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Review: Ben Westbeech dons his deep house moniker, Breach, to mix the latest installment of the long-running DJ Kicks series. With a quietly soulful sheen, tactile chords, late night deepness and shuffling rhythms aplenty, it's an enjoyable listen; atmospheric without being dreary, with enough stand-out moments to require multiple listens to really enjoy its melodic intricacies. It's an impressive tracklist, too, with inspired contributions from Wire People, Fred P, Cassio Kohl, Dusky (whose booming remix of CLOSE and Joe Dukie's sinewy "My Way" is turning into one of the tunes of the year) and Dopplereffekt, as well as the obligatory exclusive track (Westbeech's touchy-feely "Beroving").

Review: On his edition of the long running DJ Mix series, Kerri Chandler has eschewed the dancefloor in favour of a set that showcases his "influences and inspirations". For the most part, that means a slick selection of soul, jazz-funk, disco and boogie gems from the '70s and '80s, with occasional deviations into electro (Fantasy Three's "It's Your Rock (Instrumental)"), Afro-dub (Chandler's own previously unheard "Stop Wasting My Time") and inspirational '90s fare (Innerzone Orchestra's sublime acoustic soul cover of "People Make The World Go Round"). Throw in a wealth of specially made interludes and you have a brilliantly programmed and mixed journey through Chandler's musical youth.

Review: Given her current popularity, it's no surprise to see all-conquering house hero Maya Jane Coles mixing the latest instalment of !K7's long-running DJ Kicks series. The diminutive DJ/producer is in fine form, too, mixing up typically atmospheric house cuts and clandestine deepness with saucer-eyed late night faves and forgotten B-sides (see Bozzwell's surprisingly emotional "In My Cocoon"). As a mix it's as deep, melodic and groovy as you'd expect, with a strong vocal theme running throughout. As it progresses, it tiptoes further into bleary-eyed darkroom territory, via stand-out cuts from Marcel Dettmann, Caribou (his thrilling remix of Virgo Four), Gerry Read and T Williams.

Review: Dam Funk has been foundational in crystallising Stones Throw's undisputed leadership in the nu-school funk and boogie scene, and he's up there with the great J Dilla in our books. Naturally, he's been asked to mix up the latest series of DJ Kicks and, ladies and gentlemen, it's a real masterclass - one of those comps you can safely leave on and let it do its thing on you. The mood is personified by a fine blend of electronics and tougher, funkier rhythms by artists such as Index, Moon B, and Dam himself. There are also a few rare cuts by Chicago house legend Gemini that fit in perfectly, and a whole heap of wavy, Cali-inspired electronic funk. Badass.

Review: The genius of the DJ Kicks series has always been in the leeway it gives to DJs to strike their own chord. Over the years, this opportunity has been used in many ways, from showing off record collecting skills and surprise eclecticism to straight-up party rocking and curious after-hours sounds. So how have Digitalism interpreted the brief? Pretty much as you'd expect, to be honest, gleefully mashing up piano-laden party jams, gravely indie dance, over-compressed electro-house and nosebleed techno. Sure, there are surprises - a string of spacey synth jams and a dash of slacker rock - but for the most part this is a no-holds-barred romp through pogo-friendly dancefloor fun. Really, we didn't expect anything less.

Review: Given his longevity - not to mention the high esteem in which he's held as a selector - it's rather surprising that this is only DJ Koze's second mix CD. Having indulged his dancefloor side with 2004's All People Is My Friends on Kompakt, here he digs deep into his post-club crates for a DJ Kicks selection that relies heavily on well-swung electronica and left-of-centre instrumental hip-hop beats. It's a fine mix, all told, shot through with a quietly soulful vibes, his usual eccentricity and some killer selections (Broadcast, Freddie Gibbs & Madlib, his own quirky remix of Session Victim). There are a few curious, homemade downtempo mash-ups, too, plus - bizarrely - a surprisingly impressive track from William Shatner. Yes, that William Shatner.

Review: A genre-hopping, mind-bending mix from the king of eclecticism, Kieran Hebden (aka Four Tet), that ushers in a new age of experimentation for the seminal DJ Kicks series. Known primarily for his home made excursions to the far reaches of the musical map, Kieran Hebden is a DJ on a different kind of trip, the gratifying results of which can be seen all over this exemplary DJ Kicks compilation (the 26th in this now legendary series). Inspired by his 8 hour sets at The End and in Ibiza with Timo Maas, Kieran says he has rediscovered the thrill of filling a floor: "Playing for people who just want to dance is an exciting thing for someone who’s into experimental music". As you might expect with Four Tet, however, nothing is ever that straightforward, and his DJ Kicks is a mind blowing experience, taking in just about as many genres as there are tracks: Old skool hip-hop, French prog, conscious soul, electronic experimentation, minimal techno, early two-step, cosmic jazz, African thumb pianos and much more besides share space here, bound together by analogue synth interludes, segues and an exclusive new Four Tet track specially created for this compilation 'Pockets'; this year's only release under the Four Tet moniker.

Review: Studio K7’s long running mix series, DJ-Kicks, continues with an instalment from NYC disco head Juan Maclean (former hosts include the likes of Hot Chip, Booka Shade and Henrik Schwarz). Sculpted with a combination of classic tracks and more recent cuts, the mix displays a diverse collection of songs that are more focused on the club than past mixes.




Although Maclean is mostly known for his productions and live performances, he is also a DJ of some repute and his inclusion in the series is no surprise. What is somewhat intriguing, however, is his decision to make a straight up house mix. Over the running time of seventy-two minutes, Maclean keeps the energy levels high as his unleashes his collection of records meant for the club. Selecting from a rich tradition of house music with a disco twist, he includes a combination of classic tracks like Rick Wilhite’s "Get On Up" (remixed by fellow house don Theo Parrish) and recent disco cuts from the likes of Shit Robot, Still Going and 6th Borough Project.




The mix has a free flowing feel throughout due to Maclean’s raw method of producing: the whole compilation was mixed live using only two turntables, a couple of filters and a tape delay, placing the emphasis squarely on the sprit and excitement of the mix as opposed to its sound.

Review: It would be fair to say that Studio K7 has pulled off something of a coup in getting Kenny Dixon Jr. to agree to compile and mix the latest installment in the long-running DJ Kicks series. It is, somewhat remarkably, the legendary Detroiter's first commercially available mix set. This triple-vinyl edition features a whopping 19 cuts - all in unmixed form - from the 30 track mix. Musically, it's a blazed, jazzy, soulful and groovy as you'd expect, and contains a mixture of downtempo beats, nu-jazz and hazy house cuts from the likes of Flying Lotus, Dopehead, Peter Digital Orchestra, Nightmares On Wax, Soulful Session and Lady Alma.

Review: Like the best instalments in the long-running DJ Kicks series, this mix from Motor City Drum Ensemble man Danilo Plessow gives a far better insight into his musical inspirations than his own productions ever could. While there are, naturally, great deep house moments included (Tevo Howard, Mr Fingers, Latecomer etc), these largely take a back seat to Plessow's other musical passions. So, we get soft-focus electric jazz (Sun Ra), dub wise explorations (Tony Allen, Basic Channel), sweet soul (Peven Everett), dusty afro-funk (Geraldo Pino), urgent leftfield disco (Loose Joints, Walter Gibbons) and even a dash of instrumental jazz-funk (James Mason). That it all makes sense musically, flows brilliantly and is effortlessly entertaining is testament to Plessow's skill as a DJ.

Review: Let's just pause for one second; now, think about all that music that has so enriched your life down the years. All of it, without fault, and regardless of any strict genre definitions, is soul music. If it flicks a switch deep inside you, speaks to you, comforts you and makes you feel good about yourself, then that, my friend, is soul music. German DJ and producer Henrik Schwarz understands this musical truth more than most. A long-time aficionado of those musical forms that are commonly rooted in some appreciation of this sonic legacy - funk, house, disco, jazz, techno, and yes, the dictionary definition of soul (James Brown, Marvin Gaye, Motown etc, etc) - his adventures into hi-fi are testament to such a fact. And nowhere is this more readily apparent than on Schwarz's latest venture: a much-deserved foray into that Holy Grail of DJ mix albums, !K7's acclaimed DJ Kicks series. Across 23 tracks, Schwarz enthusiastically takes us on a musical journey that without wanting to get too chin-strokery about it, manages to entertain, enthral and educate all at once. And that he achieves this without losing sight of the style and sophistication that are the hallmarks of his unique DJ sets and his much praised productions and remixes is only added grist to his musical mill. Schwarz's background is jazz: free-flowing, improvisational and inspirational jazz, the likes of which set the pre-rock'n'roll years alight. And it's this mindset that initially informs his well-chosen mix. Rather than go for the latest bunch of tunes that are burning a hole on dancefloors across the globe, Henrik has paid homage to the music that he has loved down the years. Consequently, Moondog's jazz classic 'Bird's Lament' sets the scene for the journey we are about to undertake. When this segues into Double's blissful slice of Balearica, 'Woman Of The World', it's clear that we are in the hands of a rare talent. For Henrik Schwarz is a DJ who utilises all the tools of the modern sound sculptor - his usual sets are comprised of him jamming live via his trusty laptop - with a reverence for what has gone before. It's no wonder that Gilles Peterson is such a fan of his productions 'Supravision', 'Chicago', 'Jon' (which is featured here) and 'Leave My Head Alone Brain', nor that his music is lapped up by Manchester's hugely influential Electric Chair coterie. Henrik himself admits that he didn't want to think too much about his mix, rather he let the music dictate what direction he went in. "I just selected the tracks and then played them," he admits. "It was more about the feeling of the mix, creating those emotions and combining extremes." Such a case comes when he mixes the minimal techno of Robert Hood's 'The Core' with an African field recording. It's about creating layers and textures and in doing so it gives his mix a depth that is truly awe-inspiring. But this isn't all about intellectual grandstanding. Good times are audible at every turn: James Brown encourages us to get on the good foot with his dancefloor shimmy, 'Since You've Been Gone', and the psychedelic free jazz of Schwarz's own 'Jon' is both vibrant and hypnotic. Elsewhere, the stirring strut of Jae Mason's 'Let It Out' and the irresistible Afro-beat of Cymande's 'Anthracite' both compel you to fish out those dancing trousers. Undoubtedly though, the blue touchpaper is well and truly lit by Schwarz's 'Imagination Limitation', a track written especially for this mix. Placed next to Detroit legends Drexciya's 'Black Sea' - all crisp and muscular Motor City futurism - it ticks Schwarz's techno fetish with aplomb. Other dancefloor delights come courtesy of avant-garde nut job Arthur Russell's trippy cosmic disco 'Get Around To It'. Being a mix of untold seams, the funk flavours at the business end speak of Schwarz's cerebral qualities. Womack & Womack's 'Conscious Of My Conscience', Rhythm & Sound and Sugar Minott's 'Let Jah Love Come', Doug Hammond's 'Wake Up Brothers' and the incomparable Marvin Gaye's 'You're The Man' are all moving and literate pleas for a better world. And that in a nutshell is the mix you presently have in your hand. It's a CD that tells a story. It contains tracks that ooze class, that reek of history, that are imbued with style. It is a mix that speaks of life's rich tapestry. In short, Henrik Schwarz has delivered a mix with something for your mind, your body, and, most importantly, your soul.

Review: Over the years, there have been numerous approaches taken towards the DJ Kicks series, from spooky nerd-outs and downtempo voyages to funk-laden journeys and inspired, willy-waving eclecticism. On this latest instalment, Hotflush boss Scuba has decided to go for an all-out dancefloor assault. Yet this is no ordinary club-friendly mix. It touches on all strains of bass music with moments that take in juke, techno, dubstep, wonky, future garage, acid, broken beat and more. The rate that Scuba charges through tracks can only be described as furious, shifting between ragged floor fillers, emotion-rich groovers and atmosphere-heavy mood pieces at a rate of knots. That it never seems forced or breathless is testament to his skills. As bass music mixes go, you'll find few better.

Review: In recent interviews, Paul Woolford AKA Special Request has made it clear that he's long dreamed of being asked to contribute to K7's long-running DJ Kicks mix series. It should come as no surprise, then, that his volume in the series is little less than stunning. Constructed as a slowly unfurling, constantly evolving musical journey interspersed with ambient interludes and specially created Special Request cuts, the set sees Woolford work his way through synth-soul, 21st century boogie, electro and IDM before moving on to classic house, techno, acid house, hardcore, jungle and, in its closing moments, a stunning, spacey synth-scape he wrote in cahoots with fellow Yorkshireman 96 Back. Throughout, Woolford's focus remains on mood, melody and tone. A simply stunning mix made by a master craftsman.