Review: The mystery of the Botanic Minds Sunset Series continues to unfold with another bout of surreal and sensual club tracks that balance tweaked minimalism with a warm and hazy atmosphere. "Track001A" is packed with intricate rhythmic interplay, but it's the fluttering guitar licks and displaced vocals that give the piece its unique vibe. "Track002A" is a remix credited to Eastenderz regular Lizz, and it's a particularly spellbinding jam shaped out with lingering chords and a wistful mood. "Track001B" hunkers down around a low, throbbing bassline, but there's some sweet keys hovering up top to keep things from getting too dark. Barut is on hand with a remix for "Track002B", where trancey undercurrents meet with expansive piano and ethereal ambient swells, all strapped to a sturdy minimal house groove.
Review: The latest collection of wayward floor heaters from Nuances De Nuit takes us once more into a colourful headspace where the possibilities are wide open to make house music with personality. Californian shining star Liquid Earth is up first, although he's better known as Urulu. 'X-Form' is a bubbling metropolis of futuristic synth squiggles with starry-eyed wonder in its heart and vintage techno smarts up top. Huerta follows up that sterling start with the enchanting electro incantations of 'Legwork', which build wonderfully on the sound laid out on his recent debut album for Voyage Recordings. On the flip, DJOKO brings a smart shuffle and some shimmering synth work to the forefront for a seriously smart twist on the tech house template, while T. Jacques opts for space age machine funk with a splash of boogie poured in for good measure.
Michael Jackson - "I Wanna Be Where You Are" (Underboss remix) (3:56)
Michael Jackson - "I Wanna Be Where You Are" (2:54)
Marvin Gaye - "I Want You" (Underboss remix) (4:00)
Marvin Gaye - "I Want You" (4:33)
DeBarge - "I Like It" (Soul Synopsis mix) (4:21)
DeBarge - "I Like It" (3:45)
Switch - "There'll Never Be" (Solidified Soul mix) (3:13)
Switch - "There'll Never Be" (3:34)
Eddie Kendricks - "Body Talk" (TBG mix) (4:43)
Eddie Kendricks - "Body Talk" (4:27)
Sisters Love - "Now Is The Time" (The Mack Revisited mix) (3:21)
Sisters Love - "Now Is The Time" (The Mack Revisited mix - instrumental) (3:21)
Jackson 5 - "Tribute Medley" (Underboss remix) (3:58)
Jackson 5 - "I Want You Back/ABC/The Love You Save" (Medley) (3:09)
Review: This special 7" boxset Motown State of Mind is a collection of Motown classics remixed by the legendary rapper, producer and member of D.I.T.C., Lord Finesse. The first two tracks tackle the one time King of Pop, while the undisputed soul god that is Marvin Gaye then gets some special treatment with an Underboss remix of "I Want You." The smooth grooves continue on DeBarge's "I Like It" (Soul Synopsis mix), which is pure sultry and steamy gold. Elsewhere Eddie Kendricks - "Body Talk" (TBG mix) is a string laced and slow motion disco funk gem and Sister of Love and Jackson 5 also get some careful treatment.
Review: As the title suggests, there's an undeniably humid, sun-kissed and tropical feel to Art of Sedition's latest double-dose of seven-inch re-edits. Accedo Domingo lives up to his name by adding squelchy TB-303 lines and relaxed house beats to a stirring Brazilian dancefloor jam on "Corre Riba", before Those Guys From Athens deliver a chunky, house-style revision of a turn-of-the-80s MPB classic ("No Bola"). Over on the second "45", DJ Laurel tools up an undeniably funky disco number (the stellar "Peanut Man") before Monsieur Von Pratt makes an already heavy disco-funk number even weightier ("Lose Your Mind").
Review: Saison are back on their own No Fuss label with more crisp and sweet deep house for those who like it classic. The A side opens up with an energizing sure shot as Saison remix French house head N-You-Up, before they turn in the equally infectious and uplifting "One Day". N-You-Up get another treatment on the flip, as "Jazz Bar" gets snazzed up with a classy gloss of sophisticated house suitable for the smart-casual crowd as well as the party people up front. Saison's own "Sazerac" rounds the record out in fine jacking form, with plenty of soulful licks and jazzy twists woven in between the beats.
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: Given the recent passing of Ennio Morricone, it seems fitting that we're being treated to a reissue of Babe Ruth's "The Mexican", a scorching funk-rock number based on the late, great Italian composer's theme from "For A Few Dollars More". The band's cover of that can be heard on the B-side, but it's the five-minute A-side, which boasts lyrics calling out the misleading narrative of John Wayne western "The Alamo", that you need in your life. Full of killer funk breaks that became staples during hip-hop's foundational block party era, plus driving musicality and some of rap music's best-known hooks, the track is still capable of slaying dancefloors 47 years after it was first recorded.
Evil Smarty - "The Groove To Make You Dance" (5:52)
Mitiko - "What Have You Done For Me" (6:04)
Loshmi - "Soul Food" (5:55)
Review: When you need the brightest, boldest takes on the disco edit tradition, look no further than Disco Fruit. The label's inexhaustible resources for peak party material continue in style with this sampler 12", which brings together four different artists with their own foolproof recipes for a damn good time. Hotmood takes no prisoners in laying down a delicious disco groove on "I Love To Boogie", while Evil Smarty loops up the funk to perfection on "The Groove To Make You Dance". Mitiko takes on a timeless classic with "What Have You Done For Me", focusing on the heavy new jack swing beat of the source material to create a new club banger. Loshmi rounds the record out with "Soul Food", a mellower offering but still holding down a groove for those more seductive moments.
Double Exposure - "My Love Is Free" (The Reflex Revision) (8:13)
Instant Funk - "I Got My Mind Made Up" (The Reflex Revision) (7:25)
Review: Salsoul is a label as iconic as they come and decades after establishing that reputation it continues to deal in only the most original house and disco heat. The Reflex is a famous king of the remix who here adds his own vital spin to two new revisions for Salsoul Records. The Frenchman first up takes on Double Exposure's "My Love Is Free" to craft a layered remix that builds with a sick guitar riff and warm bass. Then comes a re-edit and remix of "I Got My Mind Made Up" that has chunky percussion and punchy drums. All in all a worthy addition to any collection.
Review: Since he last appeared on Razor 'N' Tape six years ago via a digital-only debut single, Dino Soccio has built up quite a catalogue of re-edits, not to mention a reputation as one of the scene's more interesting editors. It's for this reason that we're not surprised that his return to Aaron Dae and J Kriv's rework imprint is so good. It sees him offer up a quartet of killer cut-jobs that bounce between sumptuous, string-laden, French language Afro-disco (the superb "Fred's Groove"), sparkling up-tempo disco-boogie brilliance (the awesome "Star Beaming"), languid deep disco warmth (the dubby, spaced-out goodness of "Laid Back") and ultra-sweet, reggae-influenced Afro-boogie heat (sublime closing cut "Forgot").
Review: Admas' debut album, Sons of Ethopia, is probably best known for "Kalatashew Waga", a polyrhythm-fuelled chunk of melodious synthesizer funk that was memorably remixed by Andras Fox back in 2015. Here, the in-demand album gets an official reissue for the first time since it first appeared on the obscure African Heritage Records label way back in 1984. The band's unique blend of styles and instruments - think synthesizer-heavy instrumental boogie, electronic Afro-beat, dewy-eyed AOR soul and cheery highlife - remains as alluring and surprising as ever. Given that original copies are almost impossible to find, this is a much-needed reissue.
Review: Spanish label Mate are back with more excellent house cuts from different corners of the scene. The endlessly prolific Javonntte is in control on the A side, sounding as iconic as ever with the rousing thump of "Quantom". "Mr DJ" is a more soulful track with a catchy vocal hook you'll be humming to yourself for weeks after hearing it. On the flipside, Simon Garcia's The Blaxploited Orchestra is in heavy edit mode on "Ready To Go", bringing a full-frequency funk and sizzling house drums to the fore with a classic sample or two. "Explicit" has a lower tempo, allowing even more space to sink into the pocket and feel the groove from start to finish.
Michael James & Benjamin Joseph - "The Island" (7:53)
TIJN - "Maybe" (5:52)
Nick Beringer - "Nyx" (6:32)
Review: The next airdrop from the good ship Constant Black is a various artists affair with four tracks from four artists guaranteed to find a home in your extended micro sesh. Pascal Benjamin takes the lead with "Falkhill", locking into a Romanian-flavoured minimal breaks formation that rolls in resplendent fashion with a particularly choice vocal lick from an undisclosed RnB track. Michael James and Benjamin Joseph nudge the pitch fader up and dial in the swing for the decidedly funky wiggler "The Island", and TIJN keeps things bumping but works in some sharper drum sounds for the tough but bouncy "Maybe". Nick Beringer finishes the record off with the chunky funk of "Nyx", calling to mind Mike Shannon amongst others.
Review: Well Street continues to be a hotbed of innovation in the cloudy climes of contemporary UK techno, with label mainstay Loop LF returning for his third EP. The record opens in subliminal style with the restrained, heavy-stepping sideswipe of "IZ 200" before melting into "Drifting Forwards," a richly dubbed-out dreamscape of clicking and popping percussion and sparkly chord drops with a purposeful swagger around the rhythm section. The B side kicks off with the nervy minimalist techno abstraction of "C Rota", where sound design plays a vital role alongside cyclical rhythms in creating a truly transcendent yet strikingly sparse sound. "Mondo" closes proceedings with one of the more forthright tunes on the record, following a strident if still proudly leftfield groove that captures a little '90s downtempo funk and gives it a cosmic, hi-def refit.
Review: London's longest-running re-edit imprint returns to action, and fittingly it's label co-founder Diesel at the controls (albeit with fellow founder and old pal Dave Jarvis adding input via an "Executive Producer" role). A-side "US Lover" is simply superb: a blue-eyed, turn-of-the-80s AOR disco gem laden with heady horns, squelchy synth bass, swirling strings and heady harmonica solos. The Balearic disco fun continues on the flip, where the bleep-laden bluesy disco number "Hysteric Glamour" comes accompanied by the sunny, synth-laden instrumental disco oddity that is "Marabou". Deep cuts, subtly tweaked for extended dancefloor pressure: what more could any disco lover desire?
Review: Here's a welcome surprise: a reissue of one of the most revered records in the back catalogue of sadly departed Sheffield deep house imprint Toko. This 1997 gem is actually an all-star affair, with Klarky Cat (a reference to legendary satirical show Brass Eye) being a collaboration between Chris Duckenfield, Toko bosses Alec Greenhough and Paul Ingall (better known as Attaboy) and influential, overlooked Manchester producer Si Brad. In. its original form, "Gumbo" mixes the wavy, loved-up dreaminess of classic deep house with the organ sounds of U.S garage and the swinging, occasionally glitchy drums of early UK tech-house. It comes backed with a darker, chunkier and more foreboding rework (the mesmerising "Blooty Mix"), and the bright, acid-flecked sunrise giddiness of rather good bonus track "Custard Gannet".
Ultra Flava (Darius Syrossian Full Pressure remix) (7:24)
Ultra Flava (Low Steppa & Johan S remix) (5:31)
Review: Back in the 980s everything Pete Heller and Terry Farley touched turned to go. So much so that ensuing generations continue to connect with their work and now Defected invite a wealth of new school producers to add their own spin to the huge "Ultra Flava". David Penn goes for a hands in the air, festival version, a 2016 version from the artists themselves gets more twisted but keeps its vibes 90s bassline in tact, then Darius Syrossian goes harder and faster with his sweaty rework. Low Steppa & Johan S go for a thoroughly modern rework with shuffling drums.
Review: Last time out, Afro Dub shared vinyl space with fellow Italian scene stalwart LTG. Here the Sound Exhibitions stalwart returns to the long-running label with a quartet of heavyweight-funk inspired rubs. He opens with the low-slung Afro-cosmic meets dub disco flex of "Funk Premier", before emphasizing sweaty funk breaks, weighty bass guitar, wah-wah licks and bold pianos on the arguably even better "Funk Small". Over on the flip, "Funk Business" is a delightfully jaunty funk re-edit laden with heavy Hammond licks, eyes-closed guitar solos, wild electric piano and elastic slap-bass, while "Break of Day" is a drum solo-and-fills driven funk-rock romp that should fire up even the most sluggish of dancefloors.
Review: The second release from the newly emerging If It Ain't Jazz label comes from Swedish producer Opolopo. For this one he takes two classics from the jazz-disco world and adds his own distinctive spins. The results soar into the stratosphere on golden chords and humid pads, funky drums and gliding grooves. Both are timeless reworks that will do plenty of damage on a wide range of dance floors. This marks another noteworthy release for this small but well formed label.
Review: The 5 Borough Breaks series has long been a good way of acquiring killer cuts that have some way played a part in the ongoing evolution of hip-hop culture in New York City. The hush-hush label's latest release boasts the full version of Betty Wright's head-nodding soul classic "Clean Up Woman", which boasts a breakbeat that has been sampled on scores of killer rap jams. On the A-side you'll find something a little less well-known: "Zulu War Chant", a 1992 cut by the Afrika Bambaataa and Rusty Egan-helmed Time Zone crew. It samples the familiar groove from "Clean Up Woman", adding a swathe of well known rapped and sung vocal samples and a hard-spun hip-hop beat.
Review: There's no secret to the success of Late Nite Tuff Guy's long-running Tuff Cuts series. Buyers have simply responded to the consistency of the Australian producer's approach, and the quality of loopy, house-friendly re-edits. This eighth volume features more party-starting fare, from the glassy-eyed extended breakdown of "Go For That" (yep, a Hall & Oates rework) and soft-touch house take on Marvin Gaye ("Heard It"), to the end-of-night bliss of "Dreams", a decidedly warm and rolling rearrangement of the famous Fleetwood Mac cut of the same name. As if that wasn't enough bangers in one place, he finishes with a triumphant rework of disco-era Michael Jackson ("Starting Something").
Review: Presented on a rather striking green vinyl seven-inch, the latest volume in the hot-to-trot Made To Dance edits series could well be the mysterious crew's finest work to date. Our pick of the pair is undoubtedly A-side "Olhos Negro", a lightly tooled-up rendition of a suitably spacey samba-disco number rich in rubbery slap-bass, typically Brazilian percussion, jaunty guitars, blue-eyed soul vocals and dancing horns. That said, the more stomping and celebratory "Senorita Get Down", a bouncy AOR disco number powered forwards by undulating bass, ear-catching piano stabs, mazy horns and winding synth solos, is also a sizzling, summery treat.
Review: Chuck 'em in a black bag and give 'em a blotchy stamp. That's Delsin's modus operandi when it comes to re-releasing their favourite older material. And following their re-up of Son.Sine's beautiful Upekah 12", Claro Intelecto's first ever release makes its way on to the prominent Dutch label, a solid decade after it was first released on the now defunct Ai Records. For that 'must have' feeling "Tone" is the track you want to hear first; a gnarly acid work out of Drexciya-influenced techno that's been dragged through the mud and sounds all the better for it. Before that though there's a deeper and electro-leaning "Peace Of Mind (Electosoul)", and while "Signifier" mirrors it somewhat, it's deep house that's pure as the driven snow. And if you needed any more proof that Intelecto is the master of a phat-bassline, look no further than "Contact".
Review: For those that pay attention to these things, there's been plenty of talk on the margins about The Pilotwings, a young Lyonnaise duo whose first two EPs on Brothers From Different Mothers got tongues wagging. Here they step up to Macadam Mambo, delivering an EP nominally inspired by classic Chicago house, but with clear Japanese, African and classic electro influences. Analogue sounding, inventive and hard to accurately pigeonhole, Une Nuit Aux Boxboys is a thoroughly engaging and entertaining affair. Highlights are plentiful, from the twittering new age melodies and snappy percussion of "Le Stabisme De Richard" and exotic shuffle of "Cerisier", to the "Promised Land" bliss of the more obviously Chicago-influenced title track.
Review: Producer and keyboardist Jon Dixon lands on his own 4EVA 4WRD label with some timeless house tracks that bring all his majestic melodic skills to the fore. "Times Of Change" (feat De'Sean Jones) is a mellifluous, comically minded cut with a fantastic lead sax and bubbly chords, and "Move 4WRD" (feat Britt Frappier) then gets more fluttering and percussive, with flappy hits and dreamy vocals making for a light and airy groove. There are dancing synths and lush astral colours on "Beautifully Equipped" but closer "Troopcafe" might be the best of the lot with its deft, arching pads and shimmering broken beats.
Review: In 2018, the idea was introduced by Jeff Mills to address the lack of artistic collaborations within and from the city of Detroit/USA. The city had always been an engine of new innovative ideas related to music, art, dance, poetry and all other arts. It was thought of as a way to demonstrate the commonality people possess from various art forms and that by mixing ideas visions and perspectives together are might produce unexpected and often provocative results.
The project started when Mills reached out to one of Detroit Techno's founder and legendary DJ/Producer Eddie Fowlkes. Though the two are known and connected to Detroit Techno and knew each other for decades, they never worked together so the first few meetings and conversations were marked with finding all the common links that have built both of their careers. During this time, Mills wanted to find a third person for the project, one that was from Detroit, but not a musician. His idea and theory was that by engaging two other creative thinkers would most likely produce something unique as emotions would become linked together to find that common, but higher level. While browsing the web, Mills discovered a post that featured the Detroit-born poet Jessica Care Moore. Struck by her words and the energy she mastered to say them, Mills knew immediately that she would be the perfect artist to approach for this creative venture. As with most artists that grew up in Detroit, they immediately opened up the links in their past, present and future outlook. He presented the case and explained to her how he thought it might work. She liked the idea and agree to join.
THE CRYSTAL CITY IS ALIVE. (A phrase extracted from Moore's words), puts the Detroit, America and the World on notice. The alarm has sounded and it is now time to mobilize all creative units to the frontline.
Review: Lego Funk are back with more of their big chunks of funk, with DJ Choice reworking a brace of Latin cuts for this fiery 7". The a-side is Pablo Ruiz's reflip of Roberto Roena's 1974 salsa-influenced number "Que Se Sepa" as sampled by Ugly Duckling on "Let It Go". It's extended from front to back, with extra drums and perc beefing things up. The Rebel DJ's monster re-rub of Ray Barretto's already monster Latin boogaloo funk original "Right On" then takes care of the flip, with plenty of Latin heat and big wind sounds all pumping those sunny grooves.
Review: Luke Vibert is an ever green sonic inventor who can do whatever he pleases with sound. The latest in a long line of projects with Hypercolour and its associated labels is another gem: Rave Hop mixes up downtempo beats, hip hop and r&b with twisted electronics, rave and techno. It's something that could go horribly wrong in the hands of a lesser producer, but here the fusions are amazingly seamless. "No Competition" is a classic era boom bap tune with lush piano chords, "Styles" sounds like a reworked Slick Rick tune with huge breakbeats and "All Night" is as smooth as silk thanks to a buttery vocals and long legged drums that sink you in deep.
Dinosaur L - "Go Bang" (Danny Krivit edit Of Walter Gibbons remix) (8:55)
Hanson & Davis - "I'll Take You On" (Danny Krivit edit Of Larry Levan remix) (5:27)
Review: Dinosaur L's "Go Bang" is an enduring classic from the golden period when house and disco mixed freely. It was hammered at Paradise Garage and has been re-edited many times. Next up to have a go on Arthur Russell's Sleeping Bag is Danny Krivit who edits Walter Gibbons's remix. The drums are snappy, the groove urgent, the funk very real. ON the flip, Krivit tackles an edit of a Larry Levon remix of Hanson & Davis - "I'll Take You On". It is loose, with tumbling drums and tooting arps next to the shiny, soraing vocals. Classic stuff.
Review: Berlin-based rising star Sally C has decided to launch a label, the brilliantly named Big Saldo's Chunkers, with a debut EP of tracks she made after listening to copious amounts of turn-of-the-90s hip-house. The standout track - though the standard is uniformly high - is probably the sweaty and bustling A-side "OG Chunker", where bubbly motifs and rap vocal snippets ride a rolling, thickset groove. "Let's Get This" feels and sounds like a tribute to both hip-house legend "Fast" Eddie Smith and the more muscular style of "Sound Factory" house popularized by Junior Vasquez, while "Turn That" is a wonderfully low-slung and pumping affair that comes on like Mr Lee's "Pump Up Chicago" for the Boiler Room generation.
Review: Spanish techno legend Oscar Mulero presents the second installment of Warm Up's limited edition Bandcamp Vinyl series, with three straight up techno tools from a true master of the craft. On 'WUBC 2', feel the mental overdrive of A-side cut "Gradual Blending" which will punish you with its relentless groove, go deeper into the later hours with the more restrained B-side offerings like the hypnotic and strobe-lit gallop of "Evolutionary Decay" or the Millsian majesty of "Natural Resources". Best described by the label itself as 'merciless techno designed to shake minds and feet.'
Review: Since launching a few years back, Deep Cover has proved to be one of the most interesting, eccentric and leftfield re-edit imprints). The label's latest essential missive sees Alexis Le Tan don the easy-to-spot Alexis Le Fan alias to deliver two vital re-rubs. On side A, the French producer and editor has his wicked way with a vintage Perfect Zebras track, expertly extending and rearranging the post-punk, new wave synth-pop cut to make greater use of the original's squally horns, bubbly bass and drowsy vocals. Over on the flip he delivers a fine rub of a squelchy, Clarinet-laden number from the early '80s that sounds like it might be Middle Eastern in origin (but, of course, may not be). Either way, it's an eccentric, oddball treat.
Kenkou - "Everlasting Dreams" (Calm Still Dreaming mix) (11:08)
Deadbundy - "Lorenz" (Calm extended mix) (7:06)
Review: When it comes to sumptuous, sunrise-ready ambient, deep house and downtempo jams, there are few finer exponents of the art forms than Fukagawa Kivotaka AKA Calm - a Japanese producer whose work has been sound-tracking stunning sunsets since the turn of the '90s. Here Hell Yeah Recordings shine a light on two of his numerous killer remixes. On side A he delivers a stunning re-imagining of Kenkou's 2004 track "Everlasting Dreams", slowly building up from a lengthy Spanish guitar-sporting ambient intro to gentle, Latin-tinged deep house bliss over 11 atmospheric and evocative minutes. Over on the flip, he delivers his interpretation of Deadbundy's "Lorenz", serving up a chugging, mid-tempo cosmic disco-meets-deep house take flecked with jazzy guitar licks and propelled forwards by a suitably druggy electronic bassline.
Review: DJ Steaw and Gunnter's Rutilance Recordings has been going strong for a couple of years now. Their M.O.? Spreading the gospel of deep house, we'd guess! They're doing pretty well on that front then. Paris producer Janeret produces sexy music for night people. Fans of Dessous or Dogmatik should take note. First track on the A side "Heat" features a bouncy synth bassline and rich synth and pad tapestries reminiscent of UK legend Jimpster. "Straightaway" features uplifting organ stabs and a tough swing fuelled beat, perfect for those peak time moments. On the flip "Surge" keeps on with the uptempo vibe, injecting some vocals, razor sharp synth leads and that bass; so bouncy! Finally he throws us a right curveball with the liquid drum and bass of "Throb" summoning the spirit of LTJ Bukem, and damn well!
Review: Hearse's third transmission is as strong as their previous two. It's a fine gathering of dark electro cuts from a varied but vital crew and starts up with Miami's Exzakt & BFX collaborating on the rough around the edges "Raw." Hamburg's Kluentah then goes hard with "Jungle Juice," which is frosted and tense, and then acid madness comes to the fore on Luke Eargoggle's "Olympia." Syncoatped kicks are pile don top of each other and freaky vocal apparitions appear on Amboss's closer "I Want To Live In My Car" making this a beguiling listen indeed.
Rebolledo - "Windsurf, Sunburn & Dollar" (extended raw version) (10:30)
Slove - "Flash" (Pachanga Boys Hippie dance) (8:34)
Red Axes - "Camino De Dreyfus" (feat Abrao - Rebolledo remix) (7:44)
Review: Having issued the excellent Momento Drive mix CD by Comeme maverick Rebolledo earlier this month, Kompakt present this addendum 12" sampler featuring three considered highlights of fifteen track set for the vinyl selectors out there. The mix CD itself was a fairly accurate representation of what you'd expect to hear in a Rebolledo DJ set, and it's great to see an 'extended raw version' of the man's own axe heavy "Windsurf, Sunburn & Dollar" lining the A Side, Vic Reeves pub singer style vocals and all! Rebolledo has a hand in the B Side cuts too, offering up a trademark Hippie Dance take on Slove as part of Pachanga Boys with Superpitcher and turning in a devilish solo remix of "Camino De Dreyfus" by I'm A Cliche dons Red Axes.
Review: Somewhat surprisingly, "Eyes Of My Mind" marks Axel Boman's first solo single on Studio Barnhus, the label he co-founded, since 2013. It's also his first EP of any sort since 2017 (though 2019 did see the release of his fine "Le New Life" LP on Mule Musiq). The track is little less than a loved-up aural hug; a deliciously glassy-eyed affair in which dreamy chords, quirky vocal samples, droning bass tones and bubbly electronic motifs wrap around a bustling, loose-limbed drum track that sits somewhere between regular deep house, Max D's Dolo Percussion project and good old-fashioned breakbeat. Over on side B he calms things down dramatically via "Echoes of My Mind", a swelling, wall-of-sound ambient revision of the A-side that's as comforting and meditative as they come.
Review: Previously, London label Butter Side Up was probably best-known for offering up some quietly impressive EPs from rising stars Sweely and Christian Jay. This EP, which comes from high-profile Los Angeles-based techno producer Urulu (real name Taylor Freels) under his alternative Liquid Earth guise, is undoubtedly the fledgling imprint's biggest release to date. Across the four tracks, Freels explores the more psychedelic side of the Californian house and techno sound, variously doffing a cap to colourful 90s techno/dub house fusion (on the chunky and ear-catching "Transcedenton"), the Orbital end of the breakbeat hardcore spectrum ("Senator Bomgwater's Revenge", which sounds like it could have featured on the Hartnoll brothers' "Brown Album"), San Diego style tech-house (the Hipp-E and Halo-ish "Twisted Metal") and dreamy breakbeat techno (lovely closing cut "Neutral Circuits").
Review: NuNorthern Soul take a brief respite from their BJ Smith series so boss man 'Phat' Phil Cooper can indulge his love for Ryo Kawasaki. Focusing on the period that the '70s met the '80s, Selected Works pulls together five delicious slices of Kawasaki bliss from a boundary pushing discography that spans writing, arranging, producing and playing. For an introduction to Kawasaki, this release is near perfect, taking in sublime jazz through heaving slabs of funk to out-there electronic vibes. Extra context is provided in the extensive sleeve notes from Marc Rowlands that pull from his 2015 interview with Kawasaki. Despite being five tracks long, this still feels like a generous rifle through the Ryo archives.