Italian producer Nicholas serves you his debut album for 4lux called Still Playing House, showcasing his love for the earlier USA house sounds in 14 original deep house tracks. The album includes also 2 remixes by Hunee and label head Gerd.
Expect to get lured into the Purple Maze with this third release by the Dutch imprint, once again by mysterious producer Yør with his “Modern Slaves Of Contemporary Contexts EP”. The EP starts with ‘ABCM’, a dystopian landscape of buzzing machines, ticking percussion and raw drums that builds and builds until eventually coalescing into a foreboding and roughshod house groove. ‘Dystopia’ continues in Yør’s tradition of contrary titles, because it’s in fact a soothing cut doused in ambiance that relaxes you after the agro ride that went before. ‘Fear And Desire’ comes over like a deep cut, with searching synths, a fine grain texture and plenty of disheveled Detroit vibes. Closer ‘Phaedra’s Love’ is a scuffed deep house kicker with delicate tambourines, somber buried melodies and a only the faintest sense of optimism muffled in its concealed core.
It’s still relatively early days for Lóránt Talpai aka San Laurentino, whose sensitive take on deep house is imbued with the mystique of early braindance material streets ahead of cookie-cutter pads and chords. The beats are most certainly Chicago-indebted on his EP for Robert Johnson, not least on the title track, but the atmosphere created by the intricate melodies of his synths are the real stars of the show. If you miss the soothing embrace of nineties back room ambience, then head straight for the massaging bass tones of “Rainforest Hunters” and get ready for the bliss-out.
Rio Padice is back with some assured groovers for Housewax. On the Moon Phases EP the ghost of deep Chicago house looms heavy, not least in the opening track. It’s deliberately naive, easy-going music perfectly pitched to worm its way into a warm-up scenario, but with enough grit in the production to avoid the trap of background fodder. The B-Side is a touch wilder, as the syncopation of “Track 3” does damage with a sumptuous square wave bass while “Track 4” bumps on a nasty garage shuffle.