Review: The fact that the previously vinyl-only Ron's Reworks edit series has finally landed on digital download is a very good thing indeed, especially since the man behind the project - nu-disco don Ron Basejam AKA Jim Baron of Crazy P - has been responsible for some fine re-edits over the years. There's plenty to get the blood pumping on this third instalment, starting with 'Revelation' - a sparkling rearrangement of a life-affirming, piano-laden number that sits somewhere between jazz-funk, Latin jazz, spiritual jazz and disco. 'Games You Playing' [sic] is a synth-sporting slab of disco-funk heaviness rich in punchy horns, mazy sax solos and thickset grooves, while 'Bada Bongo' is a percussive, break-driven, drum-heavu workout guaranteed to get limbs moving on the dancefloor.
Review: Javi Frias's Madrid-based house and disco label Night Shift bring us a re-edits EP from San Diego's Alberto de Santiago, AKA Never Dull - and it has to be said he's dug admirably deep for inspiration, because we can only identify the source material for two of the four tracks on offer. The vocoder-sporting 'Whatever U Want' draws on Lace's 'Can't Play Around', a Paradise Garage staple from 1982, while 'Give A Little' is a rework of Peaches & Herb's 1980 roller disco anthem 'Funtime'. 'Cool Love' and 'Want My Love' have us beat, but expect similarly lavish, soulful disco/boogie stylings
Review: For the latest volume in Planet E's long-running Detroit Love compilation, label boss Carl Craig has handed over to DJ Holographic (real name Ariel Corley), a rising star of the Motor City scene. It's a hugely entertaining collection told, with Corley doing her best to showcase artists on the up - from both Detroit and elsewhere - as well as established stars of the underground. Musically, it's as diverse and mixed-up as you'd expect, kicking off with revivalist Afrobeat (Underground System), slick deep house (Pontchartrain with Javontte) and revivalist '80s soul (Shri Schwartz), before taking in everything from broken house and nu-disco, to sci-fi techno, sleazy warehouse jams, sleazy acid, percussion-rich Latin house and much more besides.
Review: St Petersburg's Alexander Chebankov, better known as Sunner Soul, returns with an EP on his own Vintage Music label that packs in five lively, authentically late 70s-sounding disco jams. 'I Can Feel It' gets the ball rolling, centring around a funk bass loop that's augmented by crowd noise and snatches of sampled dialogue. The title track is a more smooth-rollin' affair with warm, lounge-y keys front and centre and 'Secret Agent' has a kitschy, almost Deee-Lite-ish feel, before we're played out by a brace of near-instrumental summer groovers, 'Got 2 B U' and 'Super Ice Cream'.
Review: Following fine outings from Fort Knox Five, the Allergies, Smoove and Marc Hype, amongst others, Bomb Strikes' reliable Funk N' Beats compilation series returns with rising star X-Ray Ted at the controls. In keeping with the series' heavyweight, funk-fuelled style, the Bristol-based DJ and beat-maker has gathered together a killer collection of soul, hip-hop and funk club cuts, with a smattering of more laidback numbers to keep things fresh. Highlights are plentiful throughout, with our picks including the boom-bap brilliance is Aldo Vanucci's tidy remix of 'All Down' by Mr Doris and D-Funk, the dancefloor jazz heaviness of Nostalgia 77's 'Changes', the cut-and-paste craziness of Double Dee & Steinski's 'Jazz' and the disco-funk masterclass that is X-Ray Ted's own 'Party Time'.
Review: irst released on vinyl three years ago and now finally available on digital download, this must-check EP showcases a quartet of killer re-rubs of back catalogue tracks by L.A-based Afro-Latin funk fusionists Jungle Fair. The headline attraction is undoubtedly a pair of reworks by Ashley Beedle and Rob Mello's reborn Black Science Orchestra project - their first revisions for over 15 years. They first serve up a wonderfully percussive, analogue bass-propelled deep Afro-house remix of 2014 cut 'Culebro', before reaching for the delays and delivering an arguably even better dancefloor 'Dub'. You'll also find JKriv re-imagining 2013 single 'Firewalker' as a bumpin' chunk of horn-heavy dub disco, and a cracking Latin disco take on 'Village Hustle' courtesy of Bosq.
Review: Fittingly, the first musical missive of 2021 from the In Dust We Trust label showcases the album's co-founders, Chaos in the CBD (New Zealand-born brothers Ben and Louis Helliker-Hales) and Jon Sable. The trio offer up two collaborative cuts, both of which give different spins on the fusion of dub techno and hypnotic deep house. There's opener 'Mahia Madness', a thickset, late-night number that's as dubby and hazy as any Deepchord record, and the gently picturesque, Sprinkles-esque 'To Puke Thunder'. The EP also boasts a solo track apiece, with Chaos in the CBD opting for non-stop, energy-packed deep techno hypnotism ('Coral Castle'), and Sable reaching for dreamy deep house chords and rubbery broken beats ('Ascension Island').
Review: Almost three years after it first appeared on wax, Juan Maclean's Razor 'N' Tape Reserve debut has finally landed on digital download. It's an excellent collection of club-focused, often sample-heavy cuts, no doubt drawn from his personal stash of cuts created for his DJ sets. There's plenty to set the pulse racing from start to finish. Check first the percussive pump of peak-time disco loop-jam 'Fine Time', before getting your ears around the classic boogie-meets-NYC house fusion of 'Don't Stop For Nothing', which offers sly nods towards a number of classic cuts including Toney Lee's 'Reach Up'. Elsewhere, 'Everybody Clap' is a dustier, looser and hazier deep house excursion, while 'Panic In Fort Greene Park' sees MacLean smother a trippy and hypnotic groove in spacey motifs and acid-style electronics.
Review: At 14 tracks large trance master Chicane's eighth studio album has arrived in the shape of Everything We Had To Leave Behind. Maintaining an uplifting & melancholic approach to his production, Chicane's classic trance chords are as always undeniable throughout this latest work while still touching on that late-90s-to-mid-2000s pioneering sound. The LP brings with it the Ibiza sunset croons of vocalist Joseph Aquilina (Goldfish) who's voice more often than not challenges the timbres of one Chris Martin. Exploring various drum patterns across numbers like the breakbeat "Make You Stay" or the skipping UK funky of "Sailing", get your housier, pop and balearic trance from "One Foot In The Past, One Foot In The Future" and "Hello, Goodbye". For more classically inclined fans, those trusted bouncy chords, breaths and beats can be found all the more in "Juno", "Don't Look Down", the album's beatless title-track, and exclusive Chicane cover version of Bon Iver's "8 (Circle)".
Review: Heist regulars Fouk (AKA Daniel Leseman and Hans Peeman) had a relative quiet 2020, releasing just one EP and a single-track salvo, 'Need My Space'. Here they're back to their distinctive best, belatedly kick-starting their 2021 release campaign via a rock-solid four-tracker. Rebiere lends a hand on title track 'Blue Steel', a (drum machine) handclap-heavy house stomper marked out by deep, sub-heavy bass, jaunty synth stabs and waves of energy-packed saxophone solos. Girls of the Internet provide the obligatory remix, opting for a long, dreamy, pared-back intro before unleashing the Dutch duo's killer bassline and winding sax motifs. Elsewhere, 'Don't You Want To Boogie' is a high-octane disco-house number full of swirling filter effects, while 'Money' is a squelchy chunk of nu-disco/peak-time house fusion.
Review: This six-tracker from Lis Sarroca opens with the classic Peech Boys "come with me, tonight's the night" vocal sample that Altern-8 used on 'Activ-8', making clear from the outset the strong appreciation of dance music history that's evidenced throughout the Barcelonian producer's canon. Tracks here range from the discofied 'Hi Montana' to the fierce, driving acid of 'La Neta', via the dreamy small-hours deepness of 'AX' and the more accessible, peaktime vibes of 'Round & Round', but whatever house style Ms Sarroca turns her hand to, the production's always polished and Da Funk is always in full effect.
Review: Almost 12 months after the vinyl version hit stores, the second volume in Jim Baron AKA Ron Basejam's Ron's Reworks series finally lands on digital download. The real killer here is 'Your Brain On Music', a slightly beefed-up and tooled up version of an Italo-disco-era chugger rich in driving bass, spacey synthesizer lines, proto-acid sounds and almost symphonic electronic chords. Elsewhere, 'Be Bizarre' is a tight, mostly instrumental revision of an electrofunk era big studio rock number - all squelchy synth bass, glistening guitar riffs and heavily edited, effects-laden drum machine beats - while 'Call Me' is a fine scalpel edit of a sparkling boogie jam. If high-grade, club-ready re-edits are your thing, you need this EP in your life.
Review: Chicago house legend Paris Brightledge has been rather quiet of late, with his last solo single, Forgive You (a collaboration with Marlopn Hoffstadt) appearing way back in 2017. 'Deep In My Soul', then, is a comeback of sorts - and a predictably fine one at that. Old pal Marshall Jefferson provides the EP-opening remix, adding Brightledge's trademark vocals - soulful and emotion-rich as ever - atop a spacey deep house track rich in swirling chords, crunchy drums and bubbly TB-303 acid lines. Brightledge's own 'Ascension Mix' is percussively bolder and chunkier but similarly spacey with added cybersonic synth-bass goodness, while the Eric Kupper remix is bright, breezy and laden with smile-inducing organ riffs. Finally, Hula Malone reworks K'Alexei Shelby hook-up 'I See Your Face', delivering a mix that's bouncy, percussive and hypnotic.
Review: The latest single from Horse Meat Disco's excellent debut album, Love and Dancing, is as cheery and life-affirming as its predecessors. In its original form, 'Love If You Need It' is a revivalist disco gem rich in organic instrumentation, strong vocals (this time courtesy of Fi McCluskey) and pleasingly starry synths. AS you'd expect, it comes accompanied by some notable remixes. Mousse T provides edited and extended versions of two revisions: the breezy nu-disco-meets-disco house sparkle of the 'Classic Shizzle' mix and the more driving, thrusting and breathless 'Dub You Need' re-wire. Also worth checking is Dr Packer's rather tidy rework, which adds squelchy, P-Funk style bass and smoother disco drums while smartly emphasizing McCluskey's vocals and HMD's Chic-style guitars.
Review: Four tracks in a total of five mixes make up this latest offering from Spanish disco don James Rod, which is brought to you by Brighton-based Hot Digits Music. 'Matusalem Robot' is a bass-heavy, guitar-flecked chugger topped with squeeling, squalling synths, before getting a housed-up remix from Chewy Rubs and label boss Fingeman. Elsewhere, 'Showdown' is an early 80s-style funker with a rhythmic vocal loop and much use of sci-fi FX, 'We Celebrate' ploughs a more soul-inspired mid-70s groove but via a dubby, Levan-esque filter, while 'Latin Ton Funk' shouldn't really need a lot of explaining...
Review: Sasha brings us collection of tracks that have featured in his Spotify playlist series of the same name, which is oriented towards midtempo, contemplative but still beats-driven cuts spanning breaks, ambient and leftfield electronica. While much is being made of this "new direction", a more cynical observer might say it's the first CD of 'Northern Exposure' plus drums; all the same, there's much to enjoy here if you're in a laidback kinda mood, with standouts including MJ Cole's haunting, fractured 'Maestro' and Cortese's 'Circles' with its air of restrained menace. The album also includes two fresh cuts from The Man Like himself, 'Corner Shop' and recent single 'HDNI'.
Review: Following up the lead single "Under Your Skin" with Kevin Knapp, veteran duo Audiojack of Gruuv Recordings fame finally unveil their full length album on Crosstown Rebels. The Leeds natives James Rial and Richard Burkinshaw last served up an LP back in 2009, so it's another career high for the pair and features a diverse array of moods and grooves across 10 tracks. From the balearic downbeat chill vibe of "Binaural Dreaming", to the funky and bass-driven tech house of "Easy Rider" or similarly the acid laced "Psychoactive" (Part 1) which are more typical of the pair. Not to mention the utterly euphoric second single "Feels Good" featuring vocalist Jem Cooke, its a cohesive effort by these staples of the Ibiza party circuit.
Review: Leipzig's Bondage Music returns with a massive compilation featuring 20 tracks, all in the label's distinct style of deep and sensual tech house. If that was not enough, the label bosses Sven & Sven aka Pornbugs deliver a continous mix, working those selections to perfection on each of their journeys. Highlights are not limited to: Mihai Popoviciu and NTFO delivering some rolling and hypnotic 'Rominimal' vibes on "Gazoo" and "Key Part" respectively, London's James Dexter delivering a typically emotive afterhours minimal groove on "Come In" while Pornbugs themselves serve up the slinky "Precocious Life" before the return of Swiss scene stalwart Dachshund on "Instant".
Review: Before Compost Records came along, DJ Rasoul's The Return of the Mad Funk EP had been one of deep house's genuine rarities: a 12" that was slated for release in 1998, but for which only a handful of test pressings were ever made. It's Rasoul's great "lost record", so it's terrific to see it finally getting a release. Opener 'Smoothed Out Funk' is little less than superb: a rolling deep house gem built around, synth-funk bass, rich Rhodes chords, a bumpin' sub-bass line, spacey melodies and tasty beats. 'Pyscho Funk' brilliantly flips the script, putting the same flash-fried funk riff at the heart of a bumpin', peak-time fusion of boogie-era disco and chunky house, while 'Just a Funky Groove' is a tidy house take on a Funkadelic classic.
Review: After debuting them on vinyl a couple of years ago, Crazy P man Jim Baron AKA Ron Basejam has finally decided to make his popular Ron's Reworks re-edits available on digital download. That's a very good thing indeed, because there's some genuine gold amongst the three tracks on show. For peak-time play, the pick of the bunch is probably lead cut 'Flight of the Eisenberg', a rolling, house-ready revision of a swelling, orchestrated, easy listening-goes-jazz funk affair onto which Baron has added subtle electronic flourishes and plenty of excitement-building percussion. Elsewhere, 'Heads' is a fine revision of a piano-laden Bob James jazz-funk jam, while 'The Jubes' adds subtle, house-style drums to a lilting, heart-aching gospel-soul number from the Supreme Jubilees.
Review: St Albans-based Hansi serves up four more covers on this latest addition to the long-running 'Funky Grooves' series on his own Viking Grooves. 'Changes' gets the ball rolling, rendering Black Sabbath's classic heartbreak ballad in a tortured, southern soul style - it's almost like Otis's revenge for the Black Crowes! The other choices of cover on the EP are perhaps less surprising - Timmy Thomas's 'Why Can't We Live Together', Run DMC's 'Peter Piper' and The Jimmy Castor Bunch's 'It's Just Begun' - but in all cases Hansi puts his own distinctive spin on the original, making for an EP with more than its fair share of attention-grabbers.
Review: To our ears, the re-edits, reworks and 'disco adjustments' released by DJ Kaos's Jolly Jams label are some of the most impressive around, in part because there's little in the way of cheap 21st century studio tricks and the imrpint's source material always tends towards the eccentric, interesting and obscure. Predictably, the label's latest eight-track collection is full of corkers, from DJ Kaos's own mini album-opening early house style revision of AOR disco classic 'Long Train Running' (here renamed 'Proton Edit 1') and the surging, Clavinet-heavy disco-funk sleaziness of Conor's 'Proton Edit 3', to the flash-friend, Talking Heads-go-Latino no-wave funk of Pete Herbert's 'Candy 8', and the 10-minute swamp funk brilliance of Spring Break Edit's 'Candy Edit 2'.
Review: A prolific house producer out of Brighton in the UK for more than 10 years now, Scott Diaz has found himself one of the Sub_Urban roster since the release of his Endless Luminosity EP in 2018. Following his Somewhere Else EP from last year, this three-track Resolution single provides the artist with his first sounds of 2021, with the lead cut delivering a classic deep house vibe of pads, washy vocals and skipping grooves. Looking toward sampled jazz loops in "Hearts Apart", Diaz teams up with Letta in "Work It Out" to deliver something R&B/soul infused that's perfect for the cocktail hour.
Review: Jonathan Kaspar, the resident of Cologne's Gewoelbe Club, has fast become a staple of hometown imprint Kompakt where he's brought an evocative style of dancefloor drama across several EPs. Much like his previous outing (the Kante EP) this latest release by Kaspar is right in line with the label's sound, faithfully recreating snapshots of their many phases over the years. The mesmerising "Muster" with its minimal acid chug, harks back to the label's output at the turn of the millenium, while the brooding atmosphere of "Alle" makes for perfect mood music during those heads down moments in the club - in typical Kompakt fashion. There are also two featured versions of "Beton"; the main one is a bouncy yet subtle tech house groove underpinned with clipped rhythm programming - the latter aspect playing centre stage on the Strip Down version.
Review: What we have here is only the third release from Bonfido Disques, a Greek label that launched last year and whose speciality is disco and funk with strong influences from African and other global musics. This EP is no exception: Panama Cardoon's 'Marisa', for instance, has a lot more in common with hi-life, or with Alpha Blondy's distinctive west African reggae style, than it does with Chic, The O'Jays or GQ. The other three cuts are a bit more obviously "disco" but the Afro influences are still firmly in evidence, making this one for those who dig polyrhythmic percussion and sing-song vocals.
Review: Out of leftfield comes a fifth studio album from legendary German industrial & electro specialists Extrawelt! With a storied career built across labels like Cocoon, Traum Schallplatten and Kompass Musik, you'll find the pair with stints on labels like Border Community, Feel My Bicep and now the explosive Furthur Electronix. A lot to be excited about here, be it the dirty electronic funk of "Ungerade" to some melancholic, breakbeat noise in "Premonition Of A Flashback". Touching on something new wave and post punk in "Eigensender", synthy techno winds its way through "Das Komplott" before breaking down into something syncopated, percussive, lo-fi and melodic in "Streiflicht". With a minimal and streamlined alternative version of "Premonition Of A Flashback" ready to boot also, there's an extra dose of distorted dancefloor experimentations in "Schutt&Asche" - presenting an album that goes the distance on Furthur Electronix.
Review: Bristol duo The Allergies continue to hint at a future album release with this two-track digital 7", Lean On You. Featuring bespoke lyrics from Dynamite MC in its lead cut, it's a track that subtly touches on Southern rap as it does rock and Gorillaz-styled funk or Cypress Hill-styled hip hop. Venturing further down a looped-up blues and rootsy funk tip in "Working On Me", lyrics are swapped for classic vocal samples, brass horns, big beat loops and clever funky drummer motifs. Spicy hot.
Review: Permanent Vacation co-founder Benjamin Frohlich is enjoying a productive year so far, with The Joy of Repetition following hot on the heels of rock-solid outings on Live at Robert Johnson and Optimo Music's Digital Danceforce offshoot. Frohlich has previously proved to be a master at blurring the boundaries between genres, and much of the material on show here follows a similar blueprint. Opener 'One More Time' sits somewhere between hypnotic tech-house, stirring deep house and lilting nu-disco, while 'Repeat After Me' fixes hazy, dub techno style riffs and chords to a rolling, peak-time house beat. Elsewhere, 'Again and Again' joins the dots between dub house and dub techno, while 'Acid Routine' combines attractive musical features with jacking drums and mind-bending TB-303 motifs.
Review: On their second EP of 2021, Session Victim is back to doing what they do best: namely combining warming live instrumentation with contemporary dancefloor beats. The best of a strong bunch is arguably opener 'Two Crowns', a dense and energetic broken beat affair in which pots-and-pans percussion hits, mellow Rhodes chords, starry electronic flourishes and late-night deep house stabs cluster around thickset synth-bass and hot-stepping drum machine beats. On 'Guidance' they deliver tactile and dreamy deep house complete with raw analogue bass and breathy flute solos, while 'Village Youth' adds jazzy broken beats to an extremely immersive blend of tactile synth-bass, enveloping electronic chords and lilting, late-night melodies. In a word: delicious.
Review: Following years of extended service on DFA Records, Juan Maclean and regular collaborators Nancy Whang and Nicholas Millhiser have begun popping up on all manner of labels (most recently Aus and, more surprisingly, Going In - the latter with a 52-minute ambient track). Here they debut on Me Me Me, flitting between driving and percussive disco-house (the loopy and hedonistic 'I Can't Explain' and the celebratory release of 'City Life Disco'), sweaty early morning house sleaze ('Leave Me When You Can') and hazy hypnotism ('Ain't No Thing Baby', where echoing flute sounds occasionally rise above a tracky but unusual groove). Alinka provides the EP's only remix, a tooled-up, nu-disco style revision of 'I Can't Explain' that somehow sounds both loose and locked-in at the same time.
Review: The latest in the long-running 'Katakana Edits' series features five funk reworks, three of which we can identify the source for: Timmy Thomas's 1972 classic 'Why Can't We Live Together', Billy Paul's 'People Power' (1975) and The Four Tops' 'Are You Man Enough?' (1973). 'Stomp The Floor' has us beat, though, and as for 'Don't Stop The Music' - well, it isn't the Yarbrough & Peoples one, and nor is it any of the tracks of the same name by K.I.D, Cascade, Bugz In The Attic, Supermax, Bits & Pieces or Brecker Brothers! But it's a decent lil' funk/boogie groove all the same...
The Lab Rats & The Experiment - "Music Is My Way Of Life" (feat Lisa Millett - Dr Packer extended remix) - (7:06) 120 BPM
Seamus Haji - "I Got You" (feat Bryan Chambers - Dr Packer extended remix) - (6:59) 120 BPM
Slam Dunk'd - "No Price" (feat Chromeo & Al-P - Dr Packer extended remix) - (8:06) 123 BPM
The Shapeshifters - "Try My Love (On For Size)" (feat Teni Tinks - Dr Packer extended remix) - (8:14) 120 BPM
Review: Aussie disco don Dr Packer has been Glitterbox Recordings' go-to remixer for some time now. Three years ago, the label opened up its archives and allowed him free reign to rework whatever he wanted, releasing the results as Dr Packer's Different Strokes. This belated sequel follows a similar blueprint, collecting together a wealth of remixes as well as a couple of non-stop DJ mixes of the same material. Much of the music is authentically disco-centric - think organic instrumentation, swirling strings and rushing vocals - with just enough grunt to please those dancefloors the require 21st century low-end weight. Highlights include a glassy-eyed take on Aeroplane's 'Love on Hold', a sing-along version of Lemelle's boogie gem 'You Got Something Special' and a handful of fine rubs of the Shapeshifters.
Review: Dutch techno and electro veteran, Orlando Voorn has been even more prolific than usual of late, delivering must-check EPs on Kompakt, Bombis and Bad Manners. Voorn's new outing on Burek, a Croatian label that's genuinely going places, is rather good too, though musically far more colourful, funky and house-influenced than we've come to expect. Check first sweet, summery and boogie-influenced opener 'Soul Society', before getting your ears around the heady piano-house stomp of 'Lovin' You (Shine)' - a superb slab of celebratory retro-futurism - and the warming haziness of twinkling deep house cut 'Waters Run Deep'. Elsewhere, 'Funk Isolation' adds undulating bass guitar, swirling chords and bleeping 8-bit melodies to a hot-steppin' house beat, while 'Waters Run Deep (Beatless)' reinvents that track as an ultra-deep drift through ambient space.
Review: A confirmed presence within the landscape of UK dance music for the best part of 15 years, Hypercolour has cultivated its own constellation of artists while becoming a port of call for those hitting their peak within pseudo-mainstream house music. It's Patterns compilation series has always offered rare cuts and remixes from its roster of artists and from the get go here a lesser known Zodiac impresses out of the blocks with a banging dub techno joint "GhostNet". Sebastian Mullaert & Boelja go hardcore Swedish bleeptronic in "Who Are You Really?" with FRAK also included with an old school and lo-fi 909 workout "Berga Magic". Roman Flugel hits a sweetspot as usual next to some lowly jackin tracks by London Modular Alliance, a vocal breakbeat number of classical drum and bass refrain by Mathew Herbert to some tongue cheek rave by Luke Vibert and much much more! Approved.
Review: 'Here (Now)' first appeared as the B-side of the 2020 Vision released 'Over You' single way back in 2003. The deep house stalwart decided to revisit it last year and here presents the results alongside the still delicious original - an ultra-deep, locked-in late-night affair full of drowsy chords, arpeggio-driven synth bass and spacey keys that still sounds as good as it did all those years ago. The Canadian's own '2020: A Space Disco Odyssey' revision undoubtedly takes it up a notch, focusing more on the arpeggio-driven bassline while adding starry electronic flourishes, melancholic strings and deep, intergalactic chords. Equally as impressive is Prins Thomas's epic 'Discomiks', a ten-minute workout that sees the Norwegian layer Fred Everything's keys, chords and samples atop his own live-sounding drums and dub disco bass.
Review: Hexagonal Club isn't a real nightclub, just the name given by Paris-based Pont Neuf to their compilations showcasing fresh electronic grooves from up-and-coming French artists (France being known colloquially as 'l'Hexagone', you see). And what a compilation Volume 2 is: few things in life get this writer as excited as a collection of quality deep house jams from people you've never heard of, and this album ticks that particular box nicely! The over-riding influence is deep house from the Heard/Trent/Damier school but there's room too for everything from the Italo/prog stylings of Fasme's 'Turbo Blaster' to the left coast-ish bump of THEOS's 'Wanna Go Out'. Get 'em while they're chaud, people!
Review: Usually, Katakana Edits releases have us furiously Googling lyrics to try and identify the source material, but for this latest volume Fray Bentos saves us a job, opting to work his magic on two very well-known tracks, Linda Clifford's 'Runaway Love' (1978) and Rick James' 'Give It To Me Baby' (1981). 'Linda's Marathon' is aptly named, as Bentos stretches out the original to a full 12:39, making for a sultry groove that'll go down a treat at Horse Meat Disco, while on 'Give It To Me (Unity Edit)' he goes for a struttier approach with a tech-house style "some Rick James, some Rick James" vocal loop for an intro.
Mihai Popoviciu - "Left Hand Thought" - (7:18) 123 BPM
The Unhottest - "Glam You Not" - (8:34) 120 BPM
Review: It's not giving much away to state that Dessous' latest compilation, a third instalment in their occasional We Like The Deep series, is piled high with house music that combines tried-and-tested dancefloor grooves with melody-rich musical elements that tend towards the warm and atmospheric. Because of this, each and every one of the collection's 11 tracks sound just as good at home as they do on a meaty club soundsystem. Our picks of the multitude of highlights include the hypnotic, locked-in haziness of James Dexter's 'Get To This', the afternoon-fresh jazziness of Mihai Popoviciu's 'Left Hand Thought', the ultra-deep shuffle of 'Soul Alive' by Chocky, and the opaque deep house soul of Langenberg's Blakkat hook-up, 'Shadows'.
Ahora Todo Va (Gorgon City remix) - (8:00) 124 BPM
Review: Something of a meeting of minds here, as long-established Spanish producer Dennis Cruz (Stereo Productions, Hot Creations, Moon Harbour Recordings) joins forces with fellow deep house/tech-house fusionist Josh Butler (Madtech, Defected, Rejected), for a joyous bounce through carnival-ready Latin house. 'Ahora Tado Ba' sneakily uses portions from what sounds like an old Latin jazz record, brilliantly weaving them around a bouncy, drum-heavy samba-house groove. It's an insanely infectious cut and one that we're fully expecting to hear tons over the summer. It comes backed by a drawn-out, loved-up tech-house take from Gorgon City that's arguably far more emotive than Cruz and Butler's original, if a little less urgent, energetic and funky.
Review: As always with the Breakbeat Paradise team, we are in for one hell of a ride with this spicy new selection, exploring a selection of high intensity remixes for the latest Mined & Forrest project. We begin with a raucous intro from Jack Lemmon, who gives 'Funk Toxic' a lick of paint, followed by BadboE's funkadelic rethink of 'Gimme The Best'. Next, Beat Le Juice sends 'Rock It' to the blender with a bass heavy sizzler of an overhaul, followed closely by both B-Side's oldschool chop of 'There It Is' and Mr Bristow's, post D&B recreation of 'Fire Back'. Finally, Mined & Forrest get busy themselves with an explosive VIP mix of 'Coming Through', putting a final glisten on a fantastic body of work.