Review: On the label's latest compilation of recent releases, overlooked treats and previously unreleased gems, Lazy Days Recordings is showcasing the more sun-splashed and summery end of the imprint's frequently gorgeous output. Naturally, there's plenty to set the pulse racing throughout, from the throbbing mid-tempo deep house disco of Milton Jackson and Ski Oakenfull's 'Got To Find' and the P-funk-flavoured sun-down deepness of Art of Tones' sublime remix of 'Rusty Lewis' by Beau Zwart, to the hypnotic, low-slung and dubbed-out peak-time brilliance of Manuel Sagahun's 'Kick To Flip' and the gorgeous soulfulness of Matt Masters' 'I've Opened My Eyes'. As you'd expect, there are also quite a few killer contributions from label co-founder Fred Everything, including a fine collaboration with fellow deep house veteran Atjazz ('Stay a Little While').
Review: Cafe del Mar Ibiza Chillout Mix II is a relaxing and refreshing album that transports you to the sunny and vibrant island in The White Isle. The songs are a blend of organic house and downtempo music that create a soothing and groovy atmosphere. The compilation features a variety of artists from different backgrounds and styles, such as Pejzaz, Deep Forest, El Buho, Zeep, Huerta and more. The album is well-mixed and balanced, with smooth transitions and harmonies. Go poolside and watch one breathtaking sunset as this revered Ibiza institution curates another unforgettable sound experience.
Review: Given that pretty much all of Lazy Days' output is pleasingly sunny and warm, you'd expect this 10-track collection of summer-friendly jams to be particularly hot, humid and life-affirming. Check first the sunset-ready, piano-sporting shuffle of Shur-I-Kan and Joakim's 'Beats, Strings & Nothing Gold', before admiring the intergalactic, stargazing throb of Versatirds legend I:Cube's 'Parisian Sleaze' mix of Fred Everything's 'Barbarella'. The quality threshold remains pleasingly high throughout, with further highlights appearing thick and fast. Manual Sahagun's surprisingly jazzy and Balearic 'Rest In Sax', Atjazz's slick rework of Fred Everything and Robert Owens' 'I'll Take You In' and Prins Thomas' epic 'Discomiks' of Fred Everything's 'Here' are all superb.
Review: After celebrating their landmark 40th anniversary last year, long running Ibiza-based institution Cafe Del Mar are back for the next annual compilation in their series. Cafe Del Mar Chillhouse Mix XII does exactly what it says on the tin, and quite frankly no one else quite does it better. Highlights come from: legend Ian Pooley on the bumpin' late night groove of "Puzzled", Montreal staple Fred Everything getting the remix treatment by the ever reliable I:cube on the ultra deep sleaze of "Barbarella" and British nu-disco heroes Bent also getting a low slung rework by the mighty Ashley Beedle on "Friends". Elsewhere, Kiwi duo Chaos In The CBD keep "Cool But So.." by Detroit first wave pioneer Alton Miller in a typically soulful and emotive form with their perspective, while Chicago staple JT Donaldson delivers perfect mood music as always with his remix of Dirtytwo's "Hopeless" and Ron Trent showing us all exactly just what 'deepness' really is all about on his stunning version of Tevo Howard's classic "Without Me" feat Tracey Thorn - an oldie but still a goodie!
Review: This year, Fred Everything has been busy revisiting tracks from his back catalogue. The latest cut to get the revisionist treatment is 'Barbarella', a gorgeously intergalactic fusion of deep house and squelchy nu-disco that first featured on his 2018 album Long Way Home. The headline-grabbing revision comes courtesy of Parisian legend I:Cube, who reinvents the track as a sleazy, spaced-out chunk of metronomic synth-pop/space disco fusion with added acid bass and lashings of starry-eyed synths. Fred Everything provides two 'Slow Down' versions, both of which shuffle along at 89 BPM. The main mix is a street soul tempo wide-eyed shuffler, while the 'ReDub' is a sparse, analogue bass-propelled late-night treat full of echoing beats and sharp, mind-mangling acid lines.
Review: To mark 15 years of the Lazy Days Recordings label he established with Mike Fresco in 2005, Canadian deep house legend Fred Everything has decided to release a trilogy of celebratory compilations, each of which focuses on a specific five-year block. This one celebrates the best material released on the label over the last five years (2015-2020), delivering thrills by the barrowload. Everyone will have their own highlights, but our picks of an extremely strong bunch include the early Larry Heard style warmth of Lance DiSardi's 'Field Recording', the early morning shuffle of Fred Everything's 'Someone Like You', the rushing piano house revival of Fred Everything and Shur-I-Kan's glassy-eyed 'Until Then', and the glacial, tech-tinged goodness of Martin Iveson's 'Leave Me Here'.
Review: As the title makes perfectly clear, the latest compilation from Mike Fresco and Fred Everything's Lazy Days Recordings label offers up a wealth of new and old reworks from the imprint's sizable vaults. Fred Everything is naturally prominent throughout both as remixer - see the distinctive takes on cuts by OJPB (a sun-flecked Afro-house revision of "Bridgetown's Pyramid") and Art of Tones (a lushly deep and dreamy remix of "Koniokola") - and original artist (check Sphiwe Caz-Miz's deep, dusty and woozy tweak of "Searching" and Ian Pooley's bright and breezy revision of "Silverlight"). Elsewhere Jimpster steals the show with a superb version of Martin Iveson's "Leave Me Here", Hot Toddy gets discofied on his LLorca remix and the Revenge weighs in with a jaunty, synth-heavy house rework of Art of Tones' "Unstopped").
Review: Fred Everything, who has appeared on the very best of house labels including 20:20 Vision and Drumpoet Community, teams up with the rising Fred Iveson for a split EP on the US' Lazy Days imprint. Everything's "Gentle As The Sun" is a bouncy and docile house gem for the early morning, a tune which cleansed the soul. Iveson's "Leave Me Here" is similarly placid and soothing but with a more stripped back approach recalling the sorts of percussion sounds heard in many darker minimal tracks.
Review: In a bid to celebrate 16 years in business, Mallorca-based Garito Cade Bar has joined forces with the like-minded souls from Sweden's Local Talk imprint. The result is a collection compiled and mixed by resident DJ Nacho Velasco, featuring both well-known and previously unheard gems from Mad Mats and Tooli's well-loved label. While many people will have some of the better known material here - think Fred Everything's excellent "Brothers & Sisters (PM Atlantic)", HNNY's "Fr The Very Forst Time" and Kyodai's "Something Special" - it's the previously unheard selections that make it Music Joined Us worth investigating. Of these new cuts, it's Tommy Rawson's lusciously loose "7 Days" and Jesse Futerman's smouldering "Life Is A Gamble" - smoky soul re-made as Latin-tinged deep house - that stand out.
Review: It's not all that long since Local Talk's first Talking House compilation dropped. Given the sheer volume of 12" singles from the label - there seems to be one every week these days - it's little surprise to see this follow-up dropping in double-quick time. The label's best material has always been superb, and there are some real gems here. Check, for example, Dirtytwo's clever (and exceptionally well executed) fusion of HNNY's "For The Very First Time" and Midnight Star's "Midas Touch", John Mood's "Basement Romance" (clearly inspired by classic Mood II Swing), and Cle's colossal piano house bomb "The Jam". Oh, and the thrill-packed blast of Balearic magic that is Fred Everything's "Brothers & Sisters (AM Pacific)".
Review: To celebrate five years of his Lazy Days imprint, Fred Everything gets Crazy P, Art of Tones, Greg Wilson and Ian Pooley to provide a bunch of remixes of some of the label's best-loved tracks. While all provide solid reworks - particularly Crazy P, whose two rubs of Fred Everything's own "Friday" are excellent - it's Art Of Tones who really excels. His three reworks of Tortured Soul's 'Found A Way' are everything a disco-loving house head would wish for; loose, bumpin' and deliciously soulful, riding a wave of loose-wristed live drums and classic synth strings.
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