Review: You should know by now that Plastik People is the go-to spot for the most upfront garage house done in a classic style, and they're spelling it out good and proper with The Sound Of Garage House. Marc Cotterell leads the way with the jazzy vibes and deliciously liquid chords of "Those Days" before Ed The Spread brings a nagging shuffle and sharp string stabs to hard-stepping bumper "The Bauhaus Movement". Grant Nelson keeps things tuff with the natty piano hooks and diva slices of "Move Close" while Rocket Dubz ups the funk to 11 for hands in the air party starter "Dirty Bath".
The Family Daptone - "Hey Brother (Do Unto Others)" (3:52)
Soul Fugue - "The 100 Knights Orchestra" (4:58)
Review: Soul and funk heads won't want to miss this very special seven-inch from the Daptone Records crew, and not just because it's the label's 100th "45". The A-side features an all-star '60s soul cover of the Frightnrs rock-steady cut featuring vocal contributions from Saun and Starr, James Hunter, Lee Fields, Naomi Shelton, Duke Amayo, the Frightnrs and two legends who are no longer with us: Charles Bradley and Sharon Jones. It's a one-off that won't be repeated for obvious reasons, but more importantly it's very, very good. Over on the flip main man Bosco Mann takes charge, conducting and producing "two opposing armies" of woodwind and horn players from the label's expansive musical roster. As you'd expect, it's something of an epic.
Review: Alberto De Santiago has already slipped out a few killer edit-rich hits, which drew favourable attention from Spanish label Night Shift. He launches the Discollection EP with the soul-soaked feel-good flavour of "Love Sauce," steeped in the finest disco ingredients to inspire impassioned expression on the floor. The heat stays right up for "Since I've Been Gone", which is packed full of Philly strings aplenty and enough dramatic drops and chops to melt even the hardest frown. "Most Expensive Diamond" and "All The Way" have that magic touch too - these are loud and proud vocal edits to get people dancing on the ceiling. You can't go wrong with classic source material like this - Never Dull indeed.
Pimping People In High Places (Woodword Ave alternative mix) (6:50)
The Medusa Touch (6:52)
Review: Gary Martin is well known for his unique productions and his label Teknotika is surely a classic coming out of the famous motor city. This special 10" holds two sought after tracks that were found on a lost DAT tape by Yossi Amoyal and Gary Martin himself. On the A side we have a long time secret weapon, it's a hypnotic groove that was heard on many classic sets, Zip and Ben Klock to name a few. An extremely insane, hard to find Gigi Galaxy track that was changing hands for silly prices is on the B side, for those who know... massive release!
Good Good Lovin' (Hifi Sean & Yam Who? edit) (3:58)
Review: Recently, legendary American dance producer Arthur Baker discovered two tracks in his storage on 1/4" tape recorded in 1979. He asked Hifi Sean (aka Sean Dickson of The Soup Dragons) to rework them - who brought on board Riot Recordings boss Yam Who? and they quickly got to work resurrecting these soulful disco anthems. On the A side, we have the souled-up disco power of "Reachin'" featuring Minnie Gardner's powerful vocals, then get prepared to get down proper to the group vocals and epic brass section in the uplifting "Good Good Lovin'" (Hifi Sean & Yam Who? edit) all accompanied by Baker's immaculate production style.
Review: Brazilian label Allnite Music is back with another sure shot from label boss Apoena that locks into an immersive, head-nodding groove from the get go. "Retoside" is a perfect deep house burner, understated and yet utterly grooving where it counts. "Attachment" has a more sprightly, uplifting quality tailored to sunny situations, while "Hemp Restriction" takes things in an airy direction while rocking a solid 90s backbone. "The Sutilties" completes the set with a dreamy roller splash, with sweet leads and some chopped up vocal hooks that accent the innate funk of the track in fine style.
Review: Since first pitching up on Disco Halal two years ago, Simple Symmetry has released some of their most cosmic and psychedelic cuts on Moscoman's distinctive imprint. They're at it again here. Check the high-grade arpeggio-driven sleaziness of "Gilgamesh", where hallucinatory electronics, exotic lead lines and twisted vocal samples rise above unfussy beats and an impressively driving bassline. Further examples of dazed dancefloor psychedelia follow, with the Turkish pysch/cosmic disco pulse of "Fight" ushering in the raw and intoxicating Middle Eastern throb of "Enkidu". To round off the EP, Adam Port provides a slightly chunkier re-edit that cannily makes the most of the track's squelchy bassline and eyes-closed psychedelic guitar solos.
Review: London duo Dusky are up next on Running Back, with what appears to be the first volume in their new Life Signs series. Best described by Gerd Janson and Co. as British bass science applied on classic house tropes, where breakbeats underpin transcendent melodies and IDM meets UKG. The lads behind the much lauded 17 Steps label are in fine form here: from the electrifying Italo disco influenced number "Boris Borrison's Trip To Morrisons" on the A side being unlike anything we've heard from the pair before. On the flip, it's a throwback to the illegal dance parties of the early '90s on the pitched-down hardcore breaks of "Lea Valley" and harking back to a similar era is the euphoric "Static".
Nata Alma (feat Sidsel Endresen & Bugge Wesswltoft - club Smash Hit version) (8:38)
Venq Tolep (Hit club version) (6:25)
Review: Veteran German producer (and one half of Wighnomy Brothers) Robag Wruhme returns to Pampa Records with two delightful servings of his idiosyncratic sound. The glassy-eyed and bittersweet daydream fantasy of "Nata Alma" (Club Smash Hit version) features some right legends of the Norweigian jazz scene: Bugge Wesseltoft on piano accompanied by a heartfelt vocal performance by vocalist Sidsel Endresen. On the flip, "Venq Tolep" (Hit club version) is equal parts melancholic yet utterly evocative, and is the title track of his first album-length release on DJ Koze's label in eight years.
Review: Phil Gerus is a rising talent that fits right into the (Emotional) Especial mould with his sharply realised 80s bombast and dynamic electro funk production style. Treating body-popping club tracks as a vessel for heartfelt expression, these tracks have it all from Linn Drum boogie to fully capable instrumental chops, all shot through with Gerus' choice new wave vocals. Lauer hops on board for a seductive remix of "Still Blind" that ups the sensual intensity of the track while keeping the club foremost in his mind, before Jamie Paton steps up on the flip with a couple of freakier turns that dub the original out into deadly, spooky jams for more adventurous party people to get loose to.
Review: Gallic producer Yann Polewka has previously impressed via sizzling singles on Roots For Bloom, The House of Love and Cardiology, so hopes are naturally high for this outing on Ravenelli Disco Club. We shouldn't have worried. Title track "Le French Touch (69 Mix)" is the kind of celebratory, sample heavy disco-house cut that could have been made by a previous generation of French producers - all bumpin' beats, filtered disco samples and restless bass. On his jazz deep house remix, Cody Currie filters the disco samples out further while adding some psychedelic acid lines. Polweka gets a chance to showcase his skills further on side B, first via the hot-to-trot peak-time disco deepness of "Cannabliss" and then through housed-up Jimmy Ross revision "The Rebound Love Affair (featuring Paul Rudder)".
Review: George and Glen Miller are undoubtedly best known for their West End Records released 1982 boogie-soul classic "Touch Your Life". They released plenty of other records that flitted between soca, reggae, disco, and - in the latter stages of their career - electrofunk. "Easing", which appeared at some point at the turn of the '80s on London label Third World, remains one of their most potent releases - and, in its original form at least, formidably hard to find. This Soundway reissue wisely replicates the track list of the original release, beginning with the title track - a deliciously percussive, musically intricate chunk of peak-time disco smothered in sharp, Afro-funk style horns and George and Glen Miller's lilting reggae-soul style vocals. The flipside "Version" strips out the vocals, allowing listeners to hear in greater detail the pair's impeccable arrangements and instrumentations (particularly the fine orchestration and rich groove).
Review: Some five years after re-launching his Crayon label via a fine EP of vintage "Tracks From The Vault", original 1990s tech-house producer Mark Ambrose serves up more gems from his bulging archives. The quality threshold remains dizzyingly high throughout. Check first the moody, back room dub of "Nightshift (Deeper Mix)", where gentle, alien synth lines and deep space chords tumble down over a heavy analogue bassline and locked-in beats, before turning your attention to "Space Animals", a deliciously dubbed-out affair rich in sub bass and drifting, deep space chords. If that's not enough, flip over and trance out to B side "Seduction" and finally, the slamming techno beats, looped electronics and mind-mangling TB-303 motifs of closer "Dusty Acid".
Manuk & Oli Silva - "Nevermind The Crispies" (5:55)
Eliaz - "Verdico" (7:06)
Meta 4 - "Urnammu" (7:45)
Jorge Gamarra - "Dypac" (5:42)
Review: There's a certain air of buy-on-sight mystique around EYA Records, somewhere between the low-key presentation of the music and the cult artists they're calling on to realise their particular vision of deviant dancefloor business. This is unabashed freaky party tackle, from Manuk & Oli Silva's delirious B-movie jack track "Nevermind The Crispies" to the uneasy electro snarl of "Verdico". Meta 4 has equally nightmarish moods to share on the graveyard acid of "Urnammu" and Jorge Gamarra seals the deal with the schlocky braindance horror of "Dypac". It's the kind of record that you'll be reaching for come Halloween, trust.
Review: Following releases from Huerta, Mandar and Makcim & Levi last year, Oscillat kicks off 2019 with an assured, brooding club 12" from long-serving producer Matthew Dekay.
Since surfacing in 2001, Dutch producer Dekay has put out a formidable body of work under a variety of aliases and in collaboration with producers including Lee Burridge and Maher Daniel. His sultry tech house approach has graced labels as highly regarded as Innervisions, Cecille, Aras and Maeve, and now he comes to Oscillat with "Spellbound," a track that finds him diving deeper than ever before into hypnotic, swinging rhythms loaded with atmosphere and longing.
On the B side, Oscillat bosses Mandar (Lazare Hoche, Malin Genie and Samuel Andre Madsen) take Dekay's original and inject it with an infectious peak time energy, creating a straight-up, acid-flecked workout that sits in neat contrast with the immersive shuffle of the original.
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: Los Angeles disco Stus Pleasure Of Love return with their fifth edition of piping hot edits, respectfully respliced for your convenience. This one features co-founder of the local Heat-Wave party series (and one half of Cosmic Kids) Daniel Terndrup, who goes one-for-one with Trap.Avoid member Patrick Billard aka DJ Duckcomb on these four cuts. Kicking off the A side is Billard, who takes the razor to a wonderfully sunkissed/tropical style tune on "Carribean Son", while Terndrup gets properly lo-slung on the cheeky and rather familiar groove of "Kinikos TV". On the flip, it's all about "Caja Negra" (DT & DC version Acido) where they join forces on this tripped-out tribal Italo number.
Review: Ahmad Jamal track been sampled and reworked by Hip Hop greats
Primo - Gang Starr Solilquay of Chaos to Black Moon -Black Smif-mWessun- Pete Rock flipped on Something Funky release.
Richard Evans bass player and arranger blazes Jazz Funk intro, really sets it off from Original Foster Sylvers version very hot tune !!!
You're Gonna Need ME Dionne Warwick
1973 Monster of Pysch Soul tune
Written by Holland - Dozier- Holland Studios arranged by Mckinley Jackson you can hear that RAW DETROIT FUZZ FUNK Sound.
Dilla aka Jay Dee brought to the light of day after he flipped it on his Famous Donuts album (STOP) back in 2006 Well that history we already know!
Wu-Tang's Clap from THE W album (2000) as bonus track!
Review: More top class South American servings for a variety of tropical nightlife situations courtesy of the ever reliable Dylan-Thomas Childs and John McLeod aka The Patchouli Brothers on their 10th release. Treat yourself to another duo of Bahian beauties featured here by the Toronto/Montreal connection (and Beam Me Up residents) on the sultry groove of "Like A Dream". On the flip we have Bernardo Pinheiro: one of the most important Brazilian DJs in activity, with a career spanning 20 years as a creative artist producing and composing. He delivers the lo-slung and sunkissed groove of "Deixar A Peteca Cair".
In Flagranti - "Kachi Kachi" (feat Ayakamay - DJLMP edit)
Review: Take It Easy made a splash with their first release from Dirty Channels - they've clearly got an ear for crowd-pleasing house music built for the big arena. This second drop comes from DJLMP and deals in a few different flavours of peak time party music. First up is the fierce and fabulous piano stomper "Blow Your Mind," which is followed up by the leftfield disco chops of In Flagranti's "Kachi Kachi", given a bang tidy edit by DJLMP. "Tiger Cat" takes on freaky cosmic disco with a French touch, and then "Angry" completes the set with an Afrobeat-laced workout that juggles tension and release masterfully.
Review: As soon as the sun pops out, we tend to reach for exuberant, celebratory fare. Helpfully, there's plenty of that kind of sweaty, arms-aloft fare to be found on Dan Snaith's latest outing as Daphni. While his releases under the alias were once percussive and Afro-centric, this one comes with a big dollop of funk-fuelled goodness and more dancefloor weight than you can shake a stick at. Check, for example, the pots-and-pans percussion, soaring strings and low-slung bass of disco-sampling smasher "Romeo", the saucer-eyed rush of "Just", where another loved-up disco cut is smothered in loose-limbed carnival drumming, and the jazz-house-goes-breakbeat heaviness of "If". Best of all, though, is "Sizzling (Featuring Paradise)", a colossal chunk of pitched-up carnival disco-house full of ear-catching vocal refrains, rubbery bass and tropical horn blasts.
Review: Constant Black continues its superb string of releases with this latest outing for the imprints close affiliate Michael James. The label run by Burnski and Jon Woodall hands things back to James for an outing of deep minimal grooves. "Bosh!" starts things out just how you would expect with a title like that, strong punching swinging rhythms ready to sway any party. "Pol" and "Hallucinate" keep the momentum going with sleek minimal works, which are sure to be utilised across the globe this summer!
Review: UK tech house hero Burnski has been serving up some serious heat of late under the Instinct alias, channelling that old school UK vibe of drum & bass, speed garage and 2-step. His exploration into these styles bring about this sixth instalment of his eponymous series with 3 cuts set to cause havoc on dancefloors this year. A side cut "Overthrow" rides on a slick tech house groove before moving into a swing-fuelled rhythm and razor-sharp sub-bass and it's business as usual. On the flip, shadowy stepper "Phased" fuses Artful Dodger's classic swagger with the dark sci-fi aesthetic of Ed Rush & Optical. Finally, put your lighters up for the furious junglist roller that is "Free Life".
Review: It feels like this reissue on the mighty Vibraphone has been a long time coming. While the Italian deep house bastion seemed to be focusing more on contemporary releases, they kept this gem from their back catalogue in their back pocket and now its time has come. Ricardo's "High Flyer" is a stone-cold deep house stunner, whichever version you plump for. The swooning pads and sweet organ lines are great on the original version, but for us the "Angel Mix" pips it with the edges smoothed out for a pure escapist strain of deep house truly sent from the heavens.
Review: Russian label Mosaique has thus far carried some serious heat from artists like JASSS, Caron and Savage Grounds, and now they're shifting their nightmarish electro tendencies back to the various artists format of their Universe series. Umwelt leads the charge on this second installment with the eerie machine snarl of "Fallen Empire", followed up by two versions of the devilish "Sleep When You Die" by Moralez & The Horrorist. Alessandro Adriani is first up on the B side with the driving, noirish techno pulse of "Cosmic Transmissions," and then Morah rounds things off with the squelchy, spiky workout "Track 5".
Review: Loop LF is back on Well Street with another classy set of leftfield rhythm explorers that orbit a similar sound world to Livity Sound, Cong Burn, UntilMyHeartStops and other such adventurous contemporary techno labels. "Terra" kicks things off in a delicate fashion with shivering synth patterns skirting around gossamer thin percussion - it's subtle and incredibly effective. "Always NV" is even more stripped back, but no less engaging in its deployment of crooked rhythms and eerie atmospherics. "Natural XT" calls to mind the mellow, dubby refractions you might hear from Leif, and then Martsman steps up for a razor sharp D&B revision of "Always NV" that stays true to Loop LF's minimal aesthetic.
Mister Wong (Disco dub - Jura Soundsystem extended edit)
Review: In 1972, French producer turned ZE Records founder Michel Esteban released a one-off single as Bella Vista, "Mister Wong". Like many of the records the New York-based entrepreneur worked on, the track gleefully joins the dots between spacey synth-pop, NYC style mutant disco and what these days we'd call sun-kissed Balearic disco. The slow motion, glassy-eyed original version comes accompanied by the original flipside "Disco Dub" - a much sparser affair focused on the killer slap bass, reverb-laden percussion and slivers of guitar and synth - and a brand new "Extended Disco Dub Edit" by Isle of Jura chief Kevin Griffiths as Jura Soundsystem. This extends the oh-too-short Disco Dub for greater dancefloor pleasure while adding some fantastic new percussion.
Gus Gus - "Your Moves Are Mine" (Sanasol remix) (9:24)
Thor - "Black" (7:32)
Biogen - "Stream" (Sanasol Lost In Time remix) (6:39)
Review: Next up on the ever-excellent Oscillat is "Spellbound" by the supremely talented Matthew Dekay. This moving deep house jam uses a few key elements to make a soul-stirring confection for truly spine-tingling moments in the middle of the dance. From the slithers of vocal to the insistent key riff that bounces throughout, this is an outstanding slice of contemporary house music loaded with feeling. Mandar then take the original and inject it with a feisty peak time energy shot through with a little trancey magic and an acidic undertone. It's not a raging beast but rather an energizing workout for the brain and the body - just what you need in the midst of a marathon.
A2 (feat Loa Myst & Nu Fvnk - El Buho remix) (6:53)
A1 (Sooma remix) (7:32)
Review: The Banana Hill crew continue in their quest to represent some of the finest sounds transmitting from the African continent, this time showcasing the immersive ruminations of Kenya's Jinku. "A1" takes a seriously deep trip into stripped back house percussion and atmospheric vocal chants, while "N1" sports a more jagged rhythm section that meanders through emotive suites of sound before the mellower downtempo mood of "N2". On the flip, "A2" features moody vocal turns from Loa Myst and Nu Fvnk that suit the laconic house structure, which El Buho gently nudges into a more crooked remix without losing the heady atmosphere. Sooma then tackles "A1" and ups the bass-led house pressure with a measured touch that respectfully embellishes the original.
Review: Resurgent Welsh techno wizard DJ Guy launches his own label with a fresh batch of deep diving jams that put the soul back in the machine. From the twinkling, starry-eyed delights of "Music Is Life" to the horizontal meditation of "Interplanetary," this is immaculately executed electronica in the fine tradition of UK trailblazers like B12 that sounds as fresh as it did in the 90s. "Warmth In Rhythm" sports a nagging house groove to suck you in with ease, while "Propulsion State" fires off a dazzling arpeggio that heads skywards with a twitchy electro backbone for company. Top shelf tackle from a seriously talented cat.
Review: Prolific Dutch producer Boris Bunnik wears several hats: Conforce, Silent Harbour and Vernon Felicity, but some of his most exciting music is produced under the Versalife alias where he delves deep into the electro sound. He makes his debut here for Leeds institution 20/20 Vision with "Machine Life", taking the classic electro sound further but with a modern twist. We're going deep underwater on the moody title track, before coming up for air via the soulful android funk of "MO5". On the flip, the eerie dystopian themes continue on the sombre "Monospace" and the seething reductionist electro-bass of "Axion".
Review: Whiskey Disco sublabel Lovedancing now presents Amigos Vagabundo Club Social, who have truly found their voice with this terrific EP. Comprised of Jaime Tuiran and Juan Pablo Pinedo, they combine the best electronic grooves and Carribean flavour on the Pambele EP - three tracks that commemorate their musical heritage and upbringing in Barranquilla, on the north coast of Colombia. The groovy and sun kissed title track with its creamy Rhodes notes is a perfect homage to a certain Colombian boxing legend, while the lo-slung and funky swagger of "Esclavo 29" is a go-to track to work the dancefloor on a long, hot summer night. Finally on the flip is a sultry deep house groove in the form of "Angayusa" with some super sexy sax action.
Review: The long-serving Psychoskunk label comes back in full force with some unflinching underground techno gear from Error Etica, otherwise known as label boss Victor Martinez. "Inductors V2" sets a serious tone for this record with its reduced soundscape and needlepoint sound design attitude. Hironori Takahashi then makes an appearance remixing "Diatonic Scale" and turning it into a deadly, minimalist bruiser. 65D Mavericks jump on "Schematic Diagram" and laden it with blown out kicks and eerie atmospherics, and then Pelacha tackles "Inductors V1" and embellishes it with creeping, modulating textures that bring the track to life in a most unsettling of ways, as was surely the intention. This is techno for darkened souls if ever we heard it.
Review: REPRESS ALERT: Larry McCormick's Monotone label is one of the finest outposts for darkside electro operating in these bountiful times for the genre, and following on from the first volume of vinyl-only compilation MonoTrax, brace yourselves for round two. The Hacker is at his stalking, sinister best on "Rhythmus Machine," while McCormick himself brings a tough, street-level grittiness to "Root Code." Cosmic Force is on a dystopian sci fi tip with the nagging synth patterns of "Maximilian Of Roma", and DeFeKT completes the package with the audacious synth acrobatics and jackhammer beats of "I Am Here." What more do you need to know? This is high-end electro business for down and dirty, sweat-box dancefloors.
Review: Ahead of a fresh album due later in the year, Nat Birchall fires up his quartet and returns to the Jazz45 series with a second seven-inch salvo for the Jazzman offshoot. A-side "Obeah Man" is wonderfully sweet, soulful and breezy, with Birchall and company layering jaunty spiritual jazz style piano riffs and snaking solos (think Clarinet, sax, trumpet etc) over a warm, loose and bustling groove. They continue on a similar vein on the slightly bolder flipside cut "Seeking", where bandmembers trade solos atop a classic jazz style bassline and fizzing drums. That forthcoming album should be killer.
Review: For the latest release on her admirable Planet Euphorique imprint, Sophie Sweetland has gathered together a quartet of box-fresh club cuts from up-and-coming artists. As you'd expect, much of the material is psychedelic and intoxicating, reprocessing a range of vintage influences in a myriad of ways. Killer DJ's kick things off via the epic trip that is "Track 1", a saucer-eyed fusion of tropical house drums, ambient techno electronics and humid samples. Dj Donini raises the temperature further via the retro-futurist techno trip of "Donini's Dream", before CCL and Flora FM join forces on the bassbin-bothering tribal shuffle of "Liquify Interference". SMP rounds things off in fine style with "Natty Bop", a similarly bass-heavy fusion of skipping, post two-step beats, spacey sounds and low-end power.
The Music Got Me (Nick The Record & Dan Tyler Re-Spanimated dubb) (7:44)
The Music Got Me (Bawrut Bawracid Workout) (7:05)
Review: Second time around for Ransom Note's essential reissue of the late, great Boyd Jarvis' sublime "The Music Got Me" - an alien, otherworldly proto-house instrumental that became a NYC club anthem when issued on Prelude under the Visual alias. Jarvis and Timmy Regisford's mesmerizing "original dub" kicks things off, creating a hypnotizing mood via an awesome bassline, cascading synthesizer melodies and sparse vocal hooks. It's accompanied by a stellar re-dub by Nick The Record and Idjut Boys member Dan Tyler. The pair smothers key sections of the track in tape echo, dub delay and ricocheting reverb, in the process creating a druggy, wide-eyed early morning classic. To round things off, Bawrut re-imagines the early '80s jam as a twisted, mind-altering acid house jacker.