Review: Few DJs have more experience of providing the soundtrack to Balearic sunsets than Chris Coco and Pete Gooding. It's perhaps fitting, then, that they've compiled and mixed this second installment of the Gecko Beach Club (based on Formentera, Ibiza's little brother) mix series. This bulging digital package contains a mix from each (Coco's is defiantly hazy and downtempo, Gooding's packed full of tactile deep house), plus their selections in unmixed form. There are some real gems to be found, from the sun-kissed simplicity of Seu Jorge and Almaz's unfussy cover of "Everybody Loves the Sunshine", and Blackbelt Andersen's spine-tingling "Mann Pa Mars", to the wide-eyed Balearic house goodness of Gooding's own "Malibu", and the bassy strut of Waifs & Strays' "Remedy".
Review: In the space of less than a year, Roberto Rodriguez' Serenades label has seen its releases receive admiration from the like of Tensnake and Maya Jane Coles, and this compilation release offers the label a chance to reflect on a successful year, and win themselves some new fans in the process. Label head Rodriguez contributes the Balearic boogie-funk of "Has Been", whilst the Nacho Marco remix of "Ishama" takes a more cosmic path, dancing round a handbag made entirely out of the plastic casing from vintage early 80s BBC Micro computers. Johnwaynes contribute "Never Enough", featuring relentless synths and a tight bass "n' drums combo, taking things up and down beautifully, whilst Volta Cab finish with the slo-mo soul of "I Don't Want Love", its bumping rhythm brought to life with a staccato piano sample that takes things into a housier realm.
Review: Since launching last year, House of Disco Records has made something of a splash, offering an array of disco-influenced deep house cuts with a decidedly atmospheric flavour. Here they join forces with the similarly minded Dikso label for an expansive compilation featuring fresh cuts from both imprints' artists. There's much to admire, from the casual soulfulness of Nihan Solo's super-deep "Hey Girl" (inspired, perhaps, by dewy-eyed '80s soul) to the delay-laden, low-end wobble of Daniel Solar's "Hush" and Unsui's excellent slo-mo acid jam "Anata". Best of all, though, is Volta Cab's "What It Feels Like", a supreme example of super-sensual warm-up fare.
Review: Having previously released six quietly confident releases from the likes of Volta Cab, Trujillo and James Teej, Spanish deep house/disco fusionists Apersonal Records gather together some of their favourite remixes on one extended digital EP. It's a good collection, casually flitting between solid rubs from label stalwarts and notable big name remixes. Of these, look out for Soul Clap's excellent version of Michael J Collins' "Nothing Wrong With Holding On" - a joyous fusion of dubwise bass, drifting sax and sugary-sweet melodic builds - and Mark E's Trujillo rework. This touchy-feely slo-mo builder is reminiscent of the Black Country producer's fine early work on Jigsaw.
Review: Having cut their teeth on tour with likes M.I.A., and counting Steve Aoki and Diplo as fans, Top Billin are on fire. The intention behind their new compilation, compiled by DJ Flipperi, was to present 'simply great music' irrespective of genre, but the cover shot of a pirate skeleton and parrot in a techno tunnel can only mean one thing: tropically tinged bass! We've got 11 top quality tracks here, ranging from the haunted garage of Volta Cab's "Make You Mine", to the minimal vocal and claps play of "Boccia" by Mieux! via the R 'n' G(oth) of Classi Assi's "Always Got My Back and the perhaps slightly cruel, crunk-funk warping of Jazzy Jeff and the Fresh Prince's "Summertime" by Wolfhaus. Boom!
Review: Yam Who? tirelessly releases the finest electronic disco through his own label ISM. Sometimes it's in the form of compilations and sometimes its stuff by the likes of Sleazy McQueen or Spektrum. Now and then he even gets time to release his own work. This is such a case and it's an impressive collection of all his official reworks of other artists. Highlights over the 12 tracks include his souped-up version of an '80s cover by Natasha Watts, the slick electro boogie rework of a Bobby Electro tune and the soulful retro house of his Erik Rico re-rub.