EEE レコード& CD

Review: It's that time again! East End Edits are back with another cheeky, pop-inflected minimal techno workout. As always, the remixer's identity is under tight wraps but as soon as that vocal drops you'll sure know who they borrowed the hook from. Booming, tough rolling UK tech house aimed squarely at the main room at peak time, the dense bass pulsations of the original compliment this version perfectly, alongside the gorgeous come hither vocal. Hand-stamped, one sided heavyweight 12" vinyl in limited copies.

Review: If you dig tried and tested tech-house grooves fused with elements from classic cuts, there's a fair chance you've already snagged copies of numerous volumes in the popular East End Edits series. We'd suggest taking a listen to the clips of the imprint's latest single-sided missive, which not so subtly pitches up and beefs up one of the greatest summer sing-alongs of all time: Bill Withers' 'Lovely Day'. Built around a restless, non-stop house groove - all hissing cymbals, crunchy snares and locked-in kick-drums - the rework builds impressively after introducing the track's famous bassline before introducing the sweeping strings and Withers' iconic vocal. A simple idea executed impressively.

Review: The ever reliable East End Edits return with more anonymous white label minimal house shenanigans. On their eleventh edition in the series they have a surefire UK tech house number that rolls tough, is packed full of swing and with classic NYC house tropes all the way. A chord progression fuelled by glistening keys, bumping bass and familiar RnB vocals from the early 2000's that all come together for something pretty special. Again, it's anyone's guess who's responsible for this one, but the label is tight lipped as always - tip!

Review: We're now up to a 15th transmission on the EEE label from whoever the EEE artist is or are. Each one offers killer tech house material designed to get a floor bouncing but also hooked in with some smart samples. To kick off here, it's Suzanne Vega's silky and soulful tones that add soft edges to the razor-sharp tech drums and perc of 'Track 1.' It's fun and functional in equal measure. 'Track 2' is a succulent jazz house groove with instantly recognisible sax melodies and surging drums. The third and final piece of this irresistible puzzle is 'Track 3', another accomplished and effective house sound that has all the right ingredients to cut through and make its mark.

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: More from single-sided specialists EEE, a shadowy crew that specializes in sneaky contemporary club reworks of well-known tracks (many of which are, in their original form, about as dancefloor focused as your average miserable indie band or veteran cabaret crooner). What's on offer this time round is a heavily electronic tech-house groove - all Romanian style beats and bubbling, mind-altering synth notes - onto which is laid cut-up snippets from a famous old blues cut that's previously been sampled on a club cut to great effect. While the vocal does sit slightly awkwardly at times, there's no denying the heaviness or effectiveness of EEE's track. In other words, it's another winner from tech-house's most shadowy crew.

Review: The shadowy EEE series has already brought us tasty and much-played tech-house interpretations of a familiar jazz-house gem and a string-laden '80s synth-pop shuffler. Their third single-sided affair - as championed by Zip and Riccardo, no less - takes on a much-loved early noughties R&B classic, placing carefully selected and sequenced vocal snippets around a seriously snappy and sub-bass-heavy groove. Although tech-house in style - note the glitchy electronic noises and spacey effects fixed to the beats - the track's infectious rhythm track was clearly influenced by the current electro revival. This added swing and shoulder-swinging looseness, coupled with the familiarity of the vocal elements, makes EEE03 a guaranteed peak-time winner.

Review: Admittedly, we are always a bit excited when more cheeky bootleg remix action from East End Edits come in. Following up the groovy yet tough rolling tech house of EEE09 and its jazzy flourishes, the subsequent release is an edit of 'Fever' by Peggy Lee, and it's a pretty good one if we do say so ourselves. Deep, sensual and mysterious mood music that's perfect for the warm-up slot, it features a lurking Reese bassline beneath clipped rhythms to support the sensual vocal of the original, not to mention its sombre clarinet solo. Class!

Review: EEE is many things - a huge part of Yorkshire dialect, a rather fun party prescription (apparently) and also the name of a low key but high class label that deals in hand-stamped 12"s that pair fun with function. This 16th such outing is another testament to that. The A-side is a nice deep and dusty tech house cut with cheeky samples that hook you in, and the A-side also has just one track on it and it is built on a chunk y low end, peppered with hits and looping bass and topped with classic vocals Missy samples that you can imagine will do damage in Ibiza the summer.

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.