“Rush Hour must have found an enormous blob of vinyl in their garden shed recently because they released no less than twenty 12-inch records in 2007, including two EPs worth of remixes of Aardvarck’s old schoolish ‘Cult Copy’. Best of the bunch—even outclassing the Carl Craig and Dexter remixes—is 2000 and One’s jackin’ Chicago Dirt remix, which dispenses with most of the original and remains content to pump a revolving Midwestern synth stab over cavernous techno beats for seven minutes. Not much more to it than that really, but the trick is in the sound of the synth: “filthy” and “dirty” are two of the most clichéd words in dance music, and might even be banned here on RA, but 2000 and One redeems them with a synth that honestly sounds like it has a bit of grit stuck inside its filters. Don’t clean that machine, Dylan!” - Jeremy Armitage

“Audion rips up ‘I’m a Man’ and rebuilds the track as a sort of "Nick Cave does acid house" confessional. The result is truly anthemic, but not in the huge speaker-blowing way that Audion's recent work has been. Still, when it does ignite, stand well back. The remix works because you'll find yourself thinking that the eleven minutes in which you listen to it are the most intense and vital of the evening, making it the perfect record with which to finish or start a set. This is even more miraculous when you consider the fact that the original is a piece of truly desperate cock rock that sounds like what would happen if Buddy Holly and Trent Reznor had a Summer/Moroder style sexual encounter in the recording booth. It's a testament to Dear’s skills that his remix uses little or no elements from the original and yet his remix sounds like you really wish Black Strobe would: lean, mean and dangerous.” – Ronan Fitzgerald

“The string-laden original of 'In The Trees' has remained something of a (reasonably widely available) cult classic, so the good folk behind Juno.co.uk decided to mark their tenth anniversary by making it the first in their ten-part re-release/remix series. All mildly interesting – until we heard they had roped in Carl Craig, and then we got quite excited. And then we put his C2 remix on and got even more excited, as it's very good indeed. Beginning with dramatic stabbing synths, Craig slowly layers the key elements into an impressive, all-encompassing groove. The eventual arrival of the distinctive orchestration is quite an event—doubled-up and slightly phased, the strings carry an impressive malice unthinkable from the original. It's a big track—another big track—so it begs the question: when is the “Carl Craig's getting too damn popular” backlash going to begin? Any Detroit-obsessed dullard brave enough to call him out? More fool you if you do.” - Barry O’Donoghue

“Like their British counterparts Hot Chip, the Boys have crossover appeal to both ravers and rockers alike. I’m always a sucker for quality vocals in my house music thus ‘Like a Child’ lends itself well to the remix treatment with Jeremy Greenspan’s sultry whisperings leading the charge. Carl Craig strips it all back to great effect, speeding things up for the dance floor and leaving only a continuous loop of the opening melody. While the original is a slow dreamy melodic number, Craig creates a building intensity, really stretching it out. After working you up for a good four minutes, the beat finally drops and you are left with a sense of satisfaction that Carl has come through again—all that’s left is to shake your ass and ride it on home.” – Angus Dawson

“Though advocated as dubstep’s infiltration into techno, this in fact is the opposite. Shackleton’s original was a conga driven track with a lightness of touch in the percussion that lent itself very well to after-hours party mix-ins, and that’s just what happened in 2006. Fruit ripe for Villalobos to pick, his treatment of it is testament not only to the genius of the original, but of his sensitivity to the emotion in Shackleton’s production, which he distills with great skill and care.

Bringing the mournful vocals into the foreground in sharp relief against the modulating rhythm and haunting synth fog, Villalobos opens up vast spaces in the track, all of them vertically below, creating a sense of teetering on the edge of unfathomably deep chasms. Over eighteen plus minutes of undulating landscape, Villalobos creates sharp flashes of brilliance – peaks and troughs of tragedy that are creepily, brilliantly uplifting.” – Janet Leyton-Grant