Rush Hour Holland Vinyl & CDs

Review: Niels Nieuborg has long been a player on Holland's live music scene, largely working with ex-pat musicians from Carpe Verde and Surinam. This superb three-track EP marks his first recorded output and includes collaborations with vocalists Americo Brito and Orlando Julius. The latter stars on two up-tempo chunks of boogie-era Afrobeat that sit somewhere between the Moog-driven brilliance of William Onyeabor and the up-tempo urgency of vintage Afro-disco. It's arguably A-side "Nos Magia", featuring Brito's distinctive vocals, that really stands out, though. Spacey and incessantly funky with fizzing electronics, urgent Clavinet lines and crispy Afro-funk guitars, it's not only a killer club cut but also a thing of rare beauty.

Review: Terrence Dixon's announcement of plans to retire from techno with immediate effect earlier this year have typically gone without any further explanation, though it's been heartening to see his final round of projects surface over the course of 2014. Having already committed a killer Population One 12" to Metroplex, Dixon delivers another fitting parting shot in this LP for Rush Hour, who took their name from his classic Pop One production "Rush Hour". Theater Of A Confused Mind is a powerful statement from Dixon, expanding on the sci-fi themes of previous Population One material and posing several cryptic questions. Dixon's own voice introduces the album on "Out Of Control" and as matters progress those trademark queasy lines of melody begin to take control - "Inner City Circus" being a stand out of this set.

Review: Leon Vynehall's stunningly picturesque "Midnight On Rainbow Road" was one of the undoubted highlights of Gerd Jansen's second Musik For Autobahns compilation, which was released in the autumn of 2015 by Rush Hour. Here, it gets a deserved single release, with the original - a hypnotic, driving-inspired blend of fluid electronic melodies, a wispy percussion and Jonny Nash style glistening guitar lines - being complimented by a brand new "Beat Edit". This adds a slowly unfurling, head-nodding rhythm that takes the track further towards Detroit Beatdown territory. In essence, though, it sounds like an early '90s ambient house jam. That's no bad thing, given that Vynehall seems to have emphasised the sun-kissed beauty of the original in the process.