Review: From Kon's forthcoming compilation on BBE entitled Kon & The Gang, this 12? sampler features two cuts taken from the LP and an exclusive remix from Boston producer and mix engineer Caserta, namely "Timeless" (Caserta mix)" a tasty serving of super deep and low slung disco goodness. A more functional edit for DJ use follows on "Timeless" (remix - Caserta mix)". On the flip Truccy (better known as Compost's Rainer Truby and Corrado Bucci) present "Closer", a gorgeous slo-mo house jam with a rolling groove fetauring all the good stuff: swirling Rhodes keys, groovy congas and hypnotic vox.
Review: Despite some ill advised comments from Vondelpark stating their apparent lack of interest in current dance music trends, it's clear that the R&S signed troupe focus on a sound that makes them eminently remixable. Robag Wruhme is the latest producer to remould Vondelpark on this pair of remixes for DJ Koze's Pampa label, drawing on the sounds of "California Analog Dream" for inspiration. Kudos to Koze as the Kompakt mainstay is on sublime form here; the lead 'Moppa Habax NB' version retains certain elements of Vondelpark's original but weaves a loving ultra-violet sheen around them whilst laying down the kind of sumptuous house beat that makes you ponder the validity of Vondelpark's aforementioned comments. The accompanying 'Habay Latoff NB' version pulls the track deeper into DJ tool territory and feels like the sort of track Michael Mayer would drop deep into a set.
Review: Breakthrough release for Durerstuben here, as the Berlin based pair of David Hofmann and Till Gerloff make good on the promise shown via a stream of intermittent 12"s in the past few years with a debut on Koze's Pampa label. One listen to the three tracks on Street of Rane will likely have many checking Discogs for the availability of Hoffmann and Gerloff's previous work as Durerstuben; such is the instantly gratifying nature of their rich, vivid take on European deep house. Metro Area, Zapp and Tensnake are offered as potential reference points by the Pampa press release machine and it's hard to disagree with final track "Freiherr in der Wall" a particular speaker box laden delight.
Review: Ex-resident Tresor DJ Dave DK and new name Ricoshei provide Pampa Recordings with their first release of the year. First up is the poppy "Perfect Like You", which would feel right at home on Kompakt thanks to its similarities to Superpitcher's "Joanna". On the B-side is the track "Woolloomooloo", which takes its name from a harbourside suburb in Sydney that's home to famous Australians like Russell Crowe and ex-Manchester United goal keeper Mark Bosnich. Nevertheless, the track itself is a moody and phosphorescent, almost ambient, excursion through synthy textures and uplifting vibes.
Review: Bouncing his time between Antibalas and his Marcos Garcia and Chico Mann projects, Chico returns after several years of silence with a sweet slice of lolloping broken soul. With its soft padded synths and cotton wool hug of Kendra Morris's vocals, there's a delicate tumble to proceedings as we nod and slide into a sound that's remained in its own soul universe since emerging almost 20 years ago. When done as well and with as much authenticity as this, it's timeless.
360@1:29ON696 (feat Dumminie Deporres - full version)
Review: Sound Signature present two of the classier moments from Mr Parrish's Sketches album in their rightful form - either side of a nice loud twelve inch. Lead track "Feel Free To Be Who You Need To Be" is Theo's most eminently danceable excursion for quite some time; arising from a 23rd century Funkadelic intro into a subaqueous Detroit electro meets funk swing that builds expertly. It's weirdly reminiscent of a retooled version of "Booty (La La)" from Bugz In The Attic with the afro excesses twisted inside out to lean heavily on the robot vocoder flex. On the flip long time collaborator Dumminie Deporres features on the don't even bother pronouncing "360@1:29ON696" which stretches a twelve minute jazz techno odyssey elegantly across the vinyl - vintage stuff from the Sound Signature boss.
Review: Soul Brother present two sublime cuts by Carolyn Franklin, younger sister to Aretha, for their debut appearance on the seven inch format. On top of her significant body of work as a songwriter and background artist for Aretha and several other acts of the 60s and 70s, Carolyn Franklin record four solo albums and several singles for the RCA label. Rare groove heads favour Franklin's fourth LP If You Want Me in particular, issued in 1976 but originally recorded three years earlier, and Soul Brother have licensed two highlights for this 7" which demonstrate Carolyn's range for anyone not familiar with her work. "Sunshine Holiday" is a psyche delight akin to Linda Lewis' "Reach For The Truth" whilst "Deal With It" is pure funk.
Review: London's Soul Brother unit has been out of the picture for a little while, but you can always rest assured that the mythical Putney-based shop will come up with some solid reissue goodness. This time, the gold comes through a resurrection of Bill Harris' material, a legendary jazz trombonist who started his trade way back in the late 1950's. There's two versions of "Am I Hot Am I Cold" here, a short version for the dance, and a long version that delves deeper into the percussion, goes heavier on the drum breaks and lifts the track to higher grounds thanks to those prophetic vocals. A certified jazz-funk monster.
Review: UK funk and jazz band, Smoove + Turrell, are back on the unstoppable Jalapeno Records with their fifth studio album for the label, making them the imprint's star residents. Alongside the deluge of LPs that they've released for Jalapeno, the outfit have dropped countless singles, each one of them showcasing one strand of funk and soul. Mount Pleasant is an undeniably festive collection of tunes, primed and ready for the summer months, full of zest and life for the dancers. The main ingredient is funk and jazz, but the power behind this memorable LP is the band's pop sensibility, coming through in everything from the vocals to the arrangements, creating a selection of tunes that are instantly memorable and painfully hummable. Is this the rise of the underground coming through above the line? Only time will tell, but we think these guys are the real deal.
Review: Given the critical reception rightly afforded to Tahliah Barnett's superb debut album as FKA Twigs, it makes perfect sense for Young Turks to rustle up a swift reissue of FKA Twigs, the four track 12" that announced her to the pop music world last year. This EP was the first instance of Barnett's ethereal vocals weaved in amidst production work from Arca that was at times floating, others crushingly pressurised. Naturally the effects of the music are heightened when combined with Jesse Kanda's mind bending videos ("Water Me" especially) but late comers to the magic of Twigs will be all over this. Do check "Papi Pacify" as Arca is on some "Cry Me A River" era Timbalaand tip.
Review: Time for some Brazilian psychedelic boogie straight from 78. Erstwhile lead singer in Os Mutantes, with a personality thrice as big as the soaking wet bassline on "Agora E Moda", Rita Lee is no stranger to her motherland - even now. Flip for a huge soul injection courtesy of Pete Dunaway. Sounding English in every direction (from his name to his lyrics to the stunning, string-coated arrangement) he's actually Sao Paulo born and is a renowned multi-instrumentalist. Check this and you can tell in an instant. Stunning.
Review: Samba flavours do not come more authentic than this. The sixth in Mr Bongo's Brazil 45 series, here they unearth two foundation pieces from Rio collective Os Origianais Do Samba. Forming in 60s Rio, they're still highly active today and have a discography peppered with Brazilian gold. This 45 does well to showcase their breadth... "La Vem Salgueiro" is quintessential samba. Heavy rhythm, punctuated vocals and a dynamic that leaps from bold and delicate in a flash, it charms you instantly. "Tenha Fe" has a softer soul as it strums and sways and more of a folky sensation, tight harmonies and alluring naked instrumentation.
Review: With recent releases for Internasjonal and Tim Sweeney's Beats In Space Records, Los Angeles based producer Secret Circuit (otherwise known as Eddie Ruscha) has had a breakthrough year with his brittle synth jams, taking inspiration from Balearic disco and minimal wave alike. However, he's been a prolific producer since 1996, and this record on Emotional Response, entitled Tropical Psychedelics, collects productions from Rusha up until 2010 that have previously only seen the light of day on cassette releases. Described by the label as a "Balearic-Tropical-Afro-Psychedelic whirl", the album packs a rich palette of analogue textures into its ten tracks, from the Afro dub of "Afrobotics", through the hazy, beatless combination of piano and analogue synth on "Psouvenirs" to the psychedelic tropicalia of "Foggy Twilights".
Review: Ilian Tape continues to be code for "absolutely killing it mate" with the Zenker brothers introducing us and you to the production talents of Sciahri with the Mysterious Love 12". Spend some time with the sound clips here and you'll be hard pushed to believe this is Sciahriar Tavakoli's debut 12" as Sciahri, such is the standard of productions. Tavakoli's stated interest in the loop techno pioneered in 90s era Birmingham is very much evident on a cut like "The Dream Is True" but there's some nice little touches slipped in that give it some true personality such as the spin back in the breakdown. The title cut is a stern faced dubby number that just tunnels and tunnels away, whilst there's a cheeky strut to the way Tavakoli implements the filters on "Mind". The final track "Emblema" is the kind of techno number you want to drop right when everyone has forgotten their names.
Review: Back in October, Fabian Winkels donned the Ho Do Ri guise for the first time, delivering a fine minimal funk two-tracker. For this swift follow-up, he's returned to the INFUSE label he previously graced under the Fabe alias. Like its predecessor, Lost In Betty's Ford boasts swinging, funk-fuelled tech-house cuts driven forwards by rubbery rhythm tracks, jammed-out basslines, and glitchy, cut-up samples. While the two deep house-informed flipside cuts are rather good, the real heat is on the A-side. Choose between the subtle, garage-influenced shuffle of "Elotrans", and the elastic tech-funk of "High Level Booster". Both, though, are well worth heavy rotation.
Review: Back to 2006: Chris Clayton's mid-noughties lesson in deep house class still hits home with precision. Subtle, jazzy but heavy and insistent, it now comes complete with fresh updates from Atjazz and Yoruba Soul. The former adds more atmospheric layers and percussion that compounds the sense of hypnosis while the latter takes us right back to the NYC 1990 with a lavish 10+ min, subtly dubbed excursion. Tech no imitations.
Review: Matthew Halsall's Gondwana label is seeing a busy August what with the imprint flooding our jazz charts with reissues and, of course, new releases such as this wonderful collaborative effort from The Gondwana Orchestra and Dwight Trible. Trible's voice is like silk, running up and down the delicate waves of melodies from the collective, with "Colors" and "The Creator Has A Master Plan" both capable of making the toughest of audiences feel utterly uplifted. On the flip, "Love Is Everywhere" shines bright amid a flurry of flutes and intricate drum percussions, while "You've Got To Have Freedom" rides off a much smoother, deeper sort of vibe that's got a little funk at its core. Wicked.
Review: Since 2003, Record Kicks has been the "explosive sound of today's scene" and, by the looks of this latest nugget from Martha High, they're right on track to fulfill that promise! The talented US vocalist was on the front row of James Brown's hits in the 60's and 70's, but she's since then focused on her own glorious soul material. "A Little Taste Of Soul" comes as a ray of shining light on a wet October afternoon, full of funky sensibility and heartfelt vibes, making for the perfect dance number for those looking for that groovy thang. For the B-side, "Unwind Yourself" slows the tempo down, breaks up the groove, and unleashes High's Goddess-like voice amid those tasty breaks - what a winner!
Review: As the recent label compilation proved, Will Saul's Aus Music are dealing in strictly heavy hitters these days and they don't come much bigger than Paul Woolford do they? Heaven & Earth looks to be Woolford's latest concept-laden 12", arriving a few months after the Spesh Request man laid down the Mother & Child single for Hotflush. Split into two parts, "Heaven & Earth" finds Woolford channelling a rich brand of tech-laden house music and one that is adorned with swooping orchestral flourishes amidst the thick swathes of bass. The more pared-back part II just nudges it for us.
Review: Bringing that tough-edged Dutch bounce like only he can, Anil Aras returns to Slap Funk with another shipment of forthright deep house righteousness that packs in heads-down techy elements alongside the addictive shuffle of the drums. "Utr" is an unabashed tribute to Aras' hometown of Utrecht that rides high on a killer chord stab, while "Anbush 46" wriggles its way into more minimal territory without losing that hard-grooving spirit. Fellow label regular Malin Genie equally twists up that percussion into a bugging beatdown that harks back to the funkiest threads of the minimal era on his remix before "My Side Of The Street" diverts into sparse 2-step territory.
Review: Casbah strikes again with a powerful homage to the NYC foundations with this juicy, insatiably funky piece of disco soul. Driven by a belting vocal from Angela Goode, there's a strong sense of timelessness, honesty and raw funk that smacks with authenticity and one of the funkiest slap-bass breakdowns you'll hear all year. Chicago's Rahaan takes the remix duties with a pumping contemporary disco cut while Casbah strips things back himself for the essential DJ tool that is the percussion edit. Feel the love.
Review: Blind Box heads Julien Sandre and Konstress know a thing or two about deep, undulating house grooves, and their continued exploration of immersive cuts for hidden corners of the dance yields further delights on this sixth instalment in the Blind Box series. The first side of this 12" finds the two label bosses twisting out immaculate jams shot through with playful sound design. "Would" locks into a subtle swing and revels in lopsided synth stabs, while "Hedone" plunges into a stunning intricate techno landscape peppered with glitchy tones. On the flip, Julian Alexander follows suit with the crisp, funky "Baku Man" and the more experimental tones of "Casserole".
Review: Over the course of his lengthy career, Jimi Tenor has proved to be something of a musical chameleon, variously portraying himself as a lo-fi lounge music lothario, flute-sporting jazzman, Moog-loving electronic adventurer, dub-wise explorer and, most recently, Afrobeat eccentric. On "Vocalize My Luv", he fuses a number of his musical obsessions, by serving up a jaunty and righteous chunk of Ghanaian highlife futurism rich in dancehall-influenced drum machine beats, jammed-out Korg riffs and amiable female vocals. It's ace, and comes with a similarly sterling B-side, "Ki'igba". This shuffling affair sees Tenor reach for his trusty flute and get all jazzy over a dusty and laidback Afrobeat groove.
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Review: REPRESS ALERT: Uzuri can always be trusted as an on-point barometer of the strongest currents in contemporary deep house, and here they welcome a new talent into their midst in the form of Panama Keys. "Panamarama" is a gorgeous suite of organic instrumentation, all Spanish guitar licks and pattering bongos, which then get handed over to the mighty Joe Clausell for the soaring, energised "Harvest Remix". "Vyrgin Island" may well be the stand-out track on the record with its infectious flute lines, chiming vibes and sensual, punchy bassline, but don't overlook the blissful ambience of final vignette "Flying Whiles".
Review: Jack's House is back with another wedge of crucial cuts from a spread of big hitters, kicking off with Alex Arnout and the tightly wound roller "Hypersomnia." Tuccillo is in a heads down mood on "Another Day," letting the drums and the bassline do the brunt of the work. Terry Francis favours a heavy, smoky sound palette that has a bassline that will do some serious damage on a decent system - "Jua" is easily the strongest track on the record. Killan Vega closes the record with a smart deep house jam peppered with crafty sound design elements that lift the track beyond the average chord-led workout.
Sync 24 & Luke Eargoggle - "Broken Electronix" (5:47)
UHU - "Never See" (4:00)
Privacy - "Miss You" (5:47)
Etcher - "Super-Translations" (5:53)
Review: Drawn together by a common "passion for the connection between man, mechanics and electronics", the artists on Mechatronica label all well-versed in the art of electro. Veterans Sync24 and Luke Eargoggle team up for the master-blaster that is "Broken Electronix", a menacing stab of a groove that dissolves into the more granular computer-world of "Never See" by UHU. On the flip, "Miss You" by Privacy is dark, spectral and hollow, while "Super-Translations" by Etcher feels like a ride on the same aquatic waves of electro giants like Drexciya. Excellent stuff.
Review: "I get deep, I get deep, I get deeper..." It's a sad by product of sample culture that Roland Clarke's 2000 house burner "I Get Deep" is not as well known as the tracks that have subsequently jacked his vocal, both credited and uncredited. For anyone wishing to strengthen their collection with US vocal house, this repress of the original Shelter release is a must have. All four versions of the track are prime examples of US deep house at its bumping best, though the combination of Clarke's booming vocals and jazz licked production from Shelter duo Freddy Sanon and Paul Simpson is very hard to top!
Review: After appearing on the first Calypso Records release out of Mexico last year, Colossio returns to the fray with a whole EP of sleazy jams for the warm up crowd to get nasty to. "Moto" is a grinding crossover track that features dirty garage guitars to match the low-slung synth undulations and sizzling disco beat, while "Fe" throws the windows open for a ranging cut centred around all kinds of instrumentation played with a post-punk looseness. "Ansia" keeps things nervous and atmospheric without skimping on party energy, and then Man Power swoops in for a remix of "Moto" that keeps things spooky while injecting a swinging groove into the mix.
Review: Probably for good reason, techno deviant Rrose isn't as active as he was a few years back. However, we see this as a winning strategy - building and maintain momentum up until the very moment the bombs drop. Back on his own EAUX label, we have three new, blurry technoid structures made for the more finessed ears. "The Smallest Footprints" dazzles and confuses with its constantly shape-shifting groove, guided and supported by an ocean of deep-water sonics and atmospheric harmonies, whereas "The Ends Of Weather" itself sounds like the beginning of the perfect storm, gliding with tenebrous might across its six minutes and 42 seconds of instability and beatless sway. On the B-side, "Nest Of Queens" manages to do very much with very little, launching a minimalistic percussion flex that evolves at its own pace, twisting and convulsing more and more with each new bang of the beat. What a stunner. Be quick, these will go!
Review: The Nat Birchall Quartet debuts here with Tunji, a new 7" special out through the inimitable Jazz45 imprint, home to some of the best contemporary jazz - of all shapes and sizes. The title tune "Tunji" is a sax-led masterpiece, slow yet constantly building and morphing into something new and exciting, taking the term 'broken beat' onto a new platform. Conversely, the B-side's "Mode For Trane" lingers at a slow tempo, transporting you into a bittersweet lullaby with Nat Birchall's sax very much in the spotlight. What a cracking little 7" - TIP!
Ed Wizard & Disco Double Dee - "Love Me Too" (5:28)
Will Buck & PRTMNTO - "I Need Your Love" (6:40)
Vagabundo Club Social - "Sonico Amor" (7:41)
Review: Perhaps we should think of Whiskey Disco's Small Batch series as their attempt at "artisan disco". Certainly, the re-edits on show should have a few hipsters - and plenty of disco DJs - stroking their hirsute chins in appreciation. Dubtribe Soundsystem's Sunshine Jones kicks things off with the mid-80s synth-pop-goes-acid-house brilliance of "Lovergirl", while regular collaborators Ed Wizard & Disco Double Dee doff a cap to Sly & Robbie and Larry Levan on the dub disco vibes of "Love Me Too". Those after some high tempo jazz-funk-meets-disco-house thrills should check Will Buck and PRTMNTO's "I Need Your Love". As for Vagabundo Club Social's "Sonico Armor", it's a hazy, dub-flecked Balearic disco delight.
Review: London-based producer Keyboard Masher has been flying out a no-nonsense brand of disco-infected grooves since 2010 on their own KM Editions label. Devoid of hype and placing the emphasis on the music, the eighth installment in this crucial series of seductive late night jams packs in more boogie than you can shake a particularly funky stick at. "Ferry Home" strikes an irresistible 80s note with its live band undercurrent, while "I'm Still Qualified" slinks down into a more sultry mood before "Twin Magjik" heads skywards on a bed of twinkling synth tones. Sweet disco tones don't come fresher than this.
Review: No one knows who E Myers is, and may well never know, but they've been kind enough to inform us that they're alive and most definitely kicking with this pumping machine soul juggernaut where lavish nods to Italo textures and EBM energy hit with analog warmth. Flip for "Dreamland", a track that keeps us rooted in that era with its jittering, body-popping electroid breaker arrangement and atmospheric arpeggios. My my, Myers. You do know to rock the party.
Review: Dubkasm's digi-dub roots dig deep into the early 90s. Boosted into the future by fellow Bristolians Pinch, Appleblim and Headhunter, here we find them declaring "Victory" with this instantly show-stopping horn-heavy skanker. Laced with space and complete with myriad versions, a fine balance of meditative bass and mind-blowing sonic creativity is at play throughout. Those with a penchant for the abyss-levels of dub science should jump straight on "Verse IV". Hear that stretched horn sound and you'll soon understand why it's been sub-titled "Raw Piece". Victory is yours!
Review: Since 1991 Maurice Fulton and DJ Spen have hooked up every few blue moons to deliver Baltimore label Basement Boys a Those Guys record. The duo's first release was for MCA (think Buddy Holly, Dannii Minogue to Neil Diamond) but their usual and most fitting home is in Baltimore. It's the third time this end-of-the-night classic has been reissued, with the 2014 version coming with the juicy bracket: Remastered. Just like the '90s, the main mix of "Love, Love, Love" is given pole-position on the A1 with three extra options, including an ubiquitous bonus beats mix. The B-side offers a jungly, garage-tipped remix of dynamite rhythms while the Hump mix lets the melodies roll unaided by gospel vocals.
Review: Two and a half years after the first mysterious Arktapes earth landing comes another from the unknown. Once again fully anonymous. Once again no title tracks included. Once again denting the techno landscape with its mischievous, hissing, jittering off-beat dubby playfulness. A total trip from the opening dubby ripples and funky Detroitian hi-hat twists of "Track 1" to the final shimmering echoes of the beatless wonder that is "Track 4".
Wojciech Karolak - "Discopus Nr 1" (part 1&2 - If Music extended edit) (7:55)
Alojz Bouda - "Random (Naslepo)" (2:31)
Polski Jazz Ensemble - "Song For Ewa" (7:22)
Prince Igor Yahilevich - "Double Sun" (7:19)
Andrzej Korzynski - "L'Arme Du Milicien - Patkarz" (3:07)
Binder Quintet - "Sirato (Dirge)" (feat John Tchicai) (6:42)
Review: If Music duo Jean-Claude Thompson and Adrian Magrys head up this fine six-track forage through the '70s and '80s archives of Eastern Europe. Stylistically, there doesn't seem to be an over-riding theme, it plays out more like a diverse selection of archival cuts spanning Poland, Hungary, Russia and Slovakia that will delight the more adventurous dancefloors. Thus you get infectious Polish disco grooves from Wojciech Karolak and Andrzej Korzyn?ski nestled alongside the break-laden jazz bustle of "Song For Ewa" of the Polski Jazz Ensemble. Similar styles abound with Russian-born "Prince Igor" Yahilevich and Hungary's Binder Quintet, whilst Alojz Bouda delivers our personal favourite in the shape of "Random," a suitably-titled oddball synth banger that originates from the Slovakian's 1980 album Synthesizer Sound
Review: A lot of us have to thank Expansions for switching us on to Matlock in the first place, thanks to them unearthing him for their Soulchasers collection way back in the early 90s. Here they return to two of Glenn's finest, silkiest soul diamonds. Written for the romantics, produced for the dancefloor right at the very end of the classic 70s sound, "You Got The Best Of Me" has an upbeat Barry White feel to its delivery and sentiment while "I Can't Forget About You" has a lighter touch and flightier flow. The former previous super-rare on 45, the latter never press to 45 before... Both supreme and timeless.
Review: Boddhi Satva's highly tribalistic strain of house music has been at the top of our minds for a while, and riding high on our digging radars. This is because the artist has managed to tell his own story and detach himself from momentary scenes or fashions. Instead, tracks like "Ngnari Konon" use the house formula only as a backing rhythm, and with the help of Africa's Oumou Sangare, Satva produces what is more of a world music piece. The same goes for "Nankoumandjan", but "Benefit" strays closer to something like UK bassline thanks to its jump-up beat and r&b-style vocals by Omar, while "Fighting Spirit" is what you would call a classic 'bass house' joint, filled with gargling low-ends and plenty of sweet tribalism. Sick.
Review: Thanks to an upsurge in interest in zouk, the synthesizer-heavy tropical style that emerged from the French Antilles in the early 1980s, reissues of superb but hard to find gems from the style's original heyday are becoming increasingly popular. This one from Strut Records is a peach. Originally released in 1988, "Las Pale" is the sole album from Feeling Kreyol, a female trio from Guadeloupe assembled and produced by local studio buffs Darius Denon and Frankie Brumier. It remains a brilliantly effervescent and colourful set, with the trio adding strong and attractive to distinctively tropical drum machine rhythms, shimmering synths, kaleidoscopic melodies and jangling guitars. In other words, it's a giddy blast of electronic tropical brilliance. Don't sleep.
Review: German house abstractionist Isolee makes a welcome return, surfacing on Pampa with his first new material since dropping his album Well Spent Youth on Koze's label back in 2011. Creative batteries recharged, Isolee is in familiar form on the three track Allowance 12"; the title track adopts his trademark bare bone approach with soothing lines of melodic intoxicants gently pulsing with intent over the soft edged house groove. This hypnotic opener hogs the A Side, leaving the chiming minimalist rhythmics of "You Could Do Your Memories" to duel for your attentions with the far too playful "Wobble".
Review: You could say Robag Wruhme has been around the block a few times, thanks to a storied career that's seen him release music with Sonar Kollektiv, Circus Company and the many extensions of the Kompakt family. This latest release for Pampa is his second appearance on DJ Koze's label and he delivers a varied EP of sounds, ranging from the sewer techno of "Cybekks" to the crackly, John Beltran-like ambience of "Anton I". "Volta Cobby" is a sizzling cut for the summer festival stage (good timing Pampa) while "Anton II" is another ambient session, this time a little more animated thanks to chimes similar to what's heard in Pantha Du Prince's music. A record for the festival or the chilled out lounge room.
Review: Two powerful soul sessions from Alice Clark's eponymous debut 1972 album. "Don't You Care" is a hard-hitting soul standard (that became very popular in acid jazz scene in the early 90s) where Alice opens her heart for all to see while her incredible band ebb and flow with Clark's emotions. "Never Did I Stop Loving You", meanwhile, languishes in sentiment at a slightly lower tempo that allows her to really dig deep for those low notes. The real fun happens as we reach momentum towards the end and every band member brings out their A-game and bounces off each other - backing up Alice every step of the way. You will care about this.
Trans (Underground Resistance Hamtramck remix) (8:14)
Review: In its original form, "Trans" was one of the dancefloor highlights of Matt Edwards' second album as Radio Slave, 2017's Feel The Same. Here, the dark and stylish original - think alien new wave synth-pop from 1983 re-imagined as a Panoramabar-friendly workout - is given a makeover by two titans of the electronic music scene: Innervisions overlord Dixon and Detroit techno stalwarts Underground Resistance. Naturally, Dixon's rub is weightier and more obviously big room-friendly than Edwards album cut, with the foreboding original synth bassline and bubbly electronic flourishes being joined by weightier drum hits and bold new melodic motifs which fire "Trans" towards the stratosphere. In contrast, Underground Resistance's revision is fuzzier, wonkier and more hypnotic, albeit with a little disco surprise here and there.