Review: Last year, obscure 1980s soul singer Garfield Fleming returned to action with a mini-album of tracks co-produced by modern boogie maestro Simon Tappenden AKA Ourra. Here we get a chance to savour once again his 1981 debut single, the much-sampled "Don't Send Me Away". It's something of a "groove"-era boogie classic, all told, with Fleming's superb lead vocal rising above sweeping orchestration and a chunky groove. It also boasts a seriously good breakdown in which Garfield's repetitive chorus vocals ride a stripped-back but percussive groove. Turn to the flip for the solid original B-side "You Got Dat Right", a jaunty slab of disco powered by honky tonk style pianos and a superb "walking" bassline.
Review: Almost a year to the day since their last essential re-edit outing, Prescription Pricing Authority returns to G.A.M.M. with two more floor-friendly slabs of contemporary scalpel science. A-side "Pick 'Em Up" is a rolling, filter-sporting revision of a down-low disco-funk classic rich in bouncy pianos, soaring female chorus vocals, metronomic drums and punchy horns. It sounds like a peak-time monster in the making, which is never a bad thing. They up the tempo on flipside edit "Cali '76", a tidy, DJ-friendly rearrangement of a horn-sporting chunk of polyrhythmic jazz-funk that boasts some suitably spacey synth solos and horn lines sharper than your average razor.
I Want Magic (Dimitri From Paris vs Cotonete 12" version) (7:15)
I Want Magic (Dimitri From Paris vs Cotonete 12" dubstrumental) (7:14)
Review: "I Want Magic" is a welcome return to action from Jalapeno's premier soul sister, Izo FitzRoy, an artist whose 2017 debut album "Skyline" brilliantly joined the dots between classic soul, rhythm and blues and gospel. This time round she has her eyes firmly focused on the dancefloor, as producer Dimitri From Paris and backing band Cotonete (whose recent LP 'Super-vilains' is well worth a listen) join forces to cast a serious disco spell. "I Want Magic" is a revivalist disco jam per excellence; a tweak on the classic Chic sound with Cotonete adding a few sneaky solos and quality jazz-funk touches here and there. Of the two versions, it's the vocal mix (side A) that hits home hardest, thanks in no small part to a stunning lead vocal from FitzRoy that celebrates the giddy goodness of dancing like you're ten years old. Expect to hear it a lot at festivals throughout the summer.
Review: The hitherto unknown BEFORETHEBEATSBREAK crew step up with a low key drop on Blah Records, a label that has previously hosted the talents of Ronaldo and Crazy Bank. The mood is resolutely fixed on pumping garage house with oodles of swing, from the deeper shuffle of "Closer" to the heavy bump of "I Don't Want U". "Freak Me Out" is a wonderfully frantic workout with all manner of samples and skittish key flex pinging around an uptempo groove, before "Talkin' About" pushes the swing even harder to conjure up a jazzy feeling smattered with sax licks and squelching synth stabs.
Review: Hailing from Tel Aviv and featuring Antinote-affiliated Alek Lee, Project Runaway make good on their initial promise with a sterling club-ready record for [Emotional] Especial. "Met" is a perfect statement of intent - a dynamic peak time record with an urgent, insistent groove peppered with organic percussion, zippy FX and a freaky vocal to get overground and underground party people shaking unanimously. The dub on the flip takes things out to weirder territory for the freak-out crew, without losing sight of the necessary functionality of the track. This is as direct a hit as you could ever expect from [Emotional] Especial, but loaded with bags of personality to satisfy the more curious minds out there.
Review: Whereas the first volume in Joaquin "Joe" Claussell's "Cosmicdelic Africa" series focused on sneaky re-edits by the Sacred Rhythm founder, this second instalment focuses on original productions "for the dancefloor and the head". In other words, Clausell has offered up DJ-friendly extended versions of some of his most cosmic, Afro-centric creations. There's much to enjoy throughout, from the psychedelic rock guitar solos, restless bass, layered Latin house rhythms and rainforest sounds of Cosmic Ritual's "Abraxas (Demo Sketch Mix)", to the piano sporting cosmic house positivity of Mampo's "Emarofo Tech (Extended Sketch Mix)", via the spaced-out electronics, hallucinatory synth lines and sparse drums of intoxicating downtempo workout "Mundo De Agua (Psyxchdelic Transfusion Mix)".
Review: Berlin deep house heroes Cinthie and Stevn Aint Leavn are back on their ever reliable Beste Modus imprint for its ninth edition and they aren't messing around on this one. Quality classic house vibes all the way - a timeless Windy City vibe dominates the A side courtesy of Cinthie, who serves up the sultry and swing-fuelled late night groover "Everything I Say" before taking it back to '94 with the dusty and soulful "Good For You & Me". On the flip, Stevn Aint Leavn is in fine form, too, particularly on the moody and bass-driven back room dub "Quins".
Review: Since first appearing in stores back in 2016, this cover of Rick James' sweet and punchy "Mary Jane" by Brooklyn collective Breakdown Brass has become something of an in-demand item. Happily, they've decided to sling it out again for those of us who missed out first time round. Their version of "Mary Jane" is impeccable, with funk-rock guitar solos, heavy tuba bass and lolloping drum breaks underpinning the band's rousing brass rendition of the song's famous refrains. Throw in a few tight solos and you've got a stone cold party-starter. Turn to the flipside for "The Horseman", an urgent and foreboding chunk of fuzzy New Orleans brass band funk complete with psychedelic organ solos and fizzing Mariachi style horns.
Review: Long before he settled on the now familiar Jimpster alias, Freerange Records co-founder Jamie Odell released a handful of tracks and singles under a variety of now forgotten aliases. One of those was Loxodrome, a one-off pseudonym utilized for a now in-demand EP of techno and house fusions on Jumpin' & Pumpin'. Now reissued for the first time since, the 12" has lost none of its intergalactic charms. Check first the spacey ambient synths and post-bleep UK techno grooves of "Heavy Ride", before turning your attention to the deep space Motor City vibes of "Blue Skies". The bleeps return on the warm and dreamy tech-house jam "Red Society", while "Avenue T" is a deep, drowsy and sun-kissed chunk of "Artificial Intelligence" era electro/tech-house fusion.
Review: Lauren Lo Sung's star continues to rise as the talented minimal house producer and DJ partners up with the mighty Lazare Hoche. This four track EP is packed with bombs, from the shimmering, metallic deep house finery of "Running" to the cheeky acid wriggle of "Dusty Pink". Things take a darker, deeper turn on the fierce "Fixate," and then lift into fluttering after hours tones for the sublime and ever so slightly trippy "Lara's Dub". Now firmly entrenched in the cut and thrust of the European minimal house scene, Lo Sung's talents spill out in abundance on this assured pack of highly workable and versatile floor filling 4/4 burners.
Steve Monite - "Only You" (Frankie Francis Disco Jam edit) (7:55)
Tabu Ley Rochereau - "Hafi Deo" (Nick The Record & Dan Tyler re-edit dub) (10:15)
Review: Edits in the hole! Two Afrofunk gems enjoy floor-primed refocuses: Steve Monite's Doing It In Lagos-featured "Only You" gets a little juice from Sofrito's Frankie Francis who really brings the bass out in proceedings. Meanwhile on the B Nick The Record and Idjut Boy Dan Tyler tweak the energy and sheen of Tabu Ley Rochereau's "Hafi Disco" as the drums are given a little more momentum and the chorus and horns are really brought to the centre of the action. Stunning.
With More Love (Special edit instrumental version) (6:42)
Review: Originally released back in 2009 in its' epic 13-minute original form, "With More Love" remains one of Joaquin "Joe" Claussell's most endearing tracks - a gorgeous chunk of sun-kissed spiritual house rich in fluid piano solos, sunset-ready classical guitar solos, undulating bass, non-verbal vocal harmonies and the producer's bouncy Afro-Latin house beats. Happily, Clausell has decided to reissue the track, offering up two scaled-down versions that fit on one tidy seven-inch single. On the A-side you'll find the "Special 7" Edit", a six minute blast of ultra-positive dancefloor bliss that's about the most positive thing we've heard in ages. Turn to the flip for a previously unreleased instrumental take that strips the track back further, allowing the gorgeous piano solos and busy bass guitar more room to breathe.
Review: West Midlands techno legend Surgeon is said to have produced the material on the Raw Trax series at Amsterdam Dance Event last year, with only a PIN Electronics Portabella synth and a TR-909 drum machine. Road tested extensively during his live show over the last several months, this series is "a return to the pure essence of techno" - and that statement rings true throughout this 12". In this second volume you'll hear familiar sounds from Anthony Child that throws back to the seminal days of his eponymous EP, Pet 2000 or the Basictonalvocabulary LP: all conceived during his legendary House Of God residency back in the early 90s. From the fierce and strobed-out adrenaline of "Raw Trax 10" and "Raw Trax 5", to the brutalist overdriven thud of "Raw Trax 7" with its grinding acid bassline, and the hypnotic minimalism of closer "Raw Trax 6", this 12" is packed with proper purified Techno bangers by one of the genre's very best.
Review: Some 20 years after "If" first hit stores, Jeff Mills has decided to get his old pal Terrence Parker to remix it. He's done a rather good job, with both versions making great use of Mills' ghostly original chord sequences and two different variations on the mesmerizing, seemingly drifting scat-style vocals that was arguably the track's most memorable feature. The A-side "Vox Soul Mix" includes new vocals in the original style by Marachka, whose haunting but soulful improvisations brilliantly rise above metronomic techno drums, spacey effects and those now famous chords. The similar sounding "Original Remix" is a little tougher and weightier, with tooled-up percussion (check the restless hi-hats) underpinning Anna F's original scat vocal and Mills' ethereal, ambient style chords.
Henry Hyde - "Every Day's A Good Day For A Swim" (6:18)
Review: The ever-charitable Needs project continues apace with another stunning cast of characters offering up their dancefloor creations to help a good cause - the environmentally-focused Cool Earth NGO. On this 12", Eris Drew delivers the uplifting breakbeat celebration of "See You In Snow", while Edward takes things deeper with the tripped out minimal house groove of "Mind Loop". D. Tiffany brings a particularly crafty approach to her own drum funk science on "Sun Trip" and Henry Hyde cools things down with the mellow, new age 2 step stylings of "Every Day's A Good Day For A Swim."
Walter Whisenhunt Orchestra - "Love Is A Hurting Thing" (feat Gloria Ann Taylor) (7:18)
Review: Sometimes, incredibly rare and expensive records don't live up to the hype. We can safely say that Gloria Ann Taylor's "Deep Inside You"- a superb, disco-era chunk of sexually charged soul - is not one of those records. Very few original copies were pressed, which not only explains the eye-watering second-hand prices but also the numerous bootlegs that have appeared over the years. This, then, is the record's first licensed reissue. It's worth picking up, not only for the sublime title track, but also for bonus cuts "What's Your World" - a laidback, super-sweet chunk of laidback West Coast soul - and the lushly orchestrated "Love Is A Hurting Thing".
Etta James & Sugar Pie Desanto - "In The Basement" (Soul Flip edit) (3:20)
John Gary Williams - "My Sweet Lord" (Soul Flip edit) (3:59)
Review: On their latest limited edition salvo, the hardworking Soul Flip crew (AKA experienced DJs and producers Aldo Vanucci and Del Gazeebo) gets to work on two more stomping dancefloor cuts from the golden age of soul. First up on side A is a gently tooled-up and tightened up take on Etta James and Sugar Pie DeSanto's 1966 floor-heater "In The Basement", a hybrid soul-jazz/rhythm and blues jam rich in rubbery double bass, bustling drums, restless handclaps and brilliant lead vocals from the two legendary soul singers. On the flip they tackle Memphis musician John Gary Williams' 1972 cover of George Harrison's "My Sweet Lord", which brilliantly re-imagines the former Beatles' spiritual song as a sweaty gospel-soul stomper.
Lafayette Afro Rock Band - "Hihache" (extended Breaks Special edition version) (4:23)
Gaz - "Sing Sing" (extended Breaks Special edition version) (4:27)
Review: More sneaky 45 action from the Breaks & Beats crew, a shadowy organization whose tried-and-tested re-edits offer DJ-friendly extensions of popular break-digging favourites (many of which were sampled on classic hip-hop cuts). Their latest seven-inch excursion begins with a tidy revision of Lafayette Afro-Rock Band's brilliant "Hihache", a low-slung favourite rich in lolloping, head nodding drum breaks, jazzy bass, flanged funk guitars and fuzzy horn motifs. The new version is deferential towards its source material, extending breaks here and there whilst leaving much of the tune in tact. One of the most doubled-up drum breaks in hip-hop history takes pride of place on side B, where Gaz's Salsoul released wiggler "Sing Sing" gets the re-edit treatment.
Review: Benjamin Brunn and Dave Wheels are old studio buddies, having worked together on and off since 2006. "2000", though, is their most ambitious joint project yet: a collaborative album for Sushitech that offers up breezy, melodious and cheery fusions of heady dub techno, gentle electronica, chugging sofa-friendly haziness and glitchy late night hypnotism. It's an interesting blend but one that certainly hits the spot. Highlights include the horizontal pulse of "Orainge", the wonderfully hypnotic after-hours throb of "Iratamoto (Version)", the bold and sun-kissed undulations of "In The Club" and the pie-eyed warmth of "Waldeck".
Review: As the title suggests, this essential double-pack offers up a quartet of tracks from Glenn Underground's 2009 album "Silent", a set that has never been released on vinyl. Epic opener "CVO's Prelude" is one of the Chicago veteran's most fluid and life-affirming tracks, with extended jazz piano solos and positive chord sequences rising above a sumptuous Latin-house groove. "Negro Muzic" cleverly combines groovy deep house with jazz-funk flourishes and '70s funk style studio party samples, while "7 Minutes Of Funk" is a warmer and more organic sounding dancefloor jazz-funk workout. Those looking for some bumpin' beats should check closing cut "Shake It", where tasty lead vocals sit atop a classic deep house backing track.
Review: Having previously collaborated on tasty 2013 single "Speckbass", partners in audio insanity DJ Fett Burger and DJ Speckgurtel have united for a full-length excursion full of "dance music for clubs and pubs and some easy-going jams to jazz the sheets". In practice, that means a saucer-eyed mixture of retro-futurist house treats (see jaunty opener "Harpo" and the Italo-house giddiness of "6Drops (Piano Mix)", loved-up deep electro (the spacey warmth of "Red Scorpions"), unashamed Larry Heard tributes ("Sunshine In The Limousine"), densely percussive peak-time workouts ("Enjoy This Limousine"), ragged acid ("6Drops (Technocid Mix)"), rushing Balearic synth-pop ("Sting Collins") and chiming, early '90s style ambient house (the beat free lusciousness of "Sonnen Ambiente").
I've Been Waiting For You (DJ Duckcomb Discomix) (7:33)
Review: Emotional Rescue heads to the Caribbean and the effervescent boogie funk of Glen Ricks. The Jamaican groover originally released the much sought-after "I've Been Waiting For You" in 1983, and it's been hard to track down ever since. Whether in its full vocal form or the beautifully dubbed out instrumental version, this is a seriously sunny slice of good time party music that stands up to any boogie classic you care to mention. LA's DJ Duckcomb steps up for a Discomix of the original that draws on the vocal and instrumental takes to sustain that balmy vibe for even longer - the selector's dream!
Review: Mushi 45 is keeping tight lipped about the story behind their latest release - so much so, in fact, that we can't ascertain whether it's a reissue or a new production. Given the label's history, we're thinking the former, though it's hard to find any reference to the record, the artist or the producer. Either way, the release is fire - a killer chunk of Afro-funk blessed with heavyweight drum breaks, punchy sax solos, celebratory African vocals and super-funky bass. In classic funk style "Ashadwa" is split into two parts; the first boasts chant-along vocals, extended drum breaks and a genuine "party in the studio" vibe, while the second is more instrumental and stripped back with greater use of snaking saxophone solos. In a word: essential.
Review: Rominimal veteran Barac Nicolae returns, and this time on Felipe Venegas' esteemed imprint Drumma with a pair of tight, infectious minimal tech house productions. The rolling and hypnotic main room grooves that he's built his reputation on can be heard loud and clear on the powerful "The Mirror Of Spirit", while the flipside houses a deeper, after-hours vibe via "909". Despite its name, the beats produced by the trusty Roland drum machine aren't the main attraction. We think "303" might be more well suited for this acid entrancer!
Review: AE Recordings turns its attention to Oculus, who they describe as a "titan of the Icelandic techno scene", famed for his live sets that have kept bodies moving for the past decade. He commits some of his sounds to wax here, maintaining the otherworldly emotional lilt that often comes from the scene orbiting AE and Thule Records, but with a bolder sound palette than some of the icy dubbed out artists he rubs shoulders with. "Nostalgia" deals in powerful, swooning chord progressions, while "Rydgad" pings a set of metallic percussion around a sturdy but crooked low end groove. "Morph" takes things deeper, while "Flod" offers up a classy take on the minimal techno aesthetic, with added sound design trysts for good measure.
Review: As Warp gears up to celebrate its 30th birthday, it seems fitting that the label should be putting out a fresh album from one of its longest serving artists. As Plaid, Andy Turner and Ed Handley played a significant role in defining the label's approach to electronic music during the "Artificial Intelligence" era in the mid 1990s. All these years on, they're still capable of crafting fizzing, melodious, off-kilter electronic listening music that defies lazy categorization. "Polymer" is a hugely enjoyable and entertaining set, with highlights including the jumpy beats, post-electro melodies and mind-altering acid lines of "Los", the metallic bounce of "Maru" - a kind of twisted take on Afro-tech that's amongst their most club-ready cuts of recent times - and the disturbed, Autechre-style clang of "Recall".
Review: Platform 23 continue to do a great service to all seekers of furtive sounds from the DIY underground, this time shining a light on the wonderful Mode I/Q. Anyone who digs the sound of New York-tinged new wave and danceable post punk will love this record - the limber disco funk of the rhythm section meets with squalling guitar textures and dubby FX, all shot through with a hooky pop sensibility that makes this record so easy to fall in love with. "Confidence" is especially strong, as is the ramshackle party starter "Two Different Things". It seems there's no end to the overlooked gems from this golden era of independent music - it's time to catch up with Mode I/Q and file them next to your favourite disco-not-disco movers and shakers.
Review: Dane//Close is sounding fierce as hell on this 7" edit grip for the ever-excellent Duca Bianco. Having previously moonlighted on Power Station and Prasens Editionen, you know this is a head with an instinct for alternative selections to make you move. On the A side, he tackles the incendiary "I Don't Wanna Go Out" by iconic Australian punks X (not to be confused with the LA band), stretching out the rowdy groove of the original's two-minute burst. On the B side, things take a slinkier turn into oddball boogie sleaze - the source material isn't so easy to detect, but it's definitely a jam to get low tempo lovers moving.
Review: In the early 1970s, a new musical art form emerged on the streets of Port of Spain, Trinidad & Tobago from the social unrest of the time. A group of young guys started to combine poetry with drumming and created the musical art form that is known today as Rapso. Lutalo 'Brother Resistance' Masimba was one of the pioneers of this movement and his 1987 anthem "Tonight Is de Night" receives a much-needed reissue here on Cree. There's much to enjoy on this 12" - we're particularly loving the groovy "Rapso Space Dub" and funky steel drum riddims of "Crucial Decision ('92 Version)". This is total spiritual life music.
Review: Spanish multi-instrumentalist and producer Luis Paniagua gets the Emotional treatment here with the reissue of the stunning 1987 album "Neptuno". It's a joyous album that revels in global musical traditions, and its accomplished finish is a marvel considering he recorded it with Luis Delgado in his Madrid attic within just a few days. From the treated string swells and sitar lilt of the title track to the lively percussive tumble of "Gacelle" and on to the bell chimes of "Aqui Y Ahora", this is a stunning record executed with talent and rich with the many wonderful tones to be enjoyed from a whole world of instrumentation.
Review: While the world may be going to hell in the proverbial handcart, The Allergies show no signs of losing their heads. Each successive single is on the money, offering a blend of funk-fuelled hip-hop party-starters and the kind of boom-bap beats that will get your head nodding quicker than a toy dog on a car dashboard. Their latest seven-inch is another incendiary affair, with A-side "2 Much!" featuring a near perfect blend of dancefloor-ready grooves, funky instrumentation and high-speed raps from regular mic man Andy Cooper. The latter also makes his presence felt on flipside "Special 45", a scratch-sporting head-nodder rich in atmospheric chords, simmering strings and oven-warm bass.
Review: The latest outing from Swiss reissue specialists WRWTFWW takes us back to 1981 and the debut single from Bern-based post-punk combo Grauzone. The 12" release of "Eisbaer" has long been a must-have amongst fans of off-kilter, dancefloor-ready new wave, and this replica reissue includes all three tracks featured on that version. Opener "Eisbar" sets the tone, with the bands weary, half spoken/half sung vocals rising above a backing track that's powered forwards by relentless bass guitar, screeching riffs and broken computer style electronics. "Film 2" is a heavy, synthesizer powered workout peppered with delay-laden drum hits and odd noises, while closing cut "Ich Liebe Sie" is a clicking and quietly melodious affair that's almost entirely electronic.
Les Mondes Engloutis (Psychemagik main mix) (7:17)
Les Mondes Engloutis (Psychemagik 5am mix) (9:07)
Review: Martin Brodin's MB Disco imprint continues to deliver the good stuff, this time featuring two utterly essential Psychemagik mixes of Alico vs Cagri's "Les Mondes Engloutis". These mixes actually first surfaced on a digital-only release back in 2013, but now they've been buffed up for a full vinyl pressing, and rightly so. A side "Main Mix" is a full bodied, emotional banger with a lead drop to get crowds waving arms and singing along wholeheartedly. Our pick is the "5am Mix" on the flip though, where the synths take on a more shimmering nocturnal tone without losing that bright and bold character that will land this 12" in all manner of record bags this summer.
Review: The mysterious Shelved Recordings imprint is not your average re-edit label, with the producer behind the series (sometime Ruf Kutz and Magic Wand contributor Andi Hanley) focusing not on disco, but rather the more Balearic side of 1980s pop. The label's second outing - which is being released in two parts - begins with a hazy, sun-kissed version of what sounds like a little-known Japanese Balearic-pop masterpiece, where dewy-eyed female vocals rise above a slo-mo groove, marimba style synthesizer motifs and twinkling pianos. Over on side B, "All Night Long" is a suitably chugging, spaced-out take on Godley & Creme's quirky 1981 classic "Babies", while "What?" is a hypnotic, largely instrumental interpretation of The Who's "Eminence Front" that wisely emphasizes the original's most atmospheric elements.
Review: Thanks to increased interest in South African dance music of the late 1980s, original copies of this obscure album from little-known trio The Bees have been changing hands for large sums online. Happily, Johannesburg-based label Afrosynth Records has decided to give it the reissue treatment. It was first released in 1988 and offers a near perfect example of the early Kwaito style blend of "bubblegum" South African synth-pop and contemporaneous U.S house. Highlights include the chanted vocals, sun-bright synth melodies and rubbery bass of "She's A Witch (Tikoloshi)", the glassy-eyed mid-tempo Kwaito richness of "Mjondolo (Bus House)" and "Mathatha", an anthem in waiting rich in country guitar riffs, positive lyrical messages and jangling house piano.