A record that comes steeped in history â€“ for all the right reasons â€“ fusing the smouldering electronic sounds of 1984 alongside Walter Gibbon’s production prowess. Justin Martin now receives the honour of an official remix of this timeless classic. Unlike a simplistic re-edit that safely reimagines nostalgia this Remix links the past with today in a blaze of confident excellence. The beats remain firmly planted in Electro, pulsing funkily as they do, while the synths now contain that contemporary edge updating the number in wild style. Next, the Party Starter version plays with the future and an altogether different reworking Set It Off for the 21st century â€“ where we all belong. PS great Artwork from Nico Salazar too.
Not often an artist album comes along displaying not only valuable words but musical skills on this level.Â Marc Mac (also one half on 4Hero) who whose been producing music for the past couple of decades has arrived at this point, again, with his second Visioneers album, Hipology. Listening to this reads like a history lesson in sight and sound while expert instrumentation is employed via a sterling set of players. Indeed, try an instrumental track like LaAnne from Harlem and tell me it doesn’t move to tears of joy. The album creatively evokes moods and plays with words both spoken and sung throughout, while for the dancefloor try the take on B-Boy legend, Apache (Battle Dub) for size, plus any number of other sure-fire gems. Something for everyone exists on here with the summer funk of Come Sand Play in the Milky Night destined for any beach party worth its salt, or Shine which feeds your mind with meaningful word and soulful tones.
Laura Jones invigorating exploration of electronic sound continues with her first compilation mix for the prestigious Leftroom imprint. Starting with moody brilliance of dOP & Masomenos Hello! the album rapidly proceeds to entice you with its emotive selection of beats and rhythms that never fail but to ignite your imagination. Combining a diverse selection of music from labels like Vitalik Records, Visonquest, and of course Leftroom means that you know you’re always in safe company. What’s also particularly notable here is the way the album weaves between styles, flipping from Techno to House while never feeling contrived. The second half of the mix picks up the pace with a sure succession of killer tracks from Gavin Herlihy and Polyrhythmic, amongst many significant others, finishing on Guy Gerber’s masterful The Mirror Game.
Sao Paolo’s D-Edge combines with long standing House Music impresario Luke Solomon to release thisÂ testament to the DJ’s undoubted prowess in all things musical and techincal. The Classic Records co-founder carefully teases every inch of rhythm from this truly intense mixture of distinctive House, unsettling Techno and general electronic madness into the bargain. Whether that’s Red Rack’em’s bassline master class of How I Program, or Boo Williams severely funky Devil Music this will truly rock your discotheque.Â Any mix that climaxes in the process with the Roberto Rodriguez version of Seven Reasons can only probably be described as transcendent.
Excellent EP from Germany’s Klasse Recordings beginning with the melodic technology of Soul123 which references Detroit like it was just around the corner. Next, Skeleton Keys gets busy with classic House bass and organ creating perfect tension in the air. While, Fakie Snot Bubble cleverly hits you hard at first with fizzy old-school stabs and â€˜work this’ vocals, then turns it all upside down with warm pads and House strings causing emotive confusion?Â Despite its somewhat dubious title the more I hear this, the more seriously impressive it sounds.
Walker & Royce You’re Not Welcome Crosstown Rebels
You don’t really need me to tell you that this latest from Crosstown is excellent, do you? Put it like this: it feels ever so slightly sinister with sumptuous bass notes driving the taught beats, as the uber cool vocals feel deeply soulful in a Trans-European setting with sparkling keys lifting it all skyward. Stare If You Want To feat. Javi happens next with killer syncopation feeling like disco never went away (I know, it didn’t) but coupled with tripped out voices and more contemporary chords plus guitar, this again transcends the timeline. The Francesca Lombardo Remix of You’re Not Welcome resists the titles negative appeal with addictive notation and proves the vocal to be defiantly happy.
I Cube once again produce’s something so startlingly original that when it’s primed it will explode all over your dancefloor. Y.O.U.R.O.C.K is somewhat self-explanatory here as shimmering electro keys clash with strident disco beats, while repeating to infinity and beyond. This has to be heard to be believed! Followed by Popular Electronics which frays the edges with twisted synths and a lot more besides, but possibly saving the best to last is In Alpha which replays eighties guitar funk, via the curious mind of I Cube, to feel compellingly uplifting and certainly rather beautiful. The album is coming…
Clearly in his own class Justin Martin’s debut album acts like a conduit for his myriad of influences andÂ own particular brand of music. Encompassing everything from U.K bass to Acid the album avoids treading a cliqued path by its use of trippy voices and unexpected combinations of styles, which none-the-less always feel exciting and pertinent. Butterflies is a case in point with edited child-like voices playing off against synthetic chords and squelchy basslines to sound like not a lot else out there. Also tryÂ Molokini for some heavy-duty business, and The Gurner with Pillow Talk for something a little deeper and more spiritually motivating.
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