Bug Edits Vinyl & CDs

Review: Chicago's Cratebug has supposedly been on the scene since 1983 but only started releasing in the last six years. About time and the results are great. Recently releasing his cheeky edits on Tugboat or KAT, he's now taken to releasing them himself on his own Bug Records. On this release, Chicago Edits, he does some dirty acid house on the A side with "Acid Train", an epic tour de force with synths snarling and squealing all about the place but just wait until that epic horn sound comes in. On the flip is an absolutely killer re edit of Sparks 1979 hit "Beat The Clock", which works those furious steel drums that come rushing in halfway through the original version. Tip!

Review: Chicago-based editor Cratebug has been building serious momentum on imprints such as Persnickety and Grimy. Here we find him in full flavour on his very own imprint. Three edits in total, two of which pay homage to the chop-slapping Chi-town sound best associated with King Boompty Derrick Carter. It's "Yes I Am" that flips the biggest switch: a percussion heavy revision of the Spencer Davis Group it's an all-out rocker that guarantees incredible dancefloor reactions. Caught the bug yet?

Review: Proper Chicago business: David Macias (AKA Cratebug) delivers two more unique jams that come on strong, belying any simple edit categorisation. "Mainline" is all jack and no trousers as it hammers the groove home in such a hard way it could make Derrick Carter blush. "Pipeline" is a more subversive piece of work as the Bugster dices up a conga and rebuilds it with a sprinkle of Chi-Town magic. Proper.

Review: Like his Windy City compatriots Mark Grusane and Rahan, Cratebug specialises in high-grade, razor-and-tape style re-edits subtly re-framed for 21st century dancefloors. The Chicagoan has released many fine collections of reworks over the last decade and this two-tracker is another high-grade treat. Up first is 'Fiyah', a heavyweight tease-and-release loop jam built around low-slung disco grooves, layered vocal samples and subtle effects trickery. While he appears not to have add any beats, its' Soundstream-esque construction makes it perfectly suited to house dancefloors. Over on the flip, he gives his take on one of the most beloved disco classics of all time: Diana Ross's incredible 'Love Hangover'. He extends the upbeat sections, paying more attention to hear vocalisations, the infectious instrumentation and killer groove.

Review: A limited edition, green vinyl edition follows in the Midas footsteps of Chicago DJ and producer Cratebug, whose recent Bandcamp movements have seen a fresh frothing-forth of free digital downloads. Two of said most recent USB-rhythm-stick fillers are heard selected for choice molten PVC compressing here. 'BOSTICH PT1' trails aureate rushes of voice and industrious percussion behind it, with both title and soundscape alluding to the stapler-heavy delights of micro-label mail order business operations. Meanwhile, 'Optimo', on the B, reissues an earlier edit by the Chicago fortunate of fellow techno titans Optimo's 'Liquid Liquid', empurpling the mix with crowded, busty percs and a manic hustler's rap on top.