Review: Emotional Rescue turn their attention to Rare Silk and their sublime cult classic "Storm". It's one of those rare tracks with a wonderful otherworldly quality that manages to be smooth and accessible, and somehow not like anything you've ever heard before. It must be somewhere in the mix, between the dreamy harmonized vocals, lush instrumentation and curious sense of space. The original on the A side is a treat enough, but then throw in a mercurial dubbed out version by Arp on the flip and you've got yourself a 12 inch portal to a most delightful dimension.
Review: The hardest-working man in West London is back! By now we've become accustomed to Kaidi Tatham offering up regular doses of soul and jazz-funk-fired dancefloor goodness, but even by his high standards "You Find That I Got It" is something special. Warm, woozy, groovy and full of intricate musical details - brief synth solos, subtle orchestration and so on - the A-side title track is a wonderfully sunny slice of instrumental boogie-soul. Tatham's world-renowned keys playing comes to the fore on the organic broken beat/jazz-funk fusion of "Mjuvi", a flipside cut that's almost as good as the exceptional title track.
Review: Amerigo's The Big Payback series finds him bring together some fantasy all stars for his "J.B. and The Soul Mates" tribute concept. Here, James Brown's music is reworked, edited and chopped together with the work of hip hop giant Notorious BIG. It results in speaker blasting, floor filling, ass wiggling jams that mash up all the most iconic verses and choruses from each singer with their most recognisable guitar riffs, drum breaks and samples. It's a colourful collage that is as fun as it is funky.
Review: Johannesburg's Maboneng Precinct is the home of Afrosynth Records and for the last two years it has been an absolute hotbed of reissued African music. This latest missive is originally from 1984 by Obed Ngobeni and his backing singers the Kurhula Sisters, who helped pioneer the Shangaan Disco style that heavily influenced South Africa's bubblegum sound of the 80s. Now a go-to genre for cult favs like Antal and Hunee, they're sure to lap up the hurried funk and proto-house of "Ta Duma", which comes in three slightly different versions. "Xikhobva" closes things in loose percussive fashion with a guitar-driven groove.
Review: Helena Hauff returns to her own Return To Disorder label after last year's joyously received "Qualm" album on Ninja Tune. It's the first fully solo record Hauff has released herself, and it more than lives up to expectation. "Catso" is a wonderfully expressive slice of noirish electro draped in vintage synth arps and twinkling leads as enchanting as they are spooky. "Why Look At Animals" has a more low down funk, but once again sports the richly harmonic synth hooks to make this appeal right across the board. "The Brush" ups the tempo, but keeps things sparse and moody, while "Slim Filter" gets a touch more nasty and sounds utterly fantastic with it. Compared to her rabid DJ sets, these productions represent the more measured side of Hauff, but they're no less deadly.
Review: Blue World is an album that was never intended for release. It features music commissioned for a soundtrack for a Canadian film in 1964 and showcases a quartet that was at its very best. It's made up of short tracks and alternate takes of early Coltrane material and is utterly vibrant. Catchy little ditties like "Village Blues", stripped down numbers like the title track and the mostly-improvised "Traneing In" are all testament to the enduring brilliance of Coltrane, no matter the setting in which he was playing. The clarity of the recording and richness of the bass playing also add to the overall beauty of this record.
Review: In 2009, two years after the original version appeared on Somi's debut album "Red Soil In My Eyes", Joaquin "Joe" Claussell and Brian Bacchus joined forces as Soul Feast to remix Fela Kuti cover "African Lady". A decade on, Claussell has decided to reissue the package's most potent and percussive moment, the layered "Drum Dub" on a tasty seven-inch single. While there are key elements of Somi's original version present - the killer bassline, some delay-laden horns and fleeting glimpses of guitar - the mix is dominated by layered Afro-house percussion. This time round, the mix comes backed with an "Acapella EFXS" version, which contains all of Somi's superb vocal and is closer in tone to the duo's 2009 club mix. Like the A-side, it's superb.
Otis Redding - "(Your Love Lifted Me ) Higher & Higher" (Soul Flip edit) (4:03)
Gerri Granger - "I Go To Pieces" (Soul Flip edit) (3:33)
Review: Sometimes you just can't beat the golden oldies and so it is that Soul Flip turns his attention to a couple of raw soul bangers. Up first is Otis Redding's classic "(Your Love Lifted Me ) Higher & Higher" with a rousing bass section which drives along the original version.The hits hit hard, the vocal is given room to breathe and the swing in the drums is infectious. The flipside houses a soaring tweak of Gerri Granger's "I Go To Pieces", with its clattering keys and rolling soul all quickly finding a way into your affections.
Review: Since he released his first album 11 years ago, bandleader, trumpeter and composer Matthew Halsall has proved to be one of British jazz's standout talents. In recent years he's delved into soul-jazz and big band jazz territory, so it's intriguing to find that "Oneness" is a much more spiritual, pared-down and minimalistic affair. Using a mixture of droning Indian instrumentation, languid and leisurely harp motifs, selective horn solos, melancholic trumpet lines and occasional traditional jazz instrumentation, Halsall has conjured up a series of meditative pieces that count among his most beguiling works to date. It may surprise a few listeners, but many more will find it enchanting, otherworldly and emotion-rich.
Review: Assembler Code & Jensen Interceptor are one of electro's most devastating duos right now. Mechatronica welcome them for four more hard hitting jams after their "Vapour Waves" EP on this label got plenty of people talking. These are tunes with an old school feel that will blow up your bass bins and tear apart your tweeters with their mix of low end heaviness and bright melodic patterns. Superbly urgent drum programming sweeps you off your feet and races you through astral skies on "Noise Theory", "Otherwise" has a raggedy-ass broken beat and "Day 1" has a blistering bassline of the highest order.
Review: Bjarki's BBBBBB label has carved out its own unique niche in the techno world and next to occupy it is core label artist Stian "EOD" Gjevik. The former Rephlex artist shows off his magnificently complex and busy yet harmonic and melodic sound across five fantastically restless cuts that has lead synths taking you down a number of rabbit holes. Calming pads vie for your attention on "(Untitled) (W-R6)" while the acid laced "The Battery Poles (Are Conic!)" is so bright and shiny it'll have you reaching for your sunglasses. Few people speak so freely through their machines as this man right now.
Review: Ubiquity is back with another of its two part 7"s, this time from contemporary soul group The Soul Surfers. Experts at covering the greats, they recently turned their hand to a classic from The JB's, while this time out it is Kool & The Gang's classic "Summer Madness" that gets a deep-cut and sexy make over. Part 1 is a sensuous slow burner with downtempo drums and heavenly guitar playing, while part 2 has harder drum grooves and dreamy , psyched-out guitars. It's another ageless rework that you need in your life.
Review: Since it was released on Springfield, Missouri label American Artists in 1975, Kansas City Express' sole seven-inch single has become something of a collector's item amongst dusty-fingered funk diggers. We should all thank Ocean Of Tears, then, for offering up this fully licensed reissue - the first time the "45" has been made available to a wider audience. "This Is The Place" is a wonderfully sweet and melancholic affair - a seductive, poetic soul song featuring both male and female lead vocalists and a languid, superbly produced backing track full of lilting trumpet lines, glacial vibraphone solos and jazzy guitars. That instrumental backing track takes pride of place on Side B, where you can hear the vocal-free mix for the very first time. Spoiler: it's superb.
Lenny Fontana, Tension - "A Place Called Heaven" (Joey Negro dub Groove) (6:58)
Jay Denes, Ada Dyer - "You Make Me Whole" (Joey Negro Rhodes dub) (5:17)
Julian Sanza - "To Love" (5:16)
Frankie Knuckles, Satoshi Tomiie, Andrea Mendez - "Bring Me Love" (Eventual dub) (6:56)
Review: Some serious no-nonsense house grooves for all true-school DJs to cop, dug out from the annals of club music history. Things kick off good and proper with Joey Negro's insanely powerful "Dub Groove" mix of Lenny Fontana's "A Place Called Heaven". Negro's on the buttons once again with the classic, pumping "Rhodes Dub" of "You Make Me Whole" by Jay Denes and Ada Dyer. On the flip, Julian Sanza drops the squelchy boogie inflected "To Love" before the record ends on a serious bang with the dream team of Frankie Knuckles, Satoshi Tomiie and Andrea Mendez's "Bring Me Love (Eventual Dub)". This is as actual house as actual house can get - the real deal, crystalised in four evergreen gems pressed on one handy record.
Review: Way back in 1998 when Massive Attack's career-defining "Mezzanine" was first released, legendary dub technician Mad Professor cooked up some radical reworking. They now get their first official release alongside dubs of two tracks that never actually made it onto the album - Metal Banshee: a dub version of "Superpredators" which was a cover of Siouxsie and the Banshees' "Metal Postcard", and "Wire", which was actually recorded for the film "Welcome to Sarajevo". Wild effects, plenty of knob twiddling and oodles of reverb define this freaky late night collection and mark another essential release in the catalogue of the already legendary Mad Professor.
Review: Many disco-era modern soul collectors regard, Larom Baker's "You're The Best", which initially appeared in 1978 on an impossible to find, single-sided 7" single, as one of the style's genuine "Holy Grail" records. It's good news, then, that Athens Of The North has secured the rights to reissue it, releasing the full studio version (rather than the shorter edit that was released all those years ago) for the very first time. It's a genuine gem, with Baker's deliciously breezy West Coast soul vocal seemingly floating over a killer backing track rich in hazy horns, bustling slap bass and crunchy Clavinet lines. Turn to the flipside for the more disco-minded "Train Of Thought", one of a string of recently discovered Baker recordings that form the basis of a forthcoming album of previously unreleased tracks.
Review: The My Rules crew is back with its first release of 2019 and doesn't disappoint: this time they've come up with a much fawned over cosmic disco classic from Belgian outfit Candy Darling & The Viscounts. The original "Movin'" is a previously Japan only 12" promo mix of a disco cover of a Lee Hazelwood surf song that has edgy stabs and a squelchy bassline to die for. The flip side houses a special rework by Mt Rules label boss Justin Van Der Volgen. He tweaks the inner workings of the tune to draw out the key bits for utter dance floor destruction. Form the bar to the cub to the afters, this one is primed and ready to detonate.
Review: Matasuna Records' latest release offers up two sought-after tracks from Bossa 70, a relatively short-lived Peruvian band whose ultra-limited 1970 releases (a total of 400 copies were pressed of their sole single and eponymous debut album) brilliantly joined the dots between jazz, bossa, soul and funk. Listening to these cuts for the first time, it's easy to see why Matasuna has gone to the trouble of licensing them: A-side "Si Voce Pensa" is an inspired Peruvian funk cover of a 1968 Roberto Carlos track rich in bustling breakbeats, punchy horns and confident female vocals. Just as potent is the band's flipside cover of Baden Powell's "Berimbau", which puts a funk-soul twist on a certified bossa-nova classic.
Review: Studio One have put out plenty of big tunes and this is the latest to get a big reissue on a super loud-cut 12" single for extra devastating impact. It's a well-known classic every self-respecting reggae fan should know and blows up any party, especially when tweaked like these two versions. They were originally produced by Studio One bossman Coxsone Dodd and have been covered by The Clash as well as sampled by The Fugees and hip hop MC KRS One. The snaking lead synth, the rumbling drums and classic ska trumpet are all straight up irresistible.
Review: Arapu is very much one of the key Romanian artists of the moment. Of course, like his revered countrymen, that means techno that is elegant, minimal, and delicately detailed. His own take on the style is often littered with curious little motifs and trippy loops that also characterise this new one on heavyweight vinyl for Liniar. "Over" is a brilliant opener with languid Balearic guitar riffs echoing over supple drum work which will hook you in and encourage your mind to wander, whereas "A Gain" is a more direct, driving minimal techno cut with warped synths peeling off an urgent groove. "I" closes out with a funky undercarriage and dub house overtones that will get any basement popping off.
Never Gonna Let You Go (Theo Parrish Ugly edit) (10:04)
Never Gonna Let You Go (5:10)
Review: For the best part of 17 years, Theo Parrish's legendary re-edit of Made In USA's "Never Gonna Let You Go" was available only to those willing to pay serious sums for a copy of his first "Ugly Edits" release. Thankfully De-Lite has done the admirable thing and made it available to all via this essential new edition of the 1977 jam. It allows those who've never heard Made In USA's heartfelt and surprisingly laidback original to compare the two versions, which only highlights the brilliance of Parrish's re-edit. His ten-minute take speeds up the track, adding choppy edits effects to increase energy before rolling into the most righteous and celebratory bits of the original version. In our opinion, it's one of the greatest re-edits of all time.
Review: Originally pressed (on a limited run) in 2013, LA Latin funk troupe Boogaloo Assassins have reissued these two spellbinding cover versions again due to public demand. Still on a highly limited run, both cuts need to be in your collection: Dawn Penn's "No No No" gets a strict samba switch with lavish percussion and consistent vocal harmonies throughout while Sonny Henry's "Evil Ways" (best known from its Santana cover) gets the dreamy instrumental treatment where the horns and glocks do the narrating over a tight bed of wood blocks, shakers and liquid Rhodes. Killer stuff and Juno is one of the few stores outside of USA which is carrying the 45. Don't Sleep !
Review: Once again here edit king Mr. K turns his attention to one of the many hits penned by New Orleans legend Allen Toussaint. This time it's a 1978 tune from The Pointer Sisters that they still use as a concert opener whenever they play, despite the fact it didn't chart that well on release. That didn't stop it becoming a dance floor hit though, here the synths are polished up and drawn out with an added acappella and the whole thing dazzles. On the flip is an excellent edit of Gene Harris' cover of Stevie Wonder's transcendent "As", fine-tuned for 2019 and beyond with emphasized percussion and a sinewy extension that cuts the bulk of the lyrical intro and lets Harris's electric piano and the all-star choir shine.
Review: This is a big reissue of some disco-not-disco weirdness as cut up and chopped, skewed and made to dazzle by the Bastedos camp. "Keep Me On Fire" is a chugging pumper with fat drums and noodling riffs that sets the groove train in motion and keeps it running. "I Tried To Help It" is even more wild and impassioned thanks to the unabashed vocal that cries in soulful falsettos while Chic-style riffs power it along. "Termination" ends in a freaky but funky fashion with twisted vocals and gauzy guitar chords layering up into a marching wall of sound that's laden with effects.
Review: Roberto Surace's "Joys" was undoubtedly one of the unofficial summer anthems out in Ibiza this year. It's the tune you could hear bleeding from bars, car windows and clubs from May until September and was a firm favourite in the sets of White Isle kingpin Marco Carola as well as the likes of wAFF and Andrea Oliva. Its earworm vocal is what wins you over from the off - a soulful voice that melts into crisp boom bap drums with a rattling conga adding a sense of summer craziness. After much demand, Defected has finally put it out for all to enjoy.
Review: Here's something to excite those who dig quality 1970s funk, soul and disco: a tidy 7" containing two stone cold classics from the Rod Temperton-helmed, UK-based "international band" Heatwave. Side A boasts one of the standout moments from the group's much-loved 1977 album "Central Heating", seductive, string-laden love song "The Star Of A Story". It's superbly arranged and brilliantly produced, with warm keys, Spanish guitar solos and rich orchestration combining beautifully with the band's slick and smooth vocals. Side B is taken up by 1976 single "Ain't No Half Steppin'", a bolder and more dancefloor-friendly chunk of warm and woozy dancefloor soul.
Review: First time round, this bonafide classic reached #23 on the Billboard Hot 100 and was the highest charting tune from the Geto Boys. Sampling Isaac Hayes' "Hung Up On My Baby", the Geto Boys' edit plays out in several movements and goes big and small. Stretched over a long legged beat with crisp snares and languid chords with lyrics that touch on a range of deep subjects such as post-traumatic stress disorder, the track was originally destined for a Scarface solo album before it was decided it was more valuable as a Geto Boys single. Wise move.
Review: Some fans argue that "It Ain't Hard To Tell" is the best production on Nas' legendary "Illmatic" album. Large Professor certainly did his job in making it pop: the beat is killer, and the whole thing is driven by a Michael Jackson sample of "Human Nature". As if that weren't enough, samples from Stanley Clarke and Mountain are layered in to perfection and the smooth, sweet rolling beat draws you in over and over and Nas' creamy delivery finishes it in style. Flip over for the instrumental and bask in the glow of it all. Classic.
Poisoned Words (Ricardo Villalobos remix 1) (6:35)
Poisoned Words (Ricardo Villalobos remix 2) (13:39)
Review: The Mandar dream team of Lazare Hoche, Malin Genie and S.A.M revisit "Poisoned Words" with a double dose of remixes from none other than Ricardo Villalobos. The minimal overlord lives up to expectations on both flips of the original track, needling into the tiniest sonic details and holding down an insistent groove that will sit beautifully in the mix. The A side features a simmering version that revels in wriggling sound design with ample space to flex and mutate, while the B side stretches out into a quintessential Villalobos wormhole of a remix. Unmissable sonics from one of the scene's true legends.
Review: Funk fans hold tight: Food City have licensed a reissue of a holy grain tune from 1969 that would usually cost you a month's rent to purchase. The People's Choice were a short-lived group from Grand Rapids, Michigan who only put out a handful of tunes but still managed to leave their mark. "Destruction" is a raw jam with a consistent funky groove as a baseline weaves its way in and out. Big and expressive, it's bound to get any dancefloor going. Flip side "Off-spring" that's led by some florrid flute playing is just as effective.
Review: Not An Animal regulars Ess O Ess are back with an effervescent 12" that spans starry-eyed electro and pastoral electronica. "Voice Inside" comes in French and English versions, depending on what flavour you want from the sultry spoken word turn on the top of the plush harmonics of the production. As well as the killer original track, there's choice remixes on offer too from The Backwoods and Craig Richards. The former takes a cosmic, trippy approach to the track, but keeps the focus sharp thanks to a snapping 4/4 beat. Craig Richards meanwhile takes things far away from the original with a brilliant slice of discordant electro weirdness for the after hours crowd.
Review: Under the Special Request alias, Paul Woolford has released some stellar music this year. Astonishingly, "Offworld" is his third album of 2019; it could well be the best, too. It explores different sonic territory too, drawing heavily on electro, futurist Detroit techno, Boards of Canada style IDM and the slick 1980s productions of Jam and Lewis. The result is a stunningly beautiful, spacey and far-sighted set that contains some of Woolford's most emotion-rich work to date - and that's saying something. It also finishes in stunning style with an impeccable remix/re-make of the Grid's "Floatation" that sounds like the best early 90s Orb remix you've never heard.
A Strong Move For Truth (feat Nadine Charles) (3:19)
Good Morning (feat Samii) (2:40)
Remini Dream (feat Ivana Santilli) (3:46)
I Don't Wanna Know (feat Obenewa) (3:21)
Unknown Faults (3:59)
Life Can Be Unreal (feat Sarina Leah) (3:26)
Too Much (feat Sharlene Hector) (1:58)
You Are Virgo (5:05)
Come Of Age (3:28)
Just Leave It (feat Lady Alma) (4:52)
Ogawa Okasan Said Just Play (4:45)
A Where Pringle Deh? (2:14)
My Standards Are (Not) Too High (8:40)
Review: In our eyes, 2000 Black lynchpin Dego can do no wrong. You'll therefore be unsurprised to hear that we're huge fans of the 4Hero founder member's latest solo album, a belated follow-up to 2015's "The More Things Stay The Same". It is, of course, superbly soulful, slicky produced and wonderfully paced, moving from the heady soul sweetness of "A Strong Move For Truth", to the deep jazz-funk/broken beat vibes of "My Standards Are (Not) Too High" via 12 other warm and seductive cuts of an equally high standard. Highlights include the summery bruk-soul bliss of "Remini Dream", the toasty boogie revivalism of "Unknown Faults" and the Clavinet-sporting brilliance of Lady Alma hook-up "Just Leave It".
Review: Fresh from delving into his ambient side on the pastorally-enhanced "Loom Dream" album for Whities, Leif revives his self-manned Tio Series with another double-shot of delicate but impactful cuts outside the conventional slipstream of modern techno. The rhythms fall crooked, the synths trickle, bubble and cascade around the groove and the atmosphere remains humid and heady, especially on ear-snagging B-side "Rumex". "Montpelier" sports more explicit dubby flourishes and a spread of sonic flora and fauna in the middle distance that truly brings the track to life.
Review: Plastik People cast their gaze back to a garage house staple and give it a new lease of life on this cool and deadly white label. The original "Blues For You" by Logic is a pinnacle on the Strictly Rhythm catalogue - some might say untouchable - but Danny J Lewis and Marc Cotterell are here to tell you otherwise. Lewis lands on the A side with a version that keeps the structure of the track intact, and speaks those iconic hooks through a different set of instruments that gives the track a new lease of life. Cotterell meanwhile smooths the garage jerk of the original out into a more linear house thrust while working the vocal samples with glee - it's a respectful approach that simply repositions the groove of the original to give it a fresh flavour.
Review: Headed up by jazz-man and broken beat hero Mark de Clive-Lowe, Tokyo's Ronin Arkestra is an all-star collective that includes members of some of Japan's leading jazz and electronic music outfits. We shouldn't really be surprised, then, that debut album "Sonkei" is rather special. It features some suitably grandiose and epic contemporary jazz workouts - see "Onkochishin", the wonderfully spiritual and dancefloor-friendly "The Art of Altercation" and loose-limbed closing cut "Tempestuous Temperaments" - but the influence of other forms of music (most notably dub, ambient and electronica) is evident throughout, often in subtle and surprising ways. In other words, it sounds like a future jazz classic in the making.
Review: The Dessert Island Discs series continues with yet more arch remixes from across the disco and boogie spectrum. Bubbles The Pimp kicks off the A side with a tasteful treatment of Gil Scott Heron's "Winter In America," which gets rustled up into a sweet and sassy house number with a cheeky acid b-line underneath. Nelly Wilson whips up a storm on the tightly clipped, peak time-oriented "Trapped & Confused". Pierre Pressure's "Love & Beyond" takes it easy on the B side with plenty of fluttering synth wobbles to offset the choppy funk of the guitar - it's a cosmically enhanced floor burner to get you all astral under the collar.
Review: Holden's 2006 debut album was an astonishing one that gets a timely reissue on double crystal-clear splatter vinyl. A high watermark for proudly synthetic and computer made music, it was the bold arrival of an artist who endures as an innovator to this day. "The Idiots Are Winning" is a masterclass in unhinged grooves, glitchy electronic sounds and mutant sounds that set a new benchmark in experimental textures, sound design and dance floor clout. "Idiot" is the standout banger, "Lump" is more trippy and heat workout, and "10101" is the twitchy and mesmeric workout you cannot escape. Music as idiosyncratic as this doesn't come along too often, and even 13 years left it still sounds fresh.
Review: Valencia's Pepe has built up quite a discography over the last few years, with this fine outing on Church following similarly impressive releases for Let's Play House, Lobster Theremin, Loose Fit and Sprung. The EP's impressive title track is available in two variations: the sparkling, breakbeat powered "Roll Mix" - think hip-house style drums, weighty dub bass and occasional dreamy chords - and a "Bleep Mix" that beefs up the sub-bass while adding some suitably sparse, computer game style electronic melodies. Another clear highlight is "You Must Not Be Me", a fine combination of rush-inducing, sunrise-ready electronics and bustling breaks, while closing cut "Recollection" is a rather lovely drift into opaque ambient territory.
Review: Unlike some in the growing electro scene, Datassette has been serving up far-sighted electronic music - both club electro and what some call "IDM" - since the dawn of the century. This, though, marks his first appearance on C.P. Smith's incomparable Central Processing Unit label. It's a pleasingly varied affair, with the British producer storming between club electro/early Autechre fusion ("Kestrel Manoeuvres In The Dark"), acid-tinged, beat-free electronic symphonies ("To The Scullery!"), hard-edged and suitably intergalactic Drexciya style workouts ("Stoatle Excelsior") and sparse, glitchy electro minimalism (wonky EP highlight "Polyhedron Navigator"). Even by CPU's infamously high standards, this is a particularly fine EP.
Review: For the past six years Jazzy Couscous has been exploring nooks and crannies of Japanese music culture in search of overlooked gems across all kinds of styles. After the success of the first installment of "Kumo No Muko", label boss Alixkun returns with another expansive collection of ambient, new age and smooth jazz reflections from a range of artists. The mood is consistently pretty, not to mention delicately executed, whether veering towards the sweet string refrain of Ayuo Takahashi's "Mizu Iro No Kagami" or the bittersweet prog guitar licks of Toru Hatano's "Kanki". There are bleepy synth trips like Akira's "Essence Of Beauty" and beat-embellished grooves to sink into - miss this rare and beautiful record at your peril.
Review: Pretty much anything Call Super has touched in recent years has turned to gold. This new collaboration with Parris is no different: it is a self-released project with a fictional backstory involving an ageing writer called Mortise Koshimitsu who lived in a small apartment. The music itself is uptempo but deep, with shimmering wooden hits gliding on elastic drums as ambient synth beauty bleeds into the spaces left behind. "Majenta" is a more cavernous and dreamier track that is as good for home listening as it does for tasteful dancing.
Review: A new album from Sam Shepherd AKA Floating Points is always cause for celebration, but even by his standards "Crush" is rather special. Largely eschewing the ambient jazz soundscape shuffle of 2017's "Reflections - Mojave Desert", it sees the Shepherd showcase his musical dexterity in stunning fashion via cuts that wrap shimmering neo-classical strings around what sound like modular electronics and rhythms that variously touch on broken beat, off-kilter experimental D&B and Autechre-style IDM. Of course there are ambient and experimental soundscapes showcased, but it's the fact that the album contains a swathe of formidably dancefloor-focused cuts in the style that first made him standout that pleases us most. Highlights include recent single "LesAlpx", the dreamy "Anasickmodular" and the "People's Potential" style deep house intricacy of "Last Bloom".
Review: Following a string of sizzling singles released over the best part of a decade, The Pendletons (AKA E Da Boss of Myron & E fame and Bay Area producer Trailer Limon) has finally got round to recording a debut album. It's something of a slick, soulful and groovy affair, offering a mix of breezy West Coast grooves, sun-kissed instrumentation, snaking horn solos, colourful synthesizer lines and oodles of soul-powered vocals from the group and guests including Howard Johnson, K-Maxx and Gizelle Smith. While it's something of a time capsule, stylistically at least, few do this kind of warm, glassy-eyed nostalgia better. Put it this way: it's every bit as good as we'd hoped for and much more besides.
Review: Dr Rubberfunk (AKA long-serving DJ/producer Simon Ward) may have reached the start of middle age, but he's showing no signs of succumbing to a typical "midlife crisis". In fact, his recent releases have been among the strongest of his career to date. The third part of his ongoing "My Life At 45" series is another belter, with opener "A Matter of Time" - featuring talented, fast-rising vocalist Izo FitzRoy - being a particularly strong exercise in revivalist 1960s soul. Elsewhere across the EP, "Slim's Mood" is a fine chunk of hazy rhythm and blues featuring some awesome, Peter Green style jazz guitar solos, while closing cut "Moody Drums" is a chunky beats track tailor-made for funk and hip-hop DJs who like to get busy in the mix.
Catherine Brenot - "Et Tout Est Yin Et Tout Est Yang" (club mix) (5:19)
1 Plus 1 - "Coming Up For Air" (instrumental) (5:25)
Fragile - "We've Got Tonight, Boy" (6:13)
Jarmaz - "Night City Life" (Disco remix) (3:55)
Friend Of Mine - "Just Your Pride" (4:47)
Mac & Monica - "You’re So Good To Me" (6:29)
Sala & H - "Feel The Love" (4:00)
Alexandra - "Fantasia (Fantasy)" (4:45)
Gioia - "No Secrets" (instrumental) (7:43)
Janelle - "Don't Be Shy" (dub) (6:40)
Alessandro Scellino - "Dinner In The Jungle" (Erotic mix) (6:49)
Brian Tatcher - "Hot Love" (instrumental dub version) (6:48)
Preludio - "Mysterious Nights" (4:46)
Review: Ilan Pdahtzur is as obsessive a record digger as any of his more visible peers. His particular niche is early to mid-eighties club music, and now he gets a platform to show off his skills thanks to the Spacetalk label. "Night City Life" is about music to match that exact setting - nocturnal urban metropolises with glowing neon lights shimmering in the darkness. There's a lot to love across four sides of vinyl here, from Italo disco to steamy boogie cuts and iridescent synth jams. It will make you nostalgic for a time and place you've never experienced (at least not as perfectly as this) and no doubt get plenty of dance floors on their feet.
Review: Sammy Massamba's "Azali" originally came out in 1990. The afrobeat artist's sound is shockingly potent, fusing his roots with disco and boogie to create the stuff party dreams are made of. The song has just the necessary edge to make a classic, with the vocals leading the way through the tune beautifully. "Birika" is a slower jam, but no less bold with its keyboard brass and choice guitar solo. Aroop Roy jumps on the flip to edit "Azali", stretching out a touch and adding a little subtle drum machine jack to the beat. It's tastefully done, keeping the vibe on the original intact.
Review: Following fine releases on Shipwrec, Natural Sciences and Return To Disorder, masked electro/techno misfit Galaxian (real name Mark Kastner) makes his first appearance on Ilian Tape. The Glasgow-based producer starts in suitably big fashion via "External Observer", where what sounds like an orchestra of synthesizers gets to work over a skittish, bass-heavy electro beat, before exploring more dystopian dancefloor pastures on the moody, alien-sounding and otherworldly "Fuzzy Clouds Of Potential Existence". On side B he gives his out-there interpretation of early jungle ("Coming Up For Air"), batters a broken computer into submission and makes electro gold out of it (the slightly melancholic "Mechanistic Control Fantasies") and soundtracks the end of days (or possibly Brexit) on weirdo closing cut "Terminal Phase".
Review: Munich duo Rhode & Brown have been bringing the good stuff to Toy Tonics for some time now, and they're sounding especially vibrant on this new joint. "Nine To Shine" is a sweet and soulful, 90s flavoured deep house jam with catchy vocals and a bittersweet mood to help you throw off the baggage of the working life once the weekend rolls around. "Honeymoon Affair" piles on uplifting piano chords and smooth acid bass for a full-fat house burner, while "Sumthin" chops up some serious funk samples for a massive dose of feel-good. "Your Beauty Is A Spoiler" completes the set with a wistful mood centered on an impeccably edited soul hook, making this a house 12" with plenty of mileage for a multitude of situations.