Review: As his Blurred LP still leaves its crossover mark on switched-on ears all over the shop, Huxley dives back in to stand-out cut "I Want You" and gets a host of sympathetic Aus Music-related heads to take to the parts with their own distinctive creative visions. Deetron creates a delirious cocktail of wild synth tones and big room pressure on his version, while Shenoda ups the techno content with some tense percussion and poignant stabs. Komon cools proceedings down with a sensual, disco-infected shower of arpeggios before Hxley drops his own extended mix of the original.
Review: UK producer Huxley launches his label with a techno-oriented release. The title track is a storming workout, its deep building chords married to a muddy, murky bass for a thrilling, peak-time workout. On "Salvia", he goes back to his UK garage roots; the rhythm has a stepping feeling and the bass booms and belches like a malfunctioning jet engine. However, it's only a temporary diversion, and the main style here is techno; this is audibly the case on the Vin Sol remix of the title track, where tough claps and robotic bleeps unravel over a slamming ghetto backing track.
Review: Over the course of the last decade, Swiss stalwart Deetron has been responsible for a string of impressive remixes. Happily, these - and many others you may have missed - have now been collected together on the decidedly epic Re-Creation: Remixes Compiled. As you'd expect, the 25-track set flits between full-throttle, peak-time friendly techno futurism, bustling deep house goodness and more downbeat explorations that defy his reputation as a maker of killer club cuts. Highlights include the loved-up synth breakdowns and jacking, Chicago-style groove of his Juan MacLean remix, a wonderfully retro-futurist take on George Fitzgerald's "Every Inch", a thrusting, stab-happy revision of Quarion and a lusciously jazzy take on Todd Terje's "Alfonso Muskedender". That said, on another day we could have listed another five or six highlights: it really is that good.
Review: This is a significant moment in the development of Michael "Huxley" Dodson. Following six years building his reputation via a constant trickle of singles, the London-based producer has finally delivered a debut album. It's a little more expansive and varied than many of his singles, and variously touches on many of his regular inspirations - UK garage, deep house and bumping techno, in particular - as well as some he's not previously explored (see the pitched-down rave breaks of "Give 2 U" and the "Circles"-ish liquid D&B of "MXR"). The result is a polished, floor-friendly set that impressively straddles the line between club tracks and home listening fodder.
Review: Groove Committee's "I Want To Know", produced by Victor Simonelli and a huge club anthem on its initial release on Nu Groove back in 1991, is something of a timeless US house classic. It's nice to see, then, that these new remixes are suitably reverential to Simonelli's original. Revivalist house specialist Nicholas (no stranger to reworking old Nu Groove classics) joins forces with fellow Italian Marcoradi to deliver a brilliantly breezy, piano-heavy take that perfectly captures the spirit of the original. DJ Steaw thickens the beats and adds a little acid spice on his similarly piano-centric rework, while Demetrio Giannice opts for a vintage Italian deep house vibe on his pleasingly tactile take.
Review: The original version of "All I Want" is one of the lesser-known gems in Kraak & SMaak's epic back catalogue. The squelchy slab of revivalist electrofunk, which features a brilliant lead vocal from Keyhole, was first sent to DJs five years ago, but for whatever reason was only released earlier this year. Here the long-serving Dutch trio treat us to the essential (and previously unheard) extended mix, plus a trio of reworks from industry pals. Mason kicks things off with a vibrant and colourful take that re-casts the track as a delay-laden chunk of 1980s NYC freestyle, Xinobi opts for a bass-heavy deep nu-disco flex, and Ash Reynolds re-imagines it as a swinging chunk of lusciously sun-kissed deep house with warming boogie flourishes.
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