Released Jul 2017

A luminous 120 BPM deep house cut where Ishmael’s vocal drifts over Church’s signature warm pads like smoke through floorlights.

A ten-tonne warm synth avalanche at 122 BPM; cinematic minimal techno that breathes fire into the dead hours.

A brooding, peak-time hypnosis that coils 125 BPM tension into something beautifully sorrowful.

At 120 BPM in D minor, high energy meets leftfield disco charm with a reissue sheen that rewards deep crates.

Deep house hypnosis that refuses to stay polite, locking the floor into 125 BPM of organic, peak-time sway.

Rugged leftfield house with a filthy low-end swagger that demands a big rig and a dark room.

Shan and Gerd Janson tighten the screws on ReGraded, delivering a 122 BPM gut-punch of raw, hook-laden house that demands total floor surrender.

Emerson distils Platonos’s cult synth DNA into a 130 BPM D minor juggernaut engineered for peak-time, leftfield devastation.

Baltra leans into emotive melodic house with a 125 BPM swell that feels like the last warm embrace of an after-hours floor.

Sparse, tactile minimalism at 120 BPM that builds a room you can wander through rather than conquer.

A locked 120-BPM groove and taut percussion make this a reliable, if not revelatory, floor weapon.

A maximal yet intimate 120-BPM sermon that turns the club into a smoke-filled confessional.

I hear Chaos in the CBD forging a swung, peak-time broken-beat weapon with jazzy organic depth and undeniable main-room momentum.

A slow-burning, organic deep-house weapon where high energy meets loose, emotive groove and a vocal that owns the room.

I’d call this breezy balearic organic house at 115 BPM built for after-hours sway rather than peak-time pressure, all sun-bleached warmth and supple groove.