Love Somebody Else (Glen Horsborough remix) (6:54)
Review: If anyone has turned out more seminal deep, funky and vocal house classics than Sandy Rivera, we're struggling to think of them. Now the enduring hit maker has done it again, this time with vocalist April Morgan on the Let There Be House label. 'Love Somebody Else' is a timeless tune with lung-emptying choruses from Morgan riding on top of a dense bed of piano stabs and sleek mid-tempo drums. It's the sort of universally accessible tune that could be dropped as an end of night send off in PBar, a floor filler in a commercial club or on some terrace in Ibiza.
Joey Negro Presents The Sunburst Band - "Far Beyond" (6:37)
Review: Following on from the bumper compilation on Z Records of all the label's greatest hist, boss man Joey Negro offers up a third volume of 12"s. He goes first with a nice loose mix of 'Love Hangover' that bumps in all the right places. Opolopo's 'Get On Up' is a dazzling cut with cosmic chords and long legged drums that move you to your core, then Joey is back with a slick dubwise version of the classic TW Funkmasters cut 'Love Money.' Last of all, 'Far Beyond' is a reflective closer with far-sighted chords and a late night glow.
Review: Balearic titans Chris Coco and DJ Rocca team up on this new slab for Faze Action which celebrates all the finest qualities of these two veteran maestros. 'Discoteca (Heavy Fun Dub)' pours plenty into the mix, from sizzling disco and dreamy dub to slick 80s motifs, and yet it all comes off feeling very chilled indeed. 'Brute' plays around with analogue synths and raw drum machine punch to create a slow but intense cosmic workout, before Faze Action themselves step up to rework 'Discoteca' into a lean and mean club tool. For those who want to skip the breathy vocals, there's also an instrumental mix of 'Discoteca' included on the B2.
Review: Alison Limerick's 'Where Love Lives' is the sound of a generation, a reminder of one of the most vital cultural movements of the last 100 years. It is a perma-hit that unites all ages, colours and creeds, even now, 30 years after it first got hands in the air and tears in the eyes on dance floors of cult clubs around the world. To mark the occasion it gets a special remaster treatment and 12" release for Record Store Day. The Classic Mix - which is still the best - kicks off, followed by a big piano version from Mo Knuckles and a darker, more stripped back Cut To The Bone mix.
Jensen Interceptor X Assembler Code - "Red Cell" (5:51)
CKFT (Keith Tucker X Carl Finlow) - "Coder" (4:55)
Voigtmann - "Subtopia" (6:07)
Cignol - "51D" (5:13)
Review: 20/20 Vision's electro mission continues unabated with this second compilation drop in the Exit Planet Earth series. The record opens up with Jensen Interceptor working alongside Assemble Code for a darkside workout heavy on the details and rude around the low end. Carl Finlow and Keith Tucker form a mini-supergroup for a new partnership CKFT, displaying their formidable chops with the body-rocking dystopia of 'Coder'. Voigtmann keeps things closer to the 4/4 spectrum on 'Subtopia', but with plenty of machine funk tropes woven into the mix. Cignol completes the set with a widescreen sound that's steeped in emotion and sci-fi noir from a dazzling array of finely tuned synths (including some essential 303, of course).
Review: Belarus' Iner launches a new label with a strong cast of international names all pushing a deep and distinguished strain of house music for those who want soul and invention in equal measure. Tilman is up first with 'Sweet Dreamer', a mellow, looped up roller. Sune's 'Flutes' takes a breezier approach shaped out by fluttering jazz funk motifs. Yann Polewka celebrates the sweetest Philly strings and some classic vocal licks for a disco-infused burner you can't help but love. Iner himself keeps things loose and organic on the wonderful 'Respectfull Kind Music', while Scruscru goes for a sleek approach to chopped up funky house. That leaves it to Buzz Compass to get heady and hazy with the bass-leaning cuts coursing through 'That Nighter'.
Review: Nebraska's Friends & Relations label continues to yield the finest club tackle for those who need the real deal in their DJ sets. 'Deep Tune' casts its net as low as the Mariana Trench while riding a sweet disco loop, setting the scene for a teasing, dramatic drum throwdown with nimble synth flourishes on 'Drum Track 01'. 'Shift' takes things on a more interstellar trajectory with a heady beat elevated by star-strafing lead lines, and then 'Drum Track 02' whips up another killer percussive workout that keeps the organic intensity of the beat intact while still making it totally workable for the floor.
I Love You More Than You'll Ever Know (Timmy Regisford original version) (5:48)
I Love You More Than You'll Ever Know (Joaquin edit & Overdub version) (7:06)
Review: Second time around for Timmy Regisford's inspired rework of Donny Hathaway's 1972 classic "I Love You More Than You'll Ever Know", an unofficial revision that first slipped out on white label a couple of years ago. Regisford's revision is inspired, with the veteran New York producer layering Hathaway's heartfelt vocals and select instrumental elements from the original mix (guitar, orchestration) over a bed of rolling house beats and layered percussion. It's an emotional, life-affirming affair that re-casts the melancholic original as a stirring house classic. Over on side B, Joaquin 'Joe' Claussell offers an equally fine "Edits and Overdubs" version that adds some brand-new synth solos, spacey electronics and sweat-soaked percussion to Regisford's impressive revision.
Review: Expansion is pushing the boat out for Record Store Day 2020. Chief among the label's must-check RSD releases is this 12", which offers up fresh re-edits - courtesy of an un-credited re-editor - of two sought-after cuts by late-'70s and early '80s West Coast fusionists Halo. The headline attraction is undoubtedly the fresh edit of the ultra-rare extended mix of 1981's 'Let Me Do It', a warm and groovy modern soul/boogie jam primarily known for its' familiar "let me do until you're satisfied" vocal refrain. The band's shorter original version is also included in the package, alongside a shorter re-edit of their sparkling, synth-heavy 1988 single "Life". In keeping with the more celebrated A-side, it's an energetic, life-affirming earworm.
Iwishcan William (Nad Tyler dub Strip version) (7:12)
Review: Washington D.C's The 3 Pieces initially put this out on their own private pressing on DL Records in 1982. It is a cosmic-boogie-disco-jazz and rap jam with lashings of funk and a curious spoken-word delivery and guest spot from a school aged vocalist that lends it plenty of character. The synths are glossy and harp-like, the bass grumbles are infectious and the whole thing overflows with feel good factor. The Lexx vocal mix is like an early house track with claps straight from a Peech Boys record and the Nad Tyler dub is even more ready for the dancefloor.
Review: Having impressed with his drop on Aesthetic earlier this year, rising minimal house talent Nolga returns to the label with another batch of sprightly, springy bumpers to fire up your limbs and feed your brain. 'Motion To Delay' matches cascading melodic threads with a crisp, lightly swung rhythm section, while 'Conspiracy' follows a similar thread of wiggy lead lines and curvy bass. 'Fez' takes the template of the first two tracks and tips the balance towards a sumptuous palette of synth tones flitting around the sharp but snaking groove. If you need some smart but playful club tracks in your bag, look no further.
Bobby Moore - "(Call Me Your) Anything Man" (6:14)
Sweet Music - "I Get Lifted" (7:18)
Review: Soul Brother Records' Record Store Day 2020 release offers up re-mastered versions of two hard-to-find early 'disco mixes' of modern soul-era gems. On the A-side you'll find Tom Moulton's scarce, five-minute club version of soul man Bobby Moore's '(Call Me Your) Anything Man', a delightfully orchestrated and super-sweet dancefloor workout built around a Latin-tinged groove reminiscent of Grace Jones' 'La Vie En Rose', which of course Moulton later famously remixed. Over on the flip there's a chance to savour West End Records' boss Mel Cheren's wonderfully over-the-top dancefloor extension of obscure vocal group Sweet Music's soaring cover of K.C & The Sunshine Band favourite 'I Get Lifted'. It's very different to their much-loved take, but every bit as essential.
Review: Detroit's Jay Daniel can no longer be referred to as a protegee. The Watusi High boss is very much a talent unto his own after forming a small but superb discography in the last few years. His latest outing is another exquisite mixture of his very real drum playing skills and an ability to coax real feeling out of his lush synths. After the ambiance of 'Muse,' 'Solo' sinks into a late night vibe with glowing pads and wooden hits making for a perfectly reflective mood. 'Dew' cuts more loose into ticketing drum work that is raw and off-grid, but again soften but those gaze-inducing pads, and 'Cherry' closes out with crunchy, dance floor ready grooves.
Review: Highrise continues to pile on the pressure through his breakout year in the buoyant UK garage scene, following up crucial spots on Plastik People and Shuffle 'n' Swing with more of that immaculately rendered 2-step tackle to get you shaking uncontrollably. 'Groovin' is steeped in soul and vibe, while 'Not Because Of You' gets even craftier with its organ chops and vocal slices. 'Teedra' on the B-side follows suit, displaying a razor sharp instinct for the funkiest slithers of sound to get bouncing around that deadly swing. If you need proof there's plenty of fresh garage being made these days, then cop yourself one of these before they're all snapped up.
Review: The ever-prolific Burnski is back on Constant Sound with some upfront bumpers that once again demonstrate his standing as a leading light in the modern tech house movement. 'Process' manages to balance moody, melodic atmospherics with a rock solid rhythm section, while 'Systems' takes things in a decidedly more jacking, tracky direction. 'Long Train' keeps the pressure up with a mean low end and some whipcrack claps to made your head spin. 'Effect' finishes the set off with a sumptuous dub excursion that will appeal to all those who like Basic Channel headspace matched with a sturdy house groove.
Review: While the label has been operative since 2014, it's only in the last couple of years than Russian imprint Shanti Radio Moscow has finally found its groove. By and large, the label's releases are wonderfully hard to pigeonhole, combining tech-house rhythms with inventive instrumentation and a wide range of stylistic influences. This EP from newcomer Minnado continues that trend, moving between the plucked gypsy guitars, sweet strings and hazy vocal samples of 'In Silence', the picturesque, soft-focus dancefloor shuffle of 'Just For Today', the Eastern European-acoustica-meets-German tech-house stylings of 'Sofia', and the piano-laden sweetness of 'Ori'.
Review: Berlin-based Italian producer Audri has been scattering his smart, fine-tuned machine soul across a handful of labels over the past four years. Picking up the thread from the emotive and inventive end of the 90s techno spectrum, his latest drop on Albion should appeal to all those who can't get enough of that B12-flavoured sound. 'Inner Movement' sports plenty of classic Motor City influences, but given a crisp modern finish. 'Dizzy Freq' has a deeper demeanour that jacks and jives in equal measure, with a nod to the formative sound of bleep techno. Domenica Rosa delivers a fun and freaky twist on the original, before the legendary Titonton Duvante dubs things out nicely on his version of 'Inner Movement'.
Review: Sound the alarm, Borai is back with another essential drop of rough n' tough breakbeat business on his Higher Level label. In the same vein as his celebrated Club Glow work with Denham Audio, these are well-schooled rollers with sonics to make the sternest soundboy shock out. 'Sanctuary' calls to mind the earliest strains of Good Looking Records in its dreamy moments, with ample space afforded for the amens to get gnarly too. 'Carpet Bagger' strikes a deadly blow in the hardcore vein, piling on the darkside synths for a rave-ready showstopper to get synapses tingling and jaws clenching.
Review: Ole Mic Odd aka Michael Padgett is a hardware operator and DJ from Los Angeles and runs the wonderfully named label The New U.S. Government. Here he sweeps to power with four tracks across four sides of vinyl for the Zement label, two following a slower, punishing pulse that's like P-funk remade in a robot factory, only with tons of added bubbling acid, Drexciya-style filtering and Juan Arkins-like synthetic strings. The other two are way faster, Ice So Bright sounding like someone secretly spiked Kraftwerk's cocoa with something extremely sinister, sending them racing off on their bikes at treble speed. Echo Park has an even more distinct flanging acid flavour and hyper, hooligan electro foundations, again with those Model 500 misty clouds of synthesiser floating overhead. Absolutely cracking stuff.
Review: Earlier in the year, Mint Condition started offering up gems from the bulging back catalogue of Housey Doingz, an all-star collective of early UK tech-house producers (Terry Francis and Nathan Coles included) whose numerous late 1990s releases did much to popularize the sound they helped pioneer. The label has already mined their fabulous debut album, Doing It, and has now decided to reissue their 2000 EP House Utensils. A-side 'Kitchen Spasm' is a bustling, loose-limbed treat that layers aggressive acid lines and jumpy bass over a hip-swinging breakbeat house beat. The original mix is complimented on the flipside by a more slamming, funk-fuelled tech-house style 'Dub' mix, while the track sandwiched in between, 'Lounge', is a lusciously positive chunk of chunky '90s tech-house puritanism.
Review: Calibre aka Dominick Martin pairs up with DRS, each taking one side of this 12" and each more than holding their own. Martin continues his current obsession with the pure sound of the real piano, a powerful antidote to the more synthetic sounds we're more used to hearing in the genre. Add a supreme male vocal in plaintive mood,. declaring "I've been looking for love in all the wrong places" and you've got something that really stand out of the crowd. Living For by DRS is more of straight anthem, with reggae influences and a hip-hop vocal giving it a proper lighters-in-the-air atmosphere, its conscious lyrics very much echoing the mood of Britain in 2020. Two very different tracks, for sure, but this package is strong in its diversity.
Review: Siggatunez kicks off a new imprint, Gooey Editz, with four of his own edits of disco and funk gold. The Frankfurt producer also runs his own label Tieffrequent and this time out opens up with 'I Who Have Nothing,' a joyous and piano laced jam that never lets up. Elsewhere there is the vocal laced, slow motion slide-funk and disco daze of 'Living Easy' with its big guitar riffs. Last of all, 'Boatride' brings a Balearic vibe that will transport you to the side of the sea in no time, then keep you dancing until well past sundown.
Review: Northern Ireland's Dominick Martin, or Calibre, to the drum & bass buying public, has a reputation for bringing new angles on this well-worn sound and these two new sides of vinyl are no exceptions. The VIP version of Falls To You sees his crisp, irresistible beats doing their magic but the piano, reflective vocal and minimal electronic flourishes lend this roller a spooky, eerie quality. The flip track End of Meaning has a slightly warmer, more optimistic vibe but is still reflective, the vocals being sent through echoey dub effects for maximum atmospherics. Definitely ploughing his own furrow, as ever, Calibre demonstrates here why those in the know will always check what he's up to.
Review: The 10th release on EYA comes from French producer Master Flashhh, who delivers punchy, cool-headed house music with a strong early 90s slant. 'Too Big To Fail' keeps things stripped back and weighty, with a bassline so thick you could sink your teeth into it. 'Beat Boxxx' has a more psychedelic, slow-techno slant to it, not least thanks to the ranging 303 gurgles sliding around the track. 'Boulevard Mystere' adds a little cinematic spookiness to the mix for an ear-snagging warm up track, and 'Enigma' completes the set with the kind of eerie mood and crisp box jam sounds that make artists like RVDS so compelling. Highly recommended for those who like their machine music with personality and punch in equal measure.
Review: French DJ-turned-remixer Young Pulse's popular "Paris Edits" series notches up seven volumes, this time via a three-tracker packed to the rafters with heavyweight disco-funk grooves. Arguably the best of a very strong bunch is "Bobo's Reason", a reverb and delay-laden, slightly beefed-up rearrangement of an excitable, horn-heavy disco-soul tune from the Philadelphia school of orchestrated dancefloor fun. There is of course plenty to set the pulse racing elsewhere across the EP though, with the spacey, synth-laden, percussion-rich disco-boogie of "Beggar's Run" being joined on side two by the high-octane disco-funk weight of "Bisso's Love".
Review: Given the respective reputations of Chicago scene stalwarts DJ Emanuel and Rahaan, you'd expect these collaborative "Remixes From The Dungeon" to be pretty damn good. They are, of course, with the Windy City veterans making merry with a pair of sweaty, leftfield NYC disco classics. As the title suggests, A-side "I'm Love Dancing" sees the duo rearrange Dinosaur's "Is It All Over My Place", smartly emphasizing the track's odder elements, including those drunken horns and spiralling solos, while also giving the bustling groove plenty of time to get hips and feet moving. Flipside "Imma Freak" is even more eccentric, with Emanuel and Rahaan eking every last drop of party-starting madness from a cacophonous, dancefloor-slaying disco oddity.
Review: Having landed his debut album Bosq Y Orchestra De Madera on Ubiquity Records back in 2013, Bosq will be returning with his second long player on the Californian label later this year. Take Over is the second 12" laid down as a precursor of what Bosq has up his sleeve and the Boston-based Whisky Baron is certainly on good form. Known for his towering vocal contributions to Fela's Egypt 80, Benin-born / Nigerian-raised singer Kaleta once again lines a Bosq production in lead cut "Take Over", and it might just be their heaviest collaboration yet! The Less Patient edit adds a bit of dancefloor weight to the track. Flip for the dense, delay heavy afrobeat burner "Bounce And Pull Up" which features some devilish horns from Evan Laflamme.