Review: Best just keep coming with the Italo heat, once again tapping into that golden year of 1984. Funky Family was a one-shot studio project that left a much-vaunted record in its wake. The visionary nature of "Funk Is On" is impossible to ignore - from the noirish mood to the physical thrust of the arpeggios, the diva vocals and tough 4/4 groove, this is house music in all but name. Whether you want the vocal cut or the instrumental, Best have you covered - either is going to set the dancefloor alight.
Engine Dub Number 9 (Jorun Dusted Out Space Echo edit) (4:34)
Opening Act (feat Emskee) (2:43)
Review: Fresh Pressings return with goods that are true to their name. It's Portugal by way of Halifax, Nova Scotia hip hop DJ and producer Jorun Bombay who is behind this one. He pioneered the scene in his native Canada, has led his own talent-filled coalitions and built up a fine discography over the last 15 years. This is a welcome new addition that finds him add tons of dubbed out space echo to "Engine Dub Number 9" while raw, funky breaks power it along. "Opening Act (feat Emskee)" is a more rolling beat with old school mic work and crisp hits.
Review: Edanticonf has been a mainstay of Silent Season for many years now, first delivering an album and EP to the Canadian label back in 2012. Since then he's travelled to labels such as M_REC, Wolfskuil, Phorma and Linear Movement, but he's back home to roost with this gorgeous four-tracker that plays on his trademark sound. Rich with melancholic synth work and moving with a purposeful but thoughtful pace, this is exactly the kind of evocative techno that makes Silent Season a buy on sight label. Every track tells its own story, but the starry twinkle of "The Metamorphosis Of Plants" is especially captivating.
Review: Dirty Channels have thrown down heated house cuts for the past decade on labels like Ovum, Abstract Theory and Athens Of The North. Now they've been tapped up by Dan Shake to deliver three seriously powerful house cuts loaded with the sample-loving soul sound you'd expect from Shake's label. "Catch Me" is a fiery number that places the diva front and centre, rides the EQ and gets busy with the loops like it ain't no thing. "Can't Stop This Groove" rides a relentless lick and jacks it up with sharp drum machine hats, and "Dirtydrum 01" gets the 909 thump out front for a fierce and fabulous DJ tool.
Review: Once again here edit king Mr. K turns his attention to one of the many hits penned by New Orleans legend Allen Toussaint. This time it's a 1978 tune from The Pointer Sisters that they still use as a concert opener whenever they play, despite the fact it didn't chart that well on release. That didn't stop it becoming a dance floor hit though, here the synths are polished up and drawn out with an added acappella and the whole thing dazzles. On the flip is an excellent edit of Gene Harris' cover of Stevie Wonder's transcendent "As", fine-tuned for 2019 and beyond with emphasized percussion and a sinewy extension that cuts the bulk of the lyrical intro and lets Harris's electric piano and the all-star choir shine.
Review: Way back in 1998 when Massive Attack's career-defining "Mezzanine" was first released, legendary dub technician Mad Professor cooked up some radical reworking. They now get their first official release alongside dubs of two tracks that never actually made it onto the album - Metal Banshee: a dub version of "Superpredators" which was a cover of Siouxsie and the Banshees' "Metal Postcard", and "Wire", which was actually recorded for the film "Welcome to Sarajevo". Wild effects, plenty of knob twiddling and oodles of reverb define this freaky late night collection and mark another essential release in the catalogue of the already legendary Mad Professor.
Review: For the past six years Jazzy Couscous has been exploring nooks and crannies of Japanese music culture in search of overlooked gems across all kinds of styles. After the success of the first installment of "Kumo No Muko", label boss Alixkun returns with another expansive collection of ambient, new age and smooth jazz reflections from a range of artists. The mood is consistently pretty, not to mention delicately executed, whether veering towards the sweet string refrain of Ayuo Takahashi's "Mizu Iro No Kagami" or the bittersweet prog guitar licks of Toru Hatano's "Kanki". There are bleepy synth trips like Akira's "Essence Of Beauty" and beat-embellished grooves to sink into - miss this rare and beautiful record at your peril.
Review: Now here's a traffic jam we're all happy to be in... Aussie funk super troupe The Traffic (comprising members of The Bamboos, Cooking On 3 Burners, Pickpocket and Punkawallahs) come correct with this follow up to their debut last year. Come for the awesome party-melting, wall-shaking Daft Punk cover on the A, stay for the groove-based soul-laced broken beat jam "Chasin' Feels". Both poles in their clearly broad and skilful musical scope, we can't wait to hear what they've got coming next.
Review: Cellophane was a cult project from Alessandro Novaga, an Italo producer who created tracks with a huge influence on the development of Chicago house. Besides his other production credits, Cellophane is an especially visionary venture that favours expansive, psychedelic suites of electronic disco over traditional song structures - just the kind of rare, oddball curiosity Best do such a good job of reissuing. While the A side is excellent in its own right, "Music Colours (Part 3)" on the B-side is the bomb here. Stomping, trippy and utterly addictive - from the Music Box to your record bag this kind of music just doesn't age.
Review: When Cristi Cons and Vlad Caia launched the Amphia label way back in 2011, they talked about creating "a world with no boundaries" and "an infinite ocean of musical shapes and ideas". It's the sort of wide-ranging, open-ended remit that seems tailor made for Amorf, an "experimental live techno" trio whose fluid and otherworldly tracks are deliciously hard to pigeonhole. For proof, check "Recall", the A-side to their second Amphia outing. Built on loose and languid tech-house drums and a similarly undulating bassline, the cut bobs and weaves through waves of restless piano motifs, deep space chords and out-there electronics. Further evidence of the threesome's hybrid style arrives via "Momentum", where poignant electric piano motifs and melancholic deep house chords envelop a crunchy, minimalist rhythm track.
Review: Plastik People cast their gaze back to a garage house staple and give it a new lease of life on this cool and deadly white label. The original "Blues For You" by Logic is a pinnacle on the Strictly Rhythm catalogue - some might say untouchable - but Danny J Lewis and Marc Cotterell are here to tell you otherwise. Lewis lands on the A side with a version that keeps the structure of the track intact, and speaks those iconic hooks through a different set of instruments that gives the track a new lease of life. Cotterell meanwhile smooths the garage jerk of the original out into a more linear house thrust while working the vocal samples with glee - it's a respectful approach that simply repositions the groove of the original to give it a fresh flavour.
Poisoned Words (Ricardo Villalobos remix 1) (6:35)
Poisoned Words (Ricardo Villalobos remix 2) (13:39)
Review: The Mandar dream team of Lazare Hoche, Malin Genie and S.A.M revisit "Poisoned Words" with a double dose of remixes from none other than Ricardo Villalobos. The minimal overlord lives up to expectations on both flips of the original track, needling into the tiniest sonic details and holding down an insistent groove that will sit beautifully in the mix. The A side features a simmering version that revels in wriggling sound design with ample space to flex and mutate, while the B side stretches out into a quintessential Villalobos wormhole of a remix. Unmissable sonics from one of the scene's true legends.
Review: REPRESS ALERT!: Roberto Lodola has a rich legacy in Italian music, not least as a DJ and at the helm of early 90s outfit Rhythm Factory. Recognising the cult status of his first single, the 1986 12" Marimba Do Mar, Best Records have done the right thing in remastering this sun soaked classic with both original mixes and two previously unheard studio outtakes. The "Fusion Version" of the title track is a rich, sensual jam festooned with cascading pianos and tumbling percussion, while the "Vocal Version" brings a beautiful female vocal front and centre in the mix. "Feeling Of The Sun" is a delightfully spaced out lo-fi take on the original, and then "Hey George!" strips the music away and leaves you with a gorgeous beat track perfect for extended mixing potential.
Review: Kris Baha has been on a serious roll over the past few years, notching up releases on Bahnsteig 23, Pinkman and many more besides. Now feels like the right time for him to drop an album, and where better to do such a thing than Cocktail D'Amore? The Berlin-via-Melbourne producer's sound comes through loud and clear - minimal wave and industrial influences abound, executed with ferocity and flamboyance in equal measure to create a many-shaded set of deviant dance bangers. "Living Nothingness" is the ultimate nihilistic beatdown, "Steel Sands" channels early Nine Inch Nails to perfection, and "Defied" has a propulsive thrust that would make Al Jourgensen proud. Baha wears his influences on his sleeve, and why not? They're great influences that he creates stunning music with.
Review: New label Nuances de Nuit kick off in fine style with a various artists 12" that draws on some emergent names to lay out a vision of cross-style dance music that favours the deeper end of the pool. Things get going with an organ-rich house bumper from DJ Steaw that pumps in all the right places, before Armless Kid switches things up with an untitled slice of dynamic, richly layered electro. T. Jacques thumps out a crafty, swinging cut with techy inclinations and oodles of groove, and E. Wan takes things in a more linear, deep techno direction laden with gorgeous synth work and plenty of artful effects processing.
Review: Sushitech's sub label Pariter has already released timeless records from the likes of Delano Smith, Steve O'Sullivan, Baby Ford and Norm Talley to name a few and this new release of the Romanian group Lisiere Collectif is no exception!
Unknown Credentials is a project of 5 tracks released on 2 single records. A sides on both parts are absolutely massive, acid lines and hypnotic chords peak time tracks that will shake any proper sound system with some serious bass extension! B sides are deeper and have more modern, fresh electroish vibe that we love!
Fans of Ricardo Villalobos & Craig Richards b2b sets are going to find it gold! Don't sleep!!
Review: Since making his debut in 2015, Chris Stussy has released a remarkable amount of music. Yet it's hard to fault any of his 22 previous EPs, which tend towards the chunkier, tech-tinged end of the deep house spectrum. His latest four-tracker is naturally full of top-notch cuts, too. Check first opener "Edge of the Mirror", where wonderfully melodic musical elements wrap themselves around a tough electronic deep house groove, before diving into the bass-heavy early morning hypnotism of "Forever Moving", which sounds like something you'd have heard at Twilo in New York circa 1996. "Synchronicity" is a string-drenched treat blessed with a fantastically rush-inducing breakdown, while "Electro Girl" is a fine fusion of tech-house electronics and oven-hot deep house grooves.
Review: Sartorial and Moodena's Tropical Disco imprint has become a go-to label for discerning house and disco lovers around the world to devour. On their label's 12th edition, main man Sartorial kicks things off with the thumping, Latin-inflected summer scorcher "Fat Freddy's Party", co-head Moodena takes charge of the second track, bringing a softer sound palette full of '80s energy, blessed keys, signature feisty horns and nifty filter sweeps on "No More Sushi". The enigmatic Phazed Groove takes over the B side with stylish night moves, dishing up a respectful edit of a timeless classic on "Sweet Talker" and some sultry deepness on the familiar deep house groove of "Sunshine".
Review: More bone-shaking sounds from the mysterious edit crew as they hit their sixth EP. As always, it's a full flavour fusion laced with stacks of spice. From the desert striding twangs and percussive rattles of EP opener "Yearning To Fly" right through to the final Roland rollicking of the vibrantly trippy new wave slap-bass popping sheller "For Pete's Sake", it's another deeply dug set rife in references and plastered in psychedelic flourishes.
Review: The bushy-tailed bandits strike again! This time they're hitting with some serious Latin fire as both sides look towards central America for source inspiration. "Track One" takes an upbeat Joe Cuba classic and slows it down to let us really chew into the warm, pumping groove. Trust us, one listen to this and you'll never want to go back to Georgia either! "Track Two" meanwhile flips the disco/funk Joe Bataan classic "Mestizo" with a little uptempo twist and some precision-placed disco bubbles. Go nuts and add this to your stash.
Review: Fresh from delving into his ambient side on the pastorally-enhanced "Loom Dream" album for Whities, Leif revives his self-manned Tio Series with another double-shot of delicate but impactful cuts outside the conventional slipstream of modern techno. The rhythms fall crooked, the synths trickle, bubble and cascade around the groove and the atmosphere remains humid and heady, especially on ear-snagging B-side "Rumex". "Montpelier" sports more explicit dubby flourishes and a spread of sonic flora and fauna in the middle distance that truly brings the track to life.
Review: The likes of Steve O'Sullivan, Baby Ford and Norm Talley have appeared on the somewhat overlooked Sushitech sub-label Pariter since 2006. Its latest release comes from Romanian trio Lisiere Collectif, who bring the techno sound of Bucharest to you on the first installment of Unknown Credentials. Member Andu Simion is well known for his rolling and glacial grooves, and in conjunction with Bogdan Ardeleanu and Dan Gheorghe they serve up two emotive and soulful excursions. The untitled A side offering is a driving, hypnotic and overall evocative journey with an undeniable nod to the Motor City sound that you could imagine Delano Smith pumping out in the AM hours. On the B side it is a more parochial affair, yet well worthy - a bumping and funky groove that's right in line with their hometown's renowned sound.
Review: Two years on from the release of their superb debut album "The Night Land", John Talabot and Axel Boman re-boot their Talaboman project via a suitably strong comeback single. A-side "Discodrums" is something of a twisted late night epic - a heavily percussive workout that layers drums, creepy chords and weirdo electronics atop a druggy arpeggio style bassline. "Flashforward" is an altogether more melodious affair. It sees the experienced duo dip the tempo, reach for the dub effects and reggae style drum fills, and get busy with a hypnotic but warming synthesizer motif. It's not quite dub house, but it certainly has a similar sonic sensibility.
Review: A while back, Africaine 808's DJ Nomad contacted Favorite Recordings' chief Pascal Rioux about a killer track he'd been given some years back - an obscure, previously CD-R only fusion of modern Gwo-ka and Zouk by Esnard Boisdur entitled "Mizik Bel". Rioux was excited by what he heard and agreed that the track should come out on vinyl, accompanied by a fresh rework by Nomad and Dirk Leyers as Africaine 808. Boisdur's original version (side A) is rhythmically dense but also cheery and life affirming, with celebratory chorus vocals and 80s zouk style synth lines subtly rising above a busy, all-action groove. Arguably even better is the sub-heavy Africaine 808 mix, which brilliantly re-imagines the track as a tasty chunk of tropical house/disco-zouk fusion.
Review: Eliphino continues to explore his emotionally charged, modern sound with this new mini LP for Secretsundaze. Following the trend laid out by his previous turns on Hypercolour, The Love Below and Meda Fury, he unfurls a richly harmonic sound that places emphasis on melodic progression to tell a particularly personal story, ranging from the emotive "Studio Time" to the crooked break-flecked "Old Lemons". "Second Sunday" flirts with electro and "Breaking Up Is Hard" veers towards jungle, but throughout Eliphino's personality binds the record together in fine style. Thoroughly contemporary and unbounded by genre restrictions, this is the sound of someone making the record they want to make.
Review: Long-serving electro project Transparent Sound come back full throttle with this expansive album of masterful machine music. Opening track "Pretend Like You Care" is a startling opener that feels like a wormhole back to the Cologne laboratories of the kosmische movement. The beats kick in proper from that point, and in consummate noirish fashion, with "No Call From New York", and proceed to trip through all manner of nocturnal dreamscapes lit in sleazy neon strip lighting. It's a lurid, evocative sound world the veteran duo concoct, and one you'll find yourself returning to again and again.
The Truckin' Company - "Got The Feeling" (Massimo Berardi edit) (5:41)
Izk Eyes - "Ton Of Groove" (The Funk District re-edit) (6:30)
Review: Fledgling label Daje Funk is sure to turn heads with their second sizzling offering of edits, with Rome's Massimo Berardi and Mexico's The Funk District both stepping up to the buttons. Truckin' Company's "Got The Feeling" is a loopy and rolling funk gem that keeps the energy up as strings soar to the skies and a squelchy bassline keeps you locked. The Funk District takes care of the flip with a top tweak of Izk Eyes's "Ton Of Groove", which is an appropriate title: big brass sections to shake your booty, a buttery male vocal and busy guitar licks all drive it forward through big breaks and killer drops.
Review: Bjarki's BBBBBB label has carved out its own unique niche in the techno world and next to occupy it is core label artist Stian "EOD" Gjevik. The former Rephlex artist shows off his magnificently complex and busy yet harmonic and melodic sound across five fantastically restless cuts that has lead synths taking you down a number of rabbit holes. Calming pads vie for your attention on "(Untitled) (W-R6)" while the acid laced "The Battery Poles (Are Conic!)" is so bright and shiny it'll have you reaching for your sunglasses. Few people speak so freely through their machines as this man right now.
Review: Hot on the heels of the release of his fine fourth album, "Hard Rain", Edward "Tenderlonious" Cawthorne delivers his first solo EP on 22a in three years. Opener "Think Twice", a deliciously deep, hypnotic and atmospheric fusion of locked-in house grooves and spacey instrumentation, delivers a jaw-dropping start, before Cawthorne moves towards sunny, jazz-funk influenced deep house territory on the luscious "Uncle Larry". His love of lilting space funk synth solos comes to the fore on late night MPC house treat "BIG Leffe", while Dennis Ayler swings by to add his deft musical touch to "Tru Blue", a jazzy broken house number in which Cawthorne once again proves his ability as a flautist.
Review: Three months after rapper turned singer Lizzo's major label debut first appeared on CD and digital download, Atlantic has decided to offer up a deluxe vinyl edition of the well-received set featuring three bonus tracks. Prior to release, Lizzo admitted she wanted to become "this generation's Aretha Franklin"; while she's not at the late soul legend's standard just yet, there's enough on "Cuz I Love You" to suggest that she's going in the right direction. Her vocals are variously confident, powerful, strutting and tender, with the accompanying backing tracks mixing hip-hop and R&B style beats with raucous guitars, bombastic basslines, Daft Punk style synth stabs (think "Robot Rock" and "Technologic") and occasional nods towards more pastoral, semi-acoustic sounds. Above all, though, the album is funky, forthright and hugely entertaining.
Otis Redding - "(Your Love Lifted Me ) Higher & Higher" (Soul Flip edit) (4:03)
Gerri Granger - "I Go To Pieces" (Soul Flip edit) (3:33)
Review: Sometimes you just can't beat the golden oldies and so it is that Soul Flip turns his attention to a couple of raw soul bangers. Up first is Otis Redding's classic "(Your Love Lifted Me ) Higher & Higher" with a rousing bass section which drives along the original version.The hits hit hard, the vocal is given room to breathe and the swing in the drums is infectious. The flipside houses a soaring tweak of Gerri Granger's "I Go To Pieces", with its clattering keys and rolling soul all quickly finding a way into your affections.
Review: Rory "Hammer" Hamilton has released on numerous labels since making his debut in 2015 - Optimo Music and Sulta Selects Secret Service included - but it seems like he reserves his best work for the imprint he's most associated with, Feel My Bicep. His latest EP for the Northern Irish outlet is certainly strong, with A-side "Parabola" offering an attractive, ear catching mixture of undulating neo-trance riffs, sustained sub-bass notes, relaxed machine beats and suitably psychedelic electronic effects. The same balance of rush-inducing melodic bliss, tactile synth bass and crispy drums comes to the fore on B-side opener "Panoptic", while closing cut "Entropy" is a slightly more psychedelic but no less melodic jaunt through big synth riffs, emotive chords and bustling drums.
Review: You've got to admire Anthony Rother, a DJ and producer who has been spearheading the German electro movement since the late 1990s. In all that time he's kept up a formidable work rate, releasing must-have albums and singles at a steady rate. Here he offers up his third EP of the year, a tasty four-tracker packed full of punchy machine drums and sci-fi sounds. Our pick of the bunch is sleazy, mind-altering opener "Hyperbolic", where thrusting TB-303 motifs and throbbing acid bass help to create a suitably twisted electro floor-rocker. There's plenty to set the pulse racing elsewhere though, from the Kraftwerk-in-space flex of "3L3C7ro Don't Stop", to the sustained minor key motifs, doom-laden atmosphere, rolling electro rhythms and spiraling electronic intensity of closer "Bilocation".
Ebo Taylor - "Peace On Earth" (Monsieur Scott remix) (4:55)
Pat Thomas - "We Are Coming Home" (5:51)
Pat Thomas - "We Are Coming Home" (2 Paris Septembre re-edit) (4:51)
Review: Comet's ongoing "Highlife Re-Edit" series is perfect for those who want a little contemporary pizzazz alongside their Afro-disco grooves and dancefloor-ready highlife classics. Like its predecessor, the series' latest volume boasts cuts from highlife legends Ebo Taylor and Pat Thomas. The former's punchy, breezy and trumpet-laden highlife-jazz cut "Peace On Earth" can be found on side A, alongside a dreamy Monsieur Scott version that drags the track further towards leisurely jazz-house territory. The Pat Thomas track showcased on side B is "We Are Coming Home", a righteous highlife/funk fusion effort rich in dense percussion and eyes-closed rock guitar solos. The accompanying 2 Paris Septembre Re-Edit brilliantly re-invents it as a bustling broken beat affair laden in shimmering synths and squelchy electronic bass.
Review: Luca Murgia is Two Thou - an alias which has seen him land intriguing releases on Burek, Fields & Forests and his own Gifted Culture label. Now he's been snapped up by Uzuri with some star-gazing cuts that straddle broken beat, deep house and something more altogether cosmic. "Clavinet Discourse" is the consummate lead track, a true showstopper with astral synth flex and a sharp, snappy beat. "Talking Song" has a more pronounced deep house bump and leads that wouldn't sound out of place on Strictly Jaz Unit - the dub version does away with the leads if you want something subtler. "Thousands Of Chimes Together" completes the set with a spiritual throwdown to invigorate any open-minded dancefloor.
Review: If you're in the mood for some cosmic grooves, wayward disco and pagan psychedelia, Multi-Culti's Cult Edits series is always worth checking. The imprint's latest offering is packed to the rafters with mind-altering goodness. Inigo Voltier sets the tone with "Ti Amo", a Fairlight-powered bounce through post-Italo oddball electro territory with added mix-80s power-pop guitars, before Angelina Amor reworks a sludgy slab of European industrial/new wave fusion. Youkounkoun's throbbing "Cosmic Yoyo" sounds like post-apocalyptic Italo-disco after a fist full of downers, while Asa Moto's "When The Funk Is On" is a funky but undeniably weird electro-industrial cut rich in delay-laden vocal snippets and metallic percussion hits.
Review: Hot on the heels of the release of their first album in 17 years, Underground Resistance affiliates Scan 7 return with one of their funkiest and most accessible EPs to date. Opener "Chuuch" is a riotous and righteous affair that sees main men TrackMasta Lou and Mr Hooper peppering a funky techno beat with killer samples from a wild and celebratory gospel disco classic. It's one of those tracks that will have even the most miserable clubber throwing their hands skywards in celebratory release. The pair continues on a similar vein on the organ-driven gospel techno stomp of "No Enemy No Table", before moving in a deeper and more relaxed direction on the equally as impressive "Here To There".
Review: By his usual prolific standards, Romanian producer Barac Nicolae has been rather quiet this year. "The Real You Is Not You", a double-pack of varied dancefloor cuts in his trademark minimal style, is only his second outing of the year. It's rather good, though, with sparse but groovy rhythm tracks providing the backing for all manner of ear-pleasing musical touches and mind-altering electronic effects. Our picks of the bunch are the funky, dreamy and sun-kissed hypnotism of "A Story Behind Everything" and the tipsy wonkiness of the title track, where trippy vocal samples and blissful synth riffs rise above an undulating, off-kilter groove.
Review: Ever-dependable hero of deep house since the good old days, Glenn Underground is back with fresh goodies for his Strictly Jazz Unit imprint, and if you liked what he's done before then there's no doubt you'll like this as well. "Shiloh (A King's Return)" is a steady roller, defined by the synth-sax freestyling over the top of a crisp beat and bluesy chord workout. "We, The Party (Let's Get Down)" is a more soaring affair, with some neat kinks in the drums and a sumptuous spread of Rhodes action all delivered in that quintessentially Blue Note GU flavour.
Review: Given that Fantastic Man's last outing on Kitjen, 2016's "Galactic Ecstasy", was one of his more interesting and on-point releases to date, hopes are high for this belated return to the German label. First up in "Solar Surfing", a spacey affair built around stuttering machine drums, intergalactic electronics and a thickset bassline. Acid-fired workout "Native Power" follows, with psychedelic TB-303 lines and minimalist bleeps riding a flowing electro groove, before closing cut "Avocado Conception" sees the Australian combine Balearic-minded synthesizer flourishes and bubbly acid lines with a slower groove. Like the rest of the EP, it's ear pleasing but surprisingly off-kilter.
Review: After years of promoting events, Percolate has decided to embark on a new project - Percolate Records. They welcome longtime friend, British producer Austin Ato, to take them on the first steps of their new journey. Ato has appeared on a wide variety of imprints lately, from Me Me Me and Delusions Of Grandeur to Futureboogie and even Defected. "When Love Gets Cold" opens with the sweltering and finely filtered disco loops of the title track, paving the way for bouncy and euphoric house anthem "To Fall In Love" (which is equally as disco-fied!) and emotive Detroit house banger "All I Want". Speaking of the Motor City: he shows he is equally competent at hi-tech soul (with a UK rave influence too) on the breakbeat-driven and evocative "Blessed".
Review: Eight years after their ground-breaking "Resolution 653" full length, pioneering duo Instra:mental make a welcome return with their new album Timelines, and this first selection of tunes from it gives you a good idea why. "Pacific Heights" is a jumble of minimal drum beats and futuristic synth smears that is atmospheric, while "Sakura" is more sparse and zoned out thanks to forlorn chords which speak of romantic pain. Things slow down into deep rubbery rhythms on the lush "Photograph" while "End Credits" has an unexpected Balearic vibe to it, with breezy chords making for a mood that feels akin to gazing out to sea.
Review: Roberto Surace's "Joys" was undoubtedly one of the unofficial summer anthems out in Ibiza this year. It's the tune you could hear bleeding from bars, car windows and clubs from May until September and was a firm favourite in the sets of White Isle kingpin Marco Carola as well as the likes of wAFF and Andrea Oliva. Its earworm vocal is what wins you over from the off - a soulful voice that melts into crisp boom bap drums with a rattling conga adding a sense of summer craziness. After much demand, Defected has finally put it out for all to enjoy.