In which Actress douses the rejoicing Noah with gallons of water, slips him a stiffener, and pulls him by the marimbas straight onto the dancefloor. Cracking remix.

‘The first collaborative release by Pretty Sneaky and long-time friend and co-conspirator Koldd, aka Norman Levy.
‘Seven themes lysergically weave field recordings of bird calls and wind/water together with pastoral synth lines and resonating modular patches on occasion sideswiped with a bass-heavy thump and stripped back percussion.
‘A mysterious offering for outward-bound heads with lodgings on the dance floor. The sort of thing you might play for your friends after a night out, which blows them to smithereens.’

Classic mood-lifting party stomper, with RC rabbiting on about how he likes to party, over a looped sample from Blue Magic’s Welcome To The Club. With a dub, besides two mixes and an accapella.
‘Doctor Love was my song, and I would only take deep breaths, and fill my lungs with the rhythm, with the bass… I get deep.’

An astounding compilation of the breakneck Shangaan dance output of the Nozinja studio in Soweto, recorded between 2006 and 2009.

Epic, protean brilliance from the Sotofett corner, bumping nylon New Age and ill Chill Out up against reggaeton and jungle exotica, spilling batucada-style percussion workouts out of clean-heeled house.
Each side spins the wheel and introduces a new collaborator or two — Phillip Lauer from Tuff City Kids is here; Gilb’r from Versatile (on a new version of Pulehouse)...
The knockout punch is there on side three: Nondo — which means ‘Heaven’, ‘Eternity’ — starts out as an electro-lullaby from Côte d’Ivoire, sotto voce and abuzz, before lifting off as a zinging, anthemic, future-house-classic.
A real tour de force all round, gusting in from Moss.

Three murderous steppers dubs on a propulsive, rat-tat-tat rhythm, combining mystical spaciousness with detail and ferocity. Angry-lion bass and smears of brass, fusillades and explosions, scares and shocks, oriental pentatonics, clattering percussion and synthy transcendence… the business. The second mix is nastiest; the third is the wildest and most discombobulated (and our favourite).
Bim bim bim.

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

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.