Review: Born in 1970, in Montego Bay, Jamaica, Allan Crichton (aka White Mice) is a graduate of three sound systems - Sugar Minott's 'Youthman Promotion', Jammy's 'Hi Power', and his hometown 'Ticka Muzik'. His first break came at Sun Splash in 1985, when he and Little Kirk were called on stage to perform with Tenor Saw. Recording at King Jammy's and Channel One studios, with Junior Delgado at the controls, over next the few years Mice let off a series of records amongst the very deadliest of digital reggae - nearly all on his brother Blemo's Intelitec imprint, out of Miami.
Review: Hold tight for a shocking, rare discovery from the dusty vaults of a forgotten 90s breakbeat house outfit's MiniDisc archives. The two tracks that make up the repertoire of the Two Bad Jews crew are steeped in the wistful optimism of the good old days - they just don't make them like this any more. "Holland Memory" rolls on a measured use of a break and a simple chord sequence that could melt on for days, plus there's space for the odd cheeky sample to remind you of the unpretentious era these tracks herald from. "Tony Hayers (dub)" meanwhile ups the DX7 funk with a rollicking house cut that would sit right with any true deep house head who wants a little UK attitude in their soul stew.
Review: Burial's first multiple-track release since "Rival Dealer" three years ago: "Young Death" takes the lead with weave of deep, scratchy and evocative human textures while soulful vocal shards yearn and flutter over soft faraway beats. "Nightmarket" takes an even more introspective meander through the shadowy unknown with fractured arpeggios, distant whispers and thick graininess that envelops almost overwhelmingly. As forward, unusual and unique as ever, Burial remains in a league of his own. Limited.
Review: Released in 1971 and written and recorded by Dave Hamilton (one of Motown's most prolific and influential session players), Sugar Billy Garner plays the consummate band leader over a relentless groove that rolls with drama. Billy gets sweatier, the guitars get busier, the dynamic gets heavier and heavier... So heavy it rolls into a second part. Primed for the floor, it still hits hard 44 years after its release.
Review: Funky Geordies Smoove & Turrell return to London's spiciest funk indie with the first single from their forthcoming new album Mount Pleasant. Two sides, two vibes: "You're Gone" is an uptempo pop funk jam with a wry dash of disco, Rodgers style strums, big horn blasts, rhythmic vocal calls and a subtle harmony between Turrell and new Jalapeno signing Izo FitzRoy. Flip for a little twist of melancholy as the blues groove and yearning tones of "A Deckham Love Song" ooze into your soul. Most pleasant.
Review: After succes releases on labels such as Tsuba, Slow Down, Sleazy Beats, Rose Records, and much more, German Luvless is ready with a strong release on Danish label Deso Records - You should is a strong Deep House track, with a beautiful hookline, that will make troubles everywhere is will be played. On the remix, we got the Mannequins back on Deso - this remix is supported by Jimpster to name one, Deep House when it is best. Limited solid white vinyl.
This EP is supported by names like: Mike W (Kolour Recordings) Lo Shea (Phonica) Nacjtbraker (Dirt Crew) Jimpster (Freerange) Onsulada (Yoruba) and much more! Get your deep head on!
Review: Originally out in 1985, Peoples Potential Unlimited reissue this soul boogie jam from Uku Kuut (who was born In the Soviet Union, raised in Sweden and now lives in Estonia) featuring Marju Kuut on vocals. On the flip is a mellow instrumental in homage to Uku's home for the past 20 years, now available for the first time on cute 7" vinyl. Top release!
Review: Hailing from Crimea, Stas Karpenkov's Krym Mryk label is a direct line into the most intriguing techno-oriented diversions transmitting from Russia and Ukraine. In a similar vein to the likes of Udacha and Ghost Zvuk, Krym Mryk is brimming with the kind of originality and expression that makes records such as these essential purchases. "Entity" presents a calm, icy ambient lead in before the quivering, dubby techno pulse of "Yevpatoriya Satellite". "I've Had Enough To Look Down" is a writhing, biomechanical synth work out of the highest order, and "Windswept" finishes the EP off in a gentle blizzard of drones. A serious draw for this record as well is the Stanislav Tolkachev remix, which nudges "Yevpatoriya Satellite" into dynamic broken techno territory with a powerful synth wave channel coursing through it.
Review: The Happy Skull label hasn't been afraid to look locally for inspiration, with The Kelly Twins sourcing some fine output from Bristol types Marco Bernardi, Rhythmic Theory, Kowton. But 12"s from Throwing Shade and Creta Kano suggests their feelers extend much further too! The latest Happy Skull release extends an invitation to Cologne and the severely under rated Andreas Gehm, a man who really knows how to abuse his acid lines to great effect. Lead track "Yes Or No" is the sort of cut you keep in your record box for the sweaty moments deep into a set when you really want to beat down the dancefloor. "Summer Time In Coloniae" does offer a more pensive side to Gehm's palette and perhaps inspired the Twin Peaks artwork on the 12", whilst closer "Going By" is ocean deep.
Review: Year Zero" is a first release on Post Scriptum's own label and in a sense it is a manifesto defining it's musical identity. No space here for a sound targeting the current techno mainstream. There is dirt, and the pinch of imperfections, very characteristic of avant-garde electronics and industrial well known for the quite nearby past. On the A side, there are compositions appearing like shutters from experiments conducted in the secret laboratory. The rhythm is giving the appropriate weight, while the rest is a musical conglomerate of sounds and synthesis building up a feeling of anxiety. A swarming energy, a modulation, an uncertainty and lurking somewhere danger are surrounding us.On the flip side are remixes constituting the lighter counterpunch. Motor eurhythmics bringing to life the old good Detroit techno definitely of a dance-floor character, making this material ideal for an interesting set.
Review: Marta Ren has made us wait for a follow-up to her superb 2016 debut album "Stop, Look, Listen". The good news is that a belated sequel is in the works, with this limited seven-inch single offering a first taster of the studio sessions. "Worth It" was certainly worth the wait (sorry). Based around a lolloping deep funk groove rich in heavy bass, hip-hop style drum breaks, crunchy guitars and rising horns, the track sounds like a long lost original 1960s recording rather than something made earlier this year. That's no criticism, though, because Ren's powerful, forthright vocals - available on the killer A-side version - suit that kind of fuzzy, retro-futurist production. Don't sleep on this one - it's one of the strongest soul records of the month without doubt.