‘Perhaps the first time he has chosen to showcase the full range of his skills. The set is intoxicatingly rich and, with a couple of exceptions, largely downbeat… Sonically there’s much more variation — if not in the pace of the riddims, then certainly the instrumentation and textures — making it St. Hilaire’s most approachable album for non-dub-techno aficionados… A modern master whose importance and influence can now — though long overdue — be fully recognised’ ((Steve Barker, The Wire).

Hiphop turning points like The Payoff Mix and The Lessons, The Motorcade Sped On, Nothing To Fear in its entirety, loads of stuff including new work. Postmodern but politically sharp, so totally F-R-E-S-H.

Ace Berlin house, with a chronic case of the Disco Jerks.

Dazzling house-disco cut-ups, saucily steeped in soul classicism.
All-body coitus interruptus, dozens per minute.

The twitching, mangled corpses of Lemon and Tamiko Jones, left for dead by Frank Timm on the altar of cut-and-loop disco-house. Brilliant, rooted, and ecstatic.

A bass-bin trembler from the surefire doyen of nu disco-house.

A walloping one dozen tonics of close-cropped, spasming, blissed-out boogie abstraction, for dancin and prancin. Zinging pick-me-up blends of forensic, gleeful, sleight-of-hand skills and disco connoisseurship, school of Ron Hardy.
It’s a must.

Disco house on heat, school of Ron Hardy.
Disco edits at their most redemptively lethal. First up, Love Hangover…