All I Do (Ryuhei The Man 45 edit instrumental) (4:05)
Review: Japanese live outfit, A Hundred Birds has a thing for creating classic covers. Over the course of their career, they've recorded countless covers, including organic, string-laden interpretations of techno scene staples such as "Blackwater" (originally recorded by Octave 8) and "Knights of the Jaguar" (The Aztec Mystic). Last year they offered up another warm and wonderous cover, this time of Stevie Wonder classic "All I Do". Here it gets a new lease of life courtesy of scalpel fiend Ryu The Man, who has delivered tightened-up, floor-friendly vocal and instrumental edits of the warm, rich, soulful and undeniably summery cover version. Both are rather good, though it's the vocal version that will win over dancers.
Akabu - "Ride The Storm" (feat Linda Clifford - Saison remix) (7:21)
The Love Symphony Orchestra - "Let Me Be Your Fantasy" (Dr Packer remix) (7:31)
Joey Negro Presents The Sunburst Band - "Everyday" (JN Disco Re-Bump remix) (7:28)
Art Of Tones - "Flower Child" (feat Anduze) (7:01)
Review: Like its numerous predecessors, 16th edition of Z Records' long running "Attack The Dancefloor" series is packed to the rafters with tried and tested dancefloor treats, most of which have never appeared on vinyl before. First up, Saison tackles Akabu's 2001 classic "Ride The Storm", turning it into a deep, bouncy and rubbery chunk of lilting, string-drenched house goodness, before Dr Packer delivers a subtly tooled-up take on The Love Symphony Orchestra's grandiose and sexually-charged 1978 disco classic "Let Me Be Your Fantasy". Label head honcho Joey Negro provides a superb deep disco rework of one of his own productions, the Sunburst Band's 2004 summer sing-along "Everyday", while Art of Tones' "Flower Child" is a flash-fried, disco-funk romp laden with superb lead vocals from Anduze.
Review: Berlin-based Korean Peggy Gou has been surprisingly quiet since first bursting onto the scene back in 2016. Here, she returns to action having graduated from Technicolour to parent label Ninja Tune. Many may already have heard EP standout "It Makes You Forget (Itgehane)", a percussively ambidextrous beast based around a bouncy, off-skilter, snare-heavy rhythm track. It has been much discussed online after Gou included it her recent Resident Advisor podcast. On the B-side you'll find tracks representative of her developing style, which draws together elements of European deep house, electro, early '90s U.S house, the rubbery disco eccentricity of Maurice Fulton and the instinctive polyrhythms more often found in traditional African music.
Review: It may have taken the best part of six months, but Glenn Underground has finally delivered his first new music of 2020. The Chicago house legend is in fine form on "Shake That Body", a warm and jazzy chunk of deep house/disco fusion rich in tasty instrumentation and topped off by a fine female lead vocal courtesy of newcomer T.H.I.C.K. It's accompanied on the A-side by the superb "Dubbl" version, which sees Glenn Underground strip the track back to a killer dub disco groove before bringing back the keys, acoustic guitars, spacey synths and snippets of T.H.I.C.K's vocal. Over on the flip you'll find a seductive "Remix" that subtly moves the track closer to deep, soulful house territory.
Review: Jackmate, the king of off-kilter house, makes a welcome addition to Matthew Herbert's Accidental catalogue - matter of fact his style is right at home! The 'Werk' EP is the Philpot co-chief's first release in six years and he's in fine form as always. From the dry and disjointed shuffle of the title track, to the smooth and sensual deepness of B-side cut "Skeletones" - a Moodymann-ish cut which is perfect mood music for the warm-up or afterhours alike. Closing out the EP is something much more offbeat for the Sunday afternoon slot - the boppy summertime groove of "The Clarinettes' which like its namesake has some irresistible wind instrument action to get you on your feet and shaking your behind.
Review: Canadian maestro Jay Tripwire is a long time underground stalwart with countless gold-dust releases to his name, and still the modest artist keeps pushing on with more stellar tech house immersion heaters. Here he's been invited to Euphoria for an EP that burrows into the most shadowy corners of his sound. "H3misphere" is a spooky jam driven by a shuffling groove and offset with some dubby flourishes - a perfectly balanced workout for the club with a seductive air of mystery lingering around the rhythm section. "Werqles" is a lighter affair, but it's no slouch in the freaky department as a plethora of disembodied machine wriggles ping around the crisp 4/4 throwdown. The whole B-side is given over to SIT's "Remux" of "H3misphere", which holds the groove down in a more linear manner but keeps that chilling atmosphere intact just behind the beats.
Review: Donnell Knox and Mark Hawkins, better known as D-Knox and Marquis Hawkes respectfully, team up for a collaborative EP on Sonic Mind that speaks to their respective roots in underground techno reaching back to the 90s. "Kalamazoo" is a tough and clattering jacker with out-of-phase organ lines to send your mind spinning, while "Not The DX100" brings things front and centre for a comparatively direct, acidic workout. "Halfway" ramps up the melodic content as a displaced vocal celebrates Kalamazoo's location between Chicago and Detroit, and then "Just Let Me Go" completes the set with a tough and bumping vocal house cut.
Review: It would be fair to say that Mr Fingers 2016 is something of an event release, at least for those who love deep house. While Larry Heard has kept busy - largely with remixes and reissues - this marks the first 12" release under his most famous moniker for over a decade. He begins in contemplative mood, fusing tumbling music box melodies, creepy electronics and nagging 303 lines on "Outar Acid", before laying down some typically blissful, atmospheric deep house on the wondrous "Qwazars". Flip for "Nodyahead", an effortless mixture of heavy dub-house bottom end, African-influenced percussion and moody late night refrains, and the ultra-deep, piano-laden bliss of "Aether".
Review: Thomas Xu tends not to release much music, but when he does it tends to be musically rich, rhythmically complex and very, very good. That's certainly the case with "Places In Time", his second EP on Steady Flight following an inspired 2017 debut on Theo Parrish's Sound Signature imprint. There's much to set the pulse racing across the EP, from the heavily analogue, synthesizer-powered, intergalactic jazz-funk looseness of "Easin", and the slipped 21st century instrumental space-jazz of "Tired A Being Tired (What Are We Here For)", to the densely layered, piano-driven ambience of "Promise 2", and the hard-to-pigeonhole eccentricity of closing cut "Let's Go See Roy".
House Music Will Never Die (GU Cei-Bei Foot mix) (7:08)
House Music Will Never Die (CVO Bismark Hotel mix) (7:13)
House Music Will Never Die (Mark Grant Paramount Room mix) (7:38)
House Music Will Never Die (Glenn Afro dub) (7:36)
Review: For their latest deep dive into the world of hard-to-find house classics, Italy's Groove Records take us back to 1996. "House Music Will Never Die" marked Glenn Underground's first collaboration with vocalist Cei-Bei (AKA Curtis Harman) and has long been considered one of the Chicagoan producer's finest releases. Wisely, Groove has decided against tinkering with a classic, instead serving up all four mixes from the original Cajual Records 12". Choose between the classic deep house soul of the GU Cei-Bei Foot Mix, the wonderfully summery, jazz guitar-laden CVO Bismark Hotel Mix, Mark Grant's brilliantly evocative, stretched-out interpretation, and a killer Afro Dub that makes great use of a heavy analogue bassline. All four versions are top notch.
Review: Unstoppable house machine Javonntte is the second signing for Ten Lovers Music, and he's changing tack and bringing forth a mini-album of luscious jazz inflected grooves to be savoured as an album as much as a collection of DJ cuts. The vision and scope on this record is impressive to say the least - just cop the advanced chord progressions powering the wide-open vistas of "78 Universe", or the wild expression of every instrument coursing through "Galaxies". This is Javonntte going full-flight on his artistry and it sounds impeccable - not one to be missed.
Review: Last time out, Longhair popped up on Claptrap with a fine EP that effortlessly joined the dots between turn-of-the-'90s dream house, breakbeat-driven deep house and colourful nu-disco. They've slightly switched focus on this Love On The Rocks label debut, adding big rays of sweltering Balearic sunshine to their usual warming and kaleidoscopic sound palette. In its original form, "The Forbidden Dance" brilliantly re-purposes the melody from a familiar old Mediterranean instrumental number (you'll recognise it when you hear it), re-playing it on sparkling synthesizer settings and layering it atop a tactile deep house groove awash with vibrant nu-disco sounds. Arguably even better is the almost beat-free flipside "Rhumba Mix", which reminded us of those bonus "ambient house" versions you used to get on Italian dream house EPs.
Review: There's been plenty of online chatter about the confrontational title of Omar-S's latest full-length outing, and arguably not enough focus on the music itself (or the fact that the guest list contains Rick Wilhite, Norm Talley and OB Ignitt for that matter). This is unfortunate, because as usual Alex 'Omar' Smith has hit the spot. The six untitled tracks are impressively varied, with Smith effortlessly moving between 21st century P-funk (track one), cowbell-powered deep house funk (track 2), sparse and synth-heavy acid house hypnotism (track three), disco-house jack (track four), sub-heavy Detroit-meets-Sheffield minimalism (track five) and sunrise-ready dancefloor dreaminess (track six).