Review: Escort frontwoman Adeline is in fine form on "When I'm Alone", a revivalist leftfield disco cut that she co-produced with Morgan Willey from Brooklyn band Midnight Magic. With its walking bass, crunchy clavinets, woozy synths and fine lead vocal, it reminded us a little of Midnight Magic classic "Beam Me Up". Jacques Renault delivers a slightly heavier, house-influenced remix with subtle Italo-disco style arpeggio lines, as well as a percussion-heavy "Dubstramental" that's arguably even better. Dirty Channels offers "Remix" and "Dub" revisions that wrap the original's killer bassline in sweaty disco-house beats, while Adeline's sometime band mate JKriv joins forces with Underground System Afrobeat Peter Matson on a remix that sounds like vintage Escort with added dub delays.
Review: There's a touch of the Clash Of Titans here, with prominent Brooklyn re-edit label Razor N Tape recruiting James Baron (Ron Basejam/Crazy P) for a heavyweight nu-disco release. Baron doesn't disappoint either, delivering three tough disco housers that touch on 80s electro-boogie ("Love Don't Wait"), soulful gospel ("Someday") and loopy, filtered funk ("We Supply").
Review: Sorry, no slow and dark Belgian New Beat here, as this is a whole different kettle of 'Body Music'. Instead we have a satisfying selection of delicious disco and house gems. Here renowned Brooklyn re-edit label Razor-N-Tape have rustled up quite an EP led by the original mix of "Just One", an enrapturing loop of Chic-era guitars, pianos and soulful vocals. The Lay-Far remix is a soft, deep and dreamy excursion. The Drum mix of "Get It Baby" recalls the early boogie synth of Patrick Cowley, while Patchwork goes for pure analogue disco and Wurli drops a killer electronic space-house joint.
Review: The Dynamics EP marks the artist debut from Caserta, a future star for sure. He tries his hand at a bit of everything over these six tracks, including the deep cowbell soulful grooves of "If It Wasn't For You", the lean sample-laden electro-house of "Dynamics" and the elegantly wasted, blissed out synthpop of "My Dreams". It's all sewn up with quirky interludes and outros too, making for an impressively cohesive release.
Review: Since ditching his bass music-inspired Chrissy Murderbot alias some time back, Smart Bar resident Christopher Shively has become a man in demand. Following a string of hot deep house productions for Classic, Freerange and Chi-Steez, he pops up on Razor 'N' Tape with a quartet of killer re-edits. He begins with the bassline-driven disco-funk stomp of "Discoglide", before applying his magic touch to Ragtyme's forgotten 1987 hip-house jam, "Fix It Man", in the process toughening up the original's classic Chicagoan groove. Shively successfully dips the tempo to deliver a dubbed-out, extra-gritty interpretation of Double Exposure classic "Everyman" (here re-titled "Every Person"), before reaching for the horns on the righteous disco stomp that is "Standing Passengers".
Review: On the releases he's offered up to date, Cody Currie has barely put a foot wrong, delivering a swathe of top-notch tracks that effortlessly join the dots between dusty, soul-flecked U.S deep house and hip-hop style sample-based beat jams. This time round he's on a more disco and boogie-centric tip, though his trademark production style remains. We get the rolling, sun-kissed warmth and gentle filter tweaks of wide-eyed disco house shuffler "Movin' Smoke", the slack-tuned jazz snares, swirling chords and bubbly synth samples of "Infinity I & II" and the string-drenched orchestral disco-house glee of "Magic City". Our pick of a very strong bunch is "Make Love", where Currie's ability to manipulate samples within a bumping deep house framework once again comes to the fore.
Review: Munich-based twosome Coeo are probably best known for their various house excursions on Toy Tonics and Let's Play House. This time out, they're in a more disco-minded mood, delivering a killer re-interpretation of Escort's 2006 classic "Starlight" for Brooklyn scalpel specialists Razor 'N' Tape. Wisely, they tease out the Brooklyn band's killer groove - think Chic style guitar riffs and Konk drums - for two minutes before introducing the track's famous synth lines. By the time the vocals kick in, you'll be in full on "reaching for the lasers" mode. While the original didn't necessarily need messing with, the duo's edit turns it into an even bigger anthem. Hold tight!
Review: Since the Disco Volante EP first appeared on wax a couple of years back, COEO has gone on to release a trio of sought-after EPs on Toy Tonics. Despite its' vintage, the five-tracker remains one of the Munich duo's strongest releases and sees them blend samples from classic recordings with their own drums and musical flourishes. Check first the breezy Afro-beat-goes-disco cheeriness of "Nigerian Affair", before whacking on the wonderfully rich keys and organic deep house bump of "Pajama Stomp", and the riotous, high-octane disco-house loop-funk of "Long Night Ahead". Best of all, though, is opener "Like It Is", a sweet, dewy-eyed, string-drenched soul revision that achieves the perfect balance between dancefloor grunt, and paying due reverence to the German pair's horn-heavy source material.
Review: Back In The Day marks the second appearance from Local Talk regulars Dirtytwo on J Kriv and Aaron Dae's Razor 'N' Tape imprint. Like their last outing, Back In The Day sees them offering up an impressive blend of bumpin' house and filter-heavy re-edits with a heavy emphasis on party starting. While the murky, basement-bothering title track, and Daniel Leeseman's baggier, disco-house rework, are impressive, it's the EP's other two tracks that are really floating our boat. Check, in particular, the string-laden, bass-heavy sleaze of "Last Night", which boasts a spine-tingling breakdown and some decidedly sweaty female vocals. That said, the slower "Estrelar" - a chopped-up, looped, filter-fiddling rework of the Marcos Valle track of the same name - is also rather fine.
Review: Having first dropped on fluorescent yellow vinyl back in November, Dirtytwo's baggy, string-laden Razor 'N' Tape debut, "The Remedy", finally makes it to digital download. The original - a tactile US garage-influenced deep house take on Diana Ross's disco classic "Love Hangover" - is joined by a quartet of similarly classic-sounding remixes. DirtyTwo throw in a few more original disco elements on their TwoDirty Remix (which, incidentally, also comes in instrumental form), Caserta drops some piano house riffs and booming garage bass on his rework, while Grey Area go all Balearic on their deliciously saucer-eyed version. Finally, Duu Ben sprints back towards the disco on his chunky, percussive interpretation.
Review: Long-standing French funk veteran Vas delivers another deep disco dispatch... "Wizard Funk" lives up to its name with a ballsy, almost dubby stomp and a bassline so juicy it could grow flowers in the desert. "Cream" dims the lights, dips the tempo and slowly strips off every musical garment to reveal a slinky, naked bassline. "The Moment" is subverted repurpose of Inner Life's Salsoul standard "Moment Of My Life" where the groove and backing vocals hog the spotlight. Ending on a sweet, skanky high, Vas brings this show to an end with a beautiful rework of Keith Hudson & Family Man's "I'm Alright". Sporting a new coat of drums and a tripped out synth lines, it's an instant soul soother... And a great way to end an awesomely broad EP.
Review: Much has changed for Eli Escobar in the three years that have passed since this edits EP first appeared on wax. In that time, he's released umpteen albums of original music and found himself an in-demand DJ and remixer. Naturally, the four edits showcased on this Razor 'N' Tape outing have undoubtedly stood the test of time. Check first killer opener "Bullfight of Love", a percussive and occasionally foreboding revision of a Chaz Jankel classic jam rich in elastic slap-bass, punchy horns and eyes-closed guitar solos, before turning your attention to the bongo breaks, dub effects and heavy disco-funk bottom end of "Everybody". Elsewhere, "The Music" is a Clavinet-sporting disco-funk bounce-along and "Seven Eleven" is a breezier chunk of glassy-eyed disco sleaze.
Review: Cosmic-minded Brazilians get busy with Razor N Tape with an artistically presented eight track collection of native edits and originals. Charming from the off-beat funk of "7 8 E 1", we're soon hammered by the steady stamps of "Botoque", massaged by the come-to-bed soul of "Formula 1" and whipped into a shamanistic frenzy by the percussion-fuelled "E Um Barato". Complete with a cheeky little 7" brother - that features the acid slapping Latin club smasher "Margarida" and the ghetto-busting funk of "Blaus" - these are the type of packages RSD was invented for. Party time.
Review: With Daniel leseman and Hans Peeman riding high on the success of their recent With Lasers EP on Heist, Razor 'N' Tape has decided to deliver a digital version of lasr year's previously vinyl-only Whiskey Ginger EP. There's much to admire throughout, from the classic disco walking bass, lolloping drums and swish, boogie style synth flourishes of "Whiskey Ginger", to the delightfully fuzzy, P-funk flavoured synth jam, "New Canvas". Elsewhere, "Camille 2000" is an exquisite trip into deep house/boogie fusion, while "Aldo Raine" is as warm, dusty and dancefloor friendly as any organic deep house cut you'll hear this year.
Review: Golden Dawn Arkestra, an Austin, Texas-based collective led by Ethiopian-American Zapot Mgwana, come to Razor-N-Tape touting a couple of tracks taken from their 2018 long-player of the same name, complete with a bunch of new remixes. In their original form, both 'Children Of The Sun' and 'Cosmic Dancer' are authentic-sounding homages to 70s Afro-funk, with the latter adding a little Theremin-fuelled lounge-y flavour. Austin Ato's remix takes the title track into deep, dreamy house territory, while JKriv and Dicky Trisco rework 'Cosmic Dancer' into a psychedelic nu-disco jam ? la The Phenomenal Handclap Band and a midtempo disco-Balearic roller respectively.
Review: A belated but welcome return for Brooklyn's Razor 'N' Tape crew. This time round, though, they're not cutting-up classic boogie tunes in a Tiger & Woods-ish disco-house style. Instead, they offer up three woozy, all-enveloping deep house cuts from The Groovers. "Here's To You Mr Robinson" laces a classic jazz vocal over a smooth-as-silk deep house groove, while "Make Me Feel" turns a delicious jazz-funk jam into a deep, soulful treat - all twinkling Rhodes, edible horns and sweeping strings. "Where You Belong", on the other hand, goes further into slow dance territory, lacing fluid funk guitars, sensual pianos and a delightful vocal over a deep rare funk groove.
Review: First released on wax almost three years ago, Hade's first edits EP for Razor 'N' Tape has finally made it to digital download. This is undoubtedly a great thing, because it's arguably one of the Brooklyn imprint's strongest collections of cuts to date (and that's saying something). He opens via the sweaty, occasionally dubbed-out disco-funk goodness of "Say What You Wanna Say", whose combination of killer grooves and slowly building heaviness guarantees good times. He flips the script entirely on "Jeep Cherokee XJ", crafting a killer hip-hop jam out of dusty jazz samples and boom-bap beats, before dancing his way through an early slab of harmonica-laden disco-rap ("My Thang"). To round things off, Hade once more joins the dots between hip-hop and jazz on hazy closing cut "Range Rover HSE".
Review: The kind of names and quality of releases that Brooklyn's Razor N Tape has supported puts them in the disco premier league. Here they enlist Jkriv to provide us with dancing fodder that isn't throwaway stuff. First is his rework of "Bukom Mashie" by Oscar Sulley & The Uhuru Dance Band. The latter, his "King Mashie edit", is a raucous slice of bassy and brassy percussive Afrobeat. Elsewhere an O'Jays classic gets stretched out into eight minutes of slow bump bliss on "The Queen On Her Throne" and resurfaces in a deliciously spare dub called "The Queens Beats". Top notch!
Review: Brooklyn's Razor-N-Tape reach out to the Lowlands and coax Hans Peeman into donning his Junktion alias for a new four-track EP on their Razor-N-Tape Reserve label. Living up to it's dignified and reserved billing, this release on the offshoot finds the Nijmegen-based Peeman laying down some luscious, colourful disco vibes that will brighten up any sun laden afternoon on the terrace. Title track "Hot & Bothered" sets the tone with a summery vibe underpinned by some bumping drums, whilst "I'm wishin'" glides with a subtle house bump and some wonderful vocal touches. "Fling Cleaning" sees Peeman veer off into disco chug territory, whilst "Visions of You" ends the EP on a soulful note.
Review: Razor 'N' Tape has been slowly expanding its' outlook in recent years, focusing on original productions just as much as re-edits. Here, they've pulled off something of a coup by snapping up two fresh cuts from Dutch heavyweights Kraak & Smaak. There's the clipped Chic guitars, jaunty analogue bass, undulating Syclops lead lines and gravelly soul vocals of "Way Back Home", and the filter-heavy disco-house throb of "Seb's Party". The package also includes two tasty re-rubs apiece from Ben Sun and Tiger & Woods. Sun offers up a smooth, nu-disco/deep house fusion, followed by a chunkier, classic house sounding affair, while Tiger & Woods offer two superb variants on the same throbbing, electrofunk-meets-Balearic piano house template.
Review: Given that this two-tracker is one of Razor-N-Tape's strongest releases to date, it's good to see it coming out digitally at long last, some 6 months on from its initial vinyl release. Lovebirds man Sebastian Doring takes time out from crafting luscious deep house to deliver a pair of similarly warm and sensual re-edits. "Free (Lovebirds Beautiful Rework)" kicks things off, delivering a wonderfully tactile and breezy blend of Balearic sunshine, reggae-disco rhythms and just the right amount of deep house swagger. "Downandchooback (Lovebirds Edit)" is a more traditional affair, with Doring cutting up a familiar disco favourite, extending the groove in all the right places whilst giving the original vocal pride of place in the nix.
Review: Razor-N-Tape presents "Icarus", a slice of chilled out analogue soul by Lovebirds aka Sebastian Doering with remixes. The original is a deep soul jam reminiscent of Roy Ayers' Ramp project, while the Tall Black Guy's remix gets more of an R&B swagger on in style. We particularly enjoyed JKriv's lush little boogie down rendition, which really hit that sweet spot in all its neon lit glory. Each mix gets its own side in this EP, with stunning full color artwork, making it a truly special package perfect for both
Review: After some brilliant appearance on Dirt Crew,Quartet Series & Quintessentials, Manchester-based DJ and producer Loz Goddard is back on a solo flex with the Drunken Monk EP for the Reserve sublabel from NYC edit crew Razor N Tape. Four tracks deep, this EP has that slinky, glossy feel to it that sounds just right on Razor N Tape, with the Love Unlimited Orchestra does disco house shuffle of "Lovin'". Then "Moovish" sees young Loz veer off into heavily filtered house territory, throwing in what sounds like some nifty RAMP sampling while he's at it. The appropriately-titled "Something Special" rounds out the P in fine style with a bit of a French Touch.
Review: When this split EP from rising talents Luvless and Martin Hayes first dropped on rose-red wax last autumn, it picked up support from a wide range of DJs (Maxxi Soundsystem, Daz-I-Kue, OOFT and Doc Martin included). It's easy to see why. Luvless's shuffling, sample-heavy blends of dewy-eyed deep house and sugary disco fit into a range of sets, while the familiar samples ("Just the Two of Us" gets filtered to oblivion on the chugging "Castles in the Sky") guarantees a flicker of recognition from difficult dancefloors. The real stand-out moment, though, comes from Martin Hayes, whose delicious "Bobby's Theme" gets just the right balance between disco-funk reverence and sinewy, deep house sensuality.
Review: From Germany with love: dynamic duo M.Ono and Luvless return to RNT with five more funk odysseys. M.One takes the lead; "Just Like Magic" is all about the big string swings and urgent soulful snippets while "Eins A Legge" jitters to a more persistent filtered groove. Deeper into the trip Luvless sends us into untold euphoric states on "Rising Youth", he takes us deep down the sleazy beat rabbit hole on "File Save As" and wraps up the package with the vibrant elastic synth strikes on "Stretchin'". What a way to kick off 2018.
Review: Brooklyn label Razor-N-Tape get in on the Record Store Day action with this special edition of Beatin Tha Breaks from Nashville-based Magic In Threes. It's the remixes that come first, with Dutch artist Fouk going into similar house territory to Kenny Dope with plenty of live instrumental touches blessing the bristling percussion. It's a totally different vibe on the Freddie Joachem remix, with the Californian opting for some midtempo funk breaks that stay closer to the sound of Magic In Threes' original version. This closes out the RSD release on the B-side and is an easy-breezy affair dripping with soulful guitars and harmonies.
Review: Mixmag recently named Razor-N-Tape as one of the most influential disco labels of the last decade. Certainly, there are few edit imprints whose releases are quite as consistently good. Predictably, this four-tracker from Leipzig's Martin Hayes is another doozy. Check, for example, the righteous slap bass, punchy horn lines, eyes-closed guitar solos and layered drum hits of boogie-era disco roller "Get on Down" and the densely percussive disco-funk brilliance of "Tight Spot", where fittingly razor-sharp guitar riffs and woozy synthesizer lines help push the action forwards. Also worth a listen is EP closer "Ol' Funky Music", a pleasingly laidback and groovy affair with plenty of neat instrumental flourishes to accompany the hip-hop style breakbeats.
Review: Michael The Lion pops up on the ever-reliable Razor N Tape imprint following high quality outings on Soul Clap and Giant Cuts. This time round, he's following the Kon blueprint of blending edit style rearrangement with the heavyweight swing of house production. He begins with the soulful disco-house throb of "Anytime" - all extended percussion breaks, piano-heavy sweetness and life-affirming vocals - before charging off on a cheeky Italo-disco direction with "The Don". "Get More" is a killer, high octane re-cut of Lorraine Johnson's obscure cover of Teddy Pendergass favourite "The More I Get, The More I Want", while closer "909s and Herb" - a co-production with Sammy Bananas - blends elements from Herb Alpert disco classic "Rise" with all manner of brand new synths, drums and samples.
Review: Mike Misiu is no newcomer to the edits game, having previously contributed to releases on Secret Squirrel and Bastedos. Here he joins another renowned rework outfit, Brooklyn disco swingers Razor 'N' Tape, bringing with him a tight collection of floor-friendly revisions. He opens with the rising and falling disco orchestration, crunchy Clavinet lines and subtle acid tweaks of 107 BPM winner "Loose Change", before wrapping more TB-303 lines and heavy analogue bass around delay-laden boogie vocals and proto-house beats on the brilliant "All A Dream". Elsewhere, "Roll The Dice" is a gently dubbed chunk of masculine peak-time disco-funk, while "Black Magic" is an undulating, filter disco treat.
Review: The Razor 'N' Tape crew is getting progressively bold when it comes to picking their releases. Having recently tasted success with a tasty Kraak & Smaak remix package, they've decided to commission new remixes of a genuine NYC house classic: Mr V's 2005 jam "Somethin' Wit Jazz". British deep house star Jimpster steps up first, providing both a flowing, musically expansive Remix - blessed with flowing synth-work, hustling percussion and, of course, Mr V's urgent vocal - and a darker, wonkier Dub full of delay-laden drum hits. The Party Herbs expertly channel the spirit of hip-house and boogie on their snappy, synth bass-heavy reworks, while Session Victim steals the show with a fluid, flowing version full of swinging jazz breaks and jammed-out instrumentation.
Review: First out as a 12-inch only release in 2017, this three-tracker from Nebraska, AKA UK producer Alistair Gibbs, packs funked-up fun by the trunkload. 'Drill Deep' has a looping "deep within it" male vocal sample, brass fanfares, a full-phat bassline and soaring Philly strings. 'Instant Pressure' is a hazy, lazy affair that centres around a muffled, throbbing bassline and chunks of the vocal from Jhelisa Anderson's 'Friendly Pressure' (albeit without the "bada-bada-ba" bit), and finally 'Keep On Keepin' On' is a sumptuous midtempo disco-funker that could've beamed straight in from 1975, complete with full female vocal about suffering in the ghetto.
Review: The vibes here are strictly West Coast. Innertubes is a ten-track collection of hazy warm pool parties, music with a vintage Instagram filter applied. Highlights include the gentle chipmunk funk of "Power Questing" and the rolling 70s keyboard joint "Penwick Pool". There are also five bonus remixes included for those craving more housed-up beats.
Review: Who can deny anything Roy Ayers, really? Japanese pianist and electronic music producer Kan Sano reworks the American soul, funk and jazz legend's infamous hit "Everybody Loves The Sunshine". He breaks down the sugar-dusted original into something freeform, downtempo and acid jazz leaning, while on the virtual flip, "Music Overflow", sounds exactly like a production you would make after being inspired by sunshine, soul, Roy Ayers and a room full of drum machines and synthesisers.
Review: First released on vinyl two years ago, Henry Maldonado's Razor 'N' Tape Reserve outing as Son of Sound is finally available on digital download. It's worth a listen, for sure, not least for the mind-altering electronic bass, locked-in drums, mazy synth melodies and hazy vocal samples of quirky (but superb) opener "Your Voodoo's Broken". Naturally there's plenty to admire elsewhere across the four-track excursion, from the spacey peak-time bustle of "No Bullets Left", to the slipped disco house bliss of "What Do You Feel", via the spiraling electronics, early Chicago house style bass and pumping beats of "Nude Jerzee".
Review: Almost three years have passed since Philadelphia duo Superprince debuted on Razor 'N' Tape with a vinyl-only EP of rather good re-edits. Here that four-tracker finally makes it to digital download. It's worth picking up, if only for the flute-laden, horn-heavy bounciness of down-low disco-funk rework "Strong Feeling" (a fine revision of Morning, Noon & Night's "Feelin' Strong"). The highlights down end there, either, with "Down On Bitter End" providing a chunky, peak-time-ready revision of a Vicki Sue Robinson disco anthem, "Start Again" offering a breezy new spin on a lesser celebrated One Way cut and "Up Up To The Sky" turning Silver Convention's "Fly Robin Fly" into a hypnotic chunk of mid-tempo disco hedonism.
Review: Razor N Tape has been predictably coy about the identity of new signing Tom of Brooklyn. Whoever the New York man of mystery is, he's certainly capable of crafting hot-to-trot edits that pay due reverence to their obscure source material. There's much to admire on this fine debut EP, from the chopped-up, late night hustle of the delightfully percussive "Disco Maniac", to the loopy disco-funk swing of "Dreamin' Again". Elsewhere, the Big Apple scalpel fiend makes merry on the low-slung, delay-laden disco drum workout "Heavy Dense", and pays tribute to sweltering temperatures and long, lazy days on the shuffling standout "Summerjam". Superb stuff, all told.
Review: It was back in 2016 when Razor 'N' Tape persuaded heavyweight re-editor Leonard Part Six - the man behind the brilliant Underdog Edits series - to release an EP of reworks with them. Now, that previously vinyl-only four-tracker has finally made it to digital download. The EP's standout moment remains the deliciously epic "Drum Jawn", a formidably percussive, 12-minute epic that incorporates elements from a number of tracks (some you know and some you won't) and just grows in intensity throughout. Elsewhere, he serves up some soaring soulful disco ("Love is Da Need"), cuts-up and rearranges a disco-funk era jazz-funk jam ("So Damn Good"), and has his wicked way with a stone cold disco classic on celebratory closer "Just Fakin' It".
Review: Here, Aaron Dae and JKriv gather together some highlights from the first three years of their popular re-edit imprint, Razor 'N' Tape. Given the label's infamously high hit rate, it's little surprise to find that Disco Cuts Volume 1 is full of tried-and-tested dancefloor smashers - the kind of dub-flecked, handily compressed jams that work wonders in both disco and house sets. Highlights are naturally plentiful, from the dubby pulse of Deep&Disco's ace Chic rework "Feel The Rhythm", and the cheery '80s soul revivalism of Ron Basejam's gospel boogie cut "Someday", to the undulating grooves of Luvless' "Castles In The Sky" (you can guess the identity of the original source material) and head-nodding pulse of Only Children's chugging "Falling".
Review: Back in the 80s, re-edit heroes Razormaid literally cut and spliced tapes of popular tunes into new shapes and sounds. Thirty years on and although the formats have changed the philosophy remains the same. Aaron Dae and JKriv's label Razor 'N' Tape specialises in chopped up disco but here they looked to house instead. There are ten wondrous jams on this album, our favourites including the smooth Balearic work out "Free" (Loverbirds' clever Donald Fagen rework), the skippy afterhours garage of "Music Overflow" and the cool and deep "Dynamics".
Review: Since launching back in 2012, Brooklyn imprint Razor-N-Tape has been responsible for releasing some of the finest reworks the re-edit scene has to offer. For proof, check out this second trawl through the label's rapidly expanding back catalogue. There's nary a duffer in sight, with highlights including the mid-tempo, eyes-closed disco brilliance of Michael The Lion's "Any Time", the swirling deep house/disco fusion of Junktion's "I'm Wishing" and the tactile boogie throb of Deep&Disco's sought-after "So Tight" (the best Thelma Houston rework we've ever heard), to the spiraling saxophones of Tom of Brooklyn's tasty "Summer Jam" and COEO's wonderfully evocative and slightly beefed-up Escort rework, "Light Star".
Review: Although famed for delivering killer cuts of vintage disco and boogie jams, Razor-N-Tape has released plenty of life-affirming house jams, too. As if to prove the point, JKriv and Aaron Dae's Brooklyn-based imprint has decided to release a second selection of back catalogue house highlights. Highlights come thick and fast throughout, from the bluesy bounce of JKriv and Free Magic's "Eunice" and the classic deep house warmth of Jimpster's killer remix of Mr V's "Something Wit Jazz", to the fizzing synth riffs and life-affirming percussive shuffle of "Stretchin" by Luvless and the groovy, jammed-out musical headiness of Lay-Far's tidy remix of "Just One" by Body Music. Also worth plenty of peak-time plays is Chrissy's chunky revision of Ragtyme's rap-laced 1987 Chicago jam "Fix It Man".
Review: For their latest trick, Razor-N-Tape chiefs J Kriv and Aaron Dae have decided to take a trawl through the horizontally inclined parts of the label's bulging back catalogue. "Chill Cuts Volume 2", then, is packed to the rafters with blazed and blunted beats, from the woozy hip-hop deepness of Tall Black Guy's head-nodding rework of Lovebirds' "Icarus" and the bluesy, turn-of-the-millennium downtempo beats of J Kriv and Free Magic's "Eleanora", to the Moon B style slow P-funk revivalism of Kan Sano's "Music Overflow" and the Rhodes and Moog-laced sumptuousness of "Penwick Pool" by POOLS. If it's warm, toasty and laidback dancefloor disco you're after, The Groovers "Make Me Feel" is also well worth a check.