Various At Juno Download

Review: This label recently launched by DJ Spinforth (and pals) as a next step extension to his biweekly column for the Ghetto Funk blog called 'The Scour', to highlight and showcase the unsigned talent that he encounters while 'scouring' Soundcloud. The next logical step was to actually release this stuff, so here's the impressive debut compilation snappily called Scoured Cream. Originally intended to showcase just five tunes, its now boasts eight including the stop-start blues-hop of "Sun No Shine", the wobble-soul of "Hell Yeah" and some electro-swing courtesy of Hong Kong Ping Pong.

Review: The tenth release from the Manmade staple sees their crew of excellent NuFunk producers and remixers eager to please, with CMC & Silenta dropping a very tasteful edit of Mariam Makeba's classic calypso-funk gem "Pata Pata", Badboe & Prosper giving the Wu Tang a radical funk overhaul, while Cat Nip Tuck slams in the classics on the schizo-boogie of "Cat Nip Tuck".

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: Spinforth's quest for freshness continues as he follows up the debut December Scour dispatch with another generous selection of chunky-jacksy bass joints. With gnarly fingers probing every party pie, across the collection we're treated to dubstep-meets-classic-Brooklyn ("Time To Rock"), 23rd century electro wobbles ("Boss DAT!") and VERY cheeky Cypress Hill booty business ("Insane Brains"... obviously!) And that's only three examples. Get Scouring.

Review: The mysterious V has got some balls. You see, it's common practice in re-edit circles to steer clear of certain big tunes and artists. V clearly didn't get the memo, because this second volume of party-hearty, floor-filling reworks contains sneaky dubs of tracks by Steve Miller (a smile-inducing version of "Fly Like An Eagle"), the Sex Pistols (a filter-heavy tweak of "Anarchy In The UK"), The Lovin' Spoonful ("Summer In The City") and The Beach Boys ("Good Vibrations", which gets a weirdly breaksy Balearic rework). Better, though, are the versions of the more disco and funk-inclined material. His Betty Wright rework ("Slip & Do It") is particularly magical.

Review: Cypress Hill getting mashed up and personal with Led Zeppelin, Biggy getting busy over The 45 Kings, an electro-skank remix of Sister Nancy... these are just three of the super-cheeky bootleg treats on offer right here. Booties can go one way or the other; poorly pitched cut n' shut or clever, witty and complementary. These definitely fall in the latter. From furry flute bliss ("Dr Fluteski") to Busta Rhymes on a major skank-up ("Kingston Bounce"), this ticks all the right party boxes.

Review: With his Midnight Riot compilations, Yam Who has proved to be a shrewd mover. By focusing largely on the edits-not-edits sound - where disco and electrofunk meets deep house - he's managed to catch the zeitgeist of a scene that remains hugely popular. This third volume reads like a veritable who's who of contemporary talent, featuring both well-known names (Ilya Santana, Rayko, Sleazy McQueen, Get Down Edits) and rising stars (Shit Hot Soundsystem, Jimmy The Twin, B-Jam, the excellent Stupid Human). Musically, it largely delivers what you'd expect, expertly moving between delay-laden disco dubbiness, Tiger & Woods-ish disco-house and starlight nu-boogie.

Review: Nope, this ain't the return of mulleted 80s duo Black Lace, it's the latest comp from Dynamicron's Latino-centric nu-disco label Los Grandes. Once again they've searched high and low to gather the hottest re-edits. Highlights this time include Brevil's sultry sweaty "Sexy", Vinyladdicted's shocking percussion-led rework of 'cough', Jimmy Nail's "Ain't No Doubt", PCJ's baddass 70s disco rock freakout "I Like The Sound", DJ Butcher's faithful take on Mister Flaggio's Italo disco masterpiece "Take A Chance", and Craxi Disco's seductive and proggy synth-disco epic "Jerusalem".

Review: Following the success of the first three volumes of his AOR-tinged V's Edits series, Russian producer Valique (best known under his usual pseudonym for disco-flecked funk breaks) unleashes another EP of scalpel jobs. This time, the sources are a little more obscure (the silly artist names offer clues), but the party-starting remit remains. So, we get some chunky low-slung, Fleetwood Mac-ish rock ("Because"), a dash of hustling disco-funk ("Up"), a sprinkling of synth-bass laden funk-rock ("Soul Francisco"), a thickset house version of a soul classic ("Good Or Bad") and a big chunk of '90s US garage silliness ("Love You Too") - all tweaked and teased with an eye on dancefloor devastation.

Review: Despite only unveiling themselves to the public in 2010, Black Butter Records have already ascended to some impressive heights with a string of hugely popular bass/UKF releases. This first 'proper' label comp features five names from their roster, remixed by many more. It's literally fizzing and popping with retro-futuristic ideas and sounds: from the B-more drum machine orgy of "Be More (3hrs & Woz mix), to Matta's accelerated electro version of Kidnap Kid's classic "Vehl" and Vince Clarke's elasticated tech-house version of "Lazarus Taxon", to the scuzzy, rave-inflected house of Codec's "What You Need", the thoroughly ominous bass tones of "Hackney Heat" by Racknruin via the eccentric end-of the world beats of "Trick Green" by Hostage.

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: San Francisco's Hot n Heavy Recordings mark their third birthday with a new action packed compilation, released on the symbolic date of 12/12/12. Featuring 14 fresh cuts spanning future bass, deep house and leftfield garage. Highlights include the tropical melancholia of Laney's "You Need To", the menacing minimal vibes of "Hairdresser" by Allmostt, the sparse, abstract garage of HxDB's "Spectator" and the slammin' raw, retro house of "Darlin" by D3adl1ne.

Review: The Boddika-helmed Nonplus unveil Think & Change, the label's first compilation and what a way to mark such an event. Calling on a cast of the great and the good of contemporary techno and bass music, Think & Change arrives sporting some thirteen tracks, a statement of how far Nonplus has come since its emergence in 2009 as an outlet for the Autonomic family of artists, gradually mutating into a more wide ranging approach, with material from Actress, Kassem Mosse and Basic Soul Unit ensuring a reputation as one of the most respected labels in the bass music diaspora. The highlights on this compilation are many, but you should be checking Four Tet's contribution "For These Times" (easily his best, least fussy club track to date) "Bad Chicago" from Martyn, and Kassem Mosse's excellent "Broken Patterns".

Review: Having rightly made a name for themselves as purveyors of high-grade goodness, House of Disco continues to churn out the hits. Following hot on the heels of their collaborative compilation with Dikso Records comes another hook-up, this time with Kolour Recordings. Given the similarity of both labels' output, it's little surprise that House of Kolour is a bit of a winner. Musically, it's jam-packed with warm, groove-laden cuts that straddle the line where deep house, disco and re-edits meet. Highlights are, naturally, plentiful, from the shimmering beauty of Debonair's Fantastic Man rework and the funtime bounce of Hystereo's "Choral Twist", to the loopy-but-swinging soul of Sleazy McQueen's "Pretty Baby", and the hustling deep house goodness of Medlar's previously unheard rework of Noodleman's ace "Starlight".

Review: Proving that's there's still life in old re-edit disco dog yet, the guys at fledgling label DiscoDat continue their ascent with a second instalment in this series. Aiming to collect unreleased reworks from the players on the re-edit scene, this album boasts, amongst others, Karim's fleshed-out rework of Millie Jackson's "Keep The Homefires Burnin", Copycat's extended "Lovely Day" by Bill Withers and label boss himself, Disco Tech's teased-out version of Sister Sledges' 'Pretty Baby".

Review: There ain't no party like a Tru Funk Nu Party! Seriously now, not even S-Club could match the supersize funk flavours this label have been dishing up this year, and this latest compendium is no exception. Highlights include Sammy Senior's overhaul of Nelly's "Country Grammar", Lakeshore Drive's super laidback Q-Tipper "Funk'n Outta Bounds" and DJ Axe's percussion heavy sample-fest "Funky Town". Tru Funk have excelled themselves on this package.

Review: Unsurprisingly, this is an excellent album from CIA as scene stalwarts Total Science present "Tuned In 2", which features tracks from S.P.Y, Riya, Fracture, Break, Calibre and a whole host of talent from across the D&B scene. Opener "Past Lives (feat. Kevin King) (Lenzman Remix)" is an excellent tone-setter, whilst "Clipper Man" is an obvious highlight from the ineffable Calibre. Elsewhere watch out for the enticing experimentalism of Fracture's "The Breaks", plus Spirit's epic "Dream Demon" as well as FD's blissed out "Sometimes".

Review: On his previous two releases, this shady re-edit guy, only known as 'V', caused many a cough and splutter within production circles over his decision to re-work largely well-known commercial hits. Maybe he's taken this on board, as here his selection is a lot less recognizable. "Miracles" is certainly identifiable as "I Believe In Miracles", but he's used the lesser know original by Mark Cappani as source material. Elsewhere, Betty Everett's "Hey Lucinda" gets almost doubled in length and Natalie Cole debut "Everlasting Love" gets stripped back. Bigger names do surface later though, including Nina Simone's "I'm Going Back Home" and even T.Rex's "Children Of The Revolution".

Review: Things that make you go phwoar! Sexy people, massive bowls of ice cream, low flying blimps and, most importantly, Actual Sounds compilations. Each one of them comes bulging with baggy-trousered booty joints; they ooze character and promise nothing but the purist party juice. Vibes abound across the 20 track set but highlights include a trance-tinged electro treatment of Sugar Hill ("Belgium Delight"), DJ Nixon's rude rendition of Delinquent Habits' "Return Of The Tres", Mr Bird's squelch-attack on Moby and Middle Diddle's strangely effective take on Green Day. Sounds terrible in type, but brilliant through the speakers.

Review: Polish party people Tru Funk continue to champion the very best of the smile-inducing nu-funk scene with this eight tracker that provides plenty of new party breaks. DJ AKA goes for the fun jugular with "Funky Horns" coming across like KC & The Sunshine band back from the musical gym. Hiphoppapotamus gives Curtis Mayfield a post-dubstep going over in "Curtis Is Dangerous", while elsewhere Dizzee Rascal finds his 'Sirens' welded to some vintage funk in Morlack's "Imagination, KRS-One has his sound of da police beefed up with tough breaks by Tosses & Varvez and Warson provides some heavily filtered and tweaked 80s soul-style fun.

Review: ISM Records' two Futurism EPs have proved so popular that label boss Yam Who has decided to use them as the inspiration for an expansive compilation of previously unreleased gems. Unlike the label's other popular strand, Midnight Riot, there's always been a bit more of an open-minded, eclectic feel about the Futurism releases. This is no different. Whilst rooted in nu-disco and deep house, Futurism: Shades of Space also touches on 21st century jazz-funk (Manmademusic), bongo-laden spiritual house (Nu Ak's "Fly Away"), fluid garage (Nega Tiv's excellent "Liquid Call"), woozy Balearica (Ben La Desh and Plan DAqua), block party boogie (Questlife feat Wildstyle, Freekwency) and nu-jazz (Hamish Balfour). More importantly, the quality threshold remains high throughout.

Review: Not to be confused with the Justice vs Simian track of the same name, We Are Your Friends is in fact Image Musik's first LP, a massive collection of bonafide D&B bangers. From the opening track, Original Sin's "Keep Ya Pimp Hand Strong", with its tornado-like subs and furious percussive assault, to Code Red's "Cruel Intentions" with its swelling rave undertones and devastating bass drill, there's literally no let up. Our favourites are Harvest's "At The Ready" with its breakbeat rhythms and sub-bass squelch and the end of night vibes of Dan Blackout's "Storm (Your Game)", but there's something for all fans of furious D&B.

Review: Four volumes in seven months... Actual Sounds are ruthlessly efficient when it comes to showering the scene with fresh booty-shaking bootlegs. And it's business as usual as we're thrown around by the limbs to a 28-track strong selection of wide-eared funk fusions that range from an uptempo breakbeat cut n' shut of Nina Simone ("Ooh Baby") to Brooklyn era block busters ("Down With The King") via classic rave-meets-early house mashery ("A Bigbeat Treat"). A bargain and banging - these booties are keepers.

Review: With a title like The Pitch Down Jamz EP, you know what you're getting: proper head-nodding fodder to get the party started. Label boss Ali Ooft (an old hand at this kind of thing via his contributions to Instruments of Rapture) kicks things off with the delightful "Love & Soulsaving", a reconstructed soul-funk bomb that swings and struts its way towards 105 BPM banger status. La Tuerie's sweet and smoky "Filter" continues on this hypnotic theme, whilst quietly shuffling off towards "erection section" territory. Luvless's "Motion Capture" wanders towards straight deep house grooviness, while Cole Medina evokes memories of his greatest triumphs with the delightfully smacked-out "I Like It", the slowest of the bunch.

Review: With the imminent return of Daft Punk reminding us all of Paris's vibrant electronic music heritage, local label ClekClekBoom pop-up to provide us with a wide-eyed snapshot of the current Parisian underground. There are hints of familiar French staples - the stomping Ed Banger-ish ravery of The Town's "Dice", the classic house flex of Coni's "Missing You Nire" - but for the most part Paris Club Music Volume 1 dances to a different beat. With label regulars French Fries coming to the fore, much of the album is devoted to the sort of hard-to-pigeonhole bass music that takes its influence as much from B-more, R&B and UK garage as filter funk and electro-house.

Review: Take a look at this label's history. They've released more compilations this year than we've eaten hot meals. And we LOVE hot meals at Juno. What's more; they've all been solid collections too. Shifty booty-business, sample-soaked party pieces and hip-hop-flavoured block-bashing joints, Actual Sounds have the nu funk scene locked down. Highlights abound across the 24-strong set but only a sucker would miss out on Badboe's filtered funk attack on NYC-kicking hip-hop ("Hercules 12"), Jazz K Lipa's ragga dance skank "Take Easy & Surf The Volume" and Pulp Fusion's slinky, sexy lounge-lizard "Manu's Groove". Here's to the next compilation!

Review: Tru Thoughts have been around since the late 90s, championing all things modern with a soul, jazz and funk edge. Now their A&R dude Robert Luis has decided to compile their best disco-style releases, and why not? The Quantic Soul Orchestra's "Pushin On" is cinematic foot music built around an infectious loop, Zed Bias revisits 1980s Minneapolis with the help of Toddla T on the downright nasty groove of "Koolade", Bonobo remixes Nostalgia 77's "Quiet Dawn" in a downtempo jazzy style, Hint's "Aliens Enter" is as close you can get to 80s synth-soul without a time machine and Natural Self's "In The Morning" is a killer, off kilter jazz-meets-funk-and-dubby-house oddity.

Review: The Legendary Sound Orchestra continues his attempt to provide disco edit lovers with something extraordinary, with a third collection of hand picked reworks. Predictably, there's plenty to enjoy, from his own sparse, piano-heavy version of Silvetti's Salsoul classic "Spring Rain", to the rolling, bongo-laden goodness of 78 Edits' sprightly but loopy "Don't You Know". Highlights-wise, it's a toss-up between Alkalino's baggy disco-soul shuffler, "Have A Ball", and Jimmy The Twin's superb, TR-707-enhanced "Party Down". The latter, a horn-heavy chunk of upbeat disco-funk, is arguably the Bristol-based scalpel fiend's best work to date.

Review: France's Soulab label is largely known for it's jazzy, soulful sounds. Here though, it's all about the lazy, hazy sounds of the 70s & 80s. Over 13 tracks we get taken on an analogue party heavily indebted to the likes of Roger Troutman & Shalamar. The mellow g-funk of Uptown Funk Empire's "Take You Out" starts things lying down, before the electro-soul of Fatback 4Way's "Sweet Summer Daze" livens things up. From then on we get classic boogie (Cool Million "Lift Me Up") , retro pop (Confection "Lift Me Up") and even flute-core (Uptown Funk Empire "Boogie").