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Review: Let the sermon begin - Detroit techno legend and innovator Robert Hood steps up to deliver the latest installment of !k7's legendary DJ Kicks series and it's an edition well worthy of attention. The ordained minister leaves the minimal techno sound that he helped pioneer, for powerful, big room techno on this highly anticipated mix. Despite his famously linear approach, here he builds tension between tracks with suspenseful breakdowns throughout. Highlights include the direct impact of his own "Focus" and its factory floor stomp, his hypnotic rework of Landside's "Signs Of Change", the seething tension of Slam's "Remain" and the return of Space DJz' Ben Long who teams up with Belgian veteran Tom Hades on the sci-fi epic "The Knight Rider".

Review: Eccentric Swedish sitcom enthusiast turned producer DJ Seinfeld is hot property right now, so it's hardly a surprise to see him mixing the latest instalment in the DJ Kicks series. It's rather good, all told, offering a good run through of his influences and inspirations whilst also packing plenty of dancefloor punch. Taken in isolation, the Swede's on-point selections (think breakbeat-driven lo-fi house, dreamy deep house, skewed techno and bubbly post-IDM jams) are often deep, melodious, atmospheric and left-of-centre; brought together, the result is a wonderfully fluid and entertaining mix. Highlights include the downtempo bliss of the producer's own "I See U", the bass-heavy breaks/deep house fusion of Rudolf C's "Deep Sea Survivor", the rushing dancefloor mania of FaltyDL and the loved-up goodness of Project Pablo.

Review: When they were asked to put together the latest volume in the "DJ Kicks" series, Mount Kimbie boys Dominic Maker and Kai Campos drew influence from their recent gigs DJing in support of Actress. As a result, their hugely enjoyable 22-track mix tends towards the experimental and off-kilter. Over the course of 80 action-packed minutes, the pair touches on a myriad of styles, including ambient, industrial-era experimentalism, South American influenced tropical drum jams, spacey modular techno, raw-edged peak-time jams, mind-altering acid weirdness and intergalactic electro. Highlights are plentiful, from the hypnotic dancefloor intensity of Stanislav Tolkachev and bleeping body-jack of A Sagittariun, to the skewed warmth of Severed Heads and the dream-like weirdness of their own exclusive contribution, "Southgate".

Review: On his contribution to the long-running "DJ Kicks" series, Leon Vynehall has decided to take a widescreen approach, offering up a blend that showcases the depth and variety of his music collection rather than his club-rocking skills. The first half of the mix ebbs and flows with the laidback drowsiness of his selections, which flit between post trip-hop beats, ambient, IDM, electronica and crunchy post-punk pop. Midway through he begins to crank things up a notch or two via RAC's UK garage-influenced 1997 cut "Fushigi", the chunky peak-time warmth of Crinan's "Kilimanjaro" and the bass-heavy pump of Ploy's "Pressure", before unleashing some seriously intense experimental dancefloor workouts from the likes of Etch, Aphex Twin and Peach. It makes for a hugely enjoyable and at times breathtakingly brilliant musical journey.

Review: Although she's offered up plenty of high-grade DJ mixes in the past, this volume in the "DJ Kicks" series marks Laurel Halo's first commercially available mix-up. The sometime Hyperdub producer has dutifully delivered something rather special, somehow joining the dots between 29 diverse and disparate cuts in the manner of a true turntable maestro. Beginning with the melodious experimentalism of her own "Public Art", Halo giddily charges between mutant industrial funk (Stallone The Reducer, Final Cut), thrusting electronic disco (Red Axes), deep techno (Parris), mind-altering acid-style intensity (Rrose), stomping, sweat-soaked peak-time techno (Machinewoman, FIT Siegel), polyrhythmic bass music (Facta, one of her Livity Sound collabs with Hodge) and an impressive array of cuts that defy easy categorization. The resultant all-action mix is nothing less than stunning.

Review: South Korean star Peggy Gou continues her seemingly unstoppable rise by serving up her first ever DJ mix CD. It's a contribution to one of the longest running series in the business, DJ Kicks, and she's used the opportunity to showcase the depth and variety of the music in her crates. Beginning with the classic early '90s ambient of Spacetime Continuum, Gou flits between humid, mid-tempo Balearic house (her own "Hungboo"), acid-fired downtempo electronica (Pearson Sound), throbbing 1990 peak-time anthems (Weatherall's ace but largely forgotten remix of Sly & Lovechild), hypnotic techno minimalism (Dorisburg), main room throb-jobs (Hiver), pulsating electro (DMX Krew), classic breakbeat hardcore (Shades of Rhythm), post-dubstep (Kode 9), dark tribal drum jams (Black Merlin) and sunrise ready Motor City brilliance (Deniro).

Review: It's been four years since globetrotting Glaswegian Jackmaster's last mix CD. This time round, he's opted to pay tribute to the sounds of the cities that have most inspired him, namely Glasgow, Detroit and Chicago. In essence, that means a fast-paced, thrill a minute ride through his house and techno influences that builds impressively over 80 action-packed minutes. Highlights come thick and fast, from the woozy synths and loose breakbeats of Denis Sulta's "MSNJ", and Mike Dunn's throbbing jack-track "A Groove", to the bombastic dancefloor funk of Lory D, the hazy hypnotism of Mr G, and the wonky techno hustle of Ricardo Villalobos.

Review: Since mood, atmosphere, emotion and a left-of-centre approach have always been the hallmarks of Forest Swords' own productions, you'd expect to find a similar emphasis on this DJ Kicks excursion. Predictably, he's done just that, conjuring up a heady, constantly surprisingly musical journey that somehow manages to draw together many different stylistic elements whilst still making perfect sonic sense. There's not enough room to go into all of the eyebrow-raising twists and turns, but expect a mix of field recordings, neo classical, 1970s electronic experiments, the dub-wise reggae of Rhythm & Sound, out-there jazz-funk, Cameroonian water rhythms (really), haunting Bulgarian choirs, post-punk pop fuzziness, contemporary leftfield techno, pastoral folk songs and a dash of mid-'90s Orbital.

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: New York disco man Juan Maclean compiles the latest DJ-Kicks compilation, following the likes of Hot Chip, Booka Shade and Henrik Schwarz. Selecting from a rich tradition of house music, Maclean 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 DFA buddies Shit Robot and Still Going. There's some European tech house from Florian Meindl, Alex Niggemann and Andre Crom & Luca Doobie, and an exclusive new track from Juan Maclean to top things off.

Review: Originally released in 2000.

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: Those who checked John Talabot's excellent debut album, Fin, will know that his approach to house music is a little left-of-centre. Clearly inspired by the genre's quirkier fringes, he appears to enjoy creating tracks that veer from woozy and intoxicating, to tropical and pagan. Here, he makes his approach even clearer with a triumphant 27-track mix-up for the long-running DJ Kicks series. Variously deep, melancholic, unusual, inspired and atmospheric, the mix contains impressive contributions from the likes of Young Marco, Pional, Andy Stott, Jus' Ed, Joe Clausell and Talabot himself, as well as a rare outing for the rare (and rather fabulous) "Innermind" by Paradise's Deep Groove

Review: The long running DJ Kicks serious has always been fascinating, offering as it does the chance for DJs and producers known for a particular style to spread their wings musically. Jazz-minded German techno combo Brandt Bauer Frick grab that chance with both hands on their instalment, showcasing an atmospheric blend heavily influenced by nu-jazz and smoky, jazz-flecked deep house. Along the way, there are numerous pleasing diversions, from the head-nodding analogue boogie of Inkswel and Moog-laden African rhythms of William Onyeabor, to the dense drum workout of their own "Brommel" and the winding synths and ultra-deep production of Fantastic Man's "Late At Night". They also make room for a bit of tech-jazz (Galaxy 2 Galaxy), and the booming late night moves of Cosmin TRG.

Review: Given his multiple production aliases, love of collaboration and two acclaimed labels - the effervescent Aus and Simple Music - its surprising Will Saul has time to think, let alone lay down a DJ Kicks mix. That the resultant mix is a woozy, atmospheric, multi-textured voyage through many shades of deep house, techno and bass-flecked electronic music is less surprising. Tightly packed with exclusives - see Bicep's rave-flavoured "Nova", for starters - and with cuts from pals October, George Fitzgerald, Cottam and Axel Boman, amongst others, there's plenty for fans of Saul's ever-evolving sound to cheer. The mix is smooth and undulating, too, with Saul building a distinctly warm and wide-eyed vibe over 80 mesmerizing minutes.

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: 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.