Review: Blue Feather were a truly blue-eyed funk outfit from the Netherlands who had a prolific run in the 80s with two albums and a string of club singles to their name. "Let's Funk Tonight" was surely one of their bigger hits, and it sounds resplendent with a fresh master and the full extended version spread out across the A side here. Offering something new for the modern market, Best call upon Faze Action to flesh out this reissue with a killer dub of the track that treads softly but funks deep, just like a good dub should.
Review: Emotional Response do a great service here to all lovers of braindance craving new fixes since Rephlex shut up shop. Brainwaltzera's debut EP Marzipan was a self-released concern that sold out quickly back in 2016, meeting with emotionally charged responses from those wanting to nab a copy. Now it's more widely available, the gorgeous lilt of bubbling 101 melodies and delicate drum machine patterns can spread their wings and bring some healing vibes to a broader audience of electronica devotees. Coming on with the sensitivity of Wisp and other contemporary braindancers, this is how comforting home listening beats should be done.
One More Round (86 House mix By Frankie Knuckles) (8:10)
Walkman (86 House mix By Brett Wilcots) (7:17)
Review: Best turn their attention to that sweet mid 80s spot when the petri dish of party music was shaken up between disco, boogie, Italo and the emergent house sound from Chicago. Claudio Simonetti was a titan of the Italian groove, but his monster jam as Kasso, "One More Round", reached the stratosphere when Windy City godfather Frankie Knuckles gave the track his Midas touch. No more justification is needed for this pressing, but don't overlook the flip which finds 80s remix supremo Brett Wilcots taking on "Walkman" and whipping up a boogie frenzy of the highest order.
Review: Sound Signature's latest release is an all-star crew affair, with an impressive cast list of vocalists, musicians and producers joining main man Theo Parrish in the studio. He's at the controls on the sublime A-side mix, a jazzy affair where layered twinkling electric piano motifs, spacey chords, jazz-funk riffs and sumptuous deep house grooves combine on a fearlessly loose and organic dancefloor workout. On the flipside friend of the family Dego offers his interpretation, adding even more warmth and some tasty additional hand percussion parts whilst wisely utilizing most of the original version's intricate musical elements.
Eternal Blue (Wata Igarashi Crossing remix) (7:36)
Review: In an age of over-information, it's refreshing to see Aurora Halal take her time with the Mutual Dreaming label, which notches up just its third release since launching in 2014. It's also the New York scene leader's first record in three years, and it's worth the wait. Some elements are familiar - Halal still has a keen instinct for heavy-hearted synth lines shaped out in bold curves, but the level of expression going into these tracks makes each one stand out like a striking painting. From the eerie mood of "Fattal 22" to the crunchy bleep workout "Nasty II", the character just oozes out of Halal's productions. With a remix from Wata Igarashi thrown into the mix as well, this is a record loaded with fresh and powerful takes on techno.
I Just Wanna (Spend A Little Time With You) (Michael Gray vocal mix) (8:40)
I Just Wanna (Spend A Little Time With You) (Michael Gray dub mix) (6:19)
I Just Wanna (Spend A Little Time With You) (vocal mix) (7:45)
I Just Wanna (Spend A Little Time With You) (instrumental mix) (6:58)
Review: For their latest trick, Yam Who's Riot label has decided to offer up a brand new edition of Alton Edwards' 1981 UK electrofunk classic "I Just Wanna (Spend A Little Time With You)". You'll find Edwards' superb original vocal version on the flip, where his part whispered, part sung vocals rise above thickset, mind-altering synth-bass, drum machine beats and some seriously punchy horn lines. The obligatory 21st century updates come courtesy of Full Intention man Michael Gray, who delivers a suitably pumped up boogie-house vocal revision before dropping a similarly chunky dub that wisely makes much of the original bassline and Edwards' whispered vocal passages.
Review: Mark Ambrose brings his years of expertise in the deeper end of the techno spectrum to bear on this latest joint for Crayon, the label he founded way back in the mid 90s. "Destiny Angel" is a stomping, expansive cut with a cinematic lilt to its sound design and melodic progression - one for people to truly travel on. "Bleeps & Bits" is a more rugged workout that digs deep into intricate rhythm programming and FX processing to create a unique future-tribal flavour. "Just Tonight" keeps the beats dynamic and broken, but with a much hookier punch and some choice vocal snippets that should find favour with all kinds of DJs.
Review: Cartulis bounce from the essential release from Eliaz to this intriguing slab by Reade Truth, a New York techno original who was last spotted on Warm Fiction, Blkmarket Music and Path Records. His "Wires, Everywhere" album was a big release for Cartulis last year, and now he's back with further ruff n' tuff cuts that drip with Big Apple attitude. From the deep diving "Starflight" to the epic, ranging "Space Out (Expression)", you can sense Truth's hard earned swagger but it's also balanced out by subtlety, a sense of space and groove that makes each track a pleasure to sink into.
Review: Distant Worlds is a label going from strength to strength as it carries the work of underground deep techno producers celebrating that hopelessly romantic strain of UK machine music that emanated out of labels like B12 and Pure Plastic. Mihail P makes a return to the label after last year's "Multiverse EP", channeling all the right moves for a blissful trip into imagined sci-fi vistas fuelled by the box jam funk of electro and the synapse-tickling soundscapes of Tangerine Dream et al. From the dreamy delights of "Kessel Run" to the downtempo groove of "Sons Of October", this is beautifully executed music that champions electronic music with real heart and soul.
Review: As part of their 15th anniversary celebrations, Japanese label Mule Musiq has asked some of their most valued artists to conjure up fresh releases. For his contribution, long-term label artist Kuniyuki Takahashi has decided to combine nods to his 2017 album "Newwave Project" - a set informed by his musical roots - and the attractive deep house with which he made his name. A-side "Middle Eye" offers the best of both worlds, with bold and cultured synthesizer motifs, dreamy chords and disco style string stabs rising above heavy, cowbell-driven beats and warm bass. "Black" is a bustling, sample-heavy cut-up informed by electro and Yellow Magic Orchestra, while "Newwave Project 7 (Edit Version)" is a trippy and hypnotic rework of one of the standout cuts from the producer's 2017 full length.
Review: A sweet reissue of an underground classic from 1982 here, bootlegged badly in recent years, but Isle of Jura does it right with this remaster by Matt Colton. Q were a one hit wonder (if you could even call them that!), responsible for "The Voice Of Q". Comprised of American producers Bruce Weeden & Michael Forte with their revolving cast of musicians - this electro funk/disco project is finally getting paid its dues. Deep, funked-up and spacey disco, complete with vocoder - it almost seems familiar! A true spirit of the times. Features a previously unreleased track on the flip, "Keep It Strong" (unreleased dub edit) which is a balearic tinged number that's equally as good.
Review: 1990s sitcom loving beat maker Felix Weatherall returns to Brainfeeder for the first time since the release of his widely acclaimed debut album as Ross From Friends, 2018's "Family Portrait". He's in fine form from the off, with title track "Epiphany" offering a wonderfully intoxicated, off-kilter blend of bustling drum machine breakbeats, hallucinatory electronics, Middle Eastern style instrumentation and razor-sharp bass. He continues on an inventive fusion trip in the form of "The Revolution", where cut-up vocal samples and bluesy guitar lines rise and fall above a densely percussive deep house groove. Also impressive is "Phantom Ratio", a slightly more driving dancefloor cut rich in skittish drums and undulating electronic melodies.
Review: Mekanik Kommando was a post punk / New Wave band from Nijmegen, the Netherlands founded in 1979 by Peter van Vliet and Laszlo Panyigay. The duo became a quartet with the addition of Simon van Vliet and Mirjam van Hout. The name Mekanik Kommando comes from the album 'Mekanik Destruktiw Kommandoh' by the French progressive rock band Magma. Inspired by a DIY ethos, Kraftwerk and Magma, the band began recording songs at home using two tape recorders. Their demo cassette was discovered by Wally van Middendorp of Minny Pops and owner of Plurex Records, who booked them for a gig at Paradiso in Amsterdam. In 1981 they were asked to contribute music on a flexidisc for the first issue of newly established magazine Vinyl. In the summer of that year the band recorded their debut album 'It Would Be Quiet In The Woods If Only A Few Birds Sing' released on Torso.
In February 1982 the band secured five days of studio time at Salisbury Sound in Dordrecht. The end result was the mini-album 'Dancing Elephants' released on Torso later that year. Musically, the five songs are a mix between cold wave, experimental electronic and industrial pop. The band utilized two bass guitars plus a Korg 770, KR-55 drum machine, violin, effects, metals and plastics. Lyrics explore themes of decay and morality, hypnotically spoken on top of playfully metallic sounds. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each EP is housed in a replica of the original jacket, which features artwork by the group members, and includes a 4-page booklet with lyrics and notes designed by Eloise Leigh.
Review: As debuts go, the first outing from Ben Westbeech and KON as The Vision is mighty impressive. With the assistance of UK soul star Andreya Triana, they've conjured up a thrilling debut cut that sits somewhere between gospel, disco and sultry soulful house. The superbly warm and groovy original version - all bold piano riffs, jazzy horn solos, crunchy guitars, rolling drums and sublime lead vocals - is undoubtedly the standout, though the accompanying remixes are also rather good. Mousse T's boogie-flavoured house remix is a great alternative house mix with a deeper and more obviously electronic flavour, while the two Nightmares On Wax rubs are chunkier, sweatier and even warmer with plenty of D-Train style synth squiggles and ear-catching musical flourishes. In a word: ace.