Blood Moon (Dawl & Sween Tone DropOut remix) (7:17)
Blood Moon (Violet remix) (5:56)
Review: Kim Ann Foxman takes a break from her own Self:Timer label to pop up on [Emotional] Especial. Her track "Blood Moon" hinges around rolling breaks and a globular monosynth bassline, but it's Foxman's vocals that give the track an electric, mystical energy that will cast a spell over the dance. Roza Terenzi takes the original and jacks it up, sharpening the focus of the rhythm section without losing the crunchy breaks. Dawl and Sween channel some bleeps n' breaks vibes of their own with a version that keeps things darkside and wiggy for the old-skool crew. Rounding things off, Violet's remix emphasises the acid as it plunges into the depths of the dungeon in a hooky, hard-edged style.
Review: Fabrice Lig on DJ Bone's Subject Detroit label backed with killer remixes from Aaron Carl and DJ Bone! Allegedly stored in the Subject archives for some time, "Hmong Dignity" is finally unleashed and the original will be familiar to anyone that's witnessed a DJ Bone set in recent years. Eminently raw, but filled with melody thanks to those chords and restless riffs, "Hmong Dignity" is a fine example of how Detroit influenced European techno. A remix from the late, great Aaron Carl opens the B Side, lending the track a familiar dose of murkiness thanks to some stomach churning bass, whilst that instantly recognisable central melody is wisely retained. The accompanying remix from DJ Bone glides along on a tough techno meets electro vibe, superbly slicing up the melodic element to form an entirely different refrain.
Review: From his appearances on Aesthetic Audio and Ornate through to his own Atmospheric Existence label, Miles Sagnia continues to be one of the best kept secrets of British deep techno, and that's no more apparent than on this stunning release for Common Dreams. There's a looped up insistence to "Heal", but it's offset by emotive movement in the synth lines and an overall spiritual quality that escapes much cyclical techno. "Plight" takes a slightly slower path, amping up the early UK electronica tones for an immersive experience shaped out by interlocking rhythms and snaking melodies. It's a truly classy statement that stays true to techno while saying something original.
Review: Four Tet is back with a new album of shimmering wonderment on his own Text label. As ever, it's the way that Kieran Hebden tugs at the heart strings so artfully that makes him so well-loved, and he's not holding back one iota as "Sixteen Oceans" opens up with the ineffably pretty "School". There's some advanced garage ruminations on "Baby", classic ambience on "Harpsichord", and so the eclectic and extremely soul-cleansing vibes continue across three sides of wax. In addition to this wonderful new album, Hebden has also held back the fourth side for a bunch of locked grooves so satisfying you could get lost in them all day.
Want You In My Soul (Summer In London edit) (4:51)
Review: Stee Downes is one of contemporary house music's most prominent vocalists and here he lends his silky tones to Freerange, Defected and OM Records associate, Lovebirds for this new one on South Street. "Want You In My Soul" is a mix of old and new, where disco percussion and cosmic synths nestle alongside a mid tempo house groove with plenty of warmth. Downes' vocals are the loved up icing on the romantic groove cake. Flip over for the "Summer In London Edit" - a more stripped back and direct version, perfect for outdoor stages as the sun beats down.
Love Is Enough (Jamie Paton Cloudy dub-out) (7:41)
Love Is Enough (Luke Solomon dub) (7:03)
Love Is Enough (Khidja dubstrumental) (6:27)
Love Is Enough (Alphonse dub) (5:57)
Review: Previously spotted on Emotional [Especial] with the fantastic Love Is Enough 12", Plus Instruments get the remix treatment in a classic '80s style with the Dub Is Enough single. The producers tasked with delivering versions vary wildly, but they make for a strong combination. Jamie Paton's "Cloudy Dub-Out" is masterful, simmering the elements down to a sensual bassline and delicate ripples on top, while Luke Solomon brings his bumpy, off-kilter house style to the table. Khidja has a more dramatic, synth laden approach and Alphonse creates a dusty, funky roller out of that killer bassline groove.
The Thief That Stole My Sad Days (Ya Blessin Me) (6:56)
Review: Moodymann's oeuvre continues to yield new gems on a yearly basis, but sometimes you've got to take it back to the classics. "Forevernevermore" was a landmark when it first landed in 2000, building on the promise of his earlier LPs to deliver an immaculate trip through the dreamiest corners of his idiosyncratic deep house vision. From the incantations of "Meanwhile Back At Home" to the early morning freak haze of "The Set Up", the quintessentially KDJ 'in-the-room' vibe of "The Thief That Stole My Sad Days" to the heavy edit funk of "Tribute" this is gold-standard Detroit house start to finish from one of the best to ever do it.
Review: Charitable acts carry more significance than ever right now, and Needs are on hand with another instalment in their brilliantly curated series to give something to those in need while also presenting some wonderful, exclusive music. This one leads in with a truly uplifting blast of sunshine from Telephones before dropping into the edgy, swinging tech-funk of Ciel's "Faye Wong Plays The Strings". Al Wootton is on point with another of his fresh and dynamic twists on the soundsystem blueprint, with a dubby, percussive vibe that should appeal to those who miss proper dubstep. Eliphino completes the set with a squashed and feverish garage thumper that sounds like it has an iconic vocalist chopped up somewhere in the signal chain.
Review: Having recently impressed with a deliciously off-kilter - and hugely impressive - debut album on Studio Barnhus (last year's must-check "Once Upon A Passion"), Stockholm's Bella Boo dons the alternative BB alias and offers up a cheeky, acid-laden future anthem. In its original A-side form, "Hey Ladies" sees the rising star top a sweaty, all-action house beat with dreamy chords, layered R&B/soul vocals, deliciously dirty bass and waves of angular, mind-altering acid lines. It's a brilliant combination of elements all told, with Boo's smart production and on-point arrangement making it a genuine peak-time banger for underground DJs. The accompanying vocal-free Dub Mix is superb, too, with the Swede replacing sampled R&B snippets with bubbly electronic motifs and even wilder acid lines.
Review: As swathes of DJs and dancers get ever more into classic and niche electro from the 90s, Groovepressure has reformed to bring back some of its highly sought-after releases and keep the Discogs sharks at bay. With a fresh re-master and some new mixes to boot, the label makes a wise choice for its third reissue by picking up the record they first put out, Resonators' "Shuzzbuzz". The original mix and its B side "Booma" sound better than ever with a bit of modern spit 'n' polish, but then Robin Ball's electro and house versions of "Shuzzbuzz" push the classic into exciting new realms without losing that all-important old-skool flavour.
Review: Colin McGraw's MDA Analog project continues to enjoy a renaissance after more than 20 years of silence, serving up the third instalment of vintage techno with a house-spirited warmth. "Lost But Not Broken" capitalises on some particularly soaring synths to create a uniquely uplifting flavour, while "A Theory Of Everything" takes things deeper with dubby pulses underneath an ear-snagging set of keys. "Mimico Creek" has a particularly playful arrangement marked out by nimble arps and bleeps, and "Scavenger Hunt" completes the set with a punchy rhythm section and yet more plush layers of harmonic interplay.
Review: Aze's reissues continue with this latest one from Janeret which actually only came out in early 2018 but sounds effortlessly timeless. "Neptune" gets underway with a far sighted cosmic deep house groove. The keys are soft, the drums delicious. "Abyss" then ups the pace, but stays just as silky and fluid with its rolling final drums and "Atlas" then just things up with a more punchy drum line and busy groove. The trip is completed with the superb "Odyssey", with frictionless drum rotations and balmy, bendy pads all proving irresistible. House music doesn't come more seductive and smooth than this.
Review: After the widespread success of the first Minimal Vision compilation on the resurgent Vibraphone Recordings, The True Underground Sound Of Rome return with a second volume that takes in tracks made over a 23 year period. What comes across is how consistent the sound is, whenever an individual jam was made. The same heavy-lidded melodics and easy-funking rhythm sections prevail across all nine cuts here, at times hitting the uplifting pace of "Vertigo" or heading into the meditative pastures of "Sea Bird", but always maintaining that quintessential Vibraphone feeling. The diggers will be happy to snag the reissued tracks as well as discovering completely fresh material from Rome's premier deep house institution.
Review: Brooklyn label Razor N Tape is becoming increasingly well regarded in the edit community, returning here with their tenth release and it's an introduction for newcomer Caserta. Those who scour Soundcloud on the reg will be familiar with Boston-based Caserta who's been throwing up examples of his edit expertise on the orange and white place for the past year. Six tracks deep, the Dynamics EP shows Caserta's style incorporates thumping sample-laden hip-hop grooves, nu disco and bumping old-school house. Furthermore there's a deftness to his touch on cuts such as "Nobody Believed" and "All My Dreams" that sets Caserta apart.
Review: On the two releases we've heard to date, Cody Currie has barely put a foot wrong, delivering a string of tracks that brilliantly join the dots between dusty, soul-flecked U.S deep house and hip-hop style sample-based beat jams. For this outing on Razor 'n' Tape Reserve, he applies the same approach to the world of disco and boogie. So, we get the rolling, sun-kissed warmth and gentle filter tweakery of wide-eyed disco house shuffler "Movin' Smoke", the slack-tuned jazz snares, swirling chords and bubbly synthesizer samples of "Infinity I & II" and the swirling, string-drenched orchestral disco-house bounce of "Magic City". Arguably best of all, though, is the more driving "Make Love", where Currie's ability to select and manipulate samples within a bumping deep house framework is best exemplified.
Review: Every year one of 'those' records comes along that you hear everywhere; big DJs drop it, small DJs cherish it, radio plays it. You get the picture. XTC by DJ Koze looks to be one of those records. The PAMPA boss is renowned for a talent at wrenching optimum levels of emotion from electronic music and "XTC" is a fine example of how well DJ Koze does it. Some eight minutes of deep house every bit as immediately consuming as, say "Beautiful Life" by Gui Boratto, are complemented by the appearance twice of a pitched down vocal (that sounds remarkably similar to Maggie Thatcher) discussing the popular drug that informed the title. Complementing this, Koze indulges in some superb cut up filter house with "Knee On Belly".
Review: The second part of Omar S' You For Letting Me Be Myself album in vinyl form sees another 8 tracks across four sides of wax; aside from the '80s inflected sounds of the album's title track, the 303 workout of "Ready My Black Asz" finds itself with the dubbed out loops of "Messier Sixty Eight". As a bonus for those who already have the album, this part contains two vinyl exclusive tracks; the soothing deepness of "She's Sah Hero Nik" and the delayed organ weirdness of "Broken Bamalance Horn" - both more than worth the price of admission alone.
Review: FXHE return with the master of the mysterious OB Ignitt! Arriving roughly a year on from the last slab of Ignitt goodness, Mysterious finds OB on imperious form, once more showing off his penchant for excellent track titles and singular slant on bumping Detroit business. The title track is a veritable epic of unquantifiable emotive stakes, emerging from a heat treated fog and easing into a subtle yet beguiling rhythmic framework which coaxes you into a spell that grows stronger as the track charges electrically forth. Face down, "Celestial Salacious" has that same rough edged bass line growl to it, but the skipping percussion and building layers of instrumentation give the track real energy, whilst you can almost feel the funk dripping off final track "Chocolate City" which sounds like DJ Nature hocked up on MDMA.
Review: The word 'legend' gets banded about rather a lot, but it is certainly applicable to West London scene stalwart Kaidi Tatham. Further confirmation of this elevated status can be found throughout "It's A World Before You", a staggeringly good album that marks the musician-producer's first solo set for some seven years. While rooted in the kind of warm, rich and life-affirming jazz-funk-fuelled broken beat workouts with which Tatham is most readily associated (and they're naturally superb), there's plenty of killer diversions dotted throughout. These include a couple of spacey, soul-flecked ambient rubs, a sublime collaboration with hip-hop/modern soul fusionists Children of Zeus, and a fine head-nodding hip-hop jam featuring rapper Uhmeer. In a word: essential.
Review: Stockholm based Ari Bald is up next for Better Listen after inaugurating Honey Butter Records last year with that great release. He keeps on with that deep disco spirit with these four funky and lo-slung jams. On the A side, we have two ergonomic edits in the form of "That Lonely Night" and "Enchantress" respectively which are looped to perfection with some somewhat familiar hooks that gradually build up to that drop! That's where the thumping kick comes charging in and it's sure geared for maximum dancefloor dynamics. On the flip, get ready for the funk explosion that is "Moonshiner" or what could be your First Choice (mind the pun!) in the form of the smooth and sexy late night groove of "Are You Mesmerized?"
Review: Slum Science's Hudd Traxx is a label that just won't quit when it comes to proper, head-tripping house music for those who like their grooves serious. That makes Chris Carrier a natural participant, and the unstoppable Frenchman steps up here with a record that proves both his and the label's long-lasting appeal. "Cycle Psycho" is a simmering tech house belter with the requisite amount of funk rubbed into its limbs, while "Dimension 5" switches stance for a nagging acid workout. On the flip "Smoke And Flesh" brings a tougher thrust to the drums and then "Flying Sausage" cools the EP down with a simply fantastic deep house bump to get heads nodding all over the butchers shop.
Review: A Theo Parrish track plus Carl Craig's massive remix and a brand new version by Chateau Flight out on Syncophone! Another chance to grab the original which appeared only on a Third Ear Ltd Compilation in 2002 of which only 500 units were pressed.
Review: One of the all-time greats of the house music canon gets a decent dusting down. If you haven't lost yourself in the sonic smoke rings of Mood II Swing's "Move Me" at some point then you're missing a fundamental part of the house music experience - from the infinite dubby chords to the swirling vocal and that groove, it's quite simply perfection. "Call Me" is also damn fine - a sharp and upbeat NY workout, but hold tight for "Function", a Gino Soccio-sampling funker ranks amongst the finest things John Ciafone and Lem Springsteen ever turned their hands to.
Review: REPRESS ALERT: What hasn't been said about this timeless classic that hasn't been already? We'd be preaching to the choir but for what it's worth: Pal Joey's 1990 released, Chic sampling classic "Dance" is one of those tracks that never gets old and always sets the dancefloor alight. In all these years it has been thrown down by NYC house legends and Detroit techno's finest alike. Likewise, your record collection isn't complete without it! Features the energetic original version on the A side, as well as the dub with that nice bass solo section that comes in. Finally, on the flip is the wicked bonus beats version that was favoured by techno DJs and sampled by everyone from Jeff Mills to Jerome Sydenham. Reissued on Joey's own Cabaret Records.
Review: The brotherly duo known as Woo's latest mini album is a rare, previously unreleased piece of music that takes you on a widescreen trip to the cosmos. It is a series of dynamic ambient electronic pieces that unfold with a sense of journeying narrative, nebulous synths and astral pads that active your brain as well as your body. It is soundtrack music for lovers and loners thanks to the fusion of contemplative moments and more romantic vibes, with cinematic references next to subtle dance floor joints. This might have been recorded way back in the 70s and 80s but still sounds utterly fresh today.
Review: Genius Of Time and Running Back seems like such a perfect fit you wonder why the Swedish duo haven't graced Gerd Janson's label before now. It might be because Alexander Berg and Nils Krough aren't exactly the most prolific of duos when it comes to original material with only three EPs to their name since they inaugurated the Aniara project in such sublime fashion back in 2010. Fans of Genius of Time and John Talabot's DJ Kicks mix have added reason to engage in some vociferous rejoicing as the former's sublime offbeat number "Juno Jam" contribution to the latter release is centre stage on this 12". In addition to the A Side bliss of that Berg and Krough slip in two more percussive numbers on the flip which Running Back quite rightly point out would make "Joe Claussell proud".
Review: Running Back Records chief Gerd Janson has decided to revive a piece of dance history by reissuing Heaven & Earth's classic 1995 house offering. Back then, producers Luke Solomon, Rob Mello and Zaki D teamed to form a collective known as Heaven & Earth. Paying homage to their favourite label, Prescription Records who were putting out the deep, acid house that they loved from owners Chez Damier and Ron Trent, the trio collaborated on two original tracks - the now legendary "A Space and Time" and "Prescription Every Night".
The release blew up, turning the three London producers into household names overnight. - so much so that collective pronged off into their own solo careers. Such has been the demand for each, that a remix of "Beau Mot Plage" and Red Nail's "I Think of You" are the only times that they worked together again.
Fifteen years later, Gerd Janson secured the rights to re-issue the release and even loaded the EP with a couple of note worthy additions to entice record collectors to pick up a copy even if the original sits proudly in their record box. An unreleased edit of "Space and Time", where the piano takes on a more dubby feel, is joined by the disco tinged "Prescription Every Night", immortalized in Carl Craig's infamous 1995 Essential Mix.
This re-mastered and re-shaped EP is an original slice of the disco-house sound that has become so fashionable of late. As dance culture becomes more and more reflective, it is testament to the classic early tracks that inspired a generation that they are picked up again fifteen years later and re-issued for a new generation to treasure and cherish
Review: Local Talk mainstays Dirtytwo jump ship for this fine release on Brooklyn's Razor-N-Tape label, calling in a host of remix talent. The Swedish duo's original of "The Remedy" is the kind of classic '90s tinged house which floats on a cloud of Rhodes keys, New Jersey garage beats and an irresistible female vocal. The "TwoDirty remix" is an altogether sleazier affair, using some funkier bass to retool it for dark basement affairs. Meanwhile Caserta's "Know The Cure remix" employs some particularly fine MK style vocal cut up trickery, weighty piano and tough bassline, while the more free flowing pads and rolling kicks of the Grey Area remix offer perhaps the classiest interpretation of them all, taking things properly deep with its sound design.
Review: For the latest salvo in their occasional "45" series of seven-inch singles, Brooklyn imprint Razor-N-Tape has turned to Pittsburgh boogie badman and boom-bap hip-hop maker Buscrates (real name Orlando Marshall). A-side "Main Thing" is a revivalist synth-boogie gem that breathes new life into a well-known tribute to "Mary Jane", layering the pitched-down vocal over what sounds like a fresh bed of synth-bass, colourful lead lines and head-nodding drums. Just as good is up-tempo flipside "F.T.F (Freak The Funk)", a vocoder-laden slice of deep electrofunk goodness that hits all the right notes. If you love synth-powered 1980s sounds, you need this in your life.
Sly & Lovechild - "The World According To Sly & Lovechild" (Andrew Weatherall Soul Of Europe mix)
Dorisburg - "Rytm804"
Hiver - "Pert"
Kyle Hall - "Flemmenup"
DMX Krew - "EPR Phenomena"
JRMS - "3"
Shades Of Rhythm - "Exorcist"
Kode 9 - "Magnetic City"
The System - "Vampirella"
Black Merlin - "Kundu"
Aphex Twin - "Vordhosbn"
R-Tyme - "Illusion" (Mayday remix)
Psyche - "Crackdown"
Deniro - "Epirus"
I:Cube - "Cassette Jam 1993"
Review: South Korean star Peggy Gou continues her seemingly unstoppable rise by serving up her first ever DJ mix CD. It's a contribution to one of the longest running series in the business, DJ Kicks, and she's used the opportunity to showcase the depth and variety of the music in her crates. Beginning with the classic early '90s ambient of Spacetime Continuum, Gou flits between humid, mid-tempo Balearic house (her own "Hungboo"), acid-fired downtempo electronica (Pearson Sound), throbbing 1990 peak-time anthems (Weatherall's ace but largely forgotten remix of Sly & Lovechild), hypnotic techno minimalism (Dorisburg), main room throb-jobs (Hiver), pulsating electro (DMX Krew), classic breakbeat hardcore (Shades of Rhythm), post-dubstep (Kode 9), dark tribal drum jams (Black Merlin) and sunrise ready Motor City brilliance (Deniro).
Review: A special summer-tuned dedication to two of Africa's most creative contributors who both passed away at the birth of the New Year. First up, South Africa's Shaluza Max's 2002 classic gets the revisitation it deserves; big accordions, honeyed Zulu vocals and a chugging groove that could plough into any dancefloor under the sun, it struts with a timeless sense of universal groove science. Flip for a rewind to the mid 80s as Soundway pays tribute to the hugely prolific Tabu Lay Rochereau. Complete with smooth, soothing synths, show-stopping harmonies and slinky bassline that won't quit, it's as heart-rending now as it was 30 years ago.
Review: FXHE remain in outer orbit following that stellar Triangulum Australe 12" from Omar S, presenting their final transmission of a superb year in the shape of Oh Jabba, two tracks of stargazing house music from O B Ignitt. Last seen collaborating with Omar S on the dedication to Eddie Murphy's finest acting role, the impression that Ignitt likes his cinema is only strengthened here on the Star Wars referencing lead track with some deliciously lo fi art work of that slug like character on the inner label dispelling any possible doubt. The track itself is a wonderfully simple yet melodic house track, crunchy drum machine rhythms rippling away feverishly beneath a calming array of swooping Rhodes and Moog flourishes. Complementing this, "Space Age Stepping" is a more searching affair, relying more on the rugged drums and gurgling analogue bassline to achieve lift off.
Review: Omar S' FXHE stable has become synonymous with trend-setting house and techno over the last ten years. Moreover, each time Alex O Smith brings about a new name to the FXHE dynasty it's always exciting news - last time around OB Ignitt was introduced to us in fine style through his Star Wars-themed brand of raw-schooled house. John FM's "Where My Roots Lie" is similarly spacey and freaked out, synth-heavy and filled to the brim with intricate Roland percussion. On the B-side, "White Churches Be Like" is the ticket, where a broken beat arrangement is diced and shredded by ice-cold snares; but "Solace" is the unexpected track on here, a slow and funked-out r&b monster in true FXHE style. Another solid missile.
Hit It Bubba (I Want My Dadda's Rekids!!!!) (5:42)
Party Marty (5:47)
Review: The Detroit badman always delivers the goods, but he'd recently focussed on his more house-centric style thanks to a series of sleek, soulful releases. This time, he's come out all guns blazing with this new four-part killer, led by the absolutely nutty groove that is "Sink Holes" - a proper slice of Omar S acid, delivered in fine style and with his inimitable rawness. "HELL ON EARTH" is a moodier, funkier house tip with a jazzy side, while the flipside's "Hit It Bubba (I Want My Dadda's Rekids!!!!)" is a fast, upbeat house bomb with a crazy little disco sample that floats amid the grainy bass drums. "Party Marty" is a no nonsense kind of lick, pouncing away with a steady, yet unmistakably Omar S-style percussion, and a heavy bass blow. This is one hell of a way to make an appearance this early in the year - highly recommended!!
Review: Alex "Omar" Smith traditionally uses the "Sidetrakx" series to release music that doesn't fit with his club-rocking house and techno 12" series. Even so, few would have expected him to use the latest edition - the sixth in total - to offer up a dancehall cut featuring Jamaican singer and MC Nardo Ranks. "Love Me Like Cooked Food" features Ranks chatting and singing in Patois above a dancehall "riddim" rich in rubbery bass guitar, echo-laden machine drums and flanged guitar riffs. It may be a curveball, but it's rather good. Over on the flip, "Renault used car salesman" John FM guests on a lo-fi R&B/soul workout that also includes some deliciously tongue-in-cheek, poodle perm-sporting soft rock guitar solos.
Review: Groovin can always be relied on for the finest deep house reissues and represses, and they've struck Prescription gold here with the hazy sway of Ron Trent and Anthony Nicholson's evergreen "Aquarhythmatica." In its smoky chords and freewheeling guitars, the dusted down track represents everything great and timeless about this absolute pillar of deep house. On the flip, Ron Trent flies solo with "City Beat," which originally appeared in 2009 on the "Dance Classic" album. From the rich layers of detail to the mellow mood and of course the infectious, organic grooves, the quality level and musicality on this rich vein of house music is quite simply astounding.
Review: Dazzle Records was a short-lived sublabel of Outland that carried just two singles. One of them was Keith Sibley's Stand By Me, which captured the zeitgeist of mid 90s garage house perfectly. Now US label Plastik People has commissioned a raft of remixes to bring the soulful hooks of the original to a fresh audience. British producer Crackazat gets into a looped up, heads down groove while Plastik People boss Cotterell lays down some thick organ work on his 'Classic Vibe' mix. Johan S has a particularly bright and breezy approach with his own Chandler-inspired version, while Sibley's original makes an appearance in all its life-affirming glory.
Review: Todd Terje has yet to release the original version of "Jungelknugen", but he's decided to release these remixes anyway. It makes sense: as you'd expect, both are top notch. Four Tet handles the A-side, delivering a version rich in Italian dream house style pianos, swirling synthesizer chords, jazzy musical touches, analogue bass and the kind of live-and-loose beats that the veteran prodicer has become famous for. It even boasts a rush-inducing breakdown for those 6AM "Scandolearic" moments. On the flip, Terje's old pal Prins Thomas takes the track in a different direction, fusing Terje's piano motifs with bleep style sub-bass, psychedelic electronics, and some swinging disco beats of his own.
Sean McCabe - "It's My Life" (feat Cinnamon Brown - Sean 6am dub) (6:56)
Corrado Bucci - "Atacama Desert" (5:51)
Review: Matts and Tooli take time to acknowledge that the last half a decade and a bit have been pretty successful. And they're doing so with this exclusive vinyl-only four piece that covers some of the finest corners of house music known to man. Art Of Tones gets busy on the loose drums and slappy bass, DJ Spinna puts a new twist on a classic rising hook while Sean McCabe takes us right back to Nu Yorican soul heaven. Corrado Bucci closes the book with a dusty, pensive hypnotic stomper that will have you locked in seconds. Here's to another half a decade and a bit.
Review: Long running and legendary house label Nervous has never let up over the years and this new remix of Newbody by SRVD aka Rekids bosses, Radio Slave and Partrick Mason, is a hitting slab of House. The A side is built on block rocking beats with raves stabs and plenty of raw percussive energy. Vocal yelps and jacking 909s add to the energy of the whole thing and ensure maximum destruction. The flip side houses a dub that is no less forceful or weighty, but a little more stripped back.
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