Don't Fool With The Dips (feat JR Writer, Hell Rell & 40 Cal) (4:06)
Don't Fool With The Dips (Scratch-a-pella) (0:45)
Review: A-Trak! You may have been introduced to him as a World Champion turntablist, an iconic indie record label owner, half of Duck Sauce, a producer, a festival DJ, a remixer, Kanye's Tour DJ, or former Juicero advocate, but you may not know that he had a hip-hop record label in the early to mid 2000's, known as Audio Research Records. During this time, Trizzy hooked up with arguably 2 of the best hip-hop groups to come out of that era, producing records for Little Brother and the mighty Dipset. One of the very few Little Brother records that 9th Wonder didn't produce, 'Step Off' falls right in line with the LB aesthetic. A-Trak got busy with a bouncy joint that ended up on tons of mixtapes, available only on ARR 12" until now. Same story with the B-side; there, A-Trak teamed up with Dipset for 'Don't Fool With The Dips!' featuring 40 Cal, Hell Rell, J.R. Writer. Now re-released in collaboration with Fool's Gold Records on 7" vinyl alongside new, original artwork by RHEK.
Review: To the delight of the 80s synth-pop faithful holding on to the decade prior, Martin Fry revived ABC in 1997 after a five-year hiatus. It's noticeable that Fry wasn't interested in repeating old tricks though, as he took the band in a new direction alongside Heaven 17's Glenn Gregory without losing that keen sense of songwriting magic that made ABC so popular the first time around. Loaded with emotionally charged reflections on life, the universe and everything, this is a welcome pressing on blue and white marble vinyl which is limited to 1000 copies.
Review: Francesco Strippoli (Armonica) returns to Bordello A Parigi, following up his first two wonderfully refreshing and true-to-form Italodance EPs for a third, 'Future Echoes'. Indeed, reinterpretations of classic sounds can function as messages from the future as well as versions of the past. With cuts like 'Floating On High', a bulbous, buzzing, repetitious enjoyment is heard overflowing from a single stylistic source, every element bursting forth from its root. Offbeat bass licks double up as forward-driving donks on the likes of 'Retrospectiva' and 'Music And Lights', while the slick, coruscating synth twangs on the title track make do with 16th note repetitions that evoke the ecstatic feeling of urban mobility, each step matching the feeling of climbing higher and higher.
Review: Bailey's Nervous Kats was a teenage dream who combined surf, rock n' roll, exotica, and r&b in their music. They operated in the rural fringes of Northern California in the 1960s and released only one long player, sadly. The Nervous Kats is it and it now gets reissued by the quality Numero Group. It came right at the end of the band's time together and was released by the Emma imprint in 1965. It's a real doozy of the era and will take you to a time and place you didn't live but make you wish you had.
Review: Released on XL Recordings in 2004 and nominated for the year's Mercury Music Prize, Kush Kash was the third studio album from dance music pioneers Basement Jaxx. The album has its space in history having been the winner of the first ever GRAMMY award for Best Dance/Electronic Album. It is packed with great collaborators such as the one and only punk icon Siouxsie Sioux, king of London grime aka Dizzee Rascal on the superb 'Lucky Star', as well as more mellow vocals from Meshell and the lung-busting performance of rock 'n' soul diva Lisa Kekaula from the LA band The Bellrays on 'Good Luck.'
Review: Ben Edwards, better known by his pseudonym Benge, is famed for his grasp of authentic vintage synth technology, called in to produce John Grant aming many others as well as Wrangler and Creep Show. He's been exploring the sonic possibilities of electronic instruments since he was a young boy, in the 1970s, and The View From Vega, his debut solo album on the DiN imprint, is primarily an ambient suite of tracks inspired by the space-music typically produced in the late 1970s and early 1980s. It uses a selection of vintage synthesisers, sequencers and FX units to provide a fertile sonic landscape to explore. The idea was to use simple sequences (using both analogue and digital units), sustained synthesiser pads and electronic piano improvisations, alongside various ancient delay, flange and reverb units. The beautiful, warm quality of the tones that exude from such instruments are very evident on the six tracks that slowly unfold their oscillations in organic, melodic soundscapes.
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