How could you not love this. Yes it’s about ‘Girls in Uniform’ but please put that preconception down and enjoy what is a playfully amusing lyric, although pitched over spikey, punk attitude that sees racing beats fight against punchy guitar and bass to produce a gloriously edgy, yet exhilarating experience. By the way Aladdin are the sum total of Nicolas Ker (singer, chaotic poet) and label boos Gilbert Cohen. The excellent Gilb’R then delivers a smoky Dub version that at once commands your stereo with its array of death defying weirdness that plunge the depths of cool. Followed by Trevor Jackson’s downbeat exploration into further dub excursions into intensity which also proves to be deliciously dangerous and rather f**king fantastic.
Returning with this exceptional remix care of Watergate resident Rüede Hagelstein, ‘Counting Comets’ is now injecting with a new lease of life for 2016. A tastefully crafted production that is driven by addictive syncopation accompanied by somewhat sassy percussion and contrasted by ethereal synthesizers which ultimately climax into a thing of darker beauty. And I’m glad it’s almost ten minutes long. Equally stunning is Marc Romboy’s own captivating beat-less Part 2 version which is cut through with a shining ambience that doesn’t require words, while also playing out across ten perfectly timed minutes.
Suggesting something of a theme this week (in parts) is this latest from seemingly ever present The Orb. Masters of their own landscape ‘Alpine’ doesn’t disappoint either via its lush textures spilt into three sections. ‘Morning’ favours a sleepy evolution of sounds that combine the surreal and wonderful, while ‘Evening’ not surprisingly adds the pulse of four/ four beats to its looped equation of rhythms. ‘Dawn’ then returns to an evocative, haunting bliss via a reworking of the previous ‘Morning’.
Three new tracks go to make up this debut release on KOMPAKT from Alex Under. Beginning with the title track, ‘Olas De Quila Quina’ which delivers waves of pulsating bass notes together with tripped-out vocal effects and swirling reverberations that become all the more impressive once the beat drops, causing all sorts of high-level impact. In a word, spectacular. Next, ‘El Reflejo Del Lacar’ hits the Techno button, leaving the cool melodies plus funk-infused bassline of the excellent ‘Lolog’ to complete.
Continuing to breathe a blast of fresh air into the genre Toy Tonics aren’t afraid to reference the soul of the past while slamming headlong into the future. Back In The Days, lays down a life-affirming slice of Disco to ignite the party with a voice over reminiscing about the title. Jugendstil, gets down and funky with fiery organ hits and sassy percussion fuelling the fire, while next +++ provides latinesque rhythms amongst the filtered madness going on. Humbled, not surprisingly takes a deeper turn with moody chords worked out over hotly infused beats. And finally, the excellent Native Riddim appears as a vinyl only treat with glorious piano pulling the heart strings over shuffling drums.
Hinting at the Windy City yet blowing out the cobwebs are these three fully charged productions from Neverm!nd. Channelling engaging bass and keys throughout the stereo picture the warm tones of The Womb repeats until you’re completely hooked in. Showdows, then provides an edgier groove including sizzling sound effects, undulating moods and smoky voices. However, it’s the excellent Mobiers that provides the standout here care off a super slinky groove plus killer bassline, which is again complimented by large vocals and endless repetition, leaving the Higuchi remix to inject a shot of energy into the tempo to finish.
Breaking Through The Pain Barrier EP
An epic arrangement that reflects Paul Cottam’s life with multiple sclerosis and as you can guess from the title that isn’t always a good experience. Never the less the music seeks to provide a reflective, invigorating trip into the sights of night-time with layers of rhythm and loops of sound creating a striking, almost haunting soundscape which proves hard to put down. The flip-side then has Encephalomyelitis Disseminate fusing House bass together with punchier beats, although proving to be just as atmospheric, all of which is eventually compounded by grittier Acid attitude.
The unmistakable rhythms of DJ W!ld return to the ever excitable Robsoul for yet another breathless journey into repeating beats and grooves. First up is Breakin which comes fully armed with splashing hi-hats and rough-edged bass twisting their way until the breakdown refreshes you via a splash of heated Disco. With You, again hits you with tough drums and unrelenting low-end theory, while dreamy keys seek to add a more soulful flavour to the affair. The excellent Only What I Am is next with super funky bass looping across an inevitable sea of beats coupled with the eventual evolution of the funky sample. The equally excellent, All About You then ends on a more tender note with emotive keys summing up thoughtful, uplifting atmospheres to finish.
The title track doesn’t pull any punches by delivering smoking hot, deliciously sleazy grooves that recline on just the right side of dangerous. Powered by powerful, hypnotic Chicago styled bass and aided by darkly spoken words, that don’t sound all that sensuous, this is best experienced with the lights down low. Energize, proceeds with tougher rhythms that secure the dancefloor with an excitable array of sounds, while third original Love or Money poses the question via breathy French voices and classic Soul vocals over yet more distinct, creative arrangements of sound. Breath-taking remixes come from a typically energetic DJ Sneak who pounds out the beats while highlighting the voices and synth tones, and from Louie Fresco who conversely creates moodier atmospheres most effectively.
‘Brought to you from the mean streets of Burnley’ which may not have the same ring as ‘The Big Apple’ but then you could transport these grooves anywhere and they would work just as effectively. Some Bang, kicks things off with rough, tough beats fuelled by brutal low-slung bass accompanied by a voice over plus a tweaked slice of Disco that keeps you guessing. Next, is the irresistibly hot ‘Take House’ which is an altogether funkier affair via its crisp, rattling hi-hats and juicy basslines along with warmer undercurrents that combine into one infectious production. Great début release on this brand new UK label….
Düsseldorf based producers Die Wilde Jagd remix Etienne Jaumet’s La Visite (taken from his latest album) with such wild abandon it’s startling – You’ve got to love this. Feeling experimental yet making perfect sense its sizzling blend of fizzy electronics, soulful instrumental touches, alongside playful drums and captivating voices make this first rate music. Low Jack then re imagines the while episode care of a heavy dash of Dub sensibility that lets the hypnotic synth tones race free. Leaving the Gilb’R Midnight version of Midnight Man to drop the beats altogether, aiming the controls for (edgy) ambient bliss and producing another exceptional sequence of sounds and thoughts.
Danniel Selfmade & Karretero
Say What? Records
Exceptional production in the shape of Subzhero which pulls all sorts of trippy ideas together into a formula that not only feels expansive but also devastatingly explosive. Driven by sassy electronic drums which feel compellingly organic this strives for all sorts of intensity and reaches fever point somewhere along the way via an undulating, twisted amalgamation of rhythm and atmospheric sound. Formatz, then drives harder with repetitive beats and twisted vocal touches all pounding their way into oblivion.
Brazil’s Henrique Oliveira aka HNQO gets it just right with this succession of seductive bass notes and sassy female vocals, which envelop you in funky syncopation and provocative dancefloor arrangements. Creatively evolving its theme Point Of View expands uncomplicated possibilities into something extremely rewarding while never losing its cool. Pain n Love follows featuring more hot voice, this time from a blissfully stereophonic sounding Effluence, feeling that bit tougher – though no less funky – with impressive vocal editing combing with sumptuous sounds to again highlight the labels’ prowess in any language.
And so the story continues with this excellent production care of new comer Francesca Lombardo whose sense of timing has delivered the perfectly pitched production for the summer. Comprising of four tracks with the opening The Change pitching twisted vocals against 80’s styled bass lines, classic House chords and beats, while Is It True explores more in the way of ambient textures and features Francesca’s own striking vocals. Old School Anna is the more Techno sounding of the four with more Detroit bass firing off against punchy beats, leaving the stunning Sofiel to complete the picture with its radical clash of influences and imaginative programming.
Solomun’s five year milestone is celebrated thoughtfully via this charity based album that sees both the labels back catalogue getting remixed plus the additional bonus of new music. To state the obvious first is the impressively diverse nature of the imprint that flits between styles of House and Techno, and a whole lot more in between, with calculated yet consummate ease. The second being just how soulfully satisfying the music is and the way it always feels fresh and invigorating, while acknowledging its past respectively. Neatly spread across two cd’s the compilation starts with UNER pres. Fools ‘Positive’ and then DJ Phono ‘New Year Eve’ which is sublime listening for sure, but not to rest easy the sounds also progress through the likes of Hunter/ Game, David August, Stimming and Solomun, whose Cloud Dancer reaches for the stars and ends up in a dancefloor frenzy occupying its own space and time.
Love Cannot, immediately captures you with its melancholic vocal sample and warm selection of deep atmospherics, which are deceptively quick and tough when played louder. The Mr Beatnik Dub of the same blends sometime Chicago bass with contemporary production values for a refreshing change on this completely enticing version. Second track, Let Them Know moves towards Detroit with moody combinations of electronics over motor-city rhythms, with the Original mix available ‘digital only’ which, just like the title track, blends light and shade together notably.
Rodion & Mammarella
Slow Motion Records
Excellent spaced-out Disco action from Italy’s Slow Motion imprint sees sizzling syncopation still very much in fashion with a nod to the early eighties cosmic sound. Crazy electronics combine with hissing hi-hats and robotic voices to evoke not only the past but good times ahead on the superb sounding: Escape From Kyoto. The Alien Alien Dub proceeds by re-tweaking the elements into yet more intensity. Leaving, Majella to authenticate it all with its shimmering kaleidoscope of Euro-Disco sounds, which sound simply heavenly.
Versatile continue to surpass themselves with this latest release from Zombie Zombie who perhaps not unsurprisingly have chosen this Sun Ra track to cover. Things kick off with the monstrous Gesaffelstein remix which paces itself with edgy electro beats and then hits you vocally along with a somewhat huge array of stabs . A suitably off-world sounding A Capella follows, as does Joakim’s Extended 808 mix which pushes the dimensions still further with sci-fi synths and twisted Saxophone – at least I think that’s what they are. The Original version finishes a typically distinctive release, which may not hit the dizzying Jazz heights of Sun Ra but does none-the-less sound mind-altering in 2012.
Jona’s excellent three track combination begins by deconstructing Acid and rebuilding it as the Masteplan. Albeit in a funky yet suspenseful way, which isn’t so much about one dimensional tones as multi-layered invigorating slices of instrumentation that tease your expectations. Out Of Sight, begins traditionally with a Latin cowbell but soon cleverly detunes itself into something much more spectacular, couple that with what is ultimately a killer bassline plus ultra-sharp drum programming, and this is in a class all of its own. Superstition ends with yet more in the way of dramatic electronic-funkiness expanding the theme even further…
Saint Etienne Present Songs For The Lyons Cornerhouse
Cherry Red Records
On what could possibly turn out to be one of the wettest days this summer Bob Stanley’s compilation of post-war, pre-rock nuggets seems all the more appealing. After all, who said romance was dead. While the melodies swoon and the rhythms sway this pays homage to a bygone era of ‘Lyons Corner House’ cafes, at least as they may have sounded in the mind of Mr Stanley. If you like melodrama then look no further no Frankie Laine whose Blowing Wind says it all, though plenty more of that comes from the likes of people you probably never heard of – but when did that ever matter. Great version of Theme From The Threepenny Opera from Billy Vaughan and with Peggy Lee’s irresistible Johnny Guitar this all makes for strangely exciting listening in that old fashioned way…accompanied by historical sleeve notes by the man himself.
Sixteen new productions from Guy Gerber go make up this latest compilation in the fabric series totalling 64. And as you have come to expect from the producer this is another selection of exquisite resonating music that reaches way beyond your imagination. Always spirited, yet incisive and experimental, this effortlessly deep compilation of sounds are as invigorating first thing in the morning as there are very late at night. Weaving between haunting vocals and cinematic instrumentals this once again highlights Guy Gerber as one of the world’s finest in this field of electronic music. Every track stands out in its own right and it would almost be pointless in suggesting particular highlights, but here goes anyway: the completely infectious One Day In May loops heavenly ambience into dancefloor nirvana, while the opening Store-House Consciousness and The Golden Sun And The Silver Moon sound as blissful as the title suggests. The music plays between dancefloor and horizontal listening with consummate ease, with number 64 proving yet another to be a winning formula.
Tracks From The Crypt
Jamie Jones second album for Crosstown Rebels sees two of the world’s most significant players combine forces again successfully, after the DJ’s string of awards plus the labels succession of killer releases. The collection features unreleased tracks – although heaven knows why – alongside new productions, and if you’ve witnessed Jamie play live then Somewhere, Paradise and Frequencies may already be well known to you. But waiting eagerly to get out there too is the equally fresh future-funk of Mari 2D Underground and the uneasy edge belonging to Tonight In Tokyo feat. Luca C. Also make sure you listen out for the sinister bass experience that is Over Each Other with Livia Giammaria’s vocal sounding tastefully bitter in the process too. All the signature sounds are present, with those defining original House influences playing their part to reinforce what is undoubtedly another essential in the canon.
The fifth release from the label sees Remi Mazet deliver breezy summer sounds to quench your thirst for all things funky. Playing with a hint of Gwen Guthrie in the air, the punchy bassline buzzes over introspective Rhodes chords and technological synths on the Original version to great effect. Boris Horel then provides the remix of Le Kiff with bouncy European bass and perky percussion, leaving second track Are you There feat. Mr.Matlar completing the picture with more easily accessible grooves backed up by intriguing voices and frisky snares. Good release.
This three track EP marks the labels 58th and presents their trademark style perfectly. Opening with NTFO & Karmon ‘Nobody Else’ and its punchy melodic bassline, which plays against snare rushes and atmospheric touches, this neatly infuses together a thoughtful production with dancefloor sensibilities. The title track is then provided by Karmon who works moody bass over sharp percussion and classic early-eighties keys, and this again proves to be easy to fall for. Betoko’s, Raining Again provides a potential anthem for the North of England with shuffling synthetic rhythms and detuned vocals intoning the wet stuff.
If you haven’t already checked Amirali’s beautifully crafted album for Crosstown Rebels then you’re missing out on an experience. In the meantime here is the chance to love the hauntingly atmospheric new single which also come s with some great remixes. Such as, Franck Roger who expertly builds the tension by adding fresh chords and drums to re imagine the vocal, while the MK version surpasses the remit with typically classy bass and beats feeling totally big-time. Appleblim’s aptly titled Black Mirrorball Mix then twists the elements over throbbing kicks into something altogether more space aged, making his statement loud and clear.
Dance With The White Rabbit EP
Love this production from Ahmet Sisman whose Dance With The White Rabbit feels all at once like a party in your head. Impressive sound fx and dubbed vocal treatments give the track a very big feel indeed, but it’s also the combination of differing styles that give it all such a unique edge. Nico Lahs provides the remix with funkier bass and a deeper mood, while Audiofly cleverly break up the beats on their abstracted version. Meanwhile, Hello To Alice continues the Wonderland theme with more expressive voices and dark electronics to finish.
This is the second release on Artform’s sister imprint, Arthouse and comes from Erase Records’ Dimos Stamatelos. The Original version sets a punchy tempo against cool Rhodes chords, a taught tech bassline and with hard hitting vocal snippets this is set to induce frantic head nodding. The effective Frogs and Socks remix then teases extra tension from its undulating synth and smart dancefloor arrangement, while label head Jamie Anderson’s Latin Hustle version introduces the chords to warmer possibilities with the intensely funky percussion giving it all a precise edge.
release: June 18 as a Beatport exclusive for 4 weeks. July 16 general release.
If you like to think outside the box then this will most definitely tempt you. It’s distinctly impossible to categorise but then that is precisely its charm. Sometimes House-ish, sometimes Techno-esque, other times sounding like Pink Floyd through a Dance blender, this isn’t always a comfortable ride but is a rewarding one. One half of Zombi, Steve Moore supplies the remix in two parts with his ‘remix’ making some sense of the madness by building layers of arpeggios over a steady kick drum, as the ‘Off-World’ version provides more of an ethereal landscape by gently playing with voices and pulsating rhythms over an epic feeling eight minutes.
Jerome Derradji Presents: 122 BPM
The Birth Of House Music – Mitchbal Records & Chicago Connection Records
This three CD set from the early to late Eighties catalogues of Mitchbal Records and its subsidiary Chicago Connection Records is pretty much indispensible listening if you’re in any way interested in the history of Chicago House Music. Mitchbal Records was founded by Nemiah Mitchell Jr and released their first influential 12” single by Z Factor aka Vince Lawrence (before starting the infamous Trax Records) I Like to Do It in Fast Cars in 1983 (hear below). The selection also includes music from Mr Lee and Libra Libra, and joins together the diverse set of influences that went to make up what became known as House Music: from UK New Wave/ Synthpop and European/Italian dance all the way through to the soulful end of American Disco. The CD comes with invaluable extras such as a 28 page booklet on the labels’ history plus mix from Still Music’s Jerome Derradji, and also features one of Frankie Knuckles rarest remixes: Unfinished Business.
Not often an artist album comes along displaying not only valuable words but musical skills on this level. Marc Mac (also one half on 4Hero) who whose been producing music for the past couple of decades has arrived at this point, again, with his second Visioneers album, Hipology. Listening to this reads like a history lesson in sight and sound while expert instrumentation is employed via a sterling set of players. Indeed, try an instrumental track like LaAnne from Harlem and tell me it doesn’t move to tears of joy. The album creatively evokes moods and plays with words both spoken and sung throughout, while for the dancefloor try the take on B-Boy legend, Apache (Battle Dub) for size, plus any number of other sure-fire gems. Something for everyone exists on here with the summer funk of Come Sand Play in the Milky Night destined for any beach party worth its salt, or Shine which feeds your mind with meaningful word and soulful tones.
Laura Jones invigorating exploration of electronic sound continues with her first compilation mix for the prestigious Leftroom imprint. Starting with moody brilliance of dOP & Masomenos Hello! the album rapidly proceeds to entice you with its emotive selection of beats and rhythms that never fail but to ignite your imagination. Combining a diverse selection of music from labels like Vitalik Records, Visonquest, and of course Leftroom means that you know you’re always in safe company. What’s also particularly notable here is the way the album weaves between styles, flipping from Techno to House while never feeling contrived. The second half of the mix picks up the pace with a sure succession of killer tracks from Gavin Herlihy and Polyrhythmic, amongst many significant others, finishing on Guy Gerber’s masterful The Mirror Game.
Sao Paolo’s D-Edge combines with long standing House Music impresario Luke Solomon to release this testament to the DJ’s undoubted prowess in all things musical and techincal. The Classic Records co-founder carefully teases every inch of rhythm from this truly intense mixture of distinctive House, unsettling Techno and general electronic madness into the bargain. Whether that’s Red Rack’em’s bassline master class of How I Program, or Boo Williams severely funky Devil Music this will truly rock your discotheque. Any mix that climaxes in the process with the Roberto Rodriguez version of Seven Reasons can only probably be described as transcendent.
Excellent EP from Germany’s Klasse Recordings beginning with the melodic technology of Soul123 which references Detroit like it was just around the corner. Next, Skeleton Keys gets busy with classic House bass and organ creating perfect tension in the air. While, Fakie Snot Bubble cleverly hits you hard at first with fizzy old-school stabs and ‘work this’ vocals, then turns it all upside down with warm pads and House strings causing emotive confusion? Despite its somewhat dubious title the more I hear this, the more seriously impressive it sounds.
Walker & Royce You’re Not Welcome Crosstown Rebels
You don’t really need me to tell you that this latest from Crosstown is excellent, do you? Put it like this: it feels ever so slightly sinister with sumptuous bass notes driving the taught beats, as the uber cool vocals feel deeply soulful in a Trans-European setting with sparkling keys lifting it all skyward. Stare If You Want To feat. Javi happens next with killer syncopation feeling like disco never went away (I know, it didn’t) but coupled with tripped out voices and more contemporary chords plus guitar, this again transcends the timeline. The Francesca Lombardo Remix of You’re Not Welcome resists the titles negative appeal with addictive notation and proves the vocal to be defiantly happy.
I Cube once again produce’s something so startlingly original that when it’s primed it will explode all over your dancefloor. Y.O.U.R.O.C.K is somewhat self-explanatory here as shimmering electro keys clash with strident disco beats, while repeating to infinity and beyond. This has to be heard to be believed! Followed by Popular Electronics which frays the edges with twisted synths and a lot more besides, but possibly saving the best to last is In Alpha which replays eighties guitar funk, via the curious mind of I Cube, to feel compellingly uplifting and certainly rather beautiful. The album is coming…
Clearly in his own class Justin Martin’s debut album acts like a conduit for his myriad of influences and own particular brand of music. Encompassing everything from U.K bass to Acid the album avoids treading a cliqued path by its use of trippy voices and unexpected combinations of styles, which none-the-less always feel exciting and pertinent. Butterflies is a case in point with edited child-like voices playing off against synthetic chords and squelchy basslines to sound like not a lot else out there. Also try Molokini for some heavy-duty business, and The Gurner with Pillow Talk for something a little deeper and more spiritually motivating.
Max Chapman does Kaluki proud with this EP. Rhythm Stick’s bold bassline provides the reason that made you fall in love with House Music in the first place. Plus with its creative combination of smart drum programming, ear pleasing sounds and wish you’d thought of it arrangement this proves hard not to love. Escape again adds together notable sounds with fresh feeling perspective, with Another Time and a Julien Sandre collaboration finishing with yet more addictive bass, perilous synths and haunting voices. 9
I:Cube ‘Lucifer En Discothèque EP’ Versatile Records
Transpiration sounds like a Todd Terry stab on acid. And as tempting as that may, or may not sound, what’s truly exciting about I:Cube’s shimmering production is that it makes you want to jump up and down in no particular order. Coupled with big Disco hi-hats and edgy electronics this has to be heard to be believed! Jah Menta then delivers a scratchy soundtrack to tempt you further into mysticism, while the title track is an instant rush of new-wave disco that is purely party. Forward thinking music and a perfect teaser of what’s in store from the forthcoming album, Megamix. 8
Matthias Vogt ‘Under The Radar EP’ Lazy Days Recordings
Everything begins with a C as this Chicago inspired EP kicks off with the effortlessly cool, C-Scat. Built around jazzy vocal snippets and one mother of a bassline this hits the spot nicely. Under The Radar, follows with deeper chords and toms producing tasteful moods, as The Flow version of the same proceeds to explore the atmosphere further with poignant piano and classic techno percussion. And if all of that wasn’t enough the Pad-A-Pella does just what you would expect with funkier beats and even more space and time. 8
Le Vinyl ‘Time For Change’ Deep Edition Recordings
It isn’t all just about the drum and the bass as this imaginative production shares frequently excitable rhythms and effervescent chords with you, alongside a spoken sample that feels warmly familiar – or maybe not. Picking up the pace the ‘Chris Minus a bit Deep Fried Remix’ wobbles the bassline over snappy snares and disco attitude to provide a notable alternative. 8
Michal Schwa and Nick West wear the confidence of their convictions proudly on their respective sleeves as this two CD (vinyl and digital) set has the audacity to be released alongside the accompanying remixes on their own label. Which in this case come from the likes of The Timewriter, Jef K & Gwen Maze, Soul Minority. The original music is packed with energy and comes with a cool European edge that only adds to the charm, as both vocals and dubs vi equally for your attention. The counterparts then rework the lot. At times this leans towards the dancefloor – witness First Kontakt – while at others has ambience in mind such as on the captivating, Illusions. Beats range from straight-up House to the more twisted variety while funky instrumentation and the smart use of effects always keep you plugged into the loop. 7
Clocking in at over ten minutes this semi – epic from Zombie Zombie’s Etienne Jaumet delivers a brooding production that sits on the very edge of darkness. Light is to be glimpsed inside the tunnel as his vision of seventies analogue soundtracks’ meets addictive acid tones in an undulating sound clash of discotheque proportions. You can’t help but love this. John Convex provides the remix with a more up-tempo feel to the beats and squelchy electro notes reworking the theme most effectively with added vocal snippets. 9
The enticing Parisian singer and instrumentalist Mari Posa combines beguiling vocals with breezy pop melodies and swirling European electronics to produce music that is unsuspecting and wonderful. Mike Simonetti from Italians Do It Better then gives the song some edge with sizzling sounds and arpeggio signatures which only go to make the voice sound even more appealing. A dub follows with House beats and piano for more dancefloor action but either this EP is well worth investigation. 8
When you listen to Jean Wells you don’t want to be anywhere else. This compilation begins with her 1967 hit, Have A Little Mercy and touches upon everything great about great about Black American Music that preceded it – with the exception of Jazz. Its cornerstone is firmly rooted in Gospel as vocals and feeling soar on, After Loving You; get mournful with, Our Sweet Love Turned Bitter; then turn sassy on the label’s current single release, Somebody’s Been Loving You (But It Ain’t Me). If you can say that Soul music charts the ups and downs of life then who better than Jean Wells to accompany the rollercoaster. 9
Pole Position does it once again, this time with Mexico’s Antonio Santana who’s pumping production swings with a groovy intent. The bass is deep, while the tops shimmer with jazzy snares sounding hot in amongst an array of feverish percussion on title track, Moroko. The remix comes from Soulplate who lift the tempo and rework the music into something with a more soulful edge. The second and standout track, Epileptia again features snazzy drums, although this time with plenty of filtered action and comes coupled a sequence of hypnotic edits which make it all feel warmer and funkier. A Groovy Mix of the same completes the picture. 8
It feels good to be alive. That’s how this album makes you feel. New single, Open For Service states the intention with breezily accessible disco being the order of play. But not one to sit still Crazy P transport you through a series of changes that incorporate all thats been good in dance music from the past number of decades. Two things are patently apparent: 1) the playing is par excellence 2) Danielle Moore’s vocals are hot – listen to The Unbearable Lightness Of Being for lessons in soul. This leads neatly onto the fact that this album is about impressive songs and emotive music, and that’s a good place to be at in 2011. Plenty of other tracks of note too, love the Womack (I think) sampling Heartbreaker and Eruption which so obviously epic it hurts. As they used to say back then, a touch of class. 9
Roots Panorama aka Deetron and Ripperton must love living life on the edge if this vibrant clash of noise is something to go by. You will need to listen really intently to the Deetron mix of Three otherwise you might lose yourself in the midst of fierce techno rhythms and a killer House bassline, with an array of insistant electronic sound filling in the spaces between. And just to make the point again, a Beeetz version follows – you get the need for the three eee’s now. The Ripperton mix then destroys the template to get deeper with yet more devastating bass and this time classic piano which come together in a priceless, uplifting moment. 8