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Review: South Street's latest missive gathers together a trio of club-friendly remixes of Nina Simone classics that first appeared on the 2006 compilation "Remixed & Reimagined". Francois K impresses with an A-side revision of Simone's celebrated cover of Beatles classic "Here Comes The Sun" that sounds like a long lost Larry Heard record from his classic Fingers Inc. period. Those after something a little more rolling and funk-fuelled should wrap their ears around Tony Humphries' Dub of "Turn Me On", which boasts a seductive mixture of Romanthony style hard loops and rumbling, UK garage influenced bass. Completing the package is Coldcut's fine re-imagining of "Save Me", which places Simone's heart-arching vocal atop skittish, club-ready drums and looped guitars.

Review: Gold standard house label Razor-N-Tape looks back to Guinu's modern LP of Brazilian jazz-funk, Palago^, and has some key cuts from it remixed by a selection of assured studio hands here. First up, Jose Marquez reworks the title track into a heavy and hypnotic jam with big percussion. The Faze Action remix of 'Haha Fe' brings some fresh disco sounds and RNT stalwart Diogo Strausz brings big room synth energy and cosmic vocal filters. Last of all, Brazilian Carrot Green brings the 80s boogie brilliance to 'Porao de Ferro.'

Review: Having released their fifth album, Dreams, on Darup Associates in April, Danish punk-funk trio Whomadewho jump ship to the Plexmaster's Ellum Audio label for this raft of big name remixes. Maceo Plex naturally features, delivering one of his typically muscular yet emotive remixes of "Heads Above", transforming it into the kind of end of night fare you can imagine closing out a festival set beside the Adriatic Sea. The hypnotic piano loop and sun-soaked vibes of Mario Basanov's take on "Hiding In Darkness" show just why he's such a hit with the Innervisions crew, while FoF Music artist Kyson delivers a sumptuous downtempo version of the same track, swathing the original vocals in symphonic strings and heart-wrenching melody.

Review: Galcher Lustwerk's Tsuba debut, Nu Day, was undoubtedly one of Kevin Griffiths' label's best releases of recent years. It's perhaps unsurprising, then, that Griffiths has commissioned a quartet of new remixes from Kai Alce (under his KZR guise) and fellow White Material artist. The latter's two mixes of "Fate" are particularly good, with the dreamy chords, exotic melodies and eyes-wide-shut rhythms of the Glass Mix just shading the bleep-laden minimal techno throb of the Sueno Mix. As for Alce, he delivers a pair of chunky, atmospheric, floor-focused dubs of "Fate". Of these, it's the snappy beats, loopy vocals and yearning chords of the Jefferson Avenue Cruise Dub that most impresses.

Review: Sublime remix magic from Detroit's Terrence Parker on HNNY's sporadic but forever on-point Beer. Taking two of Local Talk's coolest grooves of 2016, he adds his own deep drive and sparkle to both cuts and the results speak for themselves... Jamie 3.26 and Masalo's gospel smasher gets a new bulletproof groove coat while the flip, Art Of Tones' "I Just (Can't Get Over It)" is draped with a sparkling synth sheen and given just an extra bit of energy in the piano-primed groove. Quintessential Parker.

Review: "Sundial" and "Holding You Close" were both amongst the highlights of Crackazat's sublime sophomore album, Rainbow Fantazia, which dropped to critical acclaim last autumn. Here, those two tracks get the remix treatment, with Crackazat's original version of "Holding You Close" - a deliciously tactile, eyes-closed vocal number underpinned by elastic acid bass and fluttering synthesizer motifs- thrown in for good measure. The pick of the two new mixes comes from Groove Assassin, whose organ-heavy revision of "Sundial" is a joyous trip into goodtime, soul-flecked deep house territory with more than enough swing to satisfy serious dancers. That said Wajeed's mix of "Holding You Close", which emphasizes the track's soulful elements while adding new instrumentation and backing vocals, is also very good.

Review: Brian D'Souza and Esa Williams' 2015 album, Theory of Flo - the second Auntie Flo full-length - has picked up many plaudits since it was released last year. Here, a trio of album tracks gets given a new lease of life via brand new reworks. The Revenge kicks off proceedings, in the process delivering a dreamy, evocative, hypnotic interpretation that belies his reputation as a maker of forthright house and loopy disco. Cain gets in the Afro-futurist spirit with a throbbing, polyrhythm heavy take on "Hewal3", before D'Souza's Highlife pal Mehmet Aslan steals the show with an inspired flipside remix of "Cape Malay Prayer". Full of lilting electronics, trippy effects, indigenous instrumentation and rolling percussion, it's something of a soft-spun delight.

Review: Emotional Especial and Cocktail d'Amore Music enter 'cahoot-mode' once again with a second round of Sfire remixes that take proceedings down a deeper, more stripped-back path courtesy of the inimitable Timothy J Fairplay and Willie Burns. Two artists who need little introduction offer up two remixes each that take the unique original to new dance floor extremes. Timothy steps up first with his take on "Sfire 2" via differing vocal and instrumental versions. His trademark, echo laden rolling percussion and John Carpenter-style key lines take the original Synth-pop homage to the dark room. Adding Arps, a lifting, hedonistic breakdown and the scatter-stepper drums and claps found on the Instrumental version and this is pure COTF territory and the better for it. Mr Willie Burns meanwhile has long followed his own path for his take on "Sfire 3", offering one of his deepest remixes to date. Thudding kick, brooding pads and dark strings force the vocals to go down, way down for examination. The distorted vocals of Remix 1 are countered by Remix 2 letting the track shine via a seemingly endless 4/4 beat. Psychedelic, trance inducing, pulsating, this is an ever growing mind expanse.

Review: A little over a year ago, Sabre brought their brand of jaunty electronic melodies and loose machine grooves to Clone Royal Oak for the first time. Here, three tracks from that EP get the remix treatment. Gifted and Blessed steps up first, serving up a pleasingly loved-up version of "Vigilante" full of rubbery synth bass, snappy snares and dreamy, stretched-out chords. MdM handles "Ghetto Prophet", making much of the Portuguese duo's swooping strings and moody chords, before veteran Dutch twosome Clone turn in a tactile techno re-make of "Cascavel Breeze". Finally, Aera delivers a jumpy, ultra-positive version of "Ghetto Prophet" that sits somewhere between classic Detroit techno and vintage US deep house.

Review: Pete Josef's album for Sonar Kollektiv, the aptly named Colour, was a fitting piece of future soul and downtempo for this now legendary leftfield jazz outpost. Luckily, the label are as open-minded as the music on their catalogue, and they've decided to have a selection of tunes from the LP remixed and rewired into minimal dance cuts by a fine group of names. LV adds a subtle kick-hat to "Hope", while Fabian Dikof's dub version of "Colour" spirals the listener into a deep, trip web of strobe-light minimal for the peak hours. On the flip, "Spring At Last" is retouched by The Black 80s and transformed into a delicate, bouncy house chiller, followed by another glorious remix of colour by Potatohead People Lights Off, this time taking the tune to slower, more hip-hop-leaning territories.

Review: Jamie Paton has been a regular fixture on [Emotional] Especial since the label first came to light, conjuring up a seductive blend of leftfield dance music with a broad range of influences. This time around he's turning out some of his remixes, leading in with the sweaty, dense throb of Sexy Merlin's "See You In The Dark". Guy Schlalom's "Habibi" by way of contrast becomes a lighter confection peppered with bubbly synth lines and an almost poppy persuasion. Blancmange's "Feel Me" has a more cosmic lilt in its voluminous tones, and "Overdrive" by Gatos Negros drifts out on an off-kilter kind of boogie for all manner of deviant dancers to get head-nodding to.