SVN 2 AU 2 Feat Paleo On Tempo It Takes Time
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Paleologos Koukouvelis brings his hypnotic vocals back to the Wania catalogue after a four year absence, riding Potliquor First Taste out over some mind bending productions from SVN and AU.
Up top SUED boss SVN comes across like an agitated Rabih Beaini struck with paranoia off a caffeine binge, with jittering, bugged out production work to "On Tempo" as Paleo dips in sporadically with his deadpan delivery. SVN 2 AU 2 Feat Paleo On Tempo It Takes Time effect this will have on a big system! One of the 12"s of the year without a doubt.
Music New This Week. New Today. Last 8 Weeks. Back Catalogue. Back In Stock. Coming Soon. DJ Charts. Juno Recommends. Today's Offers. Greymatter, KRL and Medlar have been collectively responsible for some of Wolf Music's most memorable releases and together here offer an excellent demonstration of their production prowess. Greymatter kicks things off with "Give Up Never Gonna ", a perfectly pitched John Coltrane Sun Ship of sparse deepness with hints of smoky late night soul thanks largely to some warm chords and a cut-up vocal from Sophie Brown.
KRL's "The SVN 2 AU 2 Feat Paleo On Tempo It Takes Time works loops and filters hard, delivering an off-kilter take on sample-heavy house that sounds a little like Andres, while Homeboy's "Spacelift" is pleasingly melodic and intoxicating, with the added bonus of a suitably heavy analogue bassline.
Ishmael's "Lumo" sparkles with SVN 2 AU 2 Feat Paleo On Tempo It Takes Time synths and touchy-feely grooves, while James Welsh employs some clattering snares and sparse melodies on the powder house-included "Sleepless in the Saddle". On his new one for London's Wolf Music his second for the label since his remix for Lou Courtney Hey Joyce. Fries last yearhe goes for a raw and jackin' house vibe that's dust covered and hypnotic and sits somewhere between the raw sampledelic cyclicality of Motor City Drum Ensemble's Raw Cuts Series and classic DJ Sneak style disco-cut ups.
He starts with the funky "Down Up" and the lo-slung "Grigio" respectively. Finally "Parashutes" features a bit of help from Hade on this smooth and soulful nu-disco jam that's aimed squarely at summertime open air dancefloors. The Untitled EP. Hulkhodn lends a hand on the head-nodding hip-hop beats of "Doggo Content", while "Where's The Wine" is a bassline-driven chunk of stripped-back deep house par excellence.
Closing cut "One4fries", a more percussive and forthright jazz-house cut, may well be the strongest moment on an undeniably brilliant EP.
As Homework, Amsterdam-based Tom Waist and Zip Stolk have racked up a clutch of releases for Shir Khan's Exploited label over the past four years and their brand of classicist Chicago house is most definitely high grade Wolf material. Includes a rather dusty remix from Wolf Music regular Greymatter.
Hubert Clarke Jr. Happily, this follow-up, which sees him pop up on British deep house imprint Wolf Music, is equally as impressive. The Sydney-based producer begins with The Letters Nobody Loves Me jazzy piano riffs, tumbling analogue Octavian Nemescu Gradeatia Natural and bustling deep house drums of "Paradiso", before moving further towards classic U.
S deep house territory on the warm and toasty "No Look For Trouble". There's a decent spread of moods here, with "Dejong" starting things off smooth and steady with its gentle Rhodes chords, before "Takoma" brings a more feisty kind of synth stab to bear on this late night heater. He's since gone on to contribute several further 12"s to the Wolf cause as well as align with the similarly-minded Church with whom his debut LP, Sometime In Space, was released earlier this year.
Mederic Nebinger and Function Blue Maxx Emilion Lifegame mighty Soulphiction pops up to lend his own brand of shuffling percussive house class on a closing remix of "Doldrums.
Originally SVN 2 AU 2 Feat Paleo On Tempo It Takes Time louche slice of beatdown, "Nowt" stays at an even tempo in the hands of the Crazy P artist though there are all new levels of seductive funk added. Laszlo Dancehall. LZD IV. Happily, this first collaborative effort since the tail end of is every bit as essential as its' three predecessors. They begin with the baggy deep house grooves, stretched-out chords and bustling bass of the hypnotic "Tide In", before adding booming sub-bass and twinkling keys to the jazzy, Andres style swing of "Channel".
The Scanner EP. Predictably, he's in fine form here, too, flitting between the lilting strings and fuzzy analogue grooves of "Scanner", the loved-up deep house dustiness of "Track One" and the saucer-eyed warmth of "Dirty Walk", where distorted Fender Rhodes motifs work away jazzily over a Martha Argerich Piano Recital and languid dancefloor groove.
Those after something undeniably sun-kissed and sunset-friendly should check BB King There Must Be A Better World Somewhere The World Down For a Moment", a typically blazed and seductive chunk of languid MPC-house.
Check first opener "Otari", where haunting and poignant piano lines relax over a driving but dusty deep house groove, before turning your attention to the Andres style, sample rich goodness of "Leaders For The Government", which includes some superbly simmering strings and a rubbery but restless bassline. We'd also recommend closer "Gold Rush", whose stomping, kick-drum driven beat is accompanied by more hazy, eyes-closed piano samples.
Lea Lisa. The Legacy EP. Here the French producer makes her Wolf Music label debut with what could be her strongest outing yet. The accompanying remixes of "Something For The Dancers" are superb, too, with Kerri Chandler's bustling, near-perfect take on "dark" remix which, of course, isn't dark at all but rather warm and immersive just edging out the more hypnotic and synthetic Black Tone "reshape".
Lush chords and woozy rhodes partner up with "uh-huh" vocal snippets and tribal percussion in "The Sun". James Brown "uh's" and basic synth progressions make up "Knockard Pearl", which receives a stellar Detroit Swindle remix of bolstered stabs that verge on rave.
A secret weapon for the transitional DJ. He's been relatively quiet since - an EP of 12" versions of album tracks and a collaboration with Dan Shake on Delusions of Grandeur notwithstanding - so this all-new four-tracker for Wolf Music is a timely release.
Predictably, it's rather good, with Medlar moving further towards the jazzier end of the deep house spectrum in a similar vein to recent releases on Rhythm Section International.
Highlights are plentiful, from the extended, beatless David Holland Derek Bailey Improvisations For Cello And Guitar up and twinkling pianos of "Dawn Chorus", and the Mood Hut style, ambient-influenced new age house revivalism of "Paradise", to the military drums and analogue electronics of "Loon".
Best of all, though, is the sticky, humid, off-kilter jazz wig-out "Angel Race". Excitingly, the EP's final track - a bustling fusion of beatbox electro rhythms, layered breakbeats, heavy bass and yearning chords - is a studio hook-up with similarly well-regarded producer FYI Chris.
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