Review: REPRESS ALERT: As far as collaborative delights go, this really takes the cake. Miami boogie wildcard Noel Williams, aka King Sporty, throwing it down heavy with legendary Jamaican reggae axe man Ernest Ranglin - as you might expect, the results are incendiary. "Soft Touch" has a hint of the cosmic about it as it romps through insanely catchy chorus chants, stirring brass stabs and Ranglin's sweet licks. "Keep On Dancing" has a more uptempo feel, "In The Rain" slips into a laid back reggae skank and "Be What You Want To Be" turns the vintage disco heat back up. Throughout this wonderful mini LP, the duo switch between each other's strengths and bring out the best in each other, like all good collaborations should.
Review: By getting Tokyo house OG Takuya Matsumoto on board for the first release, Takasi Makajima has launched his new label (Some Lost) Time in fine style. Three diverse originals that cover Matsumoto's vast palette and a dope remix of a Takuya classic, attention to detail is paid throughout. "Time" is a cosmic affair with slightly broken beats and cascading harmonic chimes while "Wrap" goes on the hypno offensive with its warm filtered loops and Detroitian rhythmic elements before "Springsdub" adds a little vocal uplift like it's 1998 all over again. Finally we have an accordion squeezing remix-supreme from Different World. No time lost here.
Review: Some two decades after delivering his first release, Pepe Bradock continues to make some of the most inventive - if occasionally overly challenging - house records around. This bizarrely titled 12" is the Parisian producer's first for almost a year and contains two typically eccentric cuts. A-side "Tresors" is underpinned by a loose but locked-in groove, but it's the smorgasbord of weird samples and effects - jazz synths, trippy noises, dubbed-out horns, buried acid lines, and so on - that really catches the ear. Flipside "Tsundonku" is arguably even more trippy thanks to Bradock's use of backwards percussion hits, grandiose filtered double bass, more weird noises and a rock solid, techno style kick-drum groove.
Review: Despite both tracks appearing on BBE's killer retrospective of Pal Joey's influential early '90s work, 2013's "Hot Music", demand for original copies of the producer's 1990 EP "#2" has remained incredibly high. It makes sense, then, that the producer has decided to reissue the two-tracker. A-side "Party Time" combines spacey NYC deep house tropes and a surprisingly sub-heavy bassline with a hip-hop head's approach to sampling (the vocal hook was apparently lifted from a Brooklyn Express record). Arguably even better - and certainly deeper - is flipside "Raw Love", which savagely chops and loops loved-up lifts from MFSB classic "Love Is The Message" and turns them into hypnotic deep house gold.
Review: London's legendary Mute institution goes back to its roots and digs up some of the best work by one of the UK's finest Cabaret Voltaire. These guys don't really need an introduction give the fact that they're pretty much responsible for the rise of post-punk right through to the birth of techno. It was about time a new compilation of their stuff was released, especially one as brutally on-point as this one! All the classics such as "Nag Nag Nag", "Kneel To The Boss" and "On Every Other Street" are one here but the more obscure rarities that were previously only available on 7" are the real winners. "Just Fascination", for example, is one you'll certainly want on a longer, re-mastered cut! Downright essential!
Review: Chicago label Chained Library present some contemplative minimal noise experiments courtesy of the mysterious Agnes who presents the 012016002001 EP and it is mastered by the one and only Rashad Becker: which is fitting really. Fans of Becker's recent works will really appreciate these extreme and at times challenging sonic workouts on both sides, approximately 15 minutes each. Both extended pieces are reductionist electronic sound art at its finest. Very intrigued as to what this imprint is up to next.
Review: MOi? Who? Give it a listen and we'll give you one guess. His sound is unmistakeable isn't it. The new Ukrainian hero of rolling and funky minimal is back under yet another alias (and imprint) and he's already up to number four. "Track 1" on the A side is built for peak time headrushes on the dancefloors of Concrete and Hoppetosse. Expect this one to de destroying crowds of the underground this Summer! The B side offering is a bit more stripped; the fierce bass supported by some swirling and hypnotic pads on this surefire DJ tool that'll make even Ion Ludwig step up his game!
Review: IO man Aleksandr Voznichenko once again dons the MOI guise for another trip into deep house/tech-house fusion. There's much to admire on this sixth self-released EP, beginning with the spacey pads, woozy chord progressions, New Jersey-influenced beats and rich bass of "Track 1". The flipside "Track Two" sounds like a riff on the same core elements, though the drum programming - and in particular the more electronic sounding cymbal lines - feel far more in-keeping with tech-house than the more swinging A-side. The swirling, cyclical chords and bubbly electronic noises dotted throughout the track only enhance the aural flavour.
Review: There's been plenty to cheer on the six previous releases by Aleksandr Voznichenko's MOI project, so hopes are naturally high for this seventh EP. He's in an unusually positive frame of mind on side A, wrapping a bouncy, rolling, bass-heavy deep house groove in subtle but spacey synth motifs and languid, starry melodies. There's a similar feel to the slightly more percussive flipside cut, whose combination of chunky snares, solid kicks, skipping cymbals and fluid, new age inspired melody lines consistently hits the mark. There's woozy warmth to both tracks, too, making them both picturesque and undeniably floor-friendly.