Andreas Saag feat Filip Leyman – Leslie’s Vision (Room With A View)

Swedish producer Andreas Saag, a man that needs no introduction, is back once again with another brilliant release. Supported by the likes of Charles Webster, Iron Curtis & Soul Minority, it quickly becomes very apparent as to why once you give this a listen. The EP is titled “Leslie’s Vision” and features the very talented and good friend of Andreas, Filip Leyman.

The song is the result of a late night jam session between the two in Filip’s studio in Gothenburg.

Available in three versions, the original, deeper and deepest versions, there’s something for every occasion or DJ’s personal style.  The deeper the version the more it is stripped down from the original while simultaneously becoming deeper with less instruments.

The original is the main attraction, rich with live instruments including a Hammond organ, live drums, old drum machines and analogue synths that truly bring the track to life. Andreas’ beautiful and captivating piano solo steals the show. All his emotion was poured into this 3 minute or so segment and is well and truly felt by the listener. This climaxes into a menacing low bass-line played on organ bass pedals which, accompanied by analogue synths, smoothly ease the listener out of this 10 minute voyage of a song. This song is well and most definitely one of the milestones in Andreas Saag’s producing years, a sure classic that will still be as beautiful many years from now. Available now on Room With A View.

Andreas Saag feat Filip Leyman – Leslie’s Vision (Room With A View)



 

Words by Andile Ayza Mahlaba

06: Esa/Mervin Granger (Rememory/Sub Club)

Stream above or click here for direct download

We will introduce this podcast’s artist with words from the review we did of his release Luxarama.

Esa Williams has been a very busy man.  Between curating Red Bull Music Academy workshops and one of the residents at the popular Subculture nights in his adopted city of Glasgow, not to mention forming part of live act Sensu and DJing at some of the biggest festivals around Europe, Cape Town born Esa has somehow found the time to launch Rememory Music, a boutique label complete with unique vinyl artwork, as well as summon a few friends (who also happen to be some of Scotland’s, nay the world’s, finest producers) for remix duties on it’s first two releases.

Having already earned the seal of approval from the likes of Jimpster, Mixmag (House Tune of the Month) and EQTV.dj (Record of the Day), it is hard not to proclaim that 2011 looks to be a banner year for this young artist.  It’s no secret that this blog holds a special place for fellow South African expats, so we for one will be paying close attention.

How long have you been in Scotland now?

I’ve been in Scotland 6 years but been living in Glasgow for the past four years and since my relocation here things have really kicked off.  I can say that I’m very lucky to have arrived in Glasgow thanks to a very special lady in my life and to be able to really establish myself musically.  That’s because it’s so hard to become truly founded as an artist in Glasgow as the city has lots of great DJ’s and artists operating.  For a South African to be part of this music scene is such an honour.

How did you get involved with Sub Club?  What is it that you do there?

I first got involved with Macsorleys Music Bar which is owned by the same guys who own Sub Club, just for the odd pub gig. They liked what I played and gave me the opportunity to be part of one of the longest running club night’s in the world with two of the most amazing DJ’s Harri and Domenic.  I’m also involved with the Sensu club night where I do live performances with Barry Price and Junior Ingram, last year was a great year where we played some amazing festivals in UK and Europe, 2011 looks to be an even better one with the new live act project in the works.

Were you already producing and DJing in South Africa?

At the age of 16 I inherited all my father’s music equipment;  turntables, PA systems, records and I was on the verge of selling everything, when one day after school I decide to try and connect it all up and to my surprise I managed to get it all working.  I think from that day I started messing around and it went from playing birthday parties to running my own club nights in community centre and old factories.

A few other South African expats such as Portable and Lakuti speak of early 90s house parties in Soweto, what were your influences / what made you get into house music?

My Dad and cousins mixtapes and record collection got me into house and clubs in Cape Town like Club More, Deluxe and Sutra were big influences to the sound I play today.

Did you study music, what’s your background?

I studied sound engineering in Cape Town but the course focused more on live recording, audio and visual elements, where all I wanted to do was DJ and make electronic music.  I think the three months I spent in Germany in 2002 visiting my uncle really opened my mind to electronic music, I remember sitting with him on the floor of his lounge with CDs all around and him playing loads of different things from Portishead to Marianne Faithful, Nightmares on Wax and the list goes on.  He also took me to see DJ’s like Sven Vath, Chris Liebing and Miss Kitten and to clubs such as Panorama Bar, Bar 25, Tresor and my first dance festival Love Family Park.

What did you do for the Red Bull Music Academy?

I spent some time in Cape Town in 2002 and met up with an old friend who managed the Red Bull studio’s and did some work with him there, we discussed just before I returned to the UK that he’ll get me in touch with RBMA in the UK so when I got back to Glasgow I contacted them and said I would be interested in doing work with them.  From that point I became their representative in Glasgow and organised events at Sub Club with artists like Josh Wink, Linkwood and House of Traps, Kevin Saunderson, Tony Lionni, The Bays and Graeme Park whereby they did small lectures which was all part of the build up to Red Bull Music Academy event in London last year.

You recently gave a talk at an Apple store in Glasgow, what was the talk about and how did that come about?

I work for the Apple Store in Glasgow and recently started an Ableton Live course at SAE Glasgow so the talk was part of a series of SAE workshops in the Apple store, one of which was me talking about Ableton and the different techniques I use when producing, remix and performing live with this software using my mac.

What are your future plans for Rememory and Esa?  What do you have coming up?

A few releases with some cool artists and also working some South African artists.  2011 I feel is going to be a busy year for Rememory Music, hopefully the buzz of Luxarama will keep a level of momentum and focus in place.  Also watch out for my Mervin Granger Live Set and Sensu’s version 2.0 Live sets in 2011.

Snoek or haggis?

Haggis Nachos, Haggis Pakora and Haggis, Neeps and Tatties!

Tracklisting:

1.  Herbie Hancock & Quincy Jones intro/ Yotam Avni – Jay Dilla’s Dream
2.  Jimpster – Inside the Loop –  Alsace & Lorraine EP
3.  Alfabet (aka Awanto 3 & Tom Trago) – Lap The Music
4.  Roman IV – Lucy
5.  Ripperton & Minz – Crack
6.  The Gathering – In My System – The Revenge Remix
7.  Fonos – La Senna
8.  Makam – Love Life
9.  Mervin Granger – Never As Good
10.  Jef K and Gwen Maze – Want You Back
11.  No Regular Play –  Serious Heat – Art Department Remix
12.  Alex Arnout  – Click City

Esa/Rememory SoundCloud

Esa Releases

Scott Ferguson – Demon Otmas Ter Ed – Kinda Soul

I first heard about KSoul in 2007 with the release of the stunning Turning Point with Ra.H on Sistrum.  2 years later I found myself having to get in touch with him regarding his label Kinda Soul for my day job.  I couldn’t believe my luck, to this day that song blows me away and little old me was getting to speak to such a magnificent producer.  I have also spoken to Scott Ferguson about his magnificent label Ferrispark, so you can imagine my shock when I only discovered this beauty a week ago.  It was released in December 2008.

It’s a great loopy affair not for your average dancefloor as the name might suggest Demon Otmas Ter Ed.

Where to buy it, well the vinyl is out of stock now but you can get it digitally here, the whole EP is worthy a purchase.

Introducing… Deep Space Orchestra

We featured these guys’ music before, which goes to say their music is the nuts (and not only because we say so).  If you’re a SoundCloud addict such as us you would’ve most probably already come across them, if not you probably wouldn’t have. Up until recently they were relatively unknown with the exception of SoundCloud fame. However, we anticipate them to be the next big thing as they have a slew of top drawer releases due shortly (list and soundclips at the end).  This interview will hopefully give some insight into the rise of an artist, we will catch up with them again in a few months to hear how it’s going… a sort of before and after.

You have over 3300 SoundCloud followers yet up until December you only had one release out.  Explain to us how you got all these followers, or what you think is responsible for this SC fame.

Si – Chris and I have both been surprised and delighted by the amount of people who have followed us on Soundcloud since we first joined about a year and a half ago. When we first joined we had had 1 release out, on The Revenge’s Five20East label, but nothing following on from that, so when we finished a track, we just stuck it up on Soundcloud and if people liked it and asked for a copy, we would happily send them one. People like Cottam and James Johnston got in touch fairly early and supported the unsigned tracks we were putting up, and it sort of just progressed from there. The latter half of 2010 was when our SC, ahem, ‘popularity’ really started to take off, and some good labels on there started to get in touch about releasing our music.
I think you get out of it what you put in. I’ve been lucky enough with the job I work in to have time to respond to comments and messages when they come in, and through that, we’ve managed to build up a good rapport with a lot of people, who now always comment and support any new tracks when we upload them.

Yeah we’ve noticed you have a lot of well known DJs following you and commenting on SC, did you know these artists prior to SoundCloud?  Perhaps give us a history of DSO, have you always been heavily involved in the music industry etc.?  Si, you have another project, Cronk Family Enterprises, with Graeme Clark (The Revenge), how is it that you know Graeme?

Si – No, we didn’t know any of the bigger djs/producers that have subsequently followed us on SC. Prior to joining, Chris and I both had good contacts, people we could play our stuff to and get honest feedback from, but no, we’ve been able to reach a whole different spectrum of people as a result of being active on SC.

We recorded our first track, before the name Deep Space Orchestra even existed, in early 2006. I had just left Glasgow to move to Liverpool with my job at the time, and got hooked up with Chris through a mutual friend. In Glasgow, The Revenge and I, plus another friend, had run a night called the Good Vibrations Soundsystem for the previous couple of years, occasionally bringing in big guests like Jazzy Jeff and Kenny Dope, but more often playing to a half empty dancefloor on a Sunday night! I had known Graeme for a few years before that, as we worked for the same insurance company, and had become good friends. He gave me my first opportunity to get involved with making tracks, which gradually evolved into us recording as Cronk Family Enterprises, and  releasing a couple of 12″s on G’s now defunct Five20East label.

Chris – Before we started recording, Si had got hold of a bunch of solo tracks I’d made on my own and passed them on to Graeme. They ended up coming out on Five20East at roughly the same time as Si and Graeme’s Cronk stuff – it was pretty low key, but off the back of that I ended up in touch with Domu and Atjazz, who both liked the release and asked me to do stuff for their respective labels. A track called Breakin’ Bread ended up on Domu’s “Here Comes Treble” compilation alongside some really great tracks by 4 Hero’s Marc Mac, Dorian Concept and a whole bunch of other people. Atjazz asked me to remix Clyde’s “Read my mind” single, which was round about the same time that Mantis closed down, which was unfortunate – that was a killer label.

Other than these bits it’s basically been me and Si plugging away in relative obscurity the whole time, though I’ve also been DJing a lot for the last 8 years or so and have been fortunate to play alongside some great DJs.

Explain how life was for you pre-December, how often you play etc. you know, pre- the ‘loads of music released’ fame.
By the time this interview goes up you would have 6 releases out, 5 being in the last month. And by the end of February you will have another 4 out (is that correct?).  What do you anticipate will happen? What’s the dream?  Have you noticed a change already, more interest in DSO?

Well I wouldn’t say that we were especially well known either before or after December, but it’s nice of you to say so! It’s good to have so much stuff coming out and we’re really happy with the amount of interest we’ve got off the back of the releases, but we don’t want to make any predictions about what will happen – you never know how things are going to go. We just hope that people like the records.

I guess the dream is the same as everyone else’s who makes music – we’d love to do well enough to be able to spend all day making music and playing records, but I think you’re very lucky if you get to that point, especially as people don’t buy records in anything like the numbers that they used to 10 years ago or so. At the same time, it’s always got to be a passion – never something that you have to do to pay the bills – so we’re pretty happy the way things are right now, to be honest.

What about DJing, any dreams/hopes of getting to play every good festival in the summer? That may be a rhetorical question :)  The other day you moaned (a little) about not having time to do your own production because of all the remix work you have… that’s a new experience for you right?

Haha, yeah, we would love to get to the stage where we’re being offered the chance to play at things like the Garden Festival, Electric Elephant, Sonar, but we’re a bit away from there yet. Having said that, we are starting to get offered more dj gigs in the last month or so.

Remixing other people’s tracks is a funny one. It’s nice when you get asked to do a remix of a track you like in the first place and that has lots of nice, useable parts, and that you feel you can definitely take in another direction. We’ve been lucky in that up to now, that has pretty much been the case, with one glaring exception that I wont mention because it still makes me angry! The flipside of the remix coin is that sometimes we just want to do something new of our own, which we simply don’t have the time for when we have remix deadlines coming thick and fast. It’s not really a grumble because you’re still getting paid to do something you love doing, but I think we’d always rather work on original DSO stuff than anything else!

Maybe you’re closer than you think… with all these releases coming out now, this could be your summer!
Speaking of which, why are all the releases coming out at one time? Did you plan this?

Well, it would be lovely if that turned out to be the case. It’s weird how lots of things have finally come out or are about to come out in such a short space of time. It certainly wasn’t planned. In some cases, we had agreed the tracks and signed contracts nearly a year ago, and in the meantime, we’ve been able to set up our own label, Use of Weapons, from scratch and put out our first release.

How did you get them signed? Did people come to you purely because of the tracks on SC, or did you approach your favourite labels, or what?

It’s all been rather random. Some of the opportunities have come from being a regular poster on the Brownswood message board. Some of the members on there decided to do a compilation of tracks made by producers who posted on there. Kirk Degiorgio was drafted in to master it as he posts on there too. Our first submission caught Kirk’s attention and he signed it for ART and asked us to do a full EP. I met John who runs Winding Road as a result of being introduced to him by some fellow Brownswood forum regulars. Apart from those two cases, all but one of our other releases have come as a result of people hearing our tracks on Soundcloud and getting in touch.

The one exception to that is how we got involved with Jamie Jimpster and Delusions of Grandeur. We saw that he had given really good feedback to the promo of our ART release so we decided to send him a nice message saying thanks and that if he liked any of our other stuff, we’d happily send him a copy. This lead to him signing one track and us working on a 2nd for a Delusions of Grandeur EP.

What advice do you have regarding getting releases signed?  Do’s and don’ts.

I would say that we’ve tried not to be pushy or in anyone’s face at all when it comes to sending stuff out to labels. I hate it when people are that way with me, so I would never want us to be seen to come across that way. We’ve been pretty lucky that the process of getting our stuff signed has been pretty organic, and in the process we’ve managed to build up a good rapport with the labels we’re being released by.

December saw the first release on your own label, Use of Weapons. Any particular reasoning behind starting the label, or has it just been a dream of yours for ‘like evaaaa’? What are your objectives?

There are a couple of reasons, really – first, we liked the idea of being able to put our own stuff out on our own schedule. If we’ve made something that we’re hyped about, it’s nice to be able to get it out there quickly without too much messing around. The second reason is that there’s so much good music out there that never gets released, so it’s exciting to get involved with a bunch of talented people – often musicians who we might not have crossed paths with otherwise. We’re lucky to have an absolutely amazing track from Cottam lined up for our second release and some killer remixes from Hunee and Neville Watson.

What’s next?

Well, apart from impending fatherhood on my side of things in April, we’ve got lots of DSO tracks due to come out in the next couple of months. In January, our releases on Winding Road, Foto and ART. In February, the second release on our Use of Weapons label and our Tracky Bottoms ep. We’ve also got a cracker of a remix on the first release on Cosmic Boogie’s new Boogie Originals label.

Gig-wise, we’re due to play twice down in London in the next couple of months, at Zombie Soundsystem at East Village and at Wayward, Norm de Plume’s night at CAMP.

Reductio Ad Absurdum wishes Deep Space Orchestra well deserved success.

DSO past and forthcoming releases:

Trust Skynet ep – Use of Weapons

Deep Space Orchestra – Zombie Soundsystem 3

Deep Space Orchestra – Inside Out ep – Winding Road

Deep Space Orchestra – Riding In My Imaginary Jeep – Foto 003

Andy Ash – Hip Joint (Deep Space Orchestra remix) – Boogie Originals

Matthew Dear – Little People (Black City) – Sascha Dive Remix

Sascha Dive, the German producer/DJ and proprietor of the Deep Vibes label, takes on one of the top songs from Matthew’s Black City album in proper stretched out, hypnotic fashion.

Dear and Dive had been running into each other on the road and in 2008 Dear included a remix by Dive on his Body Language compilation on Get Physical. The Sascha Dive remix is a 20+ minute piece of deep house, trading in coherency for black hole groove and using vocals as rhythmic engines of disorientation.

For the DJs who don’t have an 8 hour set, you can opt for the dub version which shortens the mix by half, but doesn’t forsake it’s propulsive energy.

Release date: 18 January 2011

20 minute version:

Dub version:

05: Till von Sein

Stream above or Click here for Direct Download

So you’re in South Africa now, chilling in the sun with the missus.  I believe you have family there and spend January in Cape Town every year now (for those that don’t know, it is currently summer in South Africa)… how long have you been doing this?  What’s your favourite thing about SA (apart from the gorgeous weather)?

I came here the first time for NYE 93… You could really tell there was a special vibe in the air after all the strange things happening before, don’t wanna use the ‘A‘ word ;) 
Since 2006 I came here every January to chill, produce music and basically hang with my parents who bought a house here.  chill here 2-4 months a year and I don’t see that much in good old Ger’money’ due to my- and their work.

Do you tend to go to any clubs or bars when in SA?  What are your thoughts on the music scene there?

Oh, I’m a lazy one… I rather stay in the hammock and work on tracks and my tan than go out… I’m quite happy to be away from all that nightlife madness for 4 weeks a year ;)  I been to some bars on Long Street, of course… and last year I played at a club in Cape Town ,which was really nice as well.  
This weekend I went to the Rezonance Festival with my buddy Pierre Estienne and we played 3 hours b2b and had a great time.

You seem to be good mates with Soul Clap, who have rocketed to fame in the last year.  What do you think makes some artists get the attention of press over others, if they both have good music? I mean I hear some pretty good music from artists that never make it into press.

When you do what everybody else does, even if do it good, I guess it’s kinda hard to make it… 
and especially the infamous UK press who are always down for what’s new and the hype and andandand… 
you rather come around the corner with some unique new flavour to impress journalist and make em write about you.

In another interview you said that you want to do house music that sounds like a Tribe Called Quest but perform like D’Angelo in the How Does It Feel video, I’m sure the ladies would love that ;)  Which hip hop producer do you think would kill it if they made the cross over to deep house?

The list is too loooong ;)… but i would love to hear some by Pete Rock, Sean J Period and Madlib.

What does Till Von Sweeezie do other than music? Apparently you like to buy T shirts and throw them away? Do you own a clothing store? Tell us about that.

hehe… yeah I had a streetwear store for 7 years… was good fun back then, but at one point I decided to focus on the music. Besides that I still love clothes and everywhere I travel I need to check out the local stores first.  
Most of the time I hang around with my best friend Adam Port, sitting in our local cafe in our hood and talk about whatever comes along… we can do that every day for hours and hours.

What is on the cards for 2011… Remixes, EPs, starting up a German sausage stand in SA?

A new EP with Tigerskin on Dirt Crew Recordings will be out in January and an EP with Aera on Pets (the label of the Cat n Dogz guys) will be out in April.  Together with Aera I also did a remix for the next Pets EP… Chopstick and I will release a new EP for Suol in June (latest) and solo I work on a remix for Compost and my debut album for Suol… 
and touring touring touring… lots of shows already scheduled for all over Europe the first 6 months of the year.

Tracklisting:

01.  Derek Denubar – Now U Know
02.  Joshua Iz feat Diazo – It Iz What It Iz (Russ Gabriel mix)
03.  Soul Element feat Peven Everett – How Bad I Want Ya
04.  Imaani Brown – Closer
05.  Eddie Leader – Nod To The Old Skool
06.  Erykah Badu – Honey (Ron Trent dub)
07.  Matan Caps & Marcus Person – Simply Beautiful
08.  Block 16 – Morning Sun (Pepe Bradock remix)
09.  Clyde & Capitol A – Serve It Up (Starship Interpretation)
10.  Bleep District – Science & Soul
11.  Gypsymen – Hear The Music (Davidson Opine & Oscar P remix)
12.  Roy Davis jr – Michael

Till von Sein Myspace

Till von Sein SoundCloud

Till von Sein Releases

HUNDRED STRONG – Stylin’ Free EP Guynamukat remixes (Mukatsuku)

We just thought we’d share this super dope record with you.  Guynamukat (Nik Weston) does a great job of remixing Hundred Strong’s Stylin’ Free in the form of deep house.

Take a listen by clicking on the image or here.

soundcloud | facebook | twitter | myspace

Lukatron – Facts of Life EP (Quintessentials) review

It is encouraging to see labels like Quintessentials flying the vinyl flag while still catering to the ever-growing digital market, and they continue a strong run of releases with the latest from Luke Solomon as Lukatron. With an already impressive discography dating back to the mid-90’s, he works the ‘vintage house’ sound to great effect under this new moniker. The record is a story of two sides, the A-side bringing the upfront party vibe while the B-side provides the deeper antidote.  Revolution aims straight for the feet with it’s funky piano loop laid over a bumping 4/4 groove.  Marvin Gaye samples run the risk of being overused in house music, but on Just About To Lose My Mind and Bring It they are complimented perfectly by warm pads and druggy beats, not doing much more than providing an identity to the idea.  Facts of Life lands the killer blow as an outstanding chugger regardless of it’s slower tempo and is elevated by skittering percussion and infectious soul claps.  Overall this latest EP affirms Solomon’s position as one of the UK’s most talented and prolific producers.

Words by Robin Would

soundcloud | facebook | twitter | myspace

South African Music Awards

I love this video of South African legends Liquideep, Culoe De Song, Oskido & DJ Cleo performing at the South African Music Awards.  It makes me warm and fuzzy, I love South Africa.  They’re not doing much but I think I feel this way because I’m not there and am just so darn proud of people achieving things back home.

Update: I just came to a realisation, the SA Music Awards is made up mainly of house music … I bet there’s no other country in the world that can say the same.  Perhaps somewhere else in Africa, if they have Awards shows elsewhere in Africa?!

soundcloud | facebook | twitter | myspace

Free Download: Aaron-Carl

 

Rebirth label boss Rennie Foster recently did a collaboration with Aaron-Carl and is giving the EP away in Aaron’s memory.

This is what he had to say:

Aaron-Carl passed away last week loosing his battle with the illness.
The acclaimed Detroit house singer and producer, after canceling his European tour, wrote an entry on his MySpace blog explaining his trials in and out of the hospital. Earlier last week, he posted a video on his homepage discussing his official cancer diagnosis. But after a few days the sad news arrived..
Surely one of Detroit’s most enduring and soulful artists, Aaron refused to be boxed into one genre. His signature sound crosses genres; from soulful, gospel-infused House, to the dirtiest ghettotech anthems. His productions have graced various labels throughout the world, including Subject Detroit, Ovum, Metroplex, Universal France, Room With A View and his own imprint, Wallshaker Music .
But first of all…a partner, a father, a brother, a friend, a hero, an inspiration and true joy in the lives of everyone he touched….Our thoughts are with his friends and family at this time.
Our recent collaboration with ‘Savior’ (included in Rennie’s album ‘Blood Sugar’) has more special meaning now…

Click Here to Download Savior

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Highlights 1

Every week (if we can) we will post up which albums, mixes, singles from the past week shone a light on our existence.  Please support the artists by at the very least listening to them!

bvdub – The Art Of Dying Alone

We’re not the hugest fans of dub techno, we do like it and definately don’t mind it but a lot of it sounds the same so I guess its a lot like an acquired taste much like olives.  However this BVDUB album just released sways slightly from your stock standard dub techno and makes for easy listening for any electronica fan.

Click image above to listen.

Trus’me SoundCloud Mix

Trus’me, Prime Numbers label boss, is a bit of a gift from God (if you believe in Him/Her/It) and luckily for us he posted a new mix up on SoundCloud last week.

Listen above or download here

The Moroders keep-it-deep Podcast

listen above or download here

As much as the keep-it-deep podcast series is a bit of a new find for us, so is The Moroders – in fact we’d never heard of them until this podcast.  We are however familiar with their brand new imprint Uncanny Valley which features another favourite artist of ours Jacob Korn.

This mix is blindingly good and has been on repeat, it starts off beatless moves onto lovely deep house then to some of the best techno I’ve heard and then back to deep house!  If you only listen to one thing we ever post this should be it!

and here’s a video from a recent gig of their’s

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Dinky’s Louche Podcast

Download

We don’t usually do this, by this I mean dedicate an entire posting to a podcast from another site, but since we’re South African we thought we’d do this one for our South African friends in celebration of little miss Dinky hitting South African shores soon.  It really is a lovely mix.  Enjoy!

Jitterbug – Beaten Trax EP (Uzuri) review

Uzuri Recordings welcomes summer with another storming EP from South London resident Jitterbug. This, his second release on the inimitable deep house label, starts off on a lush dub techno tip with the aptly titled Catacombs. Delayed chords and huge reverbed kick drum push the track forward at a comfortable pace, while what sounds like a reversed drum-loop sample keeps your interest over the top. The hypnotic pace and undulating synths make this track a winner for being exactly that, a slow-burning, loopy trip through deep techno. Dune Buggy ventures into more classic Deep House territory, with some old-school clap/hat combinations that almost seem to trip over each other, while the playful bassline bounces happily underneath without ever fully revealing itself.

Thanx Spencer up’s the tempo on the B-side slightly, with a more 4-to-the-floor approach, all groovy basslines and echoey sci-fi effects. The producers’ deft hand shines through on this track, with what seems like a multitude of synth lines drifting in and out of the frame, all working together to masterful effect. This is probably the most dancefloor-ready of the lot, and is sure to become a weapon in a few bags over the coming months. The EP closes out with a slo-mo disco workout (Ancient Ruins), once again delivered with beautiful restraint and sure to leave the dancefloor begging to be released from it’s irresistible clutches.

This 11th in the series from Uzuri certainly helps reinforce the uncompromising consistency of the label. One gets the feeling that each track released under it’s banner is produced, chosen and finally committed to wax with the utmost care and consideration, and I for one cannot wait to hear what they hit us with next!

Words by Robin Would.

Uzuri Myspace

Jitterbug Myspace

Flight Facilities – Crave You (Lewie Day’s Not So Private Dub)

We love discovering new artists, especially when they’re this good.

Check out Lewie Day’s remix of Flight Facilities – Crave You, its absolutely superb but unfortunately not getting released.

We suggest you check his other tracks out on SoundCloud too.

Lewie Day Myspace

Lewie Day SoundCloud

Lewie Day Blog & Deepcast

Lewie Day Releases