Review: Soul Central responsible for the anthemic house version of 'Strings of Life' needs no introduction. Their latest Pimp Life EP is a limited edition four-track vinyl that fluidly introduces the Electric Shrine imprint. The EP features a mix of gritty, jazzy, soulful and funk-filled cuts that are interplayed with raw interviews from behind bars. Soul Central keeps it deep and sleazy whilst delivering the real deal. 'Late Night Cruising' chronicles the journey of a Bluesman, departing with the funkiest of grooves and solid sub-bass becoming the final destination.
'Just A Man' embeds the confessions from a convicted pimp dispersed with classic keys and dripped in Soul. Turning in a modern take on the deeper side of Disco. 'Bring It Home' is haze fuelled & reminiscent of the early US House scene. 'Chicago Lights' fuses 4/4, low slung Funk driven by a deeper dub vehicle.
Review: This is a Juno Exclusive from French producer Djar One that lifts off and cruises all the way to Puerto Rico. "Oye Como Va" is the breakbeat fuelled a-side with huge funk drive, oodles of instrumental flair and lively percussive sounds that bring that vital world flavour. "Dance Dance" on the reverse is a quicker jam with Latin flair to spare. It trills with summery time joy and drives on kicking drums. The fun loving vocals are the irresistible finishing touch. Both of these cuts will blow up and club, wherever you are in the world.
James Brown & The Wu Tang Clan - "Sex CREAM" (3:33)
James Brown - "Sex Machine" (dub edit) (3:02)
Review: It would be fair to say that the latest edition in DJ Soopasoul's "Soopastole" edits series is one of the producer's biggest yet. A-side "Sex C.R.E.A.M" is particularly potent, with the mash-up maestro layering the vocals from Wu-Tang Clan classic "C.R.E.A.M" over a chunky beat crafted out of classic James Brown samples. To our ears, it's arguably better than the Wu-Tang original, or at least a little more dancefloor-friendly. Fittingly, Brown gets the treatment on the flip with Soopasoul getting busy with the EQs on a suitably heavy but stripped back "dub edit" of all-time-classic "Sex Machine". While it probably didn't need tampering with, he's done a very good job of delivering a version that successfully takes the track in a different direction.
Review: Rhythm Plate are absolute powerhouses when it comes to delivering top-notch tech house, and they're back once again on Pressed For Time with this sizable payload of classy joints. There's a timeless quality to this stuff, whether it's the late-night swirl of "Sacrement" or the choppy, quirked-up groove of "Every Kind Of People With Any Kind Of Soul". Out of time and out of mind, the Plate just bring the kind of satisfaction to club music that could launch a thousand sessions. For the late night crew, for the mid-morning rollers and the sophisticated toe-tappers in between, sink your ear-teeth into this generous serving but whatever you do, don't call it an album.
Review: Fabrizio Esposito was born in Naples / Italy into a family of passionate musicians and vinyl collectors. His father played guitar in Tony Esposito's band who was responsible for some classic Italo tracks from the early 80's. He spent his early childhood immersed in his grandparnent's extensive vinyl collection which he has since inherited, this collection heavily influenced Fabrizio and made him a fan of Italian Wave, Italo Disco, Neapolitan Funk, Soul and Disco. After all these years working in clubs and with artists Fabrizio decided it was time to realise his other dream and become a DJ and producer himself fusing together his rich musical heritage combined with his clear vision for the future, creating his own unique sound. Fabrizio explains that since he was 14 he had always been behind the scenes of parties, from a PR to a promoter, always watching the djs and producers working to create the party around them. Since this time he has always been an obsessive vinyl collector, its in his blood, so now it's time for Fabrizio to share his own passion for music with the world.
Fast forward to summer 2019, Fabrizio made his Ibiza debut DJ'ing alongside DJ Harvey and Pete Gooding at La Torre and soon after Fabrizio finished his debut track 'This Way' which was premiered by Harvey at his now 'Mercury Rising' party at Pikes.
Review: Sam Shepherd has long been a master of the kind of ultra-deep, rolling, soft focus deep house that raises the spirits and soothes the soul. Even so, there's something incredibly special about "Nuits Sonores", the lead track from this must-have EP. Based around a deep, tactile groove and blessed with rising synth solos, dancing acid lines and his usual fireside Rhodes antics, the track rises magnificently for 12 spellbinding minutes. As it progresses, further elements make their way into the mix, until it reaches the kind of organic deep house climax that makes even the grumpiest souls go weak at the knees. Flip for "Nectarines", the kind of loose-limbed fusion of deep house sassiness, Detroit techno electronics and fluid jazz drumming at which Shepherd has always excelled.
Review: The latest slab of sure-fire dancefloor heat on Wah Wah 45s' "Dubplate" series comes courtesy a Haynesy, a duo renowned for the fat, party-starting nature of their reworks, with turntable wizard Jabbathakut providing plenty of on-point scratches. What we get here is not "edits", but rather banging new hip-hop beats laden with classic acapellas. On side A they bring Jungle Brothers' hip-house classic "I'll House You" back to its hip-hop roots, layering the NYC crew's famous vocals over a bustling, up-tempo, Latin-tinged hip-hop beat. Over on the flip they take on Beastie Boys classic "Root Down", with Jabbathakut's tidy deck-work sparring with acapella vocals atop a weighty club hip-hop beat.
Review: Kaleta's first full-length collaboration with the Super Yamba Band, 2019's "Medaho", was something of a slept-on treat: a fiendishly psychedelic Afrobeat affair that was every bit as heavy, colourful and vibrant as you'd expect. Here, one of the album's standout tunes gets the remix treatment courtesy of long-serving, party-starting musical fusionist Bosq. The Ubiquity and Soul Clap stalwart delivers vocal and instrumental passes of "Jibiti", both of which make great use of Kaleta's vocals and Super Yamba Band's fuzzy, Fela Kuti-style horn lines. Bosq's groove is closer in feel to Afro-disco than the original album version, though the bassline, organ stabs and vocals are pure Afrobeat gold.
Review: Having sold out in record time a couple of months back, Phil Mison's latest album as Cantoma - an all-star affair featuring a wealth of guest vocalists and musicians - has been rapidly reissued, this time with a colour insert. Musically, "Into Daylight" is sweet and soft-focused, with the Balearic veteran prioritising seductively shuffling samba beats, dewy-eyed vocals, gentle melodies, dubby basslines and tactile instrumentation (think meandering trumpet solos, acoustic guitars, flutes, twinkling Rhodes solos and Pat Metheny style jazz guitar). It's the kind of album that warms you like a hug, soothing mind and body whilst providing enough slow-motion excitement to reward repeat listens.
Review: Following on from his Bedrock debut on John Digweeds latest Quattro album, Miles Atmospheric delivers this excellent 3 track EP titled 'Defining Circles' which has had a very limited vinyl pressing. All tracks have been thoroughly road tested by John Digweed amongst many others.
It All Began In The East (The Sacred Rhythm version) (11:48)
It All Began In The East (The Cosmic Arts Koto version) (3:39)
A Dance For Gratitude (Joaquin's Congo Arts Drum version) (7:15)
It All Began In The East (The Cosmic Arts Meditational mix) (3:18)
Review: Two years ago, Joaquin "Joe" Clausell donned his occasional Mental Remedy alias and offered up "A Journey To Noi", a decidedly spiritual album that mixed Japanese instrumentation with his usual ambient and deep house sounds. On this 12", Clausell offers up some heady new interpretations that - like much of his work over the last decade - are built around the percussive power of African rhythms. The opening "Sacred Rhythm Version" of "It All Began In The East" is particularly potent, with Clausell cloaking a warm, organic and percussive Afro-house beat in distinctive Japanese Koto melodies and jazzy piano flourishes. We'd also recommend the formidably heavy, drum-laden rework of "Dance For Gratitude", whose Latin American bassline and simmering synth-strings are almost as addictive as the weighty groove they sit upon.
Rafael Cameron - "Let's Get It Off" (Dr Packer rework) (6:13)
Ripple - "The Beat Goes On & On" (Dr Packer rework) (7:30)
The Salsoul Orchestra - "You're Just The Right Size" (Dr Packer rework) (6:07)
Review: UK born, Australia based DJ and producer Dr Packer is back with more of his on point edits. He tackles some serious disco heavyweights here on Salsoul and first off, disco diva Loleatta Holloway and her mega-hit "Runaway" gets a fresh 2020 update with some soul uplifting studio skills. A heavy funk remix of Rafael Cameron's "Let's Get It Off" is next, with the original still taking centre stage, then the shimmering and glistening disco gold of Ripple's "The Beat Goes On" follows before in-house collective The Salsoul Orchestra also get treated to some elegant orchestral work and a sultry vocal hook.
Review: The first instalment of the Gallery edits series, which landed in stores at the very end of 2019, was an artful, off-kilter treat, so we're expecting big things from this eagerly awaited follow-up. A-side "Stop" is simply superb: a clattering, delay-laden, dub disco style revision of a poodle perm-sporting bunch of early-to-mid-'80s electronic disco laden with percussion hits, ear-pleasing synthesizers, druggy, arpeggio-style bass and familiar-sounding vocal snippets. It just keeps building throughout, suggesting dancefloor pandemonium is almost guaranteed. Flipside "Remember" is rather good, too, with the mystery audio art lovers re-wiring a deliciously camp, over-the-top electro-disco stomper.
Review: The Original Gravity label's latest must-check missive is unusual, featuring as it does four tracks squeezed on to one limited edition seven-inch single. As the title suggests, it's Latin-themed, with two artists (overseen by Welwyn Garden City-based producer Neil Henderson) delivering two sweaty South American funk workouts apiece. Luchito Rodriguez handles side A, delivering the Tito Puente style mambo brilliance of "Hey Guajira Baby" and the insatiable, fienishly fuzzy Latin funk/boogaloo business that is "Vacilon". Over on the flip, Nestor Alvarez first offers up a beefed-up, bass-heavy taken on a familiar mambo favourite ("Lupita"), before sprinting towards heavy Latin funk territory on the insatiable "Bang The Bongo".
Review: A decade has passed since Slum Village jumped on a KVBeats instrumental and delivered "We Do It", a warm, sweet and bass-heavy number full of the Detroit act's usual on-point rap flows. Here the track is given a 2020 makeover courtesy of hired hands DJ Spinna and Jazz Spastiks. Spinna naturally opts for a distinctively "Golden era" vibe, laying the Motor City crew's raps over a relaxed, head-nodding beat rich in jazzy double bass samples, crunchy snares and woozy electric piano chords. The jazz Spastiks up the tempo on their flipside version, delivering a revision that's closer in tone to Slum Village's original while offering all manner of subtle differences and dancefloor-focused touches.
Review: Bolla's Afrikan Basement debuted with a warm welcome in 2008 as a limited 7" and is one of the many essential projects Joe Clasusell has been involved with over the years. Now it gets revisited on this tasty 7". The a-side is a special edit of "Makkusa", a steamy, spiritual, deeply layered and emotional house track that is lead by a standout sax line. Joaquin's Sacred Rhythm dub is just that on the flip-side, a punchy rework with groaning vocals and a tribal feel, marching drums and plenty of the steam and sweat that makes his music so unique and powerful.
Review: Those who've studied Tony Allen's distinctive drumming style often cite Art Blakey as an influence, so it's little surprise to find him paying tribute to the legendary jazz drummer on this superb album. Joined by his regular band, Allen covers a quartet of tracks written and recorded by Blakey and his band, the Jazz Messengers. The results are predictably impressive, with Allen's loose and polyrhythmic percussion providing a rock solid foundation for the horns, piano and double bass that sits atop. It's naturally closer to all-out jazz than to Afrobeat, but still bristles with the kind of punchy horns and life-affirming playing that characterizes Allen's work. "Thunder Suite", in which Allen drops a number of sweaty drum solos, is particularly potent.
Review: Few people have done as much to shape house music as Grammy winner Louie Vega. His next project finds him on an executive producer role as he assembles a crack team of world class musicians under the Elements of Life banner. With a sound inspired by greats like Stevie Wonder and Cymande, this fantastic record brims with musicality, joy and soul from front to back. The tracks are live sounding, richly percussive, sprinkled with Latin spice and various moods, grooves and tempos. For big hearted DJs and dancers, this is pure gold. Of course guests like Anane, Blaze and Lisa Fischer all help add their own special colour to the picture.
Review: Nite Fleit has had a barnstorming couple of years with drops on Planet Euphorique and Unknown To The Unknown, a team-up with Mall Grab on Looking For Trouble and now this rabid electro stormer on Helena Hauff's Return To Disorder label. Compared to some of the grungier, punk-inflected electro you'd expect to find on the label, this is bright, bold, big-room stuff with plenty of ravey motifs to move large masses of bodies. "Empty Nest Syndrome" is hyped up to 11 while "Naive" pivots around a hard as nails electro beat. Watch out for the mad arps on "Can't You See" and "Rebel Faction" too - they're gunning for your cerebellum and you should take heed.
Review: For the second missive on his recently launched Fencepiece label, Steve Pickton has delved into his archives and dusted down a trio of cuts from the early days of his career in the mid 1990s. On the A-side you'll find two tracks first featured on his 1994 debut album as Phenomyna, "Unexplained": the crunchy, deep space techno/electro fusion of "Travellor" [sic] and the deeper, warmer sci-fi electro flex of "From Afar". Over on the flip, there's another chance to enjoy the superb "Tau", which originally closed his first solo Stasis album, "Inspiration", way back in 1995. It's a spacious and ear-pleasing affair that wraps lilting synth-strings and bubbly, Detroit techno style electronic motifs around a skittish, futurism-inspired techno beat.
Review: Smoove is back with another of his magical conceptions. This is one of the most bold and adventurous projects he's ever undertaken on Wack Records and finds him layering up hundreds of samples taken from more than six full lengths by A Tribe Called Quest, and he's one of the best to ever do it. The result is a magnificent and mellifluous 7" that brims with soul, jazz, rich beats and vocal snippets that interplay so smoothly you'll be in awe. Both sides are alive and authentic and picking apart the pieces is all part of the fun.
Review: If you're after some beefed-up, club-ready funk revisions, we'd heartily recommend this double dose of reworks from pals Robby Bergmann and Lego Edit. Bergmann kicks things on the A-side with "Get Up Sex Machine", a weighty, pitched-up James Brown revision that underpins key elements of the Godfather of Soul's original version with some tough new drums and cut-up vocal samples. Lego Edit takes over on side B with "Me & My Baby", a sprightly edit of a much-loved soul classic that's far more reverential in tone than the admittedly club-ready A-side edit. There's little in the way of contemporary trickery, just a DJ-friendly re-arrangement and extension.
Review: Ilija Rudman and Antonio Zuza's consistently classy label is back with a standout 12" from Californian producer Michoacan, who's previously been spotted on DFA, Eskimo and many other highly regarded labels. "Knights Are Cold" is a vibrant, original and delightfully kinked slab of sunshine with a subtle pitch-bent oddness and an innate funkiness. It's smart in its reference points, but certainly not trying to be a simple 80s disco pastiche. "Be Side Me" is a slower, moodier affair but the same melodic sensibilities shine through to make this a rich selection for DJs wanting grooves with personality and attitude to spare.
Review: Italy's Babe Roots crew show off their silky dub techno credentials here with a couple of immersive new singles. "Music Mission" (feat Galas) is a bottomless cut with warped bass rumbles and endless echo overlaid by a classic reggae vocal from Galas. "World Struggle" (Ambient dub) casts you free from the dance floor with its floating chords full of grainy greyness and cloudy tension. The EP highlight might be "World Struggle" (feat Danny Coxson), a heavyweight, slow motion dub with earth shattering kicks and a deeply buried low end oscillation that's detailed with thunder claps and a soulful Danny Coxson musing on struggle up top.
Review: Matasuna's latest must-have release comes courtesy of Dubben, an artist whose tasty, dub-fired mid-2000s reworks of Afro-Cuban and Latin tracks remain some of G.A.M.M.'s most potent moments. This is the producer's first release of any sort for nearly five years and continues in a similar vein. Check first A-side "Jesus Boogie", a samba-soaked, dub-funk fuelled revision of what sounds like a mid-1970s Brazilian MPB workout. Sweatier flavours are provided on B-side cut "Cachaca", where he dubs out and tools up a punchy affair that boasts a killer horn part reminiscent of The Champs classic "Tequila".
Review: The insatiable rise of Felipe Gordon continues apace. The Colombian has been in a rich vein of form over the last 18 months, chalking up must-check EPs on Quintessentials, Toy Tonics, Lost Palms, and Razor 'N' Tape Reserve. Here he adds another label to his discography: celebrated Swedish house outlet Local Talk. Title track "For A Bright & Acid Future" hits the spot from the word go, with Gordon wrapping twisted, rough-neck acid lines around a bustling backing track rich in fuzzy synth stabs, jazzy bass guitar and crunchy beats. Over on the flip Kear lends a hand on the sun-kissed, soft focus brilliance of jazz-funk/Jazz/deep Latin house fusion of "Son Esquivias", a slab of breezy, percussion-rich goodness that could well be Gordon's most musically expansive track to date.
Review: Five months after launching his "Sir Cuts" series via the much-played "Love EP", Daniel Klein AKA SIRS returns to action with another collection of "personal edits". There's much to get the disco juices flowiong throughout, from the grandiose but lo-fi disco cheeriness of opener "Nottingham Forest" - wait for the extra-percussive drum break...it's a stunner -to the shimmering, synth-laden Euro-disco throb of "Magic Mirror" and the electric piano-laden electrofunk fizz of closing cut "Wicked". Interestingly, the source material tends towards the quirky and obscure, while the scalpel-style edits offered-up are far more reverential than most (in other words, there's no cheap studio trickery or needless filter sweeps). In other words, it's a fine selection of dusty disco and boogie gems.
Review: Those stylish minimalists at Meander are back with more of their superbly stripped down sounds. At the helm for this latest trip is Alci, who brings the clipped electronic funk to his opener "Can't Dance" which will surely have many people trying to prove they don't suffer from the same issue. "Sonsuz Seconds" is more airy and deft, with incidental chords floating above a rugged drum line that is nice and rickety. "Kelime Bir" gets into melon twisting late night territory with its bendy tones and freaky pads, then "Kelime Iki" almost falls over itself its drums areas quick and kinetic. Fantastic stuff once more from this label.
James Brown - "Funky President" (extended Breaks Special edition) (4:25)
The Vibrettes - "Humpty Dump" (part 1 - extended Breaks Special edition) (3:16)
Review: US 7" label Beats & Breaks present "Funky President" which is a funk song originally released as a single in 1974, by the hardest working man in show business at the time - the Godfather of Soul - James Brown. It appeared on his album entitled 'Reality' released that same year. According to Brown, the song's title referred to U.S. President Gerald Ford - who succeeded Richard Nixon in the White House shortly before it was recorded. It is one of Brown's most frequently sampled recordings. The rhythmic portions of the song have been used on dozens of hip hop tracks. On the flip, The Vibrettes' "Humpty Dump" is another killer funk number that was recorded by one Roscoe Porter and originally released by Lujon back in 1973. The sample source for many a respected beat by such legends as J. Dilla, Four Tet, 2 Bad Mice and even Aphex Twin.Limited clear vinyl edition of just 200 units...
Lost Desert & Simon Vuarambon - "Earth Before Humans" (7:23)
Lost Desert & Bona Fide - "No Strings Attached" (8:17)
Lost Desert & Amand - "That Moment & You" (8:10)
Review: Having spent a spell on loan at Russian label Shanti Radio, serial collaborator Patrick Bruyndonx AKA Lost Desert returns to his musical home-from-home, All Day I Dream, with an action-packed EP of joint productions. He first joins forces with regular studio partner Lee Burridge on the tactile, warming and ethereal dancefloor bliss of "Welch", before exploring darker, tech-tinged deep house pastures on Simon Vuarambon hook-up "Earth Before Humans". Over on side B, Bona Fire collaboration "No Strings Attached" is a percussion-rich shuffle infused with glassy-eyed watching-the-sun-come-up-at-a-rave nostalgia, while "That Moment & You", co-produced by Amand, confidently strides towards hypnotic tech-house-meets-deep house territory.
Review: Long time disco diva Gwen McCrae is an eternally in demand artist whose music reconnects with each new generation. "All This Love That I'm Givin'" is one of her biggest hits and for good reason. Now it gets a special 7" release on stunning yellow vinyl. The soaring vocals do most of the work but the tentative stabs help bring the funk. It's a totally different vibe on the flip with "Maybe I'll Find Somebody New", a much slower and more sensuous tune with luxurious strings and wind instruments complimenting her smooth and seductive vocal work.
Review: Kraftwerk's Ralf Hutter has more or less disowned the krautrock-inspired music he and the late Florian Schneider recorded pre "Autobahn". From that album (1974) onwards, they became the electronic futurists we know and love today; before that, they swum in more organic musical pastures, mixing rudimentary synthesizer and other electronic instruments with guitars, drums, flutes and electric organ. It's this sound that's captured on "Soest Live", a rare recording captured for WDR-TV in 1970. Accompanied by drummer Klaus Dinger, Hutter and Schneider offered up a mixture of arty, proto-ambient experimentalism, and surprisingly funky, groove-based krautrock epics that combine prototype Kraftwerk grooves with the organic sounds of flute, violin and organ.
Review: Italian duo Souldynamic have been releasing a steady stream of work on respected labels from King Street and Tribe to BBE, with support from industry heavyweights like Louie Vega and Dennis Ferrer. Their latest release the 'West Side of Afrika' EP see's them land on Samosa Records, comprising of four tracks of Afro-centric house. From the spiritual life music of opening track "Guinee" to the uplifting sunshine vibe of "Faranah" with its uplifting group vocal harmonies, while closing cut "Beyla" is an evocative deep house number with the most killer bassline you will hear on a record this year. Terrific work by these Neapolitan scene veterans!
Review: Those who love classic Afro-Latin music should already know "Lupita", one of the standout tunes from the sole 1971 album by Belgian composer Nico Gomez (real name Joseph van het Groenewoud) and his Afro-Percussion Inc backing band. That album was reissued a few years back by Mr Bongo; here 'Lupita' is given a rare airing on 7" single by Matasuna. This time round, the deliciously percussive mambo workout - all punchy horns, wild organs and vocal breakdowns - comes backed by a fresh remix courtesy of Bosq. This version is arguably even better, with Bosq wisely choosing to focus on the drums, horns, bass and organs for added dancefloor pleasure.
Review: Retro soul fans rejoice. This is a superbly suave collection of instrumental soul and classic British library sounds that ooze class. The lush keys bring lounge goodies, the wind leads bring the feel of a 60s spy drama or detective show theme tune and the tight rhythm sections will bump on any floor. All the tracks have an inescapable sense of conversational narrative and while some strut their stuff in chest pumping fashion, others glide on more silky and seductive keys. If ever you want to imagine you're an international jet-setter, this is the perfect soundtrack.
Chatanooga Choo Choo/Don't Be That Way/Tributo A Martin Luther King (3:08)
Pourquoi/Arrasta A Sandalia/Morena, Boca De Ouro/Rosa Morena (7:42)
Birthday Morning/Can't Take My Eyes Off You (2:59)
O Dialogo (2:22)
Review: Pianist Luis Carlos Vinhas first rose to prominence during the height of Brazil's bossa-nova movement in the early 1960s. By the middle of the decade, he was releasing albums under his own name, and in 1968 delivered what would become his most colourful and exciting set: the effervescent Latin jazz psycehedelia of "O Som Psicodelico de Luiz Carlos Vinhas". As richly detailed and vivid as its accompanying cover art, the set still stands up all these years on - as this essential Mad About Records reissue proves. Backed by a big band, a guitarist with tons of effects pedals and recordings of Amazonian wildlife, the pianist delivered a set of tropical jazz/psychedelic samba fusion that sounds every bit as hallucinatory now as it did way back in 1968. In a word: essential.
Djidjo Vide (feat Elikeh - Jose Marquez remix) (8:06)
Lift It Up Again (6:21)
Review: Given the struggles the World has faced this year, the escapist hedonism of the Sol Power Allstars - a jubilant, floor-friendly fusion of African, Caribbean, South and North American influences - feels like a much-needed shot in the arm. They're at their celebratory best on Sol Power Sound's tenth release. Vocalist Massama Dogo and guitarist Frank Martins lead the line on impressive opener "Va Se Da", a contemporary slab of Afro-house goodness. The accompanying dub, a tougher, sweatier and more bass-laden proposition, makes the most of the previously buried horns courtesy of LA band Jungle Fire. On the flip, Jose Marquez provides a suitably spacey, percussion-rich, Afro-synth style rework of classic Sol Power cut "Djidjo Vide", while "Lift It Up" is a sleazy slab of trippy Afro-acid with added hazy horns.
Review: Original Gravity is run by label owner Neil Anderson, who has a tireless work ethic and superb devotion to ska, reggae, and everything in between. His love of boss rhythms comes to the fore once more here with new tunes from three pseudonyms - The Regulators, Woodfield Road Allstars and Prince Dolly - all of whom, in actual fact, are him. Regulators cut "Why Why Why" opens up with a heavy bottom end, "Coast to Coast: has a big organ led groove and "Why Dub Why" reworks the opening tune into a rocksteady roller.
Review: According to the South American music specialists at Matasuna Records, Ralph Weeks' 1971 single "Let Me Do My Thing" - recorded alongside backing Los Dinamicos Exciters - is arguably the most sought-after Panamanian soul record around. As this reissue proves, Weeks' original version is rubbery, heavy and rousing, with the singer's rasping lead vocal soaring above a weighty backing track that sounds like a breezier take on the New York boogaloo sound. On the flip, Voodoocuts tools it up for modern dancefloors, underpinning his club-ready edit with punchy new drums that give the cut more of a breakbeat style swing.
Review: **REPRESS** Another album from the amazing mind of Heinrich Mueller (aka Gerald Donald). Originally released on DJ Hell's Gigolo label and apparently only licensed after Gerald crashed Hell's BMW and had to come up with a means of paying him back. All the tracks first appeared on the very obscure Dataphysix imprint from Detroit, with some releases only reaching the 500 copy mark. Now brought back to life for 2007, "Gesamtkunstwerk" could be one of the best electro albums ever made. Yes that's right, I said it...the best ever! This is almost as important for the techno generation as Kraftwerk's "Computerworld" and "Autobahn" were for many in the 80s. The tracks are all pretty simple, made up of only two or three analogue instruments each, but they seem to hold these timeless melodies that you can never tire of. Other moments are eerie, menacing and downright strange, but still pure genius. You know how a lot of the time when you buy a new record it becomes your favourite for a while, and then it starts to lose a little life? (Of course it's still good, but just not as fresh as the first couple of weeks when you listened to it on repeat). Well guess what? That doesn't happen with this record. I must have listened to some of the tracks on here over a 1000 times and they still send shivers down my spine. It's one of those special albums that just don't seem to age.
Review: If you're in the mood for some cosmic grooves, wayward disco and pagan psychedelia, Multi-Culti's Cult Edits series is always worth checking. The imprint's latest offering is packed to the rafters with mind-altering goodness. Inigo Voltier sets the tone with "Ti Amo", a Fairlight-powered bounce through post-Italo oddball electro territory with added mix-80s power-pop guitars, before Angelina Amor reworks a sludgy slab of European industrial/new wave fusion. Youkounkoun's throbbing "Cosmic Yoyo" sounds like post-apocalyptic Italo-disco after a fist full of downers, while Asa Moto's "When The Funk Is On" is a funky but undeniably weird electro-industrial cut rich in delay-laden vocal snippets and metallic percussion hits.
Review: Summer is here and there are few finer musical companions than this steamy 7" from Scandinavian soundsmiths the Lyskestrekk crew. Leoparden steps up for this one with an inimitable sense of coy funk, bubbly pop, bendy synth colour and deep and lazy groove. "Hoyt Oppe" simmers with a late night r&b charm that is all romantic and intimate with squidgy bass. On the flip, "Lope Bass" goes for a retro tinged 70s vibe with subtle acoustic riffs and a sexy strut all getting you in the mood. Once the astral led synth breaks out of the mix, the journey really takes off and boogie infects your bones.
Review: Over the course of their six-year career, French twosome Nummer have slowly morphed from fresh-faced angular techno enthusiasts, to makers of admired electronic music rooted in a widescreen and nuanced musical vision. Their growing maturity is much in evidence on "Night Confidence", an EP that effortlessly flits between deep, dreamy and delay-laden lo-fi deep house bliss ("Sea Junkies"), sleazy, acid-fired, alien-sounding late night house weirdness ("Hassen (Dub)"), extra-percussive fusions of Burrell Brothers style deep house and new age beauty ("Kyoto's Forest"), and the wonderful analogue/organic fusion that is rolling, outer-space house jam "Windchill". An inspired EP from a duo whose music is sounding fresher than ever.
Review: Earl Sweatshirt's Feet of Clay album from late in 2019 was tantalisingly short in length, but not short in quality. The raw, woozy record found him exploring ambiguous wordplay that will keep you entertained trying to unpack it all for many hours. He himself described the 15 minute work as "a collection of observations and feelings recorded during the death throes of a crumbling empire" and it makes for a physical yet abstract record with emotion to spare. From gloomy and introverted r&b styles to more distorted jazz and loop beats, his silky tones always unify each track with great allure.
Review: The red hot 45 series from Dynamite Cuts continues apace with more gold carefully dug out from the rich archives of George Semper. This is the first time ver these tunes have been on 7", and the pressing is limited to 600. "Got To Find A Way To Make Some Money" is a sentiment we can all relate to right now. The tune will certainly lift your spirits though with its rousing vocal harmonies, cheery trumpets and vibe spreading soul sounds. "The Weight" (instrumental) is more intense, somehow, with bristling rhythm sections and lo-fi organs all serving up the heat.
The Chosen Few - "Candy I'm So Doggone Mixed Up" (3:25)
Review: The Beats & Breaks 7" series was founded to satisfy the desires of DJs, mainly by serving up re-edits that put some of the world's most recognizable drum breaks front and centre. This edition kicks off with a rearrangement of the Winstons' "Amen Brother", whose drum break not only became a staple of U.S hip-hop in the 1980s, but also the foundation of jungle and later drum and bass. This edit wisely gives plenty of air time to the infamous drum break, dropping into it at frequent intervals in between bouts of punchy, horn-heavy funk. Flip to the B-side for a tastefully chopped and rearranged version of The Chosen Few's super-sweet 1976 soul cut "Candy I'm So Doggone Mixed Up". This is the limited clear vinyl version and limited to just 200 copies !
Review: Butch has been turning out essential club sounds for many years. He has a wide range of styles in his arsenal and always manages to come up with original ideas despite being so prolific for so long. "Joe Le Taxi" is a mad acid cut that has off-grid claps, drunken kicks and a female vocal lost in it all. It's the sort of unhinged tune to drop at the peak of the night and watch the reaction from afar. On the flip is an Acid Tool version that is even more wonky and unhinged, with the squirrelling acid line doing even more work.
Review: Although little-known in the UK, Yanti Bersaudara were one of the most successful Indonesian groups of the 1960s and early 1970s. The group, a trio of sisters, is arguably best known in the UK and Europe for their self-titled 1971 album, which has now been given the reissue treatment to satisfy growing demand from record collectors. It's a warm and gently psychedelic affair, offering songs (naturally sung in Indonesian) that variously touch on 1960s beat pop, the "wall of sound" productions of Phil Spector and dewy-eyed, soft-focus soul, often with South East Asian musical motifs mixed with British and American tropes. As a result, it's a surprisingly intoxicating affair.
Review: Ninja Tune welcome label debutant Julianna Barwick for a solo album born from imporovisaitozl sessions and endless loops of her own vocals. The LA-based artist has said the album was written during an emotional time and so it all comes from the heart, direct to you, with no real goal, aim or MO, other than making the sounds she feel at the time. "It brought me to tears a little," she has said of the process, and Nosaj Thing, Mary Lattimore and Jonsi al feature across the album's eight cuts of moody and evocative ambient drones. From heavenly and happy to more intense and introspective, it's a perfectly honest work.