Search results: DC-10

Review: The ever-playful and seriously skilled mash-up and edit maestro The Reflex has been out in a class of one for many years. Few in his field managed to cook up the sort of delicious disco brilliance that he manages and this new 12" on the fledgling Discolidays isn't going to change that perception. 'Overture' (The Reflex Revision) is a glorious fusion of instrumental disco and withering sci-fi designs next to a catchy as hell vocal. On the flip, things head south with Latin melodies and percussion and glorious flute lines bring the joy to 'O Ba Ba' (The Reflex Revision).

Review: Live from the now closed down Hippodrome at London's Golders Green on October 27 1977, Problem Child offers an unadulterated earful of the Aussie rock giants in their earlier sonic heyday, complete with the legendary Bon Scott on vocals. Captured during their expansive run in promotion of their fourth Scott era LP Let There Be Rock, the set boasts some of the record's most timeless and bombastic cuts, from the iconic title track to the banging 'Hell Ain't A Bad Place To Be' to the quintessential 'Whole Lotta Rosie', but there's still enough energy to pump out the frenetic closer 'TNT' in all of its original, raw abandon.

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Review: Brussel's talent DC Salas returns to Robert Johnson for a third outing that continues in his tradition of mixing up all manner of wave and acid sounds with steely beat work. 'Voces' kicks off with a strobe-lit vibe and crunchy drums full of emo attitude. 'The Lights' is another one for the heart of the dance floor with its rigid bass and stiff drums run through with flashy synths. 'Metallic Glow' layers up twisted metal and plenty of crunch into another mechanical and electroclash adjacent rhythm that will wreak havoc on the dance floor. Last of all is the deeper, more trippy 'Safe Pace' with its guying synths and screwy acid.

Review: If you want blood... well, we all know what comes next. AC/DC are among the most marmite of stadium-sized rock bands, their consistency over the past six decades seen by some as relentless homogeneity. In reality, it's an auteur signature. We know, within three chords of school uniform-clad Angus Young's iconic Gibson, whose song, it is yet to the trained ear there are huge differentiations at play. From drawly blues through to seismic main stage energy. Highway To Hell is one of the group's seminal early outings, and any self-respecting fan should own it already. Although perhaps not in this stunning gold edition, released to celebrate the LP's 50th anniversary. Newcomers can expect an insight into the barrooms filled with sweat and spilt drinks from which this mega group came out of and a clue as to why Bon Scott, the lead singer who tragically died as they really hit fifth gear, will always have a place in our hearts.

Review: Another great gem from Casablanca. D.C. Larue is a songwriter and instrumentalist who emerged in the mid-'70s with a series of heavily orchestrated, disco-
orientated instrumentals with vocal refrains. 'Let them dance' is one of the records you should have in your collection. b/w Dennis Parker's 'Like An Angel'.

Review: Six years is ages for a band to go without releasing an album or doing very much. But for AC/DC, whose work rate has always been ridiculously high, it's a very, very long time. Between then and now, the band lost their lead singer, Brian Johnson, to hearing difficulties in the middle of their last tour, and saw drummer Paul Rudd arrested in New Zealand for 'attempting to procure a murder'. Talk about impetus to finally call time.

But then these are the guys responsible for one of history's greatest heavy rock triumphs, 1980s's Back In Black, released just months after formative frontman Bon Scott tragically passed. So it's no surprise Power Up, another post-traumatic release albeit an act of reunification with now (relatively) healthy Johnson and innocent Rudd returning, is among their best in the 40 years since. A comeback record that sounds exactly like AC/DC should - ballsy, bluesy, boozy riffs.

Review: Six years is ages for a band to go without releasing an album or doing very much. But for AC/DC, whose work rate has always been ridiculously high, it's a very, very long time. Between then and now, the band lost their lead singer, Brian Johnson, to hearing difficulties in the middle of their last tour, and saw drummer Paul Rudd arrested in New Zealand for 'attempting to procure a murder'. Talk about impetus to finally call time.

But then these are the guys responsible for one of history's greatest heavy rock triumphs, 1980s's Back In Black, released just months after formative frontman Bon Scott tragically passed. So it's no surprise Power Up, another post-traumatic release albeit an act of reunification with now (relatively) healthy Johnson and innocent Rudd returning, is among their best in the 40 years since. A comeback record that sounds exactly like AC/DC should - ballsy, bluesy, boozy riffs.

Review: Six years is ages for a band to go without releasing an album or doing very much. But for AC/DC, whose work rate has always been ridiculously high, it's a very, very long time. Between then and now, the band lost their lead singer, Brian Johnson, to hearing difficulties in the middle of their last tour, and saw drummer Paul Rudd arrested in New Zealand for 'attempting to procure a murder'. Talk about impetus to finally call time.

But then these are the guys responsible for one of history's greatest heavy rock triumphs, 1980s's Back In Black, released just months after formative frontman Bon Scott tragically passed. So it's no surprise Power Up, another post-traumatic release albeit an act of reunification with now (relatively) healthy Johnson and innocent Rudd returning, is among their best in the 40 years since. A comeback record that sounds exactly like AC/DC should - ballsy, bluesy, boozy riffs.

Review: Irish post-punk band Fontaines D.C. last appeared don our radar when the Baron of Techno MR Dave Clarke was busy remixing them. Now comes this deluxe and 180g gatefold album Skint Fa with an alternate cover and 20 page lyric book. This is the band's third album in as many years after 2020's A Hero's Death saw them hit the number two spot in the album charts and pick up nominations at the GRAMMYs, BRITs and Ivor Novello Awards. After a sell out tour at Alexandra Palace that now serve up more darkly political ones, thrashing riffs and hard edged drums.

Review: Ignore Heroes is an original motion picture soundtrack by American punk rock band TSOL. The movie tells the tale of an inception and then the 1983 destruction and the reformation of the band itself, the music interspersed with plenty of spoken word segments that flesh out the background details and have been taken from interviews with the members of the band who lived through the mad period in the history of the Californian punk scene. The soundtrack was composed by Greg Kuehn and it also comes with his piano interpretations of their classic tunes.

Review: You might well have seethe new Glitterbox documentary. It was two years in the making and is all about the communities and friendships formed through dance music. Taking its title from the Alison Limerick classic, it now lends its name to a two part compilation of tunes that featured in the story. The second volume is packed with extended mixes of plenty of cornerstone classics. There is raw as you like stuff from Mike Dunn, glossy sounds from Horse Meat Disco and party starting tunes from the likes of Mousse T whose full flavour house mix of Powerdance's 'Power Dance.' is a real doozy.

Review: Ferry Djimmy is quite the character - he is a mysterious Afrobeat figure who also was a former schoolteacher, boxer, Jacques Chirac's bodyguard, and well as being a legendary Beninese musical visionary. He recorded this album sometime in the mid-1970s in support of the revolutionary leader of Benin at the time - Mathieu Kerekou. A fire is reported to have turned all but 200 copies to dust so it is mega rare and expensive to get an original. Acid Jazz reissues it here in all its fiery, lo-fi, gnarly Afrobeat glory. This is a fully licensed project with all new and in-depth sleeve notes by Florent Mazzoleni.

Review: Feines Trier is an electronic music party and record label based in Cologne, Germany. Their latest comes from the pairing of Dominik Marz and Yannick Labbe. The three tracks on the Dune EP are "an invitation to lose oneself in textures, sounds, melodies - all wrapped up in loop-based arrangements." From the Balearic tinged minimal house of the title track, to the deeply emotive groove of ''Stay' and its moody chord progression, the EP gets off to a good start. Then Belgium's DC Salas (Correspondant) delivers a remix up next of 'Meaning' that injects a proper dose of techno and turns the track into a peak time rocker, and closing it out is the track in its original form.

Review: Following up releases by the likes of Mark Seven, Florist and Cygnus, Ari Goldman's Washington D.C-based World Building returns with this awesome varioust artist compilation. Neighborhood Watch Volume One features a wide selection of moods and grooves: NativeSun vs JamesBangura get stuck into some dark dubstep on 'Demon Mode' much like The Khan does later on the deeply meditative 'Part Of Me (Ode To DC), while Sami gets their swing on with the classic house of 'Marty & Jack', Juana's tunneling 'It's Low' gives you a dose of heroin house and over on the flip Max D gets deep down and dirty on 'No Snare'.

Review: While lots has been written about the influence of Black American soul and R&B artists on Britain's most successful (white) bands of the 1960s, little focus has previously fallen on the music of black Britons - and others from elsewhere in the Commonwealth who called the UK home - during the same period. Gotta Get A Good Thing, which tells the story of black music in Britain in the "swinging sixties", is therefore long overdue. Musically, it skips through soul, rhythm & blues, ska, rocksteady and more besides, offering up tracks from both well-known names and overlooked artists. Throw in extensive liner notes - including an introductory essay from Fitzroy Facey of the Soul Survivors - and you have a genuinely essential compilation.

Review: He has been gone several years now but the voice of Gil Scott-Heron still resonates as loudly as anyone's. In the 1970s he was heralded as the successor to Martin Luther King in terms of his thoughts on the Black experience and much of that came in poetic form throughout his recording career. Angry and accurate, socially charged but often singable, the Chicago born Godfather of Rap played all over the world and this album is a recording of a 1983 concert. It is a fine capture of the energy and spirit of Scott-Heron's shows with plenty of his biggest hits included.

Review: As a means of celebrating its 20th anniversary, Rostrum Records has assembled a special compilation album chronicling its rich history that was due to arrive for Record Store Day last year. The new long player features exclusive tracks from Mac Miller, Wiz Khalifa, Problem featuring Snoop Dogg and Freddie Gibbs, Innanet James featuring Pusha T and Kallitechnis, Mod Sun featuring DeJ Loaf, Biz Markie, Mike Taylor, Brevin Kim, Rockie Fresh, and more. These never-before-released gems offer a glimpse into the label's diverse and influential journey, showcasing the talent and creativity that have defined Rostrum Records over the past two decades. It's a must-have collection for fans and a testament to the label's enduring legacy.

Review: Earlier this year, Defected offshoot Glitterbox Recordings delivered its first documentary, Where Love Lives, a loving tribute to the power of "dancefloor expression and liberation" which was filmed over 18 months in Paris, Ibiza, New York and London. This expansive three-disc set showcases cuts from the film's soundtrack, with Defected boss Simon Dunmore and Glitterbox A&R chief Seamus Haji acting as curators. The 52-track set is little less than a whirlwind tour of revivalist disco, nu-disco and modern boogie, with reworks of classic cuts sitting side by side with celebrated contemporary cuts and future classics - all rippling with a mixture of squelchy basslines, electrofunk synths, sweeping disco orchestration, crunchy cowbells, fluid piano solos and heady, life-affirming vocals. If you dig disco, you'll definitely dig this.