Review: In its original form, Carl Cox's 'Sand, Moon & Stars' is a simmering, shaker-heavy dancefloor treat, where sweeping strings and sparkling electronics simmer away before gloriously soaring above a tactile, shaker-heavy tech-house groove and echoing carnival percussion. It's rather good all told but this high-profile remix from Eats Everything is arguably even better. The much-loved, Bristol-based DJ/producer opts to layer fizzing electronic riffs, funky acid bass, surging strings and glassy-eyed synth sounds over a chunkier, tougher beat, with the resultant sunrise-ready roller sitting somewhere between Orbital's 'Lush 3', the stab-happy rush of Inner City and Eats Everything's own boisterous house productions. In other words, the West Country producer has somehow managed to improve an already excellent track. Bravo!
Review: Disco singer Geraldine Hunt hails from St. Louis, Missouri. In the first part of the 70's she released some singles on Roulette Records which were anthems of the northern soul scene. In the second part of the decade, she worked in Canada with producer Tony Green.
She is certainly best known for the disco classic "Can't Fake The Feeling" from 1980 which has had its fair share of remixes and this new one by techno legend Carl Cox is without a doubt another worthy addition to the list.
Review: First released as a single from Cox's 'Phuture 2000' album in 1999, this fat 'n' funky houser from the big man is back for its 20th anniversary with new mixes from Snatch! Records boss Riva Starr. The Riva Starr Remix tones down the original's sax line and uses a lot less of the female vocal, ending up instead as an eyes-down, rolling affair with something of a filter disco feel, while the Riva Starr Mo' Funk Mix goes straight for the disco jugular with tuffer drums and stabs straight out of the Wild Pitch playbook.
Review: Following on from last year's Inferno collaboration, Filth On Acid owner Reinier Zonneveld again teams up with Christopher Coe and Carl Cox. On the 'Filth' version of the title track, an ominous bass rolls in, accompanied by acid spirals that build powerfully before a vocal sample announces, 'this is our moment, our time'. The 'Pure' version is less visceral, and is realised against the backdrop of atmospheric synths and lithe break beats. The 'Awesome' version sees the trio head back to the dance floor; after a reflective intro, the synths give way to a pummelling rhythm track and surging chord builds. This release certainly lives up to the claim that its title makes.
Review: With Ibiza's extended summer season almost upon us, Toolroom has served up a suitably epic collection of cuts that it expects to be big on the White Isle this summer. Label boss Mark Knight has provided a trio of DJ mixes ("Poolside", "Club" and "Afterclub") and the unmixed tracks included all fit into these loose categories. There's not enough room to list all of the highlights, but we've been enjoying the funk-fuelled disco-house rush of Illyus and Barrientos' "The One", the sleazy, bass-heavy bounce of Max Chapman's "Steppa", the acid-powered tech-house-jack of Del-30's "Gravity" and the weighty, mind-altering thump of "Low End Theory" by Eli Brown.
Review: Dark Alleys is Carl Cox's first EP in a number of years, but it's been worth the wait. Proving that he remains the 'people's DJ', Coxy's own take on the title track is an unforgettable techno-house hybrid, its muscular bass supporting a funky techno rhythm and uplifting rave stabs. As befits a DJ of Cox's status, this version is full of deft filters and drops, making it prime dance floor material. Saved boss Nic Fanciulli turns the track into a gritty, acid-soaked affair with his reshape, with the building siren sound only adding to the sense of drama as it reaches a huge crescendo. Circus has also tapped Deetron for a rework, with the Swiss DJ's grungy bass and rave break downs also sure to illicit a massive reaction.