Review: Choose Conrad Subs. Choose Deep In The Jungle. Choose a lifetime of being happy-slapped by amens and tickled in the gut by long rumbling subs the size of elephants. Choose collaborations with DJ Hybrid like the swaggering "Rinse It". Choose absolutely slamming Urban Takeover-style 96 era jump-up "Rough Beats" and skank so hard you give yourself a hernia. Choose sexy vocals like the ones on "Through My Eyes". Choose the insanely brutal slammage of "Imperial Roots" and feel like you need to take a long hot shower afterwards and still feel like you're covered in engine oil. Choose this EP and double dropping every track tune fi tune. Choose bludclart jungle. It's the ravers choice...
Review: Hexa is landing on the always consistent Pick N Mix with a full-length LP for your ears. 10 tracks long, Point of Contact blends more rolling and melodic sounds with the groaning, jump-up influenced bits that we know well from both him and the label. 'Magento' features the always good Sydney and it packs fantastic drum work, with snapping snares interlocked with shakers and big kicks to propel the vocals and bass onwards. 'The Korubo Tribe' is more massive and made for the dancefloor and it's in this area that the LP excels, especially alongside tunes like 'Cosmos' and 'Point of Contact'. Wicked.
Review: German percussionist Kolja Gerstenberg makes no attempt to hide his love for the drums on this razor sharp drop for Lumberjacks In Hell, building on his previous outings on Suol and Smile For A While. The drums are sizzling hot on "Feel Yo", tastefully overdriven and embellished with some MPC-style sample juggling that should satisfy those who like their house tracks hot as Dante's inferno. "Where They're From" is no slouch either, keeping the pressure up with a liberal dose of soul poured in for good measure. The keys and live bass on "Want You" add to the feverish mood, and then "Get Over" sends things spiraling out on a Latin-spiced cosmic journey.
DJ Monk - "I Spy (Eye Nu See)" (Conrad Subs remix) - (5:09) 175 BPM
Java - "Retreat" - (4:33) 175 BPM
Opius - "Naughty Call" - (5:51) 175 BPM
Pablo G - "Ya Dun Know" - (4:50) 175 BPM
DJ QT - "Guitar Lick" (remix) - (4:59) 175 BPM
Midway - "Kill A Bwoy" - (5:25) 172 BPM
Tribe Steppaz & Dagga - "Down" - (6:26) 58 BPM
DJ Monk & Tico - "Good Body Girl" (Stevie Sp 2019 Relick) - (5:37) 175 BPM
Review: KLP Records are turning 25, a crazy achievement that puts them right up there with Metalheadz et al, and so they're celebrating with a big compilation of tunes. Nicky Blackmarket, Klips & Outlaw kick things off on remix duties for DJ Monk's Touch Me, Tease Me. It's a classic combination of artists and the end result is equally timeless, with a sense of vocal softness descending into hard percussive knocks and grating jump-up synth work. It sets the tone for the rest of the album, which features contributions from Dublic, DJ QT, DJ Vapour and a load more. Unbelievable.
Review: Shady scalpel field Lolita clearly has a vast archive of edits just waiting to be unleashed, as this bumper collection of tried-and-tested reworks follows hot on the heels from several other seemingly expansive volumes. So what you we expect this time round? It begins with a warm, drowsy and sun-kissed slab of soft focus soul ("051") and ends with a decidedly Balearic shuffler full of glistening, delay-laden guitars ("060"); in between, you'll find a mix of re-tooled classics (the piano-heavy disco stomp of "059", the slap-bass propelled brilliance of peak-time workout "056" and the party-starting goodness of "055") and rearranged obscurities (the Italo-disco/new wave throb of "057" and the deep disco bliss of "053"). From start to finish, it's an excellent collection of tasty, floor-focused revisions.
Review: There's something impressively "matter of fact" about Audaz's "Lolita" series, which offers up numbered, untitled re-edits with no information about their origin or the producer behind them (it's most likely label boss Alkalino, but that's not been confirmed). This fifth selection brings offers up another 10 slabs of dancefloor heat that ranges from sneaky revisions of well-known party anthems (see Prince re-rub "042" and the vaguely familiar 80s soul goodness of the D-Train style synth warmth that is "043"), to strong rearrangements of lesser known boogie, Italo-disco and AOR disco workouts. Highlights include the breezy disco-funk of "044", the end-of-night haziness of "046" and the snaking sax lines and Latin rhythms of "047".
Review: The way Audaz has been churning out these Lolita collections lately, you'd think "possession of an unreleased re-edit" had just been made a crime under German law! But the quality standard shows no sign of slipping, so that's hardly cause for complaint. Standouts of this fourth volume include '038', which revisits Kim And Rasa's obscure 1982 Ghanaian funk/rap jam 'Love Me For Real', '035' with its fusion of country rock guitar and sweet female disco vox, and '037', which reworks Brass Construction's 'Changin' from 1975. Dead Or Alive get the Lolita treament, too, on '032'.
Review: When operating under the V's Edits alias, re-edit maestro Valique can always be relied upon to bring the goods. It's little surprise, then, to find out that his latest collection of fresh cut-jobs - an epic affair featuring no less than 24 tracks - is packed to the rafters with high-grade fare. We don't have enough space to list all of the highlights, but we'd suggest checking out his rolling revision of Lee Dorsey's "Night People", the low-slung disco-funk heaviness of the Brass Construction rework ("Gotta Do It"), the intergalactic disco deepness of the Marvin Gaye revision ("Funky Space"), the lightly tooled-up, slowly unfurling take on Tom Browne's "Funkin For Jamaica" and the sweeping, string-laden disco brilliance of "Miracle (V's Edit)".
Review: Subwoofah are rolling things out nicely here with a joint four-tracker from Grimesy and Speaker Louis, who manage to combine riotous jungle with more considered tones to great effect. 'It Was' lands more on the side of the former except it smashes out the jump up stabs over a staggered, junglist undercarriage which injects a whole new dynamic of broken, torn energy to create a proper choon. 'What You Do' is a bit more stripped back, a bit more focused on the drum side of things and it works really well, sub-bass stabs abound in the gaps and its all just very sick. Top work you two.
Review: Audaz certainly seem keen to get these 'Lolita' re-edits out there: this third installment follows hot on the heels of Vol 2, which only landed last week! Once again there are 10 tracks to choose from, with the source material once again ranging from vintage funk, soul and disco to 80s pop and beyond. '021' is based on an unknown cover of the Timmy Thomas/Sade classic 'Why Can't We Live Together' and '022' reworks The Floaters' mellow soul classic 'Float On', while '026' (source familiar-sounding but unidentified!) has an EBM/Italo kinda feel and '025' loops up The Detroit Emeralds' 1972 funk/soul gem 'Baby Let Me Take You (In My Arms)'.
Review: Jinx has been around the block and then some in the world of jump up drum and bass, with his work appearing on a variety of labels, all of which respect his tendency to err on the side of the naughty and nasty. This EP on Calpsyo Muzak is no different, packing five heaters, including a Jaxx remix. Title track 'Dead Sound' is the highlight, with a punching percussive line that grounds the bassline in a sheer cliff face of big, bouncing beats, the perfect under-carriage for a bassline that really doesn't mess around. Truly excellent stuff that's carried out well across the rest of the EP.
Review: Five fine slices of contemporary disco make up this latest EP from Russian producer Alexandr Chebankov, better known as Sunner Soul. 'Feeling Of Spirits' is a midtempo shuffler that slowly breaks out into an intricate jazz-funk keys workout, 'Keep Strangers' is a Chic-y stomper, 'Liquid Disco' has distinctly Candido-esque overtones, 'Lay In Low (MF-SB Version' is a mellower, more lounge-y cut with muted space disco stabs and finally 'Simply Around' rocks a funkier, Blaxploitation-like vibe. With all five highly authentic-sounding and avoiding obvious samples, heavy rotation at the likes of Glitterbox and Horse Meat Disco is pretty much guaranteed.
Review: Greek producer Chris GS returns to Israel's Thunder Jam with four more slices of reworked vintage funk/disco goodness. He's dug nice and deep for this set, so the original source material remains a mystery in most cases, but in his hands 'Shake It' is a strings-drenched disco number that would've sounded right at home on the 'Saturday Night Fever' soundtrack, while 'Lady' rocks a slightly rawer funk vibe. The same goes for 'The Funk', which reworks Positive Force's 'We Got The Funk' from 1979, while finally 'About It' leans a little closer towards early 80s boogie territory.
Review: When we heard the news that Cimm had an album on the way, we could barely contain our excitement. When we then learnt it was to be featured on Sentry, our expectations tripled, and boy does Cimm deliver! The project takes the name 'Unknown Caller!!' and is a perfect embodiment of what today's deep dubstep scene represents, from the irresistible sub pressures of 'The Corner' alongside Rider Shafique to eastern-dub hybrids of 'Blue Sapphire' and lower tempo bass quakes of 'I Am Jack Travis'. The collaborations are fruitful on this one, as Cimm also invites Youngsta, Mr K, SGT Pokes, Riko Dan and Animai to take part in what is undoubtedly one of the strongest dubstep projects of the year.
Review: Audaz serve up a second set of re-edits by the mysterious Lolita. Whether label boss Alkalino or an anonymous backroom boffin are to thank we couldn't say, but whoever it is they take on an impressive range of source material, from Gene Pitney ('020') to 80s synth-poppers Alphaville ('013') via Talking Heads ('019'), Stargard ('016'), Laura Branigan ('014') and even a cover of Hank Williams' country classic 'Kaw-Liga' by new wave weirdos The Residents ('017') - all of which are given a druggy, chuggy makeover for today's nu-disco floors, with '015' (a take on 1979's 'Marathon Runner' by August Darnell and Bob Blank's Aural Exciters project) a particular standout.
Review: Ganbatte's latest affair may be all-star affair, but Fabiolous Barker rightly takes top billing thanks to delivering two takes on his latest track, "The Expert". He opens the EP with a hybrid electro/disco flavoured "Old Skool Re-Master" full of whispered vocals, crunchy guitars, throbbing synth-bass and tight horn blasts, before returning at the end with a "Funka-Masta-House" version that underpins the music with a head-nodding house style beat. In between you'll find the bouncy, Hi-NRG era Latin disco-house insanity of Dim Zach's "La Habernaro", the dreamy harmony vocals and ear-pleasing nu-disco grooves of Carlos Gatto's "Call It Love" and the alien funk masterclass that is Don Dayglow's "Gotta Say Yes", a suitably throbbing revision of an old Yello favourite.
Review: Three months after allowing DJs to rummage through the contents of his "Sample Bag", Lego Edit has decided to repeat the trick. Unzip the bag and you first find his "4am" edit of "Flash Back", a sax and flute-wielding revision of a colourful and bass-heavy funk outing underpinned by chunky house drums and tons of energetic handclaps. Reach further within the bag's velvet-lined interior and you'll come across his smooth, rolling and dancefloor take on Philadelphia Soul era classic "The Ghetto" - check the sweet jazz guitar solos, locked-in house beats and scat vocal sections - as well as the wild, loopy and insatiable heaviness of stomping Latin jazz-funk revision "Journey To The Old Town".
Review: With "Rhythm & Waves", Russian producer Sunner Soul seems to be daydreaming of sunnier and warmer times. There's certainly something suitably sun-kissed about the title track, which gently beefs up and re-arranges a bouncy, Clavinet-heavy chunk of groovy disco-funk that comes smothered in atmospheric party sounds. The tighter, slap bass-sporting "Universal Disco" explores similar sonic territory, while "Red Hot Disco" sees him layer up the percussion and filter sweeps on a joyful, mid-set workout. Elsewhere, "Let's Somebody Love" is a soaring slice up tooled-up disco-soul and "Get ready With Me" is a fine slab of string-laden boogie brilliance that sounds like it was beamed down from a distant disco planet.
Review: Under the DJ Laurel alias, Lavr Berzhanin has proved to be one of Katakana Edits' most reliable re-editors of recent times. We've lost count of the number of EPs he's delivered for the prolific imprint, but they're all rather good - as is his latest expansive effort. There's much to get the blood pumping across the six-track salvo, with our favourites including the rubbery, bouncy and glassy-eyed disco bliss of "All I've Got", the soaring, horn-heavy soundscape disco-soul shuffle of "Battend Ships" [sic], the blue-eyed soul goes drum and bass bounce of "Cookie" and the wah-wah guitar sporting two-step soul goodness of closing cut "Annie Mae". In other words, it's another rock solid collection of tried and tested reworks.
Hotmood - "Only Your Mom Calls Me Daddy" - (5:44) 120 BPM
The Owl - "Shake" - (5:39) 113 BPM
Frank Virgilio - "Out Here" - (5:01) 105 BPM
Labour Of Love - "Good Feelin'" - (9:52) 123 BPM
NFC & Key Sokur - "City Affair" - (5:52) 106 BPM
Woodhead - "Pleasure Departure" - (6:30) 104 BPM
Review: Gather round: Editorial is revealing the contents of the mythical "Disco Scrolls", a sacred document for all those who kneel at the altar of the Church of Nu-Disco. It contains eight audio commandments, all of which should be listened to intently. Salvation comes first via the fluid nu-disco positivity of Bica's "Endless Rhodes" and the disco-house grooves of the soulful and musically expansive "Because I'm Black" by Old Chap. Elsewhere, you'll find righteous testimony from Hotmood (via the deep disco-funk of "Only Your Mom Calls Me Daddy"), The Owl (the boisterous horns and filter tricks of "Shake"), Frank Virgilio (the lolloping party disco-funk of "Out Here"), Labour Of Love (the bassline-driven percussion-fest that is "Good Feelin") and NFC and Key Sokur (the rubbery and down-low disco fun of "City Affair").
Review: While he's not confirmed it either way, we're pretty sure that Lolita is a new re-edit alias of Audaz boss Alkalino - a producer who has been offering up tidy, scalpel style reworks since we were in short trousers. There's much to admire amongst the numbered, untitled tracks, from the gently housed-up soul bounce of "001" and the delightfully over-the-top disco pomposity of "003", to the throbbing disco-house cheeriness of "005", the deep house/soul fusion of "006" and the heavily percussive world music-meets-disco goodness of "009". Best of all, though, is the gritty disco-funk stomp of "008", a superb revision of a reggae disco-tinged cover of Donna Summer classic "I Feel Love".
Review: As ever with the fantastic 2TUF4U imprint, we have been gifted with a slice of UKG magnificence, with the illustrious Karl Brown Of Tuff Jam joining us for a super experimental three track piece. From start to finish, this EP really draws off a nostalgic use of dynamics, with tracks having numerous volume switch ups all the way through, beginning with the super choppy drum thumps of 'Intro Special'. Next, we surge into the Klub edit mix of 'So Good', again using crunchy grooves and organ chords to bring a classic garage vibe, before we land on the warm, fuzzy arrangement of 'Get Up'. Following this we dive into the two additions from Dub Jamz , who provides more old school tastings in high tempo drum grooves of 'Unity Theme', before rounding off the project on the chord-heavy progressions of 'I Don't Know.
Review: Some classy contemporary disco fare here from Irish producer Jones, coming to you courtesy of Israeli label Thunder Jam. 'Fluty Loops' itself opens with an intricate, extended percussive intro, before funk geetar and stabby strings usher in the meandering flute line that gives the track its title - imagine Joey Negro remixing Roy Ayers and you're somewhere in the ballpark. 'Everybody' shows the same attention to detail in the percussion department but has a more Chic-ish vibe, while completing the EP is the more sultry 'Been So Hard', which comes on like Linda Clifford given a Balearic makeover...
Review: Not many people pump out music at the rate of knots managed by a certain Mr Conrad Subs, a highly prolific producer whose styles ranges widely all over the scene, from stuttering jungle strikes to flowing liquid lusciousness. Here he's firmly sitting down in the heavy chair, wiggling his bum and getting comfortable, as he lays out across four-tracks on Ten Ton Beats in spectacular fashion. 'Fatman' is an especially potent slice, as sharp wooden drum hits permeate throughout its wobbling, swelling bassline that packs a shedload of attitude. He also teams up with Damageman on 'Finally', a powerful weapon that makes tidy use of a cool little sample to give that extra bit of oomph to an already big drop.
Review: Astonishingly, Loshmi's long-running "Serious Edits" series is now 15 volumes deep. We can happily confirm that he's not run out of steam yet with the seven-track selection featuring some suitably playable, floor-friendly revisions that are well worth your hard-earned cash. Our highlights include the gently housed-up 80s disco goodness of "Delightful", the heavy disco-funk/proto-rap fusion of "Funky Animals" - all eccentric mic flow, mazy organ lines and beefed-up disco grooves - and the languid, glassy-eyed loveliness of head-nodding warm up gem "Soul Food". There's naturally plenty to set the pulse elsewhere across the EP, too, so give all of the clips a listen if you have time.
Review: Montenegro-based groove lord Mitiki is in a celebratory mood on his latest Disco Fruit re-edit outing. He gleefully skips between the beefed-up Spanish language disco cheeriness of "Celebremas" - a rework of a cover of Kool & The Gang's "Celebrate" - and the Clavinet-happy disco-funk muscularity of K.I.D tweak "Do It Again", before charging towards disco-house dancefloors via the beefed-up sweetness of "Love Somebody Today". The pie-eyed, smiling fun continues via the delicious disco-funk party vibes of "Ohio" and closing cut "To The Top", a chunky, horn-toting revision of another sing-along disco workout.
Review: It's been a very exciting 2019 for Morlack, who continues his run of top quality releases by teaming up here with the ever-ready Funk Blasters team for the third edition of 'Cheeky Edits'. We kick off with the classy sample work and pulsating drum pressure of 'Rumba', before moving into the spaced out percussive structures of 'Momie' and latin-inspired arrangements of 'El Ray'. Next, 'Masta Rocka' arrives with a real punchy drumline, before the the almost 80's sounding compositional layout of 'Da Bird' rounds us off with a bang.
Review: Ever turn up to a slightly strange but inviting house party to find a DJ playing a list of your favourite tracks - although you have no idea where they're from? It's label like Minimatic that keep the party going for another decade. Where electro-swing goes for sped up ballroom and big band jazz, Minimatic's approach to genre reformation takes the likes of UK pop (Oasis and "Owner of A Lonely Heart"), US hip hop ,(Eminem, Michael Jackson and Lady Gaga) to slices of R&B via Ed Sheeran and dresses them up latin rhythms of baile and urban funk, adding touches of turntablism, jazzy horns and keys to lowriding grooves.
Review: Midst has handed a big release to fans of the dirty jump-up sound over on Audio Overload. From the beginning, you can tell 'Shirley' is going to be heavy and as menacing bass strabs build up into preparatory drum skits, your feelings are confirmed. A growling hurry rushes out to meet you; powerful and more than willing to shove you around. 'Toga' is the next offering, a glitchy mash of jump-up, permeated by rattling arrays of bassy synths and an ever-present sense of movement. Nice and solid, this release is a statement of intent from Midst.
Review: Mexico's Deep Sense serve up a six-track EP that shows there's more than one way to go about repurposing a classic. Rather than simply looping up chunks of the original, the edits here get a little more creative - Sauco & Manuel Costela's 'Are We Ready?', for instance, takes the vocal from Fatback's 'Bus Stop' vocal and places it over a fresh (and utterly irresistible) funk backing, while on 'Last Nite' Tony Disco uses a similar trick to reinvent an InDeep classic in altogether sultrier, jazzier form. An equally well-known chanted vocal tops the brass-tastic 'Flamingo' from Hot Mood, and there are three more very playable nuggets where those came from!
Relight Dan's Fire (With Added Loleatta) - (12:00) 123 BPM
Twenty Percent - (9:22) 120 BPM
Luv Town - (9:04) 120 BPM
Review: Multi-track maestro Pete Le Freq is back with a third selection of hot-to-trot reworks created using original vocals and instrumentation from a range of disco and boogie-era cuts. He successfully teases and filters out the Jackson Sisters on "Refreq'ed Miracle", before putting his stamp on Phreek's Patrick Adams-produced Paradise Garage anthem, "Weekend". He then delivers two storming cuts based on Dan Hartman's "Relight My Fire": an extended instrumental ("Pete's Got Vertigo") and a sing-along version with added Loleatta Holloway ("Relight Dan's Fire"). Elsewhere, he successfully tampers with a Salsoul classic ("Twenty Percent") and sticks a bouncy house beat beneath a string-laden disco classic ("Luv Town").
Review: Thunder Jam's latest EP comes from a producer yet to make his (or her) mark in music, the capital letter loving REZ. The artist has another EP due out on Hatched soon; if this debut EP is anything to go by, that will be well worth a listen. We're particularly enjoying the chugging, slow-motion disco-rock head-nod that is opener "Too Cool To Be Careless", a revision of a well-known 1980s AM radio hit that will have your dancefloors singing along when the chorus eventually drops. Elsewhere, "Believe In Magicians" re-imagines a quirky and bluesy swing number into a locked-in chunk of hip-house, while "It Was All A Dream" successfully rearranges a slap-bass sporting chunk of "juicy", 80s-inspired 1990s hip-hop/R&B.
Review: When it comes to breakbeat, there aren't many labels who are able to whole-heartidly boast of consistency to the same level that Cuttin' It Fine are working at. They here return for another super-fun project inviting Ross-Go in for some seriously funkadelic grooves, kicking off with the high energy drum slaps of 'Flava For Ya'. Next, 'Got To Get Down' arrives with a major amount of gusto, before the shuffling drums and crunchy, nostalgic vocal slices of 'Rock Y'All' slap down some real feel good vibes. Finally, we round off nicely with a look at 'Work It', a classic sounding breakbeat original.