Review: It's been a while since we heard from Danny Ward, at least under his Dubble D alias (he's better known for his house productions under the Moodymanc moniker). "Thud" is a pleasing blast from the past - a rolling, dancefloor-friendly workout that matches snappy, MPC-programmed hip-hop beats with warm Rhodes codas, subtle whispers of jazz flute and carefully-chosen vocal samples. The remixes are tasty, too, with EZ Icarus recruiting MC J Conroy for an uptempo party-rocking workout, Tosses & Verdez dropping some tasteful breaks, and Widosub turning the original into a warm, jazzy, broken beat number.
Review: Danny "Moodymanc" Ward is known for Balaphonic and Vault amongst others and of course as a part of 2020 soundsystem with good pal Ralph Lawson until they called it quits a few years ago. He revisits his Dubble D alias up next on his Well Cut label delivering three equally epic cuts in the process. Starting off with the lush deep house late night jam "Well Oh", next up "Black 'N Gold" goes for a more soulful and jazzy and slightly disco vibe that had us reminiscing of early Boo Williams and Glenn Underground. Adding some real variety to the release is final track "Grande Piazza" which shows ward has an equally deft hand at creating some smooth nu-disco flavoured grooves and this one features some gorgeously shimmering synth work.
Review: The inspiration from Dubble D's latest release comes from a source that has been mined many times in house music - the church. Over tight claps and a lean funk guitar riff, the UK producer co-opts a sassy vocalist to discuss 'growing up in the church of Christ'. In case Dubble D felt that he was in danger of alienating his atheist fans, the vocalist then delivers a more secular message that 'in honour of the love for the people. . . we're going to lay it down... we gotta give love... '. Ashley Beedle's re-version sees the house veteran add some upbeat disco vibes and make the most of the guitar funk line.
Review: We're not quite sure why this German funk meister is so enthralled by lime sorbet in particular (other than that it tastes nice), but that is what he has chosen to dub his popular mix series. This third installment packs in a hefty 18 tracks and is available both as a continuous mix and as individual tracks too. Highlights include the mini Moog workout of QZ's remix of James Beige, the high-energy riff-o-rama of "Monsterjam" and the effervescent disco-funk of "This Sound".
Review: It seems that Timewarp's rare funk compilations are like buses: you wait ages then three arrive at once. Well, not quite - the second instalment in this series arrived two years ago, precisely half the time between that and the first one. So by our calculations the next one should arrive in a year's time. That gives us just enough time to fully absorb all 31 bangers featured here, including the backbeat swagger of "Ghetto Drunk", the shimmering '70s glamour of "Soul Sugar" and the lush, luxury disco of Timewarp's own remix of "Afrofunk".
Review: Listening back to this collection of remixes from UK producer Dave Taylor aka Switch, one is reminded of how different electronic music sounded during the mid-noughties. The bleepy bassline, chopped-up vocals and lo-fi sample aesthetic belongs to a different era, yet there is still something endearing about Switch's approach. On his version of Ben Westbeech's "Dance With Me", this manifests itself through a grimy acid line, boisterous vocals and a shuffling groove that sounds like an early incarnation of the UK bass/techno groove. Switch's interpretations of The Futureheads and Spank Rock (one of the era's genuine classics) are even more radical, with his take on the former's "Worry About It Later" containing merely a stuttering vocal and looped guitar riff from the original, and on the latter's "Bump", he moves from filtered disco stabs into a carnal ghetto house narrartive.