Review: Shogun have a forthcoming compilation and it's one which shows just how good a year they had, all things notwithstanding. It features music from GLXY, Sustance, Koherent and more, and what's notable is just how many are from producers relatively new to the Shogun camp, evidence that the Brighton team are doing the best they can at nurturing the next generation. GLXY are at the forefront of that generation and they have several tracks featured from their Spring album, Research & Development. 'Conclusions' feat. Steo is one of the best, a feathery light liquid number with a dusting of harp and a dash of vocal magic, a sultry approach mirrored on their critically acclaimed single 'She Sings For Me' feat DRS. Koherent's recent, infectiously funky number 'Bliss' makes an appearance, as does several tunes from Gerra & Stone's rebirth as GEST. Big.
Review: We were full of praise for Fred Everything's 2018 album "Long Way Home" - the Canadian's first full-length excursion in a decade - so we have high hopes for this expansive remixed version. There's naturally some revisions by friends and high profile remixers, with Atjazz's deliciously intergalactic deep house take on "Spacetime", Ilia Rudman's slow Balearic boogie revwork of "Palma" being arguably the most notable. Elsewhere, the Lazy Days co-founder offers up a string of fine alternative versions of his own - see the sparkling, piano-heavy "7AM in Tisno" dub of "Barbarella" and the stunning, beat-free "Somewhere Ambient Version" of "Something for starters - as well as a handful of fine dubs and some previously unheard tracks ("Un Dimache Soir", "Alright (Original Mix)").
Review: In its original form, Fred Everything's latest collaboration - this time with sugar-voiced British soul man Jinadu - breathes new life into a once mighty variation of deep house: dub house. Rich in sub-heavy dub bass, delay-laden reggae guitars, dreamy chords and UK steppas style drums, it's every bit as good as anything you would have heard in the late '90s or early 2000s. Ian Pooley offers up two contrasting remixes. While the more straight-up deep house vocal take is rather good, we still prefer his 'Dub' revision, which wraps delay-laden synthesizer motifs and head-in-the-clouds electronic flourishes around snappy drums and Fred Everything's killer dub-style bassline.