Bestsellers This Week

Review: With a title like this, it's no surprise to learn that the compilation Gerd Janson has pulled together for Rush Hour is somewhat indebted to the legacy of Kraftwerk. In a thoroughly refreshing focus of intent, the contributing artists have had to reach towards a preface of "ambient not ambient" to take part in this project, and the end results showcase artists reaching beyond the common fare they turn out in their day to day release schedules. With his roots in ambient, Move D is of course right at home here, as is Roman Flugel, but it's exciting to hear the Krautrock tones of Ame's "Erkki" or the claustrophobic beatdown of Maxxi & Zeus (better known as Quiet Village).

Review: The latest gladiator to enter the arena of Defected's "In The House" series is none other than veteran Detroit house producer MK. Despite having made big waves since the early 90s, this double disc set marks his first ever commercial mix. It's a thrilling ride and well worth the wait. Highlights include the futuristic jackin' garage of Dusky's "Nobody Else", the weird tranny-house of "Mizz Honey", the creepy minimal house of Sousk's "Da Riddum (Reset Robot mix)", the simply incredible "Withywood Walk" by Eats Everything and the sheer retro joy of Chez Damier's "Can You Feel It (New York dub)".

Review: The latest instalment of Crosstown Rebels' long-running Get Lost series comes from odd German deep house/tech house fusionist Acid Pauli, a man who looks more like a hairy Open University geology lecturer than a top-flight DJ. Reflecting Pauli's own style, the compilation's 41 unmixed tracks touch on shuffling, eyes-closed deepness, tactile techno, dream house and tongue-in-cheek silliness (the brilliant space-pop of "In My Spaceship" by Jan Turkenburg. More impressively, there are a string of previously unseen exclusives, including excellent tracks from Nicolas Jaar, Nu and Acid Pauli himself.

Review: As one of the hookiest slices of audio sleaze on his recent Magenta LP, Jimmy Edgar's "Sex Drive" gets the remix treatment from a choice pair of producers, getting the slick electro tones rounded into equally hot-blooded forms. Jon Convex is up first, keeping much of the essence of the original but working it into an electro house template and layering in some choice big room dynamics, while his dub mix simply ditches the vocal turns leaving the track in its raw form. John Talabot takes a thoroughly different tact, issuing forth dramatic piano tones and poised drums that turn Edgar's track into an emotionally wrought nine-minute epic.

Review: Mainstays of 20:20 Vision, Audiojack return with a full-bodied three tracker of tech house delights, starting with aplomb on the peak-time belter "No Equal Sides". There's a sugary-sweet melodic hook that rises and falls in the comparatively dark mix of raw drum hits and throbbing sub bass to create an alluring nocturnal blend which begs for you to raise your hands in appreciation. Changing shape as the track ploughs on, the brief moments of daylight make this an unstoppable club smasher. On "Tunnel Vision" the pair enlist Stee Downes for some assistance and opt for a more mellow, broken beat affair, while "In Principle" embraces that broken flavour further with another restrained but devoutly cheeky party juicer.

Review: Not content with releasing records that pay homage to the sounds of the '90s, Local Talk bosses Mad Mats and Tooli have now signed a tune made by a production act that were last heard of in the '90s (well, 1999). "Breaking", then, is the first Kyodai record for nearly 13 years. It sounds like it was made back then, offering a smooth, piano-laden fusion of alien synths, shuffling beats and cut-up vocal stabs. It's tasty, but the real fun is to be had on the "90s Mix" and "90s Dub", both of which up the organ count in a tribute to mid-'90s New Jersey garage.

Review: Brilliantly, this has one of the oddest concepts we've ever come across - a deep house cover of ESG's "Moody" with added Neneh Cherry vocal samples - yet it works magnificently. Musically, it's structured around a groove that recalls classic MK-era US garage - all shuffling beats and rolling organ riffage - on to which all manner of subtle samples and acid tweaks are added. It's simple but devilishly effective - think deep, driving and emotion-rich. The Butt Jackin' Remix adds some more late night riffage and boompty-influenced beats, while the Short Edit (not so short at nearly 9 minutes) shaves off all of 90 seconds. Still, stellar stuff all told.

Review: Sccucci Manucci once again proves its dancefloor chops with its fifth release, the Cinquemila Lire EP, which sees the London based imprint curl its moustache in the direction of deep house. Manchester based duo Toyboy & Robin open proceedings with "No More Sunshine", an insouciant mix of soulful vocals, shuffling garage percussion and burning deep house organ stabs. It's a heady, intoxicating mix, and it's one that's matched on the A-Side by Sahin Meyer's effort; the husband and wife duo turn in the gorgeous "Spread Love", a cut that wrings every last drop of emotion out of a classic, drummy arrangement. Flip over for "Saif" by Illyus, a twinkling late night excursion into melodic, star gazing house, and "Feel Love" by Firas, one half of the Waze & Odyssey, who rounds off another killer Sccucci 12-inch with raw-thentic smacky beats and an addictive loopy vocal and bassline.

Review: On the Prowl launch their new sub label with help from legendary New York house producer, Marcos Cabral. "OTP Party Breaks Volume 1", which also features collaboration between Cabral and Shux, drops two tracks of the warm, disco flavoured, deep house that is currently making a storm over in New York City.



This first release is poised to set the tone of the whole imprint, who are expected to put out distinctly NY flavoured records from the city's favourite artists and producers. Marcos Cabral from Runaway certainly fits the bill, having also released on the likes of DFA, I'm A Cliche, Muke and Rekids, he is a true legend on the city's house scene. He collaborates with Chinatown Records partner Brennan Green on the EP's opening track, "Lifetime Groove," an epic twelve minute journey through laid back and groovy disco house. It has a classic feel right from the start with a retro bassline but with Balearic overtones and a dubby, feel good sentiment.



On the flip, Cabral lays his hand to Lil Louis' classic garage house track "Club Lonely." It is a simple rework, using straight forward loops and samples. The chord stabs keep the club vibes strong as repetitive saxophone flurries continue to build the tension. Bringing the 90s anthem up to date, Cabral gets a mainstay of Runaway's set on record at long last.



Marcos Cabral brings us a slice of classic New York house on "OTP Party Breaks." By merging the old sounds of the city with the new, he has managed to make a lasting impression in the now. This will get everyone up on their feet.

Review: Chicago producer The Black Madonna burst onto the scene earlier this year with the excellent "We Don't Need No Music (thank you Rahaan)" on hometown label Stripped & Chewed. Here he confirms his status as "one to watch" with another impressive slab of beefy, basement-friendly deep house for Glasgow's Home Taping crew. Constructed around densely layered percussion, minor key chords and a brilliant blues vocal, "Alright This Morning" just seems to keep building throughout its breathless, eight-minute duration. Nicholas remixes, bringing a bit of classic US house bounce to the Black Madonna's sweaty drum grooves. It's a good alternative, but for us the original still wins out.

Review: Tsuba regular Spencer Parker recently impressed with "Show Him You're The One", a deep, sinewy and surprisingly melodic chugger. Here, he offers up two new 'Beatdown' versions of the tune. While not 'beatdown' in the traditional sense - at least, the original Detroit meaning of the term - they're certainly sparse, atmospheric, hypnotic and considerably deeper than the original version. The two versions play around with similar elements - looped vocal samples, pianos, the original riffs, bubbling grooves - but have wildly differing aesthetics. The Beatdown 01 Version is slightly more percussive, while the Beatdown 02 Version is pleasingly stripped-back, putting greater emphasis on a nagging piano riff.

Review: At first glance, the pairing of Forest Hill resident Andrew Ashong and Sound Signature boss Theo Parrish would seem strange. But the duo have worked together previously with the Ghanaian born vocalist (and supposed owner of a vinyl collection that would make most record shops look like a car boot sale) lending his soulful tones to Parrish's excellent nine minute plus translation of the Hot Chip and Spiritualised affiliated About Group. Whereas that collaboration was more about Ashong's voice being just one element of a production that was undoubtedly Parrish, the three tracks present on the Flowers EP look to showcase what a talent the Londoner is. Those trademark dust filled stacatto rhythms are present in the opening title track, but they never swamp Ashong's killer vocal delivery, while "Take It Slow" is bonafide D funk of the highest order. After the brutal, divisive nature of Theo's kung fu experimentalism on the Any Other Styles EP, these three tracks show him in a wholly new light and hopefully Parrish and Ashong will be making much more music together.

Review: The ascent of Romanian producer Razvan Ghenciu continues apace with this new single on Audio Parallax following singles on Los Grandes and Gazeebo International. He's possibly got housier if not deeper too: "Brother Dub" is smoky and laid back with shimmering chords and delayed vocal samples (and also remixed in linear and looped form by Get Down Edits). "Sister Groove" is more disco-influenced and reminiscent of Metro Area and lastly, "Aural Walk" is six minutes of brooding, wah-heavy retro funk.

Review: This isn't your average Pets Recordings release. While some of the trademarks of Cats 'N' Dogz label are present - tasty atmospheres, rubbery but solid bass, that Hypercolour-ish groove - it neatly sidesteps convention. "Obsession", for example, is built around the twin delights of cascading synths and speaker-busting bass. Simon Garcia remixes, turning the picturesque original into a bombing, bass-heavy chugger (kind of like a modern take on the early Atlantc Jaxx sound). "Road", meanwhile, is fluid, tactile and almost Balearic in its use of floaty melodies, wispy chords and wide-eyed atmospherics. Like the rest of the EP, it's a surprising but impressive break from the norm.