Search results: DIP

Review: You always know what you are going to get from Radio Slave, and that is high functioning techno that never fails to make an impact in the club. The man behind the music, Matt Edwards, is one of techno's most enduring and consistent performers and he confirms that again here with the pair of bangers on his own Rekids label. 'Acid Dip' has punchy, funky drums that hammer home the groove with big, bouncy hits bring further dynamics as an occasional slaying synth sprays across the face of the tune. Devastating. 'Armani' is a brian-frying, loopy, synth-heavy workout full of texture.

Review: This reissue from Jazz Room is one from the rather more obscure end of the jazz spectrum but it is well worthy of your time. Johnny Walker - not the same guy as the whisky magnate - recorded this one when he was touring the world with veteran jazz star Lionel Hampton back in 1982. The sounds that defined his signature are drenched in funk with fat beats powering them along. The excellent rhythm section work really shines through here on an album that was originally released on his own Private Press label.

Review: Soul Slabs Vol. 2 is a second collection of 7" a-sides from Loveland Ohio's essential Colemine Records. The label has long dealt in heavy soul, funk, and r&b that is always perfectly authentic, with old school production values and timeless songs that translate across the ages. Lots of ground is covered here in fine style, from the raw and direct opener from The Gripsweats on through superb drum-funk from Jungle Fire and more tender and soft-hearted moments of soul bliss such as Jr Thomas & The Volcanos's 'What A Shame.' Highlights about on this one which comes in its own slipcase.

Review: Now that's what we call an album title 2021. As the name implies, we're skirting the edges of 1980s Japanese pop, opting to explore the strange, sci-fi hued, traditionally rooted noises that weren't necessarily dominant in the Far East country at that time, but certainly found favour with more explorative listeners. And it's not hard to hear why.

Tracks like 'Days Man' by Yoshio Ojima could work well in a slo-mo house or electronica set today. While preceding effort 'Hikari No Ito Kin No Ito' from Mishio Ogawa is like a strangely innocent hybrid of lullaby and pop song. Elsewhere, the twinkling synths and wet snare hits of Naomi Asai's 'Yakan Hikou' further accentuate the surrealism running through so much of what is here. One for the trophy cabinet, collectors take note (and form a queue).