Back catalogue: All genres

Review: There's a delightfully celebratory feel about this debut volume of Cititrax Tracks, a new 12" series from Minimal Wave offshoot Cititrax. As beautifully presented as we've come to expect, Tracks Volume 1 boasts a quartet of dancefloor-ready smashers from a blend of new faces and label stalwarts. Amato (aka The Hacker) kicks things off with the glistening EBM funk of "Physique" - all restless synth refrains and pounding bottom end - before LIES affiliate Tsuzing go all dark, psychedelic and twisted on the thrillingly intense, acid-flecked "King of System". An-I go all DAF (with a touch of Front 242) on the fuzzy and dystopian stomper "Mutter", before Cititrax regulars Broken English Club delivers a storming chunk of industrial-tinged analogue funk ("Glass"). Bravo!

Review: Oh yes, we love it when Theo represses some of his most sought after tracks and this one is particularly well-timed. Leron Carson is still an unknown figure, a kid who used to make viciously raw and futuristic techno tracks in the late 1980's! "China Trax", alongside the rest of his tracks on a different Sound Signature double 12", is totally ahead of its time and if it was truly made in 1987 then it is nothing short of amazing. Of course, it's not just the year it was made in that's interesting but also the fact that it's music without an age, able to be appreciated by any generation of techno freaks. Theo's own "Insane Asylum" on the flipside is also pretty monumental; rigged beats, off-kilter grooves and that familiar spontaneity so heavily associated to the label.

Review: Two Larry Banks produced soul gems from the 60s... Kenny Carter's "You'd Better Get Hip Girl" is straight out of the Motown playbook; raw emotions, rich harmonies and superb orchestration it's a ballad of the highest order. "My Life Is No Better" carries the same lamented sentiment but delivers it in a much more uptempo fashion a la Delfonics. Powerful.

Review: Late last year the Wolf Music crew launched a dedicated vinyl only series in triumphant fashion with the double dose of Red Rack' Em that was In Love Again. Evidently looking to maintain a high profile for this new endeavour, the second release in the series features the talented duo that is Creative Swing Alliance! If you've shaken a leg at a recent Wolf Music gig you'll no doubt be familiar with "In My Arms" from Pabs Valentine and his fellow Creative Swinger Steven Joyce Ames, a sublime arrangement where percussion rattles away with just a hiss of distortion, complemented by filtered M1 stabs, a beefy bassline and some fierce vocal hooks. Heading up the B Side is Wolf cub Thrillogy; don't be put off by the chilly title, "Arctic" is actually all about the warmth that resonates from those huge synth lines.

Review: It's been some six years since Caroline "Miss Kittin" Herve and Michel "The Hacker" Amato last delivered fresh material together. While we await further news of their long-mooted comeback, there's this tasty EP of previously unheard archive material to enjoy. Made up of tracks recorded between 1997 and '99 - when their production partnership was in its' infancy - The Lost Tracks Volume 1 contains a number of fuzzy, stylish, floor-friendly bangers, from the S&M-themed madness of opener "Leather Forever" and stripped-back electro gem "Nightlife" (a tribute to Berlin clubs of the period, apparently), to the high-tempo acid-loaded freakishness of "Loving The Alien". Top-notch sleaze.

Review: Omar S brings "The Grand Son Of Detroit Techno!". This amazing, deep and hypnotising house track features live percussion from Theo Parrish.

Review: Originally released back in 2011 in conjunction with Scion Audio/Visual now repressed by Omar S on his FXHE label "Who's In Key" features Theo Parrish!

Review: limited 12" 180g records, single press, individually numbered, no repress, no digital with reDICKulous artwork hand 'crafted' by the man behind the label.
Tusk says, "The title track from TW15 was conceived after a particular heavy Tusk Wax label party at Renate in Berlin. I went back to my old pal PORK INTL's place for a bit of drunk studio time and told him all about the living legend that is Gizzy the Fox. A couple of bottles of wine later and I was telling the story to a microphone and we were writing an oddity of a track. If you have had the pleasure to meet Gizzy and spend time in Renate you might understand the lyrics, if not, they'll probably just sound like the rantings of a drunk man, funny that."

Review: Torsten Profrock’s T++ project has continually spread its wings since conception in 2005. Championed by fans of techno, dubstep, experimental and drum & bass alike, his latest EP for Honest Jons (and rumoured to be his last under this monkier) showcases the amalgamation of styles and sounds that has earnt the German such a far reaching fanbase.



If it does prove to be the final T++ release ever, then the alias will have left us with the most expressive and energetic of his works. Adding a real sense of personality, Profrock unearthed a handful of samples of the singer and ndingidi player Ssekinomu, recorded in East Africa in the 1930s and 40s in the label’s vaults for this release. Skilfully, the producer works these snippets into the complex rhythm structures, giving his music a human touch that has never been seen before. Profrock looks to the radical fringe of UK garage for the snapping 2 step vibe in these rhythms that remain central to all four tracks on the EP. This results in a clutch of tracks that take on an immensely tribal and subconsciously innate feel. They morph new structures from the forms of 2 step, techno and drum & bass around which Profrock wraps twisted FX and weighty sub bass to create one whole, throbbing organism.
So with quite possibly his final release, T++ leaves us, rather fittingly, with a record that sounds at once both ancient and modern. It has a totally unique tone, like a form of tribal language that can only speak to and be understood by today’s culture through these sub-heavy, atmospheric sounds.

Review: Mr Bongo's Brazil 45s series continues its consistently rich vein of form with two more beautifully contrasting - and previously difficult to track down - Brazilian soul jazz fusions from the 70s. Side A is inhabited by one of the era's most interesting individuals. Infamously censored and eventually exiled, Taiguara's chaotic flute, guitar and piano arrangement is a tight weave of melodies, counter melodies and start dynamics. Flip for the classically soul-oriented "Deixa Eu Te Amar" will bright horns, brash drums and a bold vocal from Marisa Rossi. Pow.

Review: The Mantua based Tempelhof pairing of Luciano Ermondi and Paolo Mazzacani mark their debut on Aficionado with a sublime two track 12". The music here was allegedly inspired by the recording sessions they did for the recent Hoshi LP with Gigi Masin and if you are familiar with his work you will be able to hear how Ermondi and Mazzacani applied the lessons learnt wit the ambient maestro on Piano Piano. The title track is an absolutely gorgeous modern ambient composition that feels like it could go on for a lot longer than its eight minute duration without getting tiresome. Those sumptuous piano notes are pitch perfect. On the b side Ermondi and Mazzacani nudge proceedings gently towards the dancefloor with the delightful Balearic wonder "Barbados". Like most Aficionado releases this wont be around for long.

Review: Last year, legendary disco label T.K released a pair of 12" singles featuring fresh Todd Terje reworks of classic material from K.C & The Sunshine Band. It was such a success that they've decided to repeat the exercise, recruiting Aussie rework specialist Late Night Tough Guy to breathe new life into Timmy Thomas' impassioned anti-war record and the recent subject of sped-up sampling by Drake, "Why Can't We Live Together". Typically, his version is built around a lolloping, disco-friendly house groove, onto which the original record's killer organs and vocals sit. It's tastefully done and hugely playable, of course, though some disco DJs will still prefer to reach for Thomas' impeccable original. Handily, T.K has included that heartfelt slice of soul brilliance on the A-side.

Review: In 1980 Tina Weymouth was playing bass for the Talking Heads while her husband Chris Frantz played drums. The couple were vacationing in the Bahamas when they met Monty Brown and Stephen Stanley. Together the four set out to make the kind of music that David Byrne and the Talking Heads stayed clear of: romantic, sunny, dance-able pop music. Their debut single, "Genius Of Love" is that classic early 80s cross between synth-pop and hip-hop, and went right to the top of the dance charts, securing them an identity separate from that of Talking Heads. It found a home in the samples of several hip-hop aficionados and was even nicked by Mariah Carey for her 90s hit, "Heartbreaker".

Review: Claremont 56 continue to disregard the genre boundaries - preferring instead to give good music the attention it deserves - as their latest looker of a twelve inch presents us the sounds of Torn Sail. Fronted by Smith & Mudd vocalist Huw Costin, Torn Sail go all 60s West Coast rock on us with the gloriously rich sounds of "Birds". From its acoustic beginnings the track gradually unfurls into a delightful groove embellished by soothing vocal harmonies. It's almost a thankless task enlisting anyone to try and remix what sounds like a perfect song, but Claremont 56 obviously chose right in requesting the services of Tiago. In the Portuguese producer's hands "Birds" is transformed into a heavily psychedelic freakout which gently develops into a kraut rock behemoth filled with swathes of heavy organ vibes. Containing several shifts in momentum - including a glorious half speed finish - this is a truly stunning remix which left our jaws occupying the floor!

Review: The 12" version of Ron Trents Raw Footage LP selects four of the best suited cuts from the CD album for the vinyl format. "Blood & Fire" is repetitious in composition with Trent's use of reverberating bells, monotoned synth hits and bit crushed shakers. The rest of the EP moves into deep house, even slightly tropical territory. "Atmosphere" wallows in tribal percussion, porno synths and delay as does "Pressure Zone", almost a dub version of the latter. "Space Dance" is a cerebral deep house pleasure replete with breathy male vocals, drawn out chords and heartfelt undertones.

Review: Cititrax's first Tracks 12" sampler did a good job in showcasing material from some of the Brooklyn-based label's favourite contemporary producers. This follow-up, arriving only a few short months after the first, aims to do the same. Returning for his second appearance, Tsuzing kicks things off with the razor-sharp shuffle of "Nonlinear War", whose intoxicating electronics and wild synth lines recall Brown Album-era Orbital, before London-based L/F/D/M takes a trip into bleak techno territory with the acid-laden "Mouth Holes". Flip for Silent Servant's deliciously grandiose, muscular electro-disco workout "The Touch", and the clanking industrial percussion, EBM attitude and humming electro beats of Maelstrom's "Lithium".

Review: Two premium Latin funk documents on one limited 45, Mr Bongo deliver once again: Marcos Valle needs no introduction to Brazilian music enthusiasts. "Mentira" is a self-cover as Valle takes his 69 classic "Mentira Carioca" and develops the dynamic with a vocal style that's highly reminiscent of Donovan. Flip for Toni Tornado's Black Rio anthem "Me Libertei". Fusing sleazy rock n roll with jazzy Latin soul, madly this is the first time it's ever graced a 45!

Review: Ruled by Passion, Destroyed by Lust marks the fine debut of The Asphodells, Andrew Weatherall's latest collaboration with close friend and creative foil Timothy J Fairplay. Their compatibility shines through, taking their shared interests and inspirations and playfully tosses them together to create a stylish, coherent whole. The album displays its dark underbelly proudly, but there are more than enough shards of light to inspire those salivating after the bold melodies of Two Lone Swordsmen or the naive, child-like bagginess of Weatherall's Screamadelica era work. At times reminiscent of New Order and others cripplingly paranoia inducing, this ten track set concludes in sublime fashion with the duo's dreamy, cosmic disco-era cover of A.R. Kane's "A Love From Out Of Space"

Review: The debut album from Freddie Cruger, under his alias The 3 Foot People. A mix of jazz, hip-hop, and soul.

Review: YES! Any self respecting music fan will no doubt already have fully acquainted themselves with Black Messiah, the long promised new album from soul artist D'Angelo and know that it already stands as one of the long players of the year if not the decade! The real fans have probably been waiting for the vinyl release and it's great to see the correct decision has been made to grant Black Messiah a double LP pressing. Everyone no doubt has their favourites on Black Messiah but it's great to have cuts like "Sugah Daddy" on wax, that one is perfect for the house party situations.

Review: Terrence Dixon's announcement of plans to retire from techno with immediate effect earlier this year have typically gone without any further explanation, though it's been heartening to see his final round of projects surface over the course of 2014. Having already committed a killer Population One 12" to Metroplex, Dixon delivers another fitting parting shot in this LP for Rush Hour, who took their name from his classic Pop One production "Rush Hour". Theater Of A Confused Mind is a powerful statement from Dixon, expanding on the sci-fi themes of previous Population One material and posing several cryptic questions. Dixon's own voice introduces the album on "Out Of Control" and as matters progress those trademark queasy lines of melody begin to take control - "Inner City Circus" being a stand out of this set.

Review: Having re-released Rim Kwaku's long lost Rim Arrives album, BBE follow it up with more dusty disco treasures from the Ghanaian hit maker's repertoire. From the blistering horns and thundering drum rolls of the near-nine-minute romp "Shine The Ladies" right the way through the looser, more Afrobeat-focussed "Peace Of Mind" by way of the emphatic Stevie Wonder-style showmanship of "I'm A Songwriter" it's a collection that still sparkles with soul 30 years after they were recorded. If you're unaware of Rim's story, you'd be wise to check it; from Quincy Jones endorsements to homelessness in the space of 24 hours, Rim's tales are as serious as his music is funky.

Review:  "It's not really house, more electronica - like a proper album," John Talabot said of this album. . It's an apt description. Fin is clearly rooted in house - and the kind of melody-driven, atmospheric tackle that the Barcelona-based producer excels at - but it's certainly not a dancefloor-focused set. There are off-kilter downtempo moments, slo-mo compositions and twisted beatscapes that recall the impossible-to-pigeonhole antics of Hyetal (circa "Broadcast"), Sepalcure and Instra:mental. Then there's closer "So Will Be Now" (one of two collaborations with Pional), a near-genius chunk of future garage/deep acid house fusion that's so beautiful it almost hurts. As transformations go, Fin is stunning.

Review: Australian combo Tama Impala has always been hard to pin down, with their two studio albums to date displaying a keen desire to capture a trippy, psychedelic vibe, whilst refusing to settle on one easy-to-categorize sound. Currents, their fourth album, continues this trend, toning down some of the psychedelic rock elements in favour of nods to blue-eyed soul, woozy dream-pop, cheery summery pop (see the radio hit in waiting "The Less I Know The Better"), and even the head-nodding rhythms of hip hop (which, incidentally, prove the perfect backing for the morphine pop wooziness of "Past Life"). It's a blend that re-casts the band as baked, inter-dimensional travellers with a neat line in enveloping, sun-kissed downtempo pop.

Review: He's taken his time, but finally Norwegian nu-disco legend Todd Terje has delivered a debut album befitting his immense talents. While there are plenty of examples of his vibrant, synth-heavy dancefloor style on It's Album Time - see "Delorean Dynamite", "Inspector Norse", "Strandbar" and the Lindstrom-ish grandiosity of "Oh Joy" - what really makes it such an essential set are the curious turns and oddball moments. Samba, jazz and easy listening get the Terje treatment on "Alfonso Muskedunder", "Leisure Suit Proben" and "Svensk Sas", while there's a welcome dose of wide-eyed Balearica on the tweaked "Swing Star" (one of a string of previously released cuts on the album). Most interesting of all, though, is "John & Mary", a woozy, Roxy Music style cover of a Robert Palmer classic featuring the effervescent Bryan Ferry.

Review: Viennese duo Tosca have been dealing in ambient sounds for most of their long-running career, but this new LP on Germany's K7 marks a change in their musical style and vision. While they've been praised for their downbeat jams and abstract sounds in the past, Outta Here is all about rhythm and motion wrapped in a warm, jazzy blanket. "Crazy Love", for example, is basically a boogie tune, while "Have Some Fun" sounds like the perfect leeway between hip-hop and house. "Swimswimswim" is another favourite of ours, mainly for its sensual vocals and alluring groove. A sublime turnout for the Austrian boys!

Review: Cuba-meets-Cameroon-via-Guinea-and-Senegal, the roots of this African-adopted Cuban sound are as rich, unique and exciting as Amara Toure's tale itself. After years of club performing in Dakar, Amara and his Black & White Ensemble in the late '60s and proceeded to release 10 songs during the '70s. Here, for the first time ever, all of these recordings are united on this immaculately presented collection. From the cobble-kicking percussive Cuban heels and emphatic harmonies of "Fatou" to the deep yearning crooning blues of "N'ga Digne M'be" and the spacey, out-of-this-world guitars and jazzy trumpet lead of "N'Niyo", there's something very special and unique about this collection. With a heart that beats in Africa but a soul that shines with Cuban fire, as Analogue Africa state themselves... It's only taken 10 songs for Amara to become a legend. Very few artists can claim this feat.

Review: By now, we should all know what to expect from deep house legend Ron Trent. Over the years, he's fine-tuned his musically complex, emotion-rich sound to a tee. This fourth album, the follow-up to last year's more mixed up Dance Floor Boogie Delites, sees him at his most cosmic and melodic. Think smooth pads, darting synth doodles, hypnotic - and occasionally percussively complex (see "Atmosphere" - grooves, and twinkling piano melodies. For those who appreciate his slightly soft focus approach, it's a delight, with some genuine gems to behold. "Sweetness", "Space Dance" and the darker, clubbier "Blood & Fire" are arguably among his best tracks of recent years.

Review: Tropics - AKA singer-songwriter and multi-instrumentalist Chris Ward - deals in a smooth and spare electronic sound, in which the love of '80s Peter Gabriel and Arthur Russell that he grew up is parlayed into yearning songs that are both stylishly understated and emotionally engaging. Never less than inventive and melancholically melodious, 'Rapture', his second album, makes for an exquisite litany of heartache and regret, as Ward delivers the kind of late night tales that will be manna to anyone whose tastes veer in the direction of Sade, James Blake and The XX alike.

Review: Two years and two months have passed since Scott Hansen delivered his fifth studio album Awake and there's a strong rumour that his sixth is en route. In the meantime, Ghostly have channelled the spirits to commission nine fittingly far-out, heavily textured remixes. From the faraway jungle breakbeats and spiralling arpeggios of Nitemove's shake-up to the sparse flute flexing and smoky beats of RJD2's jam by way of warped, time-bending nuances of Bibio's take, the all-star cast deliver an all-star collection of versions. This will keep us more than happy until the next Tycho tale arrives.