Editorial is one of the leading re-edit labels currently doing the business, so it's only fitting that they should enlist some leading re-editors for Love Dubs. Australia's Dr Packer leads the charge with a sublime spaced out version of Teena Maries' slap bass classic Behind The Groove. Further highlights include the slo-mo, hands in the air vibes of "Bionic Love" by Robjamweb and the orchestrated '70s glamour beat of "Smile" by Black Rebel.
One of the most respected men in the game, Hazard returns with four blinding slabs of seismic sonics. Don't be fooled by the title, "Bricks Don't Roll" really does roll thanks to some unique drum programming, a harrowed hook and a sub that echoes its every peak and trough. Dig deeper for the head-turning, triplet-twisted hype riser "Mk Q", the subversive alien trippiness of "Death Sport" and the spacious reverberations and epic hollow-bass drop of "Meen Time". Hazard doesn't release EPs that often, but when he does the scene bricks it. This is beyond solid.
Kompakt's Total compilation series - an annual round up of gems from the imprint's tightly packed release schedule - must be one of the longest-running in dance music. Amazingly, this latest installment is the 14th volume in the series. For those who enjoy Kompakt's generally positive approach to electronic music - think tactile techno, ambient pop and skewed, synth-laden house from the likes of Michael Mayer, Thomas Fehlmann, Partial Arts and Gui Boratto - there's much to admire, including a slew of previously unreleased cuts. These include Superpitcher's "Delta", a sublime chunk of hypnotic e-tronica that's almost too melodic for its own good. Arguably even better is Weval's live recording of "Something", which is near perfect in its wide-eyed pop simplicity.
JD Twitch's Autonomous Africa series is something of a rarity. Each annual EP, which features modern electronic music influenced by African rhythms, sounds and styles, is used to raise money for a different African charity. Proceeds from this third in the series are destined for Tanzania's Mtandika Mission, a charity run by Midland's parents. It seems fitting, then, that he kicks things off with "Safi", a heavyweight slice of future voodoo that expertly blends analogue electronics and bombastic African rhythms. General Ludd go deep, psychedelic and off-kilter with their brilliant "Burning Mack", while Auntie Flo delivers a stripped-back vocal cut with echoes of his recent material on Permanent Vacation. Finally, Twitch steps up to deliver "Maya", which sounds like LFO's "LFO" re-made by African musicians.
For this, their inaugural release, Beatnik City round up a pan-international squad (including British, Italians and Brazilians) in what proves to be a great homage to 'the world's sexiest city'. There's seven tracks here - all of which look back to the hazy golden 1960s and conjures up vintage Copacabana vibes through a combination of salsa and Latin loungey sounds and melodies all welded to tougher modern breaks for a contemporary slant.
Bringing new levels of heat to the nu-funk fire, Rise Above returns with three more surefire party ruckuses. WBBL kicks off with a pitch-perfect update of Bomb The Bass's "Bug Powder Dust" on "Buggin", Sammy Senior looks further back and taps into the deepest pool of classic jams with a savage bass-scorched "Sweet Funk", and finally X Ray Ted closes the show with a cool homage to Al Jarreau, complete with a cameo from Mr Biggie Smalls himself. New blood? Bloody great, more like.
Having struggled to find his niche during the early part of his career, things started looking up for Randomer when he popped up on Numbers back in 2011 with the bombastic blends of acid house and techno that made up his impressive Real Talk EP. Since then, he's impressively flitted between techno and bass music, and here delivers an all-out techno assault for Clone's occasional Basement Series. There's a real no-nonsese feel to the relentless kick-drums and cut-up vocal samples of "Stupid Things I Do", which comes in "New School" and "Old School" mix formats (the latter including some looser techno breakbeats, and thus being our pick). The EP also includes two formidable percussion workouts, which deliver driving drums and booming basslines.
Unlike his more prolific counterparts on the scene, Beta 2 has been working away quietly and sporadically over the past few years, spreading his talents sparsely but effectively, like a stealth bomber. With a timeless quality only a few producers manage to evoke, his tracks always bring the glory years of D&B to mind, transitioning smoothly from 1994 to 2004 to 2014 in the blink of an eye. "2nd Page" is a masterpiece in smooth, swaying drum and bass, picking up swooning strings as it rolls past. Second track "NOD" is made of harder stuff, with rough breaks and empty, minimal atmosphere. Moving into techier territory, "Time Traveller" takes beats most familiar to fans of the likes of Burial and Four Tet, speeds them up and sends them on their way with a gorgeously soothing rumble of velvety bass and soaring atmospherics. A true gem.
Auckland's deep delving duo Monkey Boots are back with a new version of "Whitworth Strut", this time reworked by disco royalty himself, Greg Wilson. Under Wilson's guidance the track becomes like a whooshy, subaquatic disco swim with tides of touchy feely loops washing all over the listener in blessed-out joy. Elsewhere we get a new track "Hold Back The Night", which is a lean and mean slice of linear electro funk (also successfully dubbed out by Andy Hart) that clocks in at a whopping eight minutes!
When you think of Basic Fingers, it's hard not to associate the label with the seasoned disco tweaking activities of Koko Garito, a man whose been integral in establishing the label within the edit community from the very off (remember that slick Skipworth & Turner edit on FINGERS001?) As you might have gathered from the title, this is the fourth solo Koko release for Basic Fingers and commences in jazz funk heaven with an edit of Deodato called "Family Affair" which shows off his skills for rearrangement and deft EQ for nine glorious minutes. Meanwhile, "Welcome Aboard" sees Koko flipping a Barry White and Webster Lewis arrangement in equally silky fashion, making it a perfect nugget for the early afternoon boat parties this summer.
Man of many monikers Gerd returns to the NY Stomp alias he last used in 2012. "I Feel It Comin' On", featuring Matthew Kirkwood, is a sparkling chunk of revivalist US house, with pianos and cut-up soul vocals riding a classic bassline and stomping, basement-friendly beats. There's a couple of more UKG-friendly revisions in the shape of the Bass'N'Dirt Remix and Dub, while Ovis gives the original a thunderous makeover - all raw drum machine beats, powerful sub and cut-up, hands-in-the-air vocals. There's also a solid bonus cut, "Beatattak", in which Gerd laces chopped-up freestyle vocals and dreamy chords over a skipping, US garage style rhythm.
Jump up heads, it's time to get nasty. A year after the release of this notorious dancefloor killer, Filthy Habits have taken to the lab once again to remix "No Cure" for the late summer crowds and boy are we grateful. Packed to burst with dirty bass and hard-spanking snares, there's not a pair of dunks in sight that could resist skanking to this. "Boiling Point" on the other hand raises up the salute to Turno's production skills with a faithful remix from Filthy Habits. Still dark, still destructive but with a sleeker, meaner level of devastating realness, this roller is going places. The favourite by far.
Defkline is one of the alternate monikers used by breakstep pioneer Deekline (of I Don't Smoke fame). This Londoner never rests - running no less than six labels including Hot Cakes. Here on "Push Dat" he's having a bit of throwaway fun taking the riff from '90s superhit Push The Feeling On by Nightcrawlers and mixing it in both 2-step and housey styles. Sure to conjure up smiles in clubs everywhere.
Legendary label Ruffneck Ting do their thing once again with the return of K Jah to bring the real sounds of jungle back to the dancefloor. This five-track monster rips it up from start to finish, with more fire than an octogenarian's birthday cake. First up to bring the vibes is "Supaclash" with its giant bass and even bigger selection of well-poised sampling. Following up with hard-rolling "Rough Times" and old-school tinted dancefloor-shaking "It Gets Better" there's a plethora of influences here ripe for the picking. "That's A Fact" follows up with a skank-along beats, filth bass and hip-hop vocals, and finally the greatest sweets in the world get a look in with "Cola Cubes" featuring Vytol, a dark and dingy look into the early hours; cold, heavy and very, very ravey.
Liondub International come through with their usual bag of ragga jump-up goodness, and this time it's a mash up of the legendary Ranking Joe! "Ram Dance Selecta" is a serious body groover packed full of crunchy breaks and that inimitable Jamaican vocal twist - a true lesson in rub-a-dubbin'! "Jungle General" is another slice of mutant ragga funk, but a touch deeper and a little more sensual. All together, a true flash job. Run it!!
Staffordshire's Rich Lane made some serious waves recently with slo-mo Balearic bomb "Shelves" getting serious plays from the likes of Emperor Machine and Tronik Youth. For his latest release (on a split EP) he's chosen to present a cool, linear re-edit of A Split Second's 1986 classic "Flesh" - originally a faster punk record, it famously gave birth to Belgian New Beat when DJs played it at 33rpm and slowed to -8. Also included is returning '90s hero Peza (Lee Perry) with a reworked version of No More Nightmares - now stripped back to a slow acidic chugger.
Following the sad news of Rashad's passing, this latest single from the ever-productive Addison Groove takes on a more poignant nature as the late footwork legend guests on the second track. That the track is called "U Been Gone" only adds to the emotional weight of it, not to mention the wistful keys and yearning vocal lick. Elsewhere Addison Groove is on typically fiery form, from the rave baiting whiplash of "Push It" to the weighty bassbin busting badness of "Dat Ass". The samples are beyond cheeky in their recognisability, and it matters not a jot when the music kicks as hard as this.
Little known liquid upstart Furney gets another crack of the whip as Soul Deep Exclusives take him on for three stunning musical journeys into his many influences and inspirations. "Tear In The Rain" is a mash-up of modern western soundtracks and lush, rolling bass mixing old with new, whereas second track "Missing Her Missing Me" is a melancholic ramble through subs and rain-soaked atmosphere, dampened percussion and ethereal vocals adding to the gloaming. Finally, Furney signs off with the beautifully musical "Gumbo". Not at all like the food of its namesake, this dazzling track takes on many different, delicate forms from light and airy pads to twinkling keys and sultry sax, all held together by a huge fuzzy bassline. Delicious.
Judging from the reception this UK producer has been getting from Hype and Pascal, it's only a matter of time before he blows up into the big time - so listen up. Packing the biggest of punches through the use of huge drops and bonesaw bass, the Time I Did EP manages to be a collection of highly accomplished, tightly produced dancefloor detonation devices, with each track coming from a different place in the D&B psyche. From heavy-handed and wild to technical and troubled at the flick of a switch, if you've not heard of this guy yet, prepare to hear your new favourite producer take flight into the wide world.
Expect much skanking and rejoicing from this herbal-tinted remix release, refixed and sharpened up by none other than the Serial Killaz. First up, "Uprising" goes on a high-energy jungle flex, rolling hard and fast with plenty of upbeats and plenty of vibe. Marcus Visionary steps up next for his take, rewinding back to the old school and adding the sounds of the street to toughen up the proceedings. Serial Killaz then get back to another co-effort for a dance-friendly Radio Edit and finally an instrumental mix takes centre stage. No beat was left unturned. Fire!