Martin Solveig - "I'm A Good Man" (Mousse T Breakbeat remix) - (7:21) 125 BPM
Various - "Funk N' Beats, Vol. 2" (Beatvandals continuous mix) - (52:15) 116 BPM
UK purveyours of funky breaks, Bombstrikes Records, may have a controversial name but there's everything to love about their sound. The fun loving and dancefloor bothering label run by Mooqee & Beatvandals was founded in 2004 and they claim that if you have been to a club since then you will most likely have heard their releases. Well then! Starting off with the low slug funk of A Skillz's "Mooger Fooger (dub mix)", Mooqee & Beatvandals themselves appear with "Back Up" and the legendary Cut La Roc is still at it; "Sunday Morning People" (Herbgrinder remix)" proves that he's still got his finger on the pulse. Other highlights include Pimpsoul's ever soulful "Is This Love (feat Pat Fulgoni - Pimpsoul funk remix)" the street attitude of A Skillz & Beatvandals "Simply Playing (feat Real Elements)" and the legendary Martin Solveig (remixed by the equally legendary Mousse T) who appears with the James Brown sampling "I'm A Good Man".
Five years have passed since AI's debut album Stand Alone. Five years worth waiting: After a string of universally received samplers, Glen and Zula finally unleash the whole set. Clearly in journey mode, the LP works really well as a listening experience as much as it does in the dance. From the gentle wafts and breezes of "Aroma" to the much darker DRS-drenched designs of "Pass The Buck" and the gritty, Metalheadz homage "The Source" back the majestic touches of two Dawn Wall collaborations, this is Artificial Intelligence at their most comprehensive and clear. Attention to detail has been paid to the finish of each track, ensuring a sheen and consistency that you really don't hear in drum & bass albums that often. Timeless.
Keystone jump-up flexor Mr Maji gets busy on Logan D's LDD imprint. "Pick Em Out" shows a deeper, more restrained side to his abilities as a distinctive Urban Takeover style bassline slinks itself around a punctuated two-step and a MC vocal snippet. Think Aphrodite circa 98. "Angry Onion" brings us back into the robot ruled future with both an award-winning track title and, most importantly, a sheet metal bassline hammered with one-note precision. Sharp.
What a year it's been for Shogun Audio: albums from Spectrasoul and Rockwell, new signing Karma, the epic Point Of Origin collection and killer singles from every artist on the roster. Here they wrap up the year with 34 bangers, blissers and blunderbusses. If you've been following the label you'll know just how heavy this weights in bass gold. If not, it's the best possible place to play catch up. From the Jenna G-fronted Submorphics chiller "The Divine" and the gospel-level heaven of Spectrasoul's "Shelter" to the much darker, thunderous slammers such as Friction and Icicle's "Crucifix", Fourward's "Exile" and Calyx & TeeBee's gamechanging remix of Spor's "Aztec", this is a spotless sonic calling card for the label and its many multifaceted talents.
It seems that for his 19th installment of edits, label boss Valique has thrown caution to the wind, boldly going where no re-editor has dared venture before. The six scalpel jobs on this collection include many tracks considered either sacred or just too wrong to ever tackle, but it bothers him not a jot. Standouts include Mick Hucknall's unapologetic expression of sexual arousal, Something Got Me Started, being turned into a the Balearic house bouncer "I'd Give It All For You", the proggy electro-house Pink Floyd rework "Brick Wall" and the groovy Prince edit "The Future".
Hit makers Rodgers and Edwards' mammothly influential Chic songs enjoy one of the finest curatorial salutes from UK disco's most discerning torch-bearer/creator Dave Lee. Digging deep into his vaults and unearthing some of the best homages, references and blatant covers, Negro join the dots and delivers some rarities you may have never heard before. Get lost in the music of She's shiny guitar strumming "Easy Money", freak out to Charanga 76's "Good Times" and get lucky with Van Jones's "Not About That"... Everyone knows about the hits and influence, most of us know how important a role Chic played in sample culture but Negro has gone the extra mile to celebrate some of the lesser known references Chic have had over the years. Freaking great.
Mampi Swift & DJ Fresh - "Play Me" (Mampi Swift & Blame remix) - (5:15) 175 BPM
Friction - "3rd Planet" - (6:40) 174 BPM
DJ Blame - "Stay Forever" - (5:38) 175 BPM
Few names command respect on a Mampi level. Even when he promises his new album for over two years, he still retains his crown. Listen to tracks like these and it's easy to understand why; "Back To 92" is a pastiche of the best detuned synths and ugliest breaks of the era, all brought together with today's production muscle. "The Spirits", meanwhile, is plain tear-out banshee business (think Ram Trilogy) The rest of the EP sees Swift remastering three Charge classics for the modern day: his Fresh collaboration "Play Me" still ruffles the finest hairs on your spine while the sci-fi tones and twangs of Friction's "3rd Planet" still sound futuristic. Finally we hit Blame's "Stay Forever". A straight-up string-drenched anthem from one of drum & bass's most interesting creative chapters, it still has total relevance to this day.
French reggae producer Mato has made a name for himself by giving Kingston-style makeovers to many hip-hop pop hits. Here Stix have rounded up the latest batch of reworks featuring, amongst others, "Suit & Tie" by Justin Timberlake, "Happy" by Pharrell Williams, "Fancy" by Iggy Azalea, "Rehab" by Amy Winehouse and, clearly not getting the memo, "Blurred Lines" by Robin Thicke.
London producer Fold has built up a small but respectable discography of 12" releases, largely for local capital concerns Man Make Music and Electric Minds. He's also got something of a penchant for humorous titles, which is on full display for this debut Fold 12" on Will Saul's Aus Music label. Calling your record Netflix and Chill might put off the house purists with no time for internet memes, but you can't fault the standards of Fold's productions here. Lead cut "Calmer Mood" features some fine sampling over skipping drums and a hefty bassline, whilst the appropriately named "Wallop" could be mistaken for a Maurice Fulton track. On the B-side, the drum heavy jungle-house hybrid makes for a refreshing change of tone and is backed by a killer Kassem Mosse remix.
The Trees, The Sea & The Sun (continuous mix 1) - (1:04:19) 110 BPM
The Trees, The Sea & The Sun (continuous mix 2) - (1:16:53) 123 BPM
Argeman - (7:52) 121 BPM
Bungalow - (7:36) 121 BPM
Sleep In My Arms - (7:03) 123 BPM
8 Minute Flight - (8:17) 126 BPM
Fool's Don't Last - (7:58) 121 BPM
Opera - (8:19) 125 BPM
Equinox - (7:32) 120 BPM
Live Another Day - (8:02) 125 BPM
Provokoter - (7:42) 122 BPM
Nirvana - (10:18) 120 BPM
Fly (feat Miriam Vaga - dub) - (7:28) 123 BPM
Last Of Us - (8:34) 124 BPM
The Love & The Fear - (10:52) 110 BPM
Welcome Reality - (6:22) 110 BPM
Sunset In Miami - (6:36) 112 BPM
Social Butterfly - (7:34) 110 BPM
Miss You Miles Away - (6:08) 148 BPM
Mad Sine - (7:36) 55 BPM
When We Met - (5:23) 110 BPM
Paradox - (10:16) 110 BPM
My Dizzy - (7:26) 50 BPM
Forever & Ever - (6:46) 134 BPM
Israeli progressive house hero Guy J's career has gone from strength to strength in the last few years with most of his epic journey tracks being released on the legendary John Digweed's Bedrock imprint. Quite fitting then that he now releases his first full length for the label, with they describe as "a vast melting pot of sonic exploration." Starting out with the driving percussive techno of "Bungalow" and the heavenly "8 Minute Flight" it's then business as usual on tracks like "Fools Dont Last" or "Live Another Day" which nail that progressive journey sound that he's now synonymous with. Other highlights include the dark groove of "Nirvana" the eleven minute long epic "The Love & The Fear" and the atmospheric slow burner "Paradox". There's a lot to get through but it's all killer, no filler. Also comes as two continuous mixes as bonus tracks by Guy J himself.
Microchip In Dub (King Yoof remix) - (5:32) 80 BPM
Nu Beginningz Dubwise (Mungos Hi Fi remix) - (4:45) 79 BPM
Get Ready Dubwise (Vibronics remix) - (4:34) 87 BPM
Micro Dub (Conscious Sounds) - (3:02) 80 BPM
Rebel MC aka Congo Natty's well received 2013 album Jungle Revolution now gets the remix treatment by the who's who of the scene. From legends to upstarts, the results are quite impressive. The man is credited as being one of the original UK junglists, setting the foundations for the sound/scene and how it has evolved since, so these guys have their work cut out for them. Highlights on here are the Dubkasm Dragon Slayer mix of "Dub Souljah " with its purist dancehall vibes, the new school representing proper dub with the Jinx In dub Steppa remix of "Nu Beginningz" and the legendary Adrian Sherwood delivering his remix of "UK All Stars In Dub ". There's a lot to get through on here. "London Dungeons Dub (Young Warrior remix - Son Of Jah Shaka)" brings more of the purist dub vibes back again, DJ Madd's remix of "Jah Warriors In Dub" is no doubt the most fierce modern vibe on here while "Nu Beginningz Dubwise (Mungos Hi Fi remix)" goes for the more smoky, low-slung vibes. It one Jah!
Ahead of their debut album Rough Edges, Broken Audio founders DBR tease us with one brand new album track and a menacing remix of their last Dispatch banger "Say What You Want". "Hexton" is the opening track from the new album; icy and lean with jelly like bass that wobbles over the chubby kicks, it's a mean and minimal statement of collaborative intent. Cern is the man behind the aforesaid remix, igniting the original with immense new drums and a Goldie-like wall-of-sound aggression. Timelessly anarchic.
'Thug Houz' champion and Unknown To The Unknown founder, DJ Haus, has whipped up a storm with club nights, releases and DJ sets all over. Now he properly introduces himself with a long player, "Burnin' Up", on London's Rinse. There's 11 cuts on here, all of which reveal his fondness for all things 90s. Highlights include the hard, uncompromising acid of the title track, the short nostalgic burst of rave-organ fun that is "Hypnotizin'" and the dark body music vibes of the moody "Houz Musik".
The Night Bass crew promised an 'epic selection of new tracks...a colorful mix of styles' for the second installment of their This Is Night Bass series, and they haven't let us down. The nine sizzlers included here really do capture a snapshot of here the bass scene is currently at. Highlights include the doomy house of "Bodyback", the raw techy disco of Sinden & Bot's "Grit Manis" and the brooding jacker "Shotgun" by Landis & LaPace.
Parisian Young Pulse is back with some killer edits on Paris Edits Vol. 3. First up he takes the razor to Earth Wind & Fire on "I Love You So (I Cant Let You Go)" making an effective but ergonomic edit out of this classic. There's some Lamont Dozier also; "Shout (About It)" get's a makeover, but still retains the full impact of this boogie classic. Lastly Italian legend Claudio Simonetti aka Kasso's "Dig It (It's Time") from 1982 gets a fresh revamp for modern dancefloors; more upbeat than the original but works rather well!
London's Funk Fusion are back. Their mission? To bring you the best in Funky Breaks, Ghetto Funk, Nu Funk, Glitch Funk, Nu Skool & Old Skool Breaks; no small feat! All of the afore mentioned appear on the twelfth edition of their compilation and it's bursting at the seams with surefire material. Highlights include the soul funk jams of Zemeralds "So Much Trouble In My Mind" or Bruno Borleone's charmingly titled "Move Bitch". Elsewhere there's the blunted hip hop of James DB's "Feel The Ghostwriter's Beat" (Make It Funky edit)" or KMT 's "Guess Who's Everyday People". We particularly dug the nu skool breaks of Head Honcho's "Vacation" and the hard funky house of Gentlemen Callers "Old Tyme Religion" (Mortisville remix)". There's enough block rocking beats on here for a marathon 48 hour block party.
When it comes to re-editing, French crate digger Charles Maurice is something of a purist. His re-edits are little more than brilliantly judged re-arrangements, shorn of 21st century production trickery, but with the best bits of each original track pushed to the fore. This EP features a quartet of these pleasingly purist scalpel jobs. There's much to admire, from the humid hustle of tropical disco jam "Trini-Vibes", to the laidback disco-funk swing of "Sneaker 54" and low-slung post-disco sweetness of "Bio Rhythms". He also doffs a cap to Harvey and Theo Parrish by delivering his own punchy rework of Made In USA's "I'll Never Let You Go", a track that both have previously reworked with brilliant results.
The latest offering from the Chop Shop camp aims to shine a light on a trio of up-and-coming re-edit artists. Polish producer Brick Fever made his debut on the label earlier this year, and here delivers two more party-starting highlights; the horn-heavy, synth-laden, straightened out anthem that is "Last Dance", and the smooth, soulful disco shuffle of "Stay With Me". Italian producer Ten Different also impresses with "Shake", a deliciously percussive, all-instrumental rework of the Jacksons' "Shake Your Body (Down To The Ground)", before joining forces with Vaudafunk for a cheery stroll though house-friendly disco pastures on the swinging "Orlando Magic".
On 2014's The Roundup, Heist Recordings family members remixed leading label releases from the previous 12 months. It was such a success that Detroit Swindle has decided to repeat the exercise, with similarly positive results. Across the five tracks, you'll find a groovy, clavinet-and-Rhodes heavy loop jam (Brame & Hamo's remix of Fouk's "Lefty's Bar"), some boogie-flavoured, soulful deep house haziness (Fouk reworking Brame & Hamo), a dash of broken deep house funk (Detroit Swindle's take on Nachtbraker's "You're Out Of Your Element"), and a wonderful combination of undulating breakbeat-house rhythms and eyes-closed musical touches (Nactbraker re-wiring M Ono's "Delaware State Route"). In other words, it's business as usual from one of deep house's most consistent labels.
The nu-disco act who are, like, totally cool with hubristic monikers are back. Luckily for them they have the chops to justify the name and here they've rustled for slammin' scalpel jobs for the always-great Midnight Riot. The Xylophone-tastic, bass elastic joy of "Dye Nasty" kicks things off in fine style. Elsewhere things get slow and trippy with the soulful body music of "(I Wanna) Destiny", "Get Down" is seven minutes of sweeping, deep funk and "Want U" wraps things up with some shiny, happy boogie.