This Week

Review: There's no doubting that Idris Muhammad's "Could Heaven Ever Be Like This" is a stone-cold classic; a sparkling, heavenly chunk of dreamy, disco-era jazz-funk that's capable of reducing grown men and women to tears when played at the right time. Some could argue that it's so good that it shouldn't be tampered with. Late Nite Tuff Guy, a producer who previous for reworking classic cuts, clearly disagrees, because he's delivered a fresh 2018 revision. His version is actually rather reverential, subtly beefing up the bottom end to provide a little more a rolling disco feel while adding some easy-to-mix beats at the beginning. Otherwise, he's made use of all the key original instrumentation and should be applauded for his tasteful efforts.

Review: Eight TK classics unwrapped and regifted by some of the best in the disco game... Danny Krivit, Todd Terje, Norman Jay, Kon, Late Nite Tuff Guy and Dimitri From Paris all play killer roles in this stunning compendium of edits. Everything you could ever need for a super-sweet shindig from the instant sing-along spankage of Jimmy Bo Horne to the wah wah wriggles and giggles of T-Connection by way of Gwen McCrae's locomotion soul power, this really is an impressive piece of work.

Review: Mandar are back on Oscillat Music following their stunning five-disc LP from last year, and the deep house super group are sounding as vital as ever. "String Theory" holds court over the A side and promises to be the soundtrack to many a heart-stirring moment under starry skies this summer. The titular strings are a powerful force in this track, bringing a classy brand of emotion to the slinky dancefloor tones Mandar are best known for. "Poisoned Worlds" is a deeper club cut that places the emphasis on crafty drum science for after hours crew, providing a neat balance to the show-stopping tones of the A side.

Review: Berlin-based Korean Peggy Gou has been surprisingly quiet since first bursting onto the scene back in 2016. Here, she returns to action having graduated from Technicolour to parent label Ninja Tune. Many may already have heard EP standout "It Makes You Forget (Itgehane)", a percussively ambidextrous beast based around a bouncy, off-skilter, snare-heavy rhythm track. It has been much discussed online after Gou included it her recent Resident Advisor podcast. On the B-side you'll find tracks representative of her developing style, which draws together elements of European deep house, electro, early '90s U.S house, the rubbery disco eccentricity of Maurice Fulton and the instinctive polyrhythms more often found in traditional African music.

Review: Sideway Invisibility Theory are already well versed in the Romanian minimal scene both individually and as a duo - on top of their releases on Do Easy and Amphia, Cristi Cons and Vlad Caia represent two of the most prolific operators in the second wave of Bucharest-based dance music. With a mammoth wedge of music delivered to Sushitech in the form of two double packs entitled Invisibility Chapter I & II, this single serves as a pint-sized distillation of those records for the DJs with less time on their hands. "Alternate" is right at home on Sushitech, all elegant beat programming and huge, billowing clouds of dub chord. Label regular Steve O' Sullivan is right at home on such smoky ground, although his remix on the B-side blows the vapour away to deliver a tightly woven tool for the heads down crowd.

Review: Discos Capablanca dig into the undergrowth of German acid culture to unearth ADSX, otherwise known as Andre Fischer. An electronic music lifer since the 80s in Frankfurt, Fischer has avoided the limelight but been involved in all manner of movements. His ADSX (or Audiosex) alias was responsible for some serious acid heat back in the 90s, and it's revived here alongside former Tresor and Snax DJ Hanoben. "Phone Sex" is a dense and trippy freakout, while "Acid Sex" takes a lean and mean approach with the 303 front and centre. On the B side, resurgent Detroit champion Sharif Laffrey gets busy with a remix of "Scream" that stretches out over 12 minutes in his usual heavy-loaded, feverish and utterly on-point style.

Review: Since launching last year, the Act of Sedition label has specialized in releasing "double-pack" gatefold 7" singles - a format rarely seen outside of indie-rock circles (and even then, it's hardly commonplace). Naturally, this third missive is another double-disc affair, stretching four tasty reworks across a pair of dinky discs.

Review: South African bubblegum soul queen Ntombi enjoys a timely spotlight session as Afrosynth look back over her short-lived career and pick some of the highlights from each album she blessed us with. Leading from the front with the cult classic "Tomorrow" we're treated to highlights such as the proto tropical house harmonies and layers of "I've Got A Friend", the shinier house-focused workout "In My Mind" and a disco dancehall shaker "Mina Ngilijaji". Tomorrow is a day that never comes... Don't sleep.

Review: Powerpill promises nothing but good times from an unknown source, from the day glo label art to the playful, upfront techno cut into the wax. This is no nonsense club stuff, leading in with the chirpy acid strut of "Track 1" before getting tangled up in the modulating electro lines of "Track 2". "Track 3" has a more overtly 90s vibe to it, calling to mind the early UK techno scene in its bleeping leads and dubby undercurrents. "Track 4" finishes the record off with the toughest jam of the lot, but it's still a nimble affair that shuns the trend towards pitch-black techno and instead embraces a spread of melodic threads throughout the track.

Review: The latest transmission from Botanic Minds comes courtesy of an unnamed producer, although whoever they are they clearly understand the innate minimal funk of the label. "Track001A" shuffles with the kind of subdued seduction that Botanic Minds has made its name on thus far, while "Track001B" follows suit with another surefire bomb for the late night / early morning rollers who want their groove to last forever. Rising producer Lizz brings a different kind of energy with the remix of "Track002A," injecting some warm melodic instrumentation samples into the mix to create a positively sunny atmosphere. Barut makes a first appearance on a remix of "Track002B," again flipping the script with a throbbing acid approach that contrast smoothly with the sleek minimalisms of the original tracks.

Review: Markus Guentner's story continues where his last album, 'Theia' left off with another set of epic atmospheres and brave new worlds. This time Markus enlists the skills of harpist; Tom Moth, cellist; Julia Kent and fellow ambient storyteller; bvdub to complete the journey.

From fiery remnants, a universal rhythm emerged.
An ebb and flow of force and fate,
creating worlds within worlds,
forever connected by an infinite empire.

Markus Guentner's 2015 album, 'Theia' took us back to the mythological impact that birthed the Earth's moon. The creation of the galaxy as we know it today was being born and more specifically, the eventual rise of the human species followed. This is where Empire takes its cue, continuing the story and portraying the connection and many interactions between the Earth, the Universe and the mystifying forces amongst them.

Be it physical, scientific or mythological, Empire draws on the ebb and flow relationship the Earth has with the deeper, unknown space around us. Markus dives into sometimes sinister, but always majestic territories with his unique manipulation of looping drones, textures and gradual atmospheres. The album and its planned progression, combine back-and-forth chapters between Markus' own productions and collaborations, representing the different perspectives between the unknown worlds.

Beginning 'Offworld', in a dark and distant, swirling ambient chasm, Empire then moves into manipulating shards of light, with Canadian cellist Julia Kent adding a stirring yet poignant element to the growing void.

Icelandic for "hiding", 'Fura' finds us back in the emptiness, but this time with a sense of hope as fluorescent molecules - future stars - gather and birth new worlds. A return to terra firma, and slow-motion grass moves all around you - a future mirage depicting a new vision of beauty that's yet to be formed, brought to you alongside fellow master of emotive ambient, bvdub.

The dream is cut short and you then find yourself in the void of 'Nun' - the God of Egyptian Mythology - as echoes of man and cities once alive, are drowned out by an ever-present mysterious force and a subtle, alien static. All is not dark however, as harpist Tom Moth (Florence and the Machine) brings a shimmering, angelic shine, as you witness the growing energy and birth of the sun - the leader, life, and power amongst the Empire.

Its birth; the 'New World Order', closing with a slow churning, atmospheric piece that is both complex and elemental, gracious and sinister, dark, yet in many ways hopeful for all that remains.This is the Empire as we know it today.

Empire will be available on marbled transparent orange and black vinyl (including digital download) and digital formats on June 11th 2018.

Review: Another fully stacked sampler from Guesthouse Music's All-Star line-up. A selection of #1 tracks from Sidney Charles, Bad Boy Bill, Ricardo Volilobe, J Paul Getto, Rubb Soundsystem. You'll find a little something for everyone on Super Secret Squirrel Tracks Vol. 5.

Review: REPRESS ALERT: Doublet is the production moniker of friends and musical partners Tomoki Tamura and Tuccillo, previously releasing together on other labels, they have come together to form the new eponymously named Doublet imprint as a channel for their own music. Tomoki and his Holic Trax label have long been serving up solid house music whilst Tuccillo has conjured up numerous Beatport chart toppers on labels like 2020Vision, Visionquest and Holic Trax. Here their unique style brings you back from classic house music to future minimalism and is sure to fill you with joy. Up first is the title track, a charming house shuffler with woozy synths, light footed percussion and skipping rhythms that give an off kilter and deep dancefloor vibe. 'Brother Other' is a slightly more physical affair with lumpy beats, tense synth crescendos and stiff snares that really encourage you to shake your limbs. Lastly, 'Buri Planet' is a deep and sensual number with clever vocals samples adding an element of pained soul, rubbery bass bringing warmth and golden synths and acid squelches building yet more character. This is accomplished, alive sounding house music that really does sound fresh. Doublet, then, is already off to a winning start. Vinyl Only.

Review: Publicity-shy Parisian Pepe Bradock is more than worthy of his cult status. Even so, it would be nice of him to give a bit of warning when he's about to drop a new 12". Exodus 8, his first outing of 2018, pretty much turned up with no prior warning. A-side "Is This Really A Party?" is, somewhat surprisingly, a much more straight-forward dancefloor track than we've come to expect. Although there are plenty of weird jazz samples and straight noises, the sludgy, bass-heavy rhythm track tips a wink to his lauded, turn-of-the-millennium deep house workouts. Flipside "Grandgousier" boasts some seriously snappy and bumping beats, with the eccentric French producer smothering it in more quirky electronics, delay-laden, barely audible vocal samples and trippy effects.

Review: According to the accompanying press release, Magnetic Man member Artwork (AKA early dubstep pioneer Arthur Smith) spent three years trying to clear the vocal samples used on this EP. While many would have given up trying, Smith persisted - and eventually got agreements from all concerned - due to the fantastic response the track has been getting from DJ plays. Certainly, the track is something of a beast: a full-throttle TB-303 acid assault that not only boasts seriously mind-altering electronic hooks, but also some seriously sassy vocal snippets and a fantastic breakdown/drop combination. Equally as impressive is flipside "Acid Lines", whose familiar, echo-laden vocal refrain is probably the one that caused his lawyers most headaches. Naturally, it acts as the wiggly acid tune's main hook.

Review: Since serving up a tasty debut album back in 2011, Magic In Threes has provided sporadic dose of funk-fuelled delight that variously draws influence from jazz-funk and soul. The three original tracks included on the combo's first Razor 'N' Tape reserve appearance fit this formula, layering up live horns, guitars and drums with loose and heavy results. Title track "Work Tapes" is a Blaxpolitation funk affair with subtle disco flavours, "Come On Down" is an Isaac Hayes style orchestrated disco-funk roller, and the superbly summery "Chupa Cabra" sounds like it could have been made in Brazil around 1979. All three tracks are given the remix treatment, with Patchworks' Afrobeat revision of "Work Tapes" and Fouk's hybrid jazz-funk/disco-house version of "Chupa Cabra" standing out.

Review: Straight off the heat of his last ambitious collaborative opus Starring XVIII, Louie Vega returns with a remarkable disco album in collaboration with Nervous founder Michael Weiss. Inspired by the influential legacy of Sam Records, the album pays homage to the late 70s melting pot with originals, remakes and star appearances from the likes of Luther Vandross. Part 1 runs the gospel gamut with rich feelgood moments such as the First Choice cover "Love Having You Around" and the naughty undertones of Vandross's most upbeat cut in decades "Get Myself Together" and plenty more. And this is only the half of the story. Yet another unique, masterful body of work.

Review: It would be fair to say that Young Pulse has been one of GAMM's most reliable re-editors of recent years. It's now almost four years since he made his debut and in that time he's released a quartet of must-have EPs of disco-fied, soul-fired reworks. Volume five contains just two tracks, but both are - somewhat predictably - very good. A-side "Strong Survive" is a veritable peak-time disco stomper, where punchy horns, soaring orchestration and guttural soul vocals are underpinned by a rambunctious disco-house groove. "Dreaming" sees our Parisian hero stretching out a killer SAM Records cut, making more of the seductive chorus vocals and mazy, jammed-out synth solos.

Review: The first of two major Infinity licences from AOTN this month, this is a significant excavation even by renowned digger label founder Fryer's standards. Usually seen passing hands for well over L500, this second and last single from the relatively unknown troupe Infinity is a stone cold jam that's been sought after for many many years. Absolute rare groove sleaze on the bass and horns, "Queen Of My Universe" sparkles with soul in every element. Meanwhile "Up" strips things back even further with an uptempo disco twang and tight Q&A vocal play between the band. Infinite love for this one!

Review: It's fair to say that Maurice's McGee's "Do I Do" is something of an Italo-disco classic. It was initially released back in 1983 on Full Time Records, and featured the man himself - seemingly an invented alias for a local Genova singer recruited by the prolific Studio G production team - telling a tale of missed parties and late night opportunities over a backing track that sits somewhere between the all-arpeggio grooves of Italian disco and the slick, synth-heavy warmth of '83 New York boogie. On this timely reissue, the extended vocal version (remastered to sound extra loud) is accompanied by the arguably superior Instrumental take, which wisely highlights clipped disco guitars and the superb, synth-heavy groove.

Review: Well Street have been mightily impressive with their first two releases, presenting relatively unknown artists exploring some fertile liminal zones between deep techno, broken beat, ambient and many other shards of on point electronic music. Robert Fleck is now drafted in for the third release, making a debut appearance with a sound that further shapes out the vision of the label. "Echo Chamber" unsurprisingly deals in dubby textures, taking classic dub techno chords and matching them with delicate, crafty percussive flex outs. "Set Point" follows a similar path, but with a more delineated 4/4 backbone to the track that emphasies Fleck's techno tendencies. "Soft Focus" heads in a more UK-minded direction, using ample space and snagging beats with poised touches of Reese-ish sub bass without ever over-cooking the broth. Gasometric Run then comes on board to remix "Soft Focus," channeling Rhythm & Sound loud and proud to create a wonderful slice of ambient dub techno.

Review: Part two of Louie Vega's latest authentic adventure; what began as a remix project on a series of Sam Records classics quickly became a brand new artist album with Louie and Nervous boss (and son of Sam Records founder Sam Weiss) Michael Weiss orchestrating some of the finest remakes and originals imaginable. Following the Luther Vandross-featured first part comes this exceptional sophomore packing highlights such as Louie and wife Anane's sultry cover of Indeep's seminal "Last Night A DJ Saved My Life", the insatiable late night energy of "Dancing For Your Love" and the soul melting sultry style of "Love Fantasy". Exceptional to the last disco detail.

Review: Previously caught unwinding psychotropic deep techno on Ethereal Sound, Modernista and more, Yuri Shulgin now comes to Cocktail D'Amore with the kind of discoid acid sound the label loves so dearly. "Animal Planet" is a fine case in point, laying the psychedelic touches on thick and taking a bold approach to composition without losing his grip on the punchy acid bassline. "Boogie Space" is a boxy workout, while "Walking" brings some limber instrumentation into the mix in line with the title track. "Dubby Body" is another off-kilter tool for adventurous DJs, and then "Recordtake (Sktech)" finishes the EP on a weird and wonderful free jazz boogie tip.

Review: Destination 78/79: Expansion take us deep into the illustrious back cat of revered boogaloo fusionist Willie Bobo for two of his many fiery delights. Side A is his feel-heavy cult instrumental take on Ronnie Laws' disco classic "Always There" while Side B throws us into the heart of his 1979 album Bobo with gutsy raw soul power (and just a few cheeky funk slap bass twangs for good measure) Two stone cold classics together for the first time on 45.

Review: Best are really reaching for the serious stuff here - Stopp was one of those mythical one hit wonders of the Italo disco era that somehow caught a wave on distant shores. It's not hard to see why "I'm Hungry" was huge with the early Chicago house wave and DJs like Ron Hardy. It's a surefire banger, all daggering arpeggio basslines and romantic, mystical lead lines with a catchy vocal chant line to really set the party off. The "Caramba Mix" is no slouch either, edging in a little more club-ready dynamics for those who need a more beat-oriented ingredient for their proto-house cocktail.

Review: Building on the momentum of the strong reissue programme undertaken at Thule Records HQ, Thor returns to the fray with some new productions that add a new chapter to the story of Icelandic techno. This limited run of Decay appropriately comes on marbled grey vinyl. Of course, the unique atmosphere the label carved out in the 90s has been left intact - the dubby processing and icy melodies abound throughout, creating utterly immersive techno and house variations in the process. "Insanity Dub" has a live feel to its drum set which injects a curious disco energy into the mix, while "Rusty Flashback" takes things in a subtle tech house direction. "Garden Of Corrosion" stands apart with its slender sound palette, placing the emphasis on groove and swing, while "Pepper Jones" ramps the dub techno exploration up to 11. If you love the sound of Thule, you're going to love this.

Review: Ernie Hawks & The Soul Investigators return to Timmion with a pair of brand-new soul scorchers, and this ain't no reissue business. For real. As per usual, the imprint know exactly where to source the very best in the contemporary gear while everyone else is looking to the 70s for that adrenaline rush. As it turns out, this is some marvellously constructed soul music, right from the heart and soul, with "Cold Turkey Last Time" and "Trackin' Down" containing all the elements of fine ballads that are both future-proof and utterly stand-out. Check it and don't wreck it.

Review: George Semper's 1984 album Themes For Television, Sports and Aerobics is one of the most brilliantly bonkers you're ever likely to hear. It featured the veteran jazz-man reach for the most intergalactic-sounding electronic instruments he could find and lay down a series of short, library music style missives that still sound like the product of some kind of demented acid trip. The people behind Dynamite Cuts are obviously fans, because they've decided to stick a small selection of cuts from the hard-to-find album on this tidy 7" single. On the A you'll find the deep space, jazz-fired electro-lounge madness of "Pretty Lady", while the flip boasts two shorter cuts: jazzy synth-scape "Universe" and spacey ambient doodle "Extraterrestrial Search Contact Tones".

Review: Closed Paradise has already amassed a quietly impressive discography, notching up releases on labels including Fina, Better Listen, Kolour LTD and Whiskey Disco. With the Something Else EP, the French producer pops up on Sleazy Mcqueen's Lovedancing label for the very first time. Turn your attention to the hazy-but-sparkling, filter-sporting deep house/disco-house fusion of harp-strumming opener "What Else", before bathing in the lusciously warm and languid deep house waters of "Cindy Goes To The Party" (whose spoken word samples are alternately creepy and inspired). We also recommend the Silver Rider swirling, bass-heavy tweak of "Set It Out" - its a heady late night delight - and have plenty of time for the acid-flecked deep house stomp of Ponchartrain's "Trance" remix of "Dizzy Spell".

Review: 25 years deep and still sounding as timeless and genre-defining as ever, Trax revisit their 2002 package with this highly limited reissue. Complete with the essential emotive Martin Luther King-adorned sermon, Chuck D's house-proud Jack narrative and Robert Owens deep yearning croons, this is the ultimate collection of versions that rise above the millions of copies and bootlegs and blatant rip-offs this track has endured over the years. An essential addition to all collections.

Review: You have to admire Leon Vynehall's ambition. Although he built his career by delivering atmospheric, otherworldly club music, his first set for Ninja Tune is a sprawling, largely ambient - or at the very least hazy and horizontal - concept album inspired by the story of his parents emigrating to New York. Thus, the ten tracks that make up the album - crafted from a combination of field recordings, sound effects, orchestral instrumentation recorded at Konk's studio in New York and his own sublime electronics - were produced and sequenced to tell a story. It's epic stuff, all told, but crucially also incredibly good. It proves, without any shadow of a doubt, that Vynehall is a producer with talent to match his widescreen vision.

Review: The second of two AOTN Infinity 45s, AOTN dish out another superb reissue from the late 70s US seven-piece. Serious funk soul once again; "Party Man" lives up to its name with a thumping groove, slinky slap bass licks and big call and response vocals. Instant feels. "Put Everything In Place" is a little more restrained but still very much party minded with its absurdly lavish bass walks, jaunty piano and delicious Faze-O style falsettos. To Infinity and beyond!

Review: REPRESS ALERT: The unstoppable march of Dan Shake continues apace as he storms Lumberjacks HQ with some of that refined sample-a-delic house music that is fast making him a marquee booking for those who want their party started right. He sounds right at home on "Magic Marcel", throwing down an addictive bass hook and looping up the woozy romanticism of classic disco and filter house into a thoroughly potent brew. "The Bee Won" takes a more urgent approach, reaching towards a kind of jazz funk energy with some tumbling percussion shaken into the mix for good measure. Taking a cooler approach to round the record off, "Wake, Bake & Shake" lets the funk take centre stage and leaves the samples plain as day for that breezy Sunday afternoon feeling.

Review: Alleviated's Larry Heard reissue series has previously brought us the rough and tough acid of Gherkin Jerks and, more recently, the intergalactic downtempo grooves of his largely overlooked Alien LP. Here, they revisit one of Heard's later aliases, Loosefingers, dusting down and reissuing tracks from 2003's Glancing at the Moon EP. All three tracks are deep, warm and melodious in typical Heard fashion, with the title track delivering a sultry blend of wide-eyed chords, darting electronics, Latin-influenced percussion and tactile keys. "Deep Inside" delivers a hazy, sun-kissed take on soulful house - all jazz bass, sensual chords and gentle vocals. Best of all, though, is the tougher, synth-heavy "Lamentation", which rolls along at a near techno-tempo and is blessed with thrilling bleep melodies.

Review: Casey Tucker is on a roll at the moment, and his infectious brand of uplifting, full-fat machine soul seems to have struck a chord in many places (not least via his reissues on For Those That Knoe). After appearing on Love Notes back in 2015, Tucker's back on the label with another salvo of colourful, charming and utterly magnificent house jams shot through with the inventive programming of techno. "Alternative Faction" is many things - a bubbly acid track, a swooning deep house cut and a sassy broken beat affair - and yet feels utterly smooth in its execution. "That Time Of Year" has plenty of Motor City soul feeding into its composition, not least in the gorgeous synth strings, and "New Mission" gets busy in the swing with all kinds of bouncing melodies and rhythms.

Review: REPRESS ALERT: Part Two of the Far East Transcripts series. Hhatri welcomes back more of the house rarities that Soichi Terada & Shinichiro Yokota masterminded in the early 90's.

Review: G&D return to action with label EP number two. There's plenty to set the pulse racing across the four tracks, from the grandiose orchestral disco swirl of "Something", to the Daniele Baldelli-esque throb of "Agua Cosmica", a killer version of a druggy Cosmic club favourite that boasts both heavy dub disco bass and mind-altering synthesizer arpeggio lines. Arguably the pick of the bunch, though, is heavy disco-funk stomping "Spider" with an edit from Volcov, a hearty, groove-based peak-time anthem rich in K.I.D style instrumentation, fantastic slap bass and righteous rock riffs.