Review: This label recently launched by DJ Spinforth (and pals) as a next step extension to his biweekly column for the Ghetto Funk blog called 'The Scour', to highlight and showcase the unsigned talent that he encounters while 'scouring' Soundcloud. The next logical step was to actually release this stuff, so here's the impressive debut compilation snappily called Scoured Cream. Originally intended to showcase just five tunes, its now boasts eight including the stop-start blues-hop of "Sun No Shine", the wobble-soul of "Hell Yeah" and some electro-swing courtesy of Hong Kong Ping Pong.
Review: There's a reason that Midnight Riot's eponymous compilations frequently charge to the top of the Juno Download charts. Put simply, they never disappoint. This ninth installment sticks to the now tried-and-tested formula - house-friendly re-edits and originals from across the disco, boogie, soul and funk spectrum - but predictably hits the spot throughout. As usual, there's a bonus mix - this time put together by globe-trotting scalpel jockey Rayko - and tracks come from both label regulars ('80s Child, Ziggy Phunk, Chewy Funk) and an impressive array of new or unheralded talents. It's in the latter category that you'll find some of the most impressive fare - see Phil Jaimes deliciously Balearic "Nowhere To Hide" and Cosmocomics' kaleidoscopic synth-funk jam "Mary Jane" - though the standard remains pleasingly high throughout.
Review: Beatnik City is one of the chief exponents of the Northern Soul sound and its crate digging culture. Here they present what they dub "BarBeat", which is a good way to describe the non-purist approach of the edits featured - perfect fodder for bars rather than big room clubs. Perfect examples of this approach include "Finti Cents" where In Da Club gets taken back into time to a shimmying Motown backing groove or the 90s-hip-hop-goes-retro-big-beat vibes of "Jurassic Jive".
Review: This impressively expansive collection from experienced remixer Valique showcases some of the best downtempo and Balearic edits from his popular V's Edits series. There's certainly plenty to get the blood pumping and the juices flowing throughout, from a chugging, ten-minute take on Pink Floyd ('Brickwall') and a pleasingly squelchy take on Daft Punk and Pharrell Williams' 'Lose Yourself To Dance' (here renamed 'Lose Your Elf'), to a chunky dub-house re-imagining of Jimmy Cliff classic 'The Harder They Come' and a loopy, hypnotic, mid-tempo disco-rock revision of T-Rex ('Jewelry'). Throw in party-hearty takes on cuts from Marvin Gaye, Michael Jackson and the Beach Boys (an odd but impactful reimagining of 'Good Vibrations') and you have a great value compilation.
Review: Tumble Audio has been providing us with seriously killer bass music for a few years now, and here they celebrate reaching their tenth release by recruiting Roadman Joel to curate a selection of the kind of seriously heavy tunes you might expect to hear at one of their many label nights. There's a whopping 18 tracks on here covering a wide spectrum of British urban dance music, including Majora's ridiculously amazing tribal UKF monster "T&C's", A Motion's ghetto 2-step hybrid "Back In Your Love" and Sentiment's wobble-heavy tropical jam, "Change You".
Review: More from Faze Action member Robin Lee's offshoot Andromeda Orchestra project, whose throbbing and forthright releases have previously joined the dots between revivalist disco and the synthesizer-driven world of Italo-disco. In its original form (track three), "Don't Stop" is an authentically produced riff on the K.I.D track of the same name rich in swooping, razor-sharp strings, Clavinet-happy disco grooves and glassy-eyed female vocals. It comes accompanied by a stellar peak-time remix from Lee's old pal Ray Mang - all layered drum fills, swirling noises and jangling piano riffs - and a spacey, beat-free ambient "Reprise". Bonus cut "Kano Line Dance", a funky mid-tempo shuffler that joins the dots between boogie, jazz-funk and P-funk, is also rather tasty.
Review: Here, Northern breakbeat producer Smoove, teams up with pal Suonho for the frenetic, Aretha-fuelled, vintage gospel showdown of "A Little Soul". Elsewhere he goes it alone for the upbeat rework of '60s classic "Summertime" and a blistering rejig of Ray Charles' "I Got A Woman".
Review: Destination 60s as Beatnik City follow up last year's breakthrough compendium "The Rio District" with an exploration of pop roots, contemporised by swinging breakbeats and premium party signatures. Instantly recognisable jams include the ill behaviour of Ree Keen's take on "Louie Louie" and the ongoing beat mischief of Fab Samperi's homage to Sonny & Cher but the slightly less obvious versions shouldn't be overlooked either... The frenetic harmonica-snapping of Leygo's "Loose Wheel" and the lounge-writhing slipper jazz of Mad Doc's "Nori's Gem". Authentic big beat business.
Review: Fresh-faced funkateer Manjah steps up to the party-hardy Katakana series, and does so with distinction. It's a game of two halves as the first two cuts are dedicated to chanteuses Smokey Robinson and Donna Hightower. Both powered by swashbuckling 60s funk riffs, these are authentic edits done with true creativity. Later on in the EP we head West to the Caribbean as Manjah gets his skank on with Dancehall Queen. Those with a penchant for Greek taverna flavours should hold tight for the rustic groove on "Orienta Patria". Nice work.
Review: Amazingly, it's 25 years since George 'E.A.S.E' Evelyn and then production partner Kevin 'Boy Wonder' Harper sat down and recorded "Dextrous", their monstrous, bleep-era classic on Warp. A quarter of a century later, Evelyn is still going strong, though the grooves have mellowed a lot in that time. Here, Warp celebrate the producer's epic career with a much-deserved retrospective. All the familiar favourites are present, from the rush-inducing thrill of early dancefloor smashers "I'm For Real" and "Aftermath", to the sinewy downtempo goodness of the decidedly Balearic "Les Nuits", the blazed hip-hop dub of "195 Llbs" and stoner soul of "70s 80s". This version also includes a number of exclusive remixes, with names like JD Twitch, Special Request, LFO, Morgan Geist and Loco Dice putting their own spin on this classic material.
Review: During the 1990s, Chez Damier and Ron Trent's Prescription Records did more than any other label to define the sound of Chicago deep house. The label's reputation is such that it's still talked about in hushed tones, with lesser-known back catalogue nuggets remaining in-demand items with DJs and record collectors. This superb, double-disc compilation from Rush Hour tells the story of the label, gathering together both much-played underground anthems (Trent and Damier's "Morning Factory" and "The Choice", the proto-boompty-via-St Germain jazz-house of Angora's "Enchantment", and so on) and sought-after selections. Thrillingly, the collection also boasts a trio of previously unreleased Ron Trent cuts, all of which are superb.
Review: Having given keen listeners a healthy preview in his Fabriclive mix last year, the artist formerly known as Stopmakingme delivers his full-length album for Erol Alkan's Phantasy Sound. It's a limber brew that channels a strong dose of analogue trickery through smart and snappy beat constructions, all bubbling, aquatic synths and troubled delays propelled by unfussy drum patterns so that the melodies can do the talking. Primarily this is a dancefloor album, moving from peppy breakbeat driven numbers to gently bumping house, but always the playful, ineffably warm synth work sets the tone, from "Naive Response"s robotic charm to "Drone Logic"s soaring grind. It's an album brimming in confidence and nailed with precision, and it's packed full of incredibly usable floor rockers to boot.
Review: Laurent Garnier hooks up with Berlin producer Chambray for his first production in a few years. The fact that it has landed on Rekids is no surprise, as Garnier has been a longtime supporter of the label. In its original form, "Feelin' Good" sees the duo lay down a dramatic piano melody that surges and swells its way over a tracky rhythm and dramatic, building filters. It's both uplifting and functional. Radio Slave delivers two remixes: the first is a tough workout designed exclusively for maximum dance floor impact, while on the second 'Revenge' remix, the Rekids boss turns "Feelin' Good" into a thing of Balearic beauty thanks to the addition of rolling break beats.
Review: It's been a while since Irish party slappers Dirty Dubster delivered a ragga package but here we find them making up for lost time with four rock steady heaters. No genre unturned, each cut reps ragga's broadest reaches: "Walk Like A Champ" swings low with a guttural dancehall feel, "Bangerz N' Goulash" tips a nod at a Diplo classic over a salubrious digidub groove while "Follow Me" shreds up on a high energy D&B flex. For most, though, the key cut will be KayPod's Marley-mashing "Could You Be Push Forward". Could this be loved? Yes siree.
Review: East Midlands producer Ant Plate (he of Rhythm Plate and YSE fame) dons his lesser-known YSE Saint Laur'ant moniker for a second outing on Whiskey Disco (his first dropped in 2012). As you'd expect from someone with a such a rich history of joining the dots between deep house and disco, the Swimwear EP delivers a quartet of breezy, positive cuts that should suit DJs in both styles. There's some smooth, soul-flecked grooves in the shape of "Never Be", a brilliantly wide-eyed slo-mo chugger ("Forever Mind", complete with classic AOR vocal samples), a thrilling exercise in low-slung disco house dirtiness ("Bozwa Locks") and an hypnotic, slowly unfurling chunk of dreamy deepness with quirky blue-eyed soul samples ("Walked in the Room").
Review: The undisputed king of reggae versions, Mato returns with his sixth series of dubbed out hip-hop covers. Far from the crass, crude mash-up culture, Mato's original instrumentation ensures a much more natural remix feel which, in some cases, sounds better than the original. Across the 10 track set we're treated a bouncy, sun-kissed take on Eve's "Gangsta Lovin", a tight skank-flexed take on The Beatnuts "Off The Books", a Vadim-style contemporary digi dub take on Nate Dogg's "Good Life" and a very authentic rendition of "Still Dre". Essential listening for both hip-hop and reggae heads.
Review: Dynamicron's Los Grandes label returns with another bumper, album-length trawl through the world of contemporary "edits-not-edits" - groovy, hypnotic dancefloor fusions that touch on disco, soul, Balearica, deep house and AOR. Across the 11 tracks, there's plenty to excite, from the dubby slo-mo shuffle of Brandon P ("Mo Lovin") and organic groovery of Heion ("Keep On Hiding"), to the classics-reinvented style of DJ Butcher (the "Wordyrappinghood" biting of "You Don't Stop") and Irregular Disco Workers' booming Balearic dub disco. Best of all, though, is "Bakerman", a cracking Laid Back rework from the talented Get Down Edits.
Review: If life teaches you anything it's to expect the unexpected. Here the mighty re-edit label Katakana deliver their 42nd instalment of scapel jobs. However, this time, rather than have a specific producer curate an EP, they've shaken up the formula and delivered a compilation of edits. There's a whopping 24 reworks to enjoy too, many thrills and spills, but our favourites include Morlack's explosive drum-lead MJ cover, "Don't Stop", Mister Vagz' corny 60s mash-up "Love Me Venus" and Dim Zach & Deem's baggy rework of the Happy Monday's sublime "Loose Fit".
Review: Despite being a staple on the Carnibal release schedules, this is the first non-compilation release for Panana Cardoon since Oye! back in 2011. Recent material included the breaky Eurodance of Bosporus Thief, but here on "Hasta La Wiggle" we get a different mix, including Latin shuffle-core ("Senor Pepe"), breaky vintage movie soundtrack funk ("Monica"), feelgood pop-reggae ("Upnaked") and even the reggaeton hip-hop hybrid "Don't Let Me Know".
Review: Liverpool based disco label Cosmic Boogie have built a strong reputation for themselves for the past few years for their brilliant 12" releases, including edits from legends such as Greg Wilson and Ashley Beedle, relative newcomers such as Leftside Wobble and productions from Mr Boogie himself. This digital release is the first label compilation, collecting all its releases thus far, previously only available on wax. Of the multitude of great tweaks on offer here, highlights include Ashley Beedle's edit of Bill Withers' "Railroad Man" replete with a weirdo 60s organ solo, Greg Wilson's edit of Strutt's euphoric "Time Moves On", and Cosmic Boogie's peak time version of War's "Youngblood", which takes the marimba and piano driven funk of the original and recuts it to powerful effect. Also be sure to check Leftside Wobble's edit of Patti Jo's "Ain't No Love Lost", with its strange hybrid of 60s Spector produced girl-group pop and Paradise Garage disco.
Review: Champion's Formula fam come correct on this expertly curated 15-track exploration into the future realms of bottom heavy music. With exclusive cuts and versions firing from all the label's most consistent contributors, it covers all relative corners creatively; from Killjoy's gameshow grime "Turnt Ones VIP" to the chiselled, sinewy two-steps of Terror Danjah & Zed Bias's "Telepathy" via the sheet metal snares on Flava D's "Break", this collection goes further than representing a forward-thinking imprint but also documents exactly where bass music is heading in the future. Grand prix business.
Review: Second time around for Hans-Peter Lindstrom's decidedly Balearic, prog rock-tinged Late Night Tales selection, which first saw the light of day back in 2007. This time round, it's been given a gloss of new paint in the form of a sparkling digital remaster. While this is all well and good, the selling point remains the Norwegian producer's excellent, left-of-centre selections. There's another chance to check his own cover of Vangelis' "Let It Happen", classic Balearica from Fearn Kinney and Carly Simon, acapella action from Todd Lundgren, freestyle ambient jazz-funk from George Duke, a slew of forgotten prog rock faves and a brilliant dub track from Oslo mates Prins Thomas and Todd Terje ("Reinbagan").
Review: There's something rather funky in the fresh Canadian air right now, and native imprint ReSoul are breathing in six lung-fulls by the second. "The Plan" is utter horn heaven as we bump and grind to a beefy swing hook that's peppered with just the right amount of hip-hop snippets. "Whole Lotta Drop", meanwhile, takes The Dynamics' wicked reggae cover of Zeppelin's "Whole Lotta Love" and drives it straight into D&B town. Skiitour's "Filthy Laundry" finishes the set with a boogified 80s rock stomp. What a package.
Review: Defected's ongoing House Masters series should be essential listening for anyone keen to discover more about the recording careers of some of the scene's most iconic producers. Certainly, this latest installment, chronicling NYC legend Todd Terry's finest moments, contains far more hits than misses. At 35 tracks deep, it's a bit of a beast, but features not only all of his best-known productions ("Weekend", "Can You Party", "I'll House You", "Bango (To The Batmobile)", his remix of Everything But The Girl's "Missing"), but also a swathe of lesser-known remixes (A slammin' version of Bizarre Inc's "I'm Gonna Get You"), Dubs (a brilliantly stripped-back version of Hardrive's "Voices Inside My House") and original productions (the hip-house era madness of Black Riot's "Warlock").
Review: Bonjour! Monty finally delivers his debut artist album and it's an absolute gem from start to finish. Featuring the many cuts he's been teasing over the last few months ('Hardware', 'Vibin' etc) the album takes a deep dive into every sound on the young Frenchman's palette. Flexing from the gnarled 140 bubbles and bumps of 'Dreamer' (with 1985 bossman Alix Perez himself) and the spacey garage vibes of 'Walking Home' to the soulful roll of 'Birdland' (with fellow Toulousian Redeyes) and the electroid night creeping title track, this is the full Monty on levels we've never seen before. Bass music across the whole menu, it's one of those rare LPs that will both slay a club and work well in any other listening scenario. Bonsoir!
Review: No introductions necessary: Suburban Base shaped and fuelled rave music as knew it. Uncle Dugs documents, celebrates and champions rave music as know it. On this quarter-century retrospective Dugs brings everyone up to speed as he moves through the 90s and, in turn, the development of hardcore into jungle and drum & bass. 50 seminal tracks deep, from Remarc's soundclash slewing "RIP" to Marvellous Cain's jungle blueprint "Hitman" via Q Bass and E Type's early explorations into synthesis on "Hardcore Will Never Die" and formative junglism from DJ Hype, our affable Uncle continues to join the dots with the past and the future with supreme levels of detail and knowledge.
Review: It would be fair to say that Studio K7 has pulled off something of a coup in getting Kenny Dixon Jr. to agree to compile and mix the latest installment in the long-running DJ Kicks series. It is, somewhat remarkably, the legendary Detroiter's first commercially available mix set. This triple-vinyl edition features a whopping 19 cuts - all in unmixed form - from the 30 track mix. Musically, it's a blazed, jazzy, soulful and groovy as you'd expect, and contains a mixture of downtempo beats, nu-jazz and hazy house cuts from the likes of Flying Lotus, Dopehead, Peter Digital Orchestra, Nightmares On Wax, Soulful Session and Lady Alma.
Review: Here's a devilishly simple but nevertheless inspired idea from Yam Who's ISM label: a 21st-centrury update of Imagination's legendary 1983 remix album Night Dubbing. While this version is nowhere near as dub-influenced as the original (which, after all, contained contributions from Larry Levan), it does contain some rather sublime new interpretations of Imagination's greatest hits. Highlights include an epic version of "Just An Illusion" from John Morales, an anthem-like version of "Flashback" from Kon, a deliciously atmospheric reinterpretation of "Music & Lights" from Sleazy McQueen and a typically deep, warm and synth-heavy re-shape of "Burning Up" from Soul Clap. Best of all, though, is J Kriv's nu jack swing-influenced remix of "Body Talk", which simply oozes the authentic feel of late '80s electro.
Review: Since launching earlier this year, Disco Tech's DiscoDat label has picked up a lot of attention within the re-edit community. Here, Disco Tech gathers together a bunch of previously unreleased reworks from some of his pals in the scene. It's a good collection, variously alternating between dubbed-out slo-mo soul (see his own "Stormy", Reflex's "Thrill Is Gone" and Andrew Clarke's excellent "Mellow Blow") and dancefloor disco (Steef's "Whole Lotta Love", B-Jam's cut-up gem "Seen It All"). He also finds space for Copycat's excellent "You'll Like It Too", a gospel-tinged soulful number that should impress all those who like their disco soulful, musical and uplifting.
Review: You have to admire Ostgut Ton's ambition. While celebrating a decade in dance music with a compilation of exclusive, previously unheard music is now standard practice amongst leading underground labels, few would have the balls to release it with such a killer tracklisting as Zehn. Across the 30 tracks (count 'em!) you get a who's who of Berghain and Panorama Bar associates delivering a quite outstanding selection of left-of-centre techno and deep European house, with Marcel Dettmann, Boris, Virginia, Steffi, DVS1, Martyn, Tobias and Ben Klock all featuring. Highlights naturally come thick and fast, from the spacey electronics, heady textures and hypnotic rhythms of Function's "DX3 Analog Bass Seq", and the rush-inducing, string-laden house warmth of Matthew Styles' remix of Dinky's "Planes", to the picturesque intelligent techno of Doms & Deykers.
Review: Tru Funk's unstoppable 'Party Breaks' series returns with a banging six-pack of funk mash-up's and breaks party pieces for the discerning DJ, including Hardly Subtle's brass-filled cut 'n' paste gem "Brand New Funk", Timothy Wisdom's '90s slacker rock-reviving "Walking On The Sun" and Tonic's excellent bass-monster "The Funky Fish".
Review: To mark the twentieth anniversary of the foundation of his label, James Ruskin has put together this massive compilation. It includes long-term friends and associates of the label - like Oliver Ho, Regis and Luke Slater - as well as newer additions to the roster, including Lakker and Rommek. Apart from uniting artists from different generations, the compilation also showcases the label's various hues; from the broken beats and intricate rhythms of Ruskin and Regis' O/V/R project and the hypnotic soundscapes of Lakker's "Orange" to the trace stabs and 10 tonne kicks of Regis' "Party Spoiler Too" and the chaotic industrial rhythms on Truss' "Wanastow", this compilation offers to newcomers an invaluable introduction to Blueprint, or to long-standing fans an indispensable reminder of why the label is unique.
Review: The long awaited, self titled debut album from Irish power duo Bicep is the perfect summation of their career to date. Matt McBriar and Andy Ferguson have created a singular and unique album, founded on the blueprint of classic house, techno, electro and Italo disco: but all the time bearing their unique signature. The duo felt that UK institution Ninja Tune was a perfect fit for them and gave them the total freedom to express themselves artistically, describing the label's broad scope that has, in turn, helped them to thrive. They display a strong technicality and a desire to experiment, but still with a melodic touch which runs throughout the entire record. It is this approach to creativity which has allowed Bicep to establish a unique position in the industry, in the face of a crowded global dance stage.
Review: When Eskimo Recordings approached Bill Brewster with the idea of putting together a compilation exploring his epic record collection, the acclaimed journalist and DJ decided to take a widescreen approach. While the CD and vinyl versions are split into multiple, themed editions ("Post-Punk", "Balearic" and "House"), this vast, 41-track digital edition gathers everything together in one place. Predictably, it's a hugely impressive and eye-opening set, with Brewster serving up largely obscure or long-forgotten cuts that range in scope from trippy, dubbed-out post-punk disco, jaunty jazz-funk, synth-heavy boogie and heavily percussive Afro-disco grooves, to saucer-eyed European synth-pop, the dub techno of Maurizio, Swag's early UK tech-house and the East Midlands deep house bump of Charles Webster's "A Love From San Francisco" project. In other words, it's a cracker from start to finish.
Review: Katakana Edits first compilation, 2017's "Crate Diggin", was an epic collection of high-grade re-edits, mash-ups and reworks packed to the rafters with tried-and-tested dancefloor treats. This belated follow-up is even more epic, with the popular label squeezing in no less than 50 tracks that variously touch on riotous disco-funk, dub disco, new wave, disco-rock, deep funk, Afro-boogie, swamp funk, Latin beats, boogie, pitched-down chuggers, boogaloo, hip-hop and everything in between. You'd expect that standard to be high - it is a "best of" collection after all - and it is. If you need an instant armoury of scintillating club cuts, look no further.
Review: Ron Basejam is the alter ego of keyboardist James Baron of Crazy P and Secret Stealth fame. Here he drops his superb full album for Yam Who's ISM label. Fans of Ron include the likes of Gilles Peterson (who put the charismatic ''Into My Life'' on the recent Brownswood Bubblers 5 compilation), DJ Harvey, Dam Funk, The Revenge and Greg Wilson, and it's easy to see why. The album trips through musical genres effortlessly taking elements of the past and fusing them with modern day production techniques. Ron's influences are all represented here, with touches of deep house, disco and melancholic dreamscapes set against jazzual synth funk-fired treatments and vocal sample snippet production. Definitely one to check.
Review: Strahil "Kink" Velchev may well be the hardest-working man in dance music. Each new-year brings a succession of fine singles, with little in the way of fluff or filler. Even so, the vast Playground is only his second album to date (his first, "Under Destruction", appeared in 2014). It is arguably his strongest collection of tracks to date, though. Over the course of the 12 tracks, he brilliantly demonstrates the depth and variety of his influences, variously turning his hand to cinematic downtempo beats ("Samodiva", "The Universe in Her Eyes"), warehouse-friendly peak-time anthems (stab-heavy smasher "Russian"), DJ Sneak/Dj Duke-style big room house ("Perth", 'Organ"), mind-altering experimental dub ("Peter Piet Pete"), Industrial ("Tate of Metal") and, of course, angular analogue techno ("Five", "Teo Techno").
Review: One Night In The Borough, the debut full-length from Scottish disco/house fusionists Craig Smith and Graeme "The Revenge" Clark, is arguably the best thing either producer has done yet (and certainly collectively). This first sampler 12" showcases four of the album's many highlights, offering plenty of loopy, floor-friendly grooves for those who like their house with more than a dash of original disco flava. Choose between the slo-mo MDMA soul of "If The Feeling's Wrong" (our pick), the urgent stomp of "Find A Way", the smart retro house vibes of "Changin" and "Iznae", a delightfully stripped-back chunk of late night deep house bliss.
Review: French reggae producer Mato has made a name for himself by giving Kingston-style makeovers to many hip-hop pop hits. Here Stix have rounded up the latest batch of reworks featuring, amongst others, "Suit & Tie" by Justin Timberlake, "Happy" by Pharrell Williams, "Fancy" by Iggy Azalea, "Rehab" by Amy Winehouse and, clearly not getting the memo, "Blurred Lines" by Robin Thicke.
Review: Described by Running Back boss Gerd Janson as an "ode to the miraculous grip a piano still holds over almost any dancefloor", KiNK's latest EP is naturally awash with cuts that will get dancers reaching for the air piano faster than you can say "old school banger". The Bulgarian's banged-out piano motifs naturally come to the fore on heavyweight stomper "RAW", but also play a key role on "To Love You", a rush-inducing chunk of rave era house giddiness that's set to soundtrack a fair few loved-up moments this summer. The vocal version is the killer mix as far as we're concerned, but there are Instrumental and acapella takes, too. We'd also recommend checking the acid-fired, Head High style piano-techno of "I Remember (303 Version)".
Review: Dynamicron's Latino-centric nu-disco label Los Grandes, deliver their fourth long-playing comp, gathering the best re-edits they can find. The label boss himself delivers the first of 20 tracks, "She", which sounds like a very subtle edit of an undetermined, but luscious and silky sheeted, Bee Gees track. Elsewhere Brendon P's "Before You Go Away" evokes The Avalanches, Panorama's "Straight From The Heart" is pure cut mid 80s digital soul and on the same tip, Dennis Edwards is edited further by Teniente Castillo on "Don't Dub Any Further". William Devaughn's "Be Thankful" is beautifully teased out by Kompleks before things end with "Shameless Hotel", a crazy take on The Eagles by the Irregular Disco Workers.
Review: From their recent online musings, it seems that the award-winning Scour Records seem to be as equally fond of the other type of swinging as they are the style of music they've done so well at releasing thus far. Thankfully here we're only about the music and what a lot of it there is on Scoured Swing Vol 1. Here label owner DJ Spinforth selects eight of the best new jams around. Highlights include the classy, laid back opener "About Me" by The Fritz, the dubstep-meets-Charleston vibes of "Swingers" by Father Funk and the epic electro-swing monster "Cufflinks & Caviar" by Tuxedo Junction.
Review: Wow, rewinds don't get more special than this! Released in 2005, "Feelings" was one of the lead tracks on the duo's massive album Diary Of A Digital Soundboy and united DJs from the lightest and darkest sides of D&B with such lavish splashy beats, seductive vocals and stunning organ magic it still sounds big today. Strictly vinyl, the remix from jazz/funk legends Incognito never saw a digital release until now. And it's so well executed you could be convinced it was the original and Shy FX and T Power's version was the remix. Rich in organic soul, lush vocal harmonies and peppered with myriad party chants, it's a timeless reversion that will still sound incredible in 50 or 100 years time.
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: The latest addition to the Katakana Edits party is the mysterious FH. Equally mysterious are the source tracks for the edits featured here. However there's no ambiguity about the standard of tunes though. There's five of them and unlike the more swingy vibes of the label's recent releases, "Vol 12" is going for a tougher funk vibe, almost rare groove in places. Highlights include the gritty "Down In The Basement", the percussive Latin jam "Diablos" and the loose and groovy "Yo-Yo Beat".
Review: Russian producer Valique is back with the latest installment of his successful disco edit series. He specialises in toughened, quanitised beats, lending old stuff a modern electro-house groove. Highlights here include his highly danceable take on The Smiths' "Barbarism Begins At Home", the skippy, cut up house shuffle of "Angry Brides" and the infectious electro-funk anthem "Like Dancing".
Review: On their debut album, 2016's the Tony Allen Experiments, Naples twosome Nu Guinea re-invented tracks by the legendary Afro-beat drummer as synth-heavy chunks of deep jazz-funk and nu-Balearica. For this follow-up - their first full length entirely made up of their own compositions - the duo serves up a set of jazz-funk, disco and boogie cuts rich in both their trademark colourful analogue synthesizer sounds and live instrumentation. It's a formula that guarantees a string of memorable highlights, from the sun-kissed peak-time brilliance of "Disco Sole" and rubbery, funk-fuelled "Je Vulesse" (a killer vocal number), to the wobbly downtempo trip of "A Voce E Napule" and Mizell Brothers fizz of closer "Parev Ajare", the album's most synthesizer-heavy cut.
Review: While gospel has always been a strong influence in the worlds of house and disco, the volume of spiritually charged dancefloor tracks has rocketed in recent times. Hence this fine compilation from Midnight Riot and "gospel supremo" the Showfa, which gathers together new, recent and overlooked gospel-fired dancefloor jams. We're particularly enjoying Yam Who and Alan Dixon's brilliant new version of the Soup Dragons' "I'm Free" - think classic, Balearic-era baggy house with more prominence given to the London Gospel Choir's vocals and Dixon's wild organ lines - Le Visiteur's low-slung re-edit of an old gospel-disco gem ("Let The Sunshine") and the rubbery boogie-gospel-goes-filter-house excitement of Benjamin Ferreira's "What U Will". That said, there's barely a duffer to be found amongst the 19 tracks on show, with the emphasis rightly on celebratory positivity throughout.
Review: Alan Dixon has been in tremendous form of late, delivering must-have EPs for Midnight Riot and, most recently, Lumberjacks In Hell. There's no doubt that this outing for Running Back - produced in cahoots with regular Ashley Beedle collaborator Darren Morris - is his most high-profile release to date. It's also rather good, particularly the glassy-eyed Italo-disco muscularity of "La Danza" - all driving arpeggio-style bass and mind-altering electronic motifs - and the solo-laden, mid-tempo Balearic house brilliance of closing cut "Star Dance", which sounds like something Phillip Lauer might conjur up. There are two real standouts for us, though: the driving, 1989 style piano house rush of "Moments" and the colourful, beat-free bliss of sunrise-ready bonus cut "Ambient Braindisk".
Review: As always with the now infamous 1985 Music imprint, they have assembled the great and good to explore the darker realms of electronic dance music, primarily focussing on dubstep and neurotic drum and bass flavour through this fabulous new 'Atlas' compilation. The names involved are pretty mind-blowing with a roster including the likes of Alix Perez, Drone, Headland, Foreign Concept, Safire, DRS and many more heavyweight names. The entire project has a touch of finesse and musical class about it, from the beautifully processed drum clanks of 'Nibiru' from Visages to the stunning vocal processing of 'Do Me No Good' from Nymfo. There really isn't a low point to this project with the sweeping soundscapes and electronic destruction of Deft's 'Scars' original being a real high point for us!
Review: Long-standing collaborators Binga and Shafique continue to go pound for pound on this bulbous nine-track EP. Eight originals and one stone cold Perez remix, this one's a danger session as a vibrant, dancehall thrust sizzles throughout. Highlights include the dreamy chorus on "Check Di New", the Carpenter style motifs on "Pot Ah Bubble", the squid bass and textured twist on Rider's smoky vox on "Rootsman Tonic" and the incredible surge of emotion on "Chinchilla" thanks to its beautiful rising chords on the finale. And that's before we even get to Alix's deep space twister take on "Highly Blessed". Nothing short of essential.
Review: This time round, fast-fingered re-edit evangelists Editorial have set their sights on breathing new life into dusty, obscure and occasionally much-played soul nuggets. Those with a passion for the dubbed-out, slo-mo end of the contemporary re-edit scene will enjoy 78 Edits' typically hypnotic "Slick" and DJ Raw Sugar's charmer "Barry Me Softly" (yep, the Walrus of Love gets a tweak). If you like your grooves a little more uptempo, you'll devour Disco Tech's delightful "Tight Money" - an unlikely anthem in waiting, we reckon - and Ed Wizard & Disco Double Dee's dubby disco-funk groover "Movin". It all adds up to an impressive selection of well thought-out reworks.
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