Compilation Recommendations July 2016

Review: The latest installment of Fabric's long-running mix series comes from Ryan Elliot, a DJ/producer whose releases on Ostgut Ton, Spectral Sound and Bass Empire have made him a man in demand. He begins in deep, woozy and tactile fashion, mixing up hazy tech-house cuts from King Cheetah, Borrowed Identity and DJ Skull, before exploring the kind of minimal-influenced fare we've come to expect from the American. As the mix rolls on, the techno tracks get tougher and more obviously stripped-back, with occasional nods towards classic Motor City sounds. There are notable contributions from Robert Hood, DVS1, James Ruskin and Jack Murphy, as Elliot completes a whirlwind tour of contemporary techno flavours.

Review: During the mid 1980s, there were few more vibrant venues in London than the iconic Wag Club. While the club's musical offering was wide, between 1983 and '87 it became closely associated with the capital's Rare Groove, disco and jazz-dance scenes. It's this aspect of the club's history that Chris Sullivan explores on Wag: Iconic Tunes From The Wag Club 1983-87. Over the course of four discs, Sullivan has gathered together some superb cuts. While the epic tracklist is undeniably weighted towards fairly well known scene anthems (think party-starters from James Brown, Dinosaur L, Aaron Neville, Cerrone, Digital Underground and Ray Buretto, for starters), Sullivan has wisely thrown in a few forgotten, or recently overlooked gems.

Review: According to Infrastructure NYC head Function, this compilation was compiled like an album and involves not only the core group of artists but also connects the dots between the label's past, his Berghain 07 mix CD for Ostgut Ton, the legendary Sandwell District days and the respective history of the artists. Infrastructure Facticity spans "a narrative ranging from lush, ambient electronics and post-club diversions, to contemporary club techno and back again." British artist Robert McNally provides the artwork and musically the highlights are not so much the dancefloor ready bangers, which are mainly quite good, rather the moments of restraint such as Vatican Shadow's brooding and almost Boards Of Canada sounding "Swords Over Paradise", the slow burning reduced acid of Cassegrain & Tin Man's "Open Sea" and Rrose's finest moment yet, "Cephalon", which can barely be described in words!

Review: The second volume of the Sherwood At The Controls compilation series focuses on Adrian Sherwood productions recorded and released between 1985 and 1990. Predictably, it's another fine set, once again showcasing the On U-Sound chief's ability to fuse his love of dub sounds and production with all manner of (then) contemporary dancefloor sounds. Highlights come thick and fast, from the trippy Balearic Afro-funk of the Unknown Cases' "Masimbabele '89" and rock-rap growl of The Beatings' "Television", to the uncomplicated, sax-laden sweetness of Lee 'Scratch' Perry's "Music & Science Mafia", and Pankow's deliciously fuzzy cover of Prince's "Girls & Boys". Throw in a couple of typically weighty Dub Mafia tracks, and you have another essential retrospective.

Review: On its' original 1981 release, Space Invaders was credited to mixer Scientist, rather than producers Linval Thompson and Mickie 'Roots' Scott. This deluxe, expanded reissue attempts to put the record straight. The first disc offers up a re-mastered version of the original vinyl edition, with the Scientist dubbing out the Channel One Studio recordings of Thompson, Scott, and legendary session players the Roots Radic Band at King Tubby's studio. It remains a near-perfect dub classic, delivering the perfect balance between stripped-back, speaker-shaking riddims and rich Jamaican musicality. Intriguingly, disc two showcases the previously recorded (and released) vocal versions that the Scientist was given to work with.