Crosstown Rebels At Juno Download

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: Bringing one of those vocals that will be nagging in the noggin long after the lights have come up; Ali Love and Kali are in prime pop-picking mode with this new single on Crosstown Rebels. The structure of the track is still in keeping with the label's slick take on house music; while the vocals intone a message of massaged ego that translates smoothly to Waze & Odyssey's more brooding remix. Maceo Plex comes in with a more romantic vision for the track, laying out thick reams of synth in a seductive late night style that can bleed outwards to fill a space large or small.

Review: Canadian duo Art Department have all the ingredients of success at their disposal: experience, reputation and, most importantly, hype. With the latter in full effect right now, it's safe to say that The Drawing Board, their debut full length, is one of the most anticipated house sets of 2011. So is it any good? Certainly, those who've already fallen in love with their touchy-feely, melancholy take on house will enjoy it immensely. Like the work of guest Seth Troxler's Visionquest (and, to some extent, Benoit & Sergio), there's a distinct melodic warmth to Art Department's shuffling beats, woozy electronics and half-whispered vocals. It's this, more than anything, which makes The Drawing Board worthwhile listening.

Review: Crosstown Rebels head honcho, Damien Lazarus, has taken it upon himself (and his crew) to mark the "cosmically significant" date of December 21 with a 24-hour megaparty in Mexico. For those of us unable to attend in person, this accompanying compilation is the next best thing. Beginning with Pier Bucci's fittingly titled, and deliciously trippy, "Mayans", we get the exotic and trancey "The Prophecy" by Quenum, Matthew Jonson's sinister tech-houser "In Search Of A New Planet With Oxygen", the sublime "Cosmic Dancer" by Francesca Lombardo, the urgent menace of "Greed Insanity" by Fur Coat and the haunting, end-of-the-world vibes of "2012" by Jay Haze.

Review: If you're reading this, you're probably aware of the hype surrounding Crosstown Rebels' latest stars-in-the making, Venezuelan production partnership Fur Coat. With a sound that ticks all the right Crosstown Rebels/Visionquest boxes - shuffling, vaguely atmospheric grooves, fluid basslines and moody, occasionally quietly soulful vocals - there's little doubt that they're destined for the top. Their position as stars is secured by the presence of previous single "You & I", a celebration of party powders that has become something of an anthem.

Review: Given their recent move towards Visionquest-ish pastures, it's little surprise to find that this latest audio missive from Crosstown Rebels incorporates both live-sounding drums and atmospheric vocals. That said, the delightfully atmospheric "Space Ballad" is still based around a stupendously dubby, sub-shaking bassline. It also boasts enough straight-up house thrills to impress all but the most miserable deep house purists. Even better are the two remixes from Totally Enormous Extinct Dinosaurs, who throw everything but the kitchen sink at it -including some thrilling analogue bass, gorgeous synth-pop chords and, on the 'Sings' version, their own vocals.

Review: In something of a surprising move, Sergio 'Delete' Munoz's Fur Coat project returns to Crosstown Rebels with a former member of UK girl group All Saints in tow. Mel Blatt makes all the right moves for a sterling house vocal, keeping the soul piled on thick, while Fur Coat's production makes for a dextrous ride through intricate, textured deep house peppered with found sounds, dusty vinyl rips and an addictive rubbery bassline. DJ Sneak is backing things up with a classically bumping remix that leans on his usual funk licks and splashy hats for the heat of the night, while Just Be head into a more psychedelic territory peppered with colourful synths, but anchored by a humming pad that sits underneath the charming sonic decoration.

Review: Christopher Spero, AKA Glimpse has developed his career with integrity and a focused patience. Despite a deeply-rooted underground sensibility and an uncompromising experimental approach, Glimpse has still managed to win the attention of the wider mainstream. With releases for labels such as Carl Craig?s Planet E, Buzzin Fly, Cadenza, Kindisch, Get Physical and Cross Town Rebels, the London born producer has been bubbling away on the underground scene for years now. But it is on his debut artist album, Runner where Glimpse drops his true masterpiece, taking his innovative and fresh production techniques to new heights.

Runner is clearly the work of an open-minded artist who is informed by a rich variety of influences. Shifting through an array of different moods and genres, the record fuses house and techno with elements of jazz, soul and classical into one innovative body of work. From the African influenced opener, "Walk Tall" the album spans the classic deep house vibes of tracks like "Things to Do in Denver" and "I Know I Show It," the up-tempo tech-house of "New Beginnings" and onto the more contemporary and trippy sound of "If I Was Your Girl." "Feel Ok" morphs itself from moody jazz to afro-latin house; we see exotic flavours in "Alone Again" and get atmospheric dubby pleasures on the electronica cut, "Enjoyable Employable." Although the various styles add intrigue, what truly sets the album apart from the rest is Glimpse?s fresh and experimental production techniques. Most of the tracks were recorded live on analogue equipment, edited only afterward. This gives his music a more improvised quality akin to his jazz interest, not to mention enhances its warmth and organic feel. The lo-fi aesthetic of the album draws on the rudimentary influences of original house music whilst Glimpse modernises it with field recordings of his everyday life, included to stamp his personality onto the record in addition to a sample of a live crowd, used to accentuate certain beats. A highly accomplished and created debut from Glimpse, Runner will definitely be a contender come the end of year polls.