Mr Scruff's Friendly Bacteria album was something of a return to form; a sprawling, soul-flecked concoction full of broken beat, jazz, dub and classic house influences. Here, two of the album's highlights get the remix treatment. On the A, "We Are Coming" - a bumpin', basement-bothering bruk cut in its' original form - is turned into a warm and wide-eyed deep house shuffler by Berlin-based Max Graef. It's an excellent revision, which weaves the original samples and keys into a fuzzy, analogue-sounding groover. On the flip, Scruff himself extends and reworks "Feel Free", turning in a hazy nu-jazz rub built around rubbery double bass and snaking, muted horns.
Funk/hip-hop mash-up maestro Quincy Jointz is a staple act on the roster of Greek imprint Timewarp. Following a recent project that saw a lot of his back catalogue remixed and retweaked, Jointz is now back with some new party ammunition. "Rock On" is a short and sweet, poppy breaks-driven hoot that gets a jazzy house makeover by Diesler. Elsewhere Mister T goes to town on the organ and tough beats whilst and Tobe Tronic ends thing on a heavy electro-breaks tip.
Wah Wah 45s is one of those labels that sweats musical freedom from every pore. The label head, Adam Scrimshire, has made it his goal to release just about anything that tickles his fancy. From daring tribal house cuts to tropical percussive music and much more, you can never know what to expect from this conniving little imprint. This time, Paper Tiger's tunes are remixed and revamped by a sublime collection of artists. There's something for everyone to enjoy in here, from slow-swung hip-hop scorchers to moody house cuts. We particularly like Lewis James' dub-fuelled remix of "Treasure Town", a true lesson in vibes and all-round musical relaxation.
Previously a rare-as-hens-teeth private press from 1984, Tears & Whispers is the result of one synth-curious singer who kitted his studio with some the period's most exciting machines, called up a few friends and started jamming. The result is a jazz-boogie document that sits somewhere between Innervisions-era Stevie, Mr Gone-era Weather Report and Afro Strut-era Amp Fiddler (which arrived over 20 years later). While Dan's vocals are strong, they could never be defined as show-stopping - the synths and instrumentation, however, most certainly can. The high impact boogie freneticisms of "Blame It On Love" the gossamer slap bass and swooning bent notes of "A Million & One" and the sudden spells of heaven-sent horns on the title track are all testament to this. A unique timepiece that's aged with respectable maturity.