Review: Bostonian house knight, J Paul Getto has hooked up with his Fogbank colleague Alex Herrera for a slice of monumental retro house music called "Everything Changes". It's kind of a bit weird to call it 'retro' but this jam sounds straight out of the late 90s stable of superclub hits by the likes of Bob Sinclair et al and that's quite some time ago now. Think big, string-laden super-positive house anthems and you get the picture. It's actually the Kevin McKay remix, with its Euro-house melodies and punchy drums, that steal the show here.
Review: Andy MacDougall is sure on a roll right now. Following up the brilliant dark journey track "Too High For Too Long", his collaboration with Brett Gould (on Definition Music), he now appears on Glasgow Underground with another tune with serious hit potential. "Shaman" makes you long for another summer on The White Isle with its sunny, tropical tech house vibe sure to make you sweat on the dance-floor. The Rene Amesz remix adds more funk, ferocity and white noise build ups for even more intense dance-floor dynamic, in a Gruuv or Saved kind of way. Finally Madrid's Dennis Cruz gets on board to deliver a heavenly and atmospheric progressive house makeover no doubt honed by his time recording for labels like Deeperfect.
Review: Hometown boy Barrientos - a 23 year-old producer born to Chilean and English parents in the US, but now living in Scotland - drops his biggest EP yet on Glasgow Underground. While it's his more obviously peaktime tracks that will get most plays - see the mid '90s New York darkroom styles of "And Uh" and the garage-influenced main room hustle of "On My Mind" - it's the EP's more Balearic moments that hit home hardest. The largely beatless "Eventide" is particularly delicious, but it's the nine-minute, rush-inducing "Los Suenos" that really impresses. Slow, deep and melodic, it has a similar feel to the timeless Balearic house classic "Sueno Latino". You can't get a greater compliment than that.
Review: Stadium sized funky house on the deeper tip courtesy of East London's Brett Gould who is described by Dancing Astronaut as "an inspiring sign of life on the front lines of British house music." Now that is a compliment if we've ever heard one and we can't argue such a fact! Featuring epic diva vocals sampled from a certain hit from way back, a razor-sharp bassline and soulful strings above its totally tight rhythm: expect to be hearing this one a lot in 20127. Glasgow Underground head honcho Kevin McKay gets on the remix next up, delivering a much tougher and rolling techno rendition
Review: According to their website, London nu-disco/synth-pop combo BXentric "make electronic music so uplifting it makes you want to dance through fields naked". That's a bold claim. Luckily, "Surrender" is cheery, summery and poppy enough - whilst retaining an air of leftfield synth-pop cool - to qualify for the "uplifting" tag. The accompanying remixes - of which there are many - are also largely tasty, with Cosmic Kids' rubbery, synth-heavy, contemporary electrofunk take standing out. With its wide-eyed air of Balearic bagginess and touchy-feely vibe, it should get major rotations from anyone who likes it synth-heavy and tactile. For those in need of straight-up house thrills, there are a trio of reworks from GU label boss Kevin McKay.
Review: CamelPhat are a British DJ and production duo, formed in 2008 with a penchant for Mexican wrestling masks and have released on Suara and Exploited among many others. That aside, their massive tune "The Quad" now gets a bunch of wicked remixes by an all star cast. First up the Glaswegian duo Illyus & Barrientos do a remix which is loved up and pumpin' funky house, while Kevin McKay's effort injects more brazen disco influence into it; the pianos in this one are absolutely magnificent!
Review: High octane, peak time tech house for fans of Kaiserdisco or Audiojack here by mysterious duo Camelphat who've done stuff previously on Great Stuff and Toolroom. This all you need right here to set the main room dancefloor on fire. "It Is What It Is" comes right at you like a freight train with its tight percussion driven groove. "No One Hears You" is the more druggy and adrenalised one with generous servings of throbbing bass and white noise washes while "The Quad" is the most housey with that uplifting 90's rave piano roll hooking you in throughout its duration, really emotive and really great!