Review: After years spent offering up impressive blends of ambient, drone, electronica and experimental drum and bass as ASC, James Clements has decided to commit more time to Comit (sorry), an alternative project which first surfaced via a debut single in 2016. Here the San Diego-based Brit delivers a first full-length excursion under the alias. There's plenty to soothe and seduce on the eight tracks stretched across two slabs of wax, from the undulating, occasionally skittish beats and sweeping chord sequences of opener "Behind Dulled Eyes" and the icy, doom-laden electronic melancholy of "Reverie", to the early Black Dog Productions flex of "Clouded Over" and the dubbed-out, slow motion bliss of "Soft Focus".
Review: Surprisingly, Don Blackman originally wrote and recorded "Just Can't Stay Away" to play as the recorded message on his girlfriend's answering machine. He later included it - tweaked and turned into a mid-80s style boogie banger reminiscent of his work during that decade - on his second and final album, 2002's CD-only "Listen". Here it finally gets a vinyl release thanks to reissue specialists Melodies International. If you're a fan of boogie, electrofunk and synth-soul it should be an essential purchase, not least because it's every bit as good as more celebrated Blackman productions made earlier in his career. There are "Stereo" and "Mono" mixes to enjoy, with the former naturally offering a more refined and intoxicating listening experience.
Review: Blue Feather were a truly blue-eyed funk outfit from the Netherlands who had a prolific run in the 80s with two albums and a string of club singles to their name. "Let's Funk Tonight" was surely one of their bigger hits, and it sounds resplendent with a fresh master and the full extended version spread out across the A side here. Offering something new for the modern market, Best call upon Faze Action to flesh out this reissue with a killer dub of the track that treads softly but funks deep, just like a good dub should.
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.
Review: After impressing with their self-released 2016 debut album, Flight 314, soulful hip-hop crew Jungle Brown is almost ready to deliver the follow-up. That will appear on Mr Bongo in late September 2019, so as a taster for what's to come the Brighton-based label has delivered this two-track missive. A-side "Keep It Movin'" is a classic sounding, golden era style jam with the trio's fine raps, soulful vocals and jazzy horn licks rising above an elastic, boom-bap beat. There's a slightly deeper but no less groovy feel to flipside "We On", which features the distinctive flow of Sampa The Great. If the rest of the new album is this good then we're in for a treat.
Review: Mark Ambrose brings his years of expertise in the deeper end of the techno spectrum to bear on this latest joint for Crayon, the label he founded way back in the mid 90s. "Destiny Angel" is a stomping, expansive cut with a cinematic lilt to its sound design and melodic progression - one for people to truly travel on. "Bleeps & Bits" is a more rugged workout that digs deep into intricate rhythm programming and FX processing to create a unique future-tribal flavour. "Just Tonight" keeps the beats dynamic and broken, but with a much hookier punch and some choice vocal snippets that should find favour with all kinds of DJs.
Review: As anyone who has picked up any of his previous seven-inch singles will tell you, break-diggin' rework merchant DJ DSK can usually be relied upon to deliver the goods. This second volume in his ongoing "DNA Edits" series hits the spot, offering up two tidy, dancefloor-focused revisions. On side A he turns his attention to SM AOR classic "Fly Like An Eagle", subtly beefing it up via sweaty new hip-hop style drums whilst retaining the original guitars, vocals, bass and elongated organ chords. On side B he gets to work on Panamanian salsa classic "Maltrato", adding even more salsa shuffle and contemporary dancefloor weight to the much-adored 1975 Freddy y Sus Afro Latinos' classic.
Curimao (Sons Onomatopaicos E Folk Da Guine) (6:48)
Solito (Solo De Balaue) (4:29)
Danado Cantador (Balaue, Orquestra E Declamacao) (A Fagner) (4:46)
Review: For the first in a series of must-have reissues of obscure Brazilian treats, Optimo Music and Selva Discos have joined forces to offer up a new pressing of Fernando Falcao's superb 1981 debut, "Memoria Das Aguas". The eight-track set has long been considered something of a slept-on and hard-to-find classic, with Falcao conjuring up an octet of tracks that brilliantly join the dots between neo-classical movements, dreamy, percussion-led soundscapes (see the sublime "Amanhecer Tabajara (A Alceu Valenca)"), spiraling big band Afro-Brazilian jazz ("Ladeira Dos Inocentes"), intoxicating classical-jazz fusion ("Revoada") and experimental, beat-free sound collages ("Mercado"). In a word: exceptional.
I Just Wanna (Spend A Little Time With You) (Michael Gray vocal mix) (8:40)
I Just Wanna (Spend A Little Time With You) (Michael Gray dub mix) (6:19)
I Just Wanna (Spend A Little Time With You) (vocal mix) (7:45)
I Just Wanna (Spend A Little Time With You) (instrumental mix) (6:58)
Review: For their latest trick, Yam Who's Riot label has decided to offer up a brand new edition of Alton Edwards' 1981 UK electrofunk classic "I Just Wanna (Spend A Little Time With You)". You'll find Edwards' superb original vocal version on the flip, where his part whispered, part sung vocals rise above thickset, mind-altering synth-bass, drum machine beats and some seriously punchy horn lines. The obligatory 21st century updates come courtesy of Full Intention man Michael Gray, who delivers a suitably pumped up boogie-house vocal revision before dropping a similarly chunky dub that wisely makes much of the original bassline and Edwards' whispered vocal passages.
Review: 10 years ago, El Michels Affair - a hip-hop loving funk combo spearheaded by Leon Michels - released "Enter The 37th Chamber", an instrumental tribute to the world of the Wu-Tang Clan. To celebrate the record's tenth birthday, they've decided to reissue two of that album's most potent cuts. On the A-side they re-imagine Ol' Dirty Bastard's 1995 anthem "Shimmy Shimmy Ya" as a fine fusion of rousing horns, jazz-flecked hip-hop beats and vocals provided by what sounds like a children's choir. Over on side B, Raekwon's "Incarcerated Scarfaces" gets the cover version treatment, with the band peppering their deep, jazz-funk influenced groove with sharp horns and evocative electric piano solos.
Review: Vive La Musique burst onto the scene last year with the hugely successful "Tabala Mouv". For the follow-up, they present two songs from prolific Congolese talent, Sammy Massamba, taken from his cult self-released album "1990 - Beni Soit Ton Nom". Title track "Azali" immediately hooks you in with its mysterious intro, laden with early 90s keyboards and drum machine. Sammy's funk guitar and anthemic vocal lines turn this unique composition into an infectious afro-pop masterpiece. Label founder Aroop Roy steps up with a customary edit, extending the arrangement and giving the drums and mix a modern-club touch. Sammy describes the second track, "Birika", as a mix of Congolese Rumba, Afrobeat. and Reggae. A mid-tempo bass and guitar groove form the backdrop for Sammy's powerful vocals. An exquisite rumba guitar line completes another high class composition.
Review: Difusion's Jamie McShane & Daniel Maunick hook up with the extremely talentented vocalist Ant Thomaz on two original killa tracks that brings their love of Jazz/Funk,Soul & House music all together.Includes a heavy remix from Daniel Maunick, producer of Azymuth, Marcos Valle, Incognito and many others! This is the first release of the newly relaunched Straight Talk Records, back after a 20 year hiatus, with 3 tracks full of soul & fire!
Review: Since stepping out from the shadow of his mentor Ron Trent, Trinidadian Deep has delivered a string of musically rich and life-affirming EPs that effortlessly join the dots between bespoke deep house and a variety of global sounds, styles and rhythms. He tips a hat towards his Trinidadian roots on "Natty Dread", a calypso-influenced chunk of deep house warm rich in smooth but weighty bass, spacey synths and densely layered Caribbean percussion. "Electric Boogie" delivers on its title by wrapping echoing, delay-laden synth riffs around jaunty deep house beats, bubbly but sweet electronics and tactile, eyes-closed chords.
Review: To tie in with the 50th anniversary of the Apollo 11 moon landings, Brian Eno has decided to put out a new edition of his decidedly spacey 1983 ambient album "Apollo: Atmospheres & Soundtracks", which started life as the soundtrack to a long-forgotten documentary about NASA's space program. The edition is rather special, not only because it contains a remastered version of the original set created by Eno, his brother Roger and regular collaborator Daniel Lanois, but also because it contains a second disc of previously unheard material. This is not old, though, but rather brand new recordings - described as "new interpretations of the film soundtrack" - made by the Lanois and the Eno brothers late last year in a similar style. In a word: essential.
Review: One for the slow-mo crew, or at least those that want their house music delivered in more of a lackadaisical, organic format, think four tracks packed with Wurlitzer-esque melodies, sun-kissed vocal hooks, classic tropical percussive accents and gospel lyric extravagance. At times positive, in other moments somewhat melancholic, the true heaviness in the kicks only really becomes apparent once you've turned the lot up. The latter providing the focal point for appropriately-titled 'Sing Hallelujah', a loose, stomping track capped with handclaps and underpinned by a timeless, acid-influenced synth line. As unashamed as it is uncompromising. The remaining three tracks are pack pared back and reflective moods 'The Fear of Fear Itself'), organ filled playfulness, and head-nodding sexiness ('My Guitar Plays Itself') in equal measures, making for a crossover package that wears its accessible soul very much on sleeve.
Review: The first vinyl offering on any label needs to be something pretty special, and evidently No Fuss Records haven't forgotten that golden rule of releasing. Who better to draft than Saison, a duo with an established reputation for soulful, groove-fulled deep house that's guaranteed to make an impression on the floor? Probably nobody, hence the decision. 'I Need Ya' is a classic vocal workout, brass stabs and looped, filtered lyrics clearly positioning the track as a good times anthem. There's more than a little chug underpinning the Werkshy remix of 'Something Made Me', which stomps its way into a male chorus that should thrust fists skywards. 'Senor Blues' is more of a journey in comparison to its siblings, gradually unveiling its pianos and opening the arrangement up as the track expands from understated beginnings to room-filling proportions.
Review: UK funkateers out on the cosmic frontier in the early 80s Atmosfear let this synth-stroking, bass-slapping star-gazing escapade loose in 1982 and OG presses have been known to fetch a fair a penny among collectors in the past. A proud piece of UK jazz boogie, it's not heard to hear why it's been in such demand. Timeless, spacious and laced with intoxicating vocals and a superbly trippy dub version on the B that was way ahead of its time. Grab it while you can.
Gledd & The Funk District - "Late At Midnight" (5:49)
Review: London's Tropical Disco are back with their eleventh edition of superb edits. All re-spliced and remixed with precision and above all - respectf! First up is label boss Tim Burnett aka Moodena who reuses a rather familiar hook on the funked-up brass section of "The Chase", followed by the lo-slung and sultry late night business of "Addicted To You" by Alex Satrorial on the A side. On the flip, we have got Parisian Chevals (Masterworks/Hotwax) going deep on the sensual boogie-down groove of "Saturn In Tropical" followed by an oldie but a goodie in the form of Gledd & The Funk District's "Late At Night".
Review: Berlin-based Korean Peggy Gou has been surprisingly quiet since first bursting onto the scene back in 2016. Here, she returns to action having graduated from Technicolour to parent label Ninja Tune. Many may already have heard EP standout "It Makes You Forget (Itgehane)", a percussively ambidextrous beast based around a bouncy, off-skilter, snare-heavy rhythm track. It has been much discussed online after Gou included it her recent Resident Advisor podcast. On the B-side you'll find tracks representative of her developing style, which draws together elements of European deep house, electro, early '90s U.S house, the rubbery disco eccentricity of Maurice Fulton and the instinctive polyrhythms more often found in traditional African music.
Politics Of Dancing X Chris Carrier - "Track 1" (6:45)
Politics Of Dancing X Nail - "Track 2" (7:35)
Review: Politics Of Dancing continue their adventures in the studio with friends and kindred spirits, this time teaming up with two tech house titans that paved the way for the sound they're immersed in today. Fellow Parisian Chris Carrier sounds right at home sparring with S.M.A.L.L and Paco on "Track 1", where an irresistible bassline groove underpins some acid licks that burrow deep into the night time frame of mind. On the flip Nail is the partner of choice, and the UK veteran helps whip up a crisp and chunky workout heavy on the drums - a serious DJ workout for those craving solid gear for their sets.
Billy Squier - "The Big Beat" (extended Breaks Special edition) (2:54)
Le Pamplemousse - "Gimmie What You Got" (extended Breaks Special edition) (4:12)
Review: We've said this before, but there's something brilliantly simple about the Beats & Breaks label's "Extended Breaks" series of seven-inch re-edits. There's no superfluous fluff or needless rearrangement, just solid and matter-or-fact extensions of key drum breaks to both aid mixing and light up dancefloors. For proof, check the mysterious re-editors' take on Billy Squier's 1980 heavy rock workout "The Big Beat", which prioritizes the track's fat, bottom-heavy drums and the singer's impassioned vocal yelps while stripping out most of the gnarled guitar riffs. If you need a bit of a breather from the heavy dancefloor pressure, the crew's subtle revision of Le Pamplemousse's drowsy, synth-laden deep disco shuffler "Gimme What You Got" - a string-laden slice of sun-kissed sweetness - should do the trick.
Review: Having previously dipped into the back catalogue of a host of disco, house and U.S garage acts, Groovin' Records has decided to offer up a trio of tracks from jazz-funk maestro-turned-disco don Eumir Deodato. First up is John "Jellybean" Benitez's superb 1982 remix of "Keep On Movin", a dreamy disco club-cut rich in bold slap bass, swirling chords and sweet female vocals. Benitez is also at the controls on "Keep It In The Family (Remix)', another 1982 rework of one of Deodato's most famous disco-era anthems (check the clips - you'll be singing along within seconds). To round things off, the label steps back to 1978 with the hard-to-find and in-demand 12" version of jazz-funk/disco classic "Whistlebump".
Review: Given that they started out 12 years ago making soul-fired 21st century jazz-funk and bustling broken beat, it seems fitting that their latest single features the honeyed lead vocals of Xantone Blacq, an artist whose early singles explored bruk and future jazz. "You Said" is a wonderful chunk of laidback disco-soul tailor made for sun-kissed afternoons and sweltering early evening dances. Blacq is in fine form singing over the duo's Nile Rodgers style guitars, Bernard Edwards-seque bass and intricately programmed percussion. Over on the flip the pair dons their J & J guys to offer up a largely instrumental edit for those who prefer to get lost in the groove.
Review: Sam Shepherd may have spent the last few years offering up off-kilter, jazz-fired grooves and heady ambient soundscapes, but he still knows how to rock a dancefloor. That much is proved by his first Floating Points single for almost two years. "LesAlpx (Extended)" is his most forthright, club-focused cut in ages - a thrusting chunk of rumbling, peak-time techno built around heavy bass, sweaty drums, twinkling electro piano motifs and raging, foreboding electronics. Shepherd teases in the most melodic, rush-inducing elements, introducing spacey synthesizers and dreamy chords midway through. It's breathtakingly good. Flipside "Coorabell" is similarly potent, with acid style electronics, warm chords and sun-kissed electronics wrapped around swinging, two-step influenced house beats and a weighty, sub-heavy bassline. In a word: essential.
Review: Hot on the heels of the "Lush Culture" EP with Deetron that landed on Perpetual earlier this summer, more lush licks come from Mr Fred P aka Black Jazz Consortium. Four soul hurricanes that range in weight and emotion, the two poles here can be found slap-bang in the middle of the EP: "Moonlight" is a sultry brushed-drum break for lovers while "Riverside Drive" jacks like a rhino but soothes you with big breeze feels. Elsewhere "Reaching For The Stars" cruises on a skippy break with airy early 90s New York pads and "New Ways" closes on a stunning 88 tip. Have nice dreams y'all.
Review: Earlier in the year Lone launched the Ancient Astronauts imprint via a single-track digital single that wrapped his usual sun-soaked electronics and kaleidoscopic synthesizer melodies around a ridiculously rubbery bassline and crunchy, club-ready breakbeats. Here he offers up the label's first vinyl EP, a three-track missive that's as loved-up as you'd expect. Check first "How Can You Tell", an ultra-deep, dreamy and rushing chunk of deep jungle revivalism full of psychedelic acid lines, slack-tuned breakbeats, yearning chords and bowel-bothering sub-bass. Equally as impressive is A-side opener "Abraxas", a delightful cut that fits between rush-inducing moments of loved-up bliss and the kind of intensely bustling breakbeats that were once all the rage on British dancefloors. "Young Star Cluster", a killer combination of hip-house style breaks and funk-fuelled acid lines, is also superb.
Review: We welcome our 2nd part of the 90's House Collection series, on this amazing EP we find 3 rare and hard to find tracks, on the A side we have unreleased track by "Sanjay" which is Kings of Tomorrow from the early days, this is a pure floor killer, on to A2 , we have one of the most respected garage artists from the 90's Eddie Perez, with his Mentalinstrum dub of Keith Sibley's track, Stand By Me & finally the EP is rounded of with the legend that is Donnell Rush, the Redawg's Outhere Alternate Mix is a classic i its own and right and very hard to find.
Review: "Dj Sounds presents Captured, a 3 track EP for the house heads. Lazy is a ready-to-go exercice, easy to spin and fresh house track in its most classical yet very personal form, Captured is an intense Detroit oriented synth jam and Dj Beats is a short drum track reminding of the beat of track 1. That 001 is for the Djs who care about a fresh record of House. And those who like to dance."
Review: It would be safe to say that Kayroy (real name Finian Langham) is on a roll. This is his third must-have EP of 2019 and his second outing on Whiskey Disco. It begins with "Rosella", a superb revision of Crown Heights Affair's "Say a Prayer" that strips out most of the vocals and layers up tasteful overdubs to give the track a more cosmic and dubbed-out feel. "You're The Reason Why" is a loopy but groovy rearrangement of a dewy-eyed laidback disco classic, while "Silk & Satin" is a riotous rework of a heavy disco-funk number rich in sharp, rising horn lines, screaming guitars, sweaty drums and toasty bass. Arguably best of all, though, is the fizzing, dubbed out Italo-disco-goes-poodle-perm-rock insanity of "One Night In Prague".
Good Good Lovin' (Hifi Sean & Yam Who? edit) (3:58)
Review: Recently, legendary American dance producer Arthur Baker discovered two tracks in his storage on 1/4" tape recorded in 1979. He asked Hifi Sean (aka Sean Dickson of The Soup Dragons) to rework them - who brought on board Riot Recordings boss Yam Who? and they quickly got to work resurrecting these soulful disco anthems. On the A side, we have the souled-up disco power of "Reachin'" featuring Minnie Gardner's powerful vocals, then get prepared to get down proper to the group vocals and epic brass section in the uplifting "Good Good Lovin'" (Hifi Sean & Yam Who? edit) all accompanied by Baker's immaculate production style.
Review: Last year Paulo Mosca made his vinyl debut on Where We Met as one half of Venetian duo Micro.Solchi. Here he makes his solo bow via a four-tracker on Slow Life rich in vintage influences. "Interstellar Interruption", for example, sounds like the kind of far-sighted UK-US techno fusion that could have been featured on a Nexus 21 EP from 1990, while the organ-sporting techno-funk of "Cosmic Love" boasts bleeps that could have been taken wholesale from an early Warp 12". The producer's inherent funkiness is showcased further on brilliant opener "What's Their Name?" - all squelchy bass, Derrick May style drums and jaunty sci-fi lead lines - while "Star Wars" wraps decidedly spacey pads, warped lead lines and dubby bass around a shuffling breakbeat rhythm.
Review: Groovy, beguiling and hypnotic- Tusk Wax is a label where anything can happen while still boasting coherency throughout its catalogue. If that sounds vague that's the point; elements of house, funk, jazz, acid and tech never far from the mixing desk. This, the imprint's 30th outing, is another limited press continuing in that fine form thanks to the always-solid Loz Goddard, formerly of Dirt Crew. One made for summertime sessions, intriguingly it could score late night hallucinatory forest raves or sun-drenched terrace parties. It just depends which cut you go for. 'Redrum' is a low-lying cosmic treat, repetitive female vocals ensuring dancefloor potential contrasting the lackadaisical melodies. 'BHD' takes us down an expanding disco wormhole, Ron Basejam's remix of 'Redrum' places the emphasis on live bass and sass, a perfect precursor to the contemporary funk of 'Drumble'.