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Review: Formed in the post-punk era of Manchester in 1978, The Durutti Column, led by guitarist Vini Reilly, has remained an enigmatic and influential force in the history of post-punk. Their 1989 release, aptly titled Vini Reilly, is a testament to Reilly's eclecticism and sonic experimentation. The album spans a vast musical landscape, encompassing elements of post-punk, rock, acoustic, avant-garde, jazz, classical, folk, pop, and electronica.The album's 35th anniversary reissue box set includes many great additions that allows listeners to appreciate the enduring impact of his artistry, as he continues to inspire and challenge music enthusiasts worldwide. Includes new essay by Durutti Column/Factory Records expert James Nice, liner notes by band member Bruce Mitchell, liner notes from Anthony Wilson, interview extracts with Vini Reilly and restored images and outtake images.

Review: Naya Beat's modus operandi is to champion the OG sounds of the South Asian underground through the lenticular funnel of dance music. Their latest in this effort is a breakout wonder in V/A form, herding together three contemporary club titans for a jolly trans-national dialogue over the original stylings of an inimitable key player in proliferation of Bhangra music, Manjeet Kondal. The late great Kondal hears one original piece, 'Pyaar', reissued, alongside two exclusive versions of 'Ishkaan De Mamle' by digger extraordinaire Mr. Scruff, followed by a closing, straight-from-the-stems downtempo acid dub tribute by modern day remixers and DJs Turbotito & Ragz. This is an honorific tribute to the crossection of late 80s to early 90s Bhangra music with acid house, carefully modelled after the aesthetic sensibilities of the time.

Review: Air Formation are Brighton-based shoegazers who are back now with their sixth album, a self-titled record on Club AC30, that is inspired by their love of pioneering bands like Flying Saucer Attack, Spiritualized and The Jesus & Mary Chain. It is a collection of tracks drenched in droning keys, heavy feedback, delayed guitar loops and heavenly vocals that float up top above the noise. It takes in the likes of the blissful opener 'Pressure Drop', the sweeping crescendos of 'Only So Much Light', shimmering and swirling melodies on 'I Don't Want To Talk' and 'Crashing Out' and plenty more.

Review: A year after dropping his acclaimed album 'Billy Valentine And The Universal Truth' with Flying Dutchman and Acid Jazz Records, Billy unveils a fresh take on a soul classic. Recorded at LA's prestigious Henson Recording Studio, alongside producer Bob Thiele Jr. and a stellar band including Larry Goldings, Pino Paladino, Jeff Parker, James Gadson, and John Philip Shenale, he introduces three new tracks. His rendition of Gil Scott-Heron's 'Lady Day & John Coltrane', debuted on Gilles Peterson's BBC6Music, mesmerising live audiences. This special edition 7" includes a unique edit of 'Home Is Where The Hatred Is', not previously available on vinyl.

Review: Son of Todd Osborn (Soundmurderer/Ghostly) Kaito Ian makes a hugely impressing first outing on the Galaxy Sound Co label with a series of lo-fi hip-hop beat-strumentals that cannot fail to get your head nodding. He is a dedicated music lover and skater with a deep knowledge of his craft and that shows here with some refined sounds starting with the soul drenched 'Revert', then on to the warped angelic vocal samples of 'Sequoia' and the percussive jumbled and scratching of 'Trek'. 'Wait Up' is another excellently blissed out joint and 'Sloan' is a sunny, laid back, lazy vibe to close down a superb EP.

Review: Especial Specials always deal in releases with a story often as interesting as the music itself. This time out they enlist DJ and producer Dreems for a fine collection of limited-edition 12"s. Angus Gruzman aka Dreems is the man behind the vital Multi Culti label and has dropped his own wares on the likes of Kompakt, Pinchy & Friends and Futureboogie but somehow remains rather in the shadows. This deep dive into his vaults should change that - these are edits and dubs that come doused in psychedelia as they trip through several genres. There is off-kilter dub, melon-twisting dub, intensely percussive and tribal dub, and more besides across the five fantastic tracks.

Review: Exos' latest EP is a heavy, beat-laden techno record with three distinct tracks. The title track 'Infrared', opens with a crushing beat and fast percussion. It's a dynamic and powerful track with a strong build up and a devastating, menacing sound. The second track, 'Kaldur Klaki,' is a loopy, hard and fast, percussive, tribal track. It's a peak time track with an organic, drummy sound. The third track, 'The Bad', is a 90s German style track with a cool beat and a storming sound. Overall, 'Infrared' is a strong techno EP with three tracks that are sure to get you moving.

Review: The Invitations have roots tracing back to the mid-60s and saw various lead singers take the mic until Lew Kirton joined in 1973. Kirton's vocals grace both 'Look On The Good Side' and 'They Say The Girl's Crazy' from 1974 which are now reissued for the first time. Originally released on Silver Blue Records, a label founded by songwriter and producer Joel Diamond, these tracks were arranged and co-produced by Bobby Martin in Philadelphia and boast the unmistakable Philly Sound. Kirton later departed for a successful solo career, notably remembered for hits like 'Heaven In The Afternoon' but this reissue brings forth a timeless slice of soul history.

Review: The debut solo album by David Crosby of Crosby, Stills & Nash fame, If I Could Only Remember My Name is an ironic title for an artist first striking out on their commercial own. But despite its faux-amnesiac title, this freak-folk opus is actually a striking claim to, not a loss of, personal musical identity. Following the success of 1970's Deja Vu with Stills & Nash, Crosby sought to expound on that album's methodology - hard psychedelic drugs, brushes with insanity, copious studio time - to produce a crisp, profound and multifaceted vision on the intersection of blues, folk and collective music-making, with every legend from Neil Young to Joni Mitchell to Graham Nash in tow. The highlight has to be, above all, 'Tamalpais High (At About 3)'.

Review: Lol Hammond is a former member of Spiral Tribe and early live techno act The Drum Club who now makes music on his own as Wah Wah Planet. Back in 1990 is when he penned this fantastic five track Balearic house EP alongside Russell Crone and with female vocal contributions from Lucy Sian. It very much lay out an early blueprint for UK street soul and the opener on the A-side 'Jewel' explores a romantic theme with hooky pop lyrics. Things get more left of centre on the 'Love FXU' with three trips into a smoother sound world perfect for sun kissed island dancing and with influences ranging from early breakbeat and trip hop to elements of dancehall music.

Review: The Hartnoll Brothers have decided to remaster and reissue their eponymous 1991 debut album - frequently referred to as 'The Green' album for obvious reasons. Amongst the numerous editions is this delicious box set, which compliments the fantastic original album (stretched across two slabs of wax), with a slipmat, a 60-page hardback book of photos and fresh liner notes, and an additional double-album of rarities and unreleased cuts from the period. It's this latter item, which includes B-sides, non-album singles (hello 'Satan') and sought-after remixes (Sasha's legendary version of 'Midnight' and the barely known 'Rhyme and Reason' take on 'Satan'), which makes the box set so alluring to fans. Basically, it's the ultimate edition of a British dance classic.

Review: A collection of remixes that take the original Amy track and transform it into a dance-oriented experience. The Alix Alvarez Sol Channel mix on the A-side is a house remix that adds a driving beat and energetic synths. In contrast, the Al Usher remix on the B-side takes a more soulful approach, infusing the track with a 1970s vibe. Two remixes that showcase the versatility of the original song and offer a fresh take on Winehouse's iconic vocals.

Notes: One of the best solutions for 7"/10"/12" record cleaning, HumminGuru's ultrasonic approach automatically restores your records, cleaning and drying within 7 to 15 minutes per disc. Simple, easy to use and effective.

Supplier's Notes:
The HumminGuru Ultrasonic Vinyl Record Cleaner

An all-in-one ultrasonic vinyl cleaning machine that automatically cleans and dries your record in just 7 to 15 minutes. It is compact, lightweight, quiet and compatible with 100v-240v.

HumminGuru ultrasonic vinyl record cleaner not only brings your dirty records back to life; its ease of use and intuitive design also makes record cleaning a more pleasant experience. It has been designed to clean and dry the vinyl records in one step using ultrasonic cleaning system. With 40kHz frequency, it is effective to remove the contaminants and dust on the record without causing any damage to the surface of the record. Less is more. Its lightweight and compact design make it easy to transport and creates more space to store. The simple yet elegant look was created to intuitively fit into your lifestyle. HumminGuru would be your best option in quality for price and value.

Maintenance Features

Air Filtration - To prevent external dust from blowing back onto the record during the drying process. The filter is washable and replaceable, which makes for easy maintenance.
Water Filter - A detachable water filter in the water tank gives an option to reuse the cleaning water. The filter is washable, which makes for easy maintenance.
Removable water tank - Water tank is removable for easy cleaning and maintenance
Replaceable rotation wheels - Easy to replace with HumminGuru assigned maintenance tool

Specifications

Item Name: HumminGuru Ultrasonic Vinyl Record Cleaner
Net Weight: 3.1 kg
Material: ABS & Stainless Steel
Colour: The New Blue
Dimensions: 34 x 15 x 28 cm
Adapter (Supported Voltage): 100 - 240 V AC 50-60 Hz
Water Tank Capacity: 400 ml
Ultrasonic Frequency: 40 kHz
Packing Volume: 38 x 21 x 37 cm
Packing Weight: 4.88 kg
Cbm: 0.03
Certifications: RoHS Directive 2011/65/EU, (EU) 2015/863
1 Year Warranty: HumminGuru comes with 1 year world-wide warranty.

Humminguru supports all commonly used voltage standards from 100v-240v.

The package comes with:

Ultrasonic Vinyl Record Cleaner
A Cleaner Lid
Power Cord
Manual Instruction
Removable Water Tank x 1
Maintenace Tool x 1
Replacement kit (2 pairs of rotation wheels, 5 pcs of air filters and 5 pcs of water filters) x1
Adapters for 7" and 10" records

Review: The original Bridgit Mendler soundtrack to the citrine teen drama movie of the same name sees a full version on vinyl LP this spring. Notable not only for its inclusion in the contemporary musical film, but also for its chart-topping success, the ten songs that make up the many acts of this high-school drama were destined to charm the pubescent masses, coinciding with the film's overarching theme of the school's students transcending use of after-school detention to musical effect, in order to overcome their personal struggles. Imagine Glee meets The Breakfast Club; a cabal of songwriters including Ali Dee, Maria Christensen, Bryan Todd and Jeannie Lurie lay down an array of sure-to-be hits for Mendler to perform on behalf of the cast here.

Review: You'd be hard-pressed to find a collection of euro house and dance music more chock-full of hits than this. In the vein of the early 90s dance compilations, Music On Vinyl gathers two discs packed with landmark dance records and massively popular crossover tracks like Haddaway's 'What Is Love', 2 Unlimited's sports arena classic No Limit', Snap!'s timeless 'Rhythm Is A Dancer' and the worldwide hit 'Pump Up The Jam' by Technotronic. The great thing about this release is the inclusion of many other lesser known but memorable gems like T-Spoon 'Sex On The Beach' and Twenty 4 Seven's 'Slave To The Music'. A whopping 27 tracks in total to take you back to the days when dance music owned the airwaves and the clubs.

Review: Dombrance is back with a typically vibrant new EP on Discolypso that features two fresh tracks and remixes from luminaries Francois K and Lindstrom. Once referred to as a 'French Jarvis Cocker with a bushy moustache and flares,' Dombrance is a musical maverick who dropped his debut album last year and performed globally from Glastonbury to Downtown LA. On this one, 'Bayrou' and 'Cope' draw inspiration from politicians, delivering timeless electronic disco vibes with sugary chords and pulsating synths, then Francois K transforms 'Cope' into a psychedelic journey, while Lindstrom's remix of 'Bayrou' conjures images of a David Lynch pool party. It's peak disco fun.

Review: Dubfire's EVOLV presents two captivating techno remixes that showcase the distinct styles of renowned artists. Carl Craig's 'Descent' remix unfolds as a gradual builder, echoing his signature style. An underlying acid line intertwines with a soaring melody, incorporating elements of house music. Conversely, LB Dub Corp's 'Dark Matter' remix plunges into a percussive techno realm, its peak-time intensity bringing melodic depth and creating an immersive and dynamic journey.

Review: Orbital's debut and self-titled album (also known as the green album) is a classic example of the UK rave sound in 1991. Featuring the hits 'Belfast' and 'Chime', this important piece of electronic music gets some loving attention in the form of being remastered for the first time since release. But that's not the only thing - this CD edition also comes with a bonus CD featuring rarities and remixes from the time. What better way to celebrate 25 years of this amazing band and its cherished history for their role in helping create the sound of techno.

Review: Claire Rousay continues her compelling evolution with this stunning new album on Thrill Jockey. sentiment once again finds threads of instrumentation and field recordings interweaving with snatches of poetry, dialogue and of course rousay's heart-rending vocal turns. The lens on this particular record is focused on loneliness, nostalgia, sentimentality, guilt and sex, captured in moments of heartfelt songwriting and passages of experimental, ambient exploration. It's simultaneously challenging and immediately endearing, adding ever more depth to rousay's intriguing profile as she dabbles in pop without ever compromising her experimental instincts.

Review: There are not very many labels that are as successful and revered in electronic music as Mood Hut is, coming up with gem after gem after its inception in 2012. 'Water Seeds' by Oro Azul offers four tracks that range from sub-aquatic, mellow and relaxing to tribal percussiveness that really takes things to another level. A little more chilled out than their normal output, perhaps, but certainly not a massive departure, there are some serious island vibes here.

Review: The Jesus & Mary Chain - Peel Sessions 84/86 offers a riveting glimpse into the evolution of the iconic noise pop band across four recording sessions for John Peel's BBC show. These sessions capture the band at various stages of their early sonic development, showcasing their signature blend of classic pop, noise, punk, psychedelia and garage rock. Each track serves as a testament to the band's innovative and influential sound, presenting a raw and unfiltered expression of their musical vision. With its combination of infectious melodies and gritty noise textures, this collection stands as a perfect document of The Jesus & Mary Chain's essential contribution to the alternative music landscape of the 1980s.

Review: Broken beat hero Kaidi Tatham steps forth with the first in a series of all-star remix albums of the Reel People Music back catalogue. Over an impressive ten tracks, Tatham sashays between syrupy soul slo-jams, virtuosic broken beat trips, almost UK funky-esque live jams, and acoustic boom bap beats. Percies include the sweeter-than-molasses opening flip of Sebb Junior's 'All My Life', his sassy, stripped-back version of Daz-I-Kue and Hadiya George's 'Pedigree' and a dazzlingly technical re-run of the Monkey Brothers' 'Losin my Head.' With this anthology, Tatham proves that London's broken beat scene continues to flourish, and his boundary-hopping style is as relevant as ever.

Review: The Dust Donuts crew return with a reissue of another delicious 7"s of perfectly aged funk and hip hop sounds. Canadian-born, London-based DJ Jim Sharp was at the controls for this third volume and first up his edits 'Rubber Band.' It has big woodblock hits and brash horn leads with a percolating rhythm that rises and falls in dramatic and emotive fashion. The flip is an edit of a classic hip hop Joint, 'The Light', with the aching original vocal left in place next to lush piano chords and dusty golden era beats.

Review: The Ethiopian Brothers transport you to a vibrant fusion world where Ethiopian jazz, Afro drums and funk all collide. Released in 1972, this single showcases the band's mastery of traditional Ethiopian rhythms intertwined with elements of Western funk and soul. 'Ashadwa' exudes infectious energy and is driven by lively brass sections and mesmerizing vocals weaved into the dynamic arrangements next to wah way guitars and steamy sax. It is a real dancefloor heater while a version comes on the flip without the vocals.

Review: Matteo Mussoni and Nicola Zucchi, the masterminds behind Sparkling Attitude, pay homage to the disco era of the 1970s and 80s with their debut EP. Dov'eri Sabato Sera narrates a tale of unrequited love, weaving crisp rhythms and wistful melodies into a captivating narrative of youth and dashed hopes. The instrumental version amplifies the emotional depth with soaring analogue strings. On the flip side, 'Melodico Romantico' infuses disco beats with bold hues, as breathy vocals whisper amidst dark rouges and effervescent greens. Drawing inspiration from Japanese culture, the duo presents a glittering finale with daring key stabs and astral echoes draped in a late-night groove. Sparkling Attitude delivers joyous sounds that celebrate the magic of Italo disco and synthesiser soundtracks, evoking the romance of the Italian coastline.

Review: Italy's finest sound-purveyors Slow Motion proffer a fantastic new release from CEO Fabrizio Mammarella in collaboration with Rodion, collaboratively recorded at the Marche Synth Museum (Museo Del Synth Marchigiano). A fully functional recording space, the museum houses several private collections of Italian electronic musical instruments, gathered over the many years since their creation; whether the artists actually got to use any of these classic machines remains to be uttered, but we can't deny that they were inspired. Both artists do thorough justice to their Marche region roots here, laying down eight slices of industrial dungeon-electro, mind-melting acid rollouts and spoken-n'-spelled ritual dances.

Review: First released way back in 1994 on Kevin Saunderson's KMS label, Dionne Warren's Brian Hall-produced deep house gem 'Feel Da Rain' gets a new lease of life thanks to Windsor, Ontario imprint Collective Rhythm Network (CRN). While the original 12" also featured rubs from Alton Miller and Stacey Pullen, it's D'Pac Patel's dub . a warm, rolling, US garage influenced deep house workout rich in tactile organ stabs, superb grooves and short samples of Warren's vocals - that has become the most sought-after version. On this 12", we get Patel's full-length dub (it was edited down on the original 12") and a previously unreleased 'Rhodes Dub' that adds extra electric piano action for added warmth and flavour.

Review: UK mainstay Subb-An makes a welcome return with this fresh new EP on Aesthetic. It finds him in great form with opener 'Seeing Colours' heading off down a nice liquid minimal route with crisp tech drums and twinkling synths up top to bring the magic. On the flip side is 'Plants', a rather serene and sublime cut with more rolling drums and plenty of deft synth designs that bring a certain celestial charm to the fizzing leads. Snad's remix then shuts things down with a more driving sense of tech house rhythm to complete a tasteful EP of heady sounds.

Review: On December 30th and 31st 1978, early demo versions were laid down in Spaceward Studios of what would eventually become the debut EP from future British metal giants Iron Maiden. The three tracks in question ('Iron Maiden', 'Invasion', 'Prowler') were all recorded within the same session, making for a far more primitive and raw offering than the finalised studio versions that would ultimately find their home on the band's self-titled 1980 debut LP. This compilation restores the original three-track The Soundhouse Tapes EP, while including a bevvy of additional demos, alternative takes and live cuts from the formative, (pre-Bruce Dickinson) Paul Di'Anno era.

Review: The last ten years have seen no shortage of bands with their delay pedals set to stun intent on capturing an aura of dreamlike radiance. Yet Texas 'pop-noir' troupe Cigarettes After Sex are no ordinary shoegazers, for a variety of reasons - frontman Greg Gonzalez' androgynous and dulcet tones may be part of the appeal, yet moreover it's the quality of the songwriting here, which never falls prey to the style-over-substance traps of their peers. Indeed, this debut is more than enough to justify the considerable hype around this outfit, being a collection of ditties as sultry as they are atmopsheric.

Review: Digwah keeps it tough on this next drop on their own self-titled label. It's a ninth outing and in the time it has taken for those to come out, increasing numbers of people have been catching on to the label's work and making it a 'must check' in their mental lists. This one opens up with 'Couldnt Hate You' which has some Ian Brown vocals samples stitched into a glitchy and menacing beat. 'Open Ended' is just as twitchy and anxious with steely drums and brain frying synths all working hard to fire every synapse in your brain. Effective stuff.

Review: Jay Bliss brings his classy tech house touch to this sixth EP on the Berg Audio label. It begins with the title track which is a futuristic mix of silky and serene synth lines and smooth but propulsive drums. 'Pressure' rocks back and forth on a metallic loop and layers up the balmy pads, while 'Rocket Science' has a more textured feel and zippy little synth details that bring plenty of intrigue. 'Stellar Flux' closes out with another comically inclined fusion of dynamic drums and heady synth patterns, this time with a playful neo-disco undertone.

Review: The Melvins, known for their unapologetically experimental and abrasive sound, continue their legacy of sonic exploration with Tarantula Heart, set for release via Ipecac Recordings. The album, featuring a five-track lineup, including the sprawling 19-minute opener 'Pain Equals Funny, which displays the band's penchant for pushing the boundaries of conventional music. One of the album's defining features is the incorporation of dual drum parts, with longtime Melvins drummer Dale Crover teaming up with Roy for an impressive display of rhythmic complexity. This collaboration adds a new dimension to the Melvins' sound, further solidifying their reputation as pioneers of unconventional music. Recorded, mixed, and co-produced by Toshi Kasai, a longtime collaborator of the band, Tarantula Heart adds to the album's eclectic sonic palette. While The Melvins may never achieve mainstream success due to their avant-garde approach, this album stands by their unwavering commitment to artistic integrity and innovation, making it a must-listen for fans of boundary-pushing music everywhere.

Review: Every new Carl Finlow record release brings an enthusiastic interest to those who follow him. Carl's robotic electro prowess is on full display on the A-side in 'Heed'. Fans of early 80s electro, Kraftwerk and the future of the genre, swear by this guy. 'Overlord' is a deeper groove that reminds of his otherworldly Silicon Scally moniker. 'Expansion' is just down right dirty. Nuff said! Dangerous stuff from one of the most consistent producers in futuristic electro.

Review: South African Warrick Sony is a ground breaking composer who was behind the Kalahari Surfers project which now gets a vital spotlight courtesy of Emotional Rescue. This compilation shows how effortlessly eclectic his sound was - from jive rhythms to jazz, tabla to political speeches and much more in between. A Hindu pacifist who was once conscripted into the South African Defense Force, he founded this group as a way out getting his ides out there, calling on other musicians as and when he needed them. It was the first radical white anti-apartheid pop in South Africa and as this vital collection shows it explored polyrhythms, slow motorik, dub sound collage and even a goofy cover of Nancy Sinatra.

Review: Peach Disc's label head Shanti Celeste welcomes her good friend Saoirse on board to care care of its 20th EP., Adn she does a fine job of keeping it fresh with a varied four tracker that starts with the intense loops and tribal percussion of 'Mangomouse'. Once the thudding kicks arrive and bring a subtle sense of funk to the dubby techno mood things really take off. 'Heated Cloud' is urgent, emotionally intense house a la Floorplan and 'Vampire Heart' pairs eerie synth twangs with an EBM style marching beat but more dubby low ends and 'Catfished' has muscular beats infused with paranoid vocals. 'Driver' is a final heavy but heartfelt cut with a real sense of purpose.

Review: Nowhere does techno as proper as Planet Rhythm. This latest 12" is another no-frills banger with rusty synth and menacing drum loops all perfectly intertwined. There is a hurried sense of funk to 'Formation' that really keeps you on edge, while 'Basel' is turbocharged with video-game style synths. 'Romance' gets more edgy and brings some industrial percussion and automation to the beats while 'Here' slips into thumping and loopy house territory of the sort that reminds us of the one and only Floorplan.

Review: Nick and Astro, known collectively as Potatohead People, join forces once again on a tantalising teaser 7" from their upcoming album, Eat Your Heart Out'. Featured on 'Paradise' is the highly hyped Canadian artist Diamond Cafe, whose velvety vocals grace this early 80s-inspired blend of digital sex funk that will remind you of Sade, El Debarge, and Prefab Sprout. Describing his music as "bathing in a cloud of honey on a very foggy night," Diamond Cafe's performance is nothing short of magic here. On the flipside, Nick Wisdom puts his spin on the track, infusing it with dub elements and enhancing the bassline.

Review: Patrice Rushen's Remind Me: The Classic Elektra Recordings 1978-1984 celebrates the unmatched talent of a jazz and r&b legend whose influence extends far beyond her chart success. Rushen's songs, including hits like 'Forget Me Nots' and 'Haven't You Heard,' have left an indelible mark on popular music, with countless artists sampling her work. Despite facing criticism and lackluster label support, Rushen's crossover into sophisticated urban pop paved the way for future R&B and hip-hop hits. This compilation shows Rushen's talents as a musician and arranger, with her production providing the building blocks for decades of musical innovation. Tracks like 'Givin' It Up Is Givin' Up' and 'Remind Me' highlight Rushen's electrifying performances and innovative sound. Rushen's timeless music remains as relevant and influential as ever, cementing her status as a true icon of musical innovation and creativity.

Review: Soiree hands over its next 12" to a pair of artists who take care of one side each. Drivetrain goes first with 'The Moonlight' which is a moon-lit jaunt through a futuristic city scope with broken beats and neon chords. 'Moonlight & You' carries over similar melodies with steely drums and vocal harmonies, and then G-Prod steps up with 'Moonlight' which brings a more stripped back and dark groove run through with acid menace. Last of all is David Duriez with his Floating Light mix of the same cut and it's a dreamy deep house roller for cosy basements.

Review: Long Island's finest, the Lafayette Afro Rock Band, formed firstly as the Bobby Boyd Congress and then renamed themselves Ice; only after a string of travails and a return to the US after a long stint in France did they rename themselves the Lafayettes. Soul Makossa came a long while after this renaming; their second album is packed with the same Boyd-centric hallmarks, from bulbous Rhodeses, cowbells and wahs through to riffing funk fantastics, culminating in the peak sonic movements that are 'Hihache' and 'Nicky'.

Review: The wonderful Mr K is back with more edit magic on his own Most Excellent label, this time adding his own spin to 'Wela Wela', a hard edge and raw funk cut from Black Blood, a band of musicians from central Africa but who were based in Belgium. This one was never a hit back in the day for some reason but is built on a killer groove that Mr K reworks and tweaks for more suitable dance floor deployment. It was formerly on his Grass Roots record but now makes its way to a handy 7". On the flip is 'Komi Ke Kenam (Fish & Funjee)' which has tough breaks and funk bass that will ensure 'floors get down and dirty.

Review: Stevie Wonder's 'Pastime Paradise' has thus far been less recognised as an original soul wonderwork, and more so as a sample by American rapper Coolio on the derivative 'Gangster's Paradise'. Though still having been covered by many artists over the years, Major Keys records highlights this enduring 1981 cover of Wonder's 'Paradise' by Latin percussionist Ray Barretto as among their favourites, if not their absolute favourite. Now the label reissue the gem, flaunting its up-to-date, nigh timeless feel; it's the opposite of a miracle that this has never before been released on a 12" single record, despite the fact that it is a favourite on the floors of jazz and soul rooms the world over. It also flips it with Barretto's own 'La Cuna' and 'Mambotango', taken from the same 1981 LP.