"Mind Biscuit": Something tasty for your brain to chew on while your feet mulch up the dancefloor. Manchester crew Monkey Boots lay down two jack-slapping originals that dig deep into the true deep house psyche. "Impossible Need" comes with smoky vocal and smouldering bass vibes on the groove while "Yearning For You" slaps with a lighter sensation, all wafty minor key organs and soul-stirring vocals. Remix-wise Reed & Radley subvert "Yearning For You" with a little more space and reverbed magic while The Phantom Flan Flinger gets all reflective and shimmering on the Balearic bomb "Lullaby For Spiderman". Beautiful.
To celebrate the first 10 years of his occasional Replay Records re-edit series, DJ Friction has decided to collect together some of his finest re-edits for the imprints under the Frico moniker. There's naturally much to enjoy, from brilliant '80s NYC style re-dubs of D-Train's "Keep On" and Exodus's "Together Forever" (the latter stretched out to a trippy 13 minutes), to party-friendly cuts of soul and funk classics from Spanky Wilson (the superbly choppy "Sunshine of Your Love") and Peggy Lee (a riotous rework of her classic over of Otis Redding classic "Sittin' on the Dock of the Bay"). Friction is, unsurprisingly, reverential to the source material while adding just enough fancy effects and production tricks to emphasize each track's dancefloor potential.
Having previously appeared on a dizzying number of split EPs from the Chopshop and Editorial labels (amongst others), Ed Wizard & Disco Double Dee are finally given a release they can call their own. The Chop 40 (we sniggered, at least) is typical of their output to date, flitting between loopy, filter-heavy takes on sumptuous soul and disco jams (see the baggy house grooves and classic horns of "Push Da Groove" and slap bass-boasting "Bounce & Shake"), straight-up funk edits (the riotous "Sho'nuff") and slower excursions. It's the latter that arguably stand out here, with the string-laden sweetness of "Dance 2 Da Musique" and decidedly Balearic "Pinky" both impressing.
This is a special EP because it marks the first results of the recent collaboration between Parisian Afro-beat label, Comet, and Danish deep house imprint, Tartelet. The music reflects this unique fusion by pairing the remarkable vocals of Nigerian-born songwriter Wayne Snow to soulful house. It's a sublime release with the Metro Area-esque soulful punk-funk-disco house of "Red Runner" leading the charge. Remixes come courtesy of Glenn Astro & INMYRMIND (raw, off kilter house) and Session Victim (trance-ish prog euphoria). "Under The Moon", however, is a deep and eerie skewed-funk grind.
More killer edits from the Chopshop boys, who this time provide us with "Disco Non Stop" - a collection of tunes by four different producers. It's top-notch party fodder as always, but special shoutouts go to "Mary" by Ten Different, where (an apparent) mid-eighties Rick James goes slo-mo house, labelboss DJ Butcher who gives us the frenetic cosmic banger "Disco Strings" and the Corsican Brothers and their accelerated hiNRG epic, "Big Apple Rock".
Greek born, Paris-raised producer KS French never stops working and this is his latest (disco) missive. "Soul Addicts Edits" features four reworks, all with a soulful feel. Highlights include the Eurodisco stomper "All Nite", the prowling-tiger-of-love low-slung funk of "Tuerie C" and "I Really Want U: a retweak of Diana Ross' supremely funky cover of Marvin Gaye's I Want You.
Rising Irish star Jay Ru recently smash it with City Vibes on Midnight Riot. Now he brings the heat once more with the brilliantly melodramatic Boney M disco rework "It's Cool", the deep house and soul vibes of "(Oh Baby) Sexy Sexy", the new-wave-funk-meet-R&B of "Enjoy Yourself" and "Edit Life" - a cheeky rejig of Prince's glorious '80s hit, Pop Life.
Alena is a London boogie singer who has found a kindred creative spirit in ISM labelboss Yam Who?. Following the success of Changes, they're back with more original material, with "U Used To Hold Me" being a beautifully authentic slice of mid '80s Brit-synth-funk: crisp, digital and very, very catchy. Inkswel mischievously warps the tune into twisted dysfunctional punk-funk, but '80s Child goes a bit more commercial with his take on the already poppy "Let Me The One".
Much has changed for Ali Love since the release of his Love Harder in 2010. For starters, he's fallen in with the Hot Creations camp, scored a massive chart hit ("Benediction", with Hot Natured) and seen his reputation soar. This latest full length - the belated follow-up to Love Harder - shows how far he's come. While the bright electrofunk synths, '80s soul vocals and Italo-influenced rhythms of old remain, P.U.M.P contains far more tactile, wide-eyed deep house moments than we've come to expect. It's a subtle evolution - there are still plenty of near Balearic synth-pop moments - but a successful one. The result is an effortlessly sweet and accessible album that blends throbbing dancefloor moments with baggier, more laidback fare.
MAM are heavyweights Miguel Campbell & Matt Hughes who have been creating killer variants of house since Sexy Girl back in '07. Cut to 2014 and they're still nailing it with The Happiness EP on Italy's Nice To Be. Highlights include the almost French touch sheer joy of "Hand In Hand" and the urgent electro-funk of "Foursome". Classy.
The Dynamics EP marks the artist debut from Caserta, a future star for sure. He tries his hand at a bit of everything over these six tracks, including the deep cowbell soulful grooves of "If It Wasn't For You", the lean sample-laden electro-house of "Dynamics" and the elegantly wasted, blissed out synthpop of "My Dreams". It's all sewn up with quirky interludes and outros too, making for an impressively cohesive release.
The Chewy label returns just in time for the hottest part of summer with an EP containing four equally scorching edits from the mysterious A Digital Needle outfit. Whether its the brass and string-heavy "I Who Have", the deft piano ripples of "Music", the swung bass and saxophone riff of "Keep" or the psyched-out flange funk of "Roll Her", there's something here guaranteed to set any dancefloor on fire.
It's been a little while since Spanish producer Fernando "Nelue" Gomez delivered a fresh batch of edits, so it's pleasing to see him dusting down his scalpel for this EP of summer-themed reworks. Predictably, the mood is celebratory throughout, with Gomez keeping his eyes fixed firmly on the dancefloor. So, we get the simmering, string-drenched humidity of the sultry "Do It & Come Back", the hedonistic bump of the low-slung "Crying", and a near 10-minute extension of Bumblebee Unlimited orchestra classic "Lady Bug". Best of all, though, is the equally epic "Rebound", a constantly rising whirlwind of filtered horns, hissing percussion, looped vocal hits and a delightful disco bassline.
The Wait is over for fans everywhere of Portugal's funk fiddler Mr Bird as the long awaited Lo-Fi Classics, his collaboration with honey-voiced blue-eyed-soul warbler Greg Blackman, has arrived. Aside from first single "Since You've Been Gone" highlights include the perky Stax-style ditty "The Morning's Coming", the Afro-soul percussion masterclass "Get On Through" and the deep disco instrumental "GB's Groove".
A special DJ double pack from Emotional Rescue brings together a collection of Razormaid remixes, plus unreleased originals, of two projects from Georg Kajanus, the founder of 70s pop group, Sailor and 80s synth poppers, DATA. With a career spanning late 60s psychedelic folk-rock in Eclection, through to chart success as a member of 70s pop group, Sailor, before embracing the synthesised sound of early 80s new wave and synth pop via the excellent DATA, Georg Kajunas music has covered a lot of ground. This collection features previously released remixes of his Fatima and The Mamluks outfits together with the unheard originals, making this a compilation not to miss.
With just a few low-key releases behind him, you'd be forgiven for not being familiar with the work of South London beatmaker Al Dobson Jnr. Such a situation will undoubtedly soon change with Dobson Jnr primed to release album length projects on IZWID and Rhythm Section International, two fledgling labels associated with respected selectors. Before Sounds from the Village Vol.1 drops on the former (overseen by KUTMAH) the man called Al inaugurates the latter label, an extension of the Rhythm Section club night hosted by Boiler Room's Bradley Zero. Despite his status as a South London celebrity, Zero is a steadfast supporter of his local roots and the vinyl format so it's great to see him offering Dobson Jnr the platform to shine. And shine he does on Rye Lane Vol 1, a wonderful 11 track collection that is comparable in execution and mood to Mo Kolour's sublime debut.