Come Back To Me (Soopasoul remix - instrumental) (3:22)
Review: DJ Soopasoul has previously breathed new life into tracks by Croatian producer Funky Destination, so it's little surprise to see him putting his spin on the Osijek-based artist's latest missive. He does a terrific job, offering up vocal and instrumental versions of "Come Back To Me" rich in long, tension-building intros, fuzzy funk horns, bass-heavy grooves, swirling orchestration and hard-wired guitar riffs. While the instrumental version is tidy, our pick of the pair is undoubtedly the A-side remix. We're not sure who the lead vocalist is, but her delivery is incredible. Don't sleep on this one!
Review: This has appeared with little or no pre-hype, so we're not quite sure of the story behind it. What we can tell you is that it offers up two rare versions of the ultimate golden era hip-hop party record, House Of Pain's 1992 anthem "Jump Around". On the A-side you'll find the "Multi Track Original Rap Version", which appears to be the first recorded version, featuring the band's now familiar lyrics over DJ Muggs' killer beat (which, according to lore, he original offered to both Cyprus Hill and Ice Cube first). His superb "Original Multi-Track Instrumental", which has never before seen the light of day, takes price of place on side B.
John Wagner Coalition - "Cold Sweat" (edit) (3:12)
Review: Mushi 45 is launching a new series featuring fresh edits of obscure covers of cuts by James Brown and the JB's. The first boasts two thoroughly obscure covers of "Cold Sweat". On the A you'll find a tidy tweak of a rousing, raucous and sexually charged 1968 version by El Klan, a Mexican band renowned for their heavyweight take on funk, soul and rhythm and blues. Over on side B you'll find an interpretation from the John Wagner Coalition that originally featured on their 1976 debut album, which unusually was made up entirely of James Brown covers. Their version is a little more laidback, with tons of spacey synthesizer flourishes, crunchy Clavinet lines and oodles and wild Hammond organ solos.
Review: Back in the early-to-mid 2000s, Warren Harris AKA Hanna was responsible for making and releasing some of the most sumptuous and seductive blends of future jazz, broken beat, soul and deep house around. This 12" from Melodies International offers a neat reminder by serving up two tracks previously featured on a CD-only album from 2004. A-side "I Needed" is the clear standout: a glassy-eyed and loved-up slab of jaunty dancefloor deep house that combines the swing of future garage and the snappiness of jacking Chicago house with the smoothness of soul and the kaleidoscopic synthesizer lines of jazz-funk. Flipside "Intercession, On Behalf" is similarly minded with more of an emphasis on vibrant jazz-funk and the soul motifs and the soul-powered swing of U.S garage.
Review: Having previously persuaded some of the re-edit scene's biggest names to contribute reworks, Razor-N-Tape has now recruited the Grand-daddy of the scalpel scene: 1970s disco original Danny Krivit AKA Mr K. He begins with "Stuff", a deliciously epic revision of an atmospheric and joyous disco cut rich in snaking synth solos, evocative instrumentation and glassy-eyed vocals. Krivit teases the tune in slowly, eventually cutting loose as the nine-minute edit reaches its final few minutes. Side B is all about "The Story", a jaunty and musically complex instrumental disco number that contains some fantastic orchestration, spacey 1970s synthesizer flourishes and heady female backing vocals.
Review: Following on from the inaugural Dancing People release in July, the series returns with two more stonking edits by London based multi-instrumentalist Nick Tyson aka Nick XOA and the enigmatic HWRD. Inspired by sounds from around the globe with the focus firmly on making you move, the A side houses the low bowled Afro funk groove "Dancing Time" - packed to the brim with nifty filter sweeps and generous dub delays for added dancefloor dynamics. On the flip, lose yourself to the sweltering soul jazz explosion of "Dankasa" with its slick Nigerian boogie night moves. Whichever side you pick, these 2 DJ friendly cuts are ready for dancefloors far and wide.
Review: Italian edit maestro Luca "LTJ" Trevisi is nowhere near as prolific as he once was, making any new EP a cause for celebration. Here he delivers his first edit-focused outing of 2019, a four-track collection packed with playable cuts in his distinctive style. Trevisi starts in confident style via the flute-laden funk-soul bounce of "Your Dick Signature", before diving further into solo-laden mid-tempo funk territory on the metronomic "Feel The Gotha Funk". He ups the tempo and intensity on B-side opener "Its Unreal Love", a distinctive disco-funk number with urgent male lead vocals and a killer bassline, before treating us to a wealth of extended electric piano solos and skittish drum fills on killer closing cut "Take Me Writer".
Review: Back in the 1990s, Pauline Henry was the voice behind the Chimes and their stunningly soulful mid-tempo hit, "Heaven". This 12", which is dedicated to the late, great Paul "Trouble" Anderson, boasts fresh, club-ready remixes of the singer's solo cover of that loved-up club classic. Masters At Work man Louie Vega handles the A-side, placing Henry's fine vocal above a bed of swinging NYC house beats, fluid piano motifs and string-laden chords. Arguably even better is DJ Spen and Reelsoul's flipside revision, a more electronic affair with jauntier synth flourishes, elongated organ solos and a bumpin' rhythm track.
True To Myself (Karizma Kaytronik Truth dub) (6:57)
Review: New label LDF clearly understands the need to make a big first impression, because this soul-flecked single from Angel-A and producer Rahaan - one of Chicago's true underground heroes - is a very impressive debut. Rahaan's A-side "Original Mix" is rhythmically tough and crunchy - think weighty drum machine kicks and snares - but also warm and woozy, with Angel-A's superb vocal rising above rich electric piano chords and jazzy synthesizer flourishes. Over on side B Karizma takes over, offering up a "Kaytronik Truth Dub" that wraps hypnotic, mangled electric piano notes, analogue bass and tech-tinged flourishes around a wonderfully locked-in but percussively lively rhythm track. It's very different to the original but exceptionally deep and floor-friendly.
Review: Always adept at reading the crowd and armed with decades of experience behind the decks, well-travelled man and Discoweey label boss Hotmood makes his debut on UK-based Giant Cuts with four summery tracks on "The Rhythm EP". Combining slo-mo boogie, groove laden disco and quality house sounds, he kicks things off with the sleazy late night funk attack of "The Rhythm Is There", before going deeper on the bass-driven soul loops of "My Darling (Dina)", leading up to the thumpin' B1 cut - a remix by Doc Jam that's chock-a-block with dancefloor dynamics and closing out with a fusion of jazz-funk, disco-house and evocative tropical jazz samples on "Tropical Space". Fans of Tropical Disco, Ravanelli Disco Club and Samosa will especially love this.
Listen To The Music (Apiento & Tepper remix) (7:08)
Review: Way back in 1988, Italian label Les Folies Art put out a dreamy chunk of Art Of Noise style ambient experimentalism by Quiet Force called "Listen To The Music". It's long been in-demand amongst Balearic collectors for its unique fusion of Fairlight-manipulated vocal samples, glistening guitars, sparse beats, snaking clarinet lines, jaunty fretless bass and new age synthesizers, so this licensed reissue on Rogue Cat Sounds is long overdue. This time round, the duo's original "For Love & Emotions" version comes backed by two fresh remixes. Justin Strauss and Max Pask turn it into a deliciously dreamy chunk of acid-fired early morning house, while Apiento & Tepper re-imagine it as a slick and seductive instrumental Sade B-side.
Something For The Dancers (Kerri Chandler Dark mix) (8:33)
Review: On the one-to-watch list for those in the know, Lea Lisa has released on Mona Musique, Memories and Chez Damier's Inner Balance Recordings, alongside her role within the InnerDisc record store family. Presenting "The Legacy EP" for the ever-reliable Wolf Music here, she showcases her unquestionable talent across the two opening cuts. The soulful, emotive and near spiritual vibes of opener "Something For The Dancers" reaches near Ron Trent like moments with its weighty synth lines, dream-like pads and powerful bass tones, and the sensual late night deepness of "From Garage" which combines sultry vocals, analogue keys and thumping percussion doffs a cap to Chicago and Detroit deep house classics. Arguably best of all though, is the remix on the flip by the one and only Kerri Chandler - the Kaoz Theory chief serves up a heavenly slice of house with his "Dark Mix"; a shuffling garage house beat blending beneath sustained string synths and signature stabs. Classic Kerri style.
Review: Dualismo Sound has a great track record when it comes to unearthing and reissuing gems from Italy's small but vibrant Afro-Cosmic scene. This 12" from Meo (real name Daniele Mei) is another. Both A-side tracks were initially released back in 1987 and are appearing on vinyl for the first time since. "Cikuana" is a jolly, synth-laden affair that inhibits similar sonic territory to some of Tullio de Piscopo's 1980s work, while "Alturas" does a great job in wrapping Flamenco guitars and new age synths around a rubbery electronic bassline and gentle drums. Epic flipside "Fiesta", meanwhile, was first featured on 1986 album "Sesta Traccia" and makes great use of both evocative fretless bass (a staple of Balearic records from that period) and snaking sax lines.
Review: Emotional Rescue return to the music of cult British group Furniture, shining a light on this unique band's extended 12" mixes and alternate takes. In the 80s tradition, these versions shrug off commercial concerns for something more exciting - long run times and space to tease FX and processes that a radio-friendly single wouldn't allow. "I Can't Crack (Broken Mix)" is an epic crescendo, while the instrumental mix of "Throw Away The Script" locks into a scratchy percussive workout anchored by a moody bassline. The sprightly piano lines and cascading sax on "Dancing The Hard Bargain" are a delight to lose yourself in, while "Bullet" strikes a somber but stirring tone to close the EP out.
Review: A throwback to early '90s hardcore rave here, courtesy of tight knit UK producers Objekt and Call Super. Running with the story of the mythical DJ Bogdan: legend and resident DJ of Berlin's fictitious Q Bar in the city's Schoeneberg district - which ran from the early 90s until its closure in 2012. "Love Inna Basement" is presented here in its two original versions: the Morning Dub which is cited by Objekt as the inspiration behind his 2016 tribute "Theme From Q", and 'Midnite XTC', hailed by Call Super as 'the track I've taken the most garys to in my entire life'.
Review: Tomoki Tamura and Tuccillo are back together once again as Doublet, with both seasoned tech house champs having fun in the studio jamming out the kind of stripped back, heads down grooves you'd expect to hear them play out. "Tee's 8" is a cheeky A side jam with the kind of acid line that goes down easy and then works you from the inside out. "Three Thousand Men" has a slight dubby thread to it which sits comfortably amongst the sturdy groove of the drums, and then "Tentation" switches gears for a bright and melodic creation that skips around in funky syncopation without even needing to worry about a kick drum.
Review: After kicking things off with the killer "Mariachi Guadalajara" by Lewski, Or:la's Cead label returns with another emergent talent, Blu Terra. The Warsaw based producer comes on strong for this breakthrough release with the heavy slapping, sound design-enhanced electro of "Person Sans". Even if the opening track felt detailed, it's superseded by the barrage of information spilling out of crafty, distinctive acid monster "20,000". "Western/Eastern" spreads across the B-side in a nervous twitch of rave energy geared towards big dark spaces, perfect for that spine-tingling part of the night when the real world feels very far away indeed.
Review: Midnight Shift continues its fine run of form via a mini-album of bleak intensity from renowned modular electro/analogue rave fusionist Umwelt, an artist whose distinctive releases are always worth a listen. The French producer sets his stall out via title track "Superior Life Forms", an undeniably heavy and distinctively dystopian chunk of broken electro fuzziness, before reaching for even grimier electronics and gut-punching bass on "Computer Controlled". "Latent Existence" is a moody, beat-free soundtrack for urban decay, "Fragment" and closer "The Windfall" are teak-tough industrial techno stompers, while "Shadow Entity" is a suitably psychedelic slab of trippy acid electro. Not for those of a fragile disposition, but impressively intense and forthright nonetheless.
Review: Melbourne producer Hysteric is becoming a go-to man for those looking for killer re-edits of obscure, left-of-centre Italo-disco and synth-pop oddities. Here he serves up a fresh batch of reworked gems for new label Fuego International, following inspired outings on Bordello A Parigi and Public Possession. The title track is a steamy, exotic Italo-disco gem blessed with electrofunk flourishes and AOR disco guitars, while "Discotheek De Marathon" is a throbbing, synth-heavy chugger that makes great use of extended drum solos and synthesized cowbells. Flip for the sweet, Afro-Italo fusion of "Pescara Beach", and the pitched down, electro-influenced new wave shuffle of "Southend Pier".
Review: Third time's the charm. Low Bias parallel project Dream Cycle returns to the ever-comfortable Sneaker Social with the next part of their annual series. Once again it's a barrage of two-step delights ranging from dank and mystic to deep and dreamy. "Told You" kicks off proceedings on a serious London bumpy flex, all sassy vocal snippets and a steam roller sub line. "Long Time" follows and takes us down a much deeper, contemplative path that's almost Detroit in its mood with those lush pads and spirited piano lines. Deeper again we strike the more technoid twangs of "Sensa" before "Untitled Dream" closes the EP on the deepest, wooziest tip of the EP, all downbeat, trippy and far too addictive for its own good. The Cycle continues.
Review: Three years on from his last outing on the label, Pessimist (real name Kristian Jabs) returns to UVB-76 with more heady fusions of techno and UK bass. He opens with a bang via the clandestine, claustrophobic and paranoid tribal techno-meets-experimental D&B insanity of "Burundanga", before creeping us out via the foreboding sub bass, horror soundtrack chords and analogue pulses of "Lithosphere". There's more end-of-days fodder on side B, where Simon Shreeve offers a dystopian, dub techno-meets-deep dubstep revision of "Paian" and Jabs unfurls the gritty analogue scariness of post-apocalyptic dancefloor number "Thug".
Review: Just under 12 months ago, French imprint Arpege launched with a multi-artist EP rich in far-sighted and futuristic takes on tech-house. For the follow-up they've decided to flip the script, instead offering up a quartet of electro-focused cuts. The headline attraction comes from British electro titan Carl Finlow, whose "Fmseq" is a spacey and melodious mixture of body-popping beats, throbbing bass, lilting lead lines and sparkling chords. There's plenty to set the pulse racing elsewhere across the EP though, from the heady deep space bleeps and hybrid electro/tech-house grooves of Harry Wills' "Estren", to the drowsy electronic warmth, bubbly acid bass and skittish beats of A2's "Plonk".
Review: There are no prizes for guessing the sort of music that defines Rave Or Die. Next up with some dynamite club tracks are Stranger and Umwelt, who take one side each of this new marbled 10". Stranger's "Motief" is a techno crescendo that builds on hard hitting techno drums. The urgent synths and increasingly brash hi hats work you into a manic state that is all consuming. Umwelt then gets even more abrasive with caustic synths and retro rave stabs, slapping metallic hits and pounding broken kick drums all forcing you to move on "Shut Up & Dance". This is truly arresting stuff once again from Rave Or Die.
Paxton Fettel - "I'd Like To Know You Better" (5:50)
Kristy Harper - "Uncle Jungle" (5:27)
Manakinz - "Robopubez (Rust In Peace)" (6:59)
Maxime Alexander - "BSA Freestyle #1" (feat $hakes) (5:01)
Review: London-based Ben Gomori is back with the fourth installment of "Dialogues" on his Monologues imprint. It's another various artists affair featuring four choice cuts that pursue all things deep, emotive and sensual. Copenhagen's Paxton Fettel kicks off proceedings with some boompty and disco-fied vocal business on the loopy "I'd Like To Know You Better", followed by the smoky late night groove by Kristy Harper's "Uncle Jungle" featuring some infectious roaring diva vocals. On the flip, go deeper into the night on the sweltering and hypnotic vibes of Manakinz' "Robopubez (Rust In Peace)" where Sub Club resident Harri collaborate with his bud Max, and finally Maxime Alexander reps South Africa on the sultry mood music of "BSA Freestyle #1" with $hakes on the mic.
Review: The crew behind the Clut label has put together a fine debut EP here. It offers up a quartet of cuts from techno and electro producers renowned for the warm, melodious and emotive nature of their sound. To our ears, the best track comes from Riccardo Rizza, whose EP-closing "Mars" is a fine fusion of rolling tech-funk grooves, spacey chords and life-affirming, B12 style melodies. That said, John Shima's similarly-minded - and arguably even more positive - "Circulate" pushes it close, while Odracir's analogue bass-propelled bleep-out "Set" and Alec Falconer and Rob Amboule's wonderfully deep "Clarkspin" push it mighty close.
Jamie Jones & Darius Syrossian - "Rushing" (extended mix) (5:43)
Jamie Jones & Darius Syrossian - "Rushing" (Afterparty Basement mix) (5:36)
Darius Syrossian - "Come On Come On" (extended mix) (6:33)
Darius Syrossian - "Kouka" (Warehouse Basement mix) (6:17)
Review: Jamie Jones and Darius Syrossian are both house heavyweights, but with very different vibes. It's fascinating that they have come together on this EP then, with their collaborative "Rushing" opening the EP in steamy fashion. It features a well worn vocal repackaged on bulky, bass driven house drums that are designed to get the crowd pumping their fists. The "Afterparty Basement Mix" is even harder hitting with some chords layered in for extra fun, then Darius goes solo on the flip for "Come On Come On", which fits in with his rolling, well sampled house style and is a sure fire crowd pleaser. The more stripped back and hypotonic "Kouka" is perfect for big spaces and bringing crowds together to march to a beat.
Review: You'd probably have to take out a loan to buy an original, second-hand copy of Master Force's sole single, 1979's "Hey Girl", so this dinky reissue is more than welcome. The title track is a dewy-eyed slice of two-step soul sweetness rich in Curtis Mayfield style lead vocals, glistening guitars and trumpet solos that sound like they've been lifted from an early Herb Alpert recording. Arguably better for dancefloor plays is "Don't Fight The Feeling", a Clavinet-heavy disco-funk affair that boasts some brilliant group backing vocals and heaps of authentic New York flavour.
Instant Funk - "I Got My Mind Made Up" (Late Nite Tuff Guy remix) (7:21)
Orlando Riva Sound - "Body To Body Boogie" (Late Nite Tuff Guy edit) (5:30)
The Salsoul Orchestra - "Ooh I Love It (Love Break)" (Late Nite Tuff Guy Muscle edit) (6:42)
Review: Salsoul has always been good at getting contemporary producers to reinterpret classics from its bulging catalogue, with recent years bringing fresh edits and reworks by The Reflex, Moplen, DJ Pope, Dimitri From Paris and Late Nite Tuff Guy. Here the latter returns with a second helping of tastefully tooled-up revisions. The Australian producer kicks things off with a warm and woozy hybrid disco/house take on Instant Funk's "I Got My Mind Made Up" that's quite a departure from the original mix. Over on side B, he turns in a languid and groovy, mid-tempo house version of Orlando Riva Sound's overlooked "Body To Body Boogie" before successfully revising Salsoul Orchestra's much-loved "Ooh, I Love It (Love Break)" whilst retaining most of the original vocals and instrumentation.
Review: Emotional Rescue turn their attention to Rare Silk and their sublime cult classic "Storm". It's one of those rare tracks with a wonderful otherworldly quality that manages to be smooth and accessible, and somehow not like anything you've ever heard before. It must be somewhere in the mix, between the dreamy harmonized vocals, lush instrumentation and curious sense of space. The original on the A side is a treat enough, but then throw in a mercurial dubbed out version by Arp on the flip and you've got yourself a 12 inch portal to a most delightful dimension.
Review: Glaswegian disco overlord Al Kent is particularly fond of dusty, hard-to-find records that combine great grooves with the kind of sugary, flowing orchestration that marks out some of the greatest late-'70s dancefloor records. It's these records that he tends to re-edit. He's at it again here on a surprise two-track GAMM outing. Check first A-side "The Light Of You", a peak-time ready Stevie cover version disco cut that adds a myriad of instrumental solos to a heavily orchestrated backing track originally recorded by latin disco soul outfit LaSo. It's rather good, all told, as is the wild flipside Latin jazz-funk workout "Sing A Song". It's pretty sweaty and even boasts some serious eyes-closed guitar solo action (along with tons of authentic South American percussion).
Review: The hardest-working man in West London is back! By now we've become accustomed to Kaidi Tatham offering up regular doses of soul and jazz-funk-fired dancefloor goodness, but even by his high standards "You Find That I Got It" is something special. Warm, woozy, groovy and full of intricate musical details - brief synth solos, subtle orchestration and so on - the A-side title track is a wonderfully sunny slice of instrumental boogie-soul. Tatham's world-renowned keys playing comes to the fore on the organic broken beat/jazz-funk fusion of "Mjuvi", a flipside cut that's almost as good as the exceptional title track.
Review: Alphonse has already dropped a pair of 12"s on Especial in the past, but he's on especially excellent form this time around. A veteran of the halcyon rave days of the 90s, he's got a lot to draw on to conjure his particular kind of machine jams. "Moan Up" is a truly dazzling track, all twinkling synth lines interweaving around a crisp old school groove. As well as the loved up peaks of the original, there's also a beatless mix of the track that lets the melodies shine on their own. "White Pepper" takes things moodier and lets some sultry sax wail over the top, while retaining some of that boxy drum machine energy. There's even space for some tasteful guitar wailing - excellent.
Review: A new album from Sam Shepherd AKA Floating Points is always cause for celebration, but even by his standards "Crush" is rather special. Largely eschewing the ambient jazz soundscape shuffle of 2017's "Reflections - Mojave Desert", it sees the Shepherd showcase his musical dexterity in stunning fashion via cuts that wrap shimmering neo-classical strings around what sound like modular electronics and rhythms that variously touch on broken beat, off-kilter experimental D&B and Autechre-style IDM. Of course there are ambient and experimental soundscapes showcased, but it's the fact that the album contains a swathe of formidably dancefloor-focused cuts in the style that first made him standout that pleases us most. Highlights include recent single "LesAlpx", the dreamy "Anasickmodular" and the "People's Potential" style deep house intricacy of "Last Bloom".
Review: Under the Special Request alias, Paul Woolford has released some stellar music this year. Astonishingly, "Offworld" is his third album of 2019; it could well be the best, too. It explores different sonic territory too, drawing heavily on electro, futurist Detroit techno, Boards of Canada style IDM and the slick 1980s productions of Jam and Lewis. The result is a stunningly beautiful, spacey and far-sighted set that contains some of Woolford's most emotion-rich work to date - and that's saying something. It also finishes in stunning style with an impeccable remix/re-make of the Grid's "Floatation" that sounds like the best early 90s Orb remix you've never heard.