Review: Earlier this year, Durand Jones and the Indications delivered one of the revivalist soul albums of 2019: the conscious, politically charged "American Love Call". Their latest "45" boasts one of the album's standout moments, "Morning In America", a weary but impassioned commentary on Trump's United States that features evocative strings, laidback 60s soul grooves and a stunning lead vocal from Durand Jones. It comes backed by previously unheard cut "Cruisin' To The Park", a lusciously sugary, heartfelt and loved-up affair where drummer Aaron Frazer handles lead vocals. Like the A-side, it's a stunning slice of emotion-stirring soul.
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: 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.
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: Fans of digital roots take note: "Gun Fever" is a brilliantly dark and direct offering from Frankie Jones. Mixing up the sound of 80s Jamaica and the sort of dub that was loved in the UK by dancehall crowds, it first landed on Third World in 1986 and now gets a crisp new remaster for the first time in its history. The low swinging bottom end is warm and rich, the claps chart and the rimshots are laden with effects, especially on the flipside "Version", that really sink you deep into the riddim.
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: 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: 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: 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.
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.
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: Through a series of must-check releases on Nous'klaer Audio, Ruben Uvez AKA Konduku has proved to be one of the more thoughtful and inventive producers to emerge in recent times. While some of his previous releases have strayed away from the dancefloor, his first outing on Idle Hands is a wonderfully basement-bothering affair full of tracks tailor made for hazy, early morning sets. It boasts two suitably dark, dubby and clandestine cuts - the echoing dub techno pulse of "Lila" and the sub-heavy, Livity Sound style flex of "Bolu" - plus two more melodic outings. Of these, we're particularly enjoying "Caduata Di Massi", where deliciously dreamy chords ebb and flow around stabbing analogue bass and crunchy drums.
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.
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: REPRESS ALERT: relik returns with a repackaged edition of one of the catalogue's most treasured releases. "Overcome" and "Lady Science (NYC Sunrise)" need little introduction, and now come sporting the new TR11:11 matrix number. Written and produced by Thomas Melchior and Baby Ford aka Soul Capsule, these tracks came from one of the many sessions recorded at the West London Ifach Studio in 1999. On the A Side "Overcome" is stripped back and energetic, driven by rolling and shuffling garage style beats, tight bubbling bass and atmospheric synth pads. The intermittent vocal samples and the release's signature organ set you up for the flip, "Lady Science (NYC Sunrise)". Possibly one of house music's most emotive pieces, the track builds slowly with the introduction of each part building a story of soulful optimism based around a sparse palette of deep synths, uplifting keys and warm analogue bass. The understated beauty of the main vocal riff never seems to grow old or tired with the track lending itself perfectly to either main room, peak-time play or after-hours sessions alike. Remastered by Rashad at D & M.
Review: The Bahnsteig 23 crew are flying towards the end of the year with a salvo of essential wares from their established crew and new faces alike. Sweden's Albion Venables has been doing the business on labels such as Ambassador's Reception and Macadam Mambo for the past seven years, and his first turn on Bahnsteig doesn't disappoint. In a flurry of eclecticism, the mood veers from the bubbling kosmische tones of "En Trance" through to the schlocky funk of "Schwarzen Mer", mixing live band dynamics with quirky electronics and keeping the groove delightfully authentic. The diversity maintains on the flip as "City People" taps up a moody New York flavour and "Die Marinette Der Zeit" strikes a more classic funk note.
Review: Swiss producer Alci, also known as Shaolin Fantastic, landed with lauded releases on Robsoul before skipping to other labels like Apollonia and Meander. Following last year's excellent "Diversity" double pack, he lands on his own label Seeingsounds with this pitch perfect slice of dreamy minimal house. "Acid Drip" may be a misleading title - it's more of an unending groove draped in gorgeous, shimmering melodic finery. "Hiragana" takes things in a more twitchy direction, while "Apachi" brings another slant on reduced, oddball funk to get the up all night crowd loose and freaky in all the right ways.
Review: Edanticonf has been a mainstay of Silent Season for many years now, first delivering an album and EP to the Canadian label back in 2012. Since then he's travelled to labels such as M_REC, Wolfskuil, Phorma and Linear Movement, but he's back home to roost with this gorgeous four-tracker that plays on his trademark sound. Rich with melancholic synth work and moving with a purposeful but thoughtful pace, this is exactly the kind of evocative techno that makes Silent Season a buy on sight label. Every track tells its own story, but the starry twinkle of "The Metamorphosis Of Plants" is especially captivating.
Review: The latest drop on Mr KS & Friends comes from Sylan 101, an artist making a truly accomplished debut brimming with musicality and fresh beat constructions compatible with, but not beholden to a deep house vibe. "Nostalgia (Healing Of Time)" is a smoky broken beat groove with gentle piano chords and muted trumpet, while "Brief Encounters" draws on subtle guitar licks and harmonious pads for decoration over snaking drums. "Been There Once" heads in a more mysterious direction, throwing some spoken word refrains into the mix and keeping the instrumentation more subtle and atmospheric.
Review: FunkinEven's Apron label rarely, if ever, puts a foot wrong, whether putting out ragged techno, raw hip hop or whatever in between. It is Molinaro who steps up now after first landing on the label back in December 2017. The NTS host has long been a firm part of the London underground and has a lo-fi, frazzled sound that blurs the lines between a number of different genres. Here he offers spaced out and grizzled drum tracks, unsettling machine-made ambience and rough and ready beatdown that Theo Parrish would admire. It's been a long wait since his last release, but this EP was well worth it.
Review: These are tracks designed to rattle ribs and loosen the foundations of any building. They mark another step up for the esteemed bass talents of Samba after releases on the likes of System and Encrypted. "Winona" has a floaty light flute and devastating drums that makes for a nice juxtaposition. "Worms" is darker and more writhing with industrial sound designs and prowling beats, while "King Kan" is a wobbling, shimmering bit of bass gold. "Snakes. Egos" is creepy and unsettling thanks to the freaky synth motifs and closes out a well formed EP.
Review: The Polyversal Souls are renowned for the strength of their collaborative singles, which to date have featured all manner of legends and rising stars from the underground African music scene. This time around, the German-Ghanaian band provides high-grade backing for guest vocalist Frank Karikari, son of legendary Highlife musician Ralph Karikari. The A-side medley of "Siakwaa/Nana Agyei" is particularly good, with Karikari's confident lead vocal rising above shuffling, soft-focus drums and ear-catching juju guitars. Flipside cut "Odo Agye Gye Me" is great, too, offering a slightly more upbeat and undeniably percussive fusion of highlife/Afrobeat fusion.
Review: A master of all things dark and gritty when it comes to jungle and drum & bass, Ray Keith is back with a vengeance here across two devastating cuts. A side "Jungle Fi Dread" is built on his archetypal dread bass sound, stepping breaks and flailing hits, and it adds up to a controlled bit of dance floor frenzy with numerous peaks and troughs. "What Time Dread" on the flip has a rude vocal stretched and warped over rinsed out breakbeats that shimmer while a droning bassline conjures up some sort of doom-laden final level boss scene from your favourite RPG.
Review: Originally prolific in the late 90s and back with a renewed sense of vigour in the past few years, Dan Piu's classic, widescreen vision of hardware techno captures the verve of the original Detroit blueprint while bringing a fresh, welcome energy to the genre. This drop on Common Dreams brims with the same head-swirling magic, especially on vividly rendered lead track "Halo City". "Falling Framework" has a more mellow veneer, but there's still so much playful detail bringing the track to life. "Akira 2171" has an old-skool sci fi quality balanced out by its linear sense of progression, and "Ilipsyon" takes things deeper into a wistful jack reminiscent of the spookiest Trax output.
Review: New label Nuances de Nuit kick off in fine style with a various artists 12" that draws on some emergent names to lay out a vision of cross-style dance music that favours the deeper end of the pool. Things get going with an organ-rich house bumper from DJ Steaw that pumps in all the right places, before Armless Kid switches things up with an untitled slice of dynamic, richly layered electro. T. Jacques thumps out a crafty, swinging cut with techy inclinations and oodles of groove, and E. Wan takes things in a more linear, deep techno direction laden with gorgeous synth work and plenty of artful effects processing.
Review: ** Psychemagik classic repress alert ** Ah yes, "For Your Love", the 1978 Euro Disco classic from Chilly hasn't that been re/edited by at least 78% of Soundcloud's disco edit community? Correct - it's actually second only to the gazillion marketing tools presented as a remix that are helping to power forward the career of Lana Del Rey. Psychemagik are yet to remix Lana Del Lips so we can forgive them for adding to the slew of edits of Chilly's Yardbirds cover version already released. As it stands the Psychemagik version of "For Your Love" is a commendable revision which beefs up the low end and extends everything beyond the ten minute mark. Much better is the sub blessed take on Joyce's "Aldeia De Ogum" which should come with a Punta Del Esta Approved stamp.
Etta James & Sugar Pie Desanto - "In The Basement" (Soul Flip edit) (3:20)
John Gary Williams - "My Sweet Lord" (Soul Flip edit) (3:59)
Review: On their latest limited edition salvo, the hardworking Soul Flip crew (AKA experienced DJs and producers Aldo Vanucci and Del Gazeebo) gets to work on two more stomping dancefloor cuts from the golden age of soul. First up on side A is a gently tooled-up and tightened up take on Etta James and Sugar Pie DeSanto's 1966 floor-heater "In The Basement", a hybrid soul-jazz/rhythm and blues jam rich in rubbery double bass, bustling drums, restless handclaps and brilliant lead vocals from the two legendary soul singers. On the flip they tackle Memphis musician John Gary Williams' 1972 cover of George Harrison's "My Sweet Lord", which brilliantly re-imagines the former Beatles' spiritual song as a sweaty gospel-soul stomper.
Review: Nebraska's Friends & Relations series continues to serve up the finest disco-sprinkled house delights, following on from the previous installment of Disco Dubs with another on point reduction of dusty grooves through the mixing desk. These jams are stripped back and oh so heavy, with FX flaring in all the right places to give an eerie, trippy tint to the jams. It's like walking into the deep end of the session where Walter Gibbons jams with King Tubby uptown, and you'd be right in thinking that's a match made in far-out disco heaven.
Review: Helmed by Asaf Samuel and Katzele, Malka Tuti transmits cosmic boogie sounds from Tel Aviv that come from lesser-known sources. On their fifth release they turn to The Kloom, a loose-fit operation of unknowns making a debut appearance with the powerful strut of "40 Gram Beton". Mixing slow disco grooves with ranging synths and warm piano notes, it's an infectious track that provides a prime jump-off point for the cast of remixers that round out the release. Die Wilde Jagd adds a more mechanical coldwave pulse to the track while Khidja gets lost in a swirling trip of a version, with the label throwing in a radio edit as a bonus on the B2.
Review: Batu's Timedance label is in red hot form and Aussie talent Air Max 97 only stokes the fires with this scintillating two tracker. It comes hot on the heels of his link-ups with Loft and TSVI on the "Falling Not Walking" EP back in summer and hones in on tight, well trimmed dance floor dynamite. "Ice Bridge" is post-jungle madness with bold sub bass underpinning a scampish brew of steel plated drums and hits. "Bruxis" is a crowd teasing slow jam with heavy, dragging drums and twisted vocals that will leave you begging for more as you tumble freely through a darkened corner of the cosmos.
Review: After a decidedly silent 2013 Burial is back on Hyperdub with a new single that points to pastures new for the stealthy producer. "Rival Dealer" is sure to polarize opinion as it takes a positively unexpected route into hardcore breaks, static interference, all manner of oddball speech samples, diversions and switches in dynamics, and a willfully grainy production finish that borders on punk. Depending on where you choose to dive into the ten-minute track the experience could be very different; experiencing it in full is nothing short of a rollercoaster. "Hiders" too is full of surprises, more indebted to pop balladry than anything remotely garage related, and the emotive croon and swooning piano is only magnified by a Yazoo-esque drum stomp at the midway point. "Come Down To Us" is equally heartfelt, all slow release vocals and languid chords yet constantly fractured at the edges, with yet more surprising turns of bombast waiting in the wings over thirteen minutes.
Review: After debuting his Pakzad moniker on Infiltrate last year, Justin Pak makes the leap to Burnski's Constant Sound with this assured set of electro workouts built for the modern age. "Timeless" is a snappy, vibrant cut with a serious amount of techno propulsion to match the crooked funk of the beats. "Clutch" has a more trippy, melodic twist, while "Correlation" hunkers down into a more backroom vibe as detailed as it is freaky. This is seriously executed electro from a fast-rising talent - nab a copy, drop it into a set and watch the bodies writhe.
Review: Brand new Marky! It's about time... Four years after his "My Heroes" album landed (and two years after his last single - "Silly VIP") the Sao Paulo don returns with two perfect soulful D&B gems. "Should I" looks back to the early 2000s with its powerful sample and Bingo-style bubbling bassline while "Love Break" takes off where "Silly" left us; swooping instrumentation that will have you leaping behind the decks and a break that will never ever quit. Don't leave it so long please Marky!
Cult Hero (Do You Wanna Touch Me) (album edit) (6:45)
Cult Hero (Do You Wanna Touch Me) (club mix) (5:47)
Cult Hero (Do You Wanna Touch Me) (Slow) (7:29)
Review: House and techno badboys Paranoid London are proceeding the release of their second album with a bunch of singles from it. First up is "Cult Hero" featuring Simon Topping - one of many guest vocalists on the full length. It's a bristling acid house cut with tight, corrugated drums and relentless 303 mania ripping up the groove. Topping's deadpan vocals are layered over the top and bring to mind the more anthemic work of Depeche Mode. "Club Mix" is even more caustic and kinetic, while closer "Slow Mix" strips back everything but for the lunching drums and demonic vocals of Topping.
Following the successful reception of klodio's debut EP, the Tokyo-based producer spent the year playing shows in Japan with various upcoming artists like Fulbert and label co-founder Alixkun, and taking part in disruptive events such as Pow Wow School of Music.
When klodio decided it was time to start recording his second EP, he took a slightly different direction, going from Techno-influenced Detroit House to House-influenced Detroit Techno. "Shinagawa Sunrise" is a fast-paced retro-futuristic Jazz jam which climaxes on a fantastic sax solo by the young and talented Ilia Skibinsky. Daiba goes a step further in this Techno journey, flowing from glowing, light, syncopated chords to a dark and aggressive atmosphere, and back again to the relaxing chords.
More polished, singular, deep, and yet aggressive than "Toktroit", "Rainbow Bridge EP" brings another stone in the Asia-infused universe that the French producer is bringing to the world of electronic music.
Review: Luca Murgia is Two Thou - an alias which has seen him land intriguing releases on Burek, Fields & Forests and his own Gifted Culture label. Now he's been snapped up by Uzuri with some star-gazing cuts that straddle broken beat, deep house and something more altogether cosmic. "Clavinet Discourse" is the consummate lead track, a true showstopper with astral synth flex and a sharp, snappy beat. "Talking Song" has a more pronounced deep house bump and leads that wouldn't sound out of place on Strictly Jaz Unit - the dub version does away with the leads if you want something subtler. "Thousands Of Chimes Together" completes the set with a spiritual throwdown to invigorate any open-minded dancefloor.
Review: Icelandic label Lahar debuts with this highly impressive release from NonniMal, who was previously spotted dropping the classy "Freyja" 12" on AE Recordings back in 2016. Sound design is the order of the day on "Eitt" as a beautifully rendered set of percussive bell notes chime around a minimal rhythm section - a piece pointedly geared towards transcendence. "Tvo" has an intriguing slant to its groove, as the sharply oscillating synth wobble juts out against the grain of the drums. "Thrju" takes things in a bleak but captivating direction, while "Fjogur" cools the record down in a cloud of blissful, frostbitten ambience.
Review: It's been six years since Lewis Fautzi debuted on Soma, and since then he's become a real techno powerhouse. His latest shows yet more evolution in his sound across four streamlined and hypnotic "Extinction" cuts. "F01" is alluringly low key as drums roll over a frosty and frozen tundra, then "F02" ups the ante with steel plated kicks and sonar-like pulses that burrow deep. After the warped synths of "F03" comes closer "F04", the most heady of the lot thanks to its MIllsian minimalism and infinite melodic loops.
Review: The seemingly bottomless Greensleeves vaults turn up more gold here with two prime cuts - Wailing Souls' "Who No Waan Come" and Al Campbell's "Unfaithful Children" - that are treated to a first new pressing since 1981. "Who No Waan Come" is silky and sedentary as they come, with kick drums just about managing to propel things along beneath gorgeous doo-wop harmonies. The Linval Thompson produced "Unfaithful Children", however, is a more driven affair with authentic roots. Psyched-out effects, endless reverb and hits that ricochet around, making it a widescreen dub that draws you in and takes you along for the ride.
Review: Edward's graceful take on modern house and techno is a perfect fit for Trelik, and the German producer sounds comfortable as he unfurls swooning threads of otherworldly music for the tripped out dancefloor. The "Ogermania Mx" of "Mikko" is a hazy, string soaked affair pitched somewhere warm and dreamlike, but there's plenty of energy churning away in the lower register. "Lottery" is a more twitchy affair for darker times, all moody bass bounce and looming drones around a shuffling set of percussion. "Groaning Ghosts" is the techiest of the bunch, and there's a whole lot of freaked out sound design swirling around in the mix as well. This is simply stunning, highly advanced dance music from a modern day maestro.
Review: Some people shake their hips. Others shake their money makers. This anonymous longstanding editor crew shake their furry tales. And as we hit number 20 in their series of sassy party versions, we're reminded there's a lot to shake to. "Track One" shakes with a slight carnival theme thanks to its punchy horns before dropping into swooning funk guitars. "Track Two" shakes with much more disco deviance thanks to its stomping thumping Hi-NRG kicks, gutsy vocal loop and lolloping slap bass. It pops. But ssshhhhh.... some squirrels are best kept secret.
Review: As part of Mura Oka, Louis Vial has already been spotted on the excellent Latency label as well as delivering a solo EP to Collapsing Market earlier this year. He once again dons his Eszaid cape on this release for the equally fine Meandyou stable, tapping into the labels predilection for obscure variations on the fringes of house and techno. "777,7" is especially captivating in its insistent cyclical minimalism, drilling straight for the subconscious, while "Eyeless Mannekin" sets adrift in aqueous climes for a proper floatation tank dub techno immersion. Using subtlety as a powerful tool, Eszaid ably matches up to the quality that has come before on Meandyou.
Review: There will always be a place for politically charged records, but lines like "The government man bring the working man down to his knees/It's time to take a stand against the government man" seem particularly relevant right now. It's the lead cry on the a-side of this new 7" from eight-piece band Christel & The Goldmaster AllStars who have a bold two piece horn section driving along this fusion of ska, reggae and rock which was first recorded in 1998 and has recently been unearthed. The flipside version has sci-fi studio effects and warped synths layered in for extra trippiness.
Review: Having given the Dream 2 Science album the wider audience it richly deserved earlier this year, Rush Hour dig out another NYC garage classic from the archives of Ben Cenac for a much deserved reissue. Unlike that album, this Sha-Lor record Cenac recorded in collaboration with vocalists Sharmelle and Lorrie back in 1988 gained wider success, becoming a Summer Of Love staple. It's not hard to see why "I'm In Love" proved so enduring on the A Side Caught Up mix either, with the duo's vocals still retaining a power to move some 24 years on, while Cenac's stripped back bass heavy production is NYC garage at its finest. This being Rush Hour, there's also the bonus of a previously unreleased instrumental version occupying the flip.
Review: Wow, classics don't come much more special than this. A like-for-like repress of the 1970 RCA release, both sides here are soaked in Scott Heron's raw troubled soul. The endlessly sampled, hugely powerful and perfectly funky "Revolution" remains almost as poignant and prophetic as it was the day it was penned. "Home Is Where The Hatred Is" is much more personal and reveals his talent as a singer as much as the lead track boasts his poetry and ability to deliver a strong message.