Enjoy The Silence (Smoove Multitrack rework) (5:31)
Let's Stay Together (Smoove Multitrack rework) (6:20)
Blind Alley (Smoove Multitrack rework) (4:46)
Review: While the Reflex was the first to forge a career out of multi-track re-editing (which would have been called remixing back in the disco era, since you are rearranging using the original parts), plenty of producers have followed in his footsteps in recent times - not least popular disco and funk party-starter Smoove. Here he serves up a ninth instalment in his excellent 'Multitrack Reworks' series. On side A he does a stellar job in reinventing Depeche Mode's 'Enjoy The Silence' as a squelchy, synths-and-slap-bass sporting mid-tempo disco anthem, complete with spine-tingling vocal breakdowns. He opens side B with a stripped-back, dubbed-out take on Al Green classic 'Let's Stay Together', smartly emphasising the bittersweet beauty of the original version's orchestral accompaniment, before delivering a sweet, head-nodding take on the Emotions' 'Blind Alley'.
Review: Sometimes a record drops and you just know it's going to be hot. This is one of those records, an essential 7" from Bloom and Japanese talent DJ Koco aka Shimokita, who has been spinning 45s since 2011 and can juggle beats like Messi can juggle a ball. He is a favourite with the likes of Gilles Peterson and is likely to win many new fans with this one. 'World Famous (feat 45Trio)' is a gloriously jazzy, soulful sound with funk drum breaks and warm, organic percussive tumbling next to natty chords and a killer bassline. Add in the equally irresistible 'Re Create #01' on the flip and you have a sure-fire future classic, so do not sleep.
Review: The MC was one of a kind. His legend lives on through his work which here gets served up on new label Doom in instrumental form. 'Saffron' (MF instrumental) is a silky late-night sound with warm melancholic chords and subtle boom-bap beats. On the flip, things get more jazzy with the expressive trumpets and more raw broken beat patterns of 'Arrow Root' (MF instrumental). It's a timeless and sophisticated sound that will woo any listener into a calming mood and comes on a limited 7".
Review: New York producer P-Sol has hit on a super effective formula for starting the party, stitching together a selection of familiar samples and hooks, adding some beautifully dusty breaks and adding a final sheen of shiny production skills. Both sides of this 7" have a touch of raw 'two turntables' action about them, while remaining impeccably constructed and tight, with the A-side 'This Way' proving to be the slightly speedier and slightly more funk/r&b-flavoured, while 'Breathe & Stop (Abstract Blend)' is the one for the pure hip-hop heads. Both, however, are dynamite in the box, needless to say.
Review: Soul Quest proudly present their latest release from Berlin DJ and producer Jean Jez, who lays down an abstemious, soulful exercise in sound here. Brought forward by 'Did You Want To Dance' and 'Take Me To The Moon' on the A, Jez riffs on the outstanding feelings of his recent Kedi Bounce parties thrown in eastern Berlin with a perfect pair of warming soulful deep house numbers. The vibe maintains itself on the B, which starts out percussive and yet prefers a more gradual incline into depth and profundity; 'What Is It Tell Me' is our prowler of choice.
Review: A captivating blend of jazz-infused grooves, soulful melodies and laid-back vibes, delving into the heart of soul music with 'Lost' that sets the tone with its heartfelt vocals and melancholic melodies. On the flipside, 'Thank You' offers a message of gratitude and appreciation, its uplifting harmonies and soulful instrumentation leaving the listener with a sense of warmth and contentment. Expect a selection of tunes that evoke the golden era of soul, with warm instrumentation, rich harmonies, and heartfelt vocals. Whether you're a seasoned soul aficionado or simply looking for some feel-good music to soothe the soul, this compilation is sure to hit the spot.
Smack Dab In The Middle (7-Inch edit By Mr K) (5:25)
Review: No one edits a classic like Mr. K, as he has proven time and time again. Now the legendary studio craftsman is back and revisiting Paradise Garage and some of the club's legendary sounds. First up is TW Funkmasters' 'Love Money,' which was conceived by UK radio reggae jock Tony Williams and fuses Dennis Brown's reggae hit 'Money In My Pocket' with early rap influences. The dub version was embraced by New York's dance scene and became iconic at the 'Garage, with many homages coming later such as Larry Levan's Man Friday remake, 'Love Honey, Love Heartache.' On the flip, Janice McClain's 1979 Philly disco classic 'Smack Dab In The Middle' shines as Larry Levan's mix is reworked by Mr. K who turns up the jazzy groove with fresh breaks.
Love Theme (Ilija Rudman Higher Ground mix part I) (3:20)
Love Theme (Ilija Rudman Higher Ground mix part II) (2:43)
Review: Ilija Rudman shows his class here with two edits for the always-on-point Brooklyn Highs label. He turns his hand to an original by Soul Men aka Black Moses and Part 1 will her you lost in a reverie. The meandering, stoned, slow-motion funk licks, gentle drums and wallowing chords all wash over you like a soothing breeze. The Higher Ground mix part II introduces buttery male vocals that drip with eroticism and soul. This one should come with a pregnancy warning.
Review: Dusty (Christoph Doepke) first released the 'Jazz&Milk' EP in 2005 through the esteemable German label, which would take its name from said touchstone electronic jazzdance record. Now the producer and not-incidental J&M label head returns with a freshened and slick record, themed after the titular and ancient antinomic saying. The EP marks a change since the producer's early days on the Munich freestyle DJ circuit: it's smoother and mellower than his establishing breaksy brand of funk-hop, and marks the 25th anniversary of Jazz & Milk as the label heads into sweeter territory. The highlight here has to be 'Ayalolo' with King Owusu, a rattlesnaking fusion of ambient builds and regional percussions, reflecting much of the decades-spanning globetrotting that has informed on the release.
Review: Ukrainian jazz singer Mona returns with a powerful funk 45 following last year's breakout 'Moya Vode' (or 'Sweet Water'). Fusing ancient folk traditions with modern cypher culture, this one delivers a message of unity and resilience while rolling on tempting grooves. Jazzy breakbeats, soaring horns and relentless clavinet and guitar riffs create the dynamic foundation for Mona's radiant vocals while loose piano and sax add a fresh live-jam feel. The vinyl edition features an exclusive instrumental version, with a Moog stepping into the lead and adding a different vibe.
Review: Vibe is back with more versions of Portishead classics from the mysterious Portishedd moniker. This latest 7" is a green slab with 'Glory' and 'Roads'. The A-side, like the B-side, is a remix from Kero Uno and it brings a swaying Latin feel and broken beats to the classic original vocal which rings out with a pained soul next to the eerie synths. 'Roads' is then a more late night and deep sound with the uneasy vocal whispers unfurling over lurching beats and swooning string sounds. It's a fine rework that is brilliantly atmospheric.
Review: Damon Locks, the Chicago-based musician and educator, delivers a powerful and thought-provoking album that explores themes of Black liberation and cultural identity. 'List of Demands' is a sonic tapestry woven from spoken word, archival samples and intricate rhythms, a testament to Locks's deep understanding of music, poetry and social commentary. The album's title, inspired by Locks's work with incarcerated artists, reflects its central theme: a call for recognition, justice, and empowerment. Tracks like 'Reversed' and 'Distance' set the stage with their hypnotic rhythms and evocative soundscapes, while 'Holding the Dawn in Place' and 'Everything's Under Control' offer moments of introspection and reflection. Locks's vocals, often processed and layered, create a mesmerising tapestry of sound, his words weaving a narrative of resilience and hope. A powerful and timely work.
Uptown Rulers (feat Apani B. Fly MC & Bo Dollis Jr.) (3:51)
Come On Down (To New Orleans) (feat Fullee Love & Hasizzle) (4:12)
All Night (Professor Shorthair extended mix) (4:57)
For The Wicked (Professor Shorthair extended mix) (5:13)
Everybody Pays (Professor Shorthair remix) (4:50)
Uptown Rulers (Professor Shorthair remix) (4:49)
Come On Down (To New Orleans) (Professor Shorthair Bounce remix) (4:40)
Review: This release sees Connie Price & The Keystones bridging the gap between classic soul and contemporary hip-hop, delivering a collection of hard-hitting grooves that are both nostalgic and refreshingly modern. It features a stellar lineup of guest MCs, including Bootie Brown, Rakaa Iriscience, and Guilty Simpson, each adding their unique flavour to the mix. The A-side is a showcase of raw lyricism and infectious beats, with tracks like 'All Night (The Pharcyde)' and 'For The Wicked (Dilated Peoples)' capturing the essence of golden-era hip-hop while maintaining a distinctly soulful edge. On the flip, Professor Shorthair provides a series of remixes, adding a touch of dancefloor energy to the proceedings. From the extended mixes of 'All Night' and 'For The Wicked' to the bounce-infused reimagining of 'Come On Down (To New Orleans)', these remixes showcase the versatility of the original material and its ability to transcend genre boundaries. This is a must-have for fans of both classic soul and contemporary hip-hop, a testament to the enduring power of music to connect generations and inspire new creative expressions.
Review: Endlessness is a deep dive into the cycle of existence. The 45-minute album delicately spans ten tracks guided by a continuous arpeggio that plays throughout, crafting an expansive, mesmerising celebration of life cycles and rebirth. Following Sinephro's critically acclaimed 2021 debut album Space 1.8, Endlessness further elevates her transcendent, multi-dimensional compositional practice, beautifully morphing jazz, orchestral, and electronic music. Through a decalogue of "continuums", a fittingly continual, through-compositional wonderwork is designed and laid to recording, channelling a dignified, spacefaring mood of nobility, as though it were of divine extraterrestrial providence.
Review: Eddie Chacon returns with Lay Low, following his critically acclaimed 2023 album Sundown, which solidified his status as a "low-key r&b legend." Best known for his chart-topping success as part of Charles and Eddie in the 90s, Chacon has reemerged with an album of hazy, seductive tracks produced by Nick Hakim. Lay Low showcases Chacon's signature soulful sound, with its atmospheric production and warm, understated delivery. This album reaffirms Eddie Chacon's place as a master of subtle, emotive r&b, bringing a timeless yet fresh feel to the genre.
Review: Cleo Sol's arrival in the past few years has been one of the best things to happen to UK soul music in a long time, and she's gifted us two of her outstanding albums in the past 12 months. While ears are reeling from the wonder of Heaven, we're now treated to Gold and it's hard to fathom how so many incredible songs can spill out from one person. There's a dusky, understated quality to this album which makes it so easy to sink into and even in the most stripped down arrangements you can sense the guiding hand of dub giving the music a womb-like intimacy. The playing has a raw, in-the-room immediacy and it flows so naturally it wouldn't be a surprise to learn it was recorded in one take.
Review: Paul Sitter and Tony Lavrutz's collaboration on Eu e Meu Amor plays like a breezy stroll through sun-drenched sounds and smooth rhythms. Their work here pulls effortlessly from bossa nova and tropicalia, but without leaning too heavily on nostalgia. The production is tight and warm, with layered guitars and whispered vocals that could easily soundtrack a lazy afternoon. It's not overly flashy, but it doesn't need to be; the charm is in the simplicity, the way the melodies unfold and gently stick with you long after the record ends.
Review: Mahal by Glass Beams melds a diverse array of influences into a unique and enchanting soundscape. The Melbourne-based trio, shrouded in mystery with their mask-wearing anonymity, lets their music speak volumes. Built around founding member Ranjan Silva, their sound draws from the rich heritage of Ravi Shankar, Bollywood, Electric Light Orchestra, and traditional blues.Inspired by repeated viewings of 'The Concert For George', Silva's vision for Glass Beams seems to echo the fusion George Harrison envisioned when introducing classical Indian music to Western pop. The EP opens with 'Horizon,' setting a serene tone before leading into the title track 'Mahal,' an instrumental piece that envelops the listener in its mystical charm. 'Orb' follows with a riveting bass riff, while 'Snake Oil' delves deeper into Indian classical territory, showcasing evocative vocals. The EP concludes with 'Black Sand,' a dramatic and beautiful track featuring interwoven vocals and guitar. As their second EP, following Mirage, Mahal solidifies Glass Beams' distinct place in music, defying categorisation and quietly demanding attention with its almost otherworldly quality.
Review: UK legend Dego and killer keys-man Kaidi Tatham have been in a rich vein of form of late, dropping brilliant EPs on Eglo, Sound Signature and Rush Hour (the latter under their 2000Black alias). Here, they return to Eglo with four more slices of warm, rich, soul-flecked fluidity. As with previous outings, much of the material has a laidback jazz-funk feel, particularly "Orbiting Uhara" and the delicious "The Vault Descends" (think bustling bruk rhythms and darting boogie synths). They also offer up some tougher, synth-laden bruk-funk in the shape of "Man Made", while "Black Is Key" sees them unfurl a head-nodding vocal roller.
Review: Melbourne's The Pro-Teens, led by Hudson Whitlock, pay tribute to the legendary MF Doom with MF TEEN: Your Concurrence In The Above Is Assumed. The album dives into Doom's extensive discography, reimagining iconic tracks like 'Doomsday' and 'Curls,' while also exploring rarities like 'The Gas Face.' With a blend of cinematic soul, boom-bap funk, and left-field textures, The Pro-Teens offer a fresh take on Doom's sound. The orange vinyl edition adds a visual pop to the already nostalgic and immersive listening experience. Limited and exclusive, it's a must-have for collectors and Doom fans alike, keeping the spirit of the Illest Villain alive with each spin.
Review: Latest in our cornucopian supply of Afro-funk and dance crossover music comes Italian supergroup Addict Ameba with a new, sophomore single version of the 2024 LP Caosmosi, which followed on from 2020's Panamor, and demonstrated an impressive ear for stylistic continuity. Led up by the Josh Idehen-featuring single 'Look At Us', this polydirectional power mover crossed between desert blues, Afrobeat, Latin rock and Ethio-jazz, all while offering a slickly maximised sound - careful not too sacrifice all the headroom, though it occupied more than enough space to cross into the periodic threshold of weird. This 7" study of the record, focusing on tracks 'Caosmosi' and 'Por Nostalgia', suggest two of the album's best selective choices for the roving DJ.
Review: London's own Nectar Woode brings her acclaimed neo-soul singles to vinyl with this special 7" release, spotlighting the Ghanaian-British artist's standout tracks from 2022-2023. Side A opens with 'Waiting,' a soothing blend of lush harmonies and gentle swing, while Side B's 'For The Best' brings an uplifting touch, packed with bright melodies and Woode's unmistakably warm vocals. Known for her soulful depth and vibrant energy, this release is a must for fans of contemporary r&b's most exciting voices.
Pain Au Chocalat (with Extra Butter bonus Beat) (3:43)
Review: Galaxy Sound Company has become one of those cop-on-sight labels thanks to is cultured 45rpm edit series. This time, label staple, bedroom B-boy beatmaker and Michigan native Strictlybutters drops a sweet duo of beatstrumentals that skate, stomp and groove with great style. Side A's 'Espresso Con Panna' flips Salt of the Earth's 1984 gospel-funk banger 'Love Light II' into a bass-thumping, sax-smooth hip-hop gem that will enliven any party. The second offer is just as sweet: 'Pain Au Chocolat' is a Detroit-inspired and buttery groove dripping in jazzy Axelrod-esque flair. Pure head-nod gold.
Review: Following the success of Joaquin Joe Claussell's sold-out edits of Crowns of Glory's 'Lord Look at Your People' from his Praise - Gospel Music According to Joaquin Joe Claussell series comes another 12" release featuring two more of his masterful edits. Side A offers 'Jerusalem,' a rework of a gospel soul rarity by Bishop Jeff Banks and The Revival Temple from Master of The Mind. The original version is also included while over on the flip, we finally get the much-anticipated vinyl version of Claussell's edits of The Gospelaires' 'God Helps Those Who Help Themselves,' which is yet another gem in his long line of innovative gospel edits. Hallelujah.
Review: Smoove returns with another addition to his renowned Multitrack Rework series, offering a stripped-down bass and drums workout to open, with a seven-minute version of 'Engine Number 9'. The flipside sees him take on a classic with an extended reworking of 'Got To Be Real', starting with an open drum intro before breaking down the brass arrangements and highlighting the impeccable vocal harmonies. As usual, Smoove's deep understanding of groove and arrangement shines through, making this a must for anyone who appreciates his masterful touch on the funkier side of reworks.
Review: Delivering a refined journey through deep house, jazzy textures and global influences, this Chicago veteran shows off his seasoned craftsmanship of cultural influenced house music. The title track opens with jazzy deep house elements driven by tribal rhythms, a groovy organ and a slick guitar riff that adds a touch of funk to the mix. 'Abstract Union' follows with a smoother, more understated vibe, featuring soft keyboard melodies and a gentle yet buoyant tempo that feels effortlessly uplifting. Side-2 introduces 'El Negro Bossa', a delightful shift into bossa nova territory, where Latin-inspired rhythms, island vibes and lush strings create a chilled-out atmosphere perfect for sunset moments. The EP concludes with 'Tomass', a more introspective piece that leans into a serious groove, with stunning piano melodies and a deep, resonant beauty that lingers. Brimming with the producer's versatility and enduring creativity.
Review: Voodoocuts returns to Matasuna Records with another officially licensed 45, this time putting his expert touch on two disco gems by South African legends The Movers. Active from the late 1960s through the early 80s, The Movers were instrumental in shaping the country's vibrant music scene. Voodoocuts tackles 'Soweto Disco' and 'Shanana,' two tracks from their late-70s catalogue, and gives them his trademark treatment with pinpoint precision. The result is a fusion of South African rhythms with international influences like jazz, funk, and disco, transforming the originals into dynamite for any dancefloor. These reworks elevate the raw energy of the originals while remaining true to the spirit of the band. 'Soweto Disco' pulses with infectious grooves, while 'Shanana' offers a more laid-back vibe, but both are packed with the flair and soul that The Movers were known for. A perfect blend of local and global, these edits are a must-have for any record bag, seamlessly mixing South African funk with universal disco sensibilities.
Lovely Day (Studio Rio instrumental version) (3:59)
Review: The bossa nova remake of Bill Withers' classic 'Lovely Day' by Studio Rio is a masterful mood lifter. Reissued by Mr Bongo, this track was a game-changer at the Shapes festival, transforming a snowy Alpine setting into a feel-good dancefloor. Originating from Studio Rio's 2014 release The Brazil Connection, the Grammy-winning Berman Brothers collaborated with Brazilian legends like Marcos Valle and Roberto Menescal. They used original multitracks to seamlessly blend Withers' soulful vocals with bossa nova rhythms. Joyful horns, a bouncing double bass, and Pretinho da Serrinha's cavaquinho playing create an end-of-night anthem that radiates warmth and positivity.
Review: Famously self-taught musician Adrian Younge is at the forefront of modern soul music after starting as a hip-hop producer in 1998. He expanded his skills by learning multiple instruments and took inspiration from classic soul and Italian soundtracks before he self-released his debut album Venice Dawn, a moody, synth-heavy album blending Ennio Morricone's style with contemporary flair. His Something About April album followed years later and is a modern classic that merges psychedelic soul, cinematic instrumentals and hip-hop aesthetics while taking cues from greats of the genre like Wu-Tang Clan.
Review: Def Radio marks the return of Marc Mac's long-running Visioneers project. As ever with Visioneers, this record reimagines the default stock of hip-hop's best-stocked jukebox, often beginning from scratch and/or working around a central sample, to either recontextualise a classic or come up with a new song; whatever the case, the key hallmark of a Visioneers album is its live instrumentation, with flaunts a *gauche et droite* mastery over hip-hop's laggard swing. Where this would usually handled by the chance placement of the sample snippet on the timeline alone, here it (sounds) actually drummed in. On Def Radio, lead tune 'The Look Of Love' predominates with its three-note ostinato and unhurried beat flaneur, whilst runner-ups 'Layin' Low, Gettin' High' and 'Cuban Candy Sticks' also stick out as salient among the troupe.
Review: Marc Mac's Def Radio marks the return of the Visioneers project and another superb fusion of live instrumentation with hip-hop's signature swing. True to Visioneers' style, the album reimagines classics or crafts new songs and often rebuilds them around central samples. Unlike the rigid swing of sample placement, Def Radio boasts grooves that feel naturally drummed in which brings a nice organic touch. Lead track 'The Look of Love' shines with its minimalist three-note motif and relaxed rhythm while standout tracks like 'Layin' Low, Gettin' High' and 'Cuban Candy Sticks' further elevate this collection which is a soulful exploration of the dual live and sampled essence of hip-hop.
Review: Eddie Chacon's 2023 album 'Sundown' cemented his status as a "low-key r&b legend", three decades after his breakthrough as half of Charles and Eddie. Now, he returns with 'Lay Low,' a collection of hazy, hypnotic tracks produced by Nick Hakim that ooze soulful charm and sophistication. Praised by The Guardian, Uncut, MOJO, and Record Collector, Chacon's music resonates with a timeless appeal. Smooth, seductive and unforgettable, 'Lay Low' further solidifies Chacon's unique place in the genre.
Review: Warren 'Hanna' Harris, the multi-talented producer and instrumentalist from Cleveland, returns to Vibes And Pepper with a five-track EP of sophisticated and soulful sounds. The A-side features two previously released gems, 'Omnipotence' and 'The Dark', both timeless examples of Harris's ability to craft intricate arrangements that meld future jazz, broken beat and deep house influences, while the B-side unveils three previously unreleased tracks, highlighting his deft hand in manipulating sound, creating a landscape of unconventional sounds and structures. 'His Eyes (Detroit Remix)' is a standout, its mesmerising groove and soulful melodies take us to the heart of Motor City, while 'Menace' takes a darker turn, its brooding bassline and haunting chords evoking a disquieting aura of suspense and mystery. 'Spirit Logical' closes the EP with a flourish, its uplifting melodies and intricate rhythms again highlighting Harris's masterful production skills.
God Gave Me Feet For Dancing (feat Yazmin Lacey) (4:11)
Ajala (0:42)
The Traveller (4:48)
N29 (3:56)
No One's Watching Me (feat Olivia Dean) (4:57)
Hear My Cry (3:31)
Shaking Body (3:14)
Expensive (6:10)
Streets Is Calling (feat Manifest & Moonchild Sanelly) (3:08)
Why I Smile (5:20)
Have Patience (2:35)
Everybody (4:01)
Review: The Mercury Prize-winning British jazz group returns this September with the greatly anticipated follow-up to the award-winning 'Where I'm Meant to Be'. The first jazz group ever to win the prestigious accolade, their unique blend of jazz, calypso, afrobeat and roots has carried over into the two singles 'God Gave Me Feet For Dancing' and 'Ajala'.The former features up-and-coming star Yazmin Lacey, whose sudden scouting has made her a necessary one to watch in the British soul scene. Interpolating Nina Simones's 1965 classic 'Feeling Good', the track proposes the group's manifesto of dancing not just as an activity confined to the club, but as a God-given ability - an act of spirituality and community. 'Ajala', by contrast, is a fast-paced afrobeat-cum-bebop jam named after the Yoruba slang for being unable to sit still. Lucky fans were able to hear the recording live at the 'Beyond the Bassline' exhibition at the British Library - with some of the live adlibs and crowd work being included in the single version currently on streaming. Pressed on an indie-exclusive deep red stain disc.
Review: Smoove works his magic once again on Multitrack Reworks Volume 7, delivering standout edits of classic tracks. The Temptations' 'Papa Was A Rolling Stone' gets a refreshing update with crisp drums, rich vocal harmonies, and majestic orchestral breakdowns. On the flip side, Rufus Thomas' 'Do the Funky Penguin' shines with exposed drums and extended guitar riffs, adding new layers of groove. As an extra treat, Smoove presents his extended version of The Magic Disco Machine's 'Scratchin',' revealing a seriously funky bass line and pounding drums. With regular support from Craig Charles on BBC6 Music, this release is hailed as Smoove's best Multitrack Rework yet, offering a fresh take on timeless classics.
Review: Italian disco DJ and producer Corrado Alunni shares his latest nu-disco soul nostrum, 'Make It Feel More', which, owing to the title, is an EP whose aim is to enliven the largely electronic and mechanistic bent of nu-disco with a good bit of live-recorded pizzazz. Such is heard on the title track, which moves naturally through both augmented and diminished electric piano cadences, not to mention slap basses, to be poised against the beats. Then 'Perfect Direction' brings the boughed basses and disco hits to a new layer of chill; with this, and the ensuing 'Keep Moving', it feels as if we've kept finding new rooms, in which new room contains a new type of hors d'oeuvre to try. 'The Beat Goes On' closes on a snappier and vinyl-driven vexation, perfect for the snakier kind of dancer.
Review: Young Turks clearly believe that Tahlilah Barnett, formerly known as Twigs (hence the FKA Twigs pseudonym) is a star in the making. They plucked her from obscurity last year and have since released a number of highly regarded singles. This debut album expands on her EPs to date, showcasing her woozy, intricate take on post-R&B. Naturally, her vocals - fragile and evocative, sounding not unlike Kate Bush on occasions - take centre stage, riding a bed of layered-up head-nodding rhythms, post dubstep grooves, trip-hop soundscapes, fizzing electronics and bubbling synthesizers. It's an intoxicating brew, all told, and one that delivers further proof of Barnett's immense potential.
Review: Electronica production duo Arnau Obiols and Kayyak, who've laid down a name for themselves for their distinct blend of cultural influences and captivating soundscapes, here present two new tracks that seamlessly fuse Afro-inspired rhythms with groovy organic beats. Barely letting us clock for a second that these are in any way electronically programmed or sequenced, this fresh Compost Records 12" hears its two new cuts, 'Faith' and 'San Diago', abound in the ambered, sandy interim of a clear-skied evening, in which cocktails flow and smiles widen. Remixes by Prins Thomas and Medle & Dele Sosimi do just as well to complement the mood.
Review: Tenderlonious returns with a standout 12" vinyl, delivering three tracks that blend deep house with lush, jazzy textures, limited to just 200 hand-stamped and signed copies. Kicking off with 'Underworld,' the A-side offers a ten-minute groove of rolling 808s, atmospheric synths, and sweeping stringsia dancefloor essential. Side B opens with 'Wild Horses,' a mellow, bass-driven journey marked by rich analogue pads and a touching piano solo, followed by 'Ur Love,' a nod to the London club scene with its layered rhythms and melodic twists.
Review: Detroit innovator and singular soundsmith Theo Parrish returns with a new EP which we're told is his response to "stagnation and nonmovement" either physiologically, mentally or physically. 'Positive Mental Attitude Solves All' is up first and is a tribute to the late great funk-father Amp Fiddler. It's a typically deep cut with dusty drums and irregular, scruffy percussive lines layered in next to diffuse synth warmth and soulful melodies. 'Traffic Jams' plays with similar signature themes and is sure to loosen up mind, body and soul. Another standout bit of work from the venerable Motor City man.
Review: At the start of 2024, BADBADNOTGOOD channeled their renewed creative energy into the Mid Spiral series. Fresh off a string of international tour dates and collaborations with artists like Daniel Caesar, Charlotte Day Wilson, and Turnstile, the Canadian trio - Al Sow, Chester Hansen, and Leland Whitty - returned to the studio with a vibrant sense of purpose. Joined by touring member Felix Fox-Pappas and key Toronto jazz musicians Kaelin Murphy, Juan Carlos Medrano, and LA's Tyler Lott, they embarked on an intensive recording session at Valentine Studios in Los Angeles. The result is the Mid Spiral series, initially released digitally in three parts - Chaos, Order, and Growth - and now available as a double LP and CD. These suites mark a return to their instrumental jazz roots while seamlessly blending elements of hip-hop, neo-soul, psychedelic and funk.
Review: Poet, novelist and musician Anthony Joseph shares his latest Afrofuturist opus; a seven-track album of defiant, zooming, return-to-source music, comprising arched spoken word, broken/Afrobeat and soul jazz. Built mainly around the core triad that is 'Tony', 'A Tuba For Janet' and 'Churches Of Sound', this LP has the pull and gravitas of a classic album about it; it channels the fluvial, downstream consequences of historic exploitation and erasure, mixed in with a revolutionary lyrical spirit, charged with the hard-treaded grace of dub and Pan-African funk. Described as an Afrofuturist poem by Joseph, there is talk of genealogy, secret languages and wizardry: our fave has to be 'A Juba For Janet', a dub narrative constructed around the titular Miss Janet.
Review: The legendary UK acid-jazz innovators Brand New Heavies dropped many a classic sounds and none more so than their iconic album 'Heavy Rhyme Experience Vol. 1. More than three decades after first release it remains an influential work that blends UK club jazz with US hip-hop. Featuring collaborations with artists like Main Source, The Pharcyde, Gang Starr, and Black Sheep, the album marked a groundbreaking fusion of genres back in its heyday and now two standout tracks from the album, 'Soul Flower' featuring The Pharcyde and 'It's Gettin' Hectic' featuring Gang Starr make their way to 7" for the first time and sounds as good as ever.
Review: Oooh! Angie Stone's "Wish I Didn't Miss You" definitely belongs in the canon of all time modern soul classics. Taken from her 2001 second album Mahogany Soul, the Swizz Beats produced track made optimum usage of an O' Jays sample and was instrumental in that LP going gold and propelling the former D'Angelo collaborator to stardom. It also inspired countless official and under the counter remixes with Blaze's perhaps the most recognisable. So yes this reissue on 7" from Outta Sight is worthy if you don't have the original in your collection and features a housed up remix from Hex Hector on the flip.
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