You Can't Miss What You Can't Measure (Alton Miller mix)
Get Your Ass Off & Jam (Marcellus Pittman remix)
Cosmic Slop (Moodymann mix)
Music For My Mother (Andres Wo Ahh Ay vocal mix)
Undisco Kidd (Gay Marvine edit)
Super Stupid (Dirtbombs version)
Take Your Dead Ass Home (The Fantasy version)
Music 4 My Mother (Underground Resistance mix)
Let's Take It To The Stage (Amp Fiddler Laugin @ Ya mix)
Standing On The Verge (Anthony Shake Shakir & T dancer remix)
You & Your Folks (Claude Young Jr club mix)
Be My Beach (Mophno & Tom Thump mix)
You & Your Folks (Claude Young Jr dub)
Let's Make It Last (Kenny Dixon Jr edit - mono)
Looking Back At You (Ectomorph Stripped & dubbed)
Maggot Brain (BMG dub)
Review: Given the brilliantly simple concept behind this fine compilation - contemporary Detroit producers remix Funkadelic - we're rather surprised nobody's done it before. With 17 varied re-rubs stretched across two hugely entertaining CDs, there's plenty to enjoy. Highlights come thick and fast, from the deep house/P-funk fusion of Alton Miller's take on "Get Your Ass Off and Jam" and Andres' loose, hip-hop influenced revision of "Music For My Mother", to the thrusting loops and heady late night hypnotism of Anthony Shake Shakir and T-Dancer's version of "Standing on the Verge". While many of the versions stay relatively faithful to the original, the more "out-there" interpretations - see BMG's outer-space ambient dub of "Maggot Brain" and Moodymann's epic revision of "Cosmic Slop" - are also consistently impressive.
David Borden - "The Continuing Story Of Counterpoint" (part 9)
STL - "Dark Energy"
Percussions - "Percussions One"
C++ - "Angie's Fucked"
Burial - "Street Halo"
KMA - "Cape Fear"
WK7 - "Higher Power"
Ricardo Villalobos - "Sieso"
Four Tet - "Pyramid"
Red Rack'Em - "How I Program"
Active Minds - "Hobson's Choice (Tune For Da Man Dem)"
Armando Gallop & Steve Poindexter - "Blackholes"
Four Tet - "Locked"
Review: The Fabriclive series maintains its fine run of form with Four Tet's eagerly anticipated inclusion into the canon. Stitching together field recordings of the club itself, ambient tracks from Michel Redolfi and David Borden, a selection of lost, dusty UK garage from the likes of Persian and Crazy Bald Heads and recent productions from Burial and Floating Points, it's not so much a DJ set as an impressionistic rendition of Hebden's own memories of clubbing itself. Considering the fact that Hebden's own productions are usually so saturated in melody, it's a relatively dark mix, dominated by murky bass tones and sharp, brittle beats, with a constantly shifting sense of urgency that encourages rapt attention throughout. The stellar mix is capped off with two brand new Four Tet tracks, "Pyramid" and "Locked", which only seek to highlight his growing ability to produce devastating club tracks.
Review: Here's something guaranteed to ensure a rush of excitement in deep house heads everywhere: a brand new album from much-loved U.S producer Fred P. It's the first under the previously unused F.P-Oner alias, and his first studio outing since 2013's Black Jazz Chronicles set, Codes & Metaphors. Unsurprisingly, the simply titled 5 is as inspired, sumptuous and melodious as you'd expect, with gentle dub house, jazz and - in the case of the wonderful "Infinite Love" - Detroit techno influences. While much of the album is slinky, sensual and ultra-deep (see the fabulous "Visions of You" and "Sleepless in Shibuku"), there are a couple of thrillingly percussive moments to get the pulse racing, including the African-influenced tribal workout "The Realm of Possibility".
Review: It's that time of year again. 12 months on from his last album-length outing as FP-Oner, Fred P once again dons the alias for 7, a third numerically titled set in as many years. As usual, the music is rarely less than immaculate, with the imaginative and talented producer showcasing most sides of his musical personality. Highlights come thick and fast, from the yearning, soft focus melodiousness of quietly jazzy deep house opener "Smiles" and shimmering Motor City techno futurism of "Travelling Zones", to the blissful house minimalism of "Simple Things" and acid-flecked late night hypnotism of closer "Arigato". Superior electronic club music composed by a master: what more do you need?
Review: There's no sign of "difficult second album syndrome" to be found on All That Must Be, George Fitzgerald's follow-up to 2015 debut full-length Fading Love. In fact, you could say it's something of a triumph. It was written over an 18-month period and tracks the highs and lows of his private life, largely by eschewing his club-rocking roots in favour of songs and instrumentals that bristle with melancholy, gentle melodiousness and ear-catching electronic instrumentation. Of course, it's still rooted in contemporary club sounds, its just more James Blake or Jamie XX than, say, old pal Will Saul or Special Request. Notably, it's the more poignant songs, including fine collaborations with Lil Silva and Tracey Thorn, which linger longest in the memory.