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: French electronic legend Sebastien Devaud returns as Agoria, on his always impressive Sapiens imprint with new single "Remedy" taken from his latest album entitled "Drift". Here we are treated to two wonderful remixes, both blessed with the French touch. Emmanuel 'Manoo' Kossi takes the A side with an emotive and electrifying hi-tech soul rendition while on the flip, legends Cassius make a triumphant return to production by taking the track into deeper and sexier sonic territory.
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: Given his passion for updating traditional global sounds and indigenous drum rhythms, Auntie Flo is a perfect fit with Moscoman's Disco Halal label - as this first EP for the imprint neatly proves. There's something particularly alluring about "Baba", a woozy and intoxicating deep house cut that sees him wrap heady hand percussion, exotic flute lines and sun-kissed chords around a Middle East inspired rhythm track. He explores similar sonic territory on the slightly bolder title track "Kabsa", while "Ras" sounds like an unlikely Arabic fusion of Pet Shop Boys' "West End Girls" and the intoxicating ethno-house of Nicola Cruz. Speaking of which, Cruz pops up to deliver a brilliant sparse but percussive take on "Kabsa" that helps lift the EP to even greater heights.
Review: Couch Acid Recordings chief Paul Graham doesn't release many records, but what he does put out under the Booshank alias is invariably excellent. Graham's latest outing - a label debut for Butter Sessions that marks his first release for two years - is certainly quietly impressive. All three original tracks are melodious, atmospheric and evocative, with Graham wrapping attractive synthesizer lines and vintage ambient techno style electronics around fizzing drum machine rhythms (see ace lead cut "FTH" and sludgy closer "Come On Honey". The centrepiece is undoubtedly the chiming, mesmerizing ambient wonder that is "Andys", a track that Gonno brilliantly turns into a breakbeat-driven club stomper on his must-check B-side remix.
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: Last year, Better Listen handed Joe Corti a chance to revitalize his career via a first EP in three years. He took that opportunity (via the brilliant "From London With Love") and here returns with an arguably even better sequel. Check first the languid, sun-kissed bounce of "The First Time", where super-sweet disco and soul samples gather around a chunky house groove, before turning your attention to the heavyweight disco-house pump of "Lula". Corti successfully ups the sweatiness via the dense drums, restless bass and jammed-out musical flourishes of peak-time bumper "Fourth Base", while "Oh Lord" is an inspired slab of lolloping deep house smothered in fuzzy synth stabs, swirling orchestral samples and just the right amount of sampled vocal sweetness.
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: 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.