Review: Following two sterling turns from Dedication feat Danielle Moore and Smith & Mudd feat Quinn Lamont Luke, Adventures In Paradise returns with another effervescent, vocal-led bomb. Soma World team up with Falle for an energising track that fold high life, funk and Kwaito house into a potent blend given voice by the infectious singing of Falle. As well as the original version of 'Want This', we're treated to two remixes by Ray Mang, who dubs the track out into a simmering, bass-rooted groover that captures the moody allure of a picture-perfect sundown moment.
Joey Jackson - "Made This Wearing One Slipper" (6:04)
Review: BEEYOU Records continue their infatuation with apiculture and bouncy tech house on The Worker EP, featuring another finely selected cast of buzzing beatmakers. Le Louche and Mehlor team up for the sprightly 90s-licked tones of 'Beat Back To', which features a deadly garage hook and a cascade of zippy FX around the nagging swing of the drums. ADMNTi keeps the pressure up with the twitchy delights of 'E3 Shaolin', while Casey Spillman gets busy with some rubbery bass on 'Just A Sip'. Joey Jackson takes things deeper without losing the punch on 'Made This Wearing One Slipper'.
Orquesta Olivieri - "Los Muchachos De Belen" (3:56)
Orquesta Olivieri - "There's No Other Girl" (3:22)
Ozzie Torrens & His Exciting Orchestra - "Mia's Boogaloo" (3:21)
Ozzie Torrens & His Exciting Orchestra - "Boogaloo In Apt 41" (3:19)
Brooklyn Sounds - "Ha Llegado El Momento" (45 edit) (4:27)
Brooklyn Sounds - "Guaguanco Tropical" (3:42)
Review: During the late 1960s and early 70s, New York's Latin music scene was the envy of the world, with a swathe of immigrant musicians from Central and Southern America joining forces to perform and record new variations on traditional themes and hybrid fusions of multiple styles, most notably Harlem-born Boogaloo. This Rocafort Records release pays tribute to some key NYC Latin combos of the period, delivering two tracks apiece from three acts over a trio of seven-inch singles. It's a hugely vibrant and enjoyable set, with highlights including the jaunty salsa of Orquestra Olivieri's 'Los Muchachos De Belen', two fiery boogaloo heaters from Ozzie Torrens and his brilliantly named "Exciting Orchestra", and the carnival-ready rush of Brooklyn Sounds' 'Guaguanco Tropical'.
Review: Blue Note Re:imagined is a carefully curated collection of brand-new covers of classic material from the legendary label as served up by a selection of the UK scene's most exciting young talents including Ezra Collective, Nubya Garcia and Brit Award-winning Jorja Smith. For this latest 7" it's Jordan Rakei, who actually hails from Aus, but let's not get mad about that because the super smooth soul singer reaches new heights on the free flowing, heart opening 'Wind Parade'. Jazz pianist Alfa Mist takes care of the flip with a suitably cosmic exploration on 'Galaxy' that pairs live, busy drums and soaring synths with rich chords.
Review: Black Cash & Theo AKA Thelonious Beats are Galaxy Sound Co's most experienced editors, having served up already nine excellent offerings on this label. Their latest careful bit of studio splicing work is again a cosmic and mind expanding jazz funk fusion with righteous grooves and life-affirming riffs. The A-aide is a sweet and seductive sound that comes up from below to sweep you off your feet and carry you away to the stars, then 'The Moving Finger' is a little more rooted on planet earth with its knotted bass riffs, glowing harmonies and rickety lead guitar riff, all finished off with some spiritual sax work.
Review: Mr. K and Most Excellent Unlimited are back with another must have motherlode of ten essential cuts on 7-inch, assembling a serious cross-section of diverse jams that were particularly popular at The Garage, majority of which appearing on 7-inch for the very first time in any form, let alone in these unique quintessential edits. Patrick Adams and Greg Carmichael production, female diva classic "Let's Get Together" backed with a previously unreleased NYC Peech Boys demo version of "Somebody Else's Guy." Tough South Bronx funk "Standing In Line". Synth epic, Krivit's classic edit of "Evolution". Disco Funk edit of Larry Levan's "Slap, Slap, Lickedy Lap". With much more in this diverse and remarkably sought after tracklist, surprises, like "Catch The Rhythm" (the only Boris Midney production regularly played at The Garage), along with Mr. K's previously Japan-only edit of Loleatta Holloway tour de force "I May Not Be There When You Want Me". Five singles impressively mastered with maximum fidelity and playability for an exclusive Record Store Day, including a bonus pair of newly designed, Mr. K seven-inch slipmats.
Review: Not to be confused with the mascara-clad indie rock band of the same name, Placebo was a 1970s Belgian jazz-funk combo founded by legendary European jazzman Marc Moulin. Within the rare groove and jazz-dance community, the group's sophomore set 1973 has long been considered a hard-to-find "must-have". Here Matasuna Records celebrates reaching a quarter-century of releases by offering up a seven-inch featuring two of the album's most celebrated cuts. A-side 'Polk' is a genuine jazz-funk delight: a storming dancefloor workout in which mazy, ever-more-intense electric piano solos ride a relaxed but floor-friendly groove. Flipside 'Balek' is, if anything, even better, with spacey synths, sharp horn lines and fluid electric piano solos sparring over another leisurely groove.
Review: Here's something to get Talking Heads fans salivating: a fresh EP featuring previously buried, unheard alternative versions and outtakes recorded during the sessions for the celebrated New York new wave band's 1979 album Fear of Music. The EP begins with the completely unheard 'Dancing For Money', a typically undulating, off-kilter chunk of post-punk eccentricity that seemingly never went beyond the demo stage, before offering up a riotous alternate mix of the noisy, guitar-laden stomper 'Life During Wartime'. Over on the flip you'll find notably different arrangements and recordings of 'Cities' and 'Mind'; the latter, with its juju style guitar sounds and languid rhythm section, is particularly good.
Review: For the latest in their ongoing series of limited-edition, hand-numbered singles, Zurich outfit Phantom Island has turned to the label's in-house producer and "sound wizard", Florin Buchel. As you'd perhaps expect, there's much to admire on the producer's first single under his given name, particularly A-side 'Proper Distance'. This sees guitarist Roger Szedzalik add glistening, sun-soaked jazz solos to a dreamy, sunset-ready backing track rich in liquid synths, reggae bass and bubbly electronic beats. The leisurely, Balearic-focused vibe continues on the flip, where Buchel peppers a delay-laden drum machine beat with fretless bass, gently unfurling synthesizer melodies and flecks of echoing instrumentation.
Review: The first release on Kamarads pulls together a solid mix of established tech house figureheads for a classy, versatile set of club tracks. Politics Of Dancing goes up first with 'Ote', a deep and rugged groover geared towards hypnotism and total immersion. Djebali follows up with an equally stealthy roller that will appeal to those who like it stripped back. Terence: Terry takes things in a swirling, trippy direction with the afters-ready 'Eastern Boy' and Stephan Bazbaz finishes up with a gorgeous, lilting deep house lullaby to soothe the weary raver's soul.
Review: The brilliantly dark world of breakbeats and stripped back techno that Illian Tape call their own gets that bit richer with this new EP from Pessimist. It kicks off with some rugged jungle rides that are coloured by bird calls, wood block hits and booming bass before 'The Crawlers' is a flurry of snares and hi hats that tie your mind and body in knots. The excellent 'Ridge Racer Revolution' is a hardcore track that never lets up, with flailing hits and hundred mile and hour breaks all demanding you dance. The closer is a dystopian cut of unresolved loops ad frazzled bass that lurches back and forth and traps you right where it wants you. Thrilling stuff.
Review: Buckle up for the latest space crusade from Salty Nuts. This one finds Oden & Fatzo at the helm and the trip begins with the slick and seductive tech house perfection of 'Spaceship For Sale' which glides on silky synths to an imagined future. 'Casinomania' bubbles with all the sort of pixelated sounds and hyper real chords that you would get on the gambling floor of a Las Vegas hotel and '69 Party Boys' is another lithe, neon-lit future-tech-funk gem that gets a remix from Fabe. In the popular Brazilian's hands it becomes a little more thrown back thanks to its warm organ bass.
Review: Northern Soul diggers have spent many frustrating hours trying to track down copies of Roy Redmond's notoriously hard to find 1967 single 'Ain't That Terrible', which was initially released on cult label Loma. Listening to this timely and much-needed Record Store Day 2020 reissue, it's easy to see why. The track is exactly the kind of surging, stomping, up-tempo number that makes Northern Soul dancefloors go crazy, all topped off by an excitedly rousing lead vocal from Redmond. Over on the flip you'll find original B-side 'A Change Is Gonna Come', a lusciously arranged, performed and produced version of the Sam Cooke favourite smothered in melancholic horns, jazzy guitars and sustained organ chords.
4hero - "Hold It Down" (Bugz In The Attic Co-Operative mix) (7:11)
NSM - "DJ Power (Use It)" (6:38)
Domu - "Save It" (feat Face) (5:53)
Jazztronik - "Samurai" (8:17)
Kaidi Tatham - "Organic Juggernaut" (4:34)
Vikter Duplaix - "Manhood" (5:41)
Agent K - "Feed The Cat" (7:23)
Fourth Kind - "Take Me To Your Sky" (4:22)
Taylor McFerrin - "Broken Vibes" (feat Vincent Parker) (7:43)
Agent K - "Hands" (10:48)
Nova Fronteira - "Baila Conmigo" (AtJazz remix) (6:43)
Blakai - "Afrospace" (feat Bembe Segue) (5:23)
Review: The first post-name change project for Dave Lee fka Joey Negro is a look back over his favourite West London sounds from the ZR catalogue. It's a widescreen offering that takes in plenty of the corner stones of the early broken beat and nu jazz scene. Things kick off with a Bugz in the Attic remix of 4Hero filled with lush synths and skipping kicks. Kaidi Tatham's 'Organic Juggernaut' is an even busier cut with big flute lines and Agent K appears twice, firstly with the deep grooves of 'Feed The Cat' then the mellifluous jazz-scapes of 'Hands'. It all adds up to an essential collection.
Review: Adam Feingold once again dons the Ex Terrestrial alias, this time for an outing on box fresh Canadian imprint NAFF. He's in a typically melodious and glassy-eyed mood on the A-side, where "Portal Living (Kali)" and "Portal Living (Plain)" provide two contrasting takes on the producer's warm and wavy interpretation of early Italian dream house. "Vanilight (Re-Zoned)" sounds like his tactile take on obscure bleep pioneers DJ Martin and DJ Homes' brilliant (but little-known) bass-heavy remixes of Man Machine's "Animal", while closer "2DS" is a kaleidoscopic slice of deep musical bliss that sits somewhere between original New Jersey deep house and the turn-of-the-'90s Soul II Soul sound.
Kutkorners - "The Finest" (feat Amalia - E live remix) (3:43)
Ourra & The Gravity Drive - "Instant Sunshine" (4:10)
Shiro Schwarz - "Exoplanet Love" (4:43)
Giovanni Damico - "Cassette Funk" (4:52)
E Live - "Do Me Like That" (feat Chesta Blake - Slight Extension mix) (3:50)
Review: Star Creature Vibes is the label's first ever compilation and boy is it a good one. Across both sides of wax are unreleased tracks and new mixes by label favourites, all of whom offer up a new school mix of contemporary disco funk complete with spaced out synths, go slow jams and cosmic vibes. The whole thing is an easy to love collection of tracks that work as well on a lazy Sunday as they do a sun-kissed Saturday afternoon terrace. Kutkorners conjuring authentic disco magic with their cut 'The Finest', while Shiro Schwarz's 'Exoplanet Love' is particularly smoochy with its whispery vocals squelchy boogie bass. This is a dazzling collection.
Review: 'Wanna Dance' is the new jam by deep house heavyweight Sean McCabe (Good Vibrations) and Last Forever chief Turbojazz. Said to be conceived during the lockdown period, the track recalls the energy of classic Detroit deep house and even features one of the city's favourite voices in the form of Javonntte. On the flip, the spiritual vibe of Moondance's rework calls to mind the work of Motor City legend Alton Miller, while EVM128 aka Evermean Beats really soaks up the vibe of his new hometown - London - on his nu-jazz broken beat perspective that would make even Kaidi Tatham stand up and notice.
Review: A must have 7"... this is a big one! Although Danny Krivit had a few well-regarded edits on wax before "Love Is The Message," it was his head-turning cut-up of MFSB's masterpiece on TD records that put him firmly and irrevocably on the scene as a go-to man with the razor. The song was already well-established, but existed in many manifestations. Krivit's version focussed on Leon Huff's rippling electric piano solo & breakdown of the powerhouse rhythm section of Earl Young and company, a much anticipated highlight for subsequent generations of disco devotees. For its debut on 7-inch, Krivit has trimmed his famed original mix down to a fully functional five and a half minutes, a tight distillation of an undisputed classic of the genre. While the four-on-the-floor drums of Earl Young are rightly cited as key inspiration for the rhythmic style of house music, the flip side of Mr. K's new 7-inch showcases another immediate predecessor, this one recorded more than 1,000 miles southwest of the discos of New York and Philadelphia. "I Can't Turn Around" is the final track on Isaac Hayes's 1975 Chocolate Chip LP, and it builds steam like a locomotive, until the Memphis musicians of the Isaac Hayes Movement are open throttle on a hypnotically repeating orchestral funk riff. The song was a huge favorite in Chicago's Warehouse and its subsequent incarnation The Music Box, and the direct inspiration for early house hits by Steve "Silk" Hurley and Farley "Jackmaster" Funk. Krivit's edit is lean and tough, with all the fat surgically trimmed and nothing but the gloriously relentless vamp remaining, a fierce force that has left countless dancefloors in sweaty disarray.
Review: NDATL continues into the deep foray sounds of Roberta. The evermore elusive producer serves up deep dance EP for NDATL. The title track "Reaching Out" creeps lo fi percussion, haunting chords & yet upliftng samples for a unique energy. "The Get Down" with its snappy raw drum will have the doing just that getting down. "Reachin Out 2" is just more upbeat take on the original. "Dat Thang" is a catchy loop that you should brighten anyone set! "Gotta Have Love" is another deep one from the Roberta repertoire. Rounding the 12" an instrumental of the "Reachin Out 2"
Review: Following releases for Austere Recordings and Contrast-Wax, Birmingham producer Laak arrives on Altered Moods with the four-track Our Ways EP. Those aquainted with the Laak style already will find lots to be excited about here, with four tracks that delve into the more hypnotic end of classic deep house.
Review: Jazz Rock doesn't quite do exactly what it says on the cover - jazz features heavily on this gorgeous record, but of the spiritual kind, and often driven by lush, funky drum playing. It is also a record defined by the distinctive sound of the koto - a traditional Japanese string instrument that lends the record a delicate and beautiful feel. It was recorded in 1973 and sounds both perfectly aged yet utterly fresh and also features bamboo flute playing by Hozan Yamamoto. It's a laidback record, one filled with the joys of spring, but also one that doesn't take itself too seriously and gets upbeat and funky as often as it does tender and pensive.
Takeo Yamashita - "A Touch Of Japanese Tone" (4:21)
Tadaaki Misago & Tokyo Cuban Boys - "Jongara Reggae" (3:38)
Chikara Ueda & The Power Station - "Cloudy" (6:08)
Chumei Watanabe - "Downtown Blues" (3:38)
Kifu Mitsuhashi - "Hanagasa Ondo" (2:51)
Monica Lassen & The Sounds - "Incitation" (5:29)
Norio Maeda, Jiro Inagaki & The All-Stars - "Go Go A Go Go" (3:19)
Akira Ishikawa & Count Buffalo & The Jazz Rock Band - "The Sidewinder" (2:41)
Masahiko Sato, Jiro Inagaki & Big Soul Media - "Sniper's Snooze" (6:42)
Review: Some compilations manage to both educate, inform and educate in equal measure; this fine collection from Japanese crate diggers DJ Yoshizawa Dynamite and Chintam is one such set. Comprising mostly little-known tracks recorded by Japanese artists between 1968 and '70, it offers up a wealth of cuts inspired by American jazz-funk "rare groove". There's much to admire across the ten tracks, from the mazy Rhodes solos, fizzing big band jazz grooves and traditional Eastern instrumentation of Toshiko Yonekawa's "Soran Bushi", and the languidly-slung brilliance of Tadaki Misago and Tokyo Cuban Boys' multi-faceted musical fusion "Jongara Reggae", to the Jimi Hendrix-goes-funk heaviness of "Incitation" by Monica Lassen & The Sounds, and the drums-driven dancefloor madness of Masahiko Sato Jiro Inagaki & Big Soul Media's "Sniper's Snooze". Recommended.
Review: Fresh from delivering one of Razor 'N' Tape's strongest edit EPs to date, rising star Dino Soccio pops up on L.A label Pleasure of Love with four more high-grade rearrangements. He takes us in a surprise direction on opener "Chimay Groove", which turns what we think is a glassy-eyed, mid-80s synth-pop B-side into a woozy chunk of Italian style dream house bliss, before joning the dots between proto-house, Kraftwerk and early Chicago jack on "Acid5 Finale". "Bump Theme" is a sweaty revision of one of those bustling, acid bass-propelled jack-tracks that Ron Hardy loved and championed in the mid 1980s, while closing track "Nana's House" is a more spaced-out take on what sounds like an obscure, late 1980s French Makossa-house cut.
Ma Mi Mama (feat Anane - Freeform U Heirs Vox mix) (8:03)
Jungle Fever (feat Anane - ATOJ remix) (4:20)
Let The Children Play (feat Raul Midon) (10:29)
Thousand Fingered Man (7:15)
Journey's Prelude (NuLife remix) (5:42)
Review: Vega Records presents Elements Of Life Extensions, the live orchestral project of label chief Louie Vega. For the project's first volume of reworks, the new tracks "Messin' About", "Our People", and the unreleased mix of "Love Is On The Way" are ones not to be missed, in addition to a wide range of talents have been especially chosen to give their take on tracks from the album. Masters At Work sidekick Kenny Dope's take on "Cerca De Mi" (with Raul Midon), Joe Claussell on the spiritual perspective of "Sunshine" (as Scared Rhythm) and a respectful remaster of the Candido classic "Thousand Finger Man".
Review: A right classic for those that know. Originally released back in 1994 on King Street Sounds, ?"Closer" by pioneering production team Mood II Swing (feat. Carol Sylvan) receives a much deserved reissue here featuring all four tracks that appeared on the original release, remastered for your listening pleasure. The timeless and soulful bounce of the "King Street Moody club mix" is a true zeitgeist of early '90s garage, while it wouldn't be a proper Ciafone & Springsteen release without one of their legendary dubs, would it? You can bet there's typically moody one on the B-side, followed by the heady, swing-fuelled and stripped-back shuffle of the "Swing To Mood dub".
Review: Australia's Choi Records drop their second release in the shape of two powerful cover versions either side of a devilish little 7" by The Traffic. The A-side, "White Lines", is a funky, horn-led reinterpretation of Grandmaster Flash's original tune : an instrumental brass ode to the original beast. On the flip, there's "Smack My Pitch Up", another mighty instrumental rework of The Prodigy classic, complete with a string of trumpets that imitate the original's inimitable vocal loop.
Review: The last ten years have seen no shortage of bands with their delay pedals set to stun intent on capturing an aura of dreamlike radiance. Yet Texas 'pop-noir' troupe Cigarettes After Sex are no ordinary shoegazers, for a variety of reasons - frontman Greg Gonzalez' androgynous and dulcet tones may be part of the appeal, yet moreover it's the quality of the songwriting here, which never falls prey to the style-over-substance traps of their peers. Indeed, this debut is more than enough to justify the considerable hype around this outfit, being a collection of ditties as sultry as they are atmopsheric.
Review: Remarkably, superior re-edit, remix and rework imprint G.A.M.M is approaching its 150th release. We'll hear more about what they have in store in the weeks and months ahead, but first the Swedish stable has decided to offer up something suitably special: a pair of previously unreleased edits from the king of the rusty scalpel rearrangement, Danny Krivit AKA Mr K. If it's percussion you're after, we'd heartily recommend insatiable A-side "Batutastica", a riotous revision of a drum-heavy Brazilian batacuda workout that's little more than densely layered waves of sweaty, carnival-ready percussion. It's an absolute dancefloor beast, as is the similarly hectic, intense and celebratory flipside drum workout, "Jungle". In a word: essential!
Review: The Blessed Madonna has remixed Dua Lipa's 'Levitating' featuring Missy Elliott and Madonna. This is the first track from 'Club Future Nostalgia', an entirely remixed version of Dua Lipa's global #1 album "Future Nostalgia", created in collaboration with The Blessed Madonna.
Review: Paul Robinson had a rich and varied life in soundsystem music, from working with the Freedom Sounds label in Kingston to forming lovers rock outfit One Blood. Of his few solo releases under his own name, this early 80s treat was geared towards the smooth sound of Brit funk, with a crisp boogie groove down low and a cool mood on top. "Come On Sister" is the perfect easy going party starter, which sports a tasteful dubbing out on the instrumental version that bolsters this Emotional Rescue re-release. Always ones to draft in a choice remixer, the B side here goes to Bruno who teases out the original groove for an extended trip before the vocals kick in.
Review: Over the last 12 months Mr Bongo has provided hip-hop heads with a ton of classic, golden-era rap reissues. Here they deliver another, as the title track from the crew's brilliant 1993 LP "'93 Until Infinity" returns on "45", complete with facsimile artwork. The track is undoubtedly one of their best - a jaunty, club-friendly affair in which Taja, Opio, A-Plus and Phesto exchange fluent, loose-limbed rhymes over a brilliantly positive (and slightly) jazzy beat crafted from a Grand Central Station break and selected samples of Billy Cobham's "Heather". The fine A-side vocal version comes accompanied by an essential instrumental take, in which A-Plus's brilliant boom-bap beat gets a much deserved chance to shine.
Review: Billing themselves as an ethno-industrial outfit, French group Vox Populi! have more in common with the German kosmische movement than the sound of their own fair land. They came from serious stock, including Axel Kyrou's mother who was a musique concrete pioneer at GRM, which set them up to make a bold and challenging debut album Myscitismes, originally released on their own Vox Man label in 1985. Combining advanced studio manipulation and liberal FX treatments with a pastoral folk thrum, motorik synth work and a heavy dose of pan-continental mysticism, they created a stunning and forward-thinking work that sounds shockingly relevant in the here and now. Finally reissued after more than 30 years, now is the perfect chance to grab this trailblazing slice of sonic sorcery.
Review: DJ Soopasoul's last mash-up was an inspired affair that saw him perfectly fuse tracks by Philadelphia Soul legends MFSB and the Beastie Boys. Here he takes a similar approach, placing the rap vocals from the 1995 hip hop classic "How High" atop a suitably funky, lolloping beat crafted from Clavinet-heavy sections from Stevie party-starting floor-heater "Superstitioun". It works remarkably well on the A-side vocal mix, and those who'd not heard either track would be convinced that there was no mash-up antics going on. Over on side B you'll find an instrumental mix that showcases Soopasoul's editing skills; minus the Hip Hop vocals, is a fine re-edit of the Wonderful jam.
Review: Burnski's Instinct outlet continues to bring some serious firepower to the resurgent UK garage scene, and this time he's facing off with 0113 (otherwise known as Kepler.) for two rabble-rousing heaters packed with inventive twists on the 2-step formula. "Apache" is an intensely detailed roller that pivots around a killer vocal take, and uses all kinds of synth flourishes to create a wholly futuristic atmosphere - the garage of the future, but certainly not future garage. "Ignite" has a slightly more old-skool flavour that nods to past masters like Smith & Mighty as well as the pioneering work of El B et al. Classy stuff on both sides of this cool and deadly 12".
Review: It's rare to see Parisian pair Politics of Dancing releasing music on a label they don't own; in fact, we make this outing on Locus their first "away fixture". Happily they've saved their best for the EP, zipping between chunky, breakbeat-driven, acid-fired hip-house revivalism (killer opener "Machines", which is also available in a more bass-heavy, tech-tinged Rossi Remix form), classic-sounding late night deep house (the drifting synthesizer chords, hazy female vocal samples and sleazy acid bass of "Sway") and wiggly, early-morning deep house/acid fusion ("Field Effect"). A top-notch EP with not a duffer in sight: don't sleep!
Street Dreams (feat Miguel Atwood Ferguson) (2:12)
One More Time (3:10)
1989 (feat Miguel Atwood Ferguson) (3:25)
Toulouse (feat Miguel Atwood Ferguson) (2:48)
Big Rick (3:29)
Save Me (feat Mach Hommy) (5:57)
Mr Wu (3:37)
Hold On (feat Lauren Faith) (3:12)
Early Prayer (5:02)
Review: Given that keyboardist and producer Kamaal Williams' 2018 debut album "The Return" was such a rip-roaring success critically and commercially, hopes are naturally sky-high for this delayed sequel. Happily, we can confirm that Williams has arguably excelled himself on "Wu Hen", once again blurring the boundaries between jazz-funk, seductive downtempo grooves, hazy space jazz, deep house influenced dancefloor workouts (see "Mr Wu", whose title references his other artistic alias, Henry Wu) and soft-focus soul - all with the assistance of an expanded line-up of guest musicians and vocalists. Perhaps the biggest impact is made by Miguel Atwood-Ferguson, a composer whose string arrangements add an ear-catching new dimension to Williams work. Stunning stuff all told.