Review: A few weeks ago, the sneaky Soul Masters label launched via a must-have "45" featuring two 1960s soul bombs from Welsh sex-machine Mr Jones. For this sequel, the limited-edition imprint has dipped into the back catalogue of premier Motown legends and chosen two killer covers of songs first made famous by other artists on the iconic soul label's roster. On the A-side you'll find their storming version of Stevie Wonder hit 'Uptight (Everything's All Right)', a take that's just as stomping and horn-heavy as the more familiar original, with the added bonus of smoother soul vocals from the ladies. Turn to the flip for their interpretation of Barrett Strong hit 'Money (That's What I Want)', a more fuzzy and sax-laden affair of a song that was famously also covered by the Beatles on With The Beatles.
Review: Much loved UK underground stalwart Truly Madly kicks off his new label with a trip to the outer edges of the dancefloor. It's a various artist affair drawing on some of the most interesting producers round right now. It's the much hyped Gene On Earth who kicks off with a cosmic tech workout for mind, body and soul, and Kepler keeps the uplifting vibes alive with his high speed and slick acid cracker. The flip side is taken care of firstly by Jhobei with his deeper, more spacious 'Grande Sultry' which erupts on fanatical sci-fi synths and Noiro cloys out with a gritty head-wrecker.
Review: Mash-up maestro, bootleg remix king and talented beat-maker Jim Sharp launched the Soul By The Pound label last year to offer up sneaky re-edits of classic soul and funk jams from the '60s and '70s. Here he finally delivers the imprint's second-single, delivering some Blaxploitation-era goodness that should tickle the fancy of all those who like their funk energetic and enthusiastic. A-side "I Got It Funky" more than lives up to its name, with call-and-response vocals, wah-wah guitars, tasty Hammond licks and rising horns riding a snappy, breakbeat-driven groove. He switches focus a little on flipside "Trippin' Out", adding bouncy hip-hop beats to a dewy-eyed, string-laden slab of Curtis Mayfield style soul.
Review: The inimitable Theo Parrish is in a class of one. His brand of music is impossible to categorise as it draws on so many unique sounds in so many unique ways. This new album is another spellbinding affair that takes scuffed up house rhythms and intertwines them with freeform percussive patterns and off-grid synths that get pulled apart then rebuilt before your very ears. It is experimental music with an improvised jazz mindset that can range from complex and dense tapestries like 'Radar Detector' to the more upbeat and playful 'Hennyweed Buckdance' via fucked up drum sketches like 'All Your Boys Are Biters.'
Review: More from the bulging back catalogue of Park Rangers, an obscure Japanese reggae band who have spent the last decade delivering surprising cover versions of well-known pop, rock and disco songs. On side A there's another chance to wonder at their 1960s rocksteady style re-make of Pharrell Williams' mega-hit happy, in which the Neptunes star's lead vocal is replaces with a cheery Hammond organ solo. It's the kind of cover that can't help but put a smile on your face. The same could be said about their similarly minded flipside cover of Prince classic 'Kiss'. While it's not as instantly recognisable, it has a similar feel thanks to the band's canny fusion of tuneful Hammond organ solos and retro-futurist reggae riddims.
Review: Given that Mildlife's 2018 debut album Phase was both rather brilliant and a rip-roaring commercial success, this hotly anticipated follow-up will get plenty of attention. And rightly so, because Automatic may well be even better than its illustrious predecessor. Musically, it features the same unique mix of vintage krautrock synths, jazz-funk instrumentation and enjoyably organic grooves, just this time round they've stepped it up another notch or two. The Aussie combo is in fine form throughout, dotting between the Steely Dan style warmth of 'Rare Air', the Brit Funk style weightiness of 'Vapour', the cosmic, art-rock influenced haziness of 'Downstream', the almost horizontal bliss of nine-minute epic 'Citations', the colourful live nu-disco goodness of 'Memory Palace' and the seductive sweetness of 'Automatic'.
Review: Long-serving Swedish producer Joel Mull, previously best-known for his club-focused techno sets, first started work on Nautical Dawn, his first album under his occasional Damm alias, over a decade ago. Inspired by the natural phenomenon of 'nautical dawn' - that point when the sun is not yet above the horizon, but bathes the sky in vivid colours - he wanted to make music for the break of dawn that combined home-made field recordings with suitably drowsy, opaque electronic motifs, slow-burn ambient chords, tactile aural textures and, when the mood took him, horizontal and hypnotic beats. It may have taken him a while, but the resultant set is little less than inspired: an evocative set of enveloping compositions that tease and tingle the senses.
Review: Shniece has become a key collaborator of Prince Fatty's having made such a fine impression when she guested on his 'In The Viper's Shadow' album last year. This new hook up is a winding journey that opens with some truly mind bending and psyched out 60s sounds riding on a trippy dub, and littered with samples from a public service broadcast on drugs. It's somehow a dark yet euphoric dub with a killer backbeat and futuristic edge A dub version peels things back to the drum work and lets the magic of this fine partnership shine.
Dave Lee - "Power Of The Mind" (feat Billy Valentine - JN Redemption mix) (7:34)
Dave Lee - "Power Of The Mind" (feat Billy Valentine - JN Mind Meld dub) (7:03)
AC Soul Symphony - "Manhattan Skyline" (JN Spirit Of 77 mix) (11:08)
Review: ave Lee has collaborated, produced or remixed many vintage soul, jazz-funk and disco artists over the years, though 'Power of the Mind' marks the first time he's worked with Billy Valentine, lead vocalist from legendary soul/jazz-funk duo the Valentine Brothers. The opening 'Redemption Mix' is particularly potent, with Valentine singing his own anti fake news lyrics over a jaunty disco-house groove rich in boogie bass, piano stabs and mazy, life-affirming piano solos. It comes accompanied by a suitably cosmic, synth-laden 'Mind Meld Dub' rework, as well as a fresh string-laden, late '70s style disco track from Lee under his lesser-known AC Soul Symphony pseudonym ('Manhattan Skyline'). It's 11 minutes of pure disco pleasure and almost as essential as 'Power of the Mind'.
Review: Atalanta's Byron The Aquarius has established himself as one of electronic music's most interesting artists. The super skill musician is a virtuoso on the keys and dab hand with making beats. He's got a wide range of sounds in his arsenal and is a perfect fit for the raw, MPC loving Apron label run by Funkineven, which is where lands now. This fulsome EP takes you on a jazz tinged house trip to the edges of the galaxy with far-sighted chords and reflective moods one minute and noodling, funk laced beat pieces the next. It's as high in quality as it is timeless.
Party starters, get this on in the bag immediately, It is pure fire in 7" form, a record bursting with Latin flavours, bristling percussion and jazz-sing beats that will lift anyone off their seat and right into the thick of it. The samples are easy enough to spot but that doesn't stop the a-side doing plenty of damage. Then on the flip, classic soul anthem 'I'm a Believer' gets a big beat and funky bridge extension that will keep people stomping for days. This black version has only been pressed 200 times, so one quick.
Review: The fantastic Parkway label bring a little - well, a lot of - joy into out collectively miserable lockdown-not-lockdown lives with a tenth release that dazzles on every level. The Whole Truth are a modern funk and boogie band with plenty of knowledge of the past as well as a vision of the future that leads them to create camp, analogue sounding gems like this one. The original has a nice heart swelling and gospel tinged vocal next to soaring chords and the club mix then dials back to the languid beats and sci-fi stabs. Last of all is a mix which goes heavy on the chords and amps up the effects to stellar effect.
Review: Just a few weeks after Abel Tesfaye's seventh album, After Hours, hit stores, he decided to put out a 'Deluxe Editon' of the album that replaced some of the original mixes with brand-new alternative takes. Initially, this tweaked edition was only available on digital formats, but finally his label has relented to pressure and released it on wax. By now, we should all know what to expect, namely chart-bothering fusions of R&B, hip-hop and synth-pop topped off by his own slick, soulful vocals and plenty of nods towards other artists work (think Elton John and Daniel Lapotin for starters). It's a slick, radio-friendly mixture of songs, some of which gleefully doff a cap towards dancefloor-friendly styles old and new (think electrofunk, dubstep and, most surprisingly, drum & bass).
Grounds (feat Colin Webster & Warren Ellis) (2:57)
Mr Motivator (feat Colin Webster) (3:24)
Anxiety (feat David Yow) (2:58)
Kill Them With Kindness (feat David Yow & Jamie Cullum) (3:39)
Model Village (4:03)
Ne Touche Pas Moi (feat Jehnny Beth) (2:34)
Reigns (feat Colin Webster) (4:23)
The Lover (feat Colin Webster & David Yow) (3:18)
A Hymn (5:14)
Review: This is not the first time we've asked if IDLES are the most important rock band of this century, and even if it was we wouldn't be the first to ask that question. The Bristol punk juggernauts refuse to be forgiving or compromising when it comes to tackling the issues they focus on - from racial prejudice and immigration to income inequality - and never fail to make a massive impact in the studio (and even more so on stage).
Ultra Mono is album number three, and it packs something serious. Well, actually an arsenal of serious things. Much like its predecessor, this is straight up sonic warfare being declared on the right wing patriarchy, weapons brandished from all directions. Staccato stomper 'Grounds' does more than reference thunderstorms, it sounds like the uprising has begun, with other highlights including 'War' and the electronic chaos of 'Squalls'. Exceptional, as ever.
Review: There's real storytelling at work on this rather splendid double vinyl score, whether it's in hints of tropical birdsong, the fluid motion of rhythms built from water, or the waves of breezy synths that seem to blow past (or through) your ears. Everything feels like it's setting a specific scene, conjuring images that are both vivid and abstract - colours acting as characters, and feelings as locations.
Following on from V2.0-2.9 comes the logically titled V3.0-3.9, and the new release picks up where the last left off. Four sprawling tracks running between 15 and 20minutes each, there's density here in spades giving enough depth to throw, or lose yourself in. Despite the scope, though, there's something strangely intimate here, too, meaning quite where you wind up is nobody's business but yours.
Review: It's time for a serious slice of dance music history. Roberto Ferrante scored an international hit with 'Come On Closer', a bombastic slice of high energy Italo disco which became a staple on the nascent Chicago house scene before house music itself was defined and produced to a set of standards. Played by hand in lieu of access to a sequencer, there's a loose feel to the groove but the space age synths speak to the waves of electronic dance music that were to come. Now this holy grail of party fuel is given the reissue treatment it deserves, with both the extended mix and dub version given a plush remaster and a loud pressing to alight any dancefloor it has the chance to grace.
When Is Deep (Thor & Octal Industries remix) (7:15)
Review: Russian techno mastermind Anton Kubikov has enjoyed an incredibly productive run that has seen him grace Nervmusic, Mayak and his own Pro-tez label. Now one of his finest works, 'When Is Deep', lands on AE Recordings in four new versions from a cast of top-shelf remixers. Idealist is up first, rolling out a smooth and sublime dub house medication to keep dancers locked in and shuffling, while Ben Buitendijk simmers things down to a hypnotic pulse. Dot kicks off the B-side with an immersive, propulsive techno blend before Thor and Octal Industries complete the set with a quintessential dub techno meditation to take your mind to spell-binding new spheres of exploration.
Review: Earlier in the year, Chilean minimal maestro Ricardo Villalobos reached an agreement with Rawax for the long-established label to release a series of singles and, more remarkably, a digital-only, hour-long track called 'Matsu'. This brown, marbled vinyl 12" is the first in the sequence of singles to hit stores and contains two typically lengthy workouts. Lead cut 'Aslohop' leads the way, with Villalobos once again delivering entrancing action built around oddly programmed, distinctively swung South American drum hits, curious noises and a hypnotic, undulating bassline. Flipside 'Detrand' is an even more spaced-out and druggy affair, with various barely audible samples subtly rising and falling for 21 minutes atop another deliciously out-there rhythm track.
Review: Given that few clubs are open worldwide, it feels wrong to talk about potential 2020 summer anthems. That said, were dancing outside under a blanket of stars be allowed, we have no doubt that Social Lovers' new single would be getting plenty of spins. Warm, synth-heavy and sweet, it's a deliciously good lover's rock style cover of Evelyn "Champagne" King's '80s electrofunk classic "Love Come Down". Over on the flip the fast-rising outfit offers up another killer cover, re-imagining Sha-Lor's 1988 garage-house gem "I'm In Love" as a super-smooth and dreamy slab of proto-house/80s soul fusion rich in Fairlight stabs, spacey synth riffs and warming chords. Don't sleep on this one: it's a genuine gem.
Review: We all taking up right about now and Yosh is the one to do it. Four crucial cuts flexing around the UKG/breaks axis, all heavily entrenched in the turn of the century breakbeat, dark garage melting pot. Classic vocal samples galore and really punchy drums, highlights include the classic "What I Need" and the pure kick drum militancy of on the title track "Take Me Up". Serious vibes for all ages and all floors.
Review: The Neroli label is now onto its 51st release and the quality levels remain as high as ever thanks to these four fantastic cuts from Deenamic. 'Out Of My Mind' is scuffed up deep house with dragging kick drums and astro pads pulling in different directions to great effect. 'Sambu' brings Latin drum skips to the fore, with more swirling and celestial pad work, and it is a stunning fusion. The voodooistic 'The Bitter Truth' channels Theo Parrish in its busy arrangement and fizzing synths while last of all, 'Dayride' is a slow paced, jazz tinged workout that encourage you to sit bat and stare at the heavens.
Review: Nicolas Jaar has been one of electronic music's most consistently hard to predict and innovative artists for a decade. The Chilean-American now offers up a full length on his own Other People label that he says is for inner battles. It is a work of masterful atmosphere that can be at times dense and gloomy, at others ethereal, and was written in isolation away from any form of stimulation-inducing drink and drugs. A constantly shifting sound means listeners are slipped in and out of reality as it plays out, making it tense, sombre and at times furious. This is yet another audacious record from the unrestrained mind of Nicolas Jaar.
Review: First released on CD way back in 1998 and now getting a deserved reissue on wax, "Sacred Art of Dub Volume 1" sees two of Britain's longest-serving dub outfits - Alpha & Omega and Jah Shaka affiliate Russell Bell-Brown AKA The Disciples - put a new spaced-out spin on each other's weighty, bassbin-bothering riddims. It offers a great snapshot of late '90s UK dub, with highlights including the hot-stepping, Melodica-sporting dancefloor goodness of "Philosophers Stone", the weighty bass and soulful vocals of "Dancing On A Rainbow", the rolling, snare-heavy roll of "Elixir" and the cheery digi-dub business of jaunty bonus cut "Eternal Dub".
Review: Indica Dubs and Music Mania link up once more for their 18th release, which comes from two of the UK dub top legends and pioneers in Alpha & Omega and The Disciples. This album was first put out in 1998, but only in CD format. Now two deuces later it makes its first ever appearance on vinyl and is as crucial as ever, with its crisp and fresh, steel plated dub sounds and warrior leads. The iconic 'Roaring Lion' is a well known anthem in the dub scene, loved and admired by all, so gets a welcome inclusion and is sure to once again be heard everywhere as soon as we can enjoy some real life sound system action .
Review: Originally unveiled in 1992, Blue Day represents one of the most exciting periods in the evolution of British shoegaze heroes Slowdive - their formative years. Comprising the first three EPs, or at least a good chunk of each and the entirety of the seminal Morningrise, it's less of a history lesson and more a reminder of just how well the seven-piece's music has stood the test of time.
There are some notable omissions, it's true. So the Slowdive songs here are missing 'Avalyn II'. And there's no 'Catch The Breeze' or cover of Syd Barrett's 'Golden Hair' included from Holding Our Breath. Still, with the ethereal yet jangly rock of 'She Calls', 'Losing Today''s dark, almost choral atmospherics, and the white noise and discordance of 'Albatross', ain't nobody complaining here.
Review: The Dutch label Klakson is a real mark of electro quality. It has been doing its do since before the current hype and will continue long after, no doubt. Sepher takes the reins for this one and fires out of the blocks on serrated synths and chattery 808s. The basslines are so dynamic and restless on 'Artificiality' your mind will get tied in knots trying to keep up, while 'Duplicate' brings clipped Drexcyian funk that doesn't hang around. There is a deeper, more pensive vibe to 'Izadi' that completes a fine EP with a broad array of styles.
I Don't Know What It Is, But It Sure Is Funky (Fashion remix) (3:50)
Review: Legendary 70s funk band Ripple are back with two original members making new music again. Curtis "Kazoo" Reynolds & Keith "Doc" Samuels now go by the name of Ripple 2.20 and their first work is a new version of John Edwards' "Exercise My Love." It is a cover, but not as we usually know it - they lay down an incredible new vocal and play the parts with a real sense of sensuousness. On the flip is a new remix of some of Ripple's original material in the form of Fashion's take on "I Don't Know What It Is, But It Sure Is Funky", a raw, dirty, sleazy jam to get you in a sweat.
Review: Vancouver has long been a hotbed for electronic talent, a city with a score that's as sharp as it is deep, noises that feel submerged in the post-rave, post-techno, post-ambient and post-whatever else underground we've now grown accustomed to as the melting pot of modern dance culture. Khotin isn't letting his hometown down here, nor Ghostly International, the label carrying this release.
The downtempo, space-y 'Heavyball' comes with a particularly pleasing sort of crunch to the beat. Its running mate, 'Groove 32', follows up with a low-stepping groove. 'Ivory Tower' briefly resurfaces into jazz-inflected, dusty house-influenced downbeat. 'Outside Light' takes us into complex, melodic ambient places perhaps most definitive of what this record sounds like overall, and certainly in keeping with its predecessor, Beautiful You.
Review: It's almost 30 years since Queen Latifah's 'U.N.I.T.Y.' as part of her Grammy Award-winning album Black Reign but it still gets the plaudits it always has. Heat Rock Records now revisits it for a sixth entry into their catalogue. Chicago's Altered Tapes is the man stepping up to remix and he serves up a big, hard hitting breakbeat version laden with sax lines and crisp drumming. An instrumental version on the reverse is more designed for the dance floor and is perfect for all the scratching and juggling needs of any hard working turntablist.
Momma's Groove (Jimpster Hip Replacement mix) (7:36)
Review: The latest must-check missive from deep house reissue specialists Groovin' takes us back to 2007 and one of the most infectious, insatiable cuts in Osunlade's sprawling back catalogue. First featured on his Strictly Rhythm-released album "Elements Beyond", "Momma's Groove" features Osunlade adding his own evocative spoken word vocals to a low-down deep house groover crafted from disco-funk style bass, flanged guitar licks, jazzy sax solos and typically tribal drums. Over on side B there's a chance to Jimpster's "Hip Replacement Mix", which transforms Osunlade's killer cut into a rolling slab of immersive deep house haziness perfectly suited to heads-down peak-time plays.
Review: East End Dubs' Eastenderz label keeps on turning out hugely functional but also charming dub tech that is stripped back to its bones and laced with funk. This new various artist EP packs a powerful punch from the off, with Floog laying down some vital kicks and whirring machine sounds to send any floor into overdrive. Cosmjn then takes us to another planet with his dreamy pads and Vlad Arapasu's 'Egoland' sounds like a classic Terry Francis cut from the mid-90s, so in other words, pure fire. There's no mucking around on 'Mello', a razor sharp closer with hi hats that would cut though steel.
Review: It seems like almost every single new week brings with it a new album from dub icon Lee "Scratch" Perry. And who are we to complain, because rarely does the quality drop when it comes to this weed loving, purple-bearded and mystic musical maestro. This time out we are treated to a special, heavyweight Record Store Day pressing of his To Drive The Dub Starship Through The Horror Zone album made with Daniel Boyle. It's a record with its head in the cosmos, with oodles of reverb making cavernous universes in which you float next to mutterings for the man himself. Made exclusively on 70's and 80's analogue equipment and with Lee's signature Black Ark sound, this is another classic in his cannon.
Review: Having already surfaced as a digital release earlier this year, Dycide's impeccable deep techno excursion Fluctuation gets a vinyl pressing. Existing outside of space and time, this is immersive body and mind music of the highest order. 'Fluctuation' The title implies a sense of urgency in its kinetic rhythm patterns, but the beats are slender vessels for an expansive palette of atmospheric tones and impulses. 'Fluent Iteration' plumbs darker depths in a manner that calls to mind Consumed-era Plastikman. 'Inflation' adopts a broader set of sonic tools, using poised inflections of percussion and found sounds in a wide-open space that remains betrothed to the night. Claudio PRC comes on board for a remix of 'Fluctuation' that weaves subtle threads of warm melodic material around a straight and narrow groove, slotting neatly into the deep techno veteran's formidable canon.
Review: Japanese heavyweights HHV continue their ongoing trawl through the back catalogue of long-serving hip-hop producer, DJ, record collector and self-styled King of Diggin', Muro. Here they present the second part of the dusty-fingered hero's turn-of-the-millennium Pan Rhythm series of 12" singles, this time presenting it on a tidy seven inch single. 'Hip-Hop Band' is a weighty, floor friendly, horn-heavy re-make of the Stetsasonic song of the same name, with local mic man Boo delivering tweaked versions of the U.S crew's verses in his native Japanese. While jazzy, the bombastic backing track - which can be heard in full on the flipside instrumental version - is forthright and club-ready, making the single a must-have for working hip-hop DJs and those who love the more up-tempo end of the rap spectrum.
Review: This majestic jazz love letter was written in 2015. It was Hokkaido pianist Ryo Fukui's last album and now gets an official reissue allowing us all to once again sink into his personal contemporary jazz offering. Fukui is celebrated for his delicate styles and miraculous albums such as 1976's Scenery and a year later, Mellow Dream. He was not only a player, but also a club owner having linked up with his wife Yasuko to open his very own jazz space, Slowboat, in Sapporo in 1995. In the years after he honed and perfected his craft, taking it to new labels as heard here.
Review: Led Zeppelin and Roger Daltrey from The Who have recently covered this much loved soul gem recently, but now we get two remastered versions of the original from the source tapes. 'As Long As I Have You' was the title track of Garnet Mimms' 1964 debut solo album and if you can find a 7" original now it'll set you back a monkey, at least. A single version, which is slightly extended, is included on the reverse and features brass additions from The Senate. It's another pricy one if you can find it, but both tunes hit hard, with deep cut Northern Soul grooves and driving swing that you simply cannot resist.
Notturno Italiano (Daniel Maunick & Alex Malheiros vocal) (5:55)
Notturno Italiano (Daniel Maunick & Alex Malheiros instrumental) (5:55)
Notturno Italiano (Ron Trent dub remix) (7:28)
Review: Mario Acquaviva's 1983 jam 'Notturno Italiano' is a hugely sought after Italian boogie gem. Mother Tongue have dug it out the archives and enlisted some key names to offer up reworks and reconstructions, with Azymuth's Alex Malheiros and Daniel Maunick going first. They offer vocal and instrumental versions with life-affirming jazz Rhodes and cool, seductive rhythm sections that take you into the cosmos. Eternal deep house hero Ron Trent then does his escapist and spiritual thing on a lush and star-gazing dub that transcends genre. All three of these are irresistible.
Review: In case you didn't know, Hedzup does it all - it is a vinyl and digital label based in the French capital, which is also where the founders Wlad and Mancini host their own parties. They deal in well regarded minimal sounds and pair up once more for the fifth EP on their own imprint. There's plenty to get excited about, too, with punchy acid house opening up before an IO (Mulen) remix sinks the track into more smooth and supple deep tech realms. House rarely gets as slippery and funky as 'Furbished' on the flip, while long time French house icon Djebali adds his usual jazzy depths to the remix.
Review: American hard rock band Guns N Roses are one of the most iconic to ever do it. Their Greatest Hits album is jam packed with smash hit after smash hit. Released by Geffen Records in part because of the delay in the making of Chinese Democracy, it came in 2004 amidst some infamous legal challenges from Axl Rose and former band members who weren't too pleased with its tracklisting. It got no promotion as a result but still topped the UK Albums Chart and no wonder with 'Sweet Child O Mine', 'Welcome to the Jungle' and 'Paradise City' all featuring amongst plenty more.
Review: More Toxic Funk flavours from the Breakbeat Paradise crew, who've cannily snapped up a couple of killer collaborations from Prosper and Badboe. The experienced pair predictably goes in hard on A-side 'Beastie Lifestyle', where a classic Beastie Boys acapella is slapped down hard on a brand-new heavy funk-meets-breakbeat backing track that comes laden with mazy electric piano solos and fiery horns courtesy of Le Marabout. They change tack slightly on 'Without Funk', joining the dots between a handful of killer samples on a P-funk flavoured workout that's every bit as addictive and ear-pleasing as the duo's A-side banger.
Review: Party starters, get this one in the bag immediately. It is pure fire in 7" form, a record bursting with Latin flavours, bristling percussion and jazz-sing beats that will lift anyone off their seat and right into the thick of it. The samples are easy enough to spot but that doesn't stop the a-side doing plenty of damage. Then on the flip, classic soul anthem 'I'm a Believer' gets a big beat and funky bridge extension that will keep people stomping for days. This black version has only been pressed 200 times, so one quick.
Review: Japanese jazz pianist Ryo Fukui is one of the most delicate and skilled payers of his generation. The Hokkaido pianist also owned his own jazz club, Slowboat, with his wife Yasuko, and this month two of his bets loved albums are being reissued with a special half speed remastering job. This one is a recording of him playing in New York with Lisle Atkinson on bass and Leroy Williams on drums. It was laid down in 1999 and inspired by Ryo's mentor Barry Harris. There are plenty of poetic reworks of classics and glowing piano pieces that easily wander their way into your heart.
Review: Gerd Janson's Running Back has rarely made a missteps in its many years of business. Whether serving up camp disco, rugged techno or the sweetest of deep house, you can always be assured of quality music from quality artists. This time out the boss looks to reissue the 1990 Love Club single 'Das Rote Jaar.' It's a mournful piece with a closely mined, whispering male vocal that makes for an intimate vibe, with the deep and dusty drums are for sensuous late night dancing. The dub is a subtle one that removes the vocal and lets the drums roll, and the instrumental is that bit more upbeat, though the mood remains pensive and alluring.
Review: Lee Burridge's All Day I Dream label keeps on taking us away from this weird situation in which we find ourselves with perfectly dreamy and escapist house beats that roll on for days. His A&R skills constantly turn up new names for the label and this time out Pippi Ciez and Idd Aziz link for a worldly new single, 'Riziki.' The drums roll deep and the percussion flutters up top to soothing effect. Key to it all is an impassioned vocal chant that brings afro flavours. A Lost Desert remix is much deeper on the flip, with plaintive pianos added into the most cathartic mix. t.