Bestsellers This Week

Review: Dynamicron's Los Grandes label returns with another bumper, album-length trawl through the world of contemporary "edits-not-edits" - groovy, hypnotic dancefloor fusions that touch on disco, soul, Balearica, deep house and AOR. Across the 11 tracks, there's plenty to excite, from the dubby slo-mo shuffle of Brandon P ("Mo Lovin") and organic groovery of Heion ("Keep On Hiding"), to the classics-reinvented style of DJ Butcher (the "Wordyrappinghood" biting of "You Don't Stop") and Irregular Disco Workers' booming Balearic dub disco. Best of all, though, is "Bakerman", a cracking Laid Back rework from the talented Get Down Edits.

Review: Viennese duo Burnin Tears may be relatively new to the game but already their sound is a fully fledged take on deep house that ticks all the right boxes. The pads are processed with a touch of grit, while the soulful vocal comes in with a mournful tone on "Got A Reason". For those emotive moments in the small hours this is guaranteed to be a real tear-jerker. "Just The Same" is equally down-trodden in its demeanour, albeit with slightly brighter melodic content. On remix duties Jakobin and Domino bring a bit more stripped-down funk to "Got A Reason", while Hans Froward dubs it out nicely.

Review: Having recently expanded the repertoire of their previously edit-heavy Retrospective imprint to include original productions from themselves and others, Ruben and Ra gather together a bunch of mates for an expansive collection of previously unreleased material. It's a largely excellent collection, mixing brand new deep house and nu-disco with smart edits and loopy, slo-mo edits-not-edits. Bedmo Disco Records' regular Jimmy The Twin and Rayko provide scalpel jobs, Ruben and Ra do their Tiger and Woods-ish thing and Toomy Disco drops some contemporary electrofunk. Best of all, though, is Fil Lavin's "Love Is Gone", a formidably rush-inducing chunk of fluid deep house that channels the spirit of Chill Out/"Pure Trance" series-era KLF via a familiar, dubbed-out vocal sample.

Review: The Use of Weapons imprint has mastered the easy to grasp, hard to master formula of matching clutches of (excellent) original tracks from Cottam and label bosses Deep Space Orchestra with well-chosen and even better executed remixes from the likes of Hunee, Neville Watson and Marcello Napoletano. The fourth release sees a change in tack, with the label opting to focus on original material from 6th Borough Project, Haku, Andy Ash and of course Deep Space Orchestra. Graeme The Revenge Clark and Craig Smith kick off proceedings with the suitable thick set slow burning "Estranged Lover", though it's "Rugo" by Haku that impresses most. The new project of Deep Space Orchestra's Chris Barker, the track is a superb kaleidoscopic concoction of fizzing uptempo live percussion, synths and drum machines that has more than a touch of the Carl Craigs about it. Andy Ash switches proceedings back to chunky mutant discoid dirt with the heads down, tops off vibes of "Somehow" while the Deep Space Orchestra head for the expanses of future tech jazz with the ten minute odyssey "Erase Everything".

Review: Drop Out Orchestra's "It Will Never Be The Same Again" first appeared on Aeroplane's In-Flight Entertainment mix in October 2011, and here we finally see a single release on Eskimo Recordings, including a set of remixes from the likes of Moullinex and Punks Jump Up. Moullinex takes the optimistic core of the original and injects some Chicago snare rolls and a rounded, plucking bass line that sits in the back of the throat. Punks Jump Up meanwhile utilise a notable clap drenched in a deadly phase that cuts right through the beat. The vocal hook, fierce piano stabs and soft guitar sounds all dovetail with effortless aplomb, making for a very enjoyable cut that rounds off a fine release.

Review: After a 13 year career in which he's quietly impressed with the quality of his fluid, synth-heavy deep house releases and cosy nu-disco fusions, Roberto Rodriguez finally gets round to releasing a debut album. Dawn is in many ways typical of his previous output, offering a melodic, dancefloor-focused take on deep house that makes great use of rubbery synth basslines and pitched down R&B/soul vocal samples (this year's inescapable house trend) whilst doffing a cap to classic house (see the rave era riffage on "Eternity" or bouncy pianos of "Body Right"). Being Rodriguez, there's also plenty of nods to synth disco (see the warm and inviting "Tell Me" and "Saturn").

Review: It's a bit of a surprise to see Italian nu-disco heavyweight Bottin pop up on Dave "Joey Negro" Lee's Z Records label. Then again, "Sage Comme Une Image" isn't your average Bottin production. Featuring tongue-in-cheek French vocals from Jupiter, it sounds like an authentic '70s disco production - all clipped guitars, walking bass and summery grooves. You can see why it appealed to Lee, a man who has spent years laying down revivalist disco, soul and funk with his Sunburst Band project. Remix wise, there's a couple of loopy disco-house thumpers from Spiller, but the best revision comes from Bottin himself. His dub - faithfully groove-obsessed and laden with tape echo - is the package's stand out moment.

Review: Big things were rightfully expected of Chamboche when he was granted the honour of the debut release on Jiscomusic's shiny new label Under The Shade back in 2009, but this new EP for the same label is the producer's first in two years. The period out of the spotlight hasn't affected his production poise, with "Smoke Screen" every bit as infectious as his previous output, twisting a hefty vocal sample around a stripped back groove that morphs brilliantly into full scale colour. Under The Shade continue their rep for well chosen remixes, securing a beast from Bicep which tweaks the vocal to fit perfectly atop a constantly elevating procession of machine made emotion. Not to be outdone, Wolf Music acolyte KRL also excels with a dubbier rendition that toys with the vocal even more amid a more expansive pattern of sounds. Proceedings close with another Chamboche original in the form of "Mind Your Mind" which unfurls with signature mind bending glee.

Review: Prins Thomas & co secure a double helping of Morgan Geist remixes of one of the highlights from Steve Moore's excellent Burning Feeling album. In its original, lovingly tongue-in-cheek form "Maybe Tonight" was a comfy, feel-good slice of Balearo-pop that quite naturally caught the ears of Chromeo. In the hands of Geist, the track is elevated to the upper echelons of anthemic synth heavy disco of the highest order - expertly programmed by the Metro Area main man into something that you can envision everyone from Erol Alkan to Jacques Renault getting plenty of mileage from.

Review: The Editorial crew present their 18th release in less than two years, and it's another bumper selection of scalpel jobs primed for house dancefloors. 78 Edits opens proceedings with a typical slow burner, before DJ Steef delivers one of the highlights - a simmering soul chugger that rises and falls in all the right places. The Candy Dealers opt for a super dubbed-out electrofunk vibe on their vast "Don't Stop", before DJ Butcher provides some sturdy, floor-friendly fare in the shape of "Clap & Stomp". The undisputed highlight, though, is The Lonely Smoker's "Keep The Same", a loopy, chunky version of Thelma Jones' soul classic "How Long" that's got serious chops.

Review: It's been nice to see the Wolf Music imprint grow into a firmly respected hub for deep house and smudged disco talent across the course of its releases to date, deftly pairing established names with their own stable of clearly talented friends. The latest EP naturally ploughs the well established path with contributions from label regulars Medlar and KRL alongside tracks from Brighton's Maxxi Soundsystem and Melbournite Weekend Express. Medlar is on punchy form with "Can't Stop" reworking what might be a Purple vocal hook around playful dextrous keys and snapping rhythms whilst KRL bases "Static" around a muddy analogue groove, incorporating some excellent interchange between the percussion and heaving vocal sample. Maxxi Soundsystem continue to mature their production sound with "Inside The Count" whilst still retaining that signature expansive analogue bass thickness and the label hopping Weekend Express ensures this EP maintains its quality throughout with the low slung boogie of "2 The Rhythm."

Review: Something a little different from the Chopshop camp, as DJ Butcher and BnC join forces for a project inspired by the disco-biting world of early hip-hop. It's a definite progression for the Chopshop crew, who previously stuck largely to straightforward re-edits and mash-ups. Of course, there's plenty of reliance on classic samples - see the bumpin', jazz-flecked disco breaks of "Like We Say" and rubbery disco-funk groovery of "Freak The Groove" - but also plenty of invention within the bouncin', block-party grooves of "Firehoes" and "Play It Again". It's the latter - all head-nodding bump, twittering flutes, disco horns and addictive rap - that really stands out.

Review: Since launching last year, disco/house website House of Disco's in-house (sorry) imprint has proved to be a rich source of atmospheric, groove-heavy slo-mo and midtempo tackle. Here they deliver four more sparkling cuts for the dancefloor. The Treatment's "Waves" builds a delightfully touchy-feeling synth-house jam around the groove from Surface's "Falling In Love", while Satin Jackets deliver a cosy, piano house-inspired nu-disco sparkler. Roberto Rodriguez opts for a more Balearic nu-disco feel on "Mustat Varjot", while Debonair turns a familiar disco staple into a rising disco/house banger - all twisted vocal samples, intricate percussion and heavy low-end bounce. Job done.

Review: Anyone who decides to dedicate a fair chunk of his debut edits release to scalpel cuts of tracks from Led Zeppelin, Jefferson Airplane and Stevie Wonder must have gonads the size of watermelons. Sitting down could be an uncomfortable proposition, then, for the mysterious V, whose seven-track debut EP also includes chunky, floor-friendly re-tweaks of The Kinks and Sly & The Family Stone (as well as a couple of stonking disco bangers). While some would argue that much of the material here didn't need messing with, he's done an excellent job. The Dub of "Whole Lotta Love", for example, is pitched just right, offering much more bang and exactly the right amount of disco dubbiness.

Review: Perennial re-edit fanciers Basic Fingers have enjoyed a productive 2012 to date, dropping a series of impressive scalpel works from Jazzy Jens and DJ Kool Dust. Here, they offer up more revelatory reworks, this time from famed crate-digger Kon (he of "and Amir" fame). While the breezy disco-funk of "Chicago" is worthy of plays, it's the epic Sylvester re-cut that's really worth your attention. It sounds like Kon managed to get the multi-track tapes for "You Make Me Mighty Real", because he's reconstructed it from scratch, building up from little more than background handclaps to a veritable orgasm of falsetto disco screamery in 10 absorbing minutes.

Review: What is there left to say about one-man-production-line and cosmic disco stalwart Marco Dionigi? Over the last couple of years, we've consistently sung his praises, despite a release schedule so packed it makes keeping up almost impossible. The Dirty Analogic Party series has always been one of his most trustworthy and floor-friendly brands, gathering together groovy, sample-heavy tracks and sneaky re-edits that blend elements of analogue house, cosmic rock, weirdo disco, Italo and Balearica. This eighth volume boasts plenty of playable fare, from the 808 boom and Robotnik-ish electronics of "Hiccups", to the cowbell-driven Euro-dirt of "I'm A Disco Machine", via the slo-mo pulse of cosmic rock oddity "Justice".

Review: "I know he used to do shit for you, but what has he done for you lately?" So asks a lone sampled voice at the beginning of "What Up Girl?", offering a cute warning of what's to come. You see, this newie from Mullet regulars Elijah Collins and Nist is heavily based around Janet Jackson's "What Have You Done For Me Lately?", one of Jam & Lewis's best productions. Collins and Nist's version beefs up the bottom end, making great use of the backing vocals and, later, hooky melodies. Sound wise, it's an electrofunk/loopy house blend, making it more suitable for contemporary dancefloors.

Review: Fitting neatly into the nu-Balearic canon, Burning Feeling casually flits between genres whilst retaining an air of orange-hued sunsets and barely-remembered sunrises. It touches on many of Steve Moore's recurrent themes - vintage analogue synthesizers, pompous soundtrack Italo, 1970s progressive rock, odd European synth-pop and, of course, cosmic disco - whilst throwing new elements into the melting pot, most notably the sort of poodle-perm sporting 80s power rock that melded heavy guitars with very silly synthesizer grooves (for proof, see the laughably over-the-top "Love Reaction"). It's a blend that makes for a heady, intoxicating and at times thrilling full-length. Thanks to Moore's immaculate composition and production skills, it's something of a triumph; a genuine Balearic belter. The beards will love it.

Review: Since appearing on Nang back in 2009 with the well-received "Free Flight" single, Russian duo Acos Coolkas have quietly built a name for themselves as a reliable source of melody-driven nu-disco. This EP for regular home Theomatic holds few musical surprises, but there's still plenty to admire. With its warm Rhodes chords, bright synth melodies and head-nodding midtempo grooves, "Solar Wind" is every bit the stargazing nu-disco groover its name suggests. "Planetarium" slows the pace further, sounding like a Russian take on Krystal Klear or Bestboygrip. A pleasingly melodic EP draws to a close with "Lunokhod 2", a bubbling chunk of intergalactic disco.

Review: Having previously delivered both chunky disco edits and cheeky, bootleg style reworks, the usually reliable Chopshop crew offer up an EP dripping with soul and funk. Included is a loose, hip-hop tempo rework of deep jazz-funk standard "Nautilus" from Copycat (ideal for those bar sets/warm up moments), a head-nodding, heavy 4/4 tweak of an odd electrofunk record from DJ Raw Sugar, and a dubbed-out take on James Brown ("The Boss") by Discotech. Best of all, though, is DJ Agent 86's "Give It To Me Baby", a cheeky, horn-toting rework of freaky 80s funk legend Rick James.

Review: The new I:Cube album is a rapid-fire collection of tracks woven together (there's a clue in that title you know) which takes the manner of a live set. The idea is essentially to bring the dance music album back to its raison d'etre, the dancefloor. To keep things interesting, the tracks are whipped through with a wonderful irreverence, as cheeky radio interludes and impulsive switch-ups keep things from staying too formulaic. Rather than some vision of a smooth, linear DJ set, this album instead takes the stance of creating pleasure through disorientation. Mr Chaix is a master of alluring grooves, and he uses that gift to really mess with your head when he changes tack, as between the edgy bleeps of "Y.O.U.R.O.C.K." and the light-hearted disco stomper "Get The Fever". Those surprise moves keep you engaged through all 23 tracks of this joyous beast. Chaix's lack of pretension is one of his greatest strengths; the I:Cube way is a direct and satisfying one. At no point is it cheesy or hackneyed, but it never tries to be too clever for its own good. With a live feel to match that immediacy, the "M" Megamix is a triumphant statement of what a dance music album should feel like. It might not be a comprehensive answer, but it certainly puts paid to all those "collection of singles" efforts out there.

Review: Since setting their stall out last year with a series of excellent "versus" EPs featuring producers from different countries, re-edit specialists Groove Democracy have picked up a lot of props. This latest installment - a second face-off between scalpel-fanciers from Spain and the USA - should get plenty of support. There's plenty of high-grade material to devour, from the dubbed-out synth-funk of Tim Zawada and NELUE, to the hustlin' disco-boogie of Alvaro Cabana (check the excellent "Love To Fly" edit) and touchy-feely Balearica of the Beat Broker. Highlights wise, look no further than the sweet, disco-soul shuffle of Gazeebo's "Music" rework and Space Duke's Prince-ish "Let Me Tickle Your Fancy".

Review: We never quite know what to expect from KZA's sneaky Let's Get Lost label, but there's a good chance it will be pretty darn hot. That's certainly the case here. After treating us to all manner of disco and Balearic goodness, KZA hands over the reigns to the mysterious Johnwaynes, who delivers two deliciously summery house jams with an intoxicating, soulful twist. "Glorious World" is particularly hot, offering a carnival-friendly fusion of gospel, disco and rolling, percussive house grooves. Flip for the deeper "I Feel This", a dewy-eyed combination of twinkling chords, bossa-infused house rhythms and sensual soul vocals.

Review: I bet the producers behind this synth-heavy electrofunk/acid house fusion chuckled when they decided to credit it to 'Eddie Mercury'. That cheeky sense of fun is present throughout the EP, from the nagging simplicity of the squidgy original version of "In Mexico", to the Robotnick-on-speed silliness of Andre VII's pumping, techno-tinged Italo rework. See also the '80s bass, freestyle and Italo mash-up madness of the Zombies In Miami Remix, and the wonky sub, skewed beats and mildly disturbing oddness of the Rubinskee dub Del Sesierto version. As ever with Electrique Music, the emphasis is on fun, but the sounds are more than interesting enough to warrant investment.

Review: Not to be confused with any liquid drum & bass producer, LTJ is a true fiend of low slung deep house and this plain and simple track preaches his gospel with effortless aplomb. The title gives it away, but this is a track that works around an austere funk hook and rides it out for ten minutes of cool jamming. The bass rumbles laconically, the vocals drift in and out through filters and the guitar licks trip over each other in a delicious discoid fashion. It's a simple trick superbly executed for the warm-up slot.

Review: Big Juno Download exclusive business here, as anonymous discoid duo Ruben & Ra present One Night At The Disco, tweaking four classics from the early 80s for 2012 floors. Without doubt our pick of the bunch here is "My Love", a tasteful remake of Ned Doheny's "To Prove My Love", although a similarly energised revision of Geraldine Hunt gives it a run for its money. We wont spoilt the source material for other two tracks - where's the fun in that? - but instead recommend you check them for yourselves; you won't be disappointed.