Living On My Memories (feat Giulia La Rosa) (4:12)
Serenade (4:35)
Review: Ahead of his second upcoming album For Today, Etnean artist Agosta presents two unreleased tracks on a new 7" featuring Giulia La Rosa's poetic vocals. These gems blend chill-out electronics with Balearic vibes that are perfect for the brighter days ahead. 'Serenade' offers a sophisticated mix of elegant dance and relaxed atmospheres with inspiration taken from artists like Felipe Gordon and Nutty Nys. Its fluid groove, gentle percussion and dreamy synths create an immersive intimate vibe and both of these tracks evoke sunset serenity with real warmth in the vocals.
Review: American jazz and gospel singer came up in Chicago and world the local scene - both playing in the clubs, but also as part of an a cappella choir for a number of years. She moved to LA to pursue her dreams in 1962, and the move paid off. She recorded 24 albums and nearly as many EPs right up until the mid nineties. 'Baltimore Oriole' was originally recorded in 1957 but this version is from 1977 . It is a glorious bit of uptempo Afro-Cuban jazz with lush jazz, funk and soul stylings all topped off by a fine vocal.
Review: Alpha & Omega is a legendary dub duo and despite them having many superb sounds to their credit, this one is a real standout. 'One Culture' pens with heavy bass as you would expect, but the alluring Indian vocal up top is even more hypnotic. It has a transcendental feel and is soulful and smoky while warped synths rumble away beneath the dusty drums. It's a real mental trip. On the flip is 'One Prayer' which is paired right back to dubby rhythms and subtle vocals are smudged and smeared throughout. Both of these are perfect for lazy Sunday afternoons in the sun.
Review: Hope & Faith Records has put together three different 7"s featuring the original 'Standing Tall' riddim, which is a slick production in the early 70s roots reggae style. Acclaimed Spanish singer Payoh Soul Rebel is behind one, the female harmony trio from Basque reggae band Tacumah another, and this one comes from Jamaican legend Horace Andy who brings a fresh take on the classic roots sound. His smoky vocals bring real warmth and depth while a flip-side dub goes deep.
Review: The Bacao Rhythm & Steel Band has become the latest jewel in the Big Crown. Lead by Bjorn Wagner, they have stopped several essential recordings not he label, all defined by their famous steel pan sound. Often they turn to covers of the classics such as they did back in March and this time around they take aim at the much loved and low slung hip-hop classic 'Nuthin' But A G Thang' by Dr Dre. In their hands it becomes something else entirely but still delightfully low slung and sleazy. This one is backed with 'How We Do' which is another loveably fresh sound.
Review: Fresh instrumental Afro-funk-disco magic from LA-based quartet The Bombillas, once again emerging from their post-LP slumber with the complementary 'Kidi Bloom' and 'Hatif'. In no rush to release again since 2022's 'Nac Nac/Senebi', this new 12" is suitably taciturn and unaffected; the A-sider riffs on distinctive Arabian folkloric music styles, its brand of funk closing in on a harmonic minor key, as David Michael Celia and Tyler Nuffer digitally riffle the electric keys and vintage-amped guitar respectively. 'Kidi Bloom' is a similar pre-car-chase scene complement, bringing cluing vibraphones and mod-wheeled synth work to a relative slow jam.
Review: After racking up millions of streams for hits like 'Jump Up Pon It' and 'Heal Them', Brother Culture is now a reggae and dub icon having been a key figure in the UK scene for decades. His powerful voice and conscious lyrics have earned him a deserving global recognition and now he teams up with Swiss reggae masters The 18th Parallel for 'Ghetto Man,' a hard-hitting anthem of resilience and justice. Their deep roots sound, combined with Brother Culture's commanding delivery, makes for an electrifying track and on the flip, Paolo Baldini DubFiles adds his signature dub touch, making this a sound system anthem that speaks to struggles and strength worldwide.
Review: Some seriously classic soul vibes shine bright on this new 45 rpm from Dayton Grey. It's one that will have Northern Soul fans in a spin too, literally and emotionally, with its gorgeously sweet and smooth vocals. They soar over nimble drums and swooping strings that add the lushness on A-side 'Love Is On The Line.' On the flip, 'He Won't Love You (Like I Do)' slows things down and wallows in more mournful vocals and sombre melodies over heavier-hearted drums. Both tunes are life-enriching for different reasons.
Review: Not since Wet Leg has a duo appeared on the UK indie scene with such hype. Disgusting Sisters have had a dream start playing Reading and Leeds, Left of the Dial, Pitchfork Paris and The Great Escape First 50 before even releasing their debut single. 'Killing It' comes out via The Speedy Wunderground 7" single series. The series has been a launch pad for the likes of Black Country, New Road, Squid and Black Midi, who have all gone on to great things. We can expect nothing less for Anglo-French sibling duo Disgusting Sisters - they will be a much bigger band within a few months of this single being released. And this irreverent, funny single will become a collector's item.
Leave The Bells (feat Halfcut & Ghettosocks) (3:16)
All Or Nothing (feat Adam Bomb, Merkules, Fortified Mind & Halfcut) (3:33)
Review: Calgary's DJ Cosm, scar-faced veteran of hip-hop, has been immersed in the culture since toddlerhood. Longtime host of The Main Ingredient mix show on CJSW 90.9, he's furthermore half of the celebrated rap duo Dragon Fli Empire. On his latest 7", Cosm merges golden era influences with modern boom bap production, drawing from his digital album Natural Within; kicking off with the hard-hitting 'Rome', which corrals fellow rappers Daniel Son and Saipher Soze, then moving on to the funky boom-bapper 'Leave The Bells' with Halfcut and Ghettosocks, we're in good company with Cosm's signature scratches. On the B, 'All Or Nothing' brings a fierce break, with Adam Bomb, Mercules, Fortified Mind, and Halfcut laying down sharpened verses.
Review: UK favourites Dub Pistols are back with the second release in their Version excursion series. The original is a great cover an Edie Brickell classic which brings this outfit's usual blend of ska, 2-tone and dub to the fore. The drums are mid-tempo and have a real swagger while the sub-bass adds serious weight, gentle wood block hits and rim shots pepper the mix and the lovely vocal from Prince Fatty regular Shniece brings seductive and smoky soul. On their 'What I Am Manasseh Dub' things get more laden with echo and reverb and mixing desk effects twist the low ends into perfect stoner territory.
Review: The 7" from Third Man Records features two previously-unreleased takes of the song 'Blind Willie McTell' with the a-side being totally exclusive to this Record Store Day Special. The b-side will also, in time, be included on Springtime In New York: The Bootleg Series, Vol. 16 (1980-1985). Session musicians Mark Knopfler, Mick Taylor, Sly Dunbar and Robbie Shakespeare all play on the tune which was the first one worked on during the Infidels album sessions. Bob Dylan's voice is at its whiny and idiosyncratic best here as his harmonica rings out, rolling drums set a slightly country-sousing groove and electric guitars flesh out the track.
Review: First released way back in 1982 on Greensleeves, Eek-A-Mouse's 'Ganja Smuggling' is a towering example of early 80s "singjaying", a style of reggae vocal improv made popular by its combination of toasting and singing. Here we open with an asphyxial, spitballing steppers sound, as 'Mouse is heard scatting and bidi-bonging in his signature opening style, shortly before launching into a cautionary tale about working as a border lines marijuana smuggler. The track deals in a stoic, forborne whimsy, comically scatting and riff-licking through what is implicitly portrayed as an otherwise thankless and unforgiving task. This 7" reissue marks an important milestone in Greensleeves' release catalogue, harking back to one of Eek's earliest cuts laid down with kingpin producer Henry "Junjo" Lawes, the association with whom helped fuel Eek's early celebrity.
Review: Minimal Wave presents an exquisite 7" EP release by Martin Lloyd entitled "L'Amant Electronique". Martin is mainly known for his Oppenheimer Analysis (Minimal Wave) and Analysis (Survival Records) projects, yet through the years he recorded over two dozen tracks on his own, most of which never saw the light of day. The four selected tracks were recorded between 1980 and 1984 in his own "Feedback Studios" in Battersea , London. Martin Lloyd delivers vocals via the vocoder and carefully layers synth melodies which range from upbeat and danceable, to what could be the soundtrack to a 1981 post-apocalyptic science fiction film. The record is pressed on white vinyl with a heavy black jacket (spot gloss) and is limited to 999 hand-numbered copies.
Review: Just a month after dropping their first 7" in the form of a sweet and funky version of classic hip-hop joint from the 90s, Alloy Cuts is back. Once again, Booty Hall is involved this time facing off against Carla Marshall, a known talent from the roots and reggae world. The resulting sounds start with 'All Night Champion', which has raw and dusty breaks, old school stabs and funky drums topped off with a mix of early hip-hop vocals and soulful coos. 'Champinstrumental' on the flip cuts back the vocals to a more direct dance floor instrumental.
Review: Another credit to the edit by one of the true masters of the art here. Danny Krivit adds another worthy resplice to his long running series on Most Excellent Unlimited out of New York City. This one features Rotary Connection's "I Am the Black Gold of the Sun" which was originally released in 1971 and most famously covered by Masters at Work back in 1997 under the Nuyorican Soul moniker. Krivit's edit is respectful as always, simply tightening it up and remastering it on 45 for the first time. Over on the flip, you've got a version of Steve Wonder's 'Pastime Paradise' which just adds a subtle intro that uses the tambourine rhythm to lead into the body of the song - perfect!
Review: Night Owls return with a second wave of 7"s, delivering a fresh take on two classics by Aaron Neville under the featherlight sway of infamous record producer Allen Touissant. Reimagining 'Hercules' alongside 'Tell It Like It Is', the duo once again poke at the seams of the cine-funk sound, enlisting powerhouse collaborators - Alex Desert & The Lions, and vocalist Asdru Sierra - on both sides of this blistering 45. The B especially brims with a busty bonhomie on 'Tell It Like It Is', rewiring the OG song's current flows to a throughput of smooth reggae and cumbia.
Review: Michael Prophet is a distinctive reggae vocalist with an emotive falsetto and conscious lyrics. Emerging in the late 1970s from Kingston, he rose to prominence working with legendary producer Yabby You, delivering hits that addressed social injustice, spirituality and inner strength. 'Know The Right' by Michael Prophet is one of those roots reggae gems that blends signature conscious lyrics with a smooth, hypnotic groove. His signature falsetto carries a message of wisdom and discernment that urges us to surround ourselves with positive influences. The rhythm section is tight and laid-back and on the flip is a dub for mellow moods and reflective moments.
Review: It's not that 'Heading For The Door' is an ear worm in the truest sense, but the playful hook is certainly up there with the catchiest things we've heard in a while. Set against a high tempo slice of indie pop rock, it's the kind of track that you feel is almost destined for TV airtime through fiction, non-fiction, or advertising. Flip this delightful package over and the dub version takes things into deeper and trippier places, while still somehow managing to maintain a sense of the energy that pervades the original, albeit the iconic melodic motifs feel distant, as do the lyrics, with this interpretation centring more on a rumbling, bouncing bass to see it through to the last. More proof Speedy Wunderground is the most fertile label in guitar music? Certainly.
Review: 'Shehzadi' (which means "Princess") is an Indo-disco gem featuring Solomon's Hindi vocals over Sababa 5's blend of hypnotic drums, nice pulsing bass, bright electric guitar and sparkling synths in a minor key. It channels '80s nostalgia with a modern twist and so rather evokes a Stranger Things meets Bollywood-type vibe. 'Ranjha' (which means 'Lover') shifts to a Middle Eastern feel with synths that echo traditional instruments like the saz. The upbeat groove complements Solomon's dynamic vocals and is filled with hope while dramatic pauses and an exuberant synth solo from Sophia add extra flair to make for a compelling mix of emotion and energy.
Review: For Sufjan Stevens, "With My Whole Heart", is said to be a self-described attempt to "write an upbeat and sincere love song without conflict, anxiety, or self-deprecation." This single arrives as a most prominent work since his album for 4AD in 2017, and the title track sees rolling toms and keys glitter alongside call-and-response choruses, and a commanding guitar solo. The 1996 demo, done entirely on acoustic guitar, carries even more melancholy and like a lot of his work from this early period, it feels fragmented, even vulnerable, but never without touch of hope and sentimentality. A voice for a new generation.
Review: Those superb soul overs at Big Crown have dug deep again and unearthed a new one from Thee Marloes, who turn out a ballad sung in Indonesian. It's an inescapably exotic vocal and it comes over a stripped down track made from lovely hand drums, warm electric piano, and super guitar lines. This tune comes as the Thee Marloes are in the midst, we're told, of working on their new album but whether it is a tune from it is unsure. On the B-side of the 45rpm is 'True Love', another heartwarming gem with worldly charm and unforgettable grooves.
Review: Universal Cave set out on a brand new cosmic spelunk. Flipping a pair of raucous Latin disco pancakes on a searing summer lowrider bonnet (in lieu of a non-stick pan), these free-range disco ovules pack much underfoot promise for the discerning dancefloor. The Philly collective kicks things off with the spry 'So Soft So Sweet', with an elusively sourced sing-along hook, blazing synth-gasms, and impulsive drums. 'Mishugina Mambo', on the other hand, gleans its inspirations from the classic Sofrito Specials series: bold horns fly in the face of relentless percs, urging everyone and your mother to get moving.
Review: Talk about being in it for the long-haul. Jane Weaver lays claim to an on-stage history stretching all the way back to the Britpop era, forming Kill Laura while still at sixth form college and managing to bag some releases on Polydor in the process. That achievement should have told us what was coming, after the Misty Dixon band project, but some might still need telling. A northern English tour de force, as a solo-ist Widnes-born Weaver is the kind of artist that defines enigmatic. Her sound is this varied take on electronic pop with elements, or at least moments, of acoustic bliss or sorrow, alternative rock guts, and psychedelic oddness. Oblique Fantasy, her latest two-tracker, is a case in point. Divided into 'Part 1' and 'Part 2', it may or may not make you think of Long Blondes hitting the studio with Goldfrapp.
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