Danny Lewis in his Enzyme Black guise has had a slew of fine releases out recently. First up for consideration is the ‘Tape Loopz’ EP consisting of two bouncing house tracks, ‘Tha Mighty Free'z’ and ‘Sunrayz’, both of which have unusual origins. Here Lewis describes how he found a bashed-up tape reel at Greenwich market and used the abstract music from the tape to build the tracks:

Next is the brilliant ‘Oh My Dayze’ with a skipping beat and irresistible horn riff bringing to mind Karizma or 90s Kenny Dope:

There's more of a literal 1990s reference on ‘90s Dub One’ which is a dusted-off production from that decade remastered for today - replete with a repeated vocal sample, M1 bass and organ chords, it wouldn't have sounded out of place on a Tony Humphries Kiss FM Mastermix. Finally, also worth a check is ‘Save Us’ with its filtered synth riff and cut up Hindi vocal sample.

Souled's Fresh Minute imprint keeps up the quality deep house pressure with the ‘3 Of A Kind’ EP. It features artists from Scotland, Germany and Slovakia but there's a common thread between the tracks. Soul Renegades' ‘I Won't Let You Go’ is the most obvious track of the three, its vocal refrain incidentally reminiscent of Seiji's ‘I Can't Let It Go’ referenced in last month's despatch, and has been championed by the likes of Gilles Peterson and Simbad. There's also Stratasoul's contemplative midtempo number ‘Thank You Music’ but the pick of the three is Sam Irl's ‘Lake’, which builds from an extended intro based on a simple piano riff into a mesmerising groove.

In a similar vein is the ‘Vacuum Boogie’ EP on Eglo records from new artist Floating Points with the epic Ron Trent-style spacey house of the title track and two slower tracks, ‘Truly’ and ‘Argonaut’, which might be of interest to fans of John Daly.

Spanish producer Deejaykul adds the acid to the soul of Losupastar & Aqueel's ‘Holiday (Nu Viaje)’ for his Quick Fingers Treatment, the restrained 303 riff an excellent foil for the vocals, the sweeping synth washes also harking back to 1980s boogie. That music style is more explicitly referenced in his ‘Don't Disturb This Groove’ remix of Gregory Del Piero's ‘My Only Love’ out on Del records.

Following on from his excellent Vooddub remix of Flowriders’ ‘Russellology’ last year, two recent productions by upcoming UK deep house producer Tomson come recommended. First, his and Benedict's Dotdash remix of Ronnie Ron's ‘Failure To Communicate’ on NYSoul, which builds subtly from a stripped down minimal groove until the monster string riff grabs you. Next is his Infostrumentral remix on Development Music of AtJazz and Domu’s ‘Info People’, mentioned in Deep:Files #6 which beefs up the drum sound and spins out a heavyweight deep house cut from a little snippet of vocal and keyboard riff.

Domu pops up again with a pair of house remixes, adding really tight percussion to Ashley Thomas' jazz vocal on ‘Let It Bloom’ on Wahwah 45’s ‘A Tale Of Four’ EP. There's also a great Part-Time Heroes uptempo-but-subtle jazz house twist on ‘Would You Cry?’ and Ashley's own broken funk remix of ‘Maybe Is Maybe’, the brilliant keyboard solo a particular highlight.

Switching to the funk, Kokoloko's frontman, Ray Lugos - whose LES project is named for his NY Lower East Side neighbourhood - has a single release out on Record Kicks in advance of the album release next year. The B-side, ‘Get On Up’ is hard funk at a furious pace but it's ‘Dream Of Bahia’ which merits its Side A location, combining a guitar-driven, latin-tinged funk groove with Elani's lament in Portuguese for her home region: the African heart of Brazil.

More Brazilian-themed funk comes in the shape of Shantisan's ‘Favela Funk’ on Austrian imprint Innvision. The original version has a slightly early 1980s jazz funk flavour, with a two-step beat pitched around the 115bpm amrk. Roland Schwarz brings it uptempo, adding more latin character with piano and rhythm guitar but with still room for electronic twist, with overdubs and a squelchy synth riff.

Out on another Austrian label, Etage Noir, is Schwarz' own ‘The Crunch’ EP. The title track is a slice of jazz sax-driven midtempo funk replete with P-Funk bass synth. Bolton producer Diesler takes it in a completely different direction with an uptempo Soca-patterned house rhythm in the UK funky manner, muting the bass and switching the focus from the saxophone to a slightly 90s rave interpretation of the chord changes. On the flip is the big-bassed ‘A Long Way’, paying tribute to the distance jazz has covered. Parov Stelar dials down the bass and streamlines the rhythm for his remix which eventually builds into a jazz house monster.

Alice Russell's ‘Pot Of Gold’ album gets a fine collection of remixes on Little Poppet. 24 in total, instead of being picked by the artist or the label's A&R, Ms Russell turned the vote over to visitors to her website. There's a consistent funk theme to most of the remixes but they still range over quite a few styles and tempos. Highlights include ‘Got The Hunger’, both in DJ Vadim's twist with oversized bass and winding synth and J Boogie's reggae-influenced Houston remix, the samba and strings of GRC's Quiet Carnival remix of ‘Universe’ and Yellowtail's midtempo boogie on ‘Let Us Be Loving’.

Yellowtail also delivers some uptempo bruk-tech business with the five-track ‘Mangoose’ EP on Bagpak . The Brooklyn resident is probably only matched by the UK's Danny Native when it comes to consistently banging out nasty 130bpm ruff riddims like these. All five tracks hit the mark and there isn't a dud on the release with the best probably the distorted sub-bass-powered ‘Locust’.

Fellow Brooklyn artist Chico Mann specialises in a kind of lo-fi version of Afrobeat based around distorted drum machine sound instead of live drums. This influence is apparent on Mark De Clive Lowe's excellent remix for Shafiq from Sa-Ra Creative Partners' debut solo outing. On Plug Research's ‘En A Free Ka’ EP, MCDL's take on Nirvana adopts a very similar reverbed drum sound, Afrobeat styles and takes the hip-hop original on a journey through into afro-tech.