Rezpektiva Vinilo y CD

Review: Rezpektiva uses its 20th release to look back to some golden era tunes from Verde Sative in the form of their The Positive Cult E.P. The one was originally recorded for a Bethnal Green record shop called Total Music Records back in 1993, right in the middle of that shop's tenure as one of the area's best. The original was only released in small quantities so makes a welcome return to the shelves here. All four versions of the original 'The Positive Cult' tune are classic, positive and timeless from the shimmering and feel-good original to the dreamy Italo styles of the Skies Summer mix.

Review: The third album on the Rezpektiva label is a superb album compilation across four sides of vinyl by the "nutty French sonic wizard" by the name of Professor Oz. The eight tracks are devastatingly futuristic even now despite the fact they were all written 1986 and 1995. They are considered to be lost experiments, hence the album title, and have been remastered from the original DAT tapes. They bottle up dusty breakbeats and proto-techno grooves with tribal drumming and trance tinged synth overtones, proggy progressions and acid basslines that will never go out of fashion.

Review: Ultra-slick but also jam-packed, sample-heavy deep house from elusive Italian production duo Rainforest here. Unfortunately, this talented pair dropped off the map after only two releases in the early 90s; this new slice of lightweight legitness now emerges after Rezpektiva got their mitts on the vaults of the Discomagic sublabel Out, for which the duo recorded this EP. Freer on the use of samples and less tethered to the grid than most contemporary producers could possibly be now, their star tune 'Lover' appears in three variant forms here, each flaunting a different side of said high-fashioned musical triangulation.

Review: Rezpektiva looks to Berlin and the considerable skills of the enigmatic Mario Panagiotis for REZ24twentyfour. Rather than offering up new cuts, the producer has dug back into his discography to unearth four previously released gems from two separate EPs that were originally put out back in the mid-90s. There is some pretty wild variation as a result with opener 'Step 2' being a twitchy and dense early French house cut and 'Autumn' being more dusty breakbeat groover. There is plenty of funk and swing to the kinetic 'Do It Again' then 'Lost' closes out with some more bristling tech house beats this time overlaid with eerie synth phrases.

Review: Shimmon Woolfson is next up on Rezpektiva with some well crafted and highly emotive sounds for the heart of the dance floor. 'Hands In The Air Mix' is a full throttle progressive house adventure - the powerful drums journey onwards as passed bass and big trance chords add weight and drive. It's an emotional overload that harks back to the prime era Sasha & Digweed and we love it. 'Deep Deep Dub Mix' is more heady, with as the title suggests deep and dubby vibes sinking the tune into a different realm - a late night world of post-rush seriousness.

Review: The KMA60 Rezpektiva label is dedicated to dreamy electro and techno made on machines and headed for the stars. After past voyages from the likes of Opik, Denia and The Necromorph, it's the turn of Quaid to plot the course and he does so in fine style with some achingly beautiful synth work and crisp beat constructions. Just listen to the celestial arps and hi-tech jazz pads of 'Fusbares', all carried aloft by a dexterous bit of breakbeat programming. 'Cascade' meanwhile is a perfect counterpoint full of cascading bleeps and intricately criss-crossing patterns which serve as a true feast for the ears. If you love that early 90s backroom techno sound, you're going to love this record.

Review: The latest addition to the Rezpektiva catalogue, REZ17seventeen sees Chris Fielder (Incog-Needle and Razorblayd) in his Rhythm Workshop guise, offering a heady, wonderfully tripped-out five-track EP. Originally recorded for Canadian label Blast Records in 91, it's a time capsule taking us straight to the heart of an era where house and techno were changing the face of music. 'Don't Let Go', the second track on the A-side is a sizzling track steeped in an infectious groove with vocals that transport us right back to the hazy glamour of early rave culture. 'R U Ready', on the B-side, features a satisfying combination of woozy synths and a playful wonky bassline. While 'Aftershock', the final track, following the spliced sample of someone drawing breath, overlaid will chiming bells and deliciously breaksy rhythms is the ideal track for pulling things apart, for momentarily easing the intensity. A welcome return for this classic EP.

Review: As you will well know if you are reading this, prog house is back and it has been for ages. As always with any revival, there is good stuff and weak stuff. This EP is very much the corner from Forces of Nature, with authentic 90s soundscapes mixing up lush ambient synth designs, dreamy Italo drums and real musical depth. 'Jupiter' is super smooth and seductive as it cruises at high altitude, then 'Tripping' is a downbeat workout and 'The Bomb' takes you to the heavens on gorgeous melodies while the bass plunges low. 'In Your Mind' is perfectly comedown music to close the EP in style.

Review: The house sounds of the 90s will never go out of fashion with even most new music leaning heavily on that period for inspiration. Well this new one from Rezpektiva takes us back directly to the source - the tunes on this EP by The Riders Of The Soundguard's dropped in 1992 and 1994 across two EPS. They cover a wide array of styles from the time with the title track being a nice mid-tempo bouncer, then 'The Ride Of The Soundguard' sinking into a post-club, post-rave beatdown. A Rave Mix of the opener layers in some slick boom-bap and molten 90s chords and proves that you just can't beat the OG sound.

Review: Not to be confused with Arnie's character in Total Recall, this Quaid was best known for weaving delicate and deep d&b around the late 90s/early 2000s on labels such as Return To The Source and Seraphim. While his time in the scene was relatively short-lived, Quaid (AKA Ben Naylor) left a prominent mark on the deeper, 'chill' side of breakbeat and d&b. He also left a whole box of unreleased tracks on DAT, many of which you can enjoy right here for the first time ever. Atmospheric, at points almost ambient, but still kicking when it needs to. These stand the test of time incredibly well.