Review: Fabrizio Esposito was born in Naples / Italy into a family of passionate musicians and vinyl collectors. His father played guitar in Tony Esposito's band who was responsible for some classic Italo tracks from the early 80's. He spent his early childhood immersed in his grandparnent's extensive vinyl collection which he has since inherited, this collection heavily influenced Fabrizio and made him a fan of Italian Wave, Italo Disco, Neapolitan Funk, Soul and Disco. After all these years working in clubs and with artists Fabrizio decided it was time to realise his other dream and become a DJ and producer himself fusing together his rich musical heritage combined with his clear vision for the future, creating his own unique sound. Fabrizio explains that since he was 14 he had always been behind the scenes of parties, from a PR to a promoter, always watching the djs and producers working to create the party around them. Since this time he has always been an obsessive vinyl collector, its in his blood, so now it's time for Fabrizio to share his own passion for music with the world.
Fast forward to summer 2019, Fabrizio made his Ibiza debut DJ'ing alongside DJ Harvey and Pete Gooding at La Torre and soon after Fabrizio finished his debut track 'This Way' which was premiered by Harvey at his now 'Mercury Rising' party at Pikes.
Beastie Boys Vs MFSB - "Check It Out People" (4:19)
MFSB - "People All Over The World" (dub) (4:08)
Review: The latest edition in DJ Soopasoul's "Soopastole Edits" series looks like it may fly off the shelves, and with good reason. The lead cut is not an edit per se, but rather a crafty, clever and expertly produced mash-up that places selected rap flows from the acapella version of Beastie Boys classic "Ch-Check It Out" over a tightened up and fattened up rearrangement of MFSB's disco-era jam "People All Over The World". Sometimes these kinds of mash-ups can be messy, but this genuinely isn't, with the Beasties' vocals fitting the backing track like a glove. Over on side B Soopasoul shares his tweak of the MFSB track, which is entirely instrumental bar periodic use of the band's female backing vocals. In a word: ace!
Review: This is a Juno Exclusive from French producer Djar One that lifts off and cruises all the way to Puerto Rico. "Oye Como Va" is the breakbeat fuelled a-side with huge funk drive, oodles of instrumental flair and lively percussive sounds that bring that vital world flavour. "Dance Dance" on the reverse is a quicker jam with Latin flair to spare. It trills with summery time joy and drives on kicking drums. The fun loving vocals are the irresistible finishing touch. Both of these cuts will blow up and club, wherever you are in the world.
Review: Sam Shepherd has long been a master of the kind of ultra-deep, rolling, soft focus deep house that raises the spirits and soothes the soul. Even so, there's something incredibly special about "Nuits Sonores", the lead track from this must-have EP. Based around a deep, tactile groove and blessed with rising synth solos, dancing acid lines and his usual fireside Rhodes antics, the track rises magnificently for 12 spellbinding minutes. As it progresses, further elements make their way into the mix, until it reaches the kind of organic deep house climax that makes even the grumpiest souls go weak at the knees. Flip for "Nectarines", the kind of loose-limbed fusion of deep house sassiness, Detroit techno electronics and fluid jazz drumming at which Shepherd has always excelled.
Review: Rhythm Plate are absolute powerhouses when it comes to delivering top-notch tech house, and they're back once again on Pressed For Time with this sizable payload of classy joints. There's a timeless quality to this stuff, whether it's the late-night swirl of "Sacrement" or the choppy, quirked-up groove of "Every Kind Of People With Any Kind Of Soul". Out of time and out of mind, the Plate just bring the kind of satisfaction to club music that could launch a thousand sessions. For the late night crew, for the mid-morning rollers and the sophisticated toe-tappers in between, sink your ear-teeth into this generous serving but whatever you do, don't call it an album.
Review: Soul Central responsible for the anthemic house version of 'Strings of Life' needs no introduction. Their latest Pimp Life EP is a limited edition four-track vinyl that fluidly introduces the Electric Shrine imprint. The EP features a mix of gritty, jazzy, soulful and funk-filled cuts that are interplayed with raw interviews from behind bars. Soul Central keeps it deep and sleazy whilst delivering the real deal. 'Late Night Cruising' chronicles the journey of a Bluesman, departing with the funkiest of grooves and solid sub-bass becoming the final destination.
'Just A Man' embeds the confessions from a convicted pimp dispersed with classic keys and dripped in Soul. Turning in a modern take on the deeper side of Disco. 'Bring It Home' is haze fuelled & reminiscent of the early US House scene. 'Chicago Lights' fuses 4/4, low slung Funk driven by a deeper dub vehicle.
Review: The latest slab of sure-fire dancefloor heat on Wah Wah 45s' "Dubplate" series comes courtesy a Haynesy, a duo renowned for the fat, party-starting nature of their reworks, with turntable wizard Jabbathakut providing plenty of on-point scratches. What we get here is not "edits", but rather banging new hip-hop beats laden with classic acapellas. On side A they bring Jungle Brothers' hip-house classic "I'll House You" back to its hip-hop roots, layering the NYC crew's famous vocals over a bustling, up-tempo, Latin-tinged hip-hop beat. Over on the flip they take on Beastie Boys classic "Root Down", with Jabbathakut's tidy deck-work sparring with acapella vocals atop a weighty club hip-hop beat.
Review: Following on from his Bedrock debut on John Digweeds latest Quattro album, Miles Atmospheric delivers this excellent 3 track EP titled 'Defining Circles' which has had a very limited vinyl pressing. All tracks have been thoroughly road tested by John Digweed amongst many others.
Review: The first instalment of the Gallery edits series, which landed in stores at the very end of 2019, was an artful, off-kilter treat, so we're expecting big things from this eagerly awaited follow-up. A-side "Stop" is simply superb: a clattering, delay-laden, dub disco style revision of a poodle perm-sporting bunch of early-to-mid-'80s electronic disco laden with percussion hits, ear-pleasing synthesizers, druggy, arpeggio-style bass and familiar-sounding vocal snippets. It just keeps building throughout, suggesting dancefloor pandemonium is almost guaranteed. Flipside "Remember" is rather good, too, with the mystery audio art lovers re-wiring a deliciously camp, over-the-top electro-disco stomper.
Review: Having sold out in record time a couple of months back, Phil Mison's latest album as Cantoma - an all-star affair featuring a wealth of guest vocalists and musicians - has been rapidly reissued, this time with a colour insert. Musically, "Into Daylight" is sweet and soft-focused, with the Balearic veteran prioritising seductively shuffling samba beats, dewy-eyed vocals, gentle melodies, dubby basslines and tactile instrumentation (think meandering trumpet solos, acoustic guitars, flutes, twinkling Rhodes solos and Pat Metheny style jazz guitar). It's the kind of album that warms you like a hug, soothing mind and body whilst providing enough slow-motion excitement to reward repeat listens.
Review: A couple of months after inaugurating the Outban imprint with a vibrant EP of mind-altering retro-futurism, Bakked returns with a speedy sequel. He first joins the dots between early '90s bleep techno and purist tech-house ("433"), before opting for a deeper and more ghostly take on the same bleeping futurism on "4111". "399" sees him switch tack and offer-up a breakbeat-powered romp laden with warehouse-ready riffs and New Jersey organ licks, while "444" adds sunrise-ready dreaminess to a vintage Detroit techno inspired rhythm track. Arguably best of all though is closing cut "Pullupthetune", a deliciously intergalactic tribute to the more spacey end of mid-'90s drum & bass.
Review: A decade has passed since Slum Village jumped on a KVBeats instrumental and delivered "We Do It", a warm, sweet and bass-heavy number full of the Detroit act's usual on-point rap flows. Here the track is given a 2020 makeover courtesy of hired hands DJ Spinna and Jazz Spastiks. Spinna naturally opts for a distinctively "Golden era" vibe, laying the Motor City crew's raps over a relaxed, head-nodding beat rich in jazzy double bass samples, crunchy snares and woozy electric piano chords. The jazz Spastiks up the tempo on their flipside version, delivering a revision that's closer in tone to Slum Village's original while offering all manner of subtle differences and dancefloor-focused touches.
James Brown & The Wu Tang Clan - "Sex CREAM" (3:33)
James Brown - "Sex Machine" (dub edit) (3:02)
Review: It would be fair to say that the latest edition in DJ Soopasoul's "Soopastole" edits series is one of the producer's biggest yet. A-side "Sex C.R.E.A.M" is particularly potent, with the mash-up maestro layering the vocals from Wu-Tang Clan classic "C.R.E.A.M" over a chunky beat crafted out of classic James Brown samples. To our ears, it's arguably better than the Wu-Tang original, or at least a little more dancefloor-friendly. Fittingly, Brown gets the treatment on the flip with Soopasoul getting busy with the EQs on a suitably heavy but stripped back "dub edit" of all-time-classic "Sex Machine". While it probably didn't need tampering with, he's done a very good job of delivering a version that successfully takes the track in a different direction.
Review: Nite Fleit has had a barnstorming couple of years with drops on Planet Euphorique and Unknown To The Unknown, a team-up with Mall Grab on Looking For Trouble and now this rabid electro stormer on Helena Hauff's Return To Disorder label. Compared to some of the grungier, punk-inflected electro you'd expect to find on the label, this is bright, bold, big-room stuff with plenty of ravey motifs to move large masses of bodies. "Empty Nest Syndrome" is hyped up to 11 while "Naive" pivots around a hard as nails electro beat. Watch out for the mad arps on "Can't You See" and "Rebel Faction" too - they're gunning for your cerebellum and you should take heed.
It All Began In The East (The Sacred Rhythm version) (11:48)
It All Began In The East (The Cosmic Arts Koto version) (3:39)
A Dance For Gratitude (Joaquin's Congo Arts Drum version) (7:15)
It All Began In The East (The Cosmic Arts Meditational mix) (3:18)
Review: Two years ago, Joaquin "Joe" Clausell donned his occasional Mental Remedy alias and offered up "A Journey To Noi", a decidedly spiritual album that mixed Japanese instrumentation with his usual ambient and deep house sounds. On this 12", Clausell offers up some heady new interpretations that - like much of his work over the last decade - are built around the percussive power of African rhythms. The opening "Sacred Rhythm Version" of "It All Began In The East" is particularly potent, with Clausell cloaking a warm, organic and percussive Afro-house beat in distinctive Japanese Koto melodies and jazzy piano flourishes. We'd also recommend the formidably heavy, drum-laden rework of "Dance For Gratitude", whose Latin American bassline and simmering synth-strings are almost as addictive as the weighty groove they sit upon.
Review: Ilija Rudman and Antonio Zuza's consistently classy label is back with a standout 12" from Californian producer Michoacan, who's previously been spotted on DFA, Eskimo and many other highly regarded labels. "Knights Are Cold" is a vibrant, original and delightfully kinked slab of sunshine with a subtle pitch-bent oddness and an innate funkiness. It's smart in its reference points, but certainly not trying to be a simple 80s disco pastiche. "Be Side Me" is a slower, moodier affair but the same melodic sensibilities shine through to make this a rich selection for DJs wanting grooves with personality and attitude to spare.
Review: Few people have done as much to shape house music as Grammy winner Louie Vega. His next project finds him on an executive producer role as he assembles a crack team of world class musicians under the Elements of Life banner. With a sound inspired by greats like Stevie Wonder and Cymande, this fantastic record brims with musicality, joy and soul from front to back. The tracks are live sounding, richly percussive, sprinkled with Latin spice and various moods, grooves and tempos. For big hearted DJs and dancers, this is pure gold. Of course guests like Anane, Blaze and Lisa Fischer all help add their own special colour to the picture.
Review: With wind in his sails following a surprise outing on Djebali, Nik Prunk returns to the good ship PIV Limited and sets a course for peak-time tech-house dancefloors. It's plain sailing from the off, with ear-catching opener "Office Gossip" cannily joining the dots between warm, bass-heavy West Coast dub house and the kind of future-focused tech-house hedonism that was once all the rage at pioneering UK club Wiggle. The attractively toasty retro-futurism continues on "Through The Walls", a soul-flecked vocal number that adds a little percussive crunch to a San Francisco style deep house cut. Scene stalwart JT Donaldson delivers a superb remix of that cut focused on jazz-funk bass, spacey chords and pitched-up drums, while "Femme" is the kind of groovy, bumpin' and Rhodes-laden deep house jam that Dubtribe Soundsystem used to knock out in their sleep. In a word: essential.
Review: Italy's Babe Roots crew show off their silky dub techno credentials here with a couple of immersive new singles. "Music Mission" (feat Galas) is a bottomless cut with warped bass rumbles and endless echo overlaid by a classic reggae vocal from Galas. "World Struggle" (Ambient dub) casts you free from the dance floor with its floating chords full of grainy greyness and cloudy tension. The EP highlight might be "World Struggle" (feat Danny Coxson), a heavyweight, slow motion dub with earth shattering kicks and a deeply buried low end oscillation that's detailed with thunder claps and a soulful Danny Coxson musing on struggle up top.
Rafael Cameron - "Let's Get It Off" (Dr Packer rework) (6:13)
Ripple - "The Beat Goes On & On" (Dr Packer rework) (7:30)
The Salsoul Orchestra - "You're Just The Right Size" (Dr Packer rework) (6:07)
Review: UK born, Australia based DJ and producer Dr Packer is back with more of his on point edits. He tackles some serious disco heavyweights here on Salsoul and first off, disco diva Loleatta Holloway and her mega-hit "Runaway" gets a fresh 2020 update with some soul uplifting studio skills. A heavy funk remix of Rafael Cameron's "Let's Get It Off" is next, with the original still taking centre stage, then the shimmering and glistening disco gold of Ripple's "The Beat Goes On" follows before in-house collective The Salsoul Orchestra also get treated to some elegant orchestral work and a sultry vocal hook.
Review: If you're after some beefed-up, club-ready funk revisions, we'd heartily recommend this double dose of reworks from pals Robby Bergmann and Lego Edit. Bergmann kicks things on the A-side with "Get Up Sex Machine", a weighty, pitched-up James Brown revision that underpins key elements of the Godfather of Soul's original version with some tough new drums and cut-up vocal samples. Lego Edit takes over on side B with "Me & My Baby", a sprightly edit of a much-loved soul classic that's far more reverential in tone than the admittedly club-ready A-side edit. There's little in the way of contemporary trickery, just a DJ-friendly re-arrangement and extension.
Review: Kraftwerk's Ralf Hutter has more or less disowned the krautrock-inspired music he and the late Florian Schneider recorded pre "Autobahn". From that album (1974) onwards, they became the electronic futurists we know and love today; before that, they swum in more organic musical pastures, mixing rudimentary synthesizer and other electronic instruments with guitars, drums, flutes and electric organ. It's this sound that's captured on "Soest Live", a rare recording captured for WDR-TV in 1970. Accompanied by drummer Klaus Dinger, Hutter and Schneider offered up a mixture of arty, proto-ambient experimentalism, and surprisingly funky, groove-based krautrock epics that combine prototype Kraftwerk grooves with the organic sounds of flute, violin and organ.
Review: Those stylish minimalists at Meander are back with more of their superbly stripped down sounds. At the helm for this latest trip is Alci, who brings the clipped electronic funk to his opener "Can't Dance" which will surely have many people trying to prove they don't suffer from the same issue. "Sonsuz Seconds" is more airy and deft, with incidental chords floating above a rugged drum line that is nice and rickety. "Kelime Bir" gets into melon twisting late night territory with its bendy tones and freaky pads, then "Kelime Iki" almost falls over itself its drums areas quick and kinetic. Fantastic stuff once more from this label.
Chatanooga Choo Choo/Don't Be That Way/Tributo A Martin Luther King (3:08)
Pourquoi/Arrasta A Sandalia/Morena, Boca De Ouro/Rosa Morena (7:42)
Birthday Morning/Can't Take My Eyes Off You (2:59)
O Dialogo (2:22)
Review: Pianist Luis Carlos Vinhas first rose to prominence during the height of Brazil's bossa-nova movement in the early 1960s. By the middle of the decade, he was releasing albums under his own name, and in 1968 delivered what would become his most colourful and exciting set: the effervescent Latin jazz psycehedelia of "O Som Psicodelico de Luiz Carlos Vinhas". As richly detailed and vivid as its accompanying cover art, the set still stands up all these years on - as this essential Mad About Records reissue proves. Backed by a big band, a guitarist with tons of effects pedals and recordings of Amazonian wildlife, the pianist delivered a set of tropical jazz/psychedelic samba fusion that sounds every bit as hallucinatory now as it did way back in 1968. In a word: essential.
Review: Bolla's Afrikan Basement debuted with a warm welcome in 2008 as a limited 7" and is one of the many essential projects Joe Clasusell has been involved with over the years. Now it gets revisited on this tasty 7". The a-side is a special edit of "Makkusa", a steamy, spiritual, deeply layered and emotional house track that is lead by a standout sax line. Joaquin's Sacred Rhythm dub is just that on the flip-side, a punchy rework with groaning vocals and a tribal feel, marching drums and plenty of the steam and sweat that makes his music so unique and powerful.
Review: The insatiable rise of Felipe Gordon continues apace. The Colombian has been in a rich vein of form over the last 18 months, chalking up must-check EPs on Quintessentials, Toy Tonics, Lost Palms, and Razor 'N' Tape Reserve. Here he adds another label to his discography: celebrated Swedish house outlet Local Talk. Title track "For A Bright & Acid Future" hits the spot from the word go, with Gordon wrapping twisted, rough-neck acid lines around a bustling backing track rich in fuzzy synth stabs, jazzy bass guitar and crunchy beats. Over on the flip Kear lends a hand on the sun-kissed, soft focus brilliance of jazz-funk/Jazz/deep Latin house fusion of "Son Esquivias", a slab of breezy, percussion-rich goodness that could well be Gordon's most musically expansive track to date.
Review: Italian duo Souldynamic have been releasing a steady stream of work on respected labels from King Street and Tribe to BBE, with support from industry heavyweights like Louie Vega and Dennis Ferrer. Their latest release the 'West Side of Afrika' EP see's them land on Samosa Records, comprising of four tracks of Afro-centric house. From the spiritual life music of opening track "Guinee" to the uplifting sunshine vibe of "Faranah" with its uplifting group vocal harmonies, while closing cut "Beyla" is an evocative deep house number with the most killer bassline you will hear on a record this year. Terrific work by these Neapolitan scene veterans!
Review: Matasuna's latest must-have release comes courtesy of Dubben, an artist whose tasty, dub-fired mid-2000s reworks of Afro-Cuban and Latin tracks remain some of G.A.M.M.'s most potent moments. This is the producer's first release of any sort for nearly five years and continues in a similar vein. Check first A-side "Jesus Boogie", a samba-soaked, dub-funk fuelled revision of what sounds like a mid-1970s Brazilian MPB workout. Sweatier flavours are provided on B-side cut "Cachaca", where he dubs out and tools up a punchy affair that boasts a killer horn part reminiscent of The Champs classic "Tequila".
Review: Earl Sweatshirt's Feet of Clay album from late in 2019 was tantalisingly short in length, but not short in quality. The raw, woozy record found him exploring ambiguous wordplay that will keep you entertained trying to unpack it all for many hours. He himself described the 15 minute work as "a collection of observations and feelings recorded during the death throes of a crumbling empire" and it makes for a physical yet abstract record with emotion to spare. From gloomy and introverted r&b styles to more distorted jazz and loop beats, his silky tones always unify each track with great allure.
Review: The red hot 45 series from Dynamite Cuts continues apace with more gold carefully dug out from the rich archives of George Semper. This is the first time ver these tunes have been on 7", and the pressing is limited to 600. "Got To Find A Way To Make Some Money" is a sentiment we can all relate to right now. The tune will certainly lift your spirits though with its rousing vocal harmonies, cheery trumpets and vibe spreading soul sounds. "The Weight" (instrumental) is more intense, somehow, with bristling rhythm sections and lo-fi organs all serving up the heat.
Review: Retro soul fans rejoice. This is a superbly suave collection of instrumental soul and classic British library sounds that ooze class. The lush keys bring lounge goodies, the wind leads bring the feel of a 60s spy drama or detective show theme tune and the tight rhythm sections will bump on any floor. All the tracks have an inescapable sense of conversational narrative and while some strut their stuff in chest pumping fashion, others glide on more silky and seductive keys. If ever you want to imagine you're an international jet-setter, this is the perfect soundtrack.
Review: If you're in the mood for some cosmic grooves, wayward disco and pagan psychedelia, Multi-Culti's Cult Edits series is always worth checking. The imprint's latest offering is packed to the rafters with mind-altering goodness. Inigo Voltier sets the tone with "Ti Amo", a Fairlight-powered bounce through post-Italo oddball electro territory with added mix-80s power-pop guitars, before Angelina Amor reworks a sludgy slab of European industrial/new wave fusion. Youkounkoun's throbbing "Cosmic Yoyo" sounds like post-apocalyptic Italo-disco after a fist full of downers, while Asa Moto's "When The Funk Is On" is a funky but undeniably weird electro-industrial cut rich in delay-laden vocal snippets and metallic percussion hits.
Djidjo Vide (feat Elikeh - Jose Marquez remix) (8:06)
Lift It Up Again (6:21)
Review: Given the struggles the World has faced this year, the escapist hedonism of the Sol Power Allstars - a jubilant, floor-friendly fusion of African, Caribbean, South and North American influences - feels like a much-needed shot in the arm. They're at their celebratory best on Sol Power Sound's tenth release. Vocalist Massama Dogo and guitarist Frank Martins lead the line on impressive opener "Va Se Da", a contemporary slab of Afro-house goodness. The accompanying dub, a tougher, sweatier and more bass-laden proposition, makes the most of the previously buried horns courtesy of LA band Jungle Fire. On the flip, Jose Marquez provides a suitably spacey, percussion-rich, Afro-synth style rework of classic Sol Power cut "Djidjo Vide", while "Lift It Up" is a sleazy slab of trippy Afro-acid with added hazy horns.
Review: Over the course of their six-year career, French twosome Nummer have slowly morphed from fresh-faced angular techno enthusiasts, to makers of admired electronic music rooted in a widescreen and nuanced musical vision. Their growing maturity is much in evidence on "Night Confidence", an EP that effortlessly flits between deep, dreamy and delay-laden lo-fi deep house bliss ("Sea Junkies"), sleazy, acid-fired, alien-sounding late night house weirdness ("Hassen (Dub)"), extra-percussive fusions of Burrell Brothers style deep house and new age beauty ("Kyoto's Forest"), and the wonderful analogue/organic fusion that is rolling, outer-space house jam "Windchill". An inspired EP from a duo whose music is sounding fresher than ever.
Review: Ninja Tune welcome label debutant Julianna Barwick for a solo album born from imporovisaitozl sessions and endless loops of her own vocals. The LA-based artist has said the album was written during an emotional time and so it all comes from the heart, direct to you, with no real goal, aim or MO, other than making the sounds she feel at the time. "It brought me to tears a little," she has said of the process, and Nosaj Thing, Mary Lattimore and Jonsi al feature across the album's eight cuts of moody and evocative ambient drones. From heavenly and happy to more intense and introspective, it's a perfectly honest work.
Review: Those who love classic Afro-Latin music should already know "Lupita", one of the standout tunes from the sole 1971 album by Belgian composer Nico Gomez (real name Joseph van het Groenewoud) and his Afro-Percussion Inc backing band. That album was reissued a few years back by Mr Bongo; here 'Lupita' is given a rare airing on 7" single by Matasuna. This time round, the deliciously percussive mambo workout - all punchy horns, wild organs and vocal breakdowns - comes backed by a fresh remix courtesy of Bosq. This version is arguably even better, with Bosq wisely choosing to focus on the drums, horns, bass and organs for added dancefloor pleasure.
Lost Desert & Simon Vuarambon - "Earth Before Humans" (7:23)
Lost Desert & Bona Fide - "No Strings Attached" (8:17)
Lost Desert & Amand - "That Moment & You" (8:10)
Review: Having spent a spell on loan at Russian label Shanti Radio, serial collaborator Patrick Bruyndonx AKA Lost Desert returns to his musical home-from-home, All Day I Dream, with an action-packed EP of joint productions. He first joins forces with regular studio partner Lee Burridge on the tactile, warming and ethereal dancefloor bliss of "Welch", before exploring darker, tech-tinged deep house pastures on Simon Vuarambon hook-up "Earth Before Humans". Over on side B, Bona Fire collaboration "No Strings Attached" is a percussion-rich shuffle infused with glassy-eyed watching-the-sun-come-up-at-a-rave nostalgia, while "That Moment & You", co-produced by Amand, confidently strides towards hypnotic tech-house-meets-deep house territory.
Review: Woo York seem to save their best work for Tale of Us's Aftelife label. Their previous outing on the imprint, 2018 debut album "Chasing The Dream", was an underappreciated gem, and happily this EP-length follow-up is equally as impressive. Musically, all four tracks draw great influence from what some are calling neo-trance, employing riffs and arpeggiated synthesizer lines more often found in both trance and progressive house. The weightiest cut of the lot is "Dancing With Sirens", whose star attractions include squidgy bass, moody acid stabs and sustained, spacey chords, while opener "Echoes From Beyond" is sunny, summery and almost rush-inducing in its melodic positivity. "Minimalism", a deep and trippy excursion dominated by psychedelic acid lines, hoover noises and a lengthy breakdown, is also rather good.
Review: Pathway Traxx's diffusion label OFFPath returns with its fourth installment, featuring four heroes of the minimal house underground curated by label boss Niko Maxen. We have Londoner Adam Monti (4plae) up first with the sunny tech house of "Camberwell Blues", then Dudley Strangeways & Tijn close out the A side with some deep afterhours boompty business. On the flip, Rising star Josh Baker out of Leeds delivers more of his reliably hypnotic and slinky groove action on "Rewriting Old Methods" and Shacklo's "Bermuda" channels the very best of Todd Terry style classic house.
Review: International specialists Soundway provide some superbly soothing and cathartic electronic beats here from Reuben Vaun Smith. The debut album follows on from his vocal and production work on
Expositions's Yellow Haze EP early in the year on the First Jams label. The seven tracks that make it up are all different perspectives on chill, with mature musical motifs, seaside sounds and trips down to the beach at sunset all checked off the list. Spare a moment to admire the artwork, too, a seamless fusion of pastel colours, 80s graphic design and tropical escapism.