DJS: MOST CHARTED - MINIMAL / TECH - MOST CHARTED IN NOVEMBER 2013

Review: So far in 2013 Mr G's Phoenix G label has proved a healthy outlet for his unstoppable flow of new music and some timely represses. The VFM EP belongs in the former category and ably demonstrates Colin McBean's masterful understanding of no nonsense club tracks. Despite their stripped back nature, there's something inherently distinct to each of the four impeccably produced tracks here; the warbling diva stuck deep in the machinery of "Let Down (Badly)" will remain in many memories long after it's dropped in a club for example. "Getting There... Detroit" seems quite simple on the surface, gradually revealing it's numerous elements but it's done with real skill and is a worthy DJ tool along with the basement primed "Mangos In Season".

Review: After the storming success of the Sushitech reissues of classic Mosaic and other O'Sullivan material, the label turns to a host of artists to deliver respectful reinterpretations of the timeless dub techno material for this fulsome double pack. Delano Smith kicks things off with a stripped down ride through "Where's Burt?", while Mike Huckaby gets heavy on the bongo thrum when he tackles "Moving Forward". Thor gets a slender funk on when he takes on "Where's Burt?", but it's positively chunky compared to the minimal tones of Rhauder tackling "Don't Rush The Dub". That leaves it to Exos to reduce "Stripped" down even further into atomised dub matter of the finest standard.

Review: Detroit master of Technosoul Eddie Fowlkes shows us that he can still surprise us with his original beats. Influenced by soul music, in love with dance music, this powerful track is a perfect combination of his inspirations. And it really makes you want to dance and feel the music go into your ears until "Something E special" gets stuck in your head for good. Bringing you catchy lyrics, vibrant beats and a great kick. Who else than the legendary Eddie Fowlkes can declare war on dance music? Well, not me. The only thing to do is to follow the hypnotizing beats and sounds of this track and let our bodies go crazy. And when the backbeats hit us, it transports us to a new level where we definitely join Mr Fowlkes on his trip to become his allies.

Review: The sorely missed talent of Spencer Kincy left many an overlooked gem in his wake, most of which has been slowly getting re-released over time since he left the music business. This EP previously appeared on Classic shortly before he stepped out of the fray and its not hard to hear the signs in the playful lyrics of the title track, but throughout the EP is the evidence of what a gifted house artist he really was. From the playful, bubbly bounce of the lead track to the heads down low end trip "A Taste", this is as strong a selection of house cuts as you're likely to hear all year.

Review: * REPRESS * After his welcome return to the long-player format for Crosstown Rebels in the shape of Her Blurry Pictures, three of Mathew Jonson's creations from the record have been given over to a fine selection of remixers to bring their own interpretations to bear on the plush electronic soul the Canadian champ peddles. Dixon makes for a snug fit on "Level 7", simmering the original down without losing any of the celestial magic of those trademark Jonson synths. Tale Of Us bring a live, skippy feel to "Kissing Your Eyes" with some hands-on drums and warbling keys a plenty. Akufen meanwhile seems to be reaching more towards his Horror Inc project as he muses on "Body In Motion" in a low-slung, jazz-inflected style with a healthy dose of micro shuffle thrown in for good measure

Review: Luke Slater's ever-vital LB Dub Corp alias makes a welcome return to Ostgut-Ton with its blend of catchier house dynamics and flamboyant motifs ahead of a soon to drop LP. In the case of "Turner's House" it's the catchiness of the lead synth that grabs you straight away, hopping as it does around a peppy scale as the drums playfully jack between different patterns. "Nearly Africa Dub" is a more subtle affair, reducing the rhythmic sparks down to a linear thrum and feeding the bass line in and out like a particularly teasing bait for the track. Finishing with the most daring track of the lot, "I Have A Dream" gives a vast cushion of organ swells and dubbed out broken techno to Benjamin Zephaniah to pontificate on modern culture in a wry and dry tone.

Review: It's been a rapid rise for Will Azada, the Tennessee-based producer who first emerged on his own Proper Trax imprint and makes an anticipated move to Hypercolour to deliver this righteous three tracker of rave-tinged bangers. "Mysterious White Powder" shows no shame in busting out the classic rave chord stabs and rolling breaks, capping it off with some modern production panache to make a guaranteed floor smasher. "Let's Get Tight" takes a more moody techno stance but still ensures the message comes through loud and clear with a chunky lead synth. There's a deeper alchemy at work on the snappily titled "A Night In The Life Of Mr Dirtbag McDiscopants", finding a cosy house groove peppered with woozy melodics, but there's still room for some "Can You Feel It"-esque synth stabs to sneak into the track.

Review: Baby Ford and Zip need little introduction and debut on Trelik as "BFZ" featuring co-conspiritor Thomas Melchior. The trio originally appeared on the 1999 "Perlondon" 12" for Perlon with Ford and Zip re-uniting for the "Glidin' Along The Riverbed" release then 2010's "Clean Hands" on PAL SL. Thomas Melchior recently appearing on [a:rpia:r] and his own Aspect Music kicks off the 12" with a floor friendly up-beat 9 minute "Melchior Productions LTD" edit remix of "Uff". An "Uffapella" closes the A-side featuring abstract sound design and textured vocals. Side-B's "So They Say" creates a feeling of space and unhurried rhythmatics whilst the title track "Uff" combines deep instrumentals, chord and haunting vox with subtle bass and modulating kick. Recorded in London and Berlin. Mastered at D & M.

Review: If there's one lady who knows how to lay down a slick and slender tech-house jam it's Dana Ruh, having put in some serious releases for the likes of Cocoon, Buzzin Fly, Ostgut Ton and Einmaliens, but that's not even considering her own mighty Brouqade imprint. Here she returns to her label flying solo after linking up with Anthea for a joint release, and she's on deadly form. There's a swinging soul at the heart of "Mawan", while the seductive vocal chops and edgy key hooks keep you locked even when the track seems to take an eternity to drop. Fred P is more direct with his remix, working his ethereal pads around a pronounced and funky beat slightly out of step with the producer's normal work. Ruh is back in the driving seat for "Blue Moon" which piles the drums on while the synth lines burrow into the subconscious.

Review: Pitting previously overlooked jams against the artists that first supported them in the dance is an inspired move, and so its no surprise that the Hell Yeah posse struck gold with these two remix commissions. Justin Vandervolgen has a whale of a time playing with Alexander Robotnick's "Undicidisco" track, maximizing on the warm and quirky melodic attributes of the Italian stallion and pushing the cut into ever more effervescent territory. Doc Martin meanwhile brings a sweaty clamour to Florian Meindl's "Flashmob" which results in delirious basslines, feverish vocal processing and some nasty synth rubs all placed with deadly accuracy to set the place on fire.

Review: Staying true to his roots in the most slender of minimal grooves, Daze Maxim makes for the third release on Randform after turns from Heib and Cabanne, and the results are just as impressive. There's no escaping the insistent shuffle of "DRF 1" with its impeccable attention to detail, but more impressive is how much it comes on like classic house music without any of the unnecessary noise. The bass sounds in just the right part the groove, the hats shake with funk and the hypnotism that results is a given. On "DRF 2" there is a greater sense of urgency, with more prominent drum sounds and a quicker tempo, but really the same tripped-out trick is in effect and it really works.

Review: Autoreply do the record buying public a favour and give Baby Ford's Tin Of Worms 12" another repress, this time on yellow wax. Baby Ford has been making electronic music since the late 1980s and is regarded by most as one of the key players in the nascent UK acid house scene. His entry into the Autoreply stable is a classy, versatile two tracker. The title track showcases crisp, tight linear drum programming - with ribcage shaking sub bass and supernatural synths which undulate over its eight minute cycle, displaying the original principles of minimal techno alongside forward thinking sound design. On the flip you'll find "Westway", originally recorded on Ford's now defunct hardware set up and mastered from DAT. This track conjours images of smoky late night jazz clubs with its smooth piano chords and strings that seem to float in an out of the mix- set starter, nightclub techno lesson, afterparty showpiece; the choice is yours...

Review: Like Father, Like Son sees Big Strick and his prodigious son Generation Next team up for a split 12" showcasing this pair of criminally underappreciated Detroit producers. "Rain Dance" sees the elder of the two deliver a deep techno journey filled with abstracted textures and organic chimes that sound, while the young Generation Next shows a remarkable maturity beyond his years on "And You Too", where sparse, subtle chords and the simplest of melodies drift by on a light rhythm. On "Like Father, Like Son" the two pair up for the most gently uplifting of deep piano jams. Just like pretty much everything on 7 Days Entertainment, this is some nigh on essential material.

Review: One of Ripperton's many guises surfaces on Dutch imprint Tamed Musiq, having already done the business for Royal Oak and Sthlmaudio in the past. This EP represents the strongest qualities in the artist's repertoire, using a moody choice of melodic content and laying the beats down with poise. There are echoes of minimal in the softly, softly approach of "Out", not least when the groove finds its funk with just the right hat, but the synths alone make this an inviting track to get immersed in. "Africa" comes on all wistful and dreamy, but there's enough meat in the bassline and detail in the percussion to keep the mind locked in. "Roller" is more extrovert with its vocal hook and bare bones rhythm, making for the party oriented offering on a highly recommended release.

Review: Having scored releases on a staggering amount of top-shelf European house and techno labels, Och makes his second visit to Systematic to follow up on the Force Mass Control EP that he dropped in the not too distant past. This instalment finds the producer in fine fettle as he delves into his measured and atmospheric take on pristine house and techno. While the drums may sound a little raunchy on "Soul Burner" the haunting chord swells and poignant vocal hook add plenty of mystery to balance the track out. "Starts From Now" opts for a more concise kind of deep house, all elegiac pads and rock solid swinging groove.

Review: Noble Square, responsible for a healthy amount of Ricardo Miranda's output, now pits the Chicago producer alongside Italian upstarts Life's Track and a new project of his own, Defend:r with Yonurican. Life's Track's "Rhythm Composer" is a lurid animal, all damaged synth wails that switch between foul-tempered acid and starry-eyed strings, while the beat spits and snarls in the most purposeful of lo-fi productions. Between them Defend:r manage a more restrained approach, taking the same route through old-school equipment but creating a moody acid piece instead of a manic techno system shock. Miranda on his own cooks up a spread of tools from his array of machines, appealing to the more tricksy spinners out there.

Review: As PERL100 rolls ever closer we are beginning to wonder if Perlon founders Zip and Markus Nikolai have realised the design job involved when it comes to the centre labels. Regardless PERL96 is here and hooray it's some all new material from the Half Hawaii pairing of Sammy Dee and Bruno Pronsato. Both very much a part of the Berlin scene, All Over finds Sammy and Bruno revisit a project responsible for a couple of memorable 12"s (including Into You in 2007) and plenty of live performances. Last seen on Perlon with a contribution to the label's 2010 compilation Superlongevityfive, Half Hawaii's strengths are on full display here with both the title track and "NYC Town Car" notable for the abstracted weirdness of Pronsato's textural input and the finely sculpted beats of Sammy Dee. Proper Perlon tackle.