Review: There are a lot of much-loved Kerri Chandler records, but it would be fair to say that 1998's "Rain" - originally tucked away on the flipside of "The Mood EP" - is one of the most celebrated. Here it gets given the re-edit treatment by arguably the world's most celebrated editor, Danny Krivit. The veteran New Yorker gets busy with the original version on the A-side, focusing on the soulful, improvised vocals, tasty minor key melodies, skipping drums and warm, rich synth bassline. Over on the flip, Krivit turns his attention to Atjazz's later remix, which re-imagines the track as a breezy chunk of Latin house rich in live pianos, bossa-driven beats, hissing cymbals and some choice vocal snippets.
Walk A Mile In My Shoes (Timo Garcia & The Chesire Catz remix)
Walk A Mile In My Shoes (Tom Belton S Ssl Re-rub)
Review: Coldcut return with the stand-out single from their critically-acclaimed album, "Sound Mirrors". The pioneering duo take Joe South's classic 70s hit "Walk A Mile In My Shoes" and re-work it in the tradition which started with their own "Autumn Leaves" and incorporates Massive Attack's "Unfinished Sympathy" amongst others. And, as usual, Coldcut know how to pick a collaborator. Robert Owens should need no introduction. One of the true legends of house music, his career as a musical innovator (as well as the possessor of an all-time great voice) runs from pioneer days as one half of Fingers Inc in Chicago in the 80s right up to collaborations with Photek and London Elektricity, via any number of classic tunes including "Tears", "I'll Be Your Friend" and "Ordinary Son". The version of the tune included on the single ties the epic nature of Coldcut's production to a skipping, swinging house rhythm and the kind of anthemic build that leaves you exhausted. It's a truly beautiful piece of music, the contrast between the delicacy of Owens' voice and the weight of the orchestration perfectly realised. And that's before you've even reached the mixes. Tiga takes the original, strips out the music and replaces it with technoid pulses and a harder dancefloor rhythm, with the sweetness of Owens' voice cutting through the intensity. Henrik Schwarz (of Berlin-based Sonar Kollektiv) builds the original into a melancholy, jazzy number which still sets the foot tapping. Tom Belton goes straight for the disco-funk hands-in-the-air jugular, before Timo Garcia hardens up the kick for a full-on club odyssey.
All You Need Is House (Milty Evans Whitebeard mix)
All You Need Is House (Ty'z classic dub)
Review: Tyree Cooper's All You Need Is House EP is a proud celebration of the genre, done Chicago style and rammed home by Marco's wailing vocals. Through solid drums and strong vocal hooks, Cooper's original beats down hard justifying the need for a 180g pressing. It rattles and hums until dropping into a tom-drum and snare solo similar to Runaway's "Brooklyn Club Jam". Bobby Starr's mix brings Marco's Teddy Pendergrass-sung vocals to the fore, while Milty Evans gets a little techier with a cut up approach, adding white noise flashes and lots of filterwerk. Cooper second take comes via a "classic dub" which draws a link between squelchy baile funk and a Masters At Work drum track.
Review: Joe Corti has had a breakthrough 12 months, with releases landing on Better Listen and his own China White. Bringing more of that sweet, disco tinged house music to the second volume on his label, Corti strikes a heady mood on "Move Your Seat" with a mixture of swirling Philly string samples and looped up elements that should set the dancefloor alight in that most tender of ways. "Think Twice" is on a similar tip, albeit with a choice run of dreamy trumpet coursing through the track. "Just You" has a slightly techier edge, but it's embellished with the kind of keys that will appeal to fans of Glenn Underground. Classy stuff from a rising talent.
Review: The latest Hands Off joint features three artists making waves in intriguing corners of the deep house firmament. Desos opens up the A side with the dreamy groove of "Dubs", before Space Age lays down the classic, Mr Fingers-flavoured haze of "Sunday Rain". Desos returns on the flip with another subtle yet punchy cut, keeping the melodies submerged and sublime on "Jaaa" before Common Mode takes things in a distinctly dubby direction with "Beauty Queens".
Politics Of Dancing X Chris Carrier - "Track 1" (6:45)
Politics Of Dancing X Nail - "Track 2" (7:35)
Review: Politics Of Dancing continue their adventures in the studio with friends and kindred spirits, this time teaming up with two tech house titans that paved the way for the sound they're immersed in today. Fellow Parisian Chris Carrier sounds right at home sparring with S.M.A.L.L and Paco on "Track 1", where an irresistible bassline groove underpins some acid licks that burrow deep into the night time frame of mind. On the flip Nail is the partner of choice, and the UK veteran helps whip up a crisp and chunky workout heavy on the drums - a serious DJ workout for those craving solid gear for their sets.
Review: Building a formidable reputation as an artist with a diverse set of approaches in the field of electronic music, Ukranian producer Cape Cod delivers his debut album on Kiev House in a fine display of musicianship. From the opening track "Among The Stars" (which features Constantine on vocal) it's clear that this will be more than a straight up collection of dancefloor tracks. There are indeed some upbeat house tracks to be enjoyed, not least on the razor sharp garage bumper "We Don't Have To", but there's also equal space given over to more introspective jams such as "Put U Down".
Review: Following the recent tragic death of founder member Philippe Zdar, this could well be Cassius' final bow. "Dreems" - the long-serving Parisian duo's fifth studio album - would be a fitting swansong. Less concerned with the potential of Ed Banger style power-pop, its' various glassy synth-pop moments (see the Owlie voiced "Don't Let Me Be") are outnumbered by vibrant, funk-fuelled tracks that pay homage to their own "French Touch" house heritage. "Rock Non Stop", for example, is like something from debut album "1999", "Cause oui!" is an exuberant mash-up of synth-pop, hot and heavy house and hip-hop featuring Beastie Boy Mike D and "Calliope" recalls the late night hedonism of Zdar's work with Etienne de Crecy as Motorbass. Rest in peace Philippe.