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: 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: 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: 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.
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: 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.
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: 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.
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: 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: 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: Stockholm label Omena raise a glass to celebrate one year of business with this special RSD 7" from the ubiquitous HNNY. Johan Cederberg was responsible for the label's debut release so it seems quite fitting he's back with more sweet HNNY business to usher in the second year of Omena. Up top, "Cheer Up My Brother" finds HNNY in laid back form, adding some subtle downbeat funk touches to the lazy afternoon groove of "Farther Along", transforming the gospel staple into an essential summer sizzler. It's complemented well by the B-side track "There Is No One Else" which ups both the tempo and temperature into something of a French Touch stunner.
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: 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: 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: 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: 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.
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: 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: Deep house might not be getting the headlines it did a few years ago, but that actually means those who jumped on the hype train have all alighted once again and now only those truly devoted to the form remain. That means we get high quality EPs like this one from Visions Inc. Aleqs Notal takes us on a spiritual trip littered with toms and jazz-chords to kick things off before Meftah gets more experimental with a broken beat, tripped out keys and rubbery bass all sinking you into a state of trance. For those who like it more straight up, Taelue obliges, and as with all Afrikan Sciences tunes, the closer is a masterfully deep concoction.
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.
Joey Negro Presents The Sunburst Band - "Far Beyond" (6:37)
Review: Following on from the bumper compilation on Z Records of all the label's greatest hist, boss man Joey Negro offers up a third volume of 12"s. He goes first with a nice loose mix of 'Love Hangover' that bumps in all the right places. Opolopo's 'Get On Up' is a dazzling cut with cosmic chords and long legged drums that move you to your core, then Joey is back with a slick dubwise version of the classic TW Funkmasters cut 'Love Money.' Last of all, 'Far Beyond' is a reflective closer with far-sighted chords and a late night glow.
Review: You might have heard about this LP..... After a pre-release campaign that took on Hollywood-esque proportions, French pair Guy-Manuel de Homem-Christo and Thomas Bangalter return as Daft Punk with their fourth studio album Random Access Memories sporting a A-list cast of guests and contributors. Given the input of disco icons Giorgio Moroder and Nile Rogers it's entirely understandable that the overbearing sound on Random Access Memories is one of classic disco with lead single "Get Lucky" a good indicator for what to expect. There's also a smattering of yacht rock within the thirteen track set, whilst the ubiquitous Panda Bear turns up on the midnight stutter funk album highlight "Doin' It Right". Those expecting a return to Daft Punk's Homework heyday will be disappointed but Bangalter and de Homem-Christo are touching forty so the polished, expertly constructed disco direction makes perfect sense.
Review: The mysterious Sault troupe is back with a call to action and revolutionary soul soundtrack that really bangs the box. "Ain't nothing gunna keep us silent" the lead singer yelps on 'Stop Der', which is an immediate banger after the soothing ambience and closely mic-ed whispers of the opener, which muse on what it means to be black. The rest of the record is a hard hitting mix of crisp drums and empowering vocals, with elements of classic soul as well as contemporary jazz colouring the grooves. This is powerful music with an even more powerful message.
Review: If you've ever tried to track down Gaston's obscure funk-soul album My Queen, you'll know that second-hand copies of the 978 set regularly change hands online for eye-watering amounts of money. Happily, Soul Brother Records has managed to license it and have pressed 1,500 new copies of a special Record Store Day 2020 edition. Musically, it's one of the more interesting and hard-to-pigeonhole sets to come out of the North Carolina funk and soul scenes during the 1970s, with the obscure band offering up a mix of intoxicating, rock-tinged instrumental workouts (the decidedly cosmic 'Magnificent Choo Choo'), piano-laden Latin jazz-funk numbers ('Fantasy Garden'), sun-kissed songs ('Clock In', the twinkling 'My Dreams'), and hot-to-trot dancefloor cuts ('My Queen', the extra-percussive and alien 'Clap Song').
Review: Eddie C's Red Motorbike journeys on with another tasty 7" morsel from the boss himself, this time split with Elado. That is who goes first on the guitar licked, Americana tinged, disco dripped "Hipos" which is a perfect tune for gazing off at a distant sunset as you sway to and fro on an outdoor dance floor. Eddie C's "Crazy Heart" chugs a it harder, with busy melodic phrases riding up and down the scale over chunky drums. As always with Red Motorbike, this is grown up music for grown up dance floors, but that's not to say it isn't hella fun.
Review: Buckle up for the latest space crusade from Salty Nuts. This one finds Oden & Fatzo at the helm and the trip begins with the slick and seductive tech house perfection of 'Spaceship For Sale' which glides on silky synths to an imagined future. 'Casinomania' bubbles with all the sort of pixelated sounds and hyper real chords that you would get on the gambling floor of a Las Vegas hotel and '69 Party Boys' is another lithe, neon-lit future-tech-funk gem that gets a remix from Fabe. In the popular Brazilian's hands it becomes a little more thrown back thanks to its warm organ bass.
Orquesta Olivieri - "Los Muchachos De Belen" (3:56)
Orquesta Olivieri - "There's No Other Girl" (3:22)
Ozzie Torrens & His Exciting Orchestra - "Mia's Boogaloo" (3:21)
Ozzie Torrens & His Exciting Orchestra - "Boogaloo In Apt 41" (3:19)
Brooklyn Sounds - "Ha Llegado El Momento" (45 edit) (4:27)
Brooklyn Sounds - "Guaguanco Tropical" (3:42)
Review: During the late 1960s and early 70s, New York's Latin music scene was the envy of the world, with a swathe of immigrant musicians from Central and Southern America joining forces to perform and record new variations on traditional themes and hybrid fusions of multiple styles, most notably Harlem-born Boogaloo. This Rocafort Records release pays tribute to some key NYC Latin combos of the period, delivering two tracks apiece from three acts over a trio of seven-inch singles. It's a hugely vibrant and enjoyable set, with highlights including the jaunty salsa of Orquestra Olivieri's 'Los Muchachos De Belen', two fiery boogaloo heaters from Ozzie Torrens and his brilliantly named "Exciting Orchestra", and the carnival-ready rush of Brooklyn Sounds' 'Guaguanco Tropical'.
Review: Expansion is pushing the boat out for Record Store Day 2020. Chief among the label's must-check RSD releases is this 12", which offers up fresh re-edits - courtesy of an un-credited re-editor - of two sought-after cuts by late-'70s and early '80s West Coast fusionists Halo. The headline attraction is undoubtedly the fresh edit of the ultra-rare extended mix of 1981's 'Let Me Do It', a warm and groovy modern soul/boogie jam primarily known for its' familiar "let me do until you're satisfied" vocal refrain. The band's shorter original version is also included in the package, alongside a shorter re-edit of their sparkling, synth-heavy 1988 single "Life". In keeping with the more celebrated A-side, it's an energetic, life-affirming earworm.
Review: Here's something for those looking to fill in the gaps in their classic hip-hop collection: a sizzling seven-inch boasting two of the Jungle Brothers hottest hits. On the A-side you'll find "Because I Got It Like That", a lolloping party hip-hop jam built around an assortment of complimentary samples, most notably a lift from Sly and the Family Stone's killer cut "You Can Make It If You Try". Over on the flip you'll find one of the most recognizable dance anthems of the late '80s, the early hip-house classic that is "I'll House You". Based on Todd Terry's similarly big "Can You Party", the tune is a warehouse-ready bounce-along that sounds as fresh now as it did way back in 1988.
Jim Dunloop - "Espirito Do Rio" (Brazil Wave edit) (3:13)
Jim Dunloop & GRZLY Adams - "Different Sweetnuts" (Walk In The Shade edit) (3:58)
Review: For the latest "45" in the Dusty Donuts series of edits and mash ups, the Berlin-based crew has turned to long-time crew member Jim Dunloop, a jazz-trained pianist-turned-producer best known for his work alongside Marc Hype. He begins with "Spirit De Rio", a wonderfully warm, head-nodding, hip-hop style revision of a summery-sounding old samba gem rich in dewy-eyed female vocals and glistening guitars. Long-time friend, and occasional collaborator Grizzly Adams lends a hand on flipside cut "Different Sweetnuts", a deep and woozy revision of a fragile, female-fronted soul number that wraps drowsy elements from the pair's source material around a bass-heavy beat.
Jensen Interceptor X Assembler Code - "Red Cell" (5:51)
CKFT (Keith Tucker X Carl Finlow) - "Coder" (4:55)
Voigtmann - "Subtopia" (6:07)
Cignol - "51D" (5:13)
Review: 20/20 Vision's electro mission continues unabated with this second compilation drop in the Exit Planet Earth series. The record opens up with Jensen Interceptor working alongside Assemble Code for a darkside workout heavy on the details and rude around the low end. Carl Finlow and Keith Tucker form a mini-supergroup for a new partnership CKFT, displaying their formidable chops with the body-rocking dystopia of 'Coder'. Voigtmann keeps things closer to the 4/4 spectrum on 'Subtopia', but with plenty of machine funk tropes woven into the mix. Cignol completes the set with a widescreen sound that's steeped in emotion and sci-fi noir from a dazzling array of finely tuned synths (including some essential 303, of course).
Review: You will no doubt have spotted Marcel Vogel's handiwork steering the good ship Lumberjacks In Hell, or perhaps even his choice edits under the Em Vee banner, but increasingly the Dutch artist is turning to his own name to get some fine records laid down outside the realms of pure edit territory. This second outing on Intimate Friends comes on like a mini-album of sorts, with eight tracks made up of remixes as well as originals. It's a powerful step on for Vogel, touching on a grounded variation on neo-soul with a house kick in the rhythm department. Soulful vocal spots from Mey, Milos Gersi, Gianni Tam, Khadija and Tim Jules all add to the sensation, heading away from the dancefloor as an expansive EP for all time.
Review: There's a fair chance you'll already have heard "Cola", experienced production duo Camelphat's collaboration with vocalist Elderbrook. The original version, with its rumbling bass, atmospheric builds, subtle bassline house influence and "she sips the Coca-Cola" refrain, has become something of an anthem since first appearing on digital download earlier in the year. For this first vinyl release, Defected has packaged the now-familiar original mix with a trio of reworks. The most impressive of these comes from German veteran Mousse T. He brilliantly re-casts the track as a bumpin' chunk of celebratory disco-house complete with thrilling piano riffs and an elastic bassline.
Review: A new one from Paris' Favorite Recordings. After two acclaimed LP's as Mr President released over the last decade, Bruno Hovart is back. One Night is soul and disco with a modern touch, fitting all the criteria to become an instant club classic. With special guest vocalists like Jennifer Zonou (Hawa), Cindy Pooch, Celia Kameni (Saving Coco) and Sabba MG - who you may recognise from previous releases. The title track is a sexy, loungey and jazzy deep house joint reminiscent of early noughties grooves on Naked Music or Hed Kandi. Plus, there's also a wonderful rendition of Roy Davis Jr and Peven Everett's classic 'Gabriel'.
Review: Here's something to get Talking Heads fans salivating: a fresh EP featuring previously buried, unheard alternative versions and outtakes recorded during the sessions for the celebrated New York new wave band's 1979 album Fear of Music. The EP begins with the completely unheard 'Dancing For Money', a typically undulating, off-kilter chunk of post-punk eccentricity that seemingly never went beyond the demo stage, before offering up a riotous alternate mix of the noisy, guitar-laden stomper 'Life During Wartime'. Over on the flip you'll find notably different arrangements and recordings of 'Cities' and 'Mind'; the latter, with its juju style guitar sounds and languid rhythm section, is particularly good.
Review: Blue Note Re:imagined is a carefully curated collection of brand-new covers of classic material from the legendary label as served up by a selection of the UK scene's most exciting young talents including Ezra Collective, Nubya Garcia and Brit Award-winning Jorja Smith. For this latest 7" it's Jordan Rakei, who actually hails from Aus, but let's not get mad about that because the super smooth soul singer reaches new heights on the free flowing, heart opening 'Wind Parade'. Jazz pianist Alfa Mist takes care of the flip with a suitably cosmic exploration on 'Galaxy' that pairs live, busy drums and soaring synths with rich chords.
Review: Mr. K and Most Excellent Unlimited are back with another must have motherlode of ten essential cuts on 7-inch, assembling a serious cross-section of diverse jams that were particularly popular at The Garage, majority of which appearing on 7-inch for the very first time in any form, let alone in these unique quintessential edits. Patrick Adams and Greg Carmichael production, female diva classic "Let's Get Together" backed with a previously unreleased NYC Peech Boys demo version of "Somebody Else's Guy." Tough South Bronx funk "Standing In Line". Synth epic, Krivit's classic edit of "Evolution". Disco Funk edit of Larry Levan's "Slap, Slap, Lickedy Lap". With much more in this diverse and remarkably sought after tracklist, surprises, like "Catch The Rhythm" (the only Boris Midney production regularly played at The Garage), along with Mr. K's previously Japan-only edit of Loleatta Holloway tour de force "I May Not Be There When You Want Me". Five singles impressively mastered with maximum fidelity and playability for an exclusive Record Store Day, including a bonus pair of newly designed, Mr. K seven-inch slipmats.
Review: Over the years, we've become accustomed to hearing Bottin push the boundaries of sleazy, analogue-rich nu-disco and revivalist late-night Italo. On this edit outing he successfully switches focus, delivering four re-rubs of a suitably Balearic persuasion. After opening with the huggable grooves, dreamy chords and hushed spoken word vocals of "Manifesto Balearico", the Italian producer brilliantly dubs out some slap-bass-propelled post-disco oddity ("2 Palmy Days"), before reworking a suitably cheeky chunk of Italo-disco/sleazy synth-pop eccentricity (the ace "Got Headphones"). To finish things off, he offers up "OK! Goodnight!", a fine fusion of glassy-eyed female vocal snippets and what sounds like replayed sections from Steve Miller Band's "Abracadabra".