Trad Vibe Vinyl & CDs

Review: .No, this is not a surprise jazz-funk outing from Dan 'Caribou' Snaith, but rather a reissue of the sole single that French outfit Cortex released as Caribou, way back in 1977. Copies of that record are now very hard to come by, so it's great that Trad Vibe have delivered this fresh edition. It's worth picking up for 'Californie' alone. The track is a near perfect fusion of the Gallic ensemble's usual loose jazz-funk sound and energetic, sun-drenched disco - all breathless electric piano solos, memorable guitar licks, dancefloor-friendly grooves and spiralling group vocals. Original flipside 'Stevie', a more relaxed and loved-up affair closer in tone to Cortex's usual material, once again resides on the reverse.

Review: This is a first ever reissue for this lovely little jazz 7", which first landed in 1976. It was recorded just after French jazz fusion group Cortex's iconic Troupeau Bleu LP and is awash with gentle drum tumbles, twinkling keys and sustained strong sounds that bring a golden touch. The female vocal harmonies are a perfect counter for the male spoken words and the whole thing really tugs at the heart. Flip it over and there is the much more upbeat 'Back to Life' with its busy harmonica, funky drumming and rippling Rhodes work. Fantastic stuff.

Review: Never before released in this particular form, two inscriptions by the French jazz fusion band Cortex make for a fidgeting classic each, perfect for the tube-amped dancefloor. Made up of many a cover and original, the full-length 'Inedit '79' EP first came to Underdog Records in 2006, though it was composed almost entirely of recordings laid down in 1979, proving the band's asynchronic staying power across decades. This new 7", however, recuts the lead track from the album, and a never-before-heard session floorcut respectively. The B-side in question, 'Where Do You Come From', did not appear on the 2006 release, and was also recorded later in 1981, though it is considered a part of the same inspo-flush.

Review: The late MF Doom is widely regarded to be one of the finest hip hop lyricists of all time. His death hit people who had grown up with his intricate world play hard and so it is natural that there will be an avalanche of tribute records. This collection of remixes from MOAR is a tribute to MF Doom's use of samples and has all he track names mixed up, which makes for a fun game of detangling while you're laying back and soaking up the stoner beats, boom-bap joints and lush instrumentals. RIP to the greatest.

Review: Moar is a French Beatmaker who'se made beats since 1995, opting for a 'traditional vibe' of digging & sampling wax, complemented with all-in-one sets using an MPC or SP. Of course, tradition is one of the few ways we stay grounded to our roots; artists like Moar ensure that we don't go insane with experimentation and tradition-breaking. That being said, this beat collection from 2002-2006 is remarkably experimental in sound, showing that Moar's 'trad' ideology is more focused on the process rather than the end result. A diggers' delight, for the few turntablists out there still keeping the tradition alive.

Review: Moar & DJ Vince aka The Beatmatics return with a new volume following their acclaimed tape-only debut. This limited double vinyl release showcases their spin on jazzy, deep beats, 90s remixes, sample tools and even a scratch tool for turntablists. Crafted with vintage samplers, their production radiates an authentic boom-bap vibe that takes you back to the genre's heyday but also blends meticulous sampling with a heady approach. Whether you're a DJ or a hip-hop enthusiast, putting this on the turntable is going to bring the joy with its raw lyrical swagger and irresistible golden-era energy.

Review: Marseille's Mofak lays down yet another two modern boogie cuts for the fans. The titular 'Rock Your Money', featuring the vocal talents of Said (IAM) and Elois Scroggins, makes ample use of appended vocoder and telephoning lead vox; all comes wrapped in an ultimately bouncy number, against which Scroggins' vocals are stark. On the B, we hear 'System 3.0', a logical continuation of the A-side's theme, albeit this time gladly accepting the femme vocal assurances of AprilSoul, while Mofak himself hops on the vocoder; both paint a picture of a systematic love, one which cannot survive without vice and indulgence.