Cody Currie - "As Of Yet" (feat Joel Holmes) (5:09)
Grant Nelson - "In The Dark" (5:59)
Pontchartrain - "Don't Change It Up" (5:43)
Goddard - "Almasti" (6:11)
Review: With such a star-studded line-up of old and new talent involved, it's little surprise to find that De La Groove's fourth vinyl release is seriously good. It's that good, in fact, that there's no space to go into each and every highlight. Instead, we'll point you in the direction of some of our personal favourites. Check first the breezy and soulful US garage revivalism of Art of Tones' impeccable "So Sweet", before turning your attention to the dreamy, vibraphone-laden deep house sexiness of Cody Currie's "As of Yet (featuring Joel Holmes)". Grant Nelson's "In The Dark" is a fine slab of late '90s style UK garage, while Goddard's "Almasti" sounds like a nu-disco era riff on Pepe Bradock deep house classic "Deep Burnt".
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: Pretty much anything Call Super has touched in recent years has turned to gold. This new collaboration with Parris is no different: it is a self-released project with a fictional backstory involving an ageing writer called Mortise Koshimitsu who lived in a small apartment. The music itself is uptempo but deep, with shimmering wooden hits gliding on elastic drums as ambient synth beauty bleeds into the spaces left behind. "Majenta" is a more cavernous and dreamier track that is as good for home listening as it does for tasteful dancing.
Review: Ovine build on the momentum of their first EP with another new house offering that is beautifully deep. It features two tracks each from Dan Piu and Pohl, and they all hack back to dreamy Italo, classic Mr Fingers and the more pensive Chicago greats. "Depresismatica" is a real highlight with its meandering basslines and infinite cosmic horizons. "Mello Phone" offers more pixelated melodies and busy beats and "Space In The Distance" has the sort of freaky edges and dusty analog textures house lovers always fall for. Already, then, this is a label that is setting a high standard.
Review: The always on-point SlapFunk continues its sixth round of Raw Joints with another four razor sharp jams from a gifted contingent of contemporary producers. Lopaski actually delivers something with the delicacy of Jan Jelinek's finest early micro house productions, but strapped to a more pronounced rhythmic undercarriage. Pascal Benjamin gets into a quintessential minimal house groove that sounds right at home on SlapFunk, while JAMM brings a tougher set of beats to the table. SE62 rounds things off with the loose and limber shuffle of "Fear", which doffs a cap to garage while keeping things dark and deadly.
Review: According to the hype sheet we have to hand, the "Home Turf EP" is House of Disco's first multi-artist extravaganza for two years. There's plenty to get the juices flowing throughout, from the bounding bounciness of LPM's rap-sampling disco-house cut "Get With It", to the impeccably warm and sun-kissed jazz-house vibes of Purple Ice's "Adeus". In between you'll find the rolling, synth-heavy warmth of Mix & Fairbanks' deliciously loved-up "Shergar's Revenge" and "Me, You, Us" by Shee, a chunky sample-house number full of swirling strings, looped guitar riffs, hazy chords and righteous spoken word samples.
Review: Given that acid revivalists Paranoid London have yet to put a foot wrong, it's no surprise to find that "(Vi-Vi) Vicious Games" is another absolute belter. It's taken from the duo's forthcoming album and features sometime Posthuman collaborator Josh Caffe channeling his inner Robert Owens and Jamie Principle over a retro-futurist backing track. In its full length, the track brilliantly combines Paranoid London's jacking drums and thrusting acid bass with dreamy chords and just the right amount of glassy-eyed melodic flourishes. It sounds like a classic TRAX release given the Paranoid London treatment, which I'm sure we all agree is a very good thing indeed. If you're in the mood for something even sleazier and more driving, the Bam Bam-inspired Dub has it covered.
Cult Hero (Do You Wanna Touch Me) (album edit) (6:45)
Cult Hero (Do You Wanna Touch Me) (club mix) (5:47)
Cult Hero (Do You Wanna Touch Me) (Slow) (7:29)
Review: House and techno badboys Paranoid London are proceeding the release of their second album with a bunch of singles from it. First up is "Cult Hero" featuring Simon Topping - one of many guest vocalists on the full length. It's a bristling acid house cut with tight, corrugated drums and relentless 303 mania ripping up the groove. Topping's deadpan vocals are layered over the top and bring to mind the more anthemic work of Depeche Mode. "Club Mix" is even more caustic and kinetic, while closer "Slow Mix" strips back everything but for the lunching drums and demonic vocals of Topping.
Review: For the second edition of the mysterious new anonymous artist imprint Party Nails, we get treated to some tough rolling UK tech house for main room - UK style - on "Hopin' She's A Freak" with its naughty and catchy ghetto house samples. Then get deep, down and dusty (disco style!) on the rather Robsoul sounding "Um So", lo-slung and funky perfect afterhours tackle on "Brown Acid" while the peak time syncopations of "Boudadan" feature a familiar sample from a classic and pushes into afro house territory.
Space Ship (Fango The Suppa RoboT Dancer remix) (5:15)
Spaceship (JD Twitch remix) (6:34)
Spaceship (Superpitcher Space Trip) (10:09)
Spaceship (Superpitcher Space Strip) (5:15)
Review: Life and Death has pushed the boat out here, backing two quality cuts from Paulor - the chugging, acid-fired dancefloor hypnotism of "Space Ship" and the New Wave influenced electronic moodiness of "Planet Gold" - with a quintet of headline-grabbing remixes. Techno hero Vitalic steps up first with a beefed up, rush-inducing version of "Space Ship" rich in apreggio style bass, spacey melodies and thrusting TB-303 acid lines. Fango Tha Suppa RoboT Dancer gives the same track a punchy, '80s electro style overhaul before Optimo's JD Twitch steals the show with a version that layers razor-sharp riffs over a dystopian mix of analogue bass and pots-and-pans percussion. Superpitcher rounds things off in style, first with a hypnotic, chugging "Space Trip" version and then a sublime "Space Strip" ambient take that's almost breathtakingly blissful.
Review: London-based Pawsa's hairstyle may be reminiscent of Jean-Michel Basquiat, but he has a signature sound: inventive tech house with an old school vibe that is decisively made for the dancefloor. That's exactly the order of the day on his eponymous imprint's 14th edition. Main track "Erryday" is a bangin' and surefire groove that's made to play. A side houses the original version that rolls tough on the bassline, supported by a gritty classic house shuffle. There's a handy and functional dub version on the flip, too, which omits the dramatic vocal monologue in the middle and gets straight down to business.
Review: While they're usually on-point with their vinyl outings, there's something extra-special about the latest excursion from Leeds lads PBR Streetgang. For proof, check title track "Big Wig", a maelstrom of analogue electronics, proto-house era, electro-influenced drums, throbbing bass, whooping vocal samples and the kind of bubbly but heavy electronic bassline usually associated with Maurice Fulton's Syclops records. Remixer Donald Dust drags the track further towards NYC freestyle territory on his surprisingly spacey version, before Tom and Bonar make some 1985 freestyle/electro movements of their own via the alien funk of "Shooting Star". As you might expect, the stripped back accompanying Dub mix is even more potent.
Review: Valencia's Pepe has built up quite a discography over the last few years, with this fine outing on Church following similarly impressive releases for Let's Play House, Lobster Theremin, Loose Fit and Sprung. The EP's impressive title track is available in two variations: the sparkling, breakbeat powered "Roll Mix" - think hip-house style drums, weighty dub bass and occasional dreamy chords - and a "Bleep Mix" that beefs up the sub-bass while adding some suitably sparse, computer game style electronic melodies. Another clear highlight is "You Must Not Be Me", a fine combination of rush-inducing, sunrise-ready electronics and bustling breaks, while closing cut "Recollection" is a rather lovely drift into opaque ambient territory.