Review: Manchester producer Atomphunk's collaboration with Seattle duo Mugs and Pockets, featuring DJ Deviant, is a standout summer release. 'Summer Jam' is a vibrant track with a popping funk bass line and lively rhymes that evoke the spirit of the Native Tongues, blended seamlessly with the Grand Central/Fat City groove and the West Coast bounce of Jurassic 5. This track is poised to be Regulate's biggest hit yet. On the flip side, 'Back For More' takes a more laid-back approach, with Atomphunk crafting a synth-driven groove perfect for those hot, sticky summer days. Crisp beats and Pockets' (from MAP) smooth delivery make this tracka great blend of funk, hip-hop and groove.
Review: Mike Bandoni returns with Crate Breaks Vol 6, the latest installment in his renowned series. This record is a great tool for adventurous DJs, featuring eight drum fills perfect for slicing into mixes. Each side of the album offers a rich array of segments to elevate any set. Side-1 includes the breaks named 'Diggin In The Pit,' 'Dream State,' 'Hold Fire,' and 'Swing By,' while Side-2 boasts 'Love Scheme,' 'Space Kool Moon Dance,' 'Party,' and 'It's Still Good.' As you can see from the names, these are sure to get the party going. True to its Funk genre roots, this release from Drumstream is ideal for DJs seeking fresh, phat drum segments.
Review: The revered DJ Stephano delivers his signature unconventional style on this blistering new outing for Kiteforce and manages to skilfully blend and bend genres while maintaining a razor-sharp focus on fierce and innovative jungle beats. He is already well known for his unique use of samples and experimental formats, and again here Stephano manages to pay homage to old school jungle but also adds his own fresh twist. The result is Love, an EP packed with creative energy as well as plenty of clout for jungle heads old and new.
Review: The Not An Animal label, which rose out of the "debris left uncleaned from London's infamous Bad Passion parties" arrives at release number 20 here and a fine one it is too from Donald's House and DJ Chrysalis. They open up with the prickly percussive prog of 'Pound Bend' with its warped lines and glistening snares. The Apiento remix is a snappy one with more synth patterns layered in before 'A Curious Warmth' strips it back and gets a little more deep and dubby with a mix of abstract sounds and aching vocals. 'Tingler Ring' closes down with a Balearic late night feel.
Review: Rico Friebe and Rico Puestel's YKMU on Exhibition delivers two main room tracks perfect for energising the dancefloor. 'YKMU (You Keep Me Up)' is an energetic anthem with big vocals and hand-raising moments. Its epic 90s Balearic sounds and storming piano riffs create a vibrant, nostalgic atmosphere that's sure to captivate the crowd. 'My Word & Sound' keeps the momentum with a peaker track that features vocoder elements, adding a futuristic twist to the mix. The driving beats and infectious energy make it a standout for late-night sets. Friebe and Puestel's ability to craft compelling, dancefloor-ready tracks are evident here with these two real burners.
Review: Will Hofbauer and Igaxx collaboratively expand the all-too-easily received palettes of electro, techno, garage all in between, and even more yonder, proving to us that the boundary edges of each genre may be blurred without worry. Sharing three groove-bays each on this latest 12", Hofbauer indulges an across-the-pond sojourn, guesting on Japan's Ladybug label, which is managed by the also eminent Igaxx, who occupies the B with equal grip. Hofbauer's 'Cricket', 'Clod' and 'Cocodrilo' bring three endocrine C's to a singly sanguine side, echoing a Hessle Audio-esque experimental dance sensibility while secreting all manner of vital sonic fluids from his ears unto ours; the last track is especially alarming; cursedly toothy, its growly lead zombifying the elsewise rapid mix by way of an enthralled grunt. Igaxx's contributions are relatively supportive and yet mad, moving from the squelches and pipey ascensions of '4 5 SL Trip' to the parabreaks flows of 'Liquefy' and the sloshing cosmo-funk astro-vista that is 'Ray In Space'.
Review: Serendipitous that a duo comprising two artists named Justice and Mercy should come together. With the 'Concrete Jungle' EP first emerging in 1992, under the name 'Mixed Concrete' on the pioneering White House Records label, this is no less one of those records whose ongoing reputation by and large matches its quality. It's no surprise that it should be so lauded; we expert listeners can really tell the extra care and attention poured into it, with which it continually anoints itself. Lead track 'Soothe My Soul' is especially great, having been made infamous, for the way in which its otherwise run-of-the-mill breaks-chuggage opening finds itself dashed into oblivion by a momentous breakdown, of howling pitched-up vocals and legato stringed, bowed caelum. Such a heavenly breakdown is an essential feature of the breakbeat / rave uplifter form, in many cases otherwise unfairly passed over. Then the polysynths and backing peals of 'Doin' What You're Doin'' command an almost equal sheen, with the track featuring the clearest-as-day instance of a "hey hey!" jungle sample as we've ever heard. The closer 'Experience' is just as divine, seeming to transcend its initial breakdance sample-looper with yet another quarter-noted, dove-winged eclat elapsing over time.
Review: In Taijiquan, the principle of "fang song" represents balance, with heaviness sinking and lightness rising. Littlelake, who is a devoted Taijiquan practitioner, brings this concept to his new EP across four tracks that blend deep, heavy bass with playful, light elements. 'Tonight's the Night' kicks off with a nimble 2-step beat over weighty bass and playful vocal cuts. 'Passing By' delivers a monster speed garage vibe and 'Watch Your Mouth' mixes funky tribal breaks, soulful strings, and clever sampling. 'Lost' contrasts jackin' 909 rhythms and dub sounds with a dark Reese bassline for a gripping groove.
Review: The latest in the 'Crate Breaks' series, 'Crate Breaks Nine' and 'Crate Breaks Ten,' delivers more gold for DJs and producers alike. These two volumes offer an impressive collection of dusty, funky, and jazzy B-boy breaks and beats, perfect for adding some classic flair to your sets or productions. Each side is packed with deep crate gems, unearthing drum drops that will excite any beat enthusiast. Whether you're looking for DJ tools or production sounds, this 45 record continues the tradition of delivering top-tier, sick beats that are sure to elevate your work. Dive in and discover the rich textures and grooves these volumes have to offer.
Review: Future Tones hear producers Luis Malon and Omar drop two utter floor-heaters respectively, not holding back for a second in their admission that these are 'Tracks From The Future'. Malon's 'Freeze' and 'Flesh Is Stronger' are surprisingly (at least for a pair of time-travelling tracks) humanistic statements, bringing belligerent bangout beats, rapturously Reesing rhapsodies and even G-funk whistles to a driving pair. Omar's flips are much more vintage, moving seemingly laterally in dimension rather than linearly in time, and finding solace in a more neo-retro-modern vision of the future; 'Niusing' especially entices with its cascader twinkles and sawwing bursts.
Review: The synergy and kindred spirit unapologetic energy between System and Rupture galvanises once again Rupture co-founder Mantra makes her debut on V.I.V.E.K's label with 'Schemes & Dreams'. Two years in the making, Mantra joins the dots between the two London crews with four spacious, groove-heavy 140 jams. Percussive, hypnotic and soulful, it's Mantra at her deepest as she takes us to places we don't often hear among the Amens at 4am. Highlights include the swampy, gloopy harmonic haze of 'Book Of Nightmares' and the dissarming Detroitian pads on the EP title track. Stunning.
Review: This new one on Aphrodite Recordings offers a rare chance to own some previously unreleased hardcore history. Crafted by Urban Shakedown founders Aphrodite and Kaukuta, these two unreleased Moonwalk tracks date back to 1993. ever since they were made back then at the height of hardcore's popularity, though, they have remained forgotten on a DAT tape. After being recently rediscovered, they have been pressed up to this 12" with 'Meditation' offering a blitz of pulsating drums and funky bass, thrilling breaks and sci-fi melodies that reagin down the face of the track, while 'Outer Space' is more raw and direct with a menacing low end and plenty of kinetic drum programming.
Review: Galaxy Sound Company's latest test pressing release features James Brown's 'Give It Up Or Turnit A Loose (Edit)' alongside Hampton Hughes' 'Web (Edit)' and is another doozy for edit lovers old and new. Side A of this 44th instalment offers a masterful breakbeat edit from JB's 'In The Jungle Groove' that brings forth the rhythm of Clyde Stubblefield and Bootsy Collins so is perfect for igniting a party. On the flipside, the jazzy grooves of Hughes' 'Web' which has been famously sampled by Hieroglyphics in 'Off the Record' is another floor filler while bonus beats from the A-side round out this essential double.
Review: Contemporary bass music up-and-comer Pîrvu returns to Meander with a clever take on breakstep, breakbeat and electro, the 'Skylark' EP. With the little brown job of a bird held firmly in mind - its avian grace matched well by the light, but also hot-winged determination of the title track - we find ourselves compelled to dance with both light and hot footing in equal measure. Following that up, there's 'Edge Of A Strange Euphoria', with its phat FMs and murky narration proving that some if not most states of ecstasy are mixed bags, provided they do the proper job of challenging our inner status quos. Finally 'Zuzu' ends things on a franker note of gaslamp-lit acid, with Dan Andrei also lending a hand to produce a neat 4/4 version.
Review: Funk maestros Rockid Sound Machine returns with yet more of their timeless and seductive instrumental funk sounds. They have turned out tons of it over the years on a steady and always high quality basis. This double A-side kicks off with 'Scorpio' featuring tight drums and wah-wah guitar smudges next to big horns. The track blends funk with soul and merges old-school vibes with modern energy. On the flip side, 'Stardust' ramps things up with prickly drumming and percussion, wet cymbal crashes and more bendy guitar work that brings psyched-out 60s vibes. Another great outing for Rockid Sound Machine's signature bristling beats.
Review: Greg Hepworth works under the Settle Down alias and has deep roots in UK dance music. From his early days listening to pirate radio to putting on his own illegal raves with Dreamscape, he has done it all after starting his journey age 10 with the sounds of Fantazia leading him into the rave world. He has released music as Ulterior Motive for Metalheadz and Reinforced before rebranding as Settle Down and Voyage chronicles his evolution through UK breakbeat culture, from house to hardcore and jungle. The release serves as a celebration of his deep and proper connection to the game.
Review: Suckaside, a creative artist with a deft touch in beat composition, sampling, and mashups, delivers a dynamic offering with Toxic Funk Vol 15. 'Sometimes Bootyful' is a piano-laden funk jam driven by a tight breakbeat that's both hip and infectious. The track seamlessly blends elements of house into its groove, making it accessible to pop fans while staying true to its funky roots. The addition of rap verses adds an extra layer of appeal, making this track a standout. Bringing in 90s funky rhythm vibes, 'Sugar Face' on the B-side cleverly incorporates hooks from D'Angelo's 'Brown Sugar.' This track is a 7" gem for funk and R&B lovers, combining nostalgic grooves with a modern twist.
La Lune Se Bat Avec Les Etoiles (Transition 2) (2:29)
Forest Power (3:50)
Media Luna (4:33)
Review: Deep Forest's third studio album, Comparsa, released in December 1997, presents a vibrant blend of world music and electronic elements, with a strong emphasis on Latin and Caribbean rhythms. Now available on translucent green vinyl, this album showcases the group's signature fusion of global sounds, featuring contributions from musicians across Cuba, Belize, Mexico, and Madagascar. Comparsa's 13 tracks are a journey through diverse musical landscapes, with highlights like 'Noonday Sun' and 'Tres Marias' highlight the album's dynamic energy. The group's founders, Eric Mouquet and Michel Sanchez, craft lush soundscapes that are rich in texture, combining whispered vocals with rhythmic beats and vibrant instrumentation. Tracks like 'Madazulu' and 'Radio Belize' illustrate the duo's skill in blending traditional sounds with modern electronic production, creating a sound that is both innovative and accessible. Comparsa remains a well-produced and exhilarating listening experience, perfect for those seeking a musical escape to far-off lands. Now on translucent green vinyl, the album's rich textures and global rhythms are given new life, making it a noteworthy addition to any collection.
Review: Simon Huxtable's alias Inhmost returns to Tonight's Dream Records with a new album, Breaks & Dreams, a continuation of his 2022 release Space & Awareness. Playing on the trend of atmospheric breaks that has risen in popularity over the last decade or so, Huxtable nonetheless pushes the boundaries of the sound, his latest eight offerings providing ample glimpses into the complex structures behind our fascination with this beatified genre. Opener 'Light Haze' is a hypnagogic one, its oceanic feeling marred by a decided swing pattern in the break line itself, suggesting an essential imperfection even in the amniotic returns to oneness so suggested in this kind of music heard elsewhere. The albums steers itself in an ever-more immersive direction by the time it reaches the B-side too, with 'Signs From The East' treating its great washy ambiences like against-the-wind zephyrs against which we cannot fight and to which we must give ourselves over.
Review: Meat Beat Manifesto have released more than a few classic albums in their time, but their fourth album Satyricon is surely one of the finest. Originally released on Mute in 1992, it saw Jack Dangers push his voice even further to the forefront as he tackled a wide spectrum of social issues, while the production continued to find them keyed into the developments in rave and hip-hop as they were unfolding. The breakbeat structures are absolutely in keeping with the pace of the emergent hardcore sound, but of course Meat Beat Manifesto reached beyond purist dance music to take in industrial elements which made a hugely influential brew of its own.
Review: Meat Beat Manifesto's sprawling 1996 opus 'Subliminal Sandwich' is finally reissued by the good people at PIAS. Compared to much of their oeuvre, this one is a touch rougher round the edges, with serrated guitar licks layered over achingly resonant bell loops and typically crunchy percussion. Though most of the tracks on the LP are characterised by lax tempo and an ominously warped soundworld, the unique cocktail of styles and influences which MBM draw on shine forth one by one: dub, new jack swing, jazz, noise, punk, breakbeat. Percies include the smoked out dub nausea of 'Assasinator', and the bleary chug of 'Addiction', which sounds somewhat like if Christophe Goze ate one too many tabs and decided to compose a Buddha Bar single for the tweakers. While it isn't MBM's most accessible work by any means, it is an essential entry in the Jack Dangers catalogue and a must for anyone seeking a more charred, freaky body of work which doubtless went on to inspire some of breakbeat and trip hop's key players.
Review: Berlin-based artist Pavel Milyakov collaborates with Yana Pavlova, Martyna Basta, Richie Culver and Torus on Enthropic Vision, an album-length collection of tracks spanning diverse genres. The A-side starts with the melancholic ambience of 'Moon Chant', featuring the ethereal vocals of Krakow experimental music scene veteran Martyna Basta, before 'Tesco' brings bleak trancey loops blended with British contemporary artist Richie Culver's spoken word poetry. 'Eternal Break', with Netherlands-based artist Torus, is all low subs, ecstatic pads and abrasive breaks, then the B-side kicks in with 'Gabba 17' - not a 170bpm gabba anthem, but rather a ghostly techno workout with an admittedly urgent 4/4 kick - and continues with another tune featuring Richie Culver's spoken word fused with breaks. The album closes with the grim beauty of 'The Thrill', recorded in collaboration with Ukrainian singer Yana Pavlova and transports more wised up listeners back to the hypnagogic universe of the duo's 2021 Blue LP.
Review: Mike Paradinas is a veteran producer and owner of Planet Mu but he keeps on serving up thrilling new sounds. Grush is his latest, a new album packed with energetic tracks that he hopes reclaim the "dance" element of IDM. Inspired by the melodic dance music of the genre's early pioneers, Grush blends sweetly nostalgic melodies with dynamic, road-tested rhythms. Many tracks were developed during times on the road and from the spiralling notes of 'Hyper Daddy' to the aquatic acid footwork of the title track, Grush traces Paradinas' musical journey with signature style and invention. With influences from early Black Dog to Drexciyan funk, it's a vibrant, live-inspired record that works in a wide range of contexts from the club to the sofa.
Review: Always Outnumbered, Never Outgunned sees producer Liam Howlett deliver a hook-ridden album that nods to the British rave scene with uninhibited bass and bleeps, but plenty of blazing guitars that maintain The Prodigy's bridge between rock and dance. Hollywood glamour shines with Juliette Lewis on standout track 'Hot Ride,' channeling PJ Harvey's energy. Lewis also appears on the opener 'Spitfire,' an alluringly sinister track. The Gallagher brothers bring aggression to the closing track 'Shoot Down,' with Liam on vocals and Noel on bass, showing Oasis's punk side. Howlett's battle with Kool Keith on 'Wake Up Call' and the exuberant 'Girls,' featuring disco-punks The Ping Pong Bitches, showcase The Prodigy's willingness to experiment. Fans might miss Keith Flint's ghoulish presence, but the album's flair remains strong. Always Outnumbered, Never Outgunned is a storm of apt samples, grumbling percussion, and memorable riffs, reaffirming The Prodigy's place in the dance-punk genre.
Review: TSHA's new album 'Sad Girl' i due for release on September 27th on Ninja Tune i contains her most danceable work to date. This is heard as much on the recent summer single 'Sweet Devotion', featuring Caroline Byrne: the first track she's been confidently able to slot between the New York and Chicago house and techno grooves of her acclaimed DJ sets. This danceability forms the backbone of the entire record, as we witness TSHA welcome in a new era, one in which she ushers in a new vocal order, and continues to carve out a sense of creative independence, rather than seeking approval from her musical peers. From the sizzling progressive future-powerpop of 'Girls' to the string-doused, motoric breaks ballad 'Drive', this is a glisteningly urbane record, one for authentic and sophisticated pop heads.
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