated beyond doubt the depth of his ability and craft.
Building in some respects on the work of the aforementioned LP, Vaz now returns to the Cologne-based Yore with another reminder and snapshot of his undoubted talent, the four-track EP, It’s Ok. It’s more than ok, it’s ace and sees Vaz at his most flamboyant, feel-good and fabulous yet.
Love You Forever (featuring Niko Marks) glows, sparkles and uplifts with an authentic garage-inspired house sound that pays homage to the genre rather than bastardises it. Marks’ vocals are a delight transcending the track from contender to front-runner. Joyous.
Strutting manfully in tow but to a very different vibe is Hurry, Hurry (Malik Let The Horn Play Mix), a broken beat, free-flowing jazz-inspired workout that is something of a breath of fresh air for an EP that will undoubtedly be filed under ‘deep house’. Not only does it work in its own right, but it highlights the confidence currently coursing through Vaz that he is brave enough to take chances rather than play safe. Fair play.
Worst Fantasies is no soft option either. Featuring an electro backdrop, it is reminiscent of The Micronauts’ classic The Jag but with a more soulful lilt and features a catchy male-vocal tale of love on the rocks.
The EP closer U Did Me Wrong is a more orthodox deep house number with a cute female vocal snatch. It is, however, executed so superbly by Vaz that it will undoubtedly garner as much attention from certain quarters as the preceeding three tracks. Much recommended.
Check out:
It's Ok @ Juno
Yore Records
Inner Shift’s bid for domination of the underground house and techno scene shows no sign of abating. Levity aside though, it has been a seriously good year musically for the Edinburgh-based imprint and in particular its co-owners Brad Peterson and Rai Scott.
The former released his first album, the excellent Inner Visions, whilst the latter enjoyed her first solo outing on vinyl, the just as essential Inner Shift Volume 1 EP on London-based Ornate Music.
Now Scott takes centre stage once again with her debut solo release for ISM, the four-tracker Reason To Smile.
With its ambient tones, ethereal vibe and delicate, wistful melodies, We Love You is almost trade-mark Scott. Certainly she has carved something of a niche for herself when it comes to dreamy, organic grooves and with good reason. She does it so well. But there is so much more to We Love You, as the deeper you wade in the more the percussion drives on culminating in six minutes of glorious deepness.
Keep On has the warming glow about it of 2DeepSoul, the production partnership Scott shares with the equally-gifted Peterson. As delightful and well-balanced as We Love You but with just a little more soul, a tad more dance-floor nous and a touch more meat on its bones. Beauteous from first to last.
Cats & Water too has more urgency, more swagger. Bold, bouncy and bombastic, Scott really lets go and turns in a cut of real confidence and dance-floor appeal.
As is often the case, the closing track throws up something a little different and, perhaps for some, something even more interesting and engaging. One thing is for sure, Sky In The Clouds is no makeweight, no filler. Rather it is a wonderfully minimal, hypnotic and groove-heavy slice of ambient house that may just be the star of an already marvellous show.
With such an accomplished and, frankly, fabulous EP etched onto her CV, it is no wonder Scott has reason to smile. More please.
Home or away, LAAK invariably play a blinder. Whether releasing on their own beautifully-constructed label Austere Recordings or outings on likeminded imprints such as Rough House Rosie, Monochromatic or as is the case here the as-impressive Contrast Wax, their work is a collective and collectable joy.
Invocations the EP fits just as snugly into their fine discography. Even so, for followers of LAAK the opener Invoke A Response is something of a surprise in that it finds the duo at arguably their moodiest, broodiest and darned meanest thus far. It’s LAAK picking a fight musically. A gurgling, rubbery bassline keeps the tension brewing throughout with formidable back up from menacing synth swathes and sporadic snare stabs that together seem to beg the question “you want some?”. We do.
The superb perc-driven Cadedance is more familiar territory though no less welcome. It has the rolling drums, ear-worm melodies, pristine synth work and inherent deepness that we have come to know and love of LAAK, as well as a hint of acid thrown in for good measure. Tune.
Recant is again typical LAAK; atmospheric, assured and evocative. They do what they do so well and once this cut finds its flow the listener is rapidly sucked in and swept along with its infectious groove.
Rounding off the release is more goodness in the shape of Coming Through, an accomplished slice of deep, soulful acid. Even by LAAK’s own high standards, this is a bit special and will no doubt, as with the other three cuts, be on heavy rotation amongst the heads. Thoroughly recommended.
Chicago is not short of a legend or two when it comes to house music. Perhaps that’s why the pioneering veteran Gene Hunt is not always mentioned in the same breath as the so-called ‘big names’. He should be because his musical pedigree past, present and no doubt future is right up there with the very best of them.
So this his Planted Seeds EP is not only unsurprisingly rather excellent, it is also something of a coup for the ever-blossoming Edinburgh-based label Inner Shift Music [ISM]. And having recruited Hunt on board, Brad Peterson and Rai Scott, the duo behind ISM, have made the most of the opportunity by securing a hat-trick of deep house bombs that fit glove-like with the imprints musical philosophy.
From the opening strains of side one you know immediately that you are in safe hands. Melodic Stream is precisely that, a pure-class production that straddles that line between dance-floor and home-listening to perfection, aided and abetted by a gorgeous piano groove and a sprinkling of disco magic. And just as you think the track has settled into its comfy stride it suddenly takes off into full-on peak-time arms-in-the-air territory.
All Night Dance is a little more route one by design and, unsurprisingly given its name, pushes proceedings and tempo up a discernible notch. Thundering along at pace, Hunt nevertheless keeps the cut under control and instils more than enough deepness for those that prefer their house that way.
Drawing the EP to a fitting close is Forever On, the pick of a tasty trio in my humble opinion and another punchy one. More melodic and soulful, however, than All Night Dance and so in many respects it has rather more in common with the opener. Either way, when the time comes for compiling end-of-year best-record lists, Planted Seeds won’t be very far away.
