Review: Germany's Bacao Rhythm & Steel Band's profile skyrocketed in 2024 when their hypnotic steel pan cover of 50 Cent's 'Pimp' became a surprise emotional core in the Oscar-winner Anatomy Of A Fall. So pivotal was the track that steel pans would here make their first ever Academy Awards orchestra debut. But for longtime heads, 'Pimp' first turned heads in 2008, where it was pressed on Bjorn Wagner's Mocambo label and was often mistaken afterwards for a 50s sample source. The 'Big Crown Vaults' series now swoops in to save and preserve the group's best contributions to the music world, in addition to and in excess of the 'Pimp' version. A true archive-delving if we've ever heard one, the tracks so preserved include Bob James' breakbeat classic 'Nautilus' and a thunderous take on Khruangbin's 'Maria Tambien'. Then there's the B's funked-up flips of the Jackson 5 and Billy Jones, plus one original, 'Kaiso Noir'.
Review: Anorax Records' motto and hash-taggable suggestion is to #eatsleepcollect, as if we weren't doing so already! This time they deliver on the highly anticipated 'Tighten Up' by Melbourne soul collective The Bamboos. First released in 2006 on Kenny Dope and Keb Darge's Kay-Dee label, this instrumental version of Archie Bell & The Drells' 1968 hit quickly became a favourite in soul and acid jazz circles. Rhythm-made by The Bamboos' leader, Lance Ferguson, this one stands out for its vocal absence, offering a quirky, irresistible take.
Review: Following the cinematic jazz-funk of 2021's 'Ufo Bar', Banda Maje returns with a new 7" single via Four Flies, which serves as a preview of their upcoming sophomore album Costa Sud. Composer Peppe Maiellano deepens his Mediterranean sound here while honouring his Italian and Neapolitan roots with a heartfelt cover of Peppino di Capri's 'Mo...' on Side A. On Side B, Maiellano explores Brazilian influences with '(Roda De) Samba Maje' featuring Amor Pela Roda and infused with vibrant percussion and cavaquinho. This lovely 45 rpm reflects a rich blend of South-inspired sounds while bridging Italy, Brazil, Africa and modern grooves.
B-STOCK: Sleeve damaged but otherwise in excellent condition
Que Se Faz Da Vida (2:33)
Nao Vale A Pena (2:46)
Como Esta Nao Faz Sentido (2:10)
Agradeco Amor (I Could Dance All Night) (2:27)
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
Brazilian electronics are back in vogue, and Tony Bizzaro might have just snaffled up said new wave's crown. All the way from 1976 comes 'Que Se Faz Da Vida', a strutting, suave, emotionally cool EP of only the most DJ-able and collected soul-funk. This reissue is, bizarrely, Bizarro's first ever.
Review: First featured on Body And Soul's ultra-rare 1971 album and now a coveted collector's item, these two standout funk beauties are available on 7" vinyl for the first time. Essential for any self-respecting soul and funk fanatic, this one captures the raw, vintage energy of a bygone era and still cuts through today. The A-side, 'In the Beginning,' serves up deep funk grooves and soulful harmonies reminiscent of Sly Stone's classic sound. On the flip, the band offers a vibrant, funk-infused take on Laura Nyro's 'Stone Soul Picnic' and reimagines the timeless track with bold rhythms and all-new and funky fresh flair.
Review: As you probably know if you're reading this, Jorun Bombay is one of the most consistently on for edit maestros in the game. Here he steps up with a new outing that sticks right at the heart of the dancefloor once more. 'Strictly Dann Stealy' is a clever mash-up of De La Soul's 'Eye Know (Know It All Remix)' featuring the original source vocals over a faithfully recreated instrumental. It channels the signature energy of early 90s hip-hop clubs with a fresh twist you've never heard before. On the flip, 'Whole Grain O's' offers a reimagined instrumental take on 'Oodles of O's' which is packed with reggae chants, added turntablism and signature 'Oh's'. It's a playful, party-ready version that balances just the right amount of nostalgia and brand new style.
Review: The first official reissue of Brooklyn People's rare 1975 soul-funk classic 'Peace and Love / Wreck' arrives courtesy of Selector Series for Record Store Day 2025. Originally released on Cheri Records half a century ago, this sought-after 7" has fetched prices of around L50 on the collector's market. It's one of those true crate-digger gems with its perfect mix of soulful, spiritual deepness and driving, dynamic drum grooves that never quit. 'Wreck' has atmospheric crowd sounds as well as jazzy keys and horns to really take things up a notch.
Review: Adeen Records is back with its The Bird series and this time Cad73 is the one at the buttons. First up he flips the age old classic 'Love and Happiness' into a smooth and seductive sound with lush chords and warming melodies. Flip it over and you will find a rework of 'How Can I Forget You' which becomes a Northern Soul great with big hooks and driving rhythms that will get big reactions in the club. Two different but equally effective and cultured cuts.
Review: The Bird series is back once again with a fourth offering and it is label founder Jason Wilkins who takes care of this one under his Camille moniker. It kicks off with a flip of 'Hogin' Machine' that has raw and dusty drums and funky basslines that keep on coming and keep you locked. things slow down n the B-Side with 'Safari in D'. This one becomes a more mellow and laidback sound that offer a different take on an original by L'Eclair. The bass is warm and melodic, the drums loveably lazy and the keys jazzy and pensive. Super stuff for lo-fi lovers.
Review: Two powerful soul sessions from Alice Clark's eponymous debut 1972 album. "Don't You Care" is a hard-hitting soul standard (that became very popular in acid jazz scene in the early 90s) where Alice opens her heart for all to see while her incredible band ebb and flow with Clark's emotions. "Never Did I Stop Loving You", meanwhile, languishes in sentiment at a slightly lower tempo that allows her to really dig deep for those low notes. The real fun happens as we reach momentum towards the end and every band member brings out their A-game and bounces off each other - backing up Alice every step of the way. You will care about this.
Review: Loveland, Ohio's Colemine label offer a 7" indie exclusive on this furtive freshener from house engineer and regularly featured artist Leroi Conroy, returning after his last 45 in 2017 with a sharp double-sider flaunting his rhythmatic flair and deeper verbal intuitions. 'No Return' outlays crisp boom-bap drums wrapped in fluttering flute lines from Michael Sarason (of Say She She) and shimmering harp hallelujahs, courtesy of Cincinnati handywoman Rachel Miller. There's a distinct nod to Dorothy Ashby's work here, but reimagined for a 2025 palette; the flip leads the way to the 'Path Of Man', stripping the bark back to murkier moods, pulling from the darker corners of Conroy's upcoming full-length. He's come a long way since vacationing from the cutting lathe, representing himself in a new soulful and cinematic light, one which is yet raw and unpolished where it counts.
Review: Bowie is a new label that says it intends to "dig deep into the unreleased sides of pop superstars material from the past." The opening gambit is a strong one that should hook you in for more as it comes in the form of a 7" with two fine funk instrumentals, neither of which have been put out before. 'Golden Years' has lovely live drums and meandering guitar licks for some carefree listening, while 'Fame' has a deep cut groove that rises and falls in dramatic fashion with more neat and tidy riffs adding the detail next to the big licks.
Review: P-Vine Japan does great work once more here by bringing back into print some hugely sought-after sounds from the blues and r&b world. The first release in their new series revives Larry Davis' 1969 Kent Records single, which was originally written by Sherwood Fleming. The A-side, 'For 5 Long Years' delivers a gritty mid-tempo funk-blues groove while the B-side, 'I've Been Hurt So Many Times' (a classic subject for a blues tune) channels Willie Cobbs' signature sound. These will be familiar to anyone who has danced at a Northern Soul event and cannot be slept on.
Review: Moscow's premier instrumental outfit the Diasonics return with a limited clear vinyl 7" drawn from their forthcoming second LP Ornithology. The A's 'Oriole' locks into a crisp disco-funk rhythm, combining icy Soviet-era synth motifs with the kind of motorik groove that could've come straight off a 70s Eastern European library session, its minimalist melody mimicking the oriole's call while nodding to the Moscow commuter train of the same name. Flip it for 'Chickadee', all break-heavy thump, plucky bass and streetwise swagger straight from early 80s NYC.
Review: When it comes to new funk, it doesn't get much raunchier or weird than this. Packed with rhythmic rodomontade, DJ Koco Shimokit and Southpaw Chop - both from Japan - bring an adroit right and sinister left hand respectively to the art of vinyl flipping and sampling, staying true to the rule of primary sourcing: "always sample straight from the original wax." Though it's a moot point as to whether sample mileage should be legitimated as a concept in the same sense as food mileage is, we can see and hear the appeal, as this loopy chef-d'œuvre hears its samples chopped and braised to the crispest degree, sating even the most dulled of tastebuds, and letting no indelicacy past the noise gates. Side B offers a special treat for heads too: the demo version of the pair's debut single, 'Funky Soul Brother'.
Review: A pair of US block party icons unite here, as Brooklyn house and disco maestro DJ Spinna and LA turntable wizard J Rocc share this tidy little Prince tribute. First to bat is Spinna, a man responsible for countless soul- and funk-heavy club jams since emerging in the late 90s. He takes on The Purple One's 1987 cut, 'Starfish and Coffee', with a less-is-more edit approach, subtly reframing the cut into a head-nodding groover. On the flip, Beat Junkies founder J Rocc serves his rework of the gorgeously abstract 'Purple Music', with sleazy vocals riding a freeform funk track over a lively tempo. You can't go wrong with Prince, and he's in safe hands with this pair of seasoned party rockers at the controls.
Review: In 1969, Duo Ouro Negro travelled to the US and came back changed. By 1972, they channelled said many cross-country encounters with Black Power politics, spiritual jazz and liberation struggles into Blackground: a bold, pan-African statement recorded not in Luanda but Lisbon. The Angolan duo, already global stars in Portuguese-speaking circuits, were heard fusing jazz-funk with messages of decolonisation and Black identity, summed up in Raul Indipwo's cry: "Don't forget your blackground." A decade later, in 1981, the record was reworked with fresh arrangements and additions like the instrumental 'Iemenja' and the percussion-heavy 'Aruandai'. This new edition from Digei De Bairro brings that fiercely rhythmic and politically charged LP back into circulation, a vital slice of Lusophone jazz-funk with global intent.
Lost Girl (Marc Hype & Jim Dunloop Late Night rework) (3:24)
Special Technique Of Love (Jim Dunloop Shaolin Soul edit) (3:08)
Review: Dusty Donuts return with another heavyweight 7" of hip-hop gold, this time journeying from Queensbridge to Staten Island. Side A delivers a bouncy, chopped-up rework featuring a Lost Girl once heard on a legendary QB mixtape and it is guaranteed to ignite any dancefloor. Flipping over, the vibe shifts to Shaolin with a raw and soulful reinterpretation of a classic that pays tasteful homage to Staten Island's finest. With tight edits and a deep love for golden-era hip-hop, this release hits hard on both sides and is another great example of the craftsmanship, nostalgia and party-starting energy the Dusty Donuts crew always deals in.
Review: Brian Ellis, known for his multi-instrumental work as part of Birdbone Unlimited on Star Creature, steps out with a solo release that channels West Coast flair into a bold reinterpretation of early 80s dancefloor energy. Revisiting Bobby O's production 'Love Is The Drug' for Roni Griffith's 1982 hit, Ellis transforms the original into a shimmering blend of Italectro and funk-driven electrobass, a proto-freestyle fandango filtered through Ellis' signature analog sensibility. A high-gloss, synth-laced homage results on orange gamboge vinyl; a replenishing source of sunny sonic vitamin D.
Review: Originally hailing from Washington DC, Father's Children were one of the capital's most promising funk outfits in the late 70s. This new 7" reissue on South Street Soul revives two prized tracks from their Mercury Records era, produced by Wayne Henderson of The Crusaders. 'Hollywood Dreaming' is a breezy, rolling slice of mellow soul-funkithe sort of elegant groove that turns up on late-night radio, all gentle clavs and cruising vocals. Flip it and 'Shine On' turns up the energy, driven by a snapping slap bassline, crisp brass jabs and a slick group vocal arrangement. Both cuts originally appeared on their 1979 LP, but the original 45 has long been a holy grail for collectorsifetching triple digits. This reissue not only preserves the format but delivers on fidelity and style, giving DJs and heads alike a long-awaited chance to spin these Washington-grown grooves without fear of shelling out a fortune.
Review: Kelly Finnigan reunites with soul veteran Renaldo Domino for a new 7” single on Colemine, ‘Keep Me In Mind’, which hails from Kelly’s A Lover Was Born sessions, reviving a 1967 mid-tempo groove originally by Buffalo duo Samson & Delilah on ABC Records. Tracked entirely to tape across studios in the Bay Area, Ohio and Chicago, the record’s tight rhythm section and horn arrangements form a vibrant foundation for Kelly and Renaldo’s interwoven vocals. Their duet channels the spirit of classic male soul pairs like Sam & Dave and Eddie & Ernie, giving the track a fresh yet familiar energy. The single is primed to win over DJs and soul fans alike.
Review: Kelly Finnigan, based in San Francisco, continues his rich legacy of soul with a fresh collaboration alongside fellow genre legend Renaldo Domino. The pair's new 45, kicks off with 'Keep Me In Mind,' is a track originally laid down in 1967 by Buffalo's Samson & Delilah, but Finnigan brings a modern, soul-soaked touch to the tune, locking in with tight rhythms and vibrant horns, all while channeling the essence of classic male soul duos like Sam & Dave. On the flip side, 'Let Me Count The Reasons,' pulled from Finnigan's recent A Lover Was Born, dials down the tempo into a more tender, romantic groove. Written with long-time collaborator Max Ramey, it beautifully weaves influences from Detroit to Philadelphia soul. This 45 is yet another nod to Finnigan's knack for crafting timeless soul, making it a must-have for DJs and lovers of classic, heartfelt music. With every release, Finnigan proves why he remains at the forefront of modern soul.
Review: Have you ever wondered what might happen when you collide Mighty Ryeders' timeless rare-groove classic 'Evil Vibrations' and De La Soul's iconic hip-hop jam 'A Roller Skating Jam Named 'Saturdays'' into one new tune? Well, wonder now more, because that's exactly what Groove-Diggers have done here. This fresh version blends the sampled parts of 'Evil Vibrations' with De La Soul's raps and vocals while Japanese hip-hop group FNCY have added their own new mic work into the mix as a way of paying tribute to De La Soul's original hit. Also included is a Japanese cover of 'Evil Vibrations' by Taiwanese jazz and neo-soul singer 9m88 which brings a whole different respective. A fun and sure-to-be effective package.
Review: Emma Noble, the emerging soul singer from London, delivers a powerful performance on the girl group soul anthem 'Unstoppable'. Her second single, it's poised to become a next-gen floor-filler; catch us playing it on repeat, *in flagranti*, after it premiered on Craig Charles' BBC6 Soul Show in early 2025. 'Going Going Gone' backs it up on the B-side, as the first single from FPE's upcoming album Waves. Hearing rising Australian singer-songwriter and pop genius J Mahon on vocal duties, the track's catchy brass sections combine with J's androgynous soul vocals, and evokes the sounds of young Motown artists in the style's 60s adolescence.
Review: Launching their new 7" series with a bang, Small Edits enlist the shadowy figure of The Groomer for two deep-digging reworks that balance crate knowledge with pure dancefloor funk. On the A-side, 'S.a.d.e' stretches out into a blissed, slow-burn groove with smoky keys, slinky basslines and a gentle swing conjure a mood that's tender, perfect for warm-up sets or late-night wind downs. Flip it over for 'Commo', a swaggering, shoulder-rolling party starter. Tighter, faster and packed with cheeky rhythmic flair, it leans into peak-time territory with percussive funk licks and chopped vocals that radiate attitude. A low-key but high-quality debuticut loud and made for selectors who know.
Review: MURO Select presents yet another crucial 7" for Fourth Wave Record Factory for anyone whose ears prick up when it comes to Far Eastern soul, city pop and jazz cause this one has two of Hamada Kingo's urban mellow gems. He was a key figure in 80s city pop and AOR and his iconic track 'Dream Is Alive' from the Earthian image album makes its vinyl debut and is full of The flip side features 'Yokaze,' another standout urban mellow tune that captures the smooth, soulful vibe of his work and is perfect for those close listen bar sessions or the gentle moments early in the evening.
Touch The Sky (Funky Soul 45 Breaks instrumental edit) (4:00)
Review: Toronto's Icons Of Hip Hop follow up their inaugural 7" with a heavy second B-boy drop, pairing a titan of rap over an unmistakable funky 70s soul loop. The A-side delivers a vocal-led version that marries sharp bars with dusty horn chops and a butter-smooth rhythm section, channelling the crate-digging spirit of golden era production with modern flair. Flip it for the 'Touch The Sky' Funky Soul Instrumental Edit, where the sample's full groove comes into focusigritty drums, warm basslines and shimmering soul textures that nod to the track's roots while inviting DJs to get playful. Limited stickered dinked 45, this is essential heat for anyone still chasing that raw, loop-driven magic.
Review: For Fourth Wave Record Factory, MURO has put together a couple of new and exclusive 7" releases that feature two classic Japanese AOR tracks by artists who very much played a part in defining the sound. Firstly, Ginji Ito's smooth and soulful 'Heart and Soul,' originally from his tenth album, shines with mellow mid-tempo vibes and glossy vocals and melodies. On the flip side is 'Uwaki na Kare,' a beloved cover of a classic US disco track from Ritsuko Kazemi's third album that comes correct with a catchy, laid-back Saturday love groove. This release marks the first time these iconic songs have been pressed on 7".
J Blue - "I Can't Keep Crying Sometimes" (part 1) (3:25)
Original Gravity Allstars - "I Can't Keep Crying Sometimes" (part 2) (4:02)
Review: London imprint Original Gravity keeps the 7" heat coming with a two-part reimagining of the blues standard 'I Can't Keep From Crying Sometimes'. J Blue takes the A-side, laying down a smoky, melancholic vocal over a stripped-back hip-hop groove, bringing 60s soul pathos into sharp modern focus. It's the kind of cut that creeps up on you-restrained, ghostly, all mood. On the flip, the Original Gravity Allstars stretch things out dub-style with a Pt. 2 version, turning the track inside out into something moodier, heavier, and bass-led. Another strong entry in the label's ongoing campaign to bridge vintage sonics and contemporary pulse-perfect for deep selectors and collectors alike.
Review: The enduring electronic musical gene sequence that was Virginia-born pianist and keys player Lonnie Liston Smith's spiritual funk-jazz opus, 'Expansions' from 1974, now hears another re-disco-scription by keyboardist Gail Johnson and her unstoppable band, Jazz In Pink. Renowned for her keytar uplifts and relentless live schedule, this is a rare 12" for the modern genius LA live musician. Her rendition of Smith's 'Expansions' both mellows and sharpens the mood in equal measure, providing a renewed euphony come euphoria. 'Glow' backs up the B-side with a sheeny original, with dramatic phrase stops and trademark peak-out pianos from Gail.
Shaun LaBelle - "Mon Cher Amor" (feat Maysa & Bobby Lyle) (4:15)
Shaun LaBelle - "Your Love Kept Calling My Name" (feat Maysa & Stokey) (4:02)
Review: Minnesota's Shaun LaBelle returns with two collaborative cuts that shimmer with West Coast class. On 'Mon Cher Amour', Maysa's effortlessly fluid delivery rides plush piano chords from Bobby Lyle, whose presence elevates the arrangement with vintage jazz-funk elegance. Lyle's involvement i rare and usually reserved i speaks volumes. Flip to 'Your Love Kept Calling My Name', a slower burn that shows off LaBelle's syrupy synth bass and clean guitar touches, anchored again by Maysa, this time joined by Stokley. The track's groove is thick but graceful, helped along by contributions from Jeff Lorber, Patrick Lamb and Maurizio Metalli. While there's a polish that veers towards the adult contemporary side of soul-jazz, both tunes have the kind of melodic strength and studio richness that make sense of their Billboard and UK Soul Chart success.
The Lafayette Afro Rock Band - "Darkest Light" (45 edit) (4:17)
The Outlaw Blues Band - "Deep Gully" (45 edit) (4:17)
Review: Mushi 45 prompt a history lesson: Hailing from Paris in the early 70s, Lafayette Afro Rock Band forged a fusion of American funk and West African rhythms, producing grooves that stuck like thumbtacks through later genera such as hip-hop and electronica. Their track 'Darkest Light' stands out for its piercing, mussitating bari sax riff, famously looped on Jay-Z's 'Show Me What You Got'. Another essential cut, 'Deep Gully', delivers sharp guitar stabs over a crisp drum break, also a backbone for numerous hip-hop and jungle tracks. The group's sessions at Pierre Jaubert's Parisound studio yielded records like Soul Makossa and Malik, both cult classics rich in percussion and horn work.
Review: Brazilian hip-hop star Laiz follows her breakthorugh Ela Partiu album from last year with a multilingual, percussion-heavy tribute to Jorge Ben Jor & Quarteto Em Cy, threading Brazilian hip-hop through Latin groove, Afrobeat and free jazz. Recorded at Nima Studio in Hildesheim with her 20-strong band dubbed the New Love Experience, the album sits between languages and borders, echoing Laiz's own migration from Jundiai to Europe in 2019. Shaped as much by cultural dissonance as it is by Babylonian joy, the record is sung in seven languages, leaning on lyrical mysticism and transitive instrumental interplay, telling particular stories of heritage, upheaval and diasporic unity.
Review: These tunes were recorded in Guyana by Surinamese singer-songwriter Paul Low in a small 8-track studio in 1979. They are deep-cut gems that pair a tender 1979 soul slow-burner with a vibrant disco-boogie flip. First up, 'Let's Work It Out' is a breezy, melancholic stroll through windswept textures, falsetto vocals and lo-fi charm that is instantly replayable and subtly hypnotic. On the B-side, 'Make Things Better' bursts with dusty Afro-Latin disco energy powered by rubbery bass, samba whistles and infectious harmonies. Both tracks align beautifully with Stroom's offbeat curation and are make for a rare, soulful detour through a lesser-known corner of global DIY music history.
Review: Discos Quilombo's next 45 is a reissue of 'El Amor Es Un Bicho' (you can work out our own translation) by Los Martinicos, and it's a scorching hot and rare gem from 1969, originally recorded by Henry Nelson in Spain. 'El Amor Es Un Bicho' is all big energy and playful vocalisations, South American rhythms and bold horns, the moody 'El Diablo' has a darker bassline and more menacing energy but is packed with late 60s Latin flair. Both of these are wonderfully infectious South American soul tracks that will not be around for long, so make sure you snag them fast.
Review: Deified disco editor Mister Mushi breaks from his own Mushi 45s faction for a diplomatic dance-over with fellow sonic saucerers Disco Donuts, whose third volume in a series hammers home two more spacey soma-uplifts. 'Expansions' of course jazz-funk clarion call 'Expansions' by Lonnie Liston Smith & The Cosmic Echoes, whose importuning "expand your mind" motif will never leave us. And of course, there's 'Ghetto Passion', an unknown remix to us, yet whose beats are so punctual that they could pop an iron ballon; this is a raw, clear and seething analogue sound, a style which many disco artists have tried to emulate since.
Review: This fourth volume continues this series' mission of bringing some rare Afro-disco gems up to date for modern dancefloors. New life is brought into lesser-known classics while preserving the vibrant energy of the genre right from the off with Side A offering up the infectious, organic sounds of 'MPDD' while Side B offers 'MKZB' which has a seriously groove-heavy bassline and smartly layered percussion. Both of these are proper secret weapons for DJs and pure bait for dancers.
Review: A jazz head with deep hip-hop roots, New York-based saxophonist Benny Reid returns with a brand-new 7" on Fat Beats, following his 2023 The Infamous Live reinterpretation. This is his latest standalone tribute, and it plays like a deliberate two-sided concept: '93 'Til Infinity' on the A, 'Day One' on the B i reworked with full reverence but plenty of vision. Reid's take on the former is all patience and atmosphere, stretching the groove into moody, modal territory without losing its swing. Flip it for a tighter, chunkier pass at the D.I.T.C. classic, where arrangements lean into low-end murk and sharper rhythmic interplay. Drawing on years of post-bop work for Concord, Reid reanimates sample culture as memory, process and momentum.
Review: Skeme Richards of New York pioneers Rock Steady Crew returns to the Redropped series with a tour-exclusive 7" packed with two raw-edged flips. For this release, he's unearthed a pair of cosmic disco and jazz-funk originals from his bottomless crates and retooled them with heavier low-end and tighter edits built for modern rigs. The result? Deep cuts reimagined for today's selectors, shaped by Skeme's seasoned touch as both a dancer and DJ. Ahead of a confidently slated Skeme Richards x Oonops tour across Germany in May 2025, 'Galaxy Amonst The Stars' is truly a riotous cosmic soiree, made unforgettable by its kazooing sax and brilliantly bright beat novae.
Review: Two popular tracks from the highly rated and MURO-curated compilation Diggin Victor: Deep Into The Vaults Of Japanese Fusion / AOR are now made available for the first time on their own standout 7". Originally released as a limited item at an anniversary event, these rare gems are magically escapist sounds that blend library music, jazz, soul and Balearic mindsets into a pair of tropical heaters. The Kumi Sasak A-side is a real melodic noodler with meandering bass and a whimsical, carefree spirit as it heads nowhere in particular in hypnotic fashion. Side-B has 'Kimono' by Tetsuo Sakurai, which is a more rhythmic sound with funky bass riffs and 80s broken beats and a lush vocal.
Review: DJ Paul Sitter is the don of Rostov On Don, a Russian outfit dedicated to supreme, sweatily serious breaks-rap cutups. En large comes 'Cha Cha Cha', with its angular piano hits and wide-panned, cowbell-topped, break-your-back breaks. 'Tambotito' contrasts with an obscurer breakbeat with drum tails whizzing like firecrackers, not to mention a sample of an original Panamanian vocal line hailing from a recording of a song in the titular genre.
Review: This sizzling Hammond B-3 laced two-sider from Tommy Sims is a funk-infused gem that would make legends like Jimmy Smith and Brother Jack McDuff do a double-take. Bursting with soulful groove and rich, swirling organ tones, each side delivers brilliant vintage jazz-funk. The lead track lays down deep, bluesy riffs over tight drums and nimble bass, while the flip brings a more playful, upbeat vibe with sunny and infectious swing and crisp solos. Classic organ-driven soul-jazz never sounded better and this is proof that the mighty B-3 still reigns supreme when placed in the right hands.
Review: Madrid-based Sinouj blends Mediterranean roots with contemporary jazz, funk, rock and West African rhythms on this wonderful new 7". Their inclusive approach brings together influences from flamenco, Iranian classical, soul and modern jazz, all of which can be heard here in music that feels both global and uniquely theirs. Their latest release reimagines 'Hak Dellali,' a North African classic popularised in the 80s by Tunisian and Emirati artists. Sinouj transforms the song with Moroccan chaabi beats and Tuareg blues-rock energy, and it has become a staple and standout of their live shows. A psychedelic remix by Berlin's Voodoocuts adds a club-ready angle.
Review: Sofian label Soul Dynamite sling a skilful slice over our way, assuring us of the finely appraised editing work of Plovdiv producer Skill. Flat caps, ochre-rimmed glasses and dug crates seem to surround Skill like bees to honey, as the self-professed "pioneer in the purveyance of soulful, funky and jazzy hip-hop" makes evident his own expertise in a monosyllabic name. Two seconds in and we already know that 'Tribute To The Godfather' refers to none other than James Brown; we hear his many rhythm-perfect funk "huhs" striating the a fearsome breaks opener. We conclude on the sax-furloughed 'Danger', which steers hip-hoppier, and sacrifices the original vocals from Brown for an unknown sample source, though the King Of Soul's reign is not lost on it.
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