Review: The unstoppable Lazy Days imprint shoots to kill with this latest nugget from two of its regular sharp-shooters, Art Of Tones and Lay Far. The former, Ludowic Llorca has made appearances on everything from Local Talk to Belgium's We Play House label so it's safe to say that he knows a thing or two about house music! "Koniokola" is a chord-heavy pipebomb with beautiful swirls of delay and balearic charm, a truly effective piece for DJ action. Lay Far, who has also appeared on Local Talk and other quality outlets such as 4 Lux, delivers the perfectly dusty and cowbell-heavy "Coming Back". True house beauties with a magic touch.
Review: Fred Everything's Lazy Days label is a veritable institution by this stage in the game, and it's no surprise to see a label of such stature reaching out to an artist as highly regarded as Atjazz. Martin Iveson, as he's also known, ditches the alias here but the mood is consistent with his reputation. "Leave Me Here" is a jazz-soaked beauty in its original form and when Jimpster takes the controls for a remix. On the flip comes Art Of Tones, whose "Koniokola" gets not one but two versions from Fred Everything. Both the remix and "re dub" deal in masterful tech house from a true champion of the genre.
Review: There's a notable inclusion in the list of producers contributing to Editorial's latest red-hot collection of floor-friendly reworks. Vastly experienced house producer Art of Tones turns re-editor on "Bootyshaker", a sublime, loose-limbed interpretation of a Red Greg-championed disco-soul favourite that benefits greatly from just the right amount of low-end house pressure. Similar accolades could be placed on the gently bouncy disco-funk shuffle of Matt Hughes' electric piano and jazz guitar-laden "Walk The Chalk", or for that matter the deep, spacey and radiator-warm electrofunk bliss of Special Q's talkbox-sporting "Lost in You". Elsewhere, Sellouts goes all "boom-bap" on the freshly baked instrumental hip-hop head-nodder "Ain't No Thang", while Barry Closer gets tactile and glassy-eyed on the Balearic boogie of "Closer".
Review: With such a star-studded line-up of old and new talent involved, it's little surprise to find that De La Groove's latest multi-artist EP is seriously good. Check first the breezy and soulful US garage revivalism of Art of Tones' impeccable "So Sweet", before turning to the slightly more UK garage influenced "A Quiet Love" by Scott Diaz, a track that somehow manages to be both deliciously bouncy and seductively soulful. Elsewhere, Cody Currie's "As of Yet (featuring Joel Holmes)" is a vibraphone and Rhodes-heavy chunk of deep house dreaminess, Pontchartrain's "Don't Change Up" is a loopy slab of bespoke disco-house and Goddard's "Almasti" sounds like a nu-disco era riff on Pepe Bradock deep house classic "Deep Burnt".
Review: The SHAG Edits hits Volume 4 welcoming David Glass, Timmy P and Two's Tones to the Roots For Bloom roster. David brings a big hitter with Tape Deck with its MC sampled vocal, Timmy's is drenched in sunshine for all the day parties this is sure to go off at and Two's Tones takes things on a jazz twist, with clever sampling but always that underlying groove that the Roots For Bloom label is known for. Fans of the previous releases wont be dissapointed.
Review: This two-tracker from Local Talk - originally released in limited numbers on vinyl - appears to be the result of some smart thinking on behalf of the Swedish label. It sees ordained minister and all-round Detroit house and techno legend Terrence Parker put his slant on two of the most gospel-influenced cuts in the imprint's sizeable back catalogue. Parker first works his magic on Jamie 326 and Masalo's "Testify", serving up a bouncy, all-action peak-time house rub full of crunchy Clavinet lines, bold piano riffs, heavy organ stabs and inspiring gospel vocal snippets. Arguably even better is the Detroiter's interpretation of Art of Tones' "I Just", which looks to classic piano house for inspiration with predictably fine results.
Review: After revealing each exclusive track over the last month, Kry Wolf finally delivers his DNA collection. A way of showing his own roots and party passions while celebrating his peers and labelmates' finest studio creations, the mix is a great reflection of Wolf, his and Shadow Child's label and its talented roster. Highlights include Shadow Child and Friend Within's WOW-referencing "The Moon", Kry Wolf's percussion-pummelled twist on "Piano Weapon", Geoff K's floor-melting bass shaker "Dysturbed Trumpet" and NYTA's dangerously demonic vocal cut "The Call". Also included is Kry Wolf's mix that joins the dots between the many sonic shades. A great concept backed up by an immaculate collection; DNA is where it's at.
Nerves Of Rubber - "My Head Hurts" (Acid mix) - (5:24) 120 BPM
Review: As anyone who has ever tripped the light fantastic to one of its releases will attest, Woody McBride's Communique is an unpredictable, maverick label. This is audible on the twenty fourth instalment of "Aciiieeed!" It starts with Mr E Tones' mangled, slowed down acid breaks, before moving into more familiar territory with the dark, churning bass, muffled vocal samples and wild 303s of Mr Gas Mask's "High Heels". The latest instalment of the series also provides a platform for Miami's finest, Mystic Bill, to relive the incessant kettle drums and pitched down vocal of his 90s classic, "Take Me Back". The release finishes in style with Nerves of Rubber's absenteeism-friendly jacker, "My Head Hurts".
Review: 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".
Review: Valique dons his popular V moniker for another trip into tongue-in-cheek, party-hearty re-edit territory. For those looking for surprising rubs, there's plenty to enjoy, from the subtle (and surprisingly tasteful) rework of Carl Douglas's "Kung Foo Fighting" and the dubbed-out psychedelic rock-goes-deep house flex of "Man Who Taight The World", to the epic singalong business that is "Need To Know" and sensual, long-slung soul business of the string-laden "Light My Fire". There's also some chiming, trumpet-laden disco breaks in the shape of "Red Right Hand", and a dash of funk-pop ("Breaking Glass").