Back catalogue: House

Review: In a move towards soulful French electro-funk from the duo that brought us 'Caipirnha', comes the latest new single from DjeuhDjoah & Lieutenant Nicholson. The two producers here bring together a vast cast of musicians playing everything from Moog to claviers, culminating in a texturally rich afro-soul single that urges us to "hold our horses" ('Pas Si Vite') in these troubling times.

Review: Danny Krivit is currently known as one of the music community's greatest purveyors of top quality disco & house as he continues to perform regularly before sold-out audiences around the world. With his unique ear for what works on the dancefloor he has also become known as "King of the Re-edit." Danny has a deep connection to Kim English's "It Makes A Difference" release on Nervous Records from 2006. Krivit worked with writer Kyle Smith on the remixes that originally made this tune an anthem at his 718 Sessions parties as well as one of the highlights of club nights from Tokyo to New York to London that appreciate quality soulful house. The B-side is Danny's re-edit of one of the most famed dubs from the Nervous catalogue as well as for the producers Mood II Swing. Upon its release in 1993 this dub emerged as one of the defining sounds of summer 1993 at Ministry Of Sound which had just recently opened the year before. The "rushing rushing rushing" hook is well knownby golden era of house afficianados around the world and he does an amazing job bringing this essential hook.

Review: Give My Love by In Dat Groove & Lee Wilson is an infectious late-night jam with soft calypso vibe to it and the DJ Spen Rework elevates with soulful house flair, adding a depth and groove that's irresistible for dancefloors. The L'Amour Disco mix rounds out the package, paying homage to classic r&b, disco and house sounds with a polished nod to the 80s. Both versions offer a unique flavour, making this release a stunning collection that caters to diverse musical tastes. Whether you're in the mood for tropical warmth, soulful beats, or nostalgic disco, 'Give My Love' delivers beautifully.

Review: The blistering, one-of-a-kind West Coast disco-funk record 'U Need Me' by LA Propinquity surfaces as part of a new body of historic productions initially intended for compilation on a full-length LP. For reasons undisclosed, this never happened; instead, Italian sonic exhumers Cannonball Records have been afforded the privilege of reissuing these tracks across a series of 7"s themselves. Hardly and criminially under-recognised in their day, the L.A. Propinquity were nonetheless composed of the angelic city's finest, with drummer James Gadson forming a prominent part. A blast from the 1970s, 'U Need Me' is a beaming slice of unrequited longing, set to delicious funk tones that are as maximized as they are unstrained.

Review: Late Night Tuff Guy has long since proven his credentials as a master of the cheeky edit. He now mints his own new label Tuff Cuts with a first EP of what will surely be many. It features two reworks hand picked by the man himself and then pressed on 12". The first is a dancefloor ready rework of the Bill Withers classic 'Lovely Day' with a nice rolling groove and plenty of the original's charm still in tact. Things get more sultry and seductive on the soul drench and more slow motion sounds of 'Love About' on the flip. It's a real beauty for the end of the night moments when love is in the air.

Review: Rising duo LF System is a Scottish production duo consisting of Conor Larkman and Sean Finnigan. They provided the definitive funky house summer anthem last year called 'Afraid To Feel' which samples the 1979 song from American funk group Silk, 'I Can't Stop' (Turning You On). This version is a much appreciated extended mix with a DJ friendly intro. Over on the flip, they pay credit to the original with the MM edit of this absolutely sensual number, that still holds its own to this day some 43 years on.

Review: Tapping vocalist Latrell James on Bostonian vox duties, Live A Little dishes out a deep 12" and promises to deliver it straight to our doors, not unlike pizza delivery. Across a woodfired record, we're assured we've "got it good", with an initial "get it, get it, good" sample rounding out a ferrety lead beat, as "cribs" and "crooks" are further concept-checked by James. Caserta flips the A with a melodious meander on the B-side, lifting the record from its opening certis of loose-slung 4x4s and haggard textures for a reversion that brightens, smoothens and softens everything out, as if to say, "chop-chop!".

Review: Whether she likes it or not, Sophie Lloyd will always be known for the unfeasibly uplifting gospel disco-meets-gospel-house anthem 'Calling Out'. That was released five years ago and ever since, she's struggled to embrace it's shadow. With 'Angels By My Side', Lloyd seems to have embraced this, delivering another fine gospel-powered number that inhabits a similar sonic space while being different enough to avoid accusations of treading water. It's genuinely good, too, with Pauline Taylor delivering superb lead vocals over a hybrid gospel disco/stomping gospel sound hybrid full of Hammond organ licks, booming bass guitar, piano house riffs and stirring orchestration. In other words, it's another anthem in waiting.

Review: Tuff Cut / Late Nite Tuff Guy (Carmelo Bianchetti) has so far done well to dig out for himself a rather outre oeuvre, the Australian steadily supplying such head-turning edits as this since as far back as 2013. The seventh volume in this new iteration of the series comes in two parts, and brings two further soft disco inflammations: 'Fooled', a pre-coffee, rheumy Sister Sledge disco edit, and 'So Much Love', an unknown cut whose lyrics return plenty of red herrings on the 'ole search bar.

Review: Another dug-out dispatch from Tokyo's most diligent soul surgeon. This latest 7" distills veteran editor Loftsoul's flair for unearthing overlooked grooves and flipping them into low-slung, floor-ready burners. Side A stretches a sweet, previously under-the-radar soul cut into a strut-ready salivation, while the flip dips into hazier jazz-funk moorings: crisp drum breaks, warm Rhodes, slow-cooked syncopation. With subtle EQ and caressing lowpass warmth, we hear it's not about maximal intervention; it's about knowing where to put the scalpel. The latest in a long-running series, it's certainly an outlier find for record-bin archaeologists.