Lenny Fontana, Tension - "A Place Called Heaven" (Joey Negro dub Groove) (6:58)
Jay Denes, Ada Dyer - "You Make Me Whole" (Joey Negro Rhodes dub) (5:17)
Julian Sanza - "To Love" (5:16)
Frankie Knuckles, Satoshi Tomiie, Andrea Mendez - "Bring Me Love" (Eventual dub) (6:56)
Review: Some serious no-nonsense house grooves for all true-school DJs to cop, dug out from the annals of club music history. Things kick off good and proper with Joey Negro's insanely powerful "Dub Groove" mix of Lenny Fontana's "A Place Called Heaven". Negro's on the buttons once again with the classic, pumping "Rhodes Dub" of "You Make Me Whole" by Jay Denes and Ada Dyer. On the flip, Julian Sanza drops the squelchy boogie inflected "To Love" before the record ends on a serious bang with the dream team of Frankie Knuckles, Satoshi Tomiie and Andrea Mendez's "Bring Me Love (Eventual Dub)". This is as actual house as actual house can get - the real deal, crystalised in four evergreen gems pressed on one handy record.
Review: Helena Hauff returns to her own Return To Disorder label after last year's joyously received "Qualm" album on Ninja Tune. It's the first fully solo record Hauff has released herself, and it more than lives up to expectation. "Catso" is a wonderfully expressive slice of noirish electro draped in vintage synth arps and twinkling leads as enchanting as they are spooky. "Why Look At Animals" has a more low down funk, but once again sports the richly harmonic synth hooks to make this appeal right across the board. "The Brush" ups the tempo, but keeps things sparse and moody, while "Slim Filter" gets a touch more nasty and sounds utterly fantastic with it. Compared to her rabid DJ sets, these productions represent the more measured side of Hauff, but they're no less deadly.
Review: Originally prolific in the late 90s and back with a renewed sense of vigour in the past few years, Dan Piu's classic, widescreen vision of hardware techno captures the verve of the original Detroit blueprint while bringing a fresh, welcome energy to the genre. This drop on Common Dreams brims with the same head-swirling magic, especially on vividly rendered lead track "Halo City". "Falling Framework" has a more mellow veneer, but there's still so much playful detail bringing the track to life. "Akira 2171" has an old-skool sci fi quality balanced out by its linear sense of progression, and "Ilipsyon" takes things deeper into a wistful jack reminiscent of the spookiest Trax output.
Review: It's been four years since A&R Edits ceased releasing music after serving up nine essential EPs between 2013 and 2015. This return to action has been masterminded by Merseyside scalpel fiends Greg Wilson ("GW") and Henry Greenwood, whose fine revision of Neneh Cherry's "Buffalo Stance" kick-started the imprint six years ago. A-side "Disco Mondo" is a rolling revision of a lesser-known breathy disco jam of (we think) Italian origin. It boasts a metronomic groove, wah-wah guitars, elongated organ chords, congas for days and a few well-placed swirling electronic effects. Over on side B, "In The City" is a dreamy chunk of mid-tempo, Italo-disco influenced synth-pop.
Review: Founded in 1967 by singer/producer Carlos Oliva and other Cuban immigrants to the United States, Los Sobrinos del Juez were briefly one of the leading protagonists of the turn-of-the-'70s "Miami Sound" - a humid and intoxicating fusion of blues, rock, funk and dancefloor-focused Latin sounds. Their 1974 debut single "Harina De Maiz" - here reissued for the first time since - is a perfect example of that short lived style, offering up a mixture of wah-wah-guitar and psychedelic organ-powered Latin funk grooves and righteous Cuban vocals. On this edition it comes backed by the previously unheard "Corned Beef Hash", a swinging Latin-jazz number rich in vibraphone solos, jaunty piano riffs and plenty of hip-wiggling percussion.
Review: Edanticonf has been a mainstay of Silent Season for many years now, first delivering an album and EP to the Canadian label back in 2012. Since then he's travelled to labels such as M_REC, Wolfskuil, Phorma and Linear Movement, but he's back home to roost with this gorgeous four-tracker that plays on his trademark sound. Rich with melancholic synth work and moving with a purposeful but thoughtful pace, this is exactly the kind of evocative techno that makes Silent Season a buy on sight label. Every track tells its own story, but the starry twinkle of "The Metamorphosis Of Plants" is especially captivating.
Review: Swiss producer Alci, also known as Shaolin Fantastic, landed with lauded releases on Robsoul before skipping to other labels like Apollonia and Meander. Following last year's excellent "Diversity" double pack, he lands on his own label Seeingsounds with this pitch perfect slice of dreamy minimal house. "Acid Drip" may be a misleading title - it's more of an unending groove draped in gorgeous, shimmering melodic finery. "Hiragana" takes things in a more twitchy direction, while "Apachi" brings another slant on reduced, oddball funk to get the up all night crowd loose and freaky in all the right ways.
Review: The Dessert Island Discs series continues with yet more arch remixes from across the disco and boogie spectrum. Bubbles The Pimp kicks off the A side with a tasteful treatment of Gil Scott Heron's "Winter In America," which gets rustled up into a sweet and sassy house number with a cheeky acid b-line underneath. Nelly Wilson whips up a storm on the tightly clipped, peak time-oriented "Trapped & Confused". Pierre Pressure's "Love & Beyond" takes it easy on the B side with plenty of fluttering synth wobbles to offset the choppy funk of the guitar - it's a cosmically enhanced floor burner to get you all astral under the collar.
Review: Plastik People cast their gaze back to a garage house staple and give it a new lease of life on this cool and deadly white label. The original "Blues For You" by Logic is a pinnacle on the Strictly Rhythm catalogue - some might say untouchable - but Danny J Lewis and Marc Cotterell are here to tell you otherwise. Lewis lands on the A side with a version that keeps the structure of the track intact, and speaks those iconic hooks through a different set of instruments that gives the track a new lease of life. Cotterell meanwhile smooths the garage jerk of the original out into a more linear house thrust while working the vocal samples with glee - it's a respectful approach that simply repositions the groove of the original to give it a fresh flavour.
Review: Last year Brazilian DJ/producer Ana Miranda joined Kompakt Extra following years spent building her reputation via fine releases on such labels as Novamute, Twin Turbo, Yoshitoshi and Terminal M. For her third release on the long-serving German label she's joined forces with another scene queen, the incomparable Miss Kittin. The pair has produced a raw, driving dancefloor beast that's bigger than Donald Trump's ego and infinitely more alluring. "Forever Ravers" is heavy, intense and forthright, with stylized vocal snippets and razor sharp electronic motifs surging above a thumping groove. Miranda offers a different take on the track on side B, opting for bleeping and panicked electronics and spacey bleep melodies.
Review: Moscow's Shanti Radio crew have really honed in on their own little music niche: deep, laced with trance tones, and emotive house. Tunes from this hotly anticipated EP by Volen Sentir has been doing the rounds in certain DJs sets for as much as six months. Highlights are plentiful throughout but the title track is arguably the standout. Languid piano chords dropped over soft, succulent, dubbed out drum rolls while tribal vocal chat bleeds in and out of focus to add to the hypnotic effect, and some sensitive xylophone sounds supporting an all-important melody line.
Review: A master of all things dark and gritty when it comes to jungle and drum & bass, Ray Keith is back with a vengeance here across two devastating cuts. A side "Jungle Fi Dread" is built on his archetypal dread bass sound, stepping breaks and flailing hits, and it adds up to a controlled bit of dance floor frenzy with numerous peaks and troughs. "What Time Dread" on the flip has a rude vocal stretched and warped over rinsed out breakbeats that shimmer while a droning bassline conjures up some sort of doom-laden final level boss scene from your favourite RPG.
Review: New label Nuances de Nuit kick off in fine style with a various artists 12" that draws on some emergent names to lay out a vision of cross-style dance music that favours the deeper end of the pool. Things get going with an organ-rich house bumper from DJ Steaw that pumps in all the right places, before Armless Kid switches things up with an untitled slice of dynamic, richly layered electro. T. Jacques thumps out a crafty, swinging cut with techy inclinations and oodles of groove, and E. Wan takes things in a more linear, deep techno direction laden with gorgeous synth work and plenty of artful effects processing.
Review: The sneaky scalpel fiends behind the Belpaese Edits imprint are back with more inspired reworks of obscure, little known and overlooked European - and mostly Italian - gems from the 1970s and '80s. First up is "Vieni Con Mi", a wonderfully overblown chunk of loose-limbed jazz-rock/disco-soul fusion blessed with breathy female vocals, mazy flutes, wah-wah guitars, heavy bass and drumming so wild it may well be capable of raising cadavers from their graves. Flipside "20 Secoli Di Favole" is similarly minded, if a little closer to Baldelli "cosmic rock" territory - all ragged rock riffs, manic female vocals, groovy bass and intergalactic analogue synthesizer lines.
Review: Icelandic label Lahar debuts with this highly impressive release from NonniMal, who was previously spotted dropping the classy "Freyja" 12" on AE Recordings back in 2016. Sound design is the order of the day on "Eitt" as a beautifully rendered set of percussive bell notes chime around a minimal rhythm section - a piece pointedly geared towards transcendence. "Tvo" has an intriguing slant to its groove, as the sharply oscillating synth wobble juts out against the grain of the drums. "Thrju" takes things in a bleak but captivating direction, while "Fjogur" cools the record down in a cloud of blissful, frostbitten ambience.
Review: Brand new Marky! It's about time... Four years after his "My Heroes" album landed (and two years after his last single - "Silly VIP") the Sao Paulo don returns with two perfect soulful D&B gems. "Should I" looks back to the early 2000s with its powerful sample and Bingo-style bubbling bassline while "Love Break" takes off where "Silly" left us; swooping instrumentation that will have you leaping behind the decks and a break that will never ever quit. Don't leave it so long please Marky!
Review: Eglo Records' 10th birthday celebrations are in full swing. They've already notched up a riotous birthday party that got rave reviews, and later in the year will release a brand new compilation of previously unheard treats. It's this collection that's being trailed here via Kieran "K15" Ifill's "Devotion", a dancefloor-focused chunk of soul-flecked broken beat that Ego co-founder Alexander Nut recently described as "music for the mind, body and soul". Over on the flip there's a vinyl-only exclusive in the shape of Ifill's remix of Patrick Gibin and Javonntte's recent jazz-funk fired soulful house workout "Cloud 9". Ifill opts for a heavy bruk-up flavour, wrapping soulful musical elements from the original around punchy, loose-limbed beats and speaker-bothering low-end pressure.
Review: Let's get one thing straight: Ravanelli Disco Club is exquisitely named. The output has proven just as tasty, too, and with Eben Rees at the buttons of this latest EP, you'll want to tuck in once more. He serves up a brace of breezy disco house tunes: opener "Bongo Boulevard" is a funk licked and perfectly carefree sort of tune you'd drop at sundown to hint at the fun to come, while "Dyfal Donc" gets more upbeat with an eco system of cosmic leads and pads dancing above well swung drums. Freerange man Jimpster provides a remix laden with wet claps and funk riffs, and Tech Support's rugged disco arps will make any floor take flight.
Metal Banshee ( Mad Professor Mix One) (CD2: Mezzanine Mad Professor)
Angel (Angel Dust)
Teardrop (Mazaruni dub One)
Inertia Creeps (Floating On dubwise)
Risingson (Setting Sun dub Two)
Exchange (Mountain Steppers dub)
Wire (Leaping dub)
Group Four (Security Forces dub)
Review: Two decades have passed since Massive Attack signaled a new stage in their career with the dark, paranoid and claustrophobic brilliance of "Mezzanine", their third studio album. Given the current global political climate, it arguably sounds even more relevant 20 years after it first hit stores. This time round, the re-mastered original set comes accompanied by something none of us have heard before: Mad Professor's complete dub translation, which was slated for release around the turn of the Millennium but for one reason or another never came out. Like his take on "No Protection", it's an inspired set of revisions that takes 3D and Daddy G's dense and red-eyed originals into wild new bass-heavy places. Even if you own the original version already, it's well worth picking up this special edition just for that alone.
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: Nebraska's Friends & Relations series continues to serve up the finest disco-sprinkled house delights, following on from the previous installment of Disco Dubs with another on point reduction of dusty grooves through the mixing desk. These jams are stripped back and oh so heavy, with FX flaring in all the right places to give an eerie, trippy tint to the jams. It's like walking into the deep end of the session where Walter Gibbons jams with King Tubby uptown, and you'd be right in thinking that's a match made in far-out disco heaven.
Review: Bjarki's BBBBBB label has carved out its own unique niche in the techno world and next to occupy it is core label artist Stian "EOD" Gjevik. The former Rephlex artist shows off his magnificently complex and busy yet harmonic and melodic sound across five fantastically restless cuts that has lead synths taking you down a number of rabbit holes. Calming pads vie for your attention on "(Untitled) (W-R6)" while the acid laced "The Battery Poles (Are Conic!)" is so bright and shiny it'll have you reaching for your sunglasses. Few people speak so freely through their machines as this man right now.
Review: Rather unhelpfully, there's little info about the Superlux label available, other than the fact that it's run by the shadowy artists of the same name. They handle side A of this split EP, with Mike Gill's "Noisey Rework" of "White Noise" - a pulsating, otherworldly chunk of electro rich in trippy noises and elastic synth-bass - followed by the raw, foreboding, mid-tempo electro throb of "Chupa Track". Sometime Pleasure Club man Nick Glynn takes over on side two, first delivering the deep space club electro of EP standout "Take One", before inviting Dawl to re-invent it as a mind-mangling slab of electro/Yorkshire bleep fusion (minus the colossal sub-bass associated with that particular vintage style).
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: Low-slung stuff from the Nabucco label bossman, with the original just as primed for afternoon party vibes as it is the earliest morning sets. Gradually building momentum from its pared back stepping opening, soaring synth lines and subtle vocal stabs invoke the glory days of West Coast house- as smooth as it is uplifting, warm and inviting. On the flip, Mandar's remix retains most of the same elements, placing a more emphasis on the keyboard stabs and, although running for less time, has a greater sense of journey. Its dubby mid section allowing plenty of room for jazz inflected pianos to usher in smoky, chilled-out vibes in direct contrast to the punchier moments. The result is arguably even more useful that the original, and certainly something capable of pulling dancers in and not letting go.
Review: Cumbia champs Philthy Dronez have been turning out their quirky and curious takes on the genre since 2005. For their next outing on San Fran's Disco Mas they link with Su Brigada De La Cumbia for a brace of bonkers beats. Opener "Vamos A La Playa" is characterised by a big and wonky accordion line that reminds us of global dance smash "Heater" by Samim from a few years ago. It's as silly as it is fun, while "Sabor De La Cumbia" is a much heavier and grittier affair. Shades of digital dub define the grooves while a rather haunting lead keeps you on edge as it trundles along.
Review: The seemingly bottomless Greensleeves vaults turn up more gold here with two prime cuts - Wailing Souls' "Who No Waan Come" and Al Campbell's "Unfaithful Children" - that are treated to a first new pressing since 1981. "Who No Waan Come" is silky and sedentary as they come, with kick drums just about managing to propel things along beneath gorgeous doo-wop harmonies. The Linval Thompson produced "Unfaithful Children", however, is a more driven affair with authentic roots. Psyched-out effects, endless reverb and hits that ricochet around, making it a widescreen dub that draws you in and takes you along for the ride.
Review: Transhumanism is a collective of Dutch producers who first met on the dance-floor at Dave Clarke's Whip It party at Melkweg in Amsterdam, so that will give you a reliable indicator of their sound: it's brash, serrated electro that fires your synapses and awakens your every sense. Juan Atkins and Helena Hauff have been dropping it all summer and it's easy to see why. There is strobe lit action from Slaves Of Sinus, walls of high intensity sound from RXmode, rave tinged stuff from W1b0 and a more throwback jam from TFHats to round out a high impact EP.
Review: Metalheadz might be celebrating 25 years in the game in 2019, but they are not spending too much time looking back. Instead, Goldie's vital label continues to serve up forward looking drum & bass, this time from Jem One. A year after his debut on the label he's back with another varied three tracker. Form the swirling pads of liquid roller "Lotus" to the more angsty, tightly coiled drums of old school jungle cut "Transpose" and on to darkened minimal stepper "The Hardcore", there is a lot to love here.
Otis Redding - "(Your Love Lifted Me ) Higher & Higher" (Soul Flip edit) (4:03)
Gerri Granger - "I Go To Pieces" (Soul Flip edit) (3:33)
Review: Sometimes you just can't beat the golden oldies and so it is that Soul Flip turns his attention to a couple of raw soul bangers. Up first is Otis Redding's classic "(Your Love Lifted Me ) Higher & Higher" with a rousing bass section which drives along the original version.The hits hit hard, the vocal is given room to breathe and the swing in the drums is infectious. The flipside houses a soaring tweak of Gerri Granger's "I Go To Pieces", with its clattering keys and rolling soul all quickly finding a way into your affections.
Review: TRAMP Records' latest must-have "45" is a reissue of a killer seven-inch single that regularly changes hands for hundreds of pounds online. There's little info available about the artist or record, besides the fact that it was recorded and released in Norfolk, Virginia way back in 1992. A-side "Don't Wake Me Up" is a delicious chunk of fuzzy, heartfelt soul rich in leisurely beats, glistening guitars and an impassioned female lead vocal. Flipside "The Jack Mod Kick" is a genuine dancefloor stomper - a hazy slab of heavyweight funk full of skittish drum breaks, razor-sharp guitar licks and high-octane bass guitar.
Review: Luca Murgia is Two Thou - an alias which has seen him land intriguing releases on Burek, Fields & Forests and his own Gifted Culture label. Now he's been snapped up by Uzuri with some star-gazing cuts that straddle broken beat, deep house and something more altogether cosmic. "Clavinet Discourse" is the consummate lead track, a true showstopper with astral synth flex and a sharp, snappy beat. "Talking Song" has a more pronounced deep house bump and leads that wouldn't sound out of place on Strictly Jaz Unit - the dub version does away with the leads if you want something subtler. "Thousands Of Chimes Together" completes the set with a spiritual throwdown to invigorate any open-minded dancefloor.
Review: Oooh! Angie Stone's "Wish I Didn't Miss You" definitely belongs in the canon of all time modern soul classics. Taken from her 2001 second album Mahogany Soul, the Swizz Beats produced track made optimum usage of an O' Jays sample and was instrumental in that LP going gold and propelling the former D'Angelo collaborator to stardom. It also inspired countless official and under the counter remixes with Blaze's perhaps the most recognisable. So yes this reissue on 7" from Outta Sight is worthy if you don't have the original in your collection and features a housed up remix from Hex Hector on the flip.
Review: Biochip are a new duo making the right start on the mighty CPU. Julian Kochanowski and Melissa Speirs have no previous to speak of, but their deft take on electro speaks to years of research and immersion in the language of sequencers and synthesisers. There's an emotional weight to the music they've charged this debut EP with, where billowing pads and soaring Detroit leads meet with some crafty sound design and canny programming. At times things get intense, as on the rowdy "Acid Billy", not to mention seriously funky on "Tone Forest", but there's always an otherworldly shroud hovering over the music that makes it Biochip's own.
Review: It's been six years since Lewis Fautzi debuted on Soma, and since then he's become a real techno powerhouse. His latest shows yet more evolution in his sound across four streamlined and hypnotic "Extinction" cuts. "F01" is alluringly low key as drums roll over a frosty and frozen tundra, then "F02" ups the ante with steel plated kicks and sonar-like pulses that burrow deep. After the warped synths of "F03" comes closer "F04", the most heady of the lot thanks to its MIllsian minimalism and infinite melodic loops.
I Just Wanna (Spend A Little Time With You) (Michael Gray vocal mix) (8:40)
I Just Wanna (Spend A Little Time With You) (Michael Gray dub mix) (6:19)
I Just Wanna (Spend A Little Time With You) (vocal mix) (7:45)
I Just Wanna (Spend A Little Time With You) (instrumental mix) (6:58)
Review: For their latest trick, Yam Who's Riot label has decided to offer up a brand new edition of Alton Edwards' 1981 UK electrofunk classic "I Just Wanna (Spend A Little Time With You)". You'll find Edwards' superb original vocal version on the flip, where his part whispered, part sung vocals rise above thickset, mind-altering synth-bass, drum machine beats and some seriously punchy horn lines. The obligatory 21st century updates come courtesy of Full Intention man Michael Gray, who delivers a suitably pumped up boogie-house vocal revision before dropping a similarly chunky dub that wisely makes much of the original bassline and Edwards' whispered vocal passages.
Review: Eight years after their ground-breaking "Resolution 653" full length, pioneering duo Instra:mental make a welcome return with their new album Timelines, and this first selection of tunes from it gives you a good idea why. "Pacific Heights" is a jumble of minimal drum beats and futuristic synth smears that is atmospheric, while "Sakura" is more sparse and zoned out thanks to forlorn chords which speak of romantic pain. Things slow down into deep rubbery rhythms on the lush "Photograph" while "End Credits" has an unexpected Balearic vibe to it, with breezy chords making for a mood that feels akin to gazing out to sea.
Review: Proc Fiskal used to run a party called Shleekit Doss that was ecstatic and transcendent while still being fun and silly. He tries to capture the magic of the party on this new EP and does so admirably. The 6 tracks on the EP feels clever but charming. It's a collision of hardcore flurries, warped synths and day-glo keys that is often chaotic but also comforting. Drum & bass, rave, future grime and more all colour its grooves, but the resulting sound is pretty much impossible to define (in a good way).
Review: After offering up EPs titled "Hard Times" and "Changing Times" in 2017, Kaidi Tatham returns to First Word to complete the trilogy with "Serious Times". Of course, the music contained within the EP's tightly packed grooves is as joyous, rich as intricate as ever. Check, for example, "Don't Cry Now", a samba-soaked, sun-kissed affair that wraps harmonic freestyle vocals, twinkling electric piano lines and darting jazz-funk bass around a seriously shuffling groove. Tatham's much-discussed jazz-funk influences are once again given an airing on "Sugar", while his fine piano work takes pride of place on instrumental hip-hop head-nodder "Zallom". Best of all, though, is opener "Cost of Living", which emphatically weaves together all of these strands and more besides.
Review: REPRESS ALERT: Cisco Ferreira continues to fly the flag for rugged hardware powered techno with personality, well over 20 years since he first emerged. The Advent is rightly hailed as a mark of assured quality for good reason, and Thema make a smart move in signing up this fresh grip of tracks from the veteran producer. "Kombination 100" is a lurid, slightly unhinged acid workout from the outer limits, while "Dorian Blue" sets a more moody, aquatic tone with a dash of electro thrown in for good measure. "In Time" brings things up in tempo and attitude, sporting some surging 909 drums guaranteed to get bodies striding with purpose, and then "Rhythm" spins out into trippy electro territory for the heads-down travelers to get spiritually expanded to.
Review: Electro is very much back in vogue, but for Steffi's vital Klakson label it's a sound that never went away. This EP is a particularly special one that welcomes Fastgraph, aka Dutchman Frank de Groodt, back into the fold more than a decade since his last official release (which also came on this label). These tracks are fast, funky machine music with crispy, crashing metal hits and warped synths that are made to devastate the dance floor. The frazzled bass of "Number 8" sure is pleasing, but to really make a mark, drop the manic lines and overdriven drums of "Interface" and see people really lose their minds.
Review: Next up on Acid Pauli and Nico Stojan's Ouie imprint are two veterans of the electronic music scene, but the label bosses are pretty tight lipped about their identity beyond that. Showing off some serious night moves on "Slow Down", the title track is perfect Berlin sunrise material: a lush serving of low-slung techno-pop that makes the perfect summer soundtrack. On remix duties is Lovestruckk, the duo comprising of Stojan and Holmar Filipsson (aka Thugfucker) inject more dancefloor dynamics before closer "Slow Down", a slinky and hypnotic tech house cut moves the EP into a moodier sonic territory.
Review: Jack's House is back with another wedge of crucial cuts from a spread of big hitters, kicking off with Alex Arnout and the tightly wound roller "Hypersomnia." Tuccillo is in a heads down mood on "Another Day," letting the drums and the bassline do the brunt of the work. Terry Francis favours a heavy, smoky sound palette that has a bassline that will do some serious damage on a decent system - "Jua" is easily the strongest track on the record. Killan Vega closes the record with a smart deep house jam peppered with crafty sound design elements that lift the track beyond the average chord-led workout.
Review: Chicago's Jon Hester spent years as a dancer before he even touched the decks and that shows in his floor facing cuts for Transmat, which follows other high grade outings on taste-making techno labels Dystopian, Deeply Rooted and Rekids. Infectious rhythm is at the core of Hester's work and all the tracks here: "Dimension Seven" is epic techno that surges to the cosmos on warm solar synths and chattery percussion from the Windy City. "Return" is deeper and infused with a warm sense of machine soul then "Onward" has some fantastic drum programming and pinging kick drums that sweep you up and along for a most thrilling ride.
Miele - "Melo Do Tagarela (Rapper's Delight)" (instrumental) (4:10)
Review: Although Brazil's Banda Black Rio remain infamous for the albums that they recorded in the late 1970s, two beautiful LPs that rode that singular wave of samba-ridden jazz dance, 1980's "Miss Cheryl" is an outstanding tune, and we can hear why RCA picked it up back in the day. Mr Bongo provides us with the reissue here and, if you haven't heard it, it's an absolute delight which switches between disco, psych, and something inherently Brazilian - there's even a wacky synth in there, for good measure. Compatriot Miele appears on the flip with "Melo Do Tagarela (Rappers Delight)", a sublime slice of early, electronic boogie that sounds as fresh today as it did back at the tail end of the 70s. A devious little reissue that you should own...
Review: On celebrating 22 years of Josh Wink's cult acid classic "Sixth Sense" on his legendary Ovum imprint, they've invited one half of Masters At Work, Louie Vega, and Israeli techno hero Shlomi Aber for a set of remarkable updates. Vega looks after the A side with a couple of sweltering reworks: from the bouncy, bass-driven groove attitude of the main remix which retains industry veteran Ursula Rucker's powerful vocal performance, to the handy dub version up next. On the flip, Aber certainly has come a long way since the days of Chicago Days/Detroit Nights - it's about spending all weekend at Berlin's Berghain these days - getting on some proper tunnel vision with his steely and austere rework.
Can You Feel It (original instrumental mix) (5:46)
Can You Feel It (Robert Owens mix) (5:57)
Can You Feel It (Martin Luther King mix) (5:54)
Can You Feel It (Chuck D mix) (5:32)
Review: 25 years deep and still sounding as timeless and genre-defining as ever, Trax revisit their 2002 package with this highly limited reissue. Complete with the essential emotive Martin Luther King-adorned sermon, Chuck D's house-proud Jack narrative and Robert Owens deep yearning croons, this is the ultimate collection of versions that rise above the millions of copies and bootlegs and blatant rip-offs this track has endured over the years. An essential addition to all collections.
Review: Championed by Richie Hawtin & Ricardo Villalobos (featured on his Cocoon mix CD 'Taka Taka') the A-Side is armed with a highly infectious melody, beefed up with big, bouncy funky bassline. The B-side has trippy hypnotic sounds that echo in & out of the fluid melodies.