Review: CircoLoco Records is a new record label forged in partnership with the iconic video game creators Rockstar Games. This is the first edition in the new compilation series called Monday Dreamin' where they will showcase contributions from established names from every era of their legendary Ibiza parties. On the Blue EP, we have got new material from the likes of Kerri Chandler, Sama Abdulhadi, Seth Troxler and Rampa, as well as a Dixon remix of Deichkind's "Autonom".
Review: This suite of reworks of SunPalace's much-admired early '80s jazz-funk obscurity 'Rude Movements' may well be the biggest remix package we've ever seen, thoagh it should be noted that many of the reworks are available in short and extended takes. Either way, there's much to enjoy, from the warming, solo-laden deep house brilliance of Moodymann's revisions and the sparkling, kaleidoscopic Opolopo takes (proper dancefloor jazz-funk for house-heads), to the 11-minute, synth-heavy bliss of Francois K's SATS Dub Extended Version and the sun-drenched Latin house of Frankie Feliciano's delicious rework. Elsewhere, the 'Atmosphere' mix is a starry ambient delight and Kenny Dope's various revisions boast the toughest, bounciest percussion programming.
Review: Since launching on vinyl in 2019, the Ron's Reworks series from Crazy P co-founder Jim Baron AKA Ron Basejam has consistently delivered high-quality reworks that tend to shy away from the obvious and over-played. The standout on the series' fourth missive is undoubtedly 'They Speak Colour', a loopy, soft-focus disco-house jam whose relentless grooves, synthesizer splashes and simmering orchestration make it sound like Soundstream after a bong full of Marijuana smoke and several disco biscuits. Elsewhere, 'The City' is a canny revision of an unusual disco-boogie number that builds through sections of drums and cut-up, scat style vocals before finally flourishing late on, while 'The Cull' is a deep and meandering head-nodder tailor-made for warm-up sets and sit-down bar gigs.
Review: Having previously released two action-packed EPs of classy deep house from an international roster of artists, Iner's Dobro label has decided to go one step further and release a fully-fledged compilation. The quality threshold remains pleasingly high, but stylistically it's a little more eclectic than the label's previous releases. It begins with a series of deep, drowsy and jazzy downtempo cuts - all head-nodding post hip-hop beats and warming instrumentation - before confidently moving on to the sort of jazzy, musically expansive deep house that the Belarus-based label has previously done so well. It all adds up to a genuinely terrific collection of high-grade, previously unreleased treats.
Review: For their latest trick, Razor-N-Tape Reserve has decided to breathe new life into 'Agua', one of the standout cuts from Brazilian band Baianasystem's chronically overlooked 2018 album O Futura Nao Demora. Freerange main man Jimpster delivers two wonderfully breezy and life affirming reworks: a fully-formed remix that wraps Antonio Carlos' vocal and splashes of the original's samba-soaked instrumentation (jazz guitars, warming horns, vintage synth sounds and so on) around a tactile deep house groove, and a deeper, dreamier and especially groovy Dub. After that Diego Strausz and JKriv take over, first re-framing the track as an extra-percussive chuck of acid-speckled nu-disco (their remix), before brilliantly stripping back the cut on their disco instrumental style Dub mix.
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: They might hail from Israel, but much of Rabo & Snob's music is not influenced by Middle Eastern musical culture, but rather the rhythms, vocals and instrumentation of the African continent. The pair continue this approach on their first Razor 'N' Tape outing, with opener 'Yom Yom' cannily combining squelchy synth bass, fizzing electronics and slick Afro-synth drums with Ghanaian vocals and distinctively West African melodic phrasing. Later in the EP you'll also find a more hypnotic, percussion-rich Dub Mix of the same track that's also well worth checking. Elsewhere, 'Have You Seen My Lady' is darker and sleazier, with low-slung bass, creepy chords and warehouse-ready stabs, while the similarly weighty and locked-in 'Adjinu' makes great use of Acid Arab style electronics and a very 'LFO'-esque analogue bassline.
Review: Fresh from dropping a pair of fine fusion EPs with Dele Sosimi on Wah Wah 45s, Medlar returns home to Wolf Music Recordings with his most expansive release since 2013 debut album Sleep. In keeping with his musical evolution since then, Aerial is a thrillingly eclectic, colourful and imaginative affair, with Medlar flitting between the Wally Badarou-on-acid vibes of the undeniably cosmic title track; the acid-fired, cowbell-rich strut of 'Iguanadon'; the percussion-rich Dinosaur L mutations of 'Elephant Bingo'; the downtempo jazz-funk of 'Elv'; the late-night, drum machine driven weirdness of 'Cr78-108'; the '89 NYC garage-meets-New Jack Swing flex of 'Phoenix Lights'; and the slow-motion, bass-heavy Balaearica of 'Sin Prisa'. In a word: ace!
Review: French label Citizens of Vice welcomes the Canary Islands' very own Sauco to the mix with the Sun Goddess EP featuring sleeper hit "Sun Goddess". With the lead track tripping out on flamenco-like guitars, looped disco-machine grooves and balearic synth, it undergoes a funk and ballroom workout in Lanowa's worthy remix. With Rayko dubbing out the guitars, tuning his synths and pumping up the Roland in his Italo-inspired version of "Soulstice", it's the undeniable vamp, build and crescendo of the original within it mega groove that does the trick on us here.
Review: Honey Dijon's first outing of 2021, 'Downtown', sounds like a summer 2021 anthem in the making. A retro-futurist house workout featuring vocals from Annette Bowen and Nikki O (whose lyrics celebrate the joys of dancing to underground music), the edited and extended versions of the track are powered forwards by a heavy and hooky synth bassline and warm electric piano stabs. Honey Dijon's versions come backed with an equally inspired suite of remixes from Masters at Work man Louie Vega. There's a sersiously sunny, glassy-eyed nu-disco-meets-happy house revision (the 'Frisco Disco Dance') and a Mood II Swing style 'Raw Dub Mix' - both of which are available in edited and extended forms. A near perfect package: don't sleep!
Review: He may be a prolific producer, but the standard of Ejeca's releases remains impressively high. His high-quality threshold is clearly apparent on Free From, the Irish producer's latest EP for Kieran Williams' Shall Not Fade imprint. Across the five original cuts showcased on the EP, Ejeca confidently struts between neo-trance/high-octane techno fusion ('Stoke It'), rave-igniting, warehouse-ready stompers ('Faith', 'Free From'), deep and intergalactic electro ('The Basics') and warming, sunrise-ready deep house headiness ('Looksee'). Also worthy of your attention is Cinthie's superb remix of 'Free From', which re-casts it as a late '90s style Chez Damier deep house bumper.
Review: The team behind the Love International festival has joined forces with Apiento's Test Pressing website to launch a new collaborative EP series, LIXTP. To kick things off they've recruited Melbourne's Fantastic Man, a producer who knows much about atmospheric, retro-futurist house flavours. He begins in confident mood with 'Cloud Manager', where echo-laden piano solos and dreamy chords rise above gnarled analogue bass and off-kilter machine drums, before doffing a cap to the era of 'bleep and breaks' on the shuffling, sub-heavy 'Lounge Wizard'. 'Psychic Monthly' is slow, psychedelic and deliciously odd, while 'Tome Apprentice' brilliantly joins the dots between deep electro, acid and shimmering Balearic house.
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: 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: Junior Sanchez may not enjoy quite as high a profile as he did back in the nineties and noughties, but he continues to deliver regular doses of tried-and-tested dancefloor gold. His latest EP - his first for Crosstown Rebels - ticks a lot of boxes, delivering a quartet of cuts tailor-made for big rooms and dark basements. He first joins forces with fellow scene stalwart Todd Terry on 'Live Forever', a slowly building, tactile chunk of celebratory house retro-futurism that's as spine-tingling and rushing as they come, before opting for heavier bass on disco-tinged number 'After Love'. 'My Mind Goes' is an even heavier and more psychedelic late-night bumper, while 'Body Heat' is a wonky techno number full of mind-mangling riffs, warped bass and Switch style beats.
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: In recent times, Tim Green has specialised in immersive, melodic and slowly-building dancefloor epics that are as emotive and mood-enhancing as they are infectious and floor-focused. This EP for All Day I Dream is similarly-minded, with epic title track 'Moss' building via waves of sparkling, sun-soaked electronics and smooth grooves, before dropping into a deliciously hazy, dubbed-out breakdown. Once the main groove kicks in again, you'll be giddily reaching for the lasers. Elsewhere, Green's remix of Swoof's 'Tidal' is a gentle, swelling dancefloor treat and 'Coriolis' sounds like Orbital's 'Belfast' for the tech-house generation. Given the timeless quality of the Hartnoll brothers' track, that's a big compliment.
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: No prizes for working out what's going on here - the clue's in the EP title! First released in 2010, 'Beam Me Up' from NYC collective Midnight Magic is a mid-paced disco/boogie groover with a female vocal that suggests something of a Grace Jones fixation. As for the remixes, Theo Kottis pays homage to the Italo-house sound of late 80s/early 90s Ibiza, Perel takes us into stripped 'n' sleazy Berlin-ish territory and Krystal Klear's rub has an epic, big room feel, while Benjamin Frolich gives the track a much housier makeover. Each of the mixes will find its fans for sure, but Perel and Frohlich lead the charge to these ears.
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: 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: 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: Having previously impressed via must-check singles on Deeply Rooted and Wolf Music, Marina Trench has now joined Dam Swindle's Heist Recordings family. There's much to set the pulse a-flutter on her first EP for the Dutch imprint, from the tipsy electronic motifs, pots-and-pans deep house percussion and squelchy bass of opener 'Sunrise', to the touchy-feely early morning bliss of similarly inclined (and every bit as attractive) closing cut 'Wake Up'. Sandwiched in between you'll find the organ and trumpet-laden deep house bounce of 'Carry On' and the loved-up classic house vibes of 'Over There'.
Review: Stuck at home with nothing to do for days, starved of culture and community? Now you know how Bjorn Torske felt in the Tromso of the late 80s, writes Hell Yeah. Bjorn Torske, a legend to come out of the enigmatic Norwegian disco scene, and now Hell Yeah Recordings main selector, has been called upon to captain a flight through Hell Yeah Recordings impressive discography. With cassettes of the mixtape already sold out, this digital version - with stand alone tracks - brings together sounds of label mates like Alexander Robotnic, Max Essa, Luminodisco and the much loved Gigi Masin & Templehof collaboration. Gliding from Calm's celestial "Space Is My Place" to Crimea X's piano-driven "10PM", housier Lauer remixes or Prins Thomas Diskomiks, Torske makes himself known by threading some his own own edits (and kleggsommer dubs) to complete a fantastic voyage through the Italian label. Hell Yeah!
Review: The first release from Belarussian producer Iner's Dobro label contained a wealth of high-class deep house treats from an expansive cast of international artists. This sequel follows on along similar lines, with Iner choosing to showcase six sizzling tracks from a variety of rising stars and established. Spanish producer Hurlee kicks things off via the atmospheric and musically detailed deep house jazziness of 'Pel Meu Per Tu', before Igor Gonya wraps jazzy old soul snippets around a bustling beat on 'Mess In The Head'. Sun-kissed, electric piano-laden carnival house flavours are the order of the day on Cosmocomics' 'Surf and Smoothie', while MuteNoise and Jeff The Fool both make merry with samples lifted from classic disco-funk jams. Will Sonic successfully rounds things off with a classic-sounding deep house pumper with bags of energy ('Musica Melodica').
Review: Some excellent all-star action here, as Amberoom (AKA Manuel Tur and Adrian Hoffman) join forces with scene stalwart Blakkat and LA artist Babygirl for a first joint single on Crosstown Rebels. In its' original form, 'Forces of Nature' is attractive and intoxicating in original measure, with soulful lead vocals riding bubbly synthesizer lines, undulating synth-bass and a stripped-back rhythm track. The headline remixes come from Radio Slave, who delivers two 'New Age of Love' reworks. The first is dreamy and loved-up, delivering a 21st century update on the funky breakbeat house sound of the early '90s, while the second is a hip-hop tempo take that's every bit as alluring. To complete the EP, Blakkat and Lucas Forta re-invent 'Forces of Nature' as a deep, Latin-tinged chunk of jazz-house hedonism.
Review: If proof was needed that the term 'deep house' now encompasses a much wider range of sounds and styles than it once did, just compare this latest 'Paper Cuts' installment to any volume in Paper's seminal late 90s 'Splinter' series... we have, indeed, come a long way baby, and the more traditionally minded might argue that much of what's here would sit better under the umbrellas marked Balearica or leftfield electronica. But 'Paper Cuts #5' certainly makes for a varied and engaging listen, with standouts including Mordisco's strutty, punk-funkish 'Musica De Baile', the warped funk of Minus The Majors' 'Peanut Dust' and Neon Transmission's rave-basslined, pop-vocalled 'Driving Me Crazy'.
Review: For those without an extensive knowledge of jazz around the world, Ulf Kleiner is a German pianist who used to produce nu-jazz and deep house as Perry Colo. Under that alias, he collaborated with veteran German house producer Ian Pooley in 2019; here, Pooley offers up his dancefloor-focused takes on a dusty piano-jazz cut from Kleiner's back catalogue, 'Tubes Grande'. You can hear the gentle, shuffling original at the end of the EP, alongside an 'Analogue Piano Dub' that sounds like live jazz-house. The headline attractions are undoubtedly Pooley's revisions though. He adds snippets of Kleiner's piano to a surging beat, warehouse-ready deep house stabs and a rubbery synth bassline on his main remix, before opting for a deeper, dreamier sound on the equally impressive Dub mix.
Review: Back in 2018, Klasse Wrecks main man Luca Lozano made his bow on Running Back with Boss Moves, an album-length excursion full of sweaty, revivalist rave workouts. This belated follow-up is a little more nuanced and eclectic musically, but it remains full of audible references to the music of the Sheffield-raised, Berlin-based producer's youth. Along the way, you'll find deep and immersive, ambient techno-influenced breakbeat, hip-house/mid-90s US garage fusion, acid-fired dancefloor psychedelia, vibrant synth sounds and tons of Lozano's beloved Yorkshire bleeps. There's plenty of club-ready fodder across the set, of course, but there's enough melody, variation and atmosphere to make it an album (whether they're calling it that or not) that also sounds great at home.
Review: Sol Selectas' first Global Entry compilation, which hit stores earlier in 2021, was a fine collection of deep, dreamy and otherworldly music with a distinctly psychedelic slant. This follow-up is similarly mind-altering in tone, initially flitting between stripped-back throb-jobs (Sabo's 'Togi Trip' and Timboletti's decidedly druggy - if cowbell-sporting - 'About Frogs and Birds'), creepy nu-disco chug (Be Svendson), feverish world music/deep house fusion (Hot Oasis), languid deep house warmth (Paax). As the collection progresses, the beats get marginally bolder and the basslines weightier, with further nods towards hypnotic tech-house, trance-inducing late-90s ambient techno workouts and percussion-laden dancefloor tropicana.
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: After cutting his teeth on Shir Khan's Exploited imprint, Enduro Disco pops up on Tensnake's True Romance label with a highly creditable two-track missive. There's much to admire about opener (and title track) 'Bomb D'Amour', a gently bouncy number in which cut-glass strings and colourful synthesizer riffs dance atop a warm, jazzy bassline and loose-limbed disco-house drums. He flips the script on 'Petit Ami', basing the action around a dominant analogue bassline, warming pads, sparkling disco guitars and snappy, snare-heavy house drums. Like its' virtual A-side companion, the track gets just the right balance between nu-disco colour and weighty, club-ready house.
Review: The latest missive on Full Pupp's digital-only Ekspress sub-label comes courtesy of relative newcomer Fjeldheim, a Denmark-based Norwegian producer making his debut for Prins Thomas's long-serving Scandi-dance imprint. The headline attraction is definitely title track 'So & Such', a fantastically infectious chunk of kaleidoscopic, retro-futurist house in which sparkling synth lines and woozy electronics ride an old-time Chicago house bassline and snappy drums. Prins Thomas naturally does a terrific job on his epic accompanying remix, a more acid-laced affair that gradually builds towards a colourful, rush-inducing conclusion. Bonus cut 'Parisian', a melodious mixture of vintage deep synth-pop motifs and booming synth-bass, is also rather good.
Review: Bucharest-based Victhor previously won plaudits for his collaborative EP on All Day I Dream. This TRYBESof label debut also includes some collaborative cuts, namely vocal and dub versions of 'Luna', an attractive fusion of rising and falling electronic melodies, attractive synthesizer sounds, steel pan style motifs and rolling, thickset tech-house grooves. Both are impressive and in-keeping with Victhor's trademark sound, but it's opener 'Al Oud' that really set our pulse racing. Piled high with exotic vocalisations, faintly foreboding chords, rubbery tech-house grooves and Middle Eastern/North African instrumentation, it's the most impressive Arabic house excursion we've heard for some time.
Review: Respected mix engineer, live act and producer Hannes Bieger returns to Poker Flat to follow up 2019's "Chemistry", bringing two stunning new tracks to the surface on The Heart EP. The title track features the unmistakable vocals of Philadelphia-based poet, activist and vocalist Ursula Rucker. Her powerful words at the forefront, supported by a deep and mesmerising arrangement that makes for perfect mood music. Second offering "Santorin" sees Bieger inject more dancefloor dynamics into proceedings on this hypnotic tech house groove. This one is just perfect for those heads down moments in the club on Sunday morning.
Review: 'City Lights' was one of the standout cuts from Cinthie Christl's 2020 debut album Skylines - City Lights, so it's no surprise to see it appear as a single with a swathe of brand-new mixes. The original version, which kicks off the EP, is little less than a synthesizer symphony, with rising synth-strings dancing atop a mid-80s, arpeggio-style synth-pop bassline and Please-era Pet Shop Boys beats. Gerd Janson utilises many of these elements on his Tuff City Kids style Italo-disco rework, before Damino von Eckert re-frames it as a melodious chunk of synth-heavy techno warmth. Perhaps best of all though is the Wanderist remix, which brilliantly re-imagines the track as a bustling slab of deep space electro with a Kraftwerkian twist.
Review: One of the main selling points of Athlete Whippet's first Toy Tonics outing is the pair's distinctive trademark sound, which combines elements of Berlin deep house/tech house with interestingly programmed beats and heaps of UK jazz-funk/jazz fusion instrumentation. For proof, check out the two collaborations with vocalist Aphty Khea, the deep, bouncy and soul-soaked 'Yesterday' and the dreamy broken beat/Balearic boogie fusion of 'Can't Make My Mind Up'. Elsewhere, title track 'Vesta' brilliantly joins the dots between kaleidoscopic synth-funk, driving dub disco and fluid deep house, while 'Fanfa' is a heavily percussive deep broken beat number with a strong Brazilian flavour. In a word: superb.