Brazil's favourite purveyor of re-edits that fell off the back of a lorry, Trotter, is back after a long hiatus with another example of the kind of light hearted party fodder that he's best known for. Yes "Let it Rock" features feet shuffling rolling beats with a poolside aura and tropical lilting guitar. E1sabr delivers a more contemporary mix with melodic electronic disco melodies and emotion, Ursula 1000 also provides some dream-like sun kissed electrohouse vibes and finally P-Sol gets nice and deep, with a Balearic-style smoochy wonder that's teased out over the duration of six minutes. Pure summer sounds.
When these two veteran producers (both named Will) formed Mega Jawns, they created magic - seducing their native Philadelphia, before the rest of the world surrendered too. Here their powerful take on soulful house "Blink Of An Eye" is reworked in differing styles. Firstly Finest Wear speed things up and slim things down in a beautifully streamlined deep house (in the original sense of the term) nine-minute journey. Elsewhere the mighty Booker T, contorts 'Joy" into a hip-swivelling jazz-tropical workout before Finest Wear return for a shorter, squelchy funk-house reprise of the former. Quality stuff.
Peruvian future jazz experimenters Novalima are on the mission to have their whole Planetario album remixed and reinterpreted by like-minded beat innovators. They have passed their quest with flying colours. "Santero" is the tune in question, and it is first remixed by Los Chicos Altos into a tropical little house banger that calls for an immediate order of caipirinhas or something of that nature; the same tune is mutated into even more tribalistic territories by Hallex M who delivers what is surely the hotter remix of the two and a tune that could be played on pretty much any dance floor. HOT.
Londoner Fae Simon is both formally trained in Opera and Jazz and has released hip-hop and rare groove influenced records too. Snapped up by Barely Breaking Even, she recently dropped album Outrospective to great acclaim. Here we have "The One That Got Away", a chief cut from the LP. It's three and a half minutes of dubby future-soul at its finest. Remix-wise Sean Ashby's 'Back To Basics" rework sounds straight out of a Back To 95 event - all bouncy retro garage thump. DJ Raw Sugar brings the smooth synth-funk and Beyond Tone ends with sparse, treated beats and distant atmospherics.
Greece's Timewarp label continues to plunder their disco reserves whilst flashing the proverbial funky cash willy-nilly. Yes we have another 16 fresh cuts (admittedly down from the last instalment's 31 so they should maybe think about tightening their wallets a little) on Freestyle 4 Funk 5. Timewarp is once again selector and some the many highlights he chosen here include the digi dancehall headnodder "Fyah Fyah" by Balkan Riddims, Jyal Funk's pulsating breaky electro rework of "Jamaican" by Funky Destination and the breathy jazzy shuffle of "Sensitive Kind" by Truez.
Quite what Marlene Dietrich would make of electro-swing is anyone's guess, but the sounds here on Freshly Squeezed's latest evoke the era of that formidable icon. This label has been at the forefront of this movement for many years and in between tours and programming festival stages from Glasto to Bestival they have a real knack for the sound. Here we have three floor-friendly cuts - Wolfgang Lohr tackles vintage Louis Prima for the stomping flaming trumpets of "Flat Foot Floogie". Elsewhere Osundi go slow and raunchy whilst Swing Republic keep the pace with the sleazy headnodder "My Daddy Rocks Me".
London's Izo Fitzroy has already had her work compared to the likes of Etta James and Dr John, and that's before her album has even dropped! Here she gives us a glimpse of what that LP might sound like with this one-off teaser single, Reckoning. Arranged by Dr Rubberfunk, the track is an impressive collaboration, featuring some hauntingly beautiful layers of soulful, bluesy and authentic vocals, set upon a laconic guitar groove and rolling backbeat.
Previously, Styles Upon Styles regular Vic DiMotsis has mostly worked alongside friend Zach Cooper under the King Garbage alias. Here, the drummer, vocalist and producer makes a rare solo appearance, laying down an everything-but-the-kitchen-sink workout. "Cut 3" is a whirlwind of bluesy samples, crackly noises, low-slung double bass, slack-tuned drum hits, fizzing breakbeats, redlined kick-drums, and all manner of crazy vocal samples. It changes tack on numerous occasions over its' 160-second duration, as if DiMotsis has smashed it all together with a pair of 1210s and a trusty old mixer. Regardless of how it was produced, it's something of a bizarre but brilliant treat.