Review by Matthew Crick

If, like me, your geographic expertise is limited, then you probably didn’t know that Helsinki is the most northern capital in the world – and, that Finland endures months of remote darkness, punctuated only by the arresting sight of the Northern Lights, replaced by the burning midnight sun throughout summer.

This habitat could easily be perceived as adverse for some outsiders, but for the more creative natives, in particular citizen Roberto Rodriguez, it’s acted as a constant and positive source of inspiration. At just the age of 13, possibly when the summer holidays craved to be filled with enterprise as well as fun, Rodriguez recorded his very first track on the Commodore Amiga 500. Ten years later, in 1997, the Fin released his first record, shortly after joining forces with compatriot producer Jukka Kaartinen.

Since then, and we can be slightly excused for skimming the surface due to high volume, Rodriguez has produced over 30 original recordings, plus a legion of edits and remixes which have done far more than just pay the bills – it has confirmed him as one of the true house music pioneers.

Similar to his homeland’s seasonal shift, Rodriguez’s debut album has been a long time coming, however Dawn has finally arrived. But before it bursts into life with the expectant sounds of techno and old school acid, the opening track ‘Tito’ allows you to wake calmly from slumber, after which ‘Show Me’ considerately splashes nice cool water on your face.

The subsequent three tracks, notably ‘I Believe In Love’, are welcome reminders of what Rodriguez is capable of when he chooses to get his hands a little dirty, so when you reach ‘Tell Me’, the lead single aided by the radiating vocals of Kholi, you know for sure that you’re in Rodriguez territory – surrounded by and fully taking in the retro-leaning synths.
With the prospect of another 12 tracks ahead (four of which are supplementary for the digital devotees) you hope that the album doesn’t run out of steam. Fortunately, what it does decide to do is take a slight redirection in both pace and energy, resulting in some beautifully eclectic, down-temp numbers such as ‘Eva’ and ‘Shibuya’, before momentum is restored once again in the floor-ready ‘Lies’.

Having said that, the vast majority of these tracks are in fact floor-ready, as well as being suitable for pretty much any other environment that simply acknowledges Rodriguez’s exquisite attention to detail and application. Dawn is likely to be on the horizon for some time, so make the most of it.

Listen to the teaser here

Submitted by Matthew Crick

Every month, positioned around a table wearing only our serious faces, we take a look at the record labels that are hotter than a Burning Man bicycle seat; choose one, and then put it on our approving pedestal. Simple you say? No, not really…

Even If Sean Brosnan weren’t a smoker, he’d be easily forgiven for lighting a fine cigar and inhaling large, celebratory breaths as he reflected on a busy but victorious past few months for Needwant. Admittedly, the label chief would probably quickly extinguish any lavish praise aimed at himself and instead redirect it at the artists and events he continuously represents.

Rewind three or so years and Needwant started life as a humble fanzine, built on the unwavering philosophy of bringing house music and art together. This vision was brought to life with the occasional, disheveled party popping up in London, swiftly amassing a dedicated following, a large number of which will be making an appearance at this month’s warehouse shindig no doubt.

However, it is the imprint’s present form of delivering exceptional music from some of the industry’s finest that has captured our immediate attention. With a conveyor belt of mouthwatering releases from Maxxi Soundsystem, Bonar Bradberry, The Mekanism and Mario Basanov (not forgetting the fifth installment of the Future Disco series), who are all flying high in their own right, the bar has evidently been raised to a lofty level – and one that has defined Needwant as one of the most influential record labels around today.

Our current Needwant favourite is Mario Basanov’s ‘We Are Child Of Love’

[Listen here]

Review by Matthew Crick

The great thing about the often unpredictability of our musical compass, as well as being unrelenting record diggers, bordering on the clinically obsessed, is that no matter who or what is our influence – new and old – we will always find our very own piece of paradise within that sound.

However, the idea of euphonic tranquillity is of course different to the next persons, which is how it should be, unless talking about the disco equivalent of a petrol head, then our tastes and outlook are equal, and off into the sunset we happily go.

Two people who certainly share this compulsion are Ruben & Ra. Behind their veil of anonymity they talk openly of their numerous inspirations, ranging from Quincy Jones to Chaz & Dave, with the end results, and there’s a healthy back catalogue to date, all being administered through their own label Retrospective (Rayko and Fil Lavin are also part of the family). Covert yes, slack – hell no.

Next up for the West London-based duo is One Night At The Disco, their fourth EP and the label’s seventh, a reincarnation of their four choice disco records between 1980 and 1985. And what a selection.

‘When I’m Feelin’’ generously dips its toe into the 1980 seminal hit ‘Can’t Fake The Feeling’ by Geraldine Hunt, but wisely resists jumping in head first by preserving the tempo and key vocals, while adding a little more depth and groove. A year on, and Ned Doheny’s drifty number ‘To Prove My Love’ is wonderfully retouched and energised in ‘My Love’.

Next up is a free gift, ‘Everybody Loves Good Music’ is testament to both 1983 and Dayton’s ‘The Sound of Music’, stepping up the pace and breeze of the original, without losing any of the soulful mettle. Skip to 1984 and you’re accosted by the boogiefied remnants of Inner Life & Jocelyn Brown’s belter ‘Moment Of My Life’ in the nocturnal jam ‘All Night’, completing a rather impeccable display of how to truly make the most of your influences. Nab a free download of this track HERE

[Buy & Listen here]

Review by Matthew Crick

There is unsolved speculation as to why The Dead Rose Music Company chooses to remain anonymous. Talk of long-standing family feuds still linger, with divisions so far and wide that secret meetings have to take place in order to harness their unforgiving love for house and disco.

Others claim that they are in fact simply music exiles on a mission, and one that nobody knows exactly when it all started, and more accurately, where it could finally end up. For now though this enigmatic journey is being closely monitored by many, and it’s hardly surprising after their debut ‘May Contain Samples’ EP (on own imprint Taikomochi) was coveted by every dj and producer worth mentioning during 2011.

Following on too from ingrained success via Future Classic, Sleazy Beats and NeedWant, TDRMC now join New York-based label Let’s Play House, which is stewarded by Jacques Renault, James Friedman and Nik Mercer, to uncover ‘Four Songs’ – quite literally four deep, re-worked treats that will most certainly ruin your dinner.

‘Faith’ is their visit to Alicia Myers – I Wanna Thank You which is loaded with atmosphere, intensity and loops that could happily extend into next week. Clearly a favourite in the collection.

‘Don’t Stop’ offers some inviting, mid-tempo beats that reminds us why we don’t always need drugs for solace, while ‘Nutkins’ presents a stunning and gracious recreation of Dennis Parker’s silver-coated, aerial number ‘Like An Eagle’. And with ‘Shake’ you can expect to, er, shake your chassis to some unexpected but infectious North African sounds. Seriously – we did.

[Buy & Listen here]

Review by Matthew Crick

Whereas some producers may just opt for a quick cut and paste every so often, similar to a hurried, clumsy fumble in the car with your lady friend (neither are wrong nor avoidable sometimes, by the way) most prefer to do things properly to ensure the desired results.

And one of these producers is Barry Fell, or more pertinently, B-Jam. B-Jam has been taken under the trusty wing of Superbreak, the Sydney-based label that has pure funk-fuelled blood pumping through its veins, to release six disco and electrofunk edits for our not-so-guilty pleasure.

If Fell’s weakness is his inability to steer away from indulgent basslines and swaying beats, then this surely has to be a defining strength also – his knack for bringing the groove backbone of each track to prominence, as well as introducing subtle kicks and flicks that Quincy Jones would salute, gives his music a happy balance – music you simply have to dance to.

For the true disco connoisseurs, there will be instant recognition of the vocals in ‘Friends got me mixed up’ and the superb ‘Set my sights’, but for the masses you will just want to get in the car and have a fumble as you listen to ‘Love it’. And why not…

[Buy & Listen here]