Bestsellers This Week

Review: Session Victim's 2012 debut full-length The Haunted House of House was arguably one of the best deep house albums of the year. Here, they return with their first new material since. Opener "Yes I Know" features their trademark loose, swinging drums, warm chords and classic deep house sheen, alongside a healthy amount of what sounds like organic instrumentation. With the addition of a delicious disco vocal sample, it makes for wonderful listening. Max Graef remixes, turning in a version that sounds like a deeper take on 6th Borough Project. "Glow In The Dark", meanwhile, is wholeheartedly Balearic - a blindingly sunny slice of semi-live disco-house bagginess that should get maximum rotations in warmer climes this summer.

Review: Innerground continues its reign over the soulful and jazzy D&B world with a storming collection of shining new music from some of the scene's finest. Arguably the greatest liquid collab duo in history Marky & Makoto pair up for not one but two massive tracks, heading up the EP in 'we mean business' style. Also featuring their love for jazz funk are Austria's own RoyGreen & Protone, blasting that groove with a lush, retro feel, as does Brazilian newcomer Level 2. Liquid veteran Submorphics drops by to reveal a sweet summer anthem in "Hazel Street" and rounding off the comp is newcomer T>I with a hypnotic delve through nasty electronic percussion. A true indication of where DJ Marky's label is right now, if you're a fan of the genre you'd be foolish to miss out.

Review: Here's a downloadable version of Z Records' limited edition Record Store Day vinyl remix package of four tracks by label boss Joey Negro and his Sunburst Band. Sizzling electro-funk lead track "Taste The Groove" is given a low-slung, chugging 'Walk The Night'-style disco makeover by Hot Toddy. "Why Wait For Tomorrow" is teased out into up to 11 minutes of vintage disco ecstasy (in over three different mixes!) by Al Kent. "Definition Of Luv" also gets some super camp New York housey lovin' from Sean McCabe.

Review: If it ain't broke don't fix it as they say, and this Euro party edits producer is certainly living by this maxim. Here we find the talented producer providing Greek label Timewarp with a selection of his reworks of disco obscurities. As usual it's hard to not want to get up dance to his infectious remixes including the pulsating, arpeggiated 80s night drive of "Yull Disco Breaks (instrumental)", the wah-wah heavy hip-house of "Blast" and the chaotic acid funk of "Nose Dive".

Review: Back once again with more heavyweight jams, it's the man with the dodgy name; yes it's Fingerman time again! This time we get the laconic slouch funk of ""Tootin" which comes complete with possibly the most chilled out rap of all time! Elsewhere, "Your Love" is head-nodding 70s wah-wah guitar laden soul and "Phoenix" ends things on disco diva high.

Review: Jacques Renault and Marcos Cabral's OTP Party Breaks series has always been a reliable source of floor-filling edits and reworks. This latest installment is arguably one of the strongest releases in the series to date. Cabral kicks things off with his edit of "Latin Box", a formidable chunk of titanium-clad proto-house business that evokes images of sweaty New York basements and Chicago warehouses. Renault continues the theme on his synth-heavy homage to the 'proto' era, "Love Reaction" - all razor-sharp drum edits, cut-up vocal stabs and fierce freestyle synths. Crate-digger and renowned editor Kon provides some sublime loopy disco on "No Mistake", before WooHoo steal the show with the low-slung disco house monster "Nightwalker", a cut-and-paste fusion of elements from familiar (and lesser-known) disco cuts.

Review: Serious booty-fusion abounds on this new series from Booty Fruit. Badboe introduces Jeru The Damaja and Ini Kamoze to a disco bassline. Roast Beatz gives Grand Puba a sexy, sun-kissed facelift. El Bomba and Hidden Riddim go back to school on their Akai and get clever with a range of well-known samples and big old juicy bassline. Waggles finishes the set with the cheekiest addition that sees the Beastie Boys on a lounge lizard samba flex. Party insanity.

Review: It seems that the nu-disco trend of re-edits is one that just keeps growing. Everyone from Siberia to Greece is doing it, and now the fever has spread to Ireland too in the form of the Get Down Edits label. Thankfully these guys don't (usually) pick the obvious stuff - Fingerman samples Luther Vandross' "Never Too Much" on "Too Much" so they lose points for that, but generally it's all good jazzy, funky retro jams.

Review: Welcome to the mid-2000s. A few years before Jalapeno took him on and developed him into the nu-funk guru he is today, but after he'd scored international kudos by syncing to an Apple advert "Channel Surfing", Featurecast was one of the biggest bootleg barons on the scene. 21st century big-beat and turbo-hip-hop, Goodgroove released some of the cheekiest sample-heavy tunes of his early career. And here they are in all their remastered glory. Highlights include the Wild Cherry sampling bootie shaker "Funky White Brother" and the Vandross-DMX love-in "Get It On The Floor". If you weren't around the first time, now's your chance to catch up.

Review: Arriving at a fourth Midnight Riot label compilation in little over a year is no mean feat for Yam Who?'s ISM operation, and the key to their success lies in the diversity of sounds you can include within the overarching theme of nocturnal grooves. And of course the high standard of artists that contribute, with this bumper 23 track selection no different as Yam Who? call on some respected names to contribute; seeing the likes of Joey Negro, Ilya Santana, Rakyo and LTJ Experience puts you at ease as you know you are in good hands - the Negro edit of Yambee's Ballistic Brothers classic "Blacker" is a notable highlight. Yet the fact these established names don't overshadow the contributions of lesser known Midnight Riot newcomers such as Dan Butler and Caserta - indeed the latter Boston based producer provides perhaps the best example of a 'nocturnal groove' with his slow burning, beat down house cut "Get Down".

Review: After successfully remixing some very popular dance tunes to widespread approving nods from the likes of Loadstar, Clean Bandit and Naughty Boy, the Bristol duo have returned to the studio to furnish the bass music community with a second EP released on cutting edge label Black Butter. Bringing together house, garage and bassline for that oh-so-now deep house feel with a characteristically twisted outlook, each track is a swarming mass of influences and irresistible experimentation. "Scatter" in particular has that perfect MNL combo of hip-swinging dancefloor compatibility and relentless hard-hitting beats and you've almost definitely already heard the badness of "Levels" on your travels. A definite buy on sight.

Review: The Katakana edit express thunders on with their 11th installment of party breaks. This time the overwhelming vibe is of retro soul, jazz and swing. The latter is handled with a Latin influence on "I'll Be A God Man" and "Lovely TV" by DJ Clairvo, while the amazingly-named DJ Oli Garch provides a breaky, swingy version of jazz standard "Summertime. Lastly Timewrap opts for some Cuban-tinged grooves on "Miami", as well as a cheeky retweak of The Velvelettes' Motown classic "He Was Really Saying Something".

Review: Of late, veteran Venezuelan DJ/producer Pablo Sanchez (now residing in Barcelona) has been pushing a sound based around deep house, nu-disco and Afro-funk. However for this new release he appears to return to the jazzier influences that informed his earlier work. "Out & About" is six minutes of party clap beats and sizzling freeform jazz. On the remix front, Kyodai goes for a crazy, escalating, Dave Brubeck inspired freakout while Opolopo delivers a more familiar funky house version.

Review: Mullet Records continue their quest to impose the sound of the Billboard Dance & RnB Chart circa 1985 on modern dancefloors everywhere, and it's a cause we totally support. Strong, Latino-style female vocal? Check. Timex Social Club-style electro bass? Check. Debarge-style tropical melodies? Check. In short, a winner! Lots of good remixes too, the best being the ever-dependable Elijah Collins who transforms the song from a good retro tune into something more unique and contemporary.

Review: In the last 18 months, Dutch duo Detroit Swindle has come from nowhere to become one of deep house's go-to names. This three-tracker for Tsuba - their first for Kevin Griffiths' label - is another 'must-check' release. Lead cut "Sometimes" is typical of their output to date; deep, stylish, quietly soulful and blessed with relentless riffs that propel the track forwards at a rate of knots. Arguably better is "That Freak Stuff", a slick chunk of deepness blessed with some rougher drums, an addictive bassline and some atmospheric, whispered vocal samples. Soulphiction remixes, turning the track on its head thanks to shuffling analogue drums, a fuzzy bassline and some glistening pianos.

Review: One of Kojak Giant Sounds' best moments comes to digital for the first time. These two Lefttside Wobble edits originally slipped out on 12" in 2010, and have remained in the box of discerning DJs ever since. The uplifting, low-down version of Ashford and Simpson's "Don't Cost You Nothing" is teased and tweaked to perfection, with the track's celebratory feel and springy groove rightly treated with respect. The drum breaks sound fiercer than ever, too, with plenty of subtle build and the odd dose of tape delay to keep things moving. The dubby, extended rework of Esther Philips' "All The Way Down" - all relentless bass, dubwise effects and Blaxploitation hustle - is also killer. Don't sleep.