Review: Of all DJ duos currently operating in British dance music, Belfast boys Bicep might be the hardest to pin down (Optimo aside, of course). Certainly, this debut album is not easy to pigeonhole, though it is an enjoyably cohesive listen. This is largely down to two factors; the frequent use of deliciously colorful and loved-up synthesizer parts, and the duo's innate ability to utilize beats tailor-made for dancefloor devastation. So while keen dancefloor historians may notice sly (and not so subtle) nods to '89 rave, U.S house and garage, Italo-disco, late '90s progressive house, jungle and early British hardcore, the album never sounds anything less than a fine set of Bicep tracks. Expect it to be one of the biggest albums of the year.
Review: Omar S treats us to a second release in the space of a week, with a much deserved reissue of some 1996 Roy Davis Jnr rawness across the A Side. The Stevie Wonder classic "All I Do" gets chopped up, laid over a killer Chi town beat filled with instantly gratifying raw drum edits and augmented by some evil bass thumps. Relentlessly brilliant and sounds just as fresh some 14 years on. Echoing a current trend this side plays outwards from the inside groove. On the flip Omar S teams up with DJ B Len D for the bongo heavy deep groove of "Da Teys" a track that's characterised by melodic keys which increase with curveball drama as the track progresses.
Review: Sneaky remix action alert! We're not sure who DSO is (or are) - internet searches come up blank - but the two tracks on this 12" genuinely hit the spot. A-side 'Love You More' puts a new spin on the Sade classic of the same name, adding the '80s soul star's vocals to a hypnotic deep house groove, dreamy chords and occasional flecks of wine bar saxophone. Over on the flip the shadowy remixer(s) offer-up a radically different new take on Erykah Badu's 1997 hip-hop soul gem 'Apple Tree', reimagining it as a rolling chunk of deep house warmth. It's basically soul-fired, 21st century hip-house with enough depth and atmosphere to please deep house heads.
Review: After hitting on something of a formula with 'Only Human', this A-side banger is further proof that Four Tet is onto a rich vein of side hustle action with his KH alter ego. 'Looking At Your Pager' is a cheeky slice of '90s throwback-ism in jackin' house form, and in a heuristically Hebden-esque style, makes deft use of the hilariously autotuned opening verse heard in 3LW's girl band hit, 'No More'. It's a very clever tune; just as no-one uses pagers anymore, nor do people use the kind of dubstep wobbles heard underneath the track's clacking groove... Mr. KH makes them cool again!
Review: MOY has been whipping a very tasty strain of braindance over the past year across a number of labels such as AC Records, Batrachian and Exalt. These are surely bountiful times for warm, playful acid and tricksy electro, and this latest drop from the London-based artist on new label Emotec surely adds fuel to the fire. MOY's sound is rounded and self-assured, striding forth with the moody, breaks n' bleeps vibe of 'Dreamcoast' and bolstered by the emotional jack of 'Wheel Of Time'. 'Echolab' has a fatter, more polished finish to it, but once again the gnarly 101 and 303 lines are front and centre. 'Cyclotron' offers up something a little deeper to close the EP out, completing a beautifully rendered set of braindance dynamics.
Review: REPRESS ALERT!: Admirably no-nonsense house duo Dungeon Meat kick off a new label here, Slabs, which aims to serve up only the chunkiest hulks of wax aimed squarely at the club. Borren takes charge of the first platter and is the latest fast-rising talent to emerge from the ever-fertile Dutch scene. He has come up on a diet of Bret and Slapfunk parties and that shows in the tunes he presents here. 'Up Next' is heavy but silky, with gliding grooves and splashy cymbals next to cut-up vocals that will amp up any party. 'Beat My Shit' is another no-frills hardcore house assault with drums that have just the right amount of swing under old school chords and busy melodies that never rest. A fine first release.
New Ferrari (Harvey Sutherland Weird Flex 12" mix) (6:09)
Review: Here's a pleasant surprise: a fresh set of remixes of killer cuts from the back catalogue of Melbourne-based band Surprise Chef, whose hard-to-pigeonhole take on cinematic soul contains numerous nods to classic jazz-funk and Brit-funk jams. Masters at Work give their take on 'Crayfish Caper', first joining the dots between Afro-beat, jazz-funk and West London style bruk on the 'Nuyorican Broken' mix, before delivering two house-style revisions - the squelchy, synth-bass-propelled 'Masters at Work Mix' and the tougher, more percussive 'MAW Dub'. The EP's other interpretations come from Harvey Sutherland, whose 'Weird Flex 12" and 'Weird Flex' revisions of 'New Ferrari' add the band's jazz-funk instrumentation and spacey synths to a warming, off-kilter deep house groove.
Review: In his usual no-nonsense fashion, Theo Parrish has not said much about the surprise release of Gentrified Love Part 2, despite it being his first fresh material since 2014. The EP features contributions from two of the Detroit's legends oldest friends: Rotating Assembly member Duminie DePorres, and original Slum Village member Waajeed. A-side "Warrior Code" is a quietly foreboding proposition, with spiraling electronics, jammed keys and cosmic chords riding a chunky, West London style broken beat groove. Flip for the altogether brighter and breezier "Leave The Funk To Us", a jaunty and jazz-wise 4/4 excursion blessed with some superb, Herbie Hancock style jazz-funk keys.
Meftah - "When The Sun Falls" (feat Mohammed Meftah) (7:16)
De'Sean Jones - "Psalm 23" (2:13)
Ian Fink - "Moonlight" (Duality/Detroit live version) (8:05)
KESSWA - "Chasing Delerium" (feat Nova Zaii) (3:33)
Specter - "The Upper Room" (10:23)
Raj Mahal - "Hudsons" (2:01)
Raybone Jones - "Green Funk" (6:09)
Whodat & Sophiyah E - "Don't Know" (5:25)
Howard Thomas - "Experiment 10" (4:33)
MBtheLight - "aGAIN" (T edit) (2:48)
Sterling Toles - "Janis" (4:05)
Review: Theo Parrish is a world-renowned name in the global Detroit house and techno game, and he's thrown a fascinating curveball as the latest entrant for the acclaimed DJ-Kicks series. Mr. Parrish has gone above and beyond the duties of most invitees - rather than just licensing tracks from his favourite artists and big-name-friends, he's asked his own community from Detroit to each produce their own mixable tracks, exclusively for the comp. What's more, these are hardly established names - they're organic connections to Parrish, not occupying the top layer of attention and recognition. Bits from H-Fusion, Jon Dixon, Donald Lee Roland II, Ian Fink and Raybone Jones all dominate this anarchic new deconstruction of the otherwise exclusivist mix series.
Review: Bicep's second album is shaped by the experience of touring their debut long player for something like three years, a period during which they honed and perfected their instinct for tracks that would stand the test of time and repeated listening. What develops is a distinctive style typified by a combination of ethereal sonics and cheeky, memorable instrumental hooks, only set to a variety of beats that reference and indeed fuse the plethora of different dance genres that have sprung up since the acid house revolution if the mid-80s. So we get everything from the electro-tainted 'X' to 'Rever', where an African choir floats over a subtle deep house shuffle and 'Saku', where UKG bass pressure and skippy beats provide a hypnotic background for Clara La San's sweet but ghostly voice.
Review: The word 'legend' gets banded about rather a lot, but it is certainly applicable to West London scene stalwart Kaidi Tatham. Further confirmation of this elevated status can be found throughout "It's A World Before You", a staggeringly good album that marks the musician-producer's first solo set for some seven years. While rooted in the kind of warm, rich and life-affirming jazz-funk-fuelled broken beat workouts with which Tatham is most readily associated (and they're naturally superb), there's plenty of killer diversions dotted throughout. These include a couple of spacey, soul-flecked ambient rubs, a sublime collaboration with hip-hop/modern soul fusionists Children of Zeus, and a fine head-nodding hip-hop jam featuring rapper Uhmeer. In a word: essential.
Review: Italojohnson has clearly decided that less is more, having limited their output to one self-released 12" a year since 2013. Volume 10 in the mysterious threesome's self-titled series predictably contains more twisted, tried-and-tested material. The untitled A-side sounds like a modern update of a breakbeat-boasting Frankie Bones classic, with hectic bursts of percussion, surging sub and a classic riff taking it in turns to impress. There's more of an acid house feel to the similarly untitled flipside workout, with booming, mangled vocal snippets and sharp electronic stabs riding a thunderous groove, '80s electro hits and a classic Chicago bassline. There's little subtle about either track, but they sound like guaranteed floorfillers.
Review: A classic from the mighty Hooj Choons back catalogue, Lustral's 'Everytime' gets a much welcome reissue here, featuring all the mixes from the original version of the release back in 1997. There's Nalin & Kane's sensual and evocative remix which is a true zeitgeist of the progressive house sound in the late '90s - if we've ever heard it. Label co-founder Red Cherry's saucer-eyed and bittersweet sunset breaks makes for an equally memorable remix too, as well as the sunny house vibes of the original mix featured last on the B side.
Review: Patrice Scott's long awaited debut album, Euphonium, was arguably one of the most underrated full-lengths of 2015. Happily, he's kept the quality threshold high for this follow-up EP. "The Detroit Upright" is particularly potent, with effortlessly smooth keys stretching out over rich chords and bumpin' deep house beats. On the flip, Scott doffs a cap to the hazy, jazz-funk influenced styles of 2000 Black, on the impeccable broken beat/deep house fusion cut, "Who We Are". Weighty at the bottom end, and blessed with both starry keys and delay-laden synth lines, it's the kind of track you could imagine Theo Parrish losing his shit to.
Review: Johannes Kolter is Kolter, an artist formerly known as DJOKO, and now a hotly tipped breaks and garage head who has already got plenty of attention. Here though he makes a grand and widescreen statement with the first release on the all-new Pilot label. It is a stylish and adventurous record with plenty of killer cuts from the downbeat hip hop opener to the deep house delights of 'Journey' via the elastic and energetic future house kicks of 'Roboflow.' Showcasing both a knack for well craft synths and expert drum programming precisions, this record plays out like a mini DJ set with all the twists and turns you need to keep you on your toes and fully engaged.
Review: Here's something of a pleasant surprise: Studio Barnhus co-founder Kornel Kovacs turning up on Glasgow's masters of all things dancefloor-friendly, Numbers. While there's a little more of a garage swing to opener "Lighthouse" - think darting string samples, booming sub-bass and energetic deep house drums - the Swede doesn't seem to have wandered that far off-piste. So, we get some undeniably classy, jazz-flecked deep house (the rubbery and flexible "Gangsta"), a surging, saucer-eyed dose of piano revivalism ("Malon", featuring Marcus Price, and some suitably jumpy drums), and, best of all, the late '80s Paradise Garage Latin house brilliance of "Pantalon". Stellar stuff, all told.
Review: Johannes Kolter is Kolter and is also a producer who went under the name DJOKO. He's been busy this year with plenty of goodness dropping including an album and three EPs. Now comes hit sone, again on his home label Pilot. It is inventive stuff that functions well on the floor as it straddles the worlds of breaks, house and plenty more. 'Got High Again' is lively and dynamic with its squealing leads and dusty breaks, then 'Weirdo' layers up leftfield melodies and blurts of playful synth modulation. 'Prospekt' is a wild fusion of rock riffs and high-speed funky breaks and 'Duck Concert' closes with hardcore drum breaks and soulful synths next to mad scratchinG.
This Is Message To You (feat Nadine Charles) (4:01)
The Negative Positive (3:17)
What's Good For You (feat Obebewa) (3:27)
Recovered Memories (feat Samii) (3:05)
She Is Virgo (2:28)
What's An Inferiority Complex (4:15)
The Disclaimer (2:04)
Review: Over his long and illustrious career, Dennis 'Dego' McFarlane has made music in many complimentary styles, but it's been broken beat with which he's been associated with for the least two decades. Alongside his friend and regular studio partner Kaidi Tatham, he's developed a particular strain of "bruk" that incorporates elements of jazz, electrofunk, soul, boogie, jazz-funk and, more occasionally, hip-hop. It's this fluid, attractive, synth-heavy sound that's at the heart of The Negative Positive, his first solo full-length for two years. It's as well-made, soulful, slick and musically rich as you'd expect, with a series of stellar vocal numbers joining a swathe of similarly impressive instrumentals.
Review: London-based label For Those That Knoe returns with a terrific release by underrated Slovenian producer Vid Vai. He's been slowly yet steadily honing his craft over the last 12 years with releases on respected labels such as Assemble Music, Tvir, Gilesku and Oskar Offermann's White to name but a few. Laminar Flow also happens to be his first full-length, taking in a wide variety of moods and grooves along the way. From the evocative and acid-laced flow of 'Incubation Theory', the sci-fi electro of 'Oort Cloud' to the sublime ambient offering 'Dusk By The Bay' and the saucer-eyed sunrise breaks of 'Shifting Sands' - the result is a timeless piece of liquid-smooth sonic art.
Review: Marking over 16 years as an artist, Robert James unveils his debut album Battle of The Planets. A milestone in any musician's career, the LP illustrates the breadth of Rob's tastes and influences, exploring the rugged terrain of planet electronica. Ranging from breaks and electro to house and techno, Battle of The Planets was made during lockdown, a period of creativity and isolation for many artists around the world. Across 10 skillfully produced cuts Rob takes us on an intrepid adventure into the cosmos, where mysterious atmospheres and uplifting melodies sit side by side with captivating dance floor rhythms. Many shades of his personality come through on this album, all tied together by his unique sonic identity; informed by his years spent on the dance floor, behind the decks and in the studio. On Battle of The Planets Robert James presents a distillation of his extensive knowledge and experience into one succinct, highly engaging body of work.
Review: UFO Series starts 2022 with a high quality and intergalactic EP from a revelation artist called Moy On Wire. Emotional focused music that can remind us of many classic, warm and extra terrestrial sounds,crazy secuences even in fragments of the EP you can start making memories of the incredible space duo daft punk.
Review: Taking a moment to pause from their extensive exploration of Persian's illustrious archives, the Mysticisms lot turn their attention back to another fine exponent of UK dance music across the eras. Neil 'Nail' Tolliday had an incredible hit rate with his productions in the mid 90s, and he's since embarked on a mammoth resurgence over the past eight years which almost eclipses those seminal early days. After reissuing the classic Cassiopeia 12", Mysticisms hit up Tolliday for some unreleased gold which he dutifully served up in a blissed-out haze of winding synth lines and deep-digging drums. It comes on a little more wigged-out than you might expect from Nail, showing further insight into the formative years of one of the true stalwarts of UK house music.
Review: It's still hard to keep up with all of Burnski's many different labels, but we're not complaining. This one, Constant Black, mixes up things with a tech and minimal twist and next to do so is Daniel Akbar. 'What' soon wins you over with its kinetic and infectious drum programming and smart samples - a phased vocal and a twisted synth lead. 'Retreat' gets more physical - the drums bang with an old-school flavour and hint of tribalism. 'Listen' is a big fat tech roller with low slung bass and 'This One' rounds out with some brilliant drum, hits and brain-frying bass sounds. Pow pow, what a record.
Review: Four new tracks from EB Flow mark the latest release from the ever prolific Constant Sound label, as ever providing solid and dependable dancefloor gear that boasts a myriad of different flavours. 'Sunshine' wastes no time setting up a strutting, Van Helden-esque groove and lets it roll, adding a few vaguely nostalgic samples on top. 'Running' has more of a breaks feel, harking back to the days of rave's roots when breaks and acid could sit together naturally rather than in different genre pigeonholes. 'Before' is the most minimal of the four, peppered with frisky garage snares and a subtle but ultimately devastating filter breakdown, while a feelgood gospel-style vocal gives the closer, 'Searching', a lovely optimistic tint. Constant Sound continue to deliver.
Review: After a superb debut release, Forgotten Coordinates is back with a follow-up from the eponymous artists behind the label and once again this is a tasteful excursion into the realms of minimalism and tech. 'Be Good To Me' pairs a snappy tech house drum and clap combo with some spaced out and intergalactic pads and a stone code classic vocal that will cause dance floor carnage. Things get punchy for 'Let's Get This' with its warped low ends and amped-up beats all seven to get you on your toes and vibing. Two classy and effective tunes for sure.
Review: Anton ScruScru Bogomolov is a mega hyped artist but for good reason. His slew of singles have all been noteworthy and now this new 12" overflows with more brilliant ideas. After a hugely prolific 2020 he shows no signs of slowing down here. Once again he fuses classic jazz-funk style with fresh London broken beat and wall that is good about the current jazz scene. Blurring boundaries as he goes this could be as good in a live setting as it could through a big sound system in a club. Big chords, bristling drumming, disco energy, it's all here and then some.
Review: It's all about the early 90s vibes on this 12" from Fauvre as four underground anthems from the era are revisited. Forty Wings Dynamo's 'Inversion' has a dubby, dreamy progressive house feel, its epic outlook and echoing percussion inevitably bringing Leftfield's first handful of 12"s to mind, before 'Raveolution' (Acid mix) brings a more jungle techno feel with sliced up breaks skittering around the four-to-the-floor kicks. Pedro Bertho's 'TOITOI' starts side two, nodding to Jaydee's 'Plastic Dreams' with its soulful keys creating magic over a simple, banging techno framework before COEO's 'Vertigo' gets to work with its proto-breakbeat beats and one utterly orgasmic breakdown. Well worth a step back in time.
Review: Lisbon-born, London-based producer Silvestre came to light on Disktopia before starting up the Padre Himalaya label to house his unconventional chuggers. This release for Secretsundaze finds him exploring his sound in greater detail, folding in a certain amount UK rave energy amongst other more esoteric motifs. The results are spellbinding, from the twilight marvels of "Lights" to the slow breakbeat chops and delirious harp trills of "Fuego". At times the ideas have a scuffed mixtape quality to them, which only adds to the charm. D.K. is on hand to deliver a remix for the broader needs of the dancefloor, although he wisely keeps the beguiling qualities of "Fuego" intact as he nudges it closer to the party.
General Electrik meets Andy Rantzen - "Leather Lover" (5:50)
Jandy Rainbow & Adrenalentil - "I Will Go" (7:19)
Sobriquet - "Is This Your First Time?" (Artificial remix) (4:03)
Blimp - "Yellowgold" (4:33)
Inner Harmony - "Da Lub Club" (3:03)
Maroochy Barambah - "Mongungi" (dance mix) (6:39)
Third Eye - "Behold The Angel Of Frequency" (5:08)
Tetrphnm - "Track 11" (3:59)
Screensaver - "Eliminated" (3:55)
Review: Efficient Space's latest essential release sees Andras and Instant Peterson take a trawl through the darker, lesser-visited corners of Australian electronic music. According to the label, the pair lifted material from "local 12" singles, CD-Rs and the archives of community radio station 3RRR FM". Highlights come thick and fast throughout, from the acid-flecked, "Nude Photo" style Detroit fun of FSOM's "Resist The Beat" and chiming, trumpet-laden bliss of Ian Eccles-Smith's "The Slaughtering Eye", to the jaunty, mid-90s New York style bounce of Blimp's "Yellowgold" and the ultra-deep ambient techno pulse of Tetrphnm's "Track 11". Check, too, the enveloping dreaminess of Screensaver's drifting ambient closer, and the jazzy dancefloor depth of Inner Harmomy's "Da Lub Club".
Review: You've heard of Two Shell, but now it's time for Two Cold, whom you almost certainly (and criminally) haven't. A mysterious project blending lo-fi, acid house, and electro, 'Desert Leather' is their latest statement of intentional crunch, spanning everything from dungeon-synthy workouts to bouncy acid oddballs. Most of note is the sonic rubber ball that is 'Katanga Slide', essentially a sports-whistling body-motivator from cyberspace.
Review: 'Wanna Dance' is the new jam by deep house heavyweight Sean McCabe (Good Vibrations) and Last Forever chief Turbojazz. Said to be conceived during the lockdown period, the track recalls the energy of classic Detroit deep house and even features one of the city's favourite voices in the form of Javonntte. On the flip, the spiritual vibe of Moondance's rework calls to mind the work of Motor City legend Alton Miller, while EVM128 aka Evermean Beats really soaks up the vibe of his new hometown - London - on his nu-jazz broken beat perspective that would make even Kaidi Tatham stand up and notice.
The Missing Member - "Cold Knights" (Re edit) (6:53)
Nathan Coles - "Burning Remixed" (6:46)
Flunky - "Rattlesnake" (7:45)
Review: Alongside co-founder Nils Hess, Sushitech's main man Yossi Amoyal ventures into new territory with Endell Street, a fresh imprint named after a bustling London thoroughfare that was home to the Eukatech record store. The label's focus? Reissuing gems from the Eukahouse archive. With Amoyal's expertise and dedication to curating quality releases, Endell Street is poised to make waves in the realm of deep house and beyond and it does that with this EP. Featuring a trio of no-frills, original tech house sounds that are primed and ready for the club, The Missing Member, Nathan Coles and Flunky all feature.
Review: The GLBDOM label is on a roll and we don't want it to stop. As was the last with the seance EP, this one is a various artists' affair pressed on nice heavy vinyl to match the heavy sounds. Ollie Rant opens with the quirky melodic leads and sleazy deep house loops of 'Aaaww Yeh' before Manuold brings some Chicago bump and grind on 'Roots.' The hats and drums are perfectly raw and lead you 'Deeper Underground' and into the jacked-up hands of Yann Polewka. Last of all comes some cheeky garage swing and swagger courtesy of DAN T's' nice dry 'Hold Me'.
Henry Hyde - "Every Day's A Good Day For A Swim" (6:18)
Review: The ever-charitable Needs project continues apace with another stunning cast of characters offering up their dancefloor creations to help a good cause - the environmentally-focused Cool Earth NGO. On this 12", Eris Drew delivers the uplifting breakbeat celebration of "See You In Snow", while Edward takes things deeper with the tripped out minimal house groove of "Mind Loop". D. Tiffany brings a particularly crafty approach to her own drum funk science on "Sun Trip" and Henry Hyde cools things down with the mellow, new age 2 step stylings of "Every Day's A Good Day For A Swim."
Review: (Emotional) Especial and Giraffi Dog join forces once more to offer up the second installment of their concept EP series. It is focussed on live and studio collaborations and this one comes in two halves: the first half kicks off with '6th Chakra' (feat DJ Deflektorschild) - a fully live deep house and hi-tek soul exploration with mind-expanding synths and Detroit drum sounds. 'King OTN' is a jack dup acid cut ripped with cosmic synth details and 'DX Metero' has sheet metal synths lashing about next to ethereal synths and busted drum breaks. 'Starfather' is a star-facing closer with elegant piano notes dancing over serene grooves. A vital showcase of this essential live artist.
Review: The Plastik People label has been going along nicely for its first few releases, with label head Marc Cotterell stepping up and coming correct last time out. Now he calls upon various artists with Dave Charlesworth taking care of the a-side of Nice Ripe Cuts. He offers two super slick garage cuts that cannot fail to make their mark on the club and it's no different on the flipside except D Lux & Y No combine first for '25 Miles' and then S R offers the irresistible 'Pressure.' An essential 12" for anyone looking to bring some fresh garage flavours.
Review: Berlin's Giraffi Dog and (Emotional) Especial have joined forces for a special two part EP series that brings their live set to wax. It came after so many live tours were cancelled during the pandemic and proves to be a great success. The Giraffi Dog sound comes from Max Webber who debuted it with his L'Existence Du Reve album back in 2016 and further drops on the likes of Aiwo Recs and the WARNING label series. Poker Flat and Dessous associate Max Heesen was then brought on board to take the show on the road and thrill crowds with elements of their punk and hip-hop background colouring their breakbeat driven club cuts. These have been recorded live in the studio using drum machines, synths and vocoders and really do capture their pair's live energy.
Review: After this pair of Leeds residents made waves last November with their first EP for Pilot, Bobby O'Donnell and Reeshy return to lay down four new tracks that definitely stray towards the electro end of the breaks/electro spectrum. There's a sense of continuity, as the first EP's tracks - labelled 1-4, are followed by tracks 5-8, as well as being executed with a proper human touch that not all such machinefunk can boast. '6' is full of spiralling Drexciyan mystery, before being pared down to an LFO-style bass prod. '8' also echoes the former legends of Leeds with its dreamy pads and acid backdrop - something in the local water supply. Definitely funky enough to keep the breaks DJs onside, but with a thorough knowledge of love of 40 years of electronic music heritage at its disposal too, this is one release you should make sure you not miss.
Review: Following up that excellent Synchronicity on EP Phonica AM a couple of months back, hero of the Birmingham scene Subb An returns with more underground quality with this new one on the mighty 20/20 Vision. 'State Of Flow' is an emotive and breathtaking affair that's equal parts acid, progressive breaks and UK tech house with a seething Reese bassline lurking throughout that underpins angelic vocals. Over on the flip, remixes come from Adam Pits who takes you beyond the strobelights to reach for the lasers on his ravey take, followed by Armec's menacing experimental techno rework.
Review: It's testament to the enduring quality and far-sighted nature of Future Sound of London's iconic 1991 single 'Papua New Guinea' that it keeps being 'rediscovered' by new generations of DJs. It has been a while, though, since any new reworks dropped - hence this 'Rebooted' edition. L Major kicks things off with a suitably cosmic, psychedelic and slow-building proto-jungle style offering, before Nishiesque flits between passages of hot-stepping, synth-laden d&b and slo-mo 4/4 chug. House heroes Soul Central reach for vintage hip-house breakbeats, ambient electronics and the original version's most life-affirming elements (the bassline, twinkling synth melodies and heady vocal samples), while Dee Montero re-casts the cut as a proggy, tribal-tinged tech-house roller.
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