New releases last four weeks: Funky/Club House

Review: It would be fair to say that post-disco outfit Unlimited Touch's 1980 single "I Hear Music In the Streets" is one of the greatest boogie/electrofunk records of all time. Louie Vega clearly agrees, because late last year he decided to gather together the remaining members of Unlimited Touch and record a fresh 2020 version. The A-side "Touch Mix" is the bomb. It features a more organic-sounding disco-boogie groove than the 1980 original, with delicious guitars, bass and electric piano/organ underpinning seriously good group vocals from the sometime Prelude-signed outfit. Over on the flip, Vega serves up an electric piano solo-laden dub mix, as well as a "Classic Boogie" take that naturally sounds very similar to the band's much-loved original version.

Review: A collection of remixes that take the original Amy track and transform it into a dance-oriented experience. The Alix Alvarez Sol Channel mix on the A-side is a house remix that adds a driving beat and energetic synths. In contrast, the Al Usher remix on the B-side takes a more soulful approach, infusing the track with a 1970s vibe. Two remixes that showcase the versatility of the original song and offer a fresh take on Winehouse's iconic vocals.

Review: Michael Gray brings his famously soulful sound to this new release on Sultra and it very much taps into a timeless vibe and old school disco feel. The grooves are nice and loose, the percussion is organic and fresh and the vocals, which re-sing a real classic, solar to the heavens next to mid tempo beats. After the A-side extended mix featuring Kimberly Brown & The Sultra Gospel Singers comes 'Never Let You Down' (feat Anthony Poteat & LaMay - extended mix). This one is a little deeper, quicker and funky, but is no less impassioned with its live vocals and lush synth work all bringing the good time vibes.

Review: Magic Number is Ross Hillard, a downtempo and orchestral composer whose engineering and bass playing can be heard on an array of releases, most notably for the likes of his own house favourites including Louie Vega, DJ Spen, Kerri Chandler, Lay-Far and Atjazz. Now debuting his first record on the latter artist's eponymous label, Badly Written Songs sounds like a slice of humble pie, but it's actually well-thought out title: in Hillard's own words, "(it's) a tongue-in-cheek reference to how transient electronic music can be." Thus, writing songs in this genre might not have been the most sensible and sustainable idea - but we all love house music, so we put everything into it, hoping that people don't discard it too soon. True to an engineer's tastes, the album is ultra-dynamic and bright throughout, serving up a consistent guest-vocal steeze reminiscent of Charles Webster or Herbert's gravitas.

Review: Back in 1991, PT House's debut album Big World introduced Soweto rapper Nelson Mohale (who was later known as Dr House) to South Africa's burgeoning house and kwaito scene. Collaborating with producer Danny Bridgens, known for his work with Yvonne Chaka Chaka and Margino, the newly formed pair fused US and UK hip-house influences with local flavours and always imbued their music with a positive outlook for the future. Now reissued for the first time on Afrosynth Records, the small but well-formed four-track record remains a bold testament to their vision and has more than stood the test of time with its vibrant energy and forward-looking spirit.

Review: House music and fresh modern funk are happy bedfellows on this new EP from Moniquea with the masterful production taken care of by XL Middleton who, if you ask us, cannot miss at the moment. With an unmistakable West Coast vibe characterised by punchy synth bass and leads, this A-side embraces the good times with pulsating beats and detuned chords. On the B-side, the '97 Remix pays homage to Moniquea's g-funk origins while the bonus Applejac remix of 'Hate To See It' seamlessly blends dance-oriented elements with lush synth strings reminiscent of peak-era Neptunes productions from the 2000s.