Offermann sticks the closest to a standard disco-edit template with "It's Gonna Be Heaven," drawing out a single bar of opal-tinged funk into what feels like an infinite climax, using the requisite filters and drum machines for sculpting and support. What makes it work are the little details—filliping saxes, muted background coos—that tug it gently off key.
Venedikt Reyf takes a different approach on "Keep Right On": the vocal sample comes from a 1973 soul hit, but that's the only part of the original that Reyf has used. The voice is set against an original production—brooding, analog house in fine Dial style, with crisp percussion, wispy synthesizers and a bassline that's both driving and understated. It's a remarkable transformation, but more than that, it's a powerful, late night jam in its own right.
Ljubljana, Slovenia's Vid Vai edges back towards traditional edit territory with "Hard to Get," reprising the hook from an early '90s New Jack Swing hit. There's a little Lee Foss in the way he writes a squelchy, mid-tempo house track to suit the contours of the vocals—I'm thinking particularly of Foss' "U Got Me"—but Vai goes even swirlier, whipping up vocal harmonies like heavy cream. Quite the opposite of the easy-payoff school of edits, he's playing hard to get, just like the song says.