Patti LaBelle - "Music Is My Way Of Life" (Joey Negro Funk In The Music mix) (7:51)
The O'Jays - "I Love Music" (Joey Negro Sweet Music mix) (8:10)
Loose Change - "Straight From The Heart" (Joey Negro Straight To The Groove mix) (6:46)
Kleeer - "Open Your Mind" (Joey Negro Seeekret mix) (8:59)
Christopher Cross - "Ride Like The Wind" (Joey Negro extended disco mix) (8:38)
Willie Hutch - "Brothers Gonna Work It Out" (Joey Negro Return Of The Mac mix) (6:38)
Cheryl Lynn - "You Saved My Day" (Joey Negro Tell The World mix) (8:51)
Norman Connors - "Stella" (Joey Negro Jazz Ride) (6:21)
Review: Two years have passed since his inaugural Remixed With Love collection but Joey finally delivers another immaculate collection of official edits and reversions. A quick squizz at the artists he's refixed will confirm (if any confirmation is necessary) Joey's weight and authority: Cheryl Lynn, Willie Hutch, The O'Jays, Patti LaBelle, Kleeer and many more go under Joey's crafty knife. Extensions are made, beats and fine-tuned, percussive breakdowns are polished and subtle dubby elements are brought to the fore. Even the most ardent of Dave Lee collectors may have a few holes to fill right here.
Review: Xtra xtra read all about it! Backatcha excavate a serious New York disco boogie rarity from 82. One of the first productions by BC Records founder Began Cekic, led by prolific backing-vocalist for the likes of Chic and Talking Heads Dolette McDonald, the result is a sultry downtempo affair with an obscene slap-bass line, sweet synth sprinkles and a strut that's roomy enough for Dolette to do her thing. Complete with an instrumental, this lives up to its name. Special.
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: By now we should know what to expect from Tropical Records, namely beefed-up, house style re-edits of disco and boogie tracks that tend towards the hot, sticky and humid. Sartorial kicks things off this time round via the swirling, Latin style disco-bounce of "Warping" - all low-slung bass, new house beats, big orchestration and snaking sax solos - before Moodena straightens out and tools up a hybrid jazz-funk/disco jam that boasts some seriously exotic guitar solos and jammed-out electric piano parts. Simon Kennedy's contribution, "Back To Soul", is a bumpy and bouncy take on a fine disco soul classic, while Hotmood's "Everybody" is a sweaty, house style revision of a P-funk flavoured boogie number.
Neon - "Don't Mess With This Beat" (instrumental mix)
The Future Sound Of London - "Papua New Guinea"
De-Lite - "Wild Times" (Mayday mix)
D-Mob - "That's The Way Of The World" (feat Cathy Dennis)
Top Buzz - "Living In Darkness"
Brainkillers - "Screwface"
Tic Tac Toe - "Ephemerol"
Ability II - "Pressure Dub"
Awesome 3 - "Don't Go"
Review: To mark the passing of three decades since they became resident DJs at weekly club night Rage, Fabio and Grooverider have put together this killer collection of tunes that not only rocked the party, but also laid the foundations for the jungle revolution that followed. It's a fine collection, with the veteran D&B duo serving up deep early progressive house (Leftfield), weighty bleep and bass (Ability II's peerless "Pressure Dub" and Juno's "Soul Thunder"), breakbeat-driven hardcore smashers (Zero B, Frankie Bones), early jungle (Wots My Code, Foul Play), slamming techno (Rhythim Is Rhythim, Cybersonik), UK acid house (Ecstasy Club) and rush-inducing rave anthems (Awesome 3, Lennie De Ice). A nostalgic trip down memory lone that boasts just as many underground selections as it does chart-bothering classics.
Review: One of the most singular artists in the Romanian minimal scene, Chiriches Vincentiu Iulian returns with more of his idiosyncratic grooves for new imprint Contemporan following up a great inaugural release by Sublee. "Contempo EP" delivers four diverse yet functional grooves that are aimed squarely at the dance floor, both at peak time and also those creepy dark after-hours moments. Highlights are plentiful throughout; check the smooth and dubby deepness of opener "Fixfue", trippy bass-driven funk of "Sonara" and reduced alien transmissions of "S-ude CV".
Review: To our ears, Rollover's ongoing "Edit Service" series has delivered some of the most interesting, obscure and intoxicating re-edits of recent times. The Milanese crew and their associates are in fine form again on volume three. They begin by offering up a re-shape of a pleasingly percussive, hypnotic and off-kilter chunk of pared-back Afro goodness (the drum-heavy quirkiness of "Mimi"), before Italian scene veterans Fabrice and Leo Mas go all low-slung and spacey on the dub disco chug of "Genius". Mark:eno savagely (and brilliantly) chops up a cosmic chunk of obscure disco-funk on "Io & Te", while Abbrangeli has his/her wicked way with a sleazy disco workout on druggy-but-funky closing cut "Dillo Ancora". In a word: essential.
Etta James & Sugar Pie Desanto - "In The Basement" (Soul Flip edit) (3:20)
John Gary Williams - "My Sweet Lord" (Soul Flip edit) (3:59)
Review: On their latest limited edition salvo, the hardworking Soul Flip crew (AKA experienced DJs and producers Aldo Vanucci and Del Gazeebo) gets to work on two more stomping dancefloor cuts from the golden age of soul. First up on side A is a gently tooled-up and tightened up take on Etta James and Sugar Pie DeSanto's 1966 floor-heater "In The Basement", a hybrid soul-jazz/rhythm and blues jam rich in rubbery double bass, bustling drums, restless handclaps and brilliant lead vocals from the two legendary soul singers. On the flip they tackle Memphis musician John Gary Williams' 1972 cover of George Harrison's "My Sweet Lord", which brilliantly re-imagines the former Beatles' spiritual song as a sweaty gospel-soul stomper.
Review: Since 2012, Munich duo COEO has served up a swathe of sample heavy, disco influenced house EPs for such labels as Let's Play House, Toy Tonics, Lagaffe Tales and Razor-N-Tape Reserve. Here they pop up on Razor-N-Tape's main edit label with something different: a quartet of traditional scalpel works from their personal stash. First up is the elastic, horn heavy disco-funk of "Express Lane", which is quickly followed by the skewed Arabic boogie-funk brilliance of "Libyan Sun". Over on side B, "Don't Oho" is a breezy revision of a sun-kissed Afro-disco workout that sounds like it would be capable of causing a commotion in the club, while "Move Your Body" makes merry with a warm, rich and intoxicating early '80s boogie-soul jam of unknown origin.
Review: Some 20 years after "If" first hit stores, Jeff Mills has decided to get his old pal Terrence Parker to remix it. He's done a rather good job, with both versions making great use of Mills' ghostly original chord sequences and two different variations on the mesmerizing, seemingly drifting scat-style vocals that was arguably the track's most memorable feature. The A-side "Vox Soul Mix" includes new vocals in the original style by Marachka, whose haunting but soulful improvisations brilliantly rise above metronomic techno drums, spacey effects and those now famous chords. The similar sounding "Original Remix" is a little tougher and weightier, with tooled-up percussion (check the restless hi-hats) underpinning Anna F's original scat vocal and Mills' ethereal, ambient style chords.
Review: Stunning stuff here from the mysterious but utterly intriguing West Loop Chicago, an outfit only known for two previous releases on City Volt and nothing else. Taking cues from the broken beat and jazz scenes, this new record is a force to be reckoned with, not least as "The Serpent" comes wheeling in with a skittering drum funk and bugging synth lines to send you pinging into the cosmos. On the flip, "Divinity" has a more organic feel with Rhodes keys and piano dancing across the rhythms - these aren't specifically billed as edits, but given the project's background in disco re-rubs it's safe to assume these are two soul jazz bombs buffed up for your wild card spinning pleasure. There's even bonus beats for each track included - how considerate!
Review: On wax by dope demand! This Razor-N-Tape 2013 release has been a cult classic for many years but never seen the light of the 12"... until now, thanks to the constant pestering of the Discogs community. All three tracks from the original release are here but it's "Where You Belong" that most are after due to its beautiful spacious beats, sweeping strings and awesome Dionne Warwick vocal texture. The whole release is charmed, though; "Here's To You Mr. Robinson" gets a little smokey on our souls while "Makes Me Feel" should get us all very blissed out. Do not sleep on this one, it won't hang around.
Review: Out 2 are the product of a New York-based partnership between Jeremy Campbell and R. Zanzibar, who are just the kind of cult operators that Emotional Response so dearly love. With one foot in classic Talking Heads inspired funk variations and the other in the catch-all stylistic melee of the modern age, this is highly developed party music for well-read rug cutters to bust out shapes to. Just check the gorgeous synth violin styles on "Fire" or the heavy dub beatdown of "Rubber Hour" - these cats know what they're doing. All new-no-minimal-wave lovers take note!
Slipping Into Darkness (Vincent Floyd remix) (7:12)
As You Are (7:17)
As You Are (Nick Anthony Simoncino remix) (7:00)
Review: Vibraphone Records continues to deepen its contemporary repertoire by inviting Andrew Soul into the fold with a vocal contribution from house music legend Robert Owens. "Slipping Into Darkness" is a beautifully rendered deep house gem with expressive piano work, rubbery bass synth tones, but in some ways the minimalism of Vincent Floyd's remix gives Owens' vocals a chance to take centre stage. "As You Are" is a crooked, broken beat exploration on the fringes of deep house, and Owens' voice sounds resplendent in the more experimental surroundings before Nick Anthony Simoncino comes on board with a 90s flavoured, darkside remix of the highest order.
Review: Leeds based Bleaching Agent has been making a racket over at Opal Tapes, Komisch, Overlee Assembly and more in his time, but this appearance on Reposition marks the first we've heard from him in a while. The mood on "Free Fere Fer Fe" is boisterous but dynamic, while "Albeni" is more sharply chiselled. "To Tu Ti Tl H" switches gears with a reduced weirdo disco thrust that could do some serious damage. The D-56M remix of "Free Fere Fer Fe" is a bold reimagining as a trancey industrial deviation with a workable pulse.
Review: Moto Music round off a cracking year with this essential collection of deep diving techno finery from Bigeneric, one of Marco Repetto's many long-lasting aliases. The Swiss polymath is a dab hand at wringing illustrious machine soul out of his machines, whether it be crafty, head-snagging rhythms or plush and expressive threads of synth work, and on this double pack you get an abundance of both. With one foot firmly in the heritage of Detroit and the other gazing into the stellar orbit of the finest European techno dreamers, this is elegant, thoughtful electronic music of the highest order.
Review: It's the fourth go round for Monsieur Blue, who steps back up to the plate with another three surefire jams from the slinkier side of the minimal house spectrum. "Track 1" is an exquisite trip through blue-hued keys and shuffling drums, striking a fine balance between the lounge and the dancefloor. "Track 2" takes a moodier approach, eking out mysterious chords and injecting a little juice into the low end to suit a more rugged situation, and then "Track 3" jettisons the ballast and pings off into a dubbed out sphere of house music perfectly crafted for the times you want to get lost at sea.
Review: The Whiskey Pickle crew turn their attention to a new partnership from Steve Cobby and Laurie Welton, the former being known for decades of DJing, label management and producing alongside the likes of Stephen Mallinder for Throne Of Blood. Here the emphasis, as expected with Whiskey Pickle, is on disco with a slight leaning to the left. "Absolute" is a bubbling jam laden with illustrious threads of melody, cosmic in nature but still rooted thanks to a rock solid rhythm section. "Limoncello" is a more introspective affair that works with minor chords and a more intricate set of drums, but don't be fooled the groove is very much still intact. New York duo Whatever/Whatever bring a tougher dynamic to "Absolute," dialing in some beefy beats and amping up the synth touches for a surefire house heater.
Review: The latest outing from Swiss reissue specialists WRWTFWW takes us back to 1981 and the debut single from Bern-based post-punk combo Grauzone. The 12" release of "Eisbaer" has long been a must-have amongst fans of off-kilter, dancefloor-ready new wave, and this replica reissue includes all three tracks featured on that version. Opener "Eisbar" sets the tone, with the bands weary, half spoken/half sung vocals rising above a backing track that's powered forwards by relentless bass guitar, screeching riffs and broken computer style electronics. "Film 2" is a heavy, synthesizer powered workout peppered with delay-laden drum hits and odd noises, while closing cut "Ich Liebe Sie" is a clicking and quietly melodious affair that's almost entirely electronic.
Review: The oh-so ironically named Super Tuff are back in business with the first solo artist release on the label, welcoming Local Talk champ and all round wunderkind producer Marcel Lune. The musicality is spilling out of this 12" at every turn, from the Floating Points-esque synth orchestrations of "Moon Sequence" to the motivational rush of piano playing and cosmic FX sweeping on "You Can Do It!". "Unknownz" is a more mystical affair that drafts in seagulls and crashing waves to help spell out another effervescent, bouncy house trip. "Sun" brings some seriously deft drum / handclap programming to the table, but still those ascendant lead lines are the star of the show.
Review: Building a formidable reputation as an artist with a diverse set of approaches in the field of electronic music, Ukranian producer Cape Cod delivers his debut album on Kiev House in a fine display of musicianship. From the opening track "Among The Stars" (which features Constantine on vocal) it's clear that this will be more than a straight up collection of dancefloor tracks. There are indeed some upbeat house tracks to be enjoyed, not least on the razor sharp garage bumper "We Don't Have To", but there's also equal space given over to more introspective jams such as "Put U Down".
Review: The latest dusted down archival dig from Emotional Rescue is by Politrio, a short-lived new wave / post punk band from Italy who released one album in the mid 80s. The focus of this release is their cover of Talking Heads' "Psycho Killer," which originally appeared on the Amnesty International P.E.A.C.E Benefit Compilation in 1987. It's a wild take full of rampant guitar wailing and limber slap bass that teeters towards the 80s funk rock of Faith No More et al, and that's no bad thing at all. On the B side of this 7" Double Wave gets busy in the edit, offering up a stripped back version for the spinners.
This Is What You Are (feat The High Five Quintet - radio edit) (4:21)
This Is What You Are (The Brazilian Rime) (4:53)
Review: "This Is What You Are" is undoubtedly Mario Biondi's most celebrated work. He first sung it for original composers Was A Bee in 2004, before re-recording it for his debut album (alongside the High Five Quintet) in 2006. Since then it has been reissued or remixed on numerous occasions. Here it gets reissued on a tidy 7" single, with a punchy radio edit - a swinging, Sunday afternoon style chunk of Latin soul-jazz rich in jaunty grooves, soaring orchestration and smooth vocals - being joined by the "Brazilian Rime" rework. This tasty re-recording re-casts the song as a breezy, samba-fired slab of early 1970s style Brazilian MPB. It's an inspired interpretation and could well become the definitive version of the track.
Review: Following rock solid entries from Ben Sims, Markus Suckut and Alan Fitzpatrick, Mosaic's Red Series continues apace in 2017 with a firing three-tracker from German scene stalwart Andre Kronert. "A Track Called Jinx" is a slow and nervy slice of bleepy techno that says a lot with the barest of ingredients. "The Bottom Line" is a more feisty concern, raising the tempo and the intensity without losing that loopy quality that shoots straight into the dark heart of the night. "Pressure Dub" represents the more experimental side of Kronert's output, using sparse materials to create a minimalist megalith.
Review: After popping up on a various artists release last year, Ugly Frankie makes good on his connection to the Vinyl Only label with a full fat EP of chunked up, funked out house business for sunny climes. There's a dusty, rolling tone to the tracks on offer here - the crafty edits, nimble sample treatment and inventive layering creates a vibe you can lose yourself in all day. These aren't just straight up dancefloor rollers either - "Cow Boogie" bumps and slides with a low slung swagger that will have you popping at a slower tempo - but they're all prime for the get down. For some dusty, soul-laced cuts produced with flair, look no further.
Back Home (original Hip House instrumental mix) (7:17)
Back Home (alternative mix) (7:50)
Back Home (bonus beats) (4:28)
Review: A pioneer for the hip house scene in Chicago back in the 80s, Tyree is still at it thirty years later and sounding as vital as ever. This collaboration with Pure God is a thoroughly different concern to the jacking acid of the early days, bringing a live drum sound, funk bass and even a stirring string lilt into the mix on "Back Home". Whether you plump for the full vocal mix or the stripped back instrumental, it's an anthemic party starting beast of a jam for peak time maneuvers. The "Alternative Mix" of "Back Home" on the B-side is a more classic, throbbing slice of mechanical minimalism for the traditional Chicago jackers out there, and there's some "Bonus Beats" thrown in for good measure too!
Review: The low-key but long-serving D2B steps up on a self-manned label to deliver two surefire club smashers for those who appreciate the grit and soul of proper Detroit techno. "My Love" on the A side is the friendlier cut, its taut machine rhythms embellished with dextrous synth work from pulsing chords to simmering strings, all shot through with a smoky after hours haze. On the flip side, D2B gets a little rawer with the component parts of the track, jacking up the drums and spacing out the arrangement for a more intense workout that should satisfy anyone who wants techno with personality that still smacks hard.
Review: Fresh from delivering the "Dance Music" trilogy of 12" singles, NYC native Levon Vincent returns to action with an EP of untitled tracks. It's an impressively melodious and ear-pleasing affair, with the Berlin-based producer's no-nonsense house and techno drums being smothered in a variety of tuneful synthesizer lines, fuzzy but futuristic electronics and warm basslines. Picking highlights is tough, but we'd suggest starting with the bubbly analogue bliss of "Track 1" before moving on to the chunky goodness of "Track 3", where cheery lead lines dance above non-stop bass and crispy machine drums. Elsewhere, "Track 4" sounds like a tribute to the soundtrack to forgotten early '90s Commodore Amiga game "Fire and Ice" and "Track 2" is a heartwarming rush of luscious lo-fi lead lines and unfussy drums.
Autarkic - "Screaming (To Be With You)" (feat The White Screen)
JD Twitch - "Dalbouka"
Sneaker - "I Looked For You"
Die Orangen - "Rattling Ghosts"
Review: After teaming up to release the scintillating works of C Cat Trance in their original 80s form on Screaming Ghosts, Emotional Rescue and Malka Tuti join forces once again to deliver a ludicrously talented roster of remixers who catapult John Rees Lewis' cult group into thrilling new spatial and temporal zones. Autarkic decides to go for the full-tilt cover version on "Screaming (To Be With You)", with ample help from The White Screen, while JD Twitch roughs up "Dalbouka" into a quintessential slab of ethno-motorik body music. Sneaker's take on "I Looked For You" emphasizes the atmospheric tension in the original, giving the track a cinematic scope, and Die Orangen's "Rattling Ghosts" finishes the record on an appropriately ominous, subtly industrial tone.
Miro SundayMusiq - "From Behind The Corner" (8:39)
Review: Following an excellent EP from Memphis, Animals On Psychedelics returns with more weird and wonderful party fare from the outer reaches. This time it's a various artists release that brings together all the producers involved in the label so far, while also introducing BPMF to the fold with the woozy, rubbery synth shapes of "Liza On Clouds." Jane Fitz and Dom Ahtuam's Invisible Menders project presents the rolling, psyched out melodics of "Three On Three," while Memphis pushes further into experimental territory with the wonderfully fractured "Altered States." That leaves it to Miro SundayMusiq to complete the EP with the wave-meets-Italo tones of "From Behind The Corner," a perfectly noirish flourish to finish a sterling record.
Review: Commonly found rocking out on Unison Wax, Constant Sound and Pleasure Zone, Diego Krause is a certified mover and shaker in the minimal house scene, and he's on fire with this latest round of missives for Blind Box. "Malice" leads the charge with a plethora of eerie synth textures flexing organically round the sturdy beat, while "Monolith" slips into a slinkier groove while keeping the tripped out tone tweaking at the forefront of our minds. "Return" brings a tougher, fist-pumping rhythm section with a snaking syn-cussion tones trickling throughout, providing Blind Box with plenty of material to sink their gnashers into on the remix.
Review: Having previously melted our hearts with the fantastic Qi Xin Mian Guan EP on Pleasure Unit, Lithuanian duo Miskotom cruise up to sister label Pleasure Wave for this extended trip into exotic boogie territory, where the sound palette of 80s new age is alive and well. From the jazz funk undertones of "Hyenas Laugh" to the spiritual lilt of "Senoi," this is a record designed to make you feel at ease. "10th Day" gets slow and seductive, "Kuai Can Che" plays around with more danceable rhythms and "Kopiec" gives us the ambient palette cleanser that every great record needs at the end.
Review: Hot on the heels of Phil:osophy's latest treasure trove comes another bounty of bliss from Artificial Intelligence's Integral. This time with old friends Zero T and longstanding vocalist Steo. "Can't Hide" is pure soul heaven; delicate layers of Steo's harmonies arranged softly over a spacious beat and lilting pianos, it's T and Steo at their most evocative and feel-heavy. "Make Time" kicks with more urgency as techno-like synths stab hypnotically, balanced by Steo's falsettos and gently rising instrumentation. Elsewhere the unstoppable Monty gives their evergreen 2016 soul-out "Too Close To See" a bittersweet twist. There's no hiding from this one.
Review: Having appeared on Razor-N-Tape, Z Records and File Under Disco in recent years, NYC's Jkriv steps up to Peter Croce and Moonlighter's Rocksteady Disco with three precision-picked Latin-laced floor-heaters for three totally different shades of the night. Title track "Aguaxire" takes a Brazilian standard and whips it up in a vat of bubbling jazzy acid, "Ive Brussell" gives Jorge Ben a new suit and kick-ass chunky shoes while "Deep Cove View" takes the swooning soul of Tania Maria and loops it up with stuttering samplecraft. Genius.
Review: In the face of all those Clone reissue compilations, Tresor are doing the right thing and digging into their own archive of seminal aquatic machine funk from Detroit electro legends Drexciya, and stepping up with the Hydro Doorways EP is the kind of power move that most labels can only dream of being able to make. From the cinematic drama of "Quantum Hydrodynamics" to the textbook boogie down synth abandon of "Polymono Plexusgel", not forgetting the heavy-on-the-one throwdown of "Lost Vessel" or the alien gurgles and peppy pace of "Species On The Pod", or the... oh you know the drill. This is timeless, essential business for anyone that takes electronic music seriously.
Review: From humble beginnings for Parisian label Kitsune back in 2010, the sub-pop of Two Door Cinema Club has reached great heights thanks to their albums Beacon, Gameshow and most of all, their debut, Tourist History. Now with False Alarm, Alex Trimble's vocals continue to collide in sweet harmony with the band's contemporary arrangement of synths, acoustic drums and undertones of tropical instrumentation - bear in mind that TDCC never stray too far from the poppy realms of disco either. Highlights include the radical '80s charm of "Satisfaction Guaranteed" (think Sting or Hall & Oates) to "Satellite" and the oddly, stylisticly French ballad that is "Break". Good times roll!
Review: UK techno producer Sigha returns to his experimental project Faugust for the first time since the Devotions (1984 - 2006) EP on the short lived Avian sub label Mira five years ago. Unlike its predecessor, "Parallel Rave Fantasies" resurrects his long-dormant Our Circula Sound imprint and dives into new sonic territory, incorporating more IDM and generative music. Check the mind-mangling and glitchy "Cold Harbour", the demented digitized soundscape of "Process Aesthetics" and the brutalist, body bashing industrial of closer "Definition".
Review: Harriette "Hatchie" Pilbeam has been in the incubator of London label Heavenly for roughly two years now, with the label slowly establishing the artist before this debut with a slick run of 7" singles and promo material. Colliding breathy synth pop with reverb-drench folk, a touch of trip hop and good old-fashioned indie, Keepsake presents the debut opus from an emerging talent that's helping define what Shoegaze can be for 2019. Highlights include the Enya-like "Secret" and the melancholic two step beats of "Stay With Me". With touches of Boards Of Canada to be found in Hatchie's music too, there's a deep musical brain behind these beats and it should not be slept on. Check. It. Out.
Les Mondes Engloutis (Psychemagik main mix) (7:17)
Les Mondes Engloutis (Psychemagik 5am mix) (9:07)
Review: Martin Brodin's MB Disco imprint continues to deliver the good stuff, this time featuring two utterly essential Psychemagik mixes of Alico vs Cagri's "Les Mondes Engloutis". These mixes actually first surfaced on a digital-only release back in 2013, but now they've been buffed up for a full vinyl pressing, and rightly so. A side "Main Mix" is a full bodied, emotional banger with a lead drop to get crowds waving arms and singing along wholeheartedly. Our pick is the "5am Mix" on the flip though, where the synths take on a more shimmering nocturnal tone without losing that bright and bold character that will land this 12" in all manner of record bags this summer.
Review: Originally released in 1979, Francesco Cabiati's Mirage is a classic slice of holy grail electronic prog that has been searched for and fawned over for years by avid collectors. Now Galaxy have scored the record as their opening gambit, which should satisfy more than a few second hand vigilantes out there. It's a bombastic offering rich in Moog lines and dramatic themes, much like all the great instrumental synth offerings of the era. From the faithful treatment of the cover and labels to the quality of the remastering, it's everything a classic reissue of a hidden gem should be.
Review: Initially released in South Africa in 1982, Gyedu-Blay Ambolley's sophomore set is now regarded as a boogie-era Highlife classic. Here issued on CD for the very first time via Mr Bongo, the album features the Ghanaian star brilliantly joining the dots between driving disco-funk, jazz-funk, intoxicating slow jams, calypso, dub reggae and his beloved highlife. Highlights come thick and fast throughout, with standouts including heavy percussion jam "Simigwa", the boogie-dub skank of "Adwoa", the down-low grooves of "Walking Down The Street" and the killer disco highlife anthem "It's High Life". Simply essential.
Review: More from single-sided specialists EEE, a shadowy crew that specializes in sneaky contemporary club reworks of well-known tracks (many of which are, in their original form, about as dancefloor focused as your average miserable indie band or veteran cabaret crooner). What's on offer this time round is a heavily electronic tech-house groove - all Romanian style beats and bubbling, mind-altering synth notes - onto which is laid cut-up snippets from a famous old blues cut that's previously been sampled on a club cut to great effect. While the vocal does sit slightly awkwardly at times, there's no denying the heaviness or effectiveness of EEE's track. In other words, it's another winner from tech-house's most shadowy crew.
Review: After first appearing on the label back in 2016, Florence-based Italo house stalwarts Minimono return to Vibraphone with another selection of illustrious dancefloor gems for subtler moments in the dance. "Oldest Friend" is an airy, dreamlike track laden with upper register chords, tones and FX pinging around in a reverie of deep house delight, while "Questions" gets locked into a loose, swinging groove with some mysterious pads swirling around the middle distance for added atmosphere. "Some Day" is a more rugged affair that bumps and wriggles in all the right places, while "Eleven Days" explores broken beat territory without losing the hazy atmosphere that permeates the EP.
Red Ken - "Big Love" (Big Four Letter Word mix) (6:17)
Review: Psychemagik love Fleetwood Mac. Their love is so enduring that the dusty fingered editors/DJs/revered record collectors have gone so far as to found Fleetmac Wood, a club night dedicated to the work of Fleetwood, Nicks, McVie and the various other manifestations, where anything goes so long as it's Fleetwood Mac related. Their remix of "Dreams" has been getting playtime at the night - and by other well regarded DJs - and finally makes an appearance on this limited 12". What's immediately noticeable about the Crystal Visions Remix of "Dreams" is how much they add to the track without messing with the original's essence - it's also a lot more inventive than Psychemagik's 2009 edit of "Everywhere" which shows how far they've come in three years. Flip over for a great extension of Juno's favourite Mac moment "Big Love" from AOR Disco's Red Ken.
Review: After a strong run of releases between 2013 and 2014 that saw the likes of Hakim Murphy and Mark Forshaw grace their grooves, III Rivers are back in action with a sterling new effort from apparent debutant producer Dane Weaver. The techno foundations of the label sound as strong as ever on "Atom Soup," which charges ahead on firm but malleable arpeggios with an acidic undertone. "In The Clear" is a more wriggly affair with a swung groove and plenty of off kilter delights for wonkier dancefloors. "A Brief Trip To Space" opens up the B side with some delightful anchorless tones, and then "French Stu" burrows deep into the outer realm of machine manipulation in a gritty demonstration of leftfield techno.
Review: Given that almost every single Ron Trent record makes us feel toasty and fuzzy inside, it would be fair to say that "Warm" is a rather fitting name for the deep house legend's latest release. A-side "Night Ride" sees him get busy with a vintage drum machine, adding whispered vocals, colourful riffs, undulating synth-bass and chiming melodies to a distinctive rhythm track. It's every bit as delicious and enveloping as you'd expect, with flipside opener "On A Journey" offering a surprise Balearic diversion rich in sun-kissed guitar motifs, swirling chords and a tactile, slow-motion groove. The sunset-friendly fun continues on "Exhale", where rock style guitar solos are buried beneath shuffling samba-house beats and Trent's usual impeccable keys.
Review: REPRESS ALERT: relik returns with a repackaged edition of one of the catalogue's most treasured releases. "Overcome" and "Lady Science (NYC Sunrise)" need little introduction, and now come sporting the new TR11:11 matrix number. Written and produced by Thomas Melchior and Baby Ford aka Soul Capsule, these tracks came from one of the many sessions recorded at the West London Ifach Studio in 1999. On the A Side "Overcome" is stripped back and energetic, driven by rolling and shuffling garage style beats, tight bubbling bass and atmospheric synth pads. The intermittent vocal samples and the release's signature organ set you up for the flip, "Lady Science (NYC Sunrise)". Possibly one of house music's most emotive pieces, the track builds slowly with the introduction of each part building a story of soulful optimism based around a sparse palette of deep synths, uplifting keys and warm analogue bass. The understated beauty of the main vocal riff never seems to grow old or tired with the track lending itself perfectly to either main room, peak-time play or after-hours sessions alike. Remastered by Rashad at D & M.
Review: Some people shake their hips. Others shake their money makers. This anonymous longstanding editor crew shake their furry tales. And as we hit number 20 in their series of sassy party versions, we're reminded there's a lot to shake to. "Track One" shakes with a slight carnival theme thanks to its punchy horns before dropping into swooning funk guitars. "Track Two" shakes with much more disco deviance thanks to its stomping thumping Hi-NRG kicks, gutsy vocal loop and lolloping slap bass. It pops. But ssshhhhh.... some squirrels are best kept secret.
Review: Bottoms up! The Silver Rider and the Funk District saddle up for a two-way trip on the latest Whiskey Disco joint. Texan transdimensional traveller Silver Rider steps up for the A with a main course and a punchy side plate. "Woman" is a big War-style disco funk piece with precision spoken vocals and horns while "Hustle Up" is a stripped back wriggling bassline DJ tool guaranteed to disarm. Flip for the B to a trip into the heart of Mexico as the Funk District fires heated shots: "Imaki Ra Reo" is straight up Latin disco while "The Root Of Evil" takes us on an African International adventure for a stunning afrobeat finale.
Review: According to the South American music specialists at Matasuna Records, Ralph Weeks' 1971 single "Let Me Do My Thing" - recorded alongside backing Los Dinamicos Exciters - is arguably the most sought-after Panamanian soul record around. As this reissue proves, Weeks' original version is rubbery, heavy and rousing, with the singer's rasping lead vocal soaring above a weighty backing track that sounds like a breezier take on the New York boogaloo sound. On the flip, Voodoocuts tools it up for modern dancefloors, underpinning his club-ready edit with punchy new drums that give the cut more of a breakbeat style swing.