Review: TAU bosses Adana Twins have always used the label's annual Spektrum compilations to showcase the quality and variety of the imprint's output, with tracks coming from both established artists and new signings. They've stuck to the same principles on volume four in the series, resulting in another strong collection of guaranteed dancefloor hits and pleasant surprises. Highlights come thick and fast throughout, from the psychedelic, post-tech-house trip of AIKON's 'Magenta', the deep space electro shuffle of 'Forever Mornings' by Echnonomist, and the bouncy, acid house-goes-boompty sweatiness of SXF's 'Workshop 5', to the throbbing Itali-disco revivalism of GUMM's 'Heroes Call', the sleazy TB-303 insanity of Adana Twins' 'Feel The Acid', and the fuzzy, hypnotic Berlin house haziness of 'The Covenant' by Volar.
Review: By now, we should all know what to expect from Toolroom's "Poolside Ibiza" compilation strand, namely groovy nu-disco, house and laidback Balearic beats inspired by afternoons spent lounging by the water in stonking White Isle heat. Naturally, there are plenty of gems to be found amongst the 40 unmixed tunes selected by chosen DJs Moullinex and Xinobi, from their own collaborative post-punk/dub number "X Marks The Spot", to the slick '80s synth-pop dreaminess of Tensnake's fine remix of Xinobi's "Far Away Place" and the drowsy, Morricone-influenced soundscape weirdness of Simple Symmetry's remix of Moscoman's "I Ran". Throw in some seriously good cuts from Felipe Gordon, Donald Dust, Pin Up Club and Meera (whose carnival-ready boogie jam "Fine Without You" stands out), and you have a fine collection of summery cuts.
Review: Some 12 months on from its release, Bruno "Xinobi" Cardosa has handed over the parts to his quietly impressive debut album, 1975, to a crack team of remixers. It's Psychemagik who arguably impress the most, building up an atmospheric, tribal-influenced rhythm on their version of "Bogota", before turning the track into a throbbing, druggy, big room house beast. Munk's version of Afrobeat-influenced cut "Crime" is a Balearic disco treat - think woozy fretless bass, chiming melodies and glistening guitars - while Cut Slack turn "Real Fake" into a suitably loved-up chunk of loose-limbed, sun-kissed synth-pop. It's a formidably breezy rework, and one that should sound as good in a club as it does on your car stereo.
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