Review: Mancunian Kevin Gorman used to make some great minimal techno on his Mikrowave imprint but has since moved on to create some of his best music under the Adesse Versions moniker. With a slew of fine edits and remixes under his belt, he presents us with a killer cover and tribute that's set to be one of the summer's biggest anthems. A tribute to the seminal New Order classic "Blue Monday", Gorman retains the very same Moog bass and ARP strings from the original, over a groovy breakbeat and a vocal reminiscent of Bernard Sumner himself. It was an ambitious feat, but Gorman manages to pull of an impressive rendition here, which also comes accompanied with a handy instrumental version on the flip.
Review: Last spotted on Vakant, Detroit's man of mystery returns to D'Julz' Bass Culture after four years with three more rough, warm Motor City jams. "Castaway" takes off without so much as a compass. Heading towards the light with every added rhythmic element and cascading arpeggio, it drives into the horizon with equal measure of focus and looseness. "Doin It To Ya Baby" takes a subaquatic disco approach - the wide beats are wrapped in subtle slapbass twangs and dubby overlays while "Wara Coco" is a trippier twist into the shadows as raindrop textures trickle over a low and slow groove and incessant humanised loops. Remix-wise Orlando Voorn peppers the lead track with a little analogue funk and mild acid tweaking. After this castaway you'll never want to come home...
Review: Ted Krisko and Eric Rickers hail from Detroit, and their distinctive brand of snappy, playful electro and techno has already landed them releases on KMS, Visionquest and others. Now they land on 20/20 Vision with the devilishly fun "One LFO," an unremitting acid jam shot through with crafty drum programming and enough robotic lubricant to get the rustiest joints greased up and moving. Fellow Detroit champs Luke Hess and Delano Smith shore up on the flip with classy remixes, Hess waving his dubby strains over the original in inimitable form and Smith taking things deep, smooth and just a little spooky.
Review: Originally released back in 2018, this collaboration between UK broken beat/nu-jazz pioner Martin Iveson aka Atjazz and rising South African deep house star Jullian Gomes was featured on their full length album Big Bad Crazy. The track in focus, "Love Me" in its original form is a glassy-eyed and heartfelt affair, accentuated by immersive dub chords and powerful symphonic arrangement. It gets the Kaytronik treatment on this 12", and if the name sounds familiar that's because it's the alias of legendary Baltimore producer Karizma. A side houses the stripped down and hypnotic "Kaytronik Difibrillator Dub" that works those orchestral sounds really well against dusty barebones rhythms, while "Kaytronik Difibrillator Beats" on the flip sees him serve up a handy and functional bass-driven dub for DJ use.
Review: UKG and dubstep originator Benny Ill launches Good 4 Ya with two exceptional originals and two equally heavyweight remixers. "Sugar" is as sweet as it sounds; spacious, laced with Chicago style house chords and a sexy sense of hypnosis before man like Zed Bias enters the fray and murks up the groove with a 2001-era squelchy bass and a bit of crushed break for good measure. Flip for the horsepowered 4x4 jam "Triple S". Thumping relentlessly into the light with more US-flavoured synth work, it's a tune you could just as easily imagine in Shelter back in the early 90s as you could in FWD in the early 2000s and any era since. The mighty El-B closes the show with more of a darker two-step twist while retaining the jazzy pep of the chords. Four cuts, three bonafide originators, one essential record.
Review: Pressed For Time did a great job of unearthing British deep house cult heroes BRS with the Situation E.P. last year, and now they're back with another slab of high grade club tackle from this criminally overlooked outfit. "Devil's Music" is a luscious, easy-paced groover that drips with honey-coated synth lines to make you go "hmmmm." Pressed For Time regular YSE knows what's up, nudging the track into a headier deep house zone that would go down perfect in a woozy, smoke filled late hour of the party. "Better For That!" is a cheeky little organ laced number that straddles the deep house and minimal shuffle crowds with its sharp, snappy arrangement. Then Goshawk lands a killer remix of "Out Of Reach" which heads into freaky, swinging territory for the cool cats to get loose to.
Review: Frazer Campbell has been on a prolific run since first emerging in 2016, showcasing a keen instinct for sleek, refined deep house with a techy edge. This drop on Counterfeit Soul shows off the expressive expansive of Campbell's sound, leading in with the punchy "Don't Leave Me Honey D" and following it up with the fluttering melancholy of "My System". "No Drama" brings further Detroit influences to bear on Campbell's sturdy tech house beats, and then "Gazette" rounds the EP out with yet more accomplished machine soul musings. Immaculately produced and engineered for maximum club impact, this record looks set to get plenty of peak time floors strutting the good stuff this summer.
Dave Aju & Thatmanmonkz - "They Sleep We Love" (feat Foxxee - Sev Bay Area remix)
Green Velvet & Carl Craig - "Rosalie"
Octave One - "Rock My Soul" (Reborn mix)
Waajeed - "Power In Numbers"
Sophie Lloyd - "Calling Out" (feat Dames Brown - Floorplan extended Revival mix)
BMH & Sal P - "Credit Card" (Gay Marvine remix)
Claude Von Stroke - "My Love Check"
DJ Minx - "Do It All Night" (C2 edit)
Delano Smith - "Safe Place"
Gaiser - "For Balance"
Mr G - "Lights" (G Out dub)
Mirko Loko & Stacey Pullen - "Fomulatic Mode"
Ataxia - "Oblivion"
Brain - "Boss"
Mister Joshooa - "Kickflip"
Rhythim Is Rhythim - "It Is What It Is"
Ectomorph - "Satori"
The Dirtbombs - "Alleys Of Your Mind"
Review: Last year Stacey Pullen delivered the debut mix in the "Detroit Love" series, offering up a set that channeled "the spirit of the Motor City". 12 months on, label boss Carl Craig offers up the follow-up, delivering a two-disc set that flits between original Detroit jams and tracks by those who draw influence from the city's deep electronic music heritage. It's an interesting journey, with the Planet E founder devoting the first disc to bold, warehouse-friendly variants of chunky house music (think Waajeed, Claude Von Stoke, Delano Smith and Floorplan remixing Sophie Lloyd). It's the second disc, though, that showcases Craig at his very best. Here the veteran producer charges through quality techno cuts from the likes of Ataxia, Brain, Ectomorph and British scene stalwart Mr G.
Freakenstein - "Feakin' Time (+ Freak-A-Pella)" (7:24)
Review: Leeds-born session Hearlucinate makes the leap to wax with a special series of 12"s that correspond to line-ups for parties in London, spearheaded by resident Tristan da Cunha. On this first release, Dawl shores up on the A side and sets the bar very high indeed with the killer bleep techno stylings of "Energy Overdrive" and the tough, punchy electro of "Cyborg". Da Cunha himself follows up on the B side with the equally tough and thumping "Move (Let Me See U)", a seedy and sensual peak timer if we ever heard one. Freakenstein completes the set with a rabble-rousing booty bass beat down that will appeal to those who likes their electro fast and nasty.
Review: The latest transmission from the Lumberjacks stable taps up London-based producer Alan Dixon, who tackles a soul-stirring gospel belter from Frank Booker on the A side. Whatever your spiritual persuasion, "Rise & Shine" can't help but inject a little joy into your life. On the flip, Dixon turns the piano house power up to 11 with the life-affirming thrust of "Whatcha Gonna Do", featuring Maleke O'Ney on vocal duties. Completing the set, Lumberjacks head honcho Marcel Vogel drops in a remix that twists the original into a loose and limber jazz-funk-house odyssey of epic proportions.
Review: We're used to seeing DJ Rocca in collaborative mode; since making his debut in 2005, he's worked alongside everyone from Dimitri From Paris and Hard Ton to Fred Ventura, Rodion and In Flagranti. His latest collaborator is label-hopping London producer Alex Warren AKA Kiwi. A-side "Bronze" is warm and breezy, with the pair wrapping heavy analogue tones, dream house style chords and cosmic synthesizer flourishes around a sturdy, suitably bass-heavy groove. "I Got A Toy" is arguably even more fluid and colourful, with the combination of melodic positivity, bubbly bass and crunchy machine drums making a suitably Balearic impression despite its obvious house credentials.
Review: Platform 23 continue to explore the illustrious, intriguing archives of Exquisite Corpse with a third installment of early 90s gold. There's a pronounced trance edge to Robbert Heynen's productions here, all captured in that heady period between 1992 and 1994 when the tag stood for some of the trippiest dance music you could hope to get lost in. "Point Zero" is a forthright stomper laden with lysergic tones that morph and modulate over the driving rhythm section. "B K S" sports a jazzier tone that aligns it more with deep house than trance, but it's still geared towards maximum immersion. "Traditional Ties With Dreaming" is a more angular piece that emphasises interlocking percussive rhythms with a tribal techno bent, and "Elevator" rounds things off with a swooning slice of impeccable ambient techno.
Review: Vincent Floyd is the real deal - he was doing it back in the early 90s on labels as iconic as Dance Mania and Relief, and then after nearly 20 years of silence he came back into the mix around 2014. Since then he's landed on Rush Hour, Dawn Notes and Traxx Underground. This time around he's bringing the dopeness to Astrolife, laying down the understated but utterly engrossing deep house sound he's made his own since the early days on the brilliant "Time Machine". Then it's up to the remixers to do justice to the original - Lola Allen does the most striking job with her gorgeous ambient "Outro" version. Vincent Inc's take is a nifty, sample-juggling affair that manages to maintain the depth of the original, and the Kazarian remix whips up a shuffled groove and heavyweight bass that rocks it raw and righteous.
Review: ** BIG REPRESS ** After two auspicious releases on the Swedish label Aniara Recordings, production duo Genius Of Time step up to Clone's Royal Oak series, previously graced by the likes of Space Dimension Controller, Reggie Dokes and Gerd. Taking this esteemed company into account, we don't take it lightly when we say this record is as good as anything we've heard in the Royal Oak series, with A Side offering "Drifting Back" a jazzy house delight with softly pumping chords making for a jam that wouldn't seem out of place in the KDJ back cat. It's the two flipside offerings, however, that contain the real heat. "Houston We Have A Problem" combines calming synths, vocal moans and rolling percussion to breathtaking effect, while "Juxtapose" could almost be David Kennedy in house mode such is the tough, raw drum programming, but Genius Of Time add some softly soaring strings, thus imbuing the track with a nice classicist bent. An excellent release that comes with a free download code to keep all you mp3 bandits happy.
Review: Julien Jabre's Elias Productions returns with this sterling new package from the esteemed French producer. "Samana EP" kicks off with the Levant mix of the title track, which is a bombastic peak time cut loaded with emotional tension and release thanks to a powerful lead that reaches skywards like the crescendo of an unforgettable open air set. "Far At Sea" is a change of tempo that locks into a low slung groove without sacrificing the bold compositional surges that typify Jabre's approach in the studio. Lazare Hoche come on board to deliver an edit of "Samana" that nudges the wild peaks and valleys of the original towards a more steadfast, streamlined dancefloor workout.
Review: Johannes Klingebiel has slipped out a few gems on low key labels like Feines Tier and Mireia, but this release marks the talented German producer reaching a wider audience via the marvellous Beats In Space. You can easily detect his kosmische leanings (he's a member of krautrock inspired group C.A.R.) in the many layered, driving and soaring productions he's committing to wax here. These are electronic body jams crafted as songs, full of narrative twists and turns expressed through a smorgasbord of twittering machines - the kind of storytelling club tracks that lend themselves to wide-reaching, bombastic selectors with a penchant for drama, but never at the expense of the groove.