Review: Kerri Chandler continues to mine the untapped depths of his musical vaults and here serves up a third dose of previously unreleased gems. Chandler first offers up 'Let It (Give Me Back My Love)', a typically joyful, hip-swinging and effortlessly groovy chunk of vocal deep house featuring Abbie Lee, before reaching for fluid piano motifs, super-soulful male vocals (possibly his own) and Kenny Dope style broken house beats on 'Another Dawn'. 'The Bassline (Kerri's Dark Mix)' is a moody, percussive and infectious slab of early morning house, while 'The Breeze (Original Mix)' is a drum machine driven box jam that deftly showcases Chandler's immense skill as a beat programmer.
Review: St Petersburg's own disco don Sunner Soul returns with three more predictably high-calibre slices of contemporary disco. The EP opens with the sumptuous, lounge-y and aptly titled 'Late Night Vibes' with its dreamy female vocal, chorus'd "oohs" and lavish strings. 'Right Place' then joins the dots between deep house, filter disco and 80s boogie in a most pleasing fashion, before finally we come to the slightly housier 'Something Good' with its rich, warm bassline and sampled chunks of interview dialogue with the mighty Tupac. What the EP doesn't have, you might argue, is any obvious peaktime calls to the dancefloor, but that's a good thing... this is for the headz!
Review: In the vibrant world of disco revival, Fool's Paradise stands as a beacon, resurrecting the electrifying spirit of New York's dance floors with a modern twist. Their latest offering, "Do It To The Music" by Raw Silk, reimagined by UK producer Michael Gray, is a perfect example of this ethos. Here, Michael Gray understands the magic of the 1982 original. He doesn't attempt to erase its essence, but rather polishes it with his signature production magic. The iconic vocals remain, floating effortlessly over a foundation of soulful grooves and shimmering synths. The tempo gets a respectful nudge, propelling the energy without losing the original's laid-back charm. His rework serves as a genuine tribute to the original, infused with his distinctive style characterized by flair and a groove-laden, funk-inspired resonance. Whether you're looking for a nostalgic throwback or a fresh take on a classic, "Do It To The Music" (Michael Gray Remix) delivers.
Review: Glitterbox knows how to throw a party, and "Glitterbox Archives Vol 4" proves it once again. This EP collects four previously unreleased, dancefloor-tested gems, each offering a unique flavour of the label's signature sound. Kicking off with a bang is The Shapeshifters' "Try My Love (On For Size) (The Rub Dub)". This extended version of the already infectious disco anthem dives deeper into its groove, layering dubby effects and pulsating basslines that will have you moving right away. Next up, Michael Gray and Kelli Sae's "You're Gonna Make Me Dub Somebody Else" takes things down a notch. The "dub" moniker lives up to its name, stripping away some of the original's funk elements and emphasizing the hypnotic rhythm section. Kelli Sae's sultry vocals remain captivating, while the dub treatment creates a more introspective and atmospheric aura. Art Of Tones & Inaya Day's "Give My Love (Piano Dub)" is a revelation. This stripped-down version showcases the song's beautiful piano melody and Inaya Day's powerful vocals in a whole new light. Rounding out the EP is Qwestlife's "Hit It Off (Babert Remix)". Italian house maestro Babert injects his signature energy into the track, transforming it into a driving house anthem. Teni Tinks' vocals are chopped and looped, adding a playful touch to the infectious groove. This one is sure to get the crowd moving and leave them wanting more. A sparkly feast for disco devotees!
Review: While he never went away, it would be fair to say that DJ Sneak has enjoyed something of a career revival of late. This EP for Phonogramme follows strong recent outings for Heist Recordings, Hard Times and Toy Tonics. He begins in pleasingly bouncy and percussive mode on 'Let It Go', where warming stabs and hushed melodic motifs rise above a Kenny Dope style bumpin' house beat and deep, rich bass, before opting for a wonky, mind-mangling sound on title track 'Galactic Funk'. The Chicago veteran then gives it to us 'Soft & Ruff' - think rolling, locked-in grooves and slowly evolving melodic loops - while closing cut 'Crashin' Out' is a suitably sub-heavy slab of deep loop-house headiness.
Review: Natasha Diggs gives a fresh spin to Blaze's soulful house classic "Breathe" on Slip 'N' Slide. Known for her passion for funk and rare grooves, Diggs infuses her NYC-inspired style into the remix, breathing new life into the track while paying homage to the golden era of music. Her remix of "Breathe" highlights her exceptional taste and talent, seamlessly blending the original's saxophone and trumpet sounds with her own smooth grooves and captivating synthwork.
Review: Glitterbox Recordings strikes gold again with "Power of One," a powerhouse collaboration between Chicago house legend Kelly G. and the unmistakable vocals of Candi Staton. This release marks a meeting of titans, blending Kelly G.'s infectious productions with Staton's legendary gospel-soul voice. "Power of One" departs from the usual high-octane energy of Glitterbox releases. Instead, it simmers with a slow-burning funk groove, allowing space for Staton's vocals to take center stage. Kelly G.'s masterful production underpins the track, with infectious basslines and tasteful keyboard flourishes creating a perfect bed for Staton's soulful delivery.
Review: Jamie xx and Honey Dijon team up for a floor-filling heater on "Baddy On The Floor," coming hot on the heels of a string of Jamie xx releases over the past few years, including "idontknow," "Let's Do It Again," and most recently, "It's So Good" in January. The track is a disco house fusion, pulsing with a classic energy. Jamie xx expertly weaves a sample of Keni Burke's "Let Somebody Love You" into the production, creating a sense of nostalgic familiarity. Honey Dijon adds their signature touch, infusing the polished sound with a hint of underground club magic. 2024 summer banger!
Review: Nick Curly showcases his mastery of the underground house scene with the "Come Right Back" EP, released through Cécille Records! Hailing from Mannheim, Germany, Curly's influence spans two decades, with his imprint 8bit shaping the city's distinct sound. "Come Right Back" kicks off the EP with Curly's trademark swinging drum groove, fused with a filtered disco loop and choppy stabs, crafting a dance floor-focused workout. On "Arkum", Curly delves into deeper, darker realms, blending organic percussion and gritty bass stabs with tension-building strings and spoken word vocal chops, resulting in a loop-driven, subtly unfurling peak-time tool with its subtle intricacies.
I'm Your Baby Tonight (instrumental mix) - (5:56) 120 BPM
Review: "I'm Your Baby Tonight" isn't just a rehash of the past; it's a full-on nu-disco makeover. Mint Disco takes the well-loved melody and injects it with a shot of modern energy, creating a fresh dancefloor banger. The result is a captivating mix of the familiar and the new, a delightful balance of warm nostalgia and innovative spirit. This track goes beyond being a song; it's a sonic journey that warps time. Mint Disco's production magic breathes new life into the iconic tune, transporting listeners to a space where past and present blend seamlessly. The experience feels completely new yet undeniably connected to the original's charm.
Review: The legendary Kerri Chandler and his Kaoz Theory label (ode to that priceless 1998 album) turns in a remix and dub package of Antonio Deep Scarano & Toshi's "Kuyo (In Everything)". For the uninitiated ADS is an Italian house music industry man known for his collaborative streak - hooking up with vocalist Toshi for a second time here. With the Kerri Chandler touch, the duo's infectious single gets a full remix treatment that across the board draws upon the purest of house sentiments, meant for warm and worldly times, taking in '90s new age and piano house with percussion, drum machines and basslines to boot. Chandler of course goes large but not OTT in his vocal and dub mixes, next to a pumping warehouse version by Antony Reale, Pietro Nicosia's clubby tribalisms and Salvatore Oppio's barqoue remake too!
Review: Wallace's first outing on Rhythm Section International was genuinely brilliant, so hopes are naturally high for the rising star's sequel. Check first deep, dubby and driving title track 'Papertrip', where echoing, dub techno style motifs, restless piano riffs and infectious hand percussion hits rise above a kick-drum-driven beat and a jazzy bassline, before admiring the ragga vocal-sampling speed garage revivalism of 'BB' (note the nods to mid-90s MK and a genuinely weighty bassline). 'The Function' joins the dots between skippy US garage rhythms and ultra-deep, dubbed-out house, while 'Backwaters' adds sunrise-ready sounds and psychedelic electronics to another deep, skippy and sub-heavy house groove.
Review: D'EAUPE, the forward-thinking record label spearheaded by electronic music duo Shermanology, unveils a stacked remix package for their previous Roots EP. Featuring a impressive lineup of artists, each naturally brings a twist of style to the original numbers. Rene Amesz leads the charge with his pumping remix of "Jabula", blending Verseless & King Her's vocals with some heaving beats. Hector Couto pulls out the filter sweep in his remix of "Touch" while SYREETA's dubbed-out breakage of "Jabula" offers a fresh perspective with a flow of dynamic house rhythms and heavy bass weight undertow. WZA's club mix of "Hijos De La Noche" turns the saw waves and garage vibes up to 10 leaving Chico Rose's reimagining of "Coco Loco" to hold down a super solid and techy groove. Sherminated.
Review: Fresh from outings on 8Bit and Dirtybird, Audiojack return to the label they established way back in 2010, Gruuv. In keeping with the Yorkshire-raised duo's outings on the imprint, it's a tightly focused and club ready two-tracker. First up is 'Somebody', a rumbling, body-moving slab of 1997 speed garage revivalism - all Armand Van Helden 'dark garage' bass, dark synth strings, echoing vocal snippets and chunky house drums - which sounds like a genuine peak-time anthem in the making. They continue the "arms aloft" vibes on the similarly large title track, 'Release Yourself', which mixes vintage UK garage influences with nods to contemporaneous big room NYC house sounds.
Review: Sasha's latest single Fleuron Drift marks yet another milestone in the electronic maestro's illustrious career. Collaborating with Theo Kottis and Kassian for remixes on his own label (Last Night On Earth ), Sasha continues to redefine the boundaries of sonic intrepidation. The original track is a deeper journey, meticulously crafted with evolving synth layers and hypnotic drum patterns that culminate in a euphoric breakdown. Theo Kottis injects his remix with dynamic energy, featuring tech-leaning drums and glitchy textures for peak dance floor moments. Kassian's rendition then offers a quicker pace, blending funk-infused drums with soaring synth tension, promising to transport listeners yet more electronic bliss fit for a final night on this world. Drift away.
Review: Two Chi-town veterans scene join forces with predictably fine results that are served up in three quite different mixes. In its Original form, 'Body Jerkin' is a disco-house paean to the delights of the dancefloor with a full vocal from Everett, live-sounding hand percussion and naggingly familiar disco strings. The Chicago Mix kicks much harder from the off with rock-solid 4/4s, but almost immediately takes a far jazzier turn with meandering, wigged-out keys, Everett getting his scat on and horns joining the party around the three-minute mark. And then there's the Disco Mix, which opts for a more 70s-ish sound palette but takes a looping, cut-up approach. All three are eminently playable but the Chicago Mix is the one for the proverbial 'heads'.
Review: Back in the late 1990s, German producers Jorge Henze and Jerome Isma-Ae released a string of now sought-after 12-inch singles as ACME. 'Soul of Life', from 1998, is one of their most in-demand EPs - hence this belated digital reissue. What makes the three-track collection so unique is its incorporation of speed garage (as it was then called) elements alongside contemporaneous house and tech-house sounds. This hybrid sound is best exemplified by the skipping, dubby and glassy-eyed 'Soul of Life I', though the more melodious, deep house influenced 'Soul of Life II' - all saucer-eyed pads, tactile organ riffs and smooth grooves - is almost as impressive. 'Soul of Life III', the EP's final variation, opts for a Grant Nelson style late '90s 4/4 UK garage flex.
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