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Reviewed this week
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To help turn a Halloween house party into something like the Rocky Horror Show or Michael Jackson's "Thriller" video, let Nude_isco's Night Of The Living Edits scare those trick-or-treaters away. There's jamming horror P-funk from Swifft Edits, '80s pop, rock and disco from 80s Child, a floor-filling edit of Talking Heads' "Psycho Killer", and some Afrika Bambaataa inspired electro from Funk Hunk - with plenty more shocks and horrors to devour.
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Funk fantastic Dave Gerrard is back where he belongs - with Chopshop, the re-edit label run by the one and only DJ Butcher. Rip More Funk is all about the fun and contains four reworks of fairly familiar party funk favourites with the likes of James Brown appearing on "Like A Funk Mashine" alongside the more obscure disco chant-a-long "Do It (I like To) and the elastic boogie of "Keep Your Body Workin'".
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Long standing Deep Medi player Silkie steps over to Wheel & Deal with three out-of-the-box bass cuts. "Bird In The Sky" is all about the bashy, UK funky style drums and a loopy element that digs deep with hypnosis. "M3000" takes the brutal factor up another notch; all pneumatic kicks and clattering snares, it's a class lesson in minimal mischief. After two rocket-fuelled stompers, Silkie treats us right with "Limits". A modern day sexy jam, all slinky and piano-tickled, it's the perfect way to end the EP, and your next set. Full circle business.
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We're unsure who Walter is, but we do know that this EP is the end result of Swindle looking after his grandparents' house for a summer between international shows, and how he turned their living room into a studio fit for a horn section. The end result features some of the funkiest, jazz-jacked, unique instrumentals he's ever recorded (which is saying something). Muted trumpets, big piano slaps, heavyweight beats, infectious hooks and an overall sense of fun, Swindle remains the funk champion of dubstep-related music. For something a little more chill switch for the dreamlike "Summer Fruits". In terms of an appropriate seasonal release, the timing is terrible. In terms of everything else about the track, it's perfect. Essential Swindle.
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So Tyke has been doing his thing for Playaz for some time now and it's still blowing minds everywhere. What is it he's got that keeps his tunes sounding so fresh? For starters, his blend of high energy D&B might have that jump-up sound but it's by no means stuck on the genre ring road. Taking influences from darker, minimal and even techy drum and bass, he's found a niche that fits him, rather than wedged into a comfortable but overstuffed sub-genre. The result is another outstanding release from this unstoppable producer. No wonder he's top property right now.
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Manchester's finest D&B producer Dub Phizix inaugurates his brand new SenkaSonic label with a pair of tracks that charge as hard as the title suggests. "Buffalo Charge" sees the producer team up with Strategy to deliver a killer piece of forward-thinking D&B filled with colourful melody and soca-tinged rhythms with enough sub-bass to collapse any nearby buildings. "Bounce" sees Dub Phizix flying solo but creating a track with just as much menacing low end, a more straight up banger to complement the playful tone of "Buffalo Charge". Both absolutely smash it - don't sleep.
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York-based Alfa Flite is slowly building a reputation as a purveyor of fine, soul-flecked edits that tiptoe the fine line between deep house and disco. Here, the mystery combo drops a new edit - a sensual, head-nodding and toe-tapping reinterpretation of what appears to be a classic Sade cut. With rubbery bass, unfussy beats, gentle guitars and emotion-rich vocals, there's plenty to enjoy. With a decent amount of compression on the beats and bassline, as well as a surprisingly distant feel about the vocal, it feels primed and ready for dancefloors that like their grooves toe tapping, head nodding and groovy.
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Following his recent appearance on Smokecloud, Sleazy returns to his Whiskey Disco home to celebrate its 25th release. As you'd expect from McQueen, it's an instant disco funk showdown laced with all manner of well dug sources and sounds. From the tight loop and lolloping bass of "Teeny Lovin'" to the more upfront glitter-sprinkled funk of "In The Year 2014" via an extended, head-turning cover of "Dancing In The Streets", each one of these cuts sparkles with Sleazy's skills and reminds us that Whiskey Disco is still very much on-point with every single release.
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This is a significant moment in the development of Michael "Huxley" Dodson. Following six years building his reputation via a constant trickle of singles, the London-based producer has finally delivered a debut album. It's a little more expansive and varied than many of his singles, and variously touches on many of his regular inspirations - UK garage, deep house and bumping techno, in particular - as well as some he's not previously explored (see the pitched-down rave breaks of "Give 2 U" and the "Circles"-ish liquid D&B of "MXR"). The result is a polished, floor-friendly set that impressively straddles the line between club tracks and home listening fodder.
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Currently in the midst of popping open champagne bottles left, right and centre, Mooqee & Beatvandals, are celebrating the tenth birthday of their popular party breaks label, Bomb Strikes. Following some retrospective anniversary releases, we now get a selection of "Future Bombs" to enjoy. Highlights include Neon Steve's brutal dubstep/hard funk hybrid "Kill Em With The Vibes", the wobble-heavy synth epic "Rumble" by Herbgrinder and Mooque's own breaky electro-houser "Piano Thing".
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This release is a sign of how much of a global phenomenon underground electronic music is, as all of the contributors come from Mexico. Thomass Jackson kick-starts the release with "Bad Chat", a malevolent, bass-heavy groove that is propelled over frenetic drum rolls. Eddie Mercury's "Rim Cow Shot" inhabits a similar space, albeit one that is powered by grainy kick drums and razor-sharp percussive volleys. An interest in the darker side of electronic music must be a common theme for Mexican producers because both Mijo's "Working Late" and Inigo Vontier's "Lunatico" are led by eerie, warbling synths and throbbing basslines and Theus Mago's "Ritmo Extraterrestre" is a wild acid extravaganza.
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Ultra Bass is a label that has been gaining steady ground with its UKF-flecked bass-house bangers. Here David Eliza adopts the well-rounded soulful tones of vocalist Jael for the synth washed break-step jam "Amazin'" and the deeper, housier "The Ride". Standout remixes here include Rare Candy's sumptuous poolside rerub of the latter and Tommy Mc's deliciously dirty basement garage rework of the former.
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While Italian producer Nicholas has always been obsessed with classic house - be it the piano-laden release of early '90s Italian productions or the New Jersey bump of later period Nu Groove - he's more than capable of producing deep house laden with soulful intensity. That's what's on offer across these four tracks, beginning with the heavy bass, dreamy chords and sensual vocal (provided by Shaun J Wright) of "Love Someone". The Italian wisely provides a darker, chunkier dub of the same track, before exploring acid and sprawling pianos on the deliciously effective "Message". Finally, "J.U.N.E" features an attractive blend of hazy freestyle vocals and cute Rhodes keys riding a fizzing, late '90s US deep house groove.
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Upgrade comes from the streets of Norwich - perhaps not the first place you'd think of when you think hard-hitting drum and bass pedigree, but this man does it with style. Rising up over the past three years, he's already been seen on wax with fellow dancefloor slayers Serial Killaz. His gritty sound gets things rolling in "Calling", with a militant edge and serious bassline duttiness. "Sounds of the Jungle" picks up on mad wildlife samplings with blistering snares and a filthy dubbed out bassline. "The Haunted" creeps its way though a halftime stomp revival and "The Congo" lifts the mood slightly with more jungle atmosphere and tweaked bass. Finally it's a junglist meltdown with Ticklah and Courteny John as you've never heard them before. Boom!
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His rawest, heaviest work to date, "500: Episode 1" is the precursor to a huge North American tour for the Dub Police founder, and he's not lost any of the individuality that's set him apart from the start. Describing the release himself as "cinematic" and "emotional", this marks a change in the producer's style, where true depth is being weighed out over heaviness and hype. Painted against a post-apocalyptic landscape in sound as well as the stylish cover art, he's marked out a new beginning for himself. We want to hear more.
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Drum and bass super-producer TC returns to his rightful place at the top of the world with this arms-in-the-air release. It's not all drops and highlights though, as top level remixes rush the stage, jostling for a slice of the spotlight. Upfront and experimental, the ever-incredible Ivy Lab break out of the norm to present their scattered,bass-heavy, pitch-shifted take, directly followed by newcomer Silverback's uplifting tear-jerker of an edit, punching hard and fast like a winner on course. Finally, TCTS offers up a hotly-tipped house cut, bouncing hard and rolling in smooth. You wouldn't get more variety on a biblical cruise ship, and that's the truth.
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The devil has all the best tunes, and it seems that Detroit's Pontchartrain has rustled up a little Faustian pact here just in time for Halloween parties everywhere. On the Devil's Funk EP, we get four naughtily nefarious joints - the tough '70s stomp of the title track, "Monkey See" is a saucy slinker for those blurry later hours, "Afrikan", with its trippy, accelerated, spacey funk rock is the perfect compliment for those whose punch got spiked. Finally "Creatures Of The Night" is a dubby rework of Laura Brannigan's 1984 Italo-disco classic "Self Control" - perfect for dancers who've lost theirs!
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In a bid to celebrate 16 years in business, Mallorca-based Garito Cade Bar has joined forces with the like-minded souls from Sweden's Local Talk imprint. The result is a collection compiled and mixed by resident DJ Nacho Velasco, featuring both well-known and previously unheard gems from Mad Mats and Tooli's well-loved label. While many people will have some of the better known material here - think Fred Everything's excellent "Brothers & Sisters (PM Atlantic)", HNNY's "Fr The Very Forst Time" and Kyodai's "Something Special" - it's the previously unheard selections that make it Music Joined Us worth investigating. Of these new cuts, it's Tommy Rawson's lusciously loose "7 Days" and Jesse Futerman's smouldering "Life Is A Gamble" - smoky soul re-made as Latin-tinged deep house - that stand out.
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Serious dubby goodness emanates from starter track "1.4 Days", giving this release from the Bad Company UK fellas an instant place in this month's good books. Rumbling away at breakneck speed, the switching rhythms take things further and further down into the abyss. "Refuge" stops momentum in its tracks with a severe, old school homage to the techy glory days of D&B where cinematics and junglist breaks were king. "The Fear" washes out the top end for a sky high sound and finally "Jellyfish" continues that addictive vintage sound. It's like the sound of every great night distilled into one bassline.
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It's been a minute since North Walian low end warrior Feonix last stepped up to M.U.D. - six months to be precise. Naturally he's made up for lost time with this rule-shredding quintuplet of jams. There's a heavy emphasis on tempo flexing and rifle-like riddims, too, as both the subverted jungle smasher "Heavy Rotation" and the skippy, steppy "Peashooter" both roll and flare with D&B verve. Dungeon-dwelling dubstep purists should jump on the gruff, guttural "Inhale" and the grunty, hooky lead track. For added variety, scope and depth Feonix has also thrown in the 80BPM "Mandatory". Slo-mo breakbeats coded with ominous, paranoid baritone frequencies, it brings the EP to the unique close it deserves. Impeccable stuff; only squares wouldn't like "The Cube".