There's nothing better than hearing producers on top form and this release is one of those absolute joys. Judging by the cheeky solo digit in the title, we can presume that there's more to come, and that's good news for everyone. Featuring Break himself working with the infallible Calibre and DLR, and with a bonus track smack bang in the centre from NC17 and KC, there's every chance you already know and love these tracks if you're a big Break fan. Even if you're just a casual admirer, the originals won't have passed you by, which makes Calibre and DLR's remixes all the more special. Believe us - you need this, even if just for "Wondering Why", a masterclass in Break-style chop-n-step funkiness.
Paper Recordings' reputation precedes them in house circles. Now however, they've bitten the bullet and dived into the deep end of the disco pool with this compilation (on sub label Paper Disco) of current nu-disco producers and edit heroes. It's a brave comp that tackles every interpretation of disco, including 2 Billion Beats' deep '80s synth groover "See Us Through", Richard Seabourne's bizarre funk-goes-doomy 303 workout "This Is Acid" and Mezman's bass heavy, dream-pad odyssey. We're looking forward to plenty more disco thrills from this new stable!
This latest offering from the shady Katakana Edits crew makes their previous offerings seem positively anemic by comparison. Boasting a whopping 22 tracks, it's almost certainly guaranteed to provide decent ammo for every house party imaginable. Highlights include the chugging electro dub sing-along "Shakka Boom" by DJ Clairvo, the p-funk meets disco of vibes of "Miami Freaks" by Lee Zamah and Timewrap's pumped up version of The Velvettes's perennial Motown classic, "He Was Really Sayin' Something".
It's three years since Craig Smith and Graeme Clark impressed with One Night In The Borough, a landmark album that epitomized all that was good about the cut-and-paste, disco-sampling deep house scene of the time. This sophomore set offers more of the same, delivering tracks that ride a range of tempos in their trademark deep, loopy, hypnotic and pleasingly baggy style. While there are plenty of surprisingly supple, heavily electronic uptempo cuts on offer (see "Feel", the disco rush of "In Your Arms" and the classic, Frankie Knuckles-ish US house of "Read My Mind"), they're still at their best when operating at a slower tempo, as the deliciously jazzy "Walk Away" and sensual throb of "Through The Night" neatly prove.
KS French spreads the love for his latest French Kiss release - gathering an all-star cast of re-edit dons to share the load over these six tracks. Never just content with straightforward editing, French Kiss releases always add extra production techniques to the loops, creating something fresh in the process. Highlights here include KS French's own "Money We Make It" which cleverly incorporates a Marvin Gaye vocal into a deep funk shuffle, the loopy, phased guitar heaven of P Sol's "Feel Me Baby" and the tough, stomping warped disco house of "Another Wish" by DJ Moar. C'est bon!
Alien Disco Sugar sounds like the kind of thing we'd like in our tea: "two lumps at least please!". Here we get a bunch of slick disco rejigs evenly divided between the '70s and '80s. "Gimme Your Love" and "African Love Song" cover the former with rolling soulful grooves and raw, Afrocentric gospel-funk respectively. Then we hit the '80s with "Records Keep Spinning" reworking "Last Night A DJ Saved My Life", and Gino Soccio's masterpiece "Dancer" getting a glorious extending.
Dynamicron's Los Grandes label is fast becoming one of the more reliable sources of contemporary disco. Their Black Lace compilations, which feature tracks that sit somewhere between straight-up edits and disco-tinged house productions, have proved particularly popular. There's predictably plenty to enjoy on this sixth instalment in the serious, from the righteous rubbery bass and space synths of Sunner Soul's "One Game" and heavyweight Italo pulse of Nicko's "Electronic Disguise", to the bouncy cut-up disco house antics of Mr Moustache Love's "El Coca", and Plastic Fantastic's dreamy downtempo gem "Beyond The Horizon". While the latter stands out like a sore thumb next to such boisterous dancefloor fare, it arguably provides the album's most startling moment.
As LionDub International charges into 2014 with new releases and a newly-unveiled Street Series, we welcome their latest newcomers, REDS, a recently-minted East London drum and bass duo who proudly offer their solo debut featuring vocals from India's Delhi Sultanate and remixes from Canada's jungle don Marcus Visionary, the inimitable Mungos Hi Fi out of Scotland, and Dublin's Dirty Dubsters. Switching through bouncy dancehall vibes to the deep, dubby sway of Von D's delightfully filthy dubstep mix, there's plenty to get those feet moving here. Raise your hands and lower your caps, it's about to get messy.
The much-loved Chopshop label is back with four more saucy retakes for your aural pleasure. Label boss DJ Butcher kicks off proceedings with the shimmering bass odyssey of "Paradise", and next is JMRS' new cover of The Stones' "Miss You" which livens up this disco-rock classic with perky guitar and a Lionel Richie-esque vocal, finally the slinky female fronted funk of "Good Time Groove Train" leads us into Ronin's stormin electro-disco remix of "Miss You" - easily the coolest joint on this excellent EP.
Fresh from their scavenging mission on New Moon, Dutch trio The Illuminated land on FKOF, a platform that's supported them since their earliest incarnations. With four tracks to showcase, FKOF have given them their biggest opportunity to date. And as each track pushes their own and the genre's boundaries beyond expectations, they've clearly not wasted the opportunity. Highlights include the insanity riff spirals on "Psychonauts" the pulsating heartbeat subs and dubbed out percussion on "Vintage" and the synth and sax sensuousness of "HMU". Illuminatingly lush, FKOF's label operation just keeps getting better and better.
Rarely is there a compilation as hotly anticipated as this little baby. Compiled by the master and captain of Dirtybird Records himself Mr Claude VonStroke, this is the culmination of a year's worth of curation on his part. Featuring appearances from Justin Martin, Ghostea, Catz N Dogz, Cause and Affect and Claude himself, it's a huge collection of Dirtybird house including the massive dancefloor hit "Okay" by Shiba San - Claude Von Stroke's personal fave. This has to be this year's first truly essential purchase. Don't think, just bag.
Booty Fruit goes in for the kill on the second helping of the Cherry Bomb series, a twisted fusion of boogie breaks, sample-heavy chops and house-flavoured grooves. This time it's Roast Beatz, El Bomba and Father Funk who teams up to spray the madness out in full effect. If you're into the combination disco, funky and breaks, then look no further...
It's some 11 years since New Orleans deep house producer Walter Jones made his debut for Westbound Music. His releases have been sporadic, to say the last, since then, but there have been some superb highlights (check 2004's Fade Inn Moments EP, or his deliciously Balearic 2009 single for DFA, I'll Keep On Loving You). Here he pops up on Munich's ever-consistent Permanent Vacation imprint with four chunks of luscious house. Choose between the enveloping pads and undulating bassline of "Heaven's Gate", the twinkling Balearic breeze of "I Am", the Revenge-ish slo-mo pulse of the flute-laden "Lower Chakra Safari", and the deliciously percussive, disco-tinged deep house pump of "A Night In Newark"; all are pretty darn hot.
Veteran Austrian house DJ Pariz (aka Senor Manolo) has been causing a commotion with his label We Mean Disco! Here he welcomes the legendary RLP to the fold. This man arrived in Paris from Canada back in '83 and has been serving up the freshest house and soul music ever since. This EP boasts six mighty rare groove re-edits including his breaky take on The Mohawks's perennial favourite "Champ", a choppy, sample-heavy retake of Rufus Thomas' "Itch and Scratch" and a teased out, percussion-heavy version of "Scorpio" by Dennis Coffey.
Frenetic and fun D&B from Soul Deep's fresh newcomers Humanature and J Logic, first track "Get Ya Down" revels in the sun-drenched sound of Brazil. Large and overflowing with jazzy breaks, this EP is exactly what's needed for a mid-week chill. Not to say this isn't prime dancefloor material - if you're looking for soulful, high-energy tunes made to get folks moving, you've come to the right place. With moments of pensiveness snatched in-between big, rolling waves of liquid sunshine, there's no way you could have a bad time listening to this. It's an instant mood lifter.
With a statement cover imagining a planet overrun with speakers - what a place to live - this compilation offers some of the most bonkers jump-up and high octane D&B currently available for human consumption. Featuring some of the finest new talents from 36 Hertz's roster, this release splits into two halves. SR & Digbee's "Supersonic" and NC-17 & Soul Culture's "Jungle Nightmares" are helter-skelter mad, ready to break free at any moment. Push on to Lutin's "World Of Blue" and a deep rolling bassline and skitterish hi-hats make for a techy respite that's still packed with energy. Finally the tech continues with a cold, clinical disintegration into madness courtesy of Delphi Productions. Who said jump-up was samey?
Having met at school, sharing a passion for music and skating, Florian Vietz and Andreas Hopfl met at high school, the Coeo duo's name supposedly comes from a health and safety warning adorning the side of a coffee cup, which read "Contents Hot". It's something shared in this simmering collection of raw house tracks, with "Do It" starting hard and staying hard, and "Will I" features beautifully crafted vocals and an almost percussive arpeggio lead which sits mellifluously on floating pads and raw piano chords. Remixes come courtesy of Steve Huerta and Vorres, who add their resective dubby and gospel-esque approaches to the source material.
Stepping up with his second album for 50 Weapons, Addison Groove is once again mining the rhythmic excitement of juke and footwork and working it into his blue-hued melodic headspace. Standout vocal cut '"Just You" is a prime example of the upbeat flavour across the album, while "11th" matches the plush harmonies with moodier switch-ups, and "The Spirit Level" drops the tempo into a house bump that lends itself to the illustrious synth sweeps. Typically though the beats are in that twitchy middle ground between dubstep and footwork, leaving plenty of space for razor-sharp constructions and dazzling edits as best demonstrated on the dynamic acid roll of "Space Apples".
It seems surprising that this debut album from Kassem Mosse should appear with little fanfare, but that's apparently how the acclaimed German producer wanted it. Predictably, it's rather good. Rippling with fuzzy analogue warmth, crusty drum machine rhythms, toasty keys and alien electronics, it offers a selection of undulating deep house cuts in his inimitable style. At times - such as on the soulful shuffle of "Untitled A1" and jazzy "Untitled D1" - it sounds a little like vintage Moodymann; at others, Mosse's techno influence is much more apparent (see the wonky throb of "Untitled D1"). Throughout, Workshop 19 is formidably atmospheric.
Neil "Tronik Youth" Parnell has been fairly quiet of late, so it's nice to see him back in action, dropping an expansive EP featuring no less than six remixes. His original version of "Pain Relief" is fairly typical of his heavily electronic, analogue-influenced space disco sound - all undulating synthesizer riffs, relentless drum machine handclaps, wonky vocal samples and hypnotic acid tweakery. The accompanying remixes vary wildy, but are for the most part rather good. Arguably the highlight is the Hardway Brothers druggy, pitched-down analogue techno take, which continues their run of remarkable reworks. Elsewhere, there's a bubbly, nu-disco meets deep house take from DJ Steef that's certainly worth a listen, and a delicious Pet Shop Boys-go-Balearic (well, kind of) interpretation from Ben Macklin.