Another week, another new set of high grade re-edits from the Midnight Riot label. This time round, label boss Yam Who hands a debut to Stafford-based Dave Gerrard and Rob Bairstow's Greyskooledits project. Predictably, they head straight for peaktime dancefloors with opener "Saving My Love In", a brilliantly cut-up, hustlin' rework of a well-known disco classic. They dip the tempo a little on "Hesitate", impeccably stretching out and tweaking Salsoul Orchestra's "Runaway" for modern dancefloors. Even better is "Definite Strangeness", a brilliantly dubbed-out, beatbox electro tweak of Barbara Mason's "Another Man", while "Who Do You Think You Are" sees the duo brilliantly chop-up funk classic "Mr Big Stuff" in a vintage hip-hop breaks style.
Following hot on the heels from outings on 1978 Music Co, Logical and La Talacha, Lemon Mint transfers to Hotbox Recordings for his latest trip into hazy, disco-sampling deep house territory. He smartly explores different moods and tempos across the six original tracks, from the paring horns, woozy loops and head-nodding bump of opener "Just Like You", to the beachside bump and glistening guitars of "Maximino", the EP's most up-tempo moment. Highlights are pleasingly plentiful, with the '80s house-goes-Latin bliss of "Esmerelda" standing out. There's also a tasty bonus in the shape of a Funk District remix of "Just Like You", which somehow manages to make the groovy original even sunnier.
Current darlings of the deep house Wolf Music continue on with what they do best on these three reliable dancefloor fillers courtesy of Bristol's Thrilogy. First up "Heaven" and its uplifting piano roll complete with jazz vocals and a pumping swing fuelled beat does the business quite well. Next we've got "Hold Me In Your Arms" which takes things deeper, with sultry female backing vocals and rolling bassline.. But the uplifting piano roll remains; don't worry! Lastly the K 98 remix of "heaven" injects some serious stomp and tempo into the track that tears through the speakers with its hard house intensity.
Kompakt's annual label sampler returns for a 15th year, gathering together another 24 highlights from the long running Cologne imprint's ever growing back catalogue. As usual, there are numerous styles represented - from the spiraling dancefloor synth-pop of Kolsch and punk-influenced techno of Audion, to the soft focus melodies and hypnotic beats of Gui Boratto, and the intoxicating global electronics of Jurgen Paap - as well as much-played tracks from some of the imprint's most notable talents (see the contributions from Rex The Dog, Superpitcher, Matias Aguayo and John Tejada, whose "Two O One" is a tuneful techno delight).
Bristol's Futureboogie return with some sure fire nu-disco grooves to get any party started. London's Jay Shepheard is on board with "Henry's Theme" sporting an early nineties house vibe. Next up is PBR Streetgang from Leeds doing their thing with a nice journey via a progressive house sound on "Suel Baril". There's also local Bristolian Lukas doing more of his low slung slo mo disco business and Phil Gerus with "Never Coming Back".
Reflective of the atmosphere that prevails at party organisers All Day I Dream's daytime events, this collection eschews mushy ambience and plodding deep house in favour of a more sophisticated, adventurous selection. Powel's "Hor" is all abstract percussion and soothing melodies, while Lauren Ritter's "Glass Hours" is a sublime deep techno groove, brittle, beautiful and reminiscent of artists like As One. Meanwhile, Bedouin's "Flight of Birds" sees the compilation veer into mystical territories with wonderfully evocative fiddle playing unraveling over a pulsing groove and bongo drums. On Summer Compilation, All Day I Dream show that down-tempo dance music need not be synonymous with birdsong and dull sax solos.
Sven Vath's annual residency in Ibiza is home to some of the best and most adventurous electronic music on the white island and the annual compilations follow the same path. O starts with the fuzzy, frazzled trance of Roland M Dill's "The Messenger", followed by the rolling, steppy house of Tripmastaz "Grindin" and Dana Ruh's "If You Don't Know A Name", which sounds inspired by the growling bass of Kevin Saunderson's E-Dancer project. The madness doesn't end there and O also boasts trance techno from Dast, Tom Demac's rave sampling house and Steve Parker's tribal techno banger, ""Brian's Lullaby" - making the compilation as wild and unpredictable as Cocoon's own nights.
Aside from a couple of EP's for Shadeleaf Music and Delusions Of Grandeur, respectively, the enigmatic ThatmanMonkz prefers to ride undercover. However, his latest record comes courtesy of Derrick Carter and Luke Solomon's infamous Classic imprint - which is run out of the Defected HQ these days - so it's clear that he's talking business. This four-tracker is all house vibes and no messing around: "In Bed With You" features the charismatic and soulful vocals of Pete Simpson over a deep but driving groove, and "Miss You So Badly" ups both the tempo and the hypnotics. On the B-side, "Kickin's It" is a Detroit house kinda' number, boasting ingenious little sample shots and anthemic melodies, something which can also be said for "Vainglorious Style" - another slice of Detroit-fueled soul.
Given the label's longevity and consistently on-point releases - in a variety of styles, it should be noted - it's somewhat surprising that Gilb'r's Versatile Records imprint is not more celebrated. Here, they welcome back Zoot Records founder The Maghreban (AKA Dr Zygote), who goes all Idjut Boys with a trio of heavyweight dub disco workouts. The title track - all booming punk-funk bass, horror-influenced synth flourishes and dense, live-sounding disco percussion - sets the tone, before he pushes things up a notch with the relentless, low slung synthesizer gooks and sweaty house beats of "Frenetique". Finally, he presses the button marked "weird-out" on the lolloping, jazz-flecked dub disco madness of "Kung Fu".
For the first decade of its' existence, Jalapeno Records largely concerned itself with cheeky, funk-fuelled breakbeat outings. In recent years, though, the imprint has widened its' repertoire considerably, and here presents a fourth collection of house-leaning highlights from its' bulging back catalogue. There's naturally much to enjoy, from the hazy, Naked Music style West Coast deep house warmth of Bo Geste's "Give It Up" and the cheery, synth-heavy bounce of Budakid's "Invisible Violet", to the Todd Edwards-influenced cut-up garage revivalism of Markus Jakes' "Up To Me". Throw in a wealth of high grade remixes of Kraak & Smaak tracks from the likes of Psychemagik and Hot Toddy, and you have a hugely enjoyable collection of floor-friendly cuts.
Two years on from his last outing on Eskimo Recordings, Vita 'Aeroplane' De Luca returns with a pair of tracks that pay tribute to the uncomplicated, life-affirming cheeriness of early piano house. "Page One Is Love", featuring a vocal sample from Chicago pioneer Jamie Principle, sounds like an attempt to fuse together as many classic house influences and references - plus vintage US garage organs - as possible. "Dancing With Each Other" inhibits similar territory, with the addition of sparkling nu-disco synths, early Daft Punk melodies and a heavy bassline. The pick of the accompanying remixes comes from Cassara, who re-casts "Page One Is Love" as an intoxicating chunk of baggy, Balearic house.
Chaos In The CBD have quietly been building an impressive reputation for some time, with releases on Hot Haus, Amadeus and Needwant all hitting the spot. Here they transfer to Bradley Zero's Rhythm Section International with what's arguably their most mature and musically expansive EP to date. There's a decidedly dusty, eyes-closed deep house feel throughout, with hypnotic grooves laden with all manner of neat, often jazz inspired touches. This is perhaps most obvious on the St Germain style jazz-house goodness of "Observe" - all skipping cymbals, bouncy grooves and killer pianos - but can also be found on the deeper "Observe". It's there, too, on the lilting brilliance of "Midnight In Peckham" - think yearning trumpets and twinkling piano motifs - and the blissful "Luxury Motivation".
Jaymo and Andy George's Moda Black returns with another one from Hot Creations crewman Hot Since 82. He's got Habischman on board for "Leave Me" and it gets the remix treatment by the legend that is Dubfire, taking the said track on a dark journey through progressive house. Secondly we have "Sundown" remixed by Audiofly aka Luca Saporito and Anthony Middleton who take things on more of a sublime, afterhours tech house tip on the "All Day I Dream" vibe.
Music label, artist agency and DJ collective MN2S celebrates 20 years of existence with this new compilation, a sixteen track showdown featuring some of its best work from the past two decades. Among the stand-outs, you got Todd Terry and Sound Design's "Bounce To The Beat", Robert Owens' "I'll Be Your Friend", Mark Knight and MTV's early single "A New Reality", and even Subb An's remix of "Get Away" by Maya Jane Coles. A big 'un!
While Herve's presence, along with the likes of The Crookers, may not be in the spotlight like it was around the turn of the decade, he's still holding firm. Herve pays homage to a sound he help pioneer in his Future Fidget mix of this single which riffs on old school rave themes with that classic cut up sound. It stems from a production which essentially sounds like a vocal house jam from the summer of love. Jay Robinson, on the other hand, with a huge drop to boot, delivers a bassline makeover that lovers of anything dirty will want to revel in until the sunrise.
Brightonian beat agitators Skint celebrate two decades of party science with a whopping 32 track compendium of highlights. Ranging from quintessential big beat (Midfield General, Indian Ropeman, Lo Fidelity Allstars) to quirky, lop-jawed techno (Roman Flugel, Tomas Andersson, Dave Clarke) via chunky, dirty-bottomed house music (Riva Starr, Foamo, X-Press 2) and perfectly formed left-minded pop music (Fatboy Slim, Tiga), Skint's successes can be found in almost every corner of the dance... Including the harder-to-categorise unique, forgotten classics such as FC Kahuna's evergreen "Hayling" and Justice's new wave pop strutting remix of Vicarious Bliss. Happy anniversary Skint!
Still firmly on his house tip, former nu-disco don Alakalino releases new jams at a furious pace. Here he treats us to another deep cut, the sparse, percussive thumper "Spooky", which sees tough beats treated with eerie sound effects and narrated in a nonsensical US vocal drawl. On the digital flipside Enzo Leep delivers more house, but more in the melodic minimal vein - all chiming arpeggios and broken beats in the style of Kolumbo.
Originally arriving in the midst of the noughties electro-house mania, Daniel Dexter has matured into a respected purveyor of deep and jacking house. Here he's rustled up a euphoric diva house anthem with heavy nods to the sunkissed rave sounds of late 80s Ten City. Alexkid whips the tune into and eight-minute linear laser-house attack, but it's the slow and hazy Vogue-on-downers vibes of "Heroine" which is the real winner here.
Ireland's Sian is still at it. Making it big around a decade ago in the early noughties minimal boom with some great tracks like "Apple Tree" and "Sei" it's good to see he's still at it. Released on his own Octupus imprint, this album shows his deft skills at sound design and creating dancefloor ready artillery. First tracks "Ascension" and "Diamond Shore" are rolling tunnelling trips that really nails the modern techno sound. As does "Candy" with its buzzing peak time bassline and druggy Minus style pitch shifted vocals. There's a lot to get through here, 22 tracks to be exact. But it's great bang for your buck, trust us!
Comprising Ravi Brunsvik and Marius Sommerfeldt, De Fantastiske To, are a modern house duo hailing from Oslo. They are known for their slick and chic house, and the "Fire Flate EP" is no different. The first of two new juicy cuts here is the retro jackin' house of the title track, which is halfway between Pump Up The Jam and the kind of joint Tiga tends to drop these days. "Kule Bonner" meanwhile, goes deeper and more intricate with its rhythm and melody patterns. Classy!