Review: Having previously impressed on Argot and Home Taping Is Killing Music with her blends of evocative deep house and floor-friendly Chicago rhythms, The Black Madonna tries a different approach on this debut for the recently launched Night Owl Diner label. You could certainly describe both tracks as "Balearic", and there's a real air of wide-eyed positivity about the tumbling melodies, swirling synth-strings and mid-80s pop production of head-nodding deep house cut "Stay". It's pretty darn tasty, all told. Almost as good is "Requiem", which appears to be built around a loop lifted from Cherrelle and Alexander O'Neal's "Saturday Love" (with, of course, additional synths and tuneful electronics).
Review: When it comes to break-driven dancefloor reworks and cheeky re-edits, Canada-based cut-and-paste merchant Jorun Bombay has a very impressive track record. Here he returns to Scarborough stable Soundweight with two more chunks of break-heavy goodness. On the A-side you'll find "Edits Theme", a tasty fusion of extended James Brown style drum-breaks, meandering sax solos and sumptuous, orchestra-enhanced orchestration. Over on Side B, "Editing Gears" sees Bombay serve up a bustling re-work of Johnny Hammond classic "Shifting Gears" rich in fluid electric piano solos, extended drum breaks, flanged funk guitars and delay-laden vocal snippets.
Review: Natural Midi has been one of the primary homes to Scott Grooves' tunes, easily the most underrated producer from the Detroit area, and he's back on his own label with four new beauties. Grooves has been churning out exquisite deep house bangers since the 90's, a very specific brand of dance music that incorporates everything from jazz, to disco and funk; his basslines are always warm and soothing, while his percussion is dusty and the synth lines musical. In an age where 'outsider' house rules, his grounded approach is always a breath of fresh air to us. The opener "Finished" is a funky house swinger choc-a-bloc with gorgeous claps and stuttering toms, and "Inspiration Sound" scratches the 4/4 off for a bit of broken trip-hop - a certified winner. On side B, "The Sauce" is moody, spaced-out and offers subtle keys, while "Nitty Gritty" slams out a dicing little percussion with a lo-fi feel. Absolutely terrific.
Review: REPRESS ALERT!: Giorgio Gordano and Giorgio Dolce originally produced "KKK" back in 1983, and the track was taken into the hearts of the blossoming Balearic scene hovering around DJ Alfredo at Amnesia. It's as gentle and sweet natured as Italo disco can be, and of course it makes perfect sense that Best Records would dig it out of the archives and give it the shiny new reissue it deserves. The "Club Mix" of "KKK" is a feast of simple, charming programmed melodies and crisp drum machine rhythms with the innocence of the early 80s in its heart. The "Dub Mix" and "Bonus Beats" on the flip are handy for the technical DJs out there, but the "Club Mix" is where it's at for the lovers.
Review: REPRESS ALERT! Best Record Italy take the time machine all the way back to 1979 to revisit the wonderful Italo-Disco delights of Adolf Stern, whose "More... I Like It" represents the strangest end of the genre as it was taking shape. With heavily processed vocals injecting some serious strangeness into the chirpy disco backdrop, it's the kind of track to turn heads without a doubt. "Twenty Seven" on the B-side is equally magical in its capturing of the era, with the more obvious surface elements underpinned by a truly intoxicating line in synth arpeggios. Once again Best comes up trumps refreshing the history of Italian music of all shapes and sizes.
Review: By now, we've come accustomed to Dark Entries digging deep to find curious material to reissue. Even so, few would have expected them to turn to the Greek synth-pop/new wave scene for inspiration. Gallop, the sixth album from Greek musician Lena Platonos, originally came out back in 1985. It remains an impressive, if unusual, set, with Platonos variously speaking and singing over backing tracks that veer between spooky, piano-laden oddities, sparse but seductive drum machine grooves and thrillingly spaced-out synth-scapes. Those without a grasp of Greek will no doubt wonder what she's musing on, but in many ways it doesn't matter; aesthetically, Gallop is a thrillingly imaginative and out-there album worthy of further investigation.
Review: Emotional Rescue turn their attention to Rare Silk and their sublime cult classic "Storm". It's one of those rare tracks with a wonderful otherworldly quality that manages to be smooth and accessible, and somehow not like anything you've ever heard before. It must be somewhere in the mix, between the dreamy harmonized vocals, lush instrumentation and curious sense of space. The original on the A side is a treat enough, but then throw in a mercurial dubbed out version by Arp on the flip and you've got yourself a 12 inch portal to a most delightful dimension.
Review: Afrodesia may come on like another dusted down gem from those dedicated detectives at Best, but it is in fact a modern construction from the talented studio trysts of Mystic Jungle and Whodamanny from the Periodica camp. These Italian producers have more than proved their knack for crafting sublime, honey-smooth jams with a nod to the golden studio era of the 70s and 80s, and they're more than up to the task on this killer 12" of heavy funking jams with a dose of boogie and a nod to Ivory Coast disco. It's quite simply perfection, rendered with love and attention to detail, but utterly natural in its feel and flavour.
Review: You'd probably have to take out a loan to buy an original, second-hand copy of Master Force's sole single, 1979's "Hey Girl", so this dinky reissue is more than welcome. The title track is a dewy-eyed slice of two-step soul sweetness rich in Curtis Mayfield style lead vocals, glistening guitars and trumpet solos that sound like they've been lifted from an early Herb Alpert recording. Arguably better for dancefloor plays is "Don't Fight The Feeling", a Clavinet-heavy disco-funk affair that boasts some brilliant group backing vocals and heaps of authentic New York flavour.
Review: Detroit stalwart Scott Grooves has been churning out 12" singles since the early '90s, yet the quality barely seems to drop. This second - and, according to the producer's own sales notes, "likely last" - installment in the Parts Manager series contains five more top notch workouts. As ever, there's plenty of variety across the EP. Contrast, for example, the flowing, ear-catching musicality of classic deep house opener "Gravitas", the body popping drum machine hits and rubbery P-funk bass of "Deneb", and the deep nu-jazz shuffle of "Monowaltz". The pleasing eclecticism continues elsewhere, via the fluid electric piano workout "Bittersweet Live", and the Chez Damier style basement smoothness of hypnotic closer "?".
Review: Defected offshoot Glitterbox is a label that embodies the old school spirit of early house and disco - polysexual, positive and hugely expressive. The latest single is another testament to that with majestic producer Qwestlife serving up a perfect fusion of disco lushness, house groove and funk bass on "Fever". Add in hip swinging claps, Grammy winner Siedah Garrett's vocals, a sprinkling of Sugarhill Gang and Grandmaster Melle Mel and you have a real bobby dazzler. Deep digging disco don Kon serves up a joyous remix as well as a beatless reprise for DJ trickery.
Review: Amerigo's The Big Payback series finds him bring together some fantasy all stars for his "J.B. and The Soul Mates" tribute concept. Here, James Brown's music is reworked, edited and chopped together with the work of hip hop giant Notorious BIG. It results in speaker blasting, floor filling, ass wiggling jams that mash up all the most iconic verses and choruses from each singer with their most recognisable guitar riffs, drum breaks and samples. It's a colourful collage that is as fun as it is funky.
Review: If you're looking for a great selection of house and disco club cuts, you can't beat Z Records "Attack The Dancefloor" Series. The latest volume begins with the revivalist disco brilliance of label founder Dave Lee AKA Joey Negro's remix of Delia Renee's "You're Gonna Want Me Back", before moving on to the slightly more house-centric modern disco vibes of Dr Packer's superb revision of vintage Dave Lee production (as Foreal People) "Shake". Over on side B, Grant Nelson offers up a filter-sporting disco-house revision of Z Factor classic "Gotta Keep Pushin", before Lee dons the Joey Negro alias one more time to wrap ear-catching church organ solos around a gospel-influenced house groove on an excellent remix of Four80East and CeCe Peniston's "Are You Ready?".
Review: REPRESS ALERT: Thule are back on the Icelandic techno reissue trip, this time returning to a serious classic from Sanasol (Yagya & Thor) that originally came out in 1997. This particular, highly sought after, gem leads in with the majorly heady house throb of "Seveneleven (Original Mix)" which piles the dubby processing and lush melodics on heavy while still retaining a sense of airiness to uplift the soul. By contrast, the "Closedonsundays Mix" focuses on a tough but crooked beat and that undulating bassline for a completely different flavour. On the flip, the "Sanaramalonger Mix" returns to the mellower flow of the original but with a more submerged finish and some pronounced dub stabs. Then the "Ozzy Mix" finishes the package with a minimal take that prefigures the upsurge of dubby clicks n' cuts laptop beats that would explode in the years to come. Essential tackle for all deep techno explorers.
Review: Glaswegian disco overlord Al Kent is particularly fond of dusty, hard-to-find records that combine great grooves with the kind of sugary, flowing orchestration that marks out some of the greatest late-'70s dancefloor records. It's these records that he tends to re-edit. He's at it again here on a surprise two-track GAMM outing. Check first A-side "The Light Of You", a peak-time ready Stevie cover version disco cut that adds a myriad of instrumental solos to a heavily orchestrated backing track originally recorded by latin disco soul outfit LaSo. It's rather good, all told, as is the wild flipside Latin jazz-funk workout "Sing A Song". It's pretty sweaty and even boasts some serious eyes-closed guitar solo action (along with tons of authentic South American percussion).
Review: Hot on the heels of a re-work of Bobby Caldwell, edit stylist Caserta is back with another golden nugget. This time he turns his attention to the one and only Luther Vandross and serves up two equally essential but very different tunes that pay homage to his unique voice. The King Street Mix is all hip swinging claps and nodding bass riffs that are organic and heartfelt, whereas the Henry Street Mix nods to the '90s heyday of New York. With warm neon organ stabs that will get any floor pumping, both interpretations have Luther's soulful voice front and centre.
Review: After taking a year out (presumably to rotate his head 360- degrees and hoot at the moon), wide-eyed re-editor The Owl returns to action with another essential collection of reworks. Check first the hot-stepping James Brown style funk strut of "On It" - all rubbery but thrusting grooves and guttural grunts - before switching to the slick and rising disco goodness of "Boogie". There's something of a switch on the flip, where he works his magic on the low-slung disco tune that Paul Johnson sampled for his classic house cut "Get Get Down". Best of all, though, is the filter-sporting disco-house bagginess of "Sly Lovin", which rounds off the EP in fine style.
Review: Detroit producer Scott Grooves returns to his Modified Suede imprint with Bitter Sweet, following on from the jazz-driven Motor City funk of "The Journey". This 12" sees the underappreciated Grooves on typically excellent form; the title track offers a piece of dusty, subtle Detroit house, where fuzzy Rhodes piano are joined by jazzy string melodies and a mechanical groove in a similar manner to Kevin Reynolds' similarly slow burning "Liaisons", while "C Track" offers a sublime piece of rolling house whose urgent yet gentle piano chords are caught in a swell of bottom heavy bass and rattling hi-hats.
Praying For You (Louie Vega NYC Fender Rhodes Solo) (4:55)
Praying For You (Louie Vega Vonita dub) (5:43)
Praying For You (KDA remix) (6:10)
Praying For You (album version) (6:11)
Praying For You (Louie Vega Expansions NYC dub) (5:41)
Smile (David Morales remix) (7:01)
Review: Earlier this year, DJ Spen and Teddy Douglas's long-serving gospel-house group Jasper Street Co returned to action with their first album in 16 years. It's from that album that "Praying For You" is taken, though the selling point here is not the LP mix but rather a suite of reworks from Louie Vega. Our picks of the bunch are his jazzy and breezy "Main Mix", the brilliantly bass-heavy "Vonita Dub" (think righteous call-and-response gospel vocals and a killer groove) and the sleazy "KDA Remix". The latter is a basement-bothering stomper rich in fuzzy organ stabs and spacey electronics. The smooth, slick and pleasingly colourful David Morales remix is also rather good (it reminded us a little of vintage Frankie Knuckles rubs, which is no bad thing).
Review: Unstoppable electro machine Carl Finlow (aka Silicon Scally) lands on Orson with more of that impeccable robo-funk he's so revered for. "Elastic Collisions" leads the charge with a tough and teasing workout that works around a heavy low end and plenty of sparkling sound design up top. "Octodecillion" keeps things on a dystopian tip, where a bleak future sounds as funky as it does ominous. "Probabilities" heads into a less floor-focused space where thick layers of buffed and polished synth wriggles collide in high-definition. "Mechanomics" completes the set with another taut belter geared towards the heads down section of the party.
Review: The Fantastic Voyage label kicks off with a summery joint from RFX, otherwise known as Pharmacy Records mainstay Romain FX, straight out of Hong Kong. There's an undeniable African lilt to these tracks, shot through with a classic 90s house twist - just check the infectious bump of "Indaba Kabani". "Gambian Neptune" has a snappier feel, channeling the vibe of 80s extended dubs with its strident drum section and bombastic atmosphere. "Nigerian Charon" has an interesting mixture of vibes going on, part Art of Noise mash up and part peak time synth sizzler, while "Sudanese Xena" heads into the heat of night, conjuring up a seductive, swirling mood to get truly lost in.
M&M Vs Andrei Swipe - "Analog Express" (Don Carlos remix) (7:29)
Review: There's an undeniable air of quality that lingers over the 12"s emerging on 14th Level Of Paradise, the mysterious label presenting originals, edits and repressed tracks for true house devotees. First up is a little known track from Sasha Makin and Suntetic, given a shimmering polish by Don Carlos and Steven Perri to become a heavy funking masterpiece, before Joe Claussell drops in a percussive dub delight on Monday Michiru's "Higher". On the flip, Vincent Inc and LA get things pumping with the slow but chunky, jazz-licked "Red Room", before Carlos returns for another deep house reverie as he remixes M&M and Andrei Swipe's "Analog Express".
Review: Hold tight for another dose of seriously sassy Italo brilliance lovingly reissued on Best. This time it's Plustwo and their outrageously fun "Melody" getting the treatment, with the A side given over to the catchy vocal version and the previously unreleased dub version. "Stop Fantasy" on the flip is another sugar-coated trip through poppy dancefloor perfection, with some cheeky acidic undertones for those listening with the right ears. You'll recognize this one as a crossover hit that's snuck up in deep digging sets - now you can get your mitts on it too.
Instant Funk - "I Got My Mind Made Up" (Late Nite Tuff Guy remix) (7:21)
Orlando Riva Sound - "Body To Body Boogie" (Late Nite Tuff Guy edit) (5:30)
The Salsoul Orchestra - "Ooh I Love It (Love Break)" (Late Nite Tuff Guy Muscle edit) (6:42)
Review: Salsoul has always been good at getting contemporary producers to reinterpret classics from its bulging catalogue, with recent years bringing fresh edits and reworks by The Reflex, Moplen, DJ Pope, Dimitri From Paris and Late Nite Tuff Guy. Here the latter returns with a second helping of tastefully tooled-up revisions. The Australian producer kicks things off with a warm and woozy hybrid disco/house take on Instant Funk's "I Got My Mind Made Up" that's quite a departure from the original mix. Over on side B, he turns in a languid and groovy, mid-tempo house version of Orlando Riva Sound's overlooked "Body To Body Boogie" before successfully revising Salsoul Orchestra's much-loved "Ooh, I Love It (Love Break)" whilst retaining most of the original vocals and instrumentation.
Review: Mick Harris is a master of bludgeoning sound, whether wringing out apocalyptic steppers in his Scorn guise or wrestling D&B into contorted shapes as Quoit. Monrella is one of his aliases that reaches back to the mid 90s and Regis' ZET label. These four new tracks capture the same mood of granite heavy Brummie techno as the original run, wholly compatible with the tougher end of the Downwards oeuvre, sculpted with the masterful ear for sound design that Harris has displayed throughout his accomplished career. Following on from the retrospective compilation on Berceuse Heroique last year, it's a real treat to have some fresh Monrella to chew on for the hardest of techno sessions.
Review: Here's something to excite those who dig quality 1970s funk, soul and disco: a tidy 7" containing two stone cold classics from the Rod Temperton-helmed, UK-based "international band" Heatwave. Side A boasts one of the standout moments from the group's much-loved 1977 album "Central Heating", seductive, string-laden love song "The Star Of A Story". It's superbly arranged and brilliantly produced, with warm keys, Spanish guitar solos and rich orchestration combining beautifully with the band's slick and smooth vocals. Side B is taken up by 1976 single "Ain't No Half Steppin'", a bolder and more dancefloor-friendly chunk of warm and woozy dancefloor soul.
Review: The hardest-working man in West London is back! By now we've become accustomed to Kaidi Tatham offering up regular doses of soul and jazz-funk-fired dancefloor goodness, but even by his high standards "You Find That I Got It" is something special. Warm, woozy, groovy and full of intricate musical details - brief synth solos, subtle orchestration and so on - the A-side title track is a wonderfully sunny slice of instrumental boogie-soul. Tatham's world-renowned keys playing comes to the fore on the organic broken beat/jazz-funk fusion of "Mjuvi", a flipside cut that's almost as good as the exceptional title track.
Mahogany - "Ride On The Rhythm" (Michael Gray remix) (7:05)
Raw Silk - "Just In Time" (Michael Gray remix) (6:25)
Review: Full Intention man Michael Gray is the latest contemporary house producer to get his hands on the parts to classic cuts from the bulging West End Records catalogue. He has opted to rework two slightly deeper early '80s jams, starting with Mahogany's 1982 boogie cut "Ride On The Rhythm". His version is warm, sparkling and bass-heavy, offering the right balance between modern production techniques and the kind of effects utilized by the track's original producers. It's really good, keeping the spirit of the original track while dragging it into the 21st century. The same could be said of his boogie-house take on Raw Silk's "Just In Time", which boasts a similar balance of tidy new drums, spruced-up synths and swirling effects.
Review: In 2009, two years after the original version appeared on Somi's debut album "Red Soil In My Eyes", Joaquin "Joe" Claussell and Brian Bacchus joined forces as Soul Feast to remix Fela Kuti cover "African Lady". A decade on, Claussell has decided to reissue the package's most potent and percussive moment, the layered "Drum Dub" on a tasty seven-inch single. While there are key elements of Somi's original version present - the killer bassline, some delay-laden horns and fleeting glimpses of guitar - the mix is dominated by layered Afro-house percussion. This time round, the mix comes backed with an "Acapella EFXS" version, which contains all of Somi's superb vocal and is closer in tone to the duo's 2009 club mix. Like the A-side, it's superb.
Jamie Jones & Darius Syrossian - "Rushing" (extended mix) (5:43)
Jamie Jones & Darius Syrossian - "Rushing" (Afterparty Basement mix) (5:36)
Darius Syrossian - "Come On Come On" (extended mix) (6:33)
Darius Syrossian - "Kouka" (Warehouse Basement mix) (6:17)
Review: Jamie Jones and Darius Syrossian are both house heavyweights, but with very different vibes. It's fascinating that they have come together on this EP then, with their collaborative "Rushing" opening the EP in steamy fashion. It features a well worn vocal repackaged on bulky, bass driven house drums that are designed to get the crowd pumping their fists. The "Afterparty Basement Mix" is even harder hitting with some chords layered in for extra fun, then Darius goes solo on the flip for "Come On Come On", which fits in with his rolling, well sampled house style and is a sure fire crowd pleaser. The more stripped back and hypotonic "Kouka" is perfect for big spaces and bringing crowds together to march to a beat.
Review: EYA Records presents a double 12" of plush techno and house spanning styles, giving four producers the chance to showcase the breadth of their sound with two tracks each. Innershades brings emotive 90s swoon and peppy acid to the A side, before Two Phase U slips in a little uptempo robo-disco sauce and a feisty jack track. Otis takes things in the direction of wiggy proto-trance and bleep techno, and then Zots finishes up with freaky synth work dripping with mischievous personality. This is a set of tracks that demands to be noticed - don't sleep.
Review: The My Rules crew is back with its first release of 2019 and doesn't disappoint: this time they've come up with a much fawned over cosmic disco classic from Belgian outfit Candy Darling & The Viscounts. The original "Movin'" is a previously Japan only 12" promo mix of a disco cover of a Lee Hazelwood surf song that has edgy stabs and a squelchy bassline to die for. The flip side houses a special rework by Mt Rules label boss Justin Van Der Volgen. He tweaks the inner workings of the tune to draw out the key bits for utter dance floor destruction. Form the bar to the cub to the afters, this one is primed and ready to detonate.
Review: Alphonse has already dropped a pair of 12"s on Especial in the past, but he's on especially excellent form this time around. A veteran of the halcyon rave days of the 90s, he's got a lot to draw on to conjure his particular kind of machine jams. "Moan Up" is a truly dazzling track, all twinkling synth lines interweaving around a crisp old school groove. As well as the loved up peaks of the original, there's also a beatless mix of the track that lets the melodies shine on their own. "White Pepper" takes things moodier and lets some sultry sax wail over the top, while retaining some of that boxy drum machine energy. There's even space for some tasteful guitar wailing - excellent.
Bongneck - "The Robber's Daughter" (Ghiz Retouch) (6:06)
Makebo - "Unknown Beauty" (9:09)
Review: Moscow's Shanti Radio imprint has been on fine form of late, offering up must-check 12s from DSF, Lost Desert, Volen Sentir and many more. Here they offer up their first multi-artist EP of 2019, an undeniably attractive and ear-pleasing affair that effortlessly joins the dots between deep house, tech-house and more percussive tribal flavours. Highlights are plentiful throughout, with our picks including the string-drenched, bittersweet brilliance of Makebo's "Unknown Beauty", the sub-heavy throb of Ghiz's tasty rework of Bongbeck's "The Robber's Daughter" - all rolling hand percussion, insanely weighty bass and picturesque melodic flourishes - and the sunset-ready dancefloor bliss of Cornucopia's impeccable "Nature Boy".
Pieces To Share (Kyle Hall & Steve Lehane mix) (3:14)
Nothing To Fear (4:00)
Review: Some ultra-limited business here from Kyle Hall, which remarkably marks his first release of 2019. The Detroiter is in fine form from the off, first peppering a hip-hop tempo "beatdown" groove with 8-bit sounds, jazz-funk synth doodles and rich Fender Rhodes motifs on "Rising" before breaking up the beats and channeling Kaidi Tatham/Dego on the warm and luscious "Full Play". Turn to the flip for the similarly inclined, loose and languid, analogue-heavy melodiousness of "Pieces To Share" and the delay-laden sunrise shimmer of "Nothing To Fear", a glistening and smile-inducing number that's almost overwhelmingly positive.
Review: When you use words like "prickly", "abrasive" and "uncompromising" it's rarely flattering. Consider Kim Gordon's exceptional powerhouse long form one of the exceptions. As far removed from music for the masses as you could hope for, it takes a particular talent to deliver work like "No Record Home". Labels such as punk certainly apply, but it's less about mouths gushing spittle amid the deafening screams of guitars and raucous vocals, and more about overall attitude. No change there for this co-founder of the mighty Sonic Youth then. Loud and intelligent, forthright and yet heartfelt and tender in its own unforgiving way, it's as far removed from wall of sound discordance as it is anything you could describe as remotely over-explored. Marrying the bloody-lipped electro of Peaches and body blow lows of EBM with gritty rock 'n' roll chords, those looking for originality that oozes repeatability should consider their hunt over, for now at least.
Review: Amato brings the kind of nasty electro business that fits right in on Helena Hauff's mighty Return To Disorder stable, and you know it's serious from the opening strains of the VHS noir monster "Escape From Grenoble 2018". "Hydraulic Funk" takes things slower, coming on like a freaky Frak flipside and sounding excellent for it. "Machine Outil" takes things in a more muscular direction that sounds built for bench presses and body jerks - the consummate peak time sledgehammer. Umwelt takes this sturdy starting point and demolishes it into a hailstorm of acid malevolence that'll melt your face clean off.
Review: Tyler, the Creator's fifth studio album was produced entirely by the Californian artist himself, but it does feature guests like Solange, Playboi Carti, Kanye West and Lil Uzi Vert. It immediately debuted at number one and it's easy to see why. Rich with a complex fusion of funk, rap and r&b that glides on Cali-synths and neo soul melodies, the whole thing is tethered to the ground with a hefty low end and follows the narrative of a love triangle as told by American comedian Jerrod Carmichael. Arguably his best work to date, the production is next level and storytelling wholly involving.
Review: The Well Street family continue to bloom with this assured grip of adventurous steppers from Significant Other. You know you're onto something serious as soon as "Postdrome" fires up in a tangle of break slices, percussive rattles and poised kicks. The sparse drum-focused style continues in a quicker fashion with the tense and twitchy "Delos", while "Brain Fingers" amps up the bass flex to make for a dance-wrecking-ball of a track. "Memory Drum" completes the set with interlocking patterns balanced between organic and electronic and draped in tones of icy dread.
Catch Me If You Can (Jorge Savoretti Ethereal dub) (7:08)
Review: Michael James' "Winds Of Change" EP was a big look for Constant Black, and now the eminent minimal house label draws on a hit list of sharp shooters to deliver some deadly remixes. Huerta is up first with an angular but rolling dub twist on "Catch Me If You Can", before Nick Beringer pings things in a wonderfully hazy direction with his "7am Dub" of "Stormy Skies". Pascal Benjamin gets into a tight, focused funk on his version of "Reservoir", and then Jorge Savoretti flies in an "Ethereal Dub" of "Catch Me If You Can".