EEE レコード& CD

Review: Though now almost at 20 releases deep, the EEE label and production outfit remain a mystery to us. What we do know is that since debuting in 2017 they have served up a steady stream of playful, charming, accessible edits and mash-ups across the house and minimal spectrum. 'Dubs 4 Clubs' takes a classic vocal that keeps pushing on with thudding kicks, a rolling bassline and enough synth detail to make it a standout in plenty of Ibiza sets this summer.

Review: EEE stands for East End Edits and beyond that, we know nothing about this white label and production outfit. So far they have seven up their own takes on Madonna, Depeche Mode and Kelis, St Germain stye deep house and smoky late night minimal. This is a one-track wonder on one side of wax and it is a thumping and steamy deep house cut with driving drums and swirling pads. A vocal sample is littered through as the crispy percussion adds texture. It's tasteful and well-designed but also set to do plenty of damage to the dancefloor.

Review: Madonna, Depeche Mode and Kelis - what do East End Edits have in store for us next? This seventh instalment harks back to the charming deep jazzy house of their inaugural release - think of the legendary St. Germain and that should give you a fairly good idea. The track's smoky, late night jazz bar vibe is complemented by a rolling bass and swinging rhythms that should appeal to the likes of Rhadoo or Petre Inspirescu - legends of the Romanian scene who themselves have lent their deft hand to the French producer's work as remixers in the past, too.

Review: The third volume in Colpo Grosso's edits series amounts to yet another slinky slice of sensual post-Italo disco sundries. With each original artist and track title on the record respectively lent a three-letter and N-letter abbreviation, we'll leave it to you to piece together the puzzle as regards to whose source material is being reworked here. On this occasion, the hired hands are Massimo Voci, M.B. Funk, Wandevogel and Legowelt, each of whose takes on the various steam-downs and sweat lodgings of the genius genre that is Italo amount to four farther, slammingly sexual condensations of the sound. Our fave has to be Vandevogel's version of 'PRNDLCS', which starts out dramatically downcast before launching into a well-placed implantation of baritone sax and *bonne brisse* vocals.