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.
Pieces To Share (Kyle Hall & Steve Lehane mix) (3:14)
Nothing To Fear (4:00)
Review: Some ultra-limited business here from Kyle Hall, which remarkably marks his first release of 2019. The Detroiter is in fine form from the off, first peppering a hip-hop tempo "beatdown" groove with 8-bit sounds, jazz-funk synth doodles and rich Fender Rhodes motifs on "Rising" before breaking up the beats and channeling Kaidi Tatham/Dego on the warm and luscious "Full Play". Turn to the flip for the similarly inclined, loose and languid, analogue-heavy melodiousness of "Pieces To Share" and the delay-laden sunrise shimmer of "Nothing To Fear", a glistening and smile-inducing number that's almost overwhelmingly positive.
Praying For You (Louie Vega NYC Fender Rhodes Solo) (4:55)
Praying For You (Louie Vega Vonita dub) (5:43)
Praying For You (KDA remix) (6:10)
Praying For You (album version) (6:11)
Praying For You (Louie Vega Expansions NYC dub) (5:41)
Smile (David Morales remix) (7:01)
Review: Earlier this year, DJ Spen and Teddy Douglas's long-serving gospel-house group Jasper Street Co returned to action with their first album in 16 years. It's from that album that "Praying For You" is taken, though the selling point here is not the LP mix but rather a suite of reworks from Louie Vega. Our picks of the bunch are his jazzy and breezy "Main Mix", the brilliantly bass-heavy "Vonita Dub" (think righteous call-and-response gospel vocals and a killer groove) and the sleazy "KDA Remix". The latter is a basement-bothering stomper rich in fuzzy organ stabs and spacey electronics. The smooth, slick and pleasingly colourful David Morales remix is also rather good (it reminded us a little of vintage Frankie Knuckles rubs, which is no bad thing).
Review: While he enjoyed a brief career as a musician in the 1960s, by the time he recorded debut album "Down On The Road By The Beach" in 1983 Steve Hiett was better known as one of the world's leading fashion photographers. In fact, it was at the suggestion of a Japanese gallery owner that he got back in the studio to record what has long been regarded as an impossible-to-find Balearic gem. Hiett's reverb and delay-laden Peter Green style guitar passages take centre stage throughout, winding in and out of languid grooves and ambient electronics to create what some have called "the ultimate desert island disc" - a record of such lazy, sun-kissed beauty that it sounds tailor made for drowsy days waking up on the beach.
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.
Pamela Nivens - "It's You I Love" (instrumental mix) (4:07)
Hugh Mane - "Real Sucker For Your Love" (6:36)
Switchdance - "Arabian Ride" (6:11)
Mr Marvin - "Entity" (Jazzy mix) (4:22)
Review: Almost two years on from the release of his brilliant "The Sound of Mercury Rising" compilation, DJ Harvey returns with another brilliant selection of tracks he's championed at Pikes in Ibiza. As with its predecessor, volume two offers a giddy skip through the dustier corners of his notoriously eclectic and off-kilter record selection. Along the way, he offers up chiming, synth-heavy Balearic classics (Mandy Smith, Hugh Mane), weirdo European disco (Marta Acuna), evocative electronic soundscapes (System Olympia), blue-eyed synth-pop (Pamela Nivens), drum machine-powered Middle Eastern madness (Switchdance's sublime "Arabian Ride") and a swathe of tasty contemporary cuts (the jaunty jazz-funk of Midlife, Das Komplex's ace "Slap", Nu Guinea's splendid "Je Vulesse" and Peaking Lights remix of Land of Light being the highlights).
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: By his usual prolific standards, Romanian producer Barac Nicolae has been rather quiet this year. "The Real You Is Not You", a double-pack of varied dancefloor cuts in his trademark minimal style, is only his second outing of the year. It's rather good, though, with sparse but groovy rhythm tracks providing the backing for all manner of ear-pleasing musical touches and mind-altering electronic effects. Our picks of the bunch are the funky, dreamy and sun-kissed hypnotism of "A Story Behind Everything" and the tipsy wonkiness of the title track, where trippy vocal samples and blissful synth riffs rise above an undulating, off-kilter groove.
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: 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.
Yellow Dandelion (feat Georgia Anne Muldrow) (5:05)
Gnawa Sweet (6:03)
Icy Roads (Stacked) (4:17)
(To) Know Where You're Comin From (5:41)
The Leo & Aquarius (feat Jehst) (6:49)
You Didn't Care (feat Nubya Garcia) (5:12)
Self: Love (feat Obongjayar) (6:23)
Review: Joe Armon-Jones has been a driving force in the resurgence of contemporary jazz and now makes something of a victory lap with this new album on the always essential Brownswood. It's a very modern mix of bass and dub, du jour club culture and his own jazz styles featuring peers like Moses Boyd and Nubya Garcia. Frankly, the whole record is silky, starry-eyed and sublime and the excellent artwork also hist at the cosmic subtleties of this album, but our picks of the bunch are the neo-soul, summery stroll through the park vibes of "Yellow Dandelion", "Gnawa Sweet" which glows with mellifluous Rhodes chords and the uncompromising yet accessible sax and big brass action of album highlight "You Didn't Care".
Review: Kris Baha has been on a serious roll over the past few years, notching up releases on Bahnsteig 23, Pinkman and many more besides. Now feels like the right time for him to drop an album, and where better to do such a thing than Cocktail D'Amore? The Berlin-via-Melbourne producer's sound comes through loud and clear - minimal wave and industrial influences abound, executed with ferocity and flamboyance in equal measure to create a many-shaded set of deviant dance bangers. "Living Nothingness" is the ultimate nihilistic beatdown, "Steel Sands" channels early Nine Inch Nails to perfection, and "Defied" has a propulsive thrust that would make Al Jourgensen proud. Baha wears his influences on his sleeve, and why not? They're great influences that he creates stunning music with.
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.
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: Trailed as a direct sequel to his previous solo album, 2017's "Avanti", "Volume Massimo" sees Nine Inch Nails member Alessandro Cortini offer up another immersive trip through droning guitar textures, repetitive synthesizer motifs, exotic sitar parts and fuzzy electronics. It's effectively a series of "maximal" instrumental soundscapes with sounds so large and layered they rise above the "meditative" tag pushed by Mute's PR team. This is no criticism, though, just a reflection that while contemplative at times, one of the most joyous things about the album is Cortini's ability to build thrilling walls of sound.
Review: Russia's Gost Zvuk label has long been a firm favourite here in the Juno office. Their glitchy, mysterious, futuristic music always makes for intriguing listening and now they celebrate five fantastic years with a compilation featuring a host of closely associated talents old and new. The bumper triple vinyl collection features paranoid experimental ambient that draws to mind covert spying operations, mangled machine music like INFX's "Damaged +dn", haunting modulated synth soundscapes from OL and skeletal techno rhythms that rewire your brain like Erofeev's "11bng". It all makes for a genuinely fresh and original collection of hugely provocative music.
Review: For their first album away from spiritual home Claremont 56, Ben Smith and Paul "Mudd" Murphy have decided to put a decidedly Balearic slant on the kind of atmospheric and quirky music that once was the mainstay of library music stalwarts KPM Records. Given their influences and seemingly innate ability to create heart-stopping, mind-soothing soundscapes, it's a canny move. Certainly, the music contained on "Tea With Holger" is impeccable, combining picturesque guitar and piano motifs with lilting easy listening orchestration, heady choral vocals, razor sharp strings and nods to various well-known TV and film soundtrack styles. Yet for all the knowing nods to old library music sounds, it's the quality of the duo's emotive and inspiring compositions that stands out.
Steve 'Doc' Willoughby - "All My Life" (long version) (5:22)
Review: Those in the modern soul scene should already be familiar with Expansions' "Soul Togetherness" series; after all, the label has been putting out annual compilations of the best contemporary dancefloor-focused soul jams under that name since the dawn of the century. The 2019 edition contains plenty of soulful heat, from the synth-sporting '80s soul revivalism of DCR's "Positive Vibes" and the head-nodding, boogie-flavoured R&B of Shaila Prospere's "Plus One", to the Loose Ends-inspired warmth of Magoo's "Still Really Love" and the anthem-like sing-along that is Rockie Robins' "Good Life". SolatiMusic's stripped-back and seductive "Tell Me" is also brilliant.
Review: Texan psych-funk fun time outfit Golden Dawn Arkestra get some remix treatment via this double pack from Razor-N-Tape, which leads in with Austin Ato's positively dreamy deep house version of "Children Of The Sun". JKriv takes on "Cosmic Dancer" and makes it into a slick disco-fied workout that adheres to the RNT vibe, while Dicky Trisco takes the track and makes it into a suitably interstellar strutter heavy on the synth lines. Then then the second slab of wax offers up a side each to the original versions, from the Afrobeat-indebted "Children Of The Sun" to the sweet and starry-eyed disco of "Cosmic Dancer".
Review: Jazz-man Greg Foat has always been more open-minded and eclectic than many give him credit for, delivering nods to pastoral folk, movie soundtracks and library music amongst his more jazz-focused output. Even so, "Photosynthesis" is still a curveball, featuring as it does drowsy and mostly leisurely soundscapes that move from Radiophonic Workshop influenced weird-outs and mutant lounge music, to stoned horizontal grooves and post trip-hop soundscapes. Interestingly, some of the album's standout moments come laden with woozy electric pianos and the kind of hazy, slow motion guitar motifs that evoke mental images of long, drawn-out sunsets.
Martha Reeves & The Vandellas - "I Can't Dance To That Music You're Playin'" (3:57)
The Jackson 5 - "The Love You Save" (4:17)
Bobby Taylor & The Vancouvers - "I Heard It Through The Grapevine" (3:43)
Sam & Dave - "Soul Sister, Brown Sugar" (3:18)
Aretha Franklin - "A Change" (3:33)
Sugar Pie DeSanto - "Go Go Power" (4:20)
Joy Lovejoy - "In Orbit" (3:52)
Judy Clay & William Bell - "Private Number" (4:30)
Review: Jobbing DJs will do well to pick this one up: it's a way to bring some original soul into your sets while also serving up some big tunes that people know and love. These careful edits pump up the sunny elements, layer in funky riffs, energetic strings and up the tempos of tried and tested classics from The Jackson 5, Marvin Gaye, Sam & Dave and plenty more golden oldies. Our picks: Bobby Taylor & The Vancouvers' fine cover of "I Heard It Through The Grapevine" and Sugar Pie DeSanto's hardcore swinger "Go Go Power" that's sure to get those hips moving.
Review: When it came to putting together their first compilation, German label Harmonie Exotic turned to Balearic scene mainstay Jose Manuel. His idea was simple: to gather together a range of mostly obscure experimental ambient tracks made between 1982 and '84, all of which possess equal amounts of "magic" and "mysterious character". The resultant set is, of course, a bit of an eye-opener - a genuine voyage of discovery that drifts between the low-slung, dub disco influenced headiness of D-Day's "Sweet Sultan", the drowsy new age purity of Vangelis Katsoulis, the glistening Balearic pop of Human Software's "Soft Sequence", the sludgy Arabic new wave oddness of International Noise Orchestra and the unique combination of Middle Eastern drums and next-level electronics that is Manuel Wandji's "Pourquoi Pas!".
Review: BBE's second trawl through late 20th century deep Japanese jazz is every bit as eye opening and essential as its predecessor, which caused many hearts to flutter when it was released 18 months ago. From start to finish, we're treated to a righteous range of largely little-known tunes, from the spiraling, sun-kissed spirituality of Makoto Terashita Meets Harold Land's epic "Dragon Dance", and the funk-fuelled dancefloor jazz brilliance of Mabumi Yamaguchi Quartet's "Distant Thunder", to the smooth, snaking seductiveness of George Kawaguchi Big Four's "Vietnam" and the synthesizer jazz-funk insanity of Electro Keyboard Orchestra's "Mother Of The Future". A superb selection of genuinely off-kilter and life affirming Japanese gems that should be an essential purchase for both serious and casual jazz fans.
Review: Cheick Tidiane Seck's latest album is something of an all-star affair. It sees a banquet's worth of guest musicians (including fellow African music legend Manu Dibango) help the Malian music maestro send "an Afro-Jazz prayer" to the late, great Randy Weston - a musician whose unique Pan-African vision influenced so many of his contemporaries. The resultant set is vibrant and alluring, with Seck and company underpinning Weston's fluid jazz piano motifs with dense, heavy, intricate and often delightfully polyrhythmic rhythms. There are some more atmospheric and intoxicating numbers present, too - the version of "Timbuktu" is stunning, as is the bluesy "In Memory Of" - but the album's greatest calling card remains it's energetic and effervescent approach.
Review: The latest volume in BBE's J Jazz Masterclass series is something of a stone-cold classic: then young Japanese pianist Makoto Terashita's 1983 album-length collaboration with legendary tenor saxophonist Harold Land. Somewhat surprisingly, this is the first time that the sought-after set has been reissued since, making it something of a must-have for serious jazz fans. Both players are clearly audible throughout the LP, with the accompanying bassist and drummer generally kept low in the mix. It's an approach that pays dividends from start to finish, with highlights including the poignant and picturesque "Dear Friends", the epic dancefloor flex of "Dragon Dance" and the raucous, high-octane thrills of "Crossing".
Review: Described in the accompanying press release as "the halfway point between Bollywood and Balearic", Rupa Biswas' 1982 debut "Disco Jazz" has long been a favourite of dusty-fingered diggers with a healthy bank balance and a penchant for the quirky. All four tracks are cheery, charming and superior to many "Bollywood disco" records produced in the same period. The sunny disco-boogie of "Moja Bhari Moja" is followed on side A by the delightfully eccentric, bass-powered AOR-disco/funk-rock fusion of "East West Shuffle" and the effortlessly Balearic cheeriness of "Aaj Shanibar". Best of all, though, is the exotic and intoxicating flipside cut "Ayee Morshume Be-Reham Duniya" which expertly joins the dots between cosmic rock and Balearic disco grooves for 16 spellbinding minutes.
The Return (feat Thando, Jace XL, Alien, Whosane) (9:16)
Don't Give Up (feat Mandarin Dreams) (4:51)
Made Us Better (feat Blue Lab beats, Boadi, Lori) (8:35)
Review: After Sampa's magic debut album it makes sense she's been signed by Ninja Tune for a follow up. Once again here the Zambian-born Australian singer-songwriter and rapper is in excellent form, delivering slick, complex verses that she says are "the most me to date". Exploring notions of race and relationships, amongst other things, her voice is couched in gorgeous broken beat, hip hop and r&b production. Highlights are plentiful throughout - "OMG" is a funky afro beat, "Any Day" is neo soul in the mould of Erykah Badu and "Final Form" is a trumpet lead, warrior queen anthem to get your chest pumping. Essential.
Review: Recorded in 1969 but first released in 1973, "Izipho Zam (My Gifts)" remains one of Pharoah Sanders' most expressive, out-there and enjoyable sets. As this fresh, heavyweight vinyl pressing proves, the album has lost none of its charm. It sees Sanders and his expansive backing band (including Lonnie Liston-Smith on piano) offer up a fine saunter through spiritual soul-jazz ("Prince Of Peace") before going all-out free jazz via two of the most intense and mind-altering workouts you'll ever hear. While the 13-minute "Balance" is a cacophonous and paranoid romp through free-jazz/experimental rock fusion, it's near 30-minute B-side "Izipho Zam" that stands out. Seemingly in a constant state of flux, the piece moves from densely percussive Afro-jazz to wall-of-sound noise-jazz insanity without skipping a beat.
Last I Heard (...He Was Circling The Drain) (5:10)
Dawn Chorus (5:34)
I Am A Very Rude Person (3:52)
Not The News (3:57)
The Axe (6:58)
Impossible Knots (4:19)
(Ladies & Gentlemen, Thank You For Coming) (4:57)
Review: It's taken a while, but finally Thom Yorke's impressive third solo album, "ANIMA", is available on wax (and in a fetching shade of orange, too). A future classic that continues the legacy he started with XL Recordings back in 2006 (with his solo debut The Eraser), ANIMA is well worth picking up, as Yorke and co-producer Nigel Godrich offer up evocative, off-kilter songs built around the twin attractions of the Radiohead man's distinctive vocals and skewed backing tracks rich in layered electronic noise, body-bending sub-bass, discordant synthesizer parts and intriguingly jaunty drum loops. Highlights are plentiful throughout, from the creepy, lo-fi ambient swirl of "Last I Heard (...He Was Circling the Drain)" and "Dawn Chorus" (a blissfully dewy-eyed early morning soundscape), to the low-slung, post-trip-hop hum of "I Am A Very Rude Person" and the fizzing, jazz-fired thrust of "Impossible Knots". Melancholic, yes. Deep and self-effacing, of course. Nihilistic, not really. Percussive futurist sub-pop is back.
Review: Given that it's called "Coloured" and appears on shocking pink vinyl, you'd expect Adam Longman Parker's debut album as Afriqua to be a decidedly vibrant and kaleidoscopic affair. It is, of course, with Longman Parker offering up tracks that mix tropical-sounding electronics, glassy-eyed synthesizer motifs, processed vocal sounds and evocative musical flourishes with jaunty, interesting rhythms that neatly sidestep conventional genre rules. It's a mixture that makes for hugely enjoyable listening, with highlights coming thick and fast. These include - though are by no means limited to - the densely layered dancefloor cheekiness of "Shout", the minimalist ambient bliss of "Noir", the hypnotic, intergalactic oddness of "Native Sun" and the bubbly club warmth of "Jumpteenth".
Cult Hero (Do You Wanna Touch Me) (with Simon Topping
Sly Is Watching
(Vi-Vi) Vicious Games (with Josh Caffe
Review: When it comes to jackin' Chicago style acid house revivalism, few can hold a candle to Paranoid London. As this long-awaited second album proves, the duo is the undisputed masters of sweaty, TB-303 driven jack-tracks and - as recent single "(Vi-Vi) Vicious Games" and LP opener "Starting Fights" prove - classic-sounding vocal cuts that recall the glory years of Fingers, Inc in the mid-to-late 1980s. Interestingly, "PL" boasts far more collaborations than we've seen from Paranoid London before, including a string of ragged club cuts blessed with evocative spoken word vocals, a thrusting acid throb-job with lead vocals by Simon Topping and a suitably twisted, machine-driven hook up with Arthur Baker and Alan Vega (the raw and weighty "Angel Of Hell").
Review: London DJ Paul Murphy has been entertaining jazz dancers since the late 1970s and is rightly cited by Gilles Peterson (amongst others) as a major influence. Here he offers up a taste of the up-tempo dancefloor jazz he's been championing for the last four decades via a fine compilation named after his once regular club night, Jazz Room. There's plenty of Latin jazz and fusion present (see Art Pepper's "Mambo de la Pinta", Lucas Van Merwijk's "4Beat Cha Cha Cha" and Terje Terasmaa's "Yatra-Ta") as well as African-influenced workouts (see the cuts by Rhythmagic Orchestra and Mamelon), the odd classic (Art Ensemble of Chicago) and a handful of more recent cuts, including an inspired jazz cover of Nirvana's "Smells Like Teen Spirit" by Blue Mode.
Review: The new incarnation of the famous fabric mix series serves up a big one here with Ibiza kingpins and US house torchbearers The Martinez Brothers laying down a fulsome 23 track mix. It brims with the sort of energy that they always have themselves in the booth and takes you on a contemporary trip through the bendy minimal of Cabanne, Frak's percussive workout and some tropical curveballs from The Bayara Citizens. The Brothers also impress with two of their own tracks - "Jam Joint" and "Mistakes" - full of wonky synth work and shuffling drums, and it marks another highpoint in their longstanding career.
Review: This 1988 debut album from Jungle Brothers eschews the use of the sampler, choosing instead to lay down these fresh beats by recorders, all looped by hand, eight bars at a time. The record also features Q-Tip for the first time on the excellent "Black Is Black" which features one of the few samples on the album as the voice of Gil Scott-Heron is stitched into the rolling beats. Smash hip-house hit "I'll House You" was added to later versions of the album and is included here with other gems like "Braggin & Boastin" and "Behind the Bush".