From KTU's main man, Vic Latino's, comes Ultra Records latest compilation of the top commercial dance hits of the moment, as you will hear in... you guessed it, NY's KTU! A 2-CD affair, disc one features purely the latest commercial dance hits including Jenn Cuneta's "Come rain, come shine" and Lucas Prata's "And she said", though the album's high comes from the unrelenting beats of us Stonebridge's "Put 'em high", Mynt's "Still not sorry" and Supafly vs. Fishbowl's "Let's get down". Disc two changes pace to include hip-hop and disco-inspired club tunes. Although the later is a bit of a departure from the regular and more purely electronic sounds that we feature, this album is a solid compilation of latest radio dance hits and urban tracks that will satisfy the cravings of dance music fans looking for their favorite radio fare.
JD

This new project from Dave Seaman’s Audio Therapy has a simple premise: it gathers together the top production talent from a particular country to feature a collection of groundbreaking work. The series’ focus on selecting talent with a variety of styles, in this instance from Greece, gives this CD the inconsistent feel of a college mix tape, with tracks spliced together using short fades. On the other hand, that old-college-mix feel could also come from the persistent 80’s New Order and Flashdance inspired feel of many tracks, although there’s enough minimalist Progressive here to emphasize the cutting edge fervor of this project. With little mixing, Dave Seaman’s skills shine only in the devastating quality of his ear, which nevertheless guide this selection to success. V-Sag’s “I Wasn’t Impressed Enough” is simply one of the best Prog tracks I’ve heard in a very long time, layering trancelike loops over a deep guitar line that could have been written by Pink Floyd.
TS

Maybe the best thing about “Back From A Break” is that this mix dares break from the mob of this year’s CDs, which reach back to everything from Disco to New Wave in search of new material. Yet, Alex Gold still manages to carve out an innovative artistic space to call his own with this debut artist album, despite sourcing material from the familiar. Alex Gold contents himself with alternating heavy breaks and melodic, dreamy vocals with down-tempo beats to create a subtle yet energetic mix of songs. He shies away from the shock-and-awe production favored by peers, allowing sultry trance ballads to lure the listener patiently into a dreamy calm under a soft, down blanket, before stoking the fire with a variety of upbeat dance tracks that warm things up quickly. The standout is clearly “Electric Places,” which features a tight trance hook and driving rhythm. The contrast between tracks is what gives this mix such effortless energy, while drawing on a variety of genres gives “Back From A Break” a unique texture you will want to sample.
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Appropriately named, Nympho is a blissfully enthusiastic romp between the sheets, which is as deliciously sexy as it is absolutely meaningless. This mix jumps between musical styles with capricious abandon, held together only by the unrelenting fervor of each bubble-gum flavored encounter. Guitars, guitars, and more guitars shred one riff after the other, from the post-punk opening of “Come Play With Me” to “Got Over You,” which features such astonishing angst-inspired vocals and biting licks from Virgin Killer that Trent Reznor should be taking notes. Don’t let the goth-metal references scare you, because this mix also includes ultra-tight loops of 70’s anthems with “Into Your Eyes” and classic funky rhythms with “My My My.” But no track epitomizes the superficial sexuality of Nympho more than the big Mix Odyssey hit “Hear My Name.” In many ways, Nympho is as fleeting and shallow as the anonymous encounters alluded to, but lets face it: we’ve all relented to temptation ‘cause it’s just so fun to indulge from time to time.
TS

Infusion has always marched to a different beat than the rest of the electronic dance scene, so you wouldn’t expect them to follow the crowd of DJs embarking on retro journeys through decades past with crossover pop albums. While on the surface they do, this album delivers one track after another of glitzy, synth-rock, which blend hard guitar riffs and dark bass lines that lend truth to the albums title: “Six Feet Above Yesterday.” The selection builds to a crushing climax with “Love and Imitation,” destined to be remixed for years, and then backs off with a variety of idiosyncratic tunes, too include a dreamy balad in “Invisible.” This CD teaches us never to underestimate Infusion’s ability to innovate with a new format, yet to deliver the hard driving music fans have come to expect.
TS

“Frontiers” is a madly successful collaboration between two of house music’s most ubiquitous names. Both artists deliver consistent mixes of deep house, replete with complex tribal and Latin inspired rhythms, which fit together like your favorite pair of fleece-lined gloves. However, Behrouz proves himself to be the more patient of the two with a slowly evolving selection of tracks, which hesitate deliberately with each luscious theme, tantalizing the listener, before moving on the next movement. Without coming in second place, Yousef’s mix is simply a more playful exploration of jazz, blues and Latin samples, layered over the same sick beats. What distinguishes Behrouz and Yousef from their contemporaries is their celebration of industrial minimalism, where a great mix simply doesn’t need to be crowded with loudness. Frontiers shows us one thing: less is truly more, even when you’re talking about deep house.
TS

Anyone who didn’t get enough of orange polo shirts with “matching” lime green slacks in the 80s may want to pick up this arrangement of tracks reminiscent of New Order’s infallible youth. Of course, you don’t necessarily have to remember the musical highlights of the Reagan era to enjoy Timo Mass’s latest mix, but a nostalgic passion for New Wave certainly can’t hurt. Timo delivers contemporary, Y2K versions of the nascent techno sounds he grew up with, relying on a gritty industrial haze to mask the pop core of these tracks. You may recognize “Pictures,” “First Day” and “Big Chevy,” the catchiest songs of this selection. Could this superstar DJ be looking to cross over into the mainstream media with this recording?
TS

The sultry vocals of Kai Martin’s lead track “Brites” probably say it best…over and over again: “turn it on.” The hurricane Katrina of deep house this is not, but most residents of New Orleans may well tell you that’s probably not such a bad thing. But, anyone who’s spent a sweltering summer evening in one of the Big Easy’s more notorious haunts may be able to identify with the subtle sensuality, which pervades this disc. Not a barnburner, Kai Martin satisfies herself with a handful of candles with this mix, and perhaps you should take her queue.
TS

Overdrive manages to overwhelm the senses with mind-crushing energy and an adrenaline-induced pace, without falling victim to the general malaise of high-tempo beats: the monotony of speed. Uncompromising in its relentless effort to push the accelerator through the floor, jungle has never been more dynamic, with vocals ranging from the obligatory reggae and rap-inspired tracks, such as “Can’t Stop” and “Roots & Culture,” to Soul and Arabic vocals on Aphrodite’s own “Sometimes” and “Boomtime,” respectively. With more than enough punch to satisfy enthusiasts, even geriatric ravers with the mildest appreciation for the next generation of beats should consider adding Overdrive to their collection as a vibrant, continuously evolving example of DnB, which is buoyed by a gentle infusion of lyrical moments. Plus, you never know when your pensive afterhours will be crashed by pod of demanding Gen-Y clubbers, who will need to be impressed with your undying hipster sense of cool.
TS

Gavin Keitel rounds out his newest creation, Electric 01, with the refrain of “Rising” echoing “happiness, I want happiness” with bittersweet irony. In fact, there’s dreadfully little joy to be had in this brooding set, which combines down-tempo house rhythms with minimalist electro loops and the occasional terse vocal. Serious techno heads should get a big kick out of this arrangement, especially those with a penchant for German nihilism. Then again, everyone has those occasional dark, contemplative moments, which could be improved upon with the appropriate musical supplement.
TS

Armin's second artist album kicks off with a jolt and three prime trance anthems that will have enthusiasts jumping and singing with joy: "Wall of Sound" featuring Justine Suissa (from his prior hit "Burned with Desire"), "Empty State" with Mic Burns, and "Shivers", already a hit in Armin's native Holland. But then, as soon as we start to break a sweat, the jolt leads to a slump with "Golddigger" whose languid vocals and mid-tempo beats simply don't fit in. A swift recovery with "Zocalo" featuring Gabriel & Dresden and "Gypsy", two solid tracks, is followed by another even worse slump with "Who is Watching", a track that resembles mainstream radio fare. That aside, this CD features some solid collaborations and great dance peaks bound to hit dancefloors hard as well as please fans.
JD

For serious tribal freaks who just can’t get enough sick dark beats --like virtually every one of my friends, Felipe Inoa’s new mix is like Christmas in July. The earthen rumblings of the very first track sit you on a plane straight back to Sub-Saharan Africa, but the Dark Continent Inoa takes you to has a futuristic feel that compliments rhythmic sometimes haunting vocals. Inoa never lets up on the bass and bongos—at least not for very long—maintaining a high-energy mix that layers in a dynamic range of acoustics and manages to drop the hammer again and again for some blood pumping action. Apply named, this is a must have CD for serious fans of tribal.
TS

For those who never want the party to end, this CD is just what the doctor ordered. The resident DJs of NY city's afterhours/underground Moroccan lounge “Le Souk” bring to our stereos their 14-hour long Sunday after afterparty in this 2-disc set. Part one recreates the lighter, sexy, daytime house beats of DJ Swamy playing in the sun-filled back patio, whereas part 2 goes down'n dirty into the night as Astro & Glyde take over the decks. A sound that has been described as Ibiza meets New York, this non-stop house party will keep you and your late-night buddies up till the wee hours of the morning with its mix of sexy, dirty, tribal and overall sultry house beats.
JD

The second installment of Satoshi Tomie’s releases this summer, ES-B compliments its older sibling with the same retro-futuristic tech sound. While ES explored tech dance rhythms, developing an innovative, but solidly club-dance mix, ES-B moves this adventure to the realm of the after hours. Deftly mixing tracks with the chic feel of old school synthesizers and 80’s dance vocals inspired by classics from Yaz to Prince, all layered over mellow house beats, the artist illustrates the complexity of his foray into the decade that gave birth to electronica. ES-B may well be the more appealing of the discs in this series for the mainstream listener because of its relaxed down tempo swagger and cool velvety texture. One word of caution: both of Tomie’s discs borrow so heavily from Reagan-era classics that you may drive yourself nuts trying to decipher the exact source of every digital chirp and handclap.
TS

Any musical selection that starts off with a killer reggae-inspired track from Thievery Corporation and includes mixes from names like Mark Farina and Little Louie Vega, to name but a few, has to succeed based on music quality alone. However, the binding principle behind this set is the nobility of the cause, not an inherent commonality among the songs included on the disc. Better for road trips or Sunday afternoon barbeques in mixed company (house headz and “Others”), Reboot represents the very respectable efforts of top names in the industry. The mix starts off with an inspirational spoken poem on the absolutely devastating effect AIDS has on the people and variegated cultures of Africa, which is so severe that it threatens to stifle any chance of development on the continent.
TS

“George Is On” represents the house super duo’s effort to cross over into the mainstream with a mature album of packaged songs, ready for pop consumption. This new sound is already ubiquitous on dance floors across the country. Let’s face it, if you aren’t already familiar with the two top tracks “Flashdance” and “Say Hello,” you may want to consider crawling back under the rock from whence you came. While the guitar riffs and sugar-pop vocals of these tracks peak club sets everywhere, their top ten appeal becomes obvious when arranged together. Nevertheless, most of the tracks hold on to elements of the driving, dark core, which made Deep Dish who they are today—best examples are the booming bass lines of “Dub Shepherd” and “Sexy III” or the raw, industrial texture of “Bagels”, which unfortunately is only available on the European release. This is not the visionary sound of Yoshiesque II, but even devoted fans of their previous material should appreciate the triumphant success of this flirtation with the pop format.
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These days, it seems EDM artists are thronging to give their sets a retro-electro feel, which makes Kaskade’s “House of Om” appear almost counter-cultural with its contemporary selection of house tracks. Many of the tracks in this selection do, however, integrate en vogue ultra-tight electric and pop loops epitomized by the ubiquitous guitar riff of Deep Dish’s “Flashdance.” Notable in this respect are “Here I Am,” which Kaskade has remixed himself to start off this set, and Tanja Danker’s “Will I Ever.” Both of these tracks trade in the familiar dark synth for guitar riffs in their bass line. Kaskade’s hit “Everything” is at the climactic center of this mix, with a track selection that seems poised to cross over to mainstream pop without forsaking its deep house roots.
TS

In Renaissance Revelation, Nick Warren leads into his deliciously irreverent anthem “Dirty” with 20 minutes of pulsating progressive house, which rival anything I’ve ever heard recorded. For true fans, the thought of 23 new tracks on his latest compilation, GU#028 Shanghai, is almost a wet dream. In fact, this mix is more than that. While breaking new ground musically, Mr. Warren manages to hold on the very essence of his past success: a stunningly gorgeous range of dance tracks, which pack the 30ccs-of-adrenaline punch that defines driving progressive house.
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You may want to refrain from listening to Wowie Zowie in public your first time, since you’re likely to get your freak on in a big way or risk spontaneous combustion. From the opening moments of this disc, it’s obvious that Tom Stephan is going to take you one spectacular ride with a variety of funky, retro, tech and big beat inspired songs. While his funky house sound really carries the album with high-energy dance moments, several more techy tracks (including one featuring Pet Shop Boys Neil Tennant) keep the mix lively. Superchumbo shows us that the world of electronic dance music mustn’t be confined to late night dance floors, but can successfully navigate its way to the pop charts with universally admirable songs.
TS

Billed as one of the most innovative new DJs on the scene right now, Damian Lazarus certainly illustrates that he’s not going to follow the pack. Suck My Deck is nothing like your usual progressive mix, with a signature tweaky sound and complex rhythms that truly belong to Damian Lazarus. The standout is a remix of Thomas Dolby’s “One of Our Submarines,” which shows how futuristic 80’s new wave really was. Overall, this disc maintains the subtle texture of a down tempo lounge mix, without becoming lethargic. But, that’s just another way of saying this is not a dance party mix.
TS

Utilites opens with the remarkably fresh track “Through You,” which ambles along slowly with quirky, robotic vocals in an ominously unpredictable cadence. From there, Zabiela follows through with a sinister mix of dark and uneasy electro tracks, which keep up a relentlessly powerful pace from start to finish. Relying on little more than minimalist electronic chirps and sonar pings, which sound like they were produced by R2D2’s dark alter-ego, and the occasional vocal sample to layer over tracks like “Rykketid” and “Feelin’ Electro,” Utilities draws on the gritty industrial bass of this selection of tracks for incredible depth. James Zabiela shows us he’s undoubtedly the Darth Vader of prog, making us realize one thing: Luke Skywalker never really learned how to party.
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With Tech Mix 5, Micro shows us that his techno roadster can do 0 to 60 in about 6.5 seconds. And, about the time you think he’s maxed out his horsepower, he let’s you know he’s still just in second gear. At the same time, Micro manages to avoid the monotony of speed that can crush an ultra hard set, when it fails to establish a dynamic emotional range and blend of styles. He winds his set up with the retro-trance vocals (yes, VOCALS) in “The Spell,” and gives us another resplendent vocal mix of his own with “World Around Me” before really opening it up. Micro says breaks, but these are some of the most unrelentless beats we’ve heard since Misstress Barbara.
TS

While no aficionado of Naked Music, I had to check my iPod half way through this mix to make sure I hadn’t inadvertently selected a lost set from Miguel Migs. This comparison should, however, in no way detract from the originality of this mix. Rather, Ben Sowton and Rollercone fashion an incredibly complimentary set of two CDs, which flow together to form a sultry and sexy pool of deep house. The set overall builds slowly with smooth sax solos and varied soul vocals, which Rollercone rounds out with an entertaining journey through clubland. Not to be missed are Shik Stylko & Virginia’s “Feels So Right” and Rollercone’s own mix “The List.”
TS

The first Satoshi compilation in two years, E.S. (short for Electronic Soul) is the first of two summer CD releases. This latest compilation is yet another retro mix, which borrows from Devo, Men Without Hats and other old-old-school sounds. But, Tomiie manages to package these “retro techno” tracks in sleek, modern wrappings, and pump them up with the deep bass and funky rhythms that today’s listeners have come to expect from a great progressive artist. With “Yeahdancetomyrecordbitch,” you’ll find yourself doing just that deep into this record, along with the dark, funky and driving grooves of the next tracks, “We Interrupt This Program” and “Fake.” Tomiie makes it possible to break new ground with early 80’s inspired tracks, while delivering a thoroughly danceable set
TS.

Not one to be left behind, Luke Fair joins the fray of retro, Y1K-inspired releases this summer with OS 0.3. Shifting capriciously from funk to new wave and again to disco, OS 0.3 serves up a smorgasbord of scrumptious tracks, which all manage to seduce even the most stoic listener to shake some booty. True Luke Fair groupies should be delighted at this light hearted selection, even though the DJ seems to have traded in his legendary dark bass line for Saturday Night Fever orchestral maneuvers. Unfortunately, Luke doesn’t really crank up the driving energy level until the very last throws of the mix, which makes the majority of tracks from OS 0.3 better suited for the 4am come-down than the main event.

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With 18 tracks comprising Sasha’s Fundacion (Sasha's party based on Ableton's new live-mixing technology), this superstar DJ has plenty of room to experiment with new material. Sasha opens with a subtle blend of dreamy trance-inspired tracks, which give the first half of this mix a relaxed, lounge feel. He then builds up the energy of his set with adroit care, layering tracks delicately for seamless transitions throughout. Anticipation, however, prevails in the end, as “Fundacion” maintains its ethereal quality to the last track. By no means a barn burner, Sasha manages to craft a cerebral array of music, which should give fans a look into his calmer spirit.
TS

Just in time for summer, Tiesto's latest installment of the “In Search of Sunrise” series is upon us. Inspired by Tiesto's recent tour of Latin America, this CD is ripe with tropical flavors. The first 2-cd set in the series (fans rejoice!) this mix makes you almost feel the breeze of a warm summer sunset. The sound is still typically Tiesto's, though evolved and at his best. Excellent selection of tracks, including signed tracks especially and exclusively for this compilation, as well as great vocals makes this CD the best in the series.
JD

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In mixer, combine two parts Gloria Gainer and one part Yaz; gradually blend in Thomas Dolby and sprinkle with random samples from your childhood Atari game. This unpredictable concoction may seem as appetizing as the chocolate milk and orange juice goup you made in college, but this recipe makes some pretty damn good cookies, trust me. Ultra, the anthem compilation specialist, does it again, this time serving this summer’s freshest party hits with leftovers from the disco era. What comes out is Ultra Weekend, a journey through samples of 70’s disco anthems and 80’s electronica, which seems organized biographically, rather than historically, but finishes with a robust set of energetic dance tracks that have their place on a crowded dance floor. Particularly appetizing are the later tracks like “Star to Fall” and “Come Rain Come Shine,” which layer familiar pop lines and riffs in an endless loop over disco inspired house rhythms—and include a catchy sample of Paul McCartney’s classic “Silly Love Songs.” Disco is dead. Long live Disco!
TS

The eighth release in the Subliminal Sessions mixed CD series pits Subliminal co-founder Jose Nunez head-to-head with Swedish newcomers Steve Angello (aka Fragogiannis Josefsson) and Sebastian Ingrosso, currently two of the hottest names in house music. Nunez serves up a selection of tracks that spans the spectrum of house styles that have come to define the Subliminal sound. Angello and Ingrosso counter with a side that highlights their prolific output: 7 out of 12 tracks are either produced or remixed by them.
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The first "greatest hits" compilation ever from the house of Yoshitoshi, Dean Coleman's mix is as fresh as a summer breeze. A smooth blend of classic hits combined with new tracks released for the first time on CD, this album will appeal to deep house fans as well as those looking for a great compilation of favorites from the 2004 and 2005 summers.
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Balance 007 is 3-CD mix full of obscure electro cuts from the darkest corners of the globe. Also featuring established artists such as Carl Craig, Hardfloor, Bent, Slam, and Agoria, this compilation definitely one of the most interesting ones around. A cocktail of bleeps, beats and bass, this CD set is very underground and quite groovy. Educated listeners delight, fans of melodic sets abstain.
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Mark Farina is back with yet another installment in the downtempo Mushroom Jazz series. This series features his signature Chicago-house meets West Coast's jazzy organic style, and is very loungey and downtempo. What makes this compilation unique is the successful mix of hip-hop elements,seamlessly blended into a truly unique sound. A perfect sound for relaxed summer nights, good wine and close friends.
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A timeless and amazing debut album from Belgium's Pole Folder; “Zero Gold” is more than just another dance album. Depth and quality permeate throughout, from the main theme --the fears and doubts that afflict the human condition, to the atmospheric and melancholic sounds. This is not Pole Folder the DJ, but rather a moody and emotional composition of Pole Folder the producer and musician. A CD to be appreciated in intimate and introspective settings rather than noisy venues, this is an album that has already found a place among my collection of “classics” to be revisited time and time again.
JD

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