Bestsellers This Week

Review: Anyone who decides to dedicate a fair chunk of his debut edits release to scalpel cuts of tracks from Led Zeppelin, Jefferson Airplane and Stevie Wonder must have gonads the size of watermelons. Sitting down could be an uncomfortable proposition, then, for the mysterious V, whose seven-track debut EP also includes chunky, floor-friendly re-tweaks of The Kinks and Sly & The Family Stone (as well as a couple of stonking disco bangers). While some would argue that much of the material here didn't need messing with, he's done an excellent job. The Dub of "Whole Lotta Love", for example, is pitched just right, offering much more bang and exactly the right amount of disco dubbiness.

Review: After a brief dalliance with 78 Edits, Edinburgh-based producer Barry "B-Jam" Fell pops up on Superbreak with a bulging sack full of dubby disco and electrofunk re-edits. Fell's greatest asset is his emphasis on groove (think rubbery basslines, swinging beats, subtle kicks etc), and all six cuts here offer the perfect balance between goodtime fun and fuss-free, floor-friendly jams. There are some moments that will be familiar to disco diggers (see the disco/jazz-funk tomfoolery of "No Fly Zone"), but for the most part he's re-cut unfamiliar jams. Of these, it's the boogie badness of "Set My Sights" and delightfully heady "Love It" that really stand out.

Review: It's a mark of the quality of Mad Mats' A&R skills that GAMM has managed to notch up almost a decade of releases without really resorting to releasing the sort of stinky cheese that usually plagues bootleg and mash-up imprints. This EP from newcomers The Reflex continues that record, offering two excellent, funk-laden bangers that get just the right balance between anthemic pomp and heads-down stomp. First up is "ABC", a stretched-out re-take of The Jackson 5's most famous hit that boasts a completely different (but very good) musical backing. "I Feel Good" is even better, turning a loose funk classic into a tight dancefloor bumper thanks to snappy new beats.

Review: It can take some producers years to develop a "trademark" sound, but Brooklyn-based Lou Teti's done it in six months. Like his most recent outings for Mullet and Tigers On A Leash, "Shake" offers a breezy mix of nu-disco synths, DFA-ish baggy indie-dance vocals, low-slung punk-funk bass and a sprinkling of Balearic stardust. The influences are obvious, but the blend is all his own. Remix-wise, Drop Out Orchestra turn in a baggy, E'd-up version that sounds like a cover of Primal Scream's "Loaded", while Toby Tobias lays down some delicious deep house/nu-disco fusion for bleary-eyed dancers. A versatile package is rounded off by a bumpin', deep disco rub from J Kriv.

Review: Re-edit specialist Nelue makes the step from Soundcloud fave to full-blown artist with a selection of his best reworks to date. The four tracks featured do a good job showcasing his floor-friendly style, which offers a neat balance between dubbed-out contemporary groovery and original electrofunk and disco. Each of the four tracks is worth a listen - they're all sharply floor-friendly and come with oodles of synth-bass goodness - but it's the dubbed-out, tooled-up version of Instant Funk's "Body Slam" that probably impresses most. That said, the housed-up, delay-laden treatment of Prince's "Sign O'The Times" is pretty tasty, too.

Review: Newcomers Luv Shack Records have a simple agenda: to prove that the city of Vienna is home to a hotbed of new production talent. This first split EP, featuring four distinct cuts from some of their homegrown artists, suggests that they could do good things in 2012. LeSale starts things off with "Make Me Feel So Good", a fabulously luxurious chunk of goodtime disco with a distinct soulful twist. Burnin Tears offer a dub fusion of sun-kissed nu-disco and organic deep house, while Jakobin & Domino jack it out with the delightfully bumpin' acid track "Night Glow". A thrilling slab of piano heavy, late night nu-disco from The Beautiful People completes a fine package.

Review: Through his releases on Chopshop Music, DJ Butcher has proved to be a skilful practitioner when it comes to the party-starting end of disco edits and reworks. While he rarely resorts to cheap tricks or less than subtle percussion, his edits and re-cuts have a fun, effervescent quality that's sometimes at odds with current trends. This latest EP for Master Press offers more of the same joyous, fuss-free fodder with a cheeky glint in the eye. Lead cut "Love It" - a combination of samples from two or three jangly, summertime disco hits - is arguably the pick, though the squeezable electrofunk jams "Chinga" and "Get Down" are not far behind.

Review: With Valentines Day just around the corner, Editorial changes tack and takes a step into the world of loved-up, slo-mo groovery. It's a smart move. They've got some great up-and-coming producers involved, with Matthew Kyle's pal Joseph Terruel and Aussie moustache man Rocco Raimundo both offering deliciously deep, spine-tingling rubs. The latter's epic, filter-heavy "Looking For You" is arguably one of the best things he's done to date - a sinewy, string-laden disco slow dance that should impress all but the most miserable of disco purists. Heion's "Run" and DJ Steef's "I Can Win" are gorgeous, too, offering loopy, bass-heavy grooves with just the right amount of lip-smacking charm.

Review: As January nears its bitter end, it seems this the time to release mega compilation albums. AEI, the company behind Get Darker, UKF and D&B Arena unveil their next project: Get Darker Presents: This Is Dubstep 2012. And what an album it is. Bringing in all the flavours of contemporary dubstep, it succeeds in providing a sweeping panorama of an increasingly fractionalized scene. From the deeper sounds of Author, VIVEK, Kryptic Minds, Icicle & Distance and Phaeleh, through material from scene pioneers such as Horsepower Productions, Skream and Benga, to the more aggressive sounds of Gemini, Flux Pavillion, 16 Bit and Nero, it's all covered. A brilliant "who's who" of dubstep in 2012 - highly recommended.

Review: And so it lands. Todd Terje launches his new eponymously named label Olsen in fine style with the much anticipated EP It's The Arps. Or should we say Todd Tease as the Norwegian has been dropping lead track "Inspector Norse" since the budding months of last summer! Given that Terje's first original material in some five years resulted in one of last year's highlights with the Running Back released Ragysh, it's natural he would want to leave some space before following up. The first of a series of EPs crafted from using one bit of vintage gear in particular, It's The Arps sees Terje dabble with the intricacies of the Arp 2600 analogue synthesizer as well as pay homage to his favourite Monty Python sketch. This is just as nerdy as you'd expect from a man who recently launched a website with the specific intention of exploring the obsessive studio nature of his contemporaries. The aforementioned "Inspector Norse" is an obvious highlight here, slowly unfurling gorgeous layers of playful synthesis that grapple the simplistic drums with flirtatious delight. It makes for another signature track from Terje which is likely to engender a rapturous reception for many months to come. Alongside it, "Myggsommer" provides a brief, twee interlude into oddball sci fi soundscapes which again prove to highlight the Arp 2600's capacity for inventive and idiosyncratic sounds. From here Terje unveils a two part skywards saunter through "Swing Star" showcasing a more dextrous manipulation of the Arp 2600's melodies across the markedly more rhythmic upbeat first part and expansive luxurious cosmic subsequent endeavour. Whilst "Inspector Norse" is guaranteed to be the one track from this release you will hear in the international discotheques, the remainder of It's The Arps serves as a excellent reminder of Terje's ever growing talent as a producer.

Review: For the 20th instalment of the happy-go-lucky Bomb Strikes bootleg series, label regulars Moquee and Pimpsoul join forces. Those who've enjoyed their previous work will no doubt be salivating already - or at least dribbling profusely. "Keep Pounding" is typical of their cheeky, party-hearty style, turning shuffling classic "The Beat Goes On" into a snappy, stepping, glitch-laden breaks banger. "Let It Pop", meanwhile, wobbles and raves in all the right places, lacing a familiar hip-hop vocal over a typically pounding backdrop. Closer "Do It" sits somewhere between the two tracks, cutting up Chic's "Le Freak" and adding a silly, rectum-slackening bassline to propel things forward.

Review: When quizzed about his debut full-length before a Juno Plus party last year, John Talabot paused for a minute. "It's not really house, more electronica - like a proper album," he finally remarked. It's an apt description. Fin is clearly rooted in house - and the kind of melody-driven, atmospheric tackle that the Barcelona-based producer excels at - but it's certainly not a dancefloor-focused set. There are off-kilter downtempo moments, slo-mo compositions and twisted beatscapes that recall the impossible-to-pigeonhole antics of Hyetal (circa "Broadcast"), Sepalcure and Instra:Mental. Then there's closer "So Will Be Now" (one of two collaborations with Pional), a near-genius chunk of future garage/deep acid house fusion that's so beautiful it almost hurts. As transformations go, Fin is stunning.

Review: Hailing from Australia, Bosstone's music mines the same fertile ground as Night Slugs' London take on Baltimore house and Croydon dubstep. Opening track "Lean" utilises a sparse arrangement, concentrating on rapid 808 kicks and whipcrack ghettotech snares to accent its brooding atmosphere. "Beaucoup" is a bit like Addison Groove under the influence of codeine, with juke inspired rhythms at a more manageable pace. "Makeup To Breakup" meanwhile recalls a Jacques Greene style take on futuristic R&B, albeit one more restrained with its melodies. Remix support comes from DJ Sliink, who transforms "Lean" with some popping synths and dooms laden sirens, Samename, who delivers a tight house reflex of "Beaucoup", and "Deebs", whose fractured hip-hop reworking "Makeup 2 Breakup" turns the original into a technicolour marvel.

Review: From the home of breaks-laced mash-ups, Booty Fruit drop four new tasty treats for DJs and fans alike. Tonic invoke classic '70s funk band War with their brassy "Smack", while Cut La Vis gets superstitious on the slow and punchy "Superwishin". Elsewhere, Jim Morrison gets chopped and screwed with on Funkanizer's "Peace Frog" while El Bomba's "Mad Style" recalls the best of '90s hip-hop thanks to some tight drum samples and an effortlessly funky bass line.

Review: Whether it's the PBR stuff Bonar Bradberry does alongside Tom Thorpe or the solo material for the likes of Under The Shade and Needwant, the Leeds producer has always delivered solid dancefloor material. With the news that PBR Streetgang is the latest additions to an ever expanding Hot Creations operation, Bonar Bradberry might be on the cusp of wider recognition his production talents deserve. A second solo outing on Sean Brosnan's Needwant imprint can only help too, with You Were Away a richly rewarding journey through dewy eyed twilight disco house, all breathy vocals, well placed handclaps, subtle laser driven synths and a warm bottom end. There's a nice upwards shift in emphasis midway through that only serves to highlight Bradberry's mettle as a producer. Complementing this are some wisely chosen remixes, with German types Space Ranger reworking the track into the kind of throbbing yet glistening mutant discoid arrangement they are renowned for, whilst South Coast duo Maxxi Soundsystem serve further notice of their potential with a simmering boogie refix of digi only track "Lip Therapy" that explodes with delightful textures midway through.

Review: An all-star cast joins Manmade label bosses CMC and Silenta on this breaks-fuelled edition of their Feature Funk series. Their own "Chainsaw Massacre" mixes nu-funk with studio bass, while funky breaks producer Tom Drummond has plenty of fun with both Ray Charles' "Hit The Road Jack" and Salt 'N' Pepa's "What A Man" on "Hit It". German masters Telephunken however steal the show with two new tunes - the Northern Soul/Motown swinger "He Was Really Saying Something" and the slow, head-noddin' "It's A Beautiful Day".

Review: A host of mash-up treats with a breaks edge on this latest release from the Tru Funk label. Beak Machine's brilliantly camp electro classic "Break Dance Party" (written by Village People svengali Jacques Morali fact fans) gets a very fun overhaul by Warson, who also reworks Sylvester's "You Make Me Feel" accapella over a nu-funk beat. Warson & DJ Noz also bring some wobble to Labelle on "Ghetto Sisters" while the chopped up disco of "Sometimes" is kept nice and simple yet floor-shaking at the same time.

Review: When quizzed about his debut full-length before a Juno Plus party last year, John Talabot paused for a minute. "It's not really house, more electronica - like a proper album," he finally remarked. It's an apt description. Fin is clearly rooted in house - and the kind of melody-driven, atmospheric tackle that the Barcelona-based producer excels at - but it's certainly not a dancefloor-focused set. There are off-kilter downtempo moments, slo-mo compositions and twisted beatscapes that recall the impossible-to-pigeonhole antics of Hyetal (circa "Broadcast"), Sepalcure and Instra:Mental. Then there's closer "So Will Be Now" (one of two collaborations with Pional), a near-genius chunk of future garage/deep acid house fusion that's so beautiful it almost hurts. As transformations go, Fin is stunning.

Review: An offshoot of UK label Riddim Fruit, Booty Fruit is an imprint dedicated to mash-ups, bootlegs and edits that drops Homemade Bullets as its first release this week. Mr. Mention melts the Stereo MCs' "Connected" with the accapella from "Classic", a prestigious posse cut from a couple of years ago featuring Nas, Kanye, Rakim and KRS-1, while Dedy Dread cooks up a fun mix of chirpy reggae and Wyclef Jean. Funk Ferret chooses to add some big beats to UB40's perennial classic "Red Red Wine", and to round things off, One Funky Soul gives Jeru Tha Damaja a Northern Soul twist on "So Called Bro's".

Review: Although once celebrated by those within the funk breaks scene, Neighbour have always been more disco and electrofunk-friendly than their party-starting reputation suggests. In recent times, their Homebreakin' label has largely eschewed breaks-related antics in favour of cuts shot through with original electro flavour. This collaborative EP with pal Dave Allison continues that trend, fusing floor-friendly disco drum breaks with vintage synths, fat electro breaks and some seriously cheeky old skool samples. There's plenty of fun to be had, from the sweaty, upbeat shenanigans of "Kickin' Action" to the slo-mo synth-wave-meets-Balearica goodness of "You Can Do It".

Review: Horizons continue their run of quality releases with a couple of cuts from Dabs, who teams up with Amoss for title track "Still There" and June Miller for "Ditch". Returning to the former, this one's all about the deep, penetrating bassline with a gnarly edge, razor sharp breaks and pounding tech-ed up power. Vocodered lyrics add to the ominous atmosphere. Then "Ditch" comes in with its neuro overtones, cinematic SFX and gritty b-line pressure. Watch out for the drop - nasty! A superb release for those who like their D&B big, bad and heavy.

Review: The artist occasionally known as LTJ Experience offers up a one track single, and it's really rather good. Taking its cue from the "disco sound of 2011" - i.e a floor-friendly fusion of disco loops with subtle house bottom end - "I Don't Want This Groove To Never Ends" [sic] gently undulates for nearly nine minutes. The changes are very subtle - the odd dash of dub FX here and there, percussive elements dropping in and out of the mix, and some slick filter action - but the groove is so good you don't want it to stop. Recommended.

Review: All that time conversing with the likes of Marcus Mixx and DJ Stingray must have rubbed off on Hot City and Unknown To The Unknown label head DJ Haus - despite Hot City being known for their bass-heavy 2-step productions, this EP, in collaboration with the LA/Montreal pair LOL Boys - also known for their similarly raucous garage style - consists of a pair of tweaking acid-house jackers. The title track opens with a flurry of swung 808 kicks and neon stabs, before giving way to a rough and ready 303 line, with the rhythm straightened out in the second half into a tough 4/4 house rhythm. "Whitney (Jus Some Shit)" is another winning piece of Chicago inspired house, with a gnarled bassline, driven by furious cowbells and detuned ghetto vocal samples, all with a grimy undercurrent that keeps its feet firmly entrenched in the underground of contemporary London club music. If you're worried that the new direction will cause some of Hot Ciy and LOL Boys energy to be lost in translation, don't be - this is some their best output to date.

Review: Scotland isn't exactly the first place you think of when listening to Edinburgh dwelling Hostage's Listen EP, (his first for the esteemed Black Butter imprint), soaked as it is in the essence of Rinse FM circa 2002 grime instrumentals. You can pick out the far off eski synths in opener "Listen", and closer "No Bitch Equal", but they're joined by echoes of dub as well as searing basslines - it's quite a cocktail but one that Hostage balances finely. "Dutty Horn" melds a similarly rude bass, and ridiculous horn sample to similarly fine effect, whilst "Dreams" distils the essence of classic hardcore into a UK Funky package, but it's the savage crunch on the kick drum that is bound to impress. The second half of the EP is undoubtedly the most effective - seeing him drop the tempo and allowing his music to breathe a bit more. "Desire" is a bizarrely slowed down but wonderful version of a jungle track, whilst the jackhammer bass of "Razrr" offers some visceral onomatopoeic thrills, made all the more effective for its slowed down pace.

Review: We've lost count of the number of volumes in the Good Times series, but it must have easily reached double figures. This instalment, previously unreleased digitally, first appeared on long-departed rave imprint React back in 2003. If you missed out first time around, it's well worth checking. Unlike later volumes, which seemed to try and tick far too many boxes musically, Good Times 3 pretty much sticks to gorgeously sunny, soulful flavours. That means a delightful, party-friendly selection that touches on vintage funk, soul, disco, boogie, US garage (remember that?), ska, reggae, classic hip-hop (the boom-bap brilliance of Main Source) and, erm, Jamiroquai. Delightfully, there are plenty of classics to plug the gaps in your collection, but also a wealth of lesser-known nuggets.

Review: A superb Bjorn Torske gets the remix treatment EP from Smalltown Supersound as Todd Terje, Harvey and Crimea X all tackle tracks from the Norwegian's 2010 album Kokning. No stranger to the art of the remix, Terje has been cutting his teeth of late with some killer original material (um "Inspector Norse" hello) but his remix of "Langt Fra Afrika" proves Toddney has lost none of his Midas touch in that department. Retaining the loose Afro groove of the short original, Terje extends the track tenfold, embellishing proceedings with a dizzying concoction of detuned drums, catchy horns, shuffling shakers, samba drums and crazy chants. Up next, Mr Bassett adds some requisite sleaze to "Nitten Nitti" whilst Italian duo Crimea X bring out the arpeggios for a ride to outer galactic discoteria on a brilliantly throbbing take of "Slitte Sko".

Review: Youngunz drop a new compilation entitled Sinterklaas Society, featuring seven slices of jagged deep and funky joints from Coni, Manare, Bambounou, Chaos In The CBD, French Fries, Alan Gay and Lazy Flow. The oven warm chords and classic house vocal snippets on Coni's opening track "Sunday" stands tall above the deluge of digital deep house on the market; likewise Manare's "Boomerang" executes a stripped back, stuttering vibe with masterful precision. From here the compilation takes a neat twist from deep house flavours to stripped back dubstep-tinged head nodders, with French Fries' genre-dodging "Crushin On Me" and Alan Gray's baroque-tinged "Deaf Moonlight" leading to the hand-sup finale "Blue Jets" by Lazy Flow and featuring Girl Is Tough. Top stuff from start to finish.

Review: With remixes from Crosstown Rebels man Maceo Flex and Hot Creations type Danny Daze, Ellum Audio are clearly aiming high with their second release. Bazar's original version of "Hard To Find" is pretty tasty, though, sounding like a delightful high-octane fusion of touchy-feely E-house, off-kilter electronic disco and 80s synth frippery (check the "Blue Monday" syn-voice chords). Plex delivers an even more wide-eyed version, dipping the tempo slightly and contrasting rubbery funk basslines with typically blissful builds. Danny Daze, meanwhile, works a spooky, low-slung groove before throwing in some twinkling pianos and washes of sleazy synths.