Review: Many may know Seungyoung Lee AKA Mogwaa from his superb EPs and singles on Starwave, which sit somewhere between chillwave, boogie, proto-house and Italo-disco. There have been plenty of signs of his musical dexterity, though, and its' this side of his chameleon-like character that come to the fore on debut album "07307". While decidedly Balearic in vibe and tone, the album's nine instrumental soundscapes draw on a dizzying array of influences, from the synthesizer-based sounds he's known for to jazz, ambient, new age, dubbed-out synth-pop, Turkish style psychedelia and spaced-out movie soundtracks. In other words, it's a hugely enjoyable, atmospheric and alluring musical trip that surprises and delights at every turn.
A Strong Move For Truth (feat Nadine Charles) (3:19)
Good Morning (feat Samii) (2:40)
Remini Dream (feat Ivana Santilli) (3:46)
I Don't Wanna Know (feat Obenewa) (3:21)
Unknown Faults (3:59)
Life Can Be Unreal (feat Sarina Leah) (3:26)
Too Much (feat Sharlene Hector) (1:58)
You Are Virgo (5:05)
Come Of Age (3:28)
Just Leave It (feat Lady Alma) (4:52)
Ogawa Okasan Said Just Play (4:45)
A Where Pringle Deh? (2:14)
My Standards Are (Not) Too High (8:40)
Review: In our eyes, 2000 Black lynchpin Dego can do no wrong. You'll therefore be unsurprised to hear that we're huge fans of the 4Hero founder member's latest solo album, a belated follow-up to 2015's "The More Things Stay The Same". It is, of course, superbly soulful, slicky produced and wonderfully paced, moving from the heady soul sweetness of "A Strong Move For Truth", to the deep jazz-funk/broken beat vibes of "My Standards Are (Not) Too High" via 12 other warm and seductive cuts of an equally high standard. Highlights include the summery bruk-soul bliss of "Remini Dream", the toasty boogie revivalism of "Unknown Faults" and the Clavinet-sporting brilliance of Lady Alma hook-up "Just Leave It".
Review: The hardest-working man in West London is back! By now we've become accustomed to Kaidi Tatham offering up regular doses of soul and jazz-funk-fired dancefloor goodness, but even by his high standards "You Find That I Got It" is something special. Warm, woozy, groovy and full of intricate musical details - brief synth solos, subtle orchestration and so on - the A-side title track is a wonderfully sunny slice of instrumental boogie-soul. Tatham's world-renowned keys playing comes to the fore on the organic broken beat/jazz-funk fusion of "Mjuvi", a flipside cut that's almost as good as the exceptional title track.
Review: Andre Sobota is Bungle, the Brazilian producer tearing up the contemporary drum & bass landscape with his hard hitting rhythms. He only tends to put out one EP a year, but that changes this autumn with three missives all landing in the space of two months. This is the first and features four cuts on two slabs of wax. "Mutant" starts out as an icy liquid roller before being ripped apart by rasping synths, "Dictate" is a glistening stomper with raga vocal stabs and melodic shimmers while "Enigma" is a dark, twisting and turning track that takes you down a rabbit hole. "Step Two" finishes things off in rump-wiggling jump up fashion and closes out a devastating release.
Review: A master of all things dark and gritty when it comes to jungle and drum & bass, Ray Keith is back with a vengeance here across two devastating cuts. A side "Jungle Fi Dread" is built on his archetypal dread bass sound, stepping breaks and flailing hits, and it adds up to a controlled bit of dance floor frenzy with numerous peaks and troughs. "What Time Dread" on the flip has a rude vocal stretched and warped over rinsed out breakbeats that shimmer while a droning bassline conjures up some sort of doom-laden final level boss scene from your favourite RPG.
Review: 7th Storey Projects welcome back Necrotype and Tim Reaper for the "Exclusive To Bandcamp EP", which isn't actually available on Bandcamp. It's an adventurous outing that covers all bases - Necrotype takes care of the a side with "Track 1": all pitch-shifted hardcore vocals and rinsing breakbeats with a mellow but euphoric feel, while "Track 2" is similar but with even more energy in the drums. Tim Reaper steps up first for the ravey banger that is "Track 3" before rounding things off with the a blissed out and intergalactic roller ("Track 4)". These two might be young guns, but they certainly know what they're doing.
Money Boss Players & Large Professor - "Track 3" (3:52)
Serch - "Track 4" (0:37)
Non Phixion - "Track 5" (3:06)
Boot Camp Clik - "Track 6" (4:01)
Lord Finesse - "Track 7" (1:21)
Teflon & MOP9 - "Track 8" (2:05)
Outkast - "Track 9" (3:44)
Chino Xl - "Track 10" (2:05)
Mr Complex - "Track 11" (3:19)
Everlast & Divine Styler - "Track 12" (1:40)
Review: Freestyles are always fundamental to a rap artist's game. If you can drop a rhyme on the street and win over your hard-to-impress peers, then convincing music industry critics of your skills should be easy. Previously an unofficial release in 2004, this collection of freestyles arrives via US label 88HIPHOP, which was a B-Side TV network that produced and exchanged hip hop videos around the world. Dozens of MCs appeared on the live show and now recordings from the likes of Keith Murray, Serch, Mr Complex, Chino XL and many others all come together on a red hot collection.
Review: There has been plenty said about debutants L'Epee since their single "Dreams" turned heads back in spring. Combining the talents of Anton Newcombe (The Brian Jonestown Massacre), French artist Emmanuelle Seigner, and polished-to-a-sheen pop outfit The Liminanas, it's one of the most refreshing (and French) things you're likely to hear all year. That's more of a reference to the cinematic feeling that defines the album, owing much to the femme fatale vocal delivery, rather than the language each line is sung in. At once evoking the smoky cool of Serge Gainsbourg and the opiate moods of The Velvet Underground, "Diabolique" feels born in a time when psychedelic experimentation and chart topping music weren't mutually exclusive. At once sophisticated and hedonistic, it's a sexy, sensual and overwhelmingly seductive effort everyone should turn themselves on to.
Review: After years spent offering up impressive blends of ambient, drone, electronica and experimental drum and bass as ASC, James Clements has decided to commit more time to Comit (sorry), an alternative project which first surfaced via a debut single in 2016. Here the San Diego-based Brit delivers a first full-length excursion under the alias. There's plenty to soothe and seduce on the eight tracks stretched across two slabs of wax, from the undulating, occasionally skittish beats and sweeping chord sequences of opener "Behind Dulled Eyes" and the icy, doom-laden electronic melancholy of "Reverie", to the early Black Dog Productions flex of "Clouded Over" and the dubbed-out, slow motion bliss of "Soft Focus".
Review: It's been four years since A&R Edits ceased releasing music after serving up nine essential EPs between 2013 and 2015. This return to action has been masterminded by Merseyside scalpel fiends Greg Wilson ("GW") and Henry Greenwood, whose fine revision of Neneh Cherry's "Buffalo Stance" kick-started the imprint six years ago. A-side "Disco Mondo" is a rolling revision of a lesser-known breathy disco jam of (we think) Italian origin. It boasts a metronomic groove, wah-wah guitars, elongated organ chords, congas for days and a few well-placed swirling electronic effects. Over on side B, "In The City" is a dreamy chunk of mid-tempo, Italo-disco influenced synth-pop.
Jarvis Cocker/David Cunningham - "The Interrogative Mood"
The Katzenjammers - "Cars"
Joseph & Louise Spence - "Won't That Be A Happy Time"
Andrew Wartts & The Gospel Storytellers - "Peter & John"
Bob Welch - "Don't Wait Too Long"
Alternative TV - "Cold Rain"
Serafina Steer - "Day Glo"
The Kings Singers - "After The Gold Rush"
Miranda July - "Rock Intro"
Morgana King - "It's A Quiet Thing"
Nina Simone - "Baltimore"
Art Garfunkel - "Waters Of March"
The Legendary Tigerman - "The Whole World's Got Eyes On You"
Cabaret Voltaire - "The Single"
Derek Cain/Derek Bowskill - "December"
Deanna Storey/John Brion - "Little Person"
Jake Thakray - "Old Molly Metcalf"
The Camarata Contemporary Chamber Group - "Gymnopedie No 3"
The Phoenix Foundation/Christopher Hitchens - "Corale/Thoughts On Religion"
Headless Heroes - "True Love Will Find You In The End"
Review: He will forever be known as the frontman of Pulp, but for many music lovers Jarvis Cocker has also won our affections with his erudite selections for his BBC 6 Music show. Entitled Jarvis Cocker's Sunday Service, it ran every week from 2010 to 2017 and now a selection of his personal favourites get the compilation treatment. Reflecting the mood of most Sundays, the music is soothing, soft and mellow, but always high quality. There are stunning covers or Beyonce by Anthony & the Jonsons and Gary Numan's "Cars" on steel drums, plaintive piano pieces from John Baker and a classic from Nina Simone amongst a whole treasure trove of gems.
Review: Who remembers when Hip Hop was a force for good? A happy, colourful sound brimming with positivity and realness, rather than the blingy boasts of studio gangsters? Whether you do or don't, this new Daisy Age compilation by Saint Etienne's Bob Stanley is a timely release that shines a light on that small but golden era back in the late 80s. Key protagonists like Jungle Brothers and A Tribe Called Quest, as well as De La Soul, whose "3 Feet High and Rising" album was at the centre of this micro-movement, all feature alongside Pop and R&B with a similarly positive outlook. Essential.
Review: Discerning diggers will know that an original copy of this funk soul gem from 1978 often fetch close to four figures. Initially released on a little known label in Mississippi, Acid Jazz now give it the proper reissue treatment. It is filled with passionate soul songs that stride forward with purpose and pride. "Let Me Be Your Lover" is the breakout single that will get most club plays, but the sliding hi hats and twangy bass of "Gonna Find A True Love" will also do plenty of damage. The version included here is slightly different to the single that was reissued earlier this year, but is well worthy of its inclusion.
Review: The jazz and broken beat revival continues apace as we race through 2019, so original pioneers of the sound are rightly coming back into focus. Enter the Brand New Heavies, one of the key acts of the mid-eighties who sound as good on this brand new album as ever. It's littered with funk-licked pop, crystalline acid jazz and singalong songs that range from tender ballads to soaring soul. Angie Stone, Beverley Knight and other vocalists lend their tones along the way, but importantly TBNH is not a revival or self-satisfied celebration. Instead, it feels like a forward-looking and accomplished album that takes the band in subtle new directions.
Review: Africa Seven's second tribute to the "funky sounds of female Africa" is packed to the rafters with gems. While some of the material may be familiar to those digging Afro-funk, disco and boogie - see Oby Onyioha's breezy boogie sing-along "Enjoy Your Life", the similarly awesome early '80s dancefloor pressure of Nayanka Bell's "Just A Boogie" and the gnarled disco-rock pressure of Christy Essien's "Nobody Can Stop You" - the vast majority of tracks are not only little-known, but also simply essential. Our picks include the disco-reggae bounce of Bebe Manga's "Lokognolo", Theodora Ifudu's Teena Marie style disco-boogie workout "This Time Around" and the spiraling heavy funk pressure of Diane Solo's "N'Ziketio".
Family Man & Youth Professional - "Southern Version" (version) (3:51)
Review: More than 40 years after its initial release, Afrik revisit the blissed out reggae of Melford Jackson's one and only hit, "Southern Africa". At its heart is some fantastic chord work, which trills and shimmers above the rumbling drums and jangling little guitar riffs. The flip finds Jamaican reggae bass player Family Man link with Youth Professional Band for the enchantingly aimless and wandering "Southern Version", in which it is so easy, and so enjoyable, to get lost in on a lazy afternoon.
Review: Almost thirty years after it was first released and spawned an entire new sub genre, "Acid Tracks" still bangs harder than 99% of new tunes. Here it gets remixed by a selection of seriously big names as well as hot newcomers and then pressed up to limited green vinyl. The big man Carl Cox goes first and is in no mood to muck about, layering in hammering kick drums and making the 303 even more wild and serrated. Swiss-Chilean minimalist Luciano distils it down to a more soft and supple acid track that works on the mind, while the flip side offerings serve up stomping warehouse techno, strobe-lit anthems and rubbery drum workouts.
Review: Johannesburg's Maboneng Precinct is the home of Afrosynth Records and for the last two years it has been an absolute hotbed of reissued African music. This latest missive is originally from 1984 by Obed Ngobeni and his backing singers the Kurhula Sisters, who helped pioneer the Shangaan Disco style that heavily influenced South Africa's bubblegum sound of the 80s. Now a go-to genre for cult favs like Antal and Hunee, they're sure to lap up the hurried funk and proto-house of "Ta Duma", which comes in three slightly different versions. "Xikhobva" closes things in loose percussive fashion with a guitar-driven groove.
Review: Headed up by jazz-man and broken beat hero Mark de Clive-Lowe, Tokyo's Ronin Arkestra is an all-star collective that includes members of some of Japan's leading jazz and electronic music outfits. We shouldn't really be surprised, then, that debut album "Sonkei" is rather special. It features some suitably grandiose and epic contemporary jazz workouts - see "Onkochishin", the wonderfully spiritual and dancefloor-friendly "The Art of Altercation" and loose-limbed closing cut "Tempestuous Temperaments" - but the influence of other forms of music (most notably dub, ambient and electronica) is evident throughout, often in subtle and surprising ways. In other words, it sounds like a future jazz classic in the making.
Review: Alchemy Dubs have cooked up more heat here with a ninth 7" that is a collaboration between Ojah and Jamaican singer Ras Tavaris. "Long Run" is a live mixed, proudly analogue cut with a stepper rhythm overlaid by Tavaris' important lyric work that muses on plenty of contemporary issues. Some lively percussion adds character and a flip-side instrumental dub lays even more fantastic studio work. That this one comes in a hand-stamped, hand-numbered, thick custom sleeve and is limited to 500 units makes it all the more collectable.
Review: After a two-year absence, Aline Brooklyn - New York's surprise home of Romanian style minimal techno adventures - has returned with a bang in 2019. They've launched the "Original Series", with March's debut release from Mihai Pol being followed by this eight-track album from Nico Laa and Juan Cristiani. The pair begins in confident mood via the melodious tech-house funk of "Drastic", before wrapping chiming lead lines and spacey electronics around a low-slung groove of "Mars". More warm, deep house style motifs can be heard on "Good Morning Brooklyn" and the bumpin' goodness of "New York", while "Loop People" is a hazy, minimalist jack-track. Elsewhere, "La Rose" is woozy, dreamy and quietly picturesque (despite locked-in tech-house beats) and "Senor Lopez" is snappy and funky in the best possible way.
Review: The force is strong in this electrifying new EP from DAED, who last appeared on this label in 2017 on a VA release. There are shades of IDM to his complex synths and melodies, while kinetic broken beat drum programming powers the tracks along. The mood is melancholic on "Aria" which is so frantic it feels like it might eat itself, "Voidal" has fizzing, icy textures that will tie you in knots before "H2FSBF6" really pulls of some impressive synth acrobatics. "Ephemeris" is the warp speed closer that tarps you in a gorgeous digital world.
Review: Newworldaquarium has long been a real darling of the techno world with an impeccable back catalogue filled with treasures, and now the Dutchman is treating us to two new tracks that were recorded during the same sessions as his seminal "The Dead Bears" in the early 00s. The 10-minute epic "Mercury" has a majestic synth phrase looped over rubbery kicks that will lead to real transcendental moments, while "Levels Halo" is a zoned out ambient piece with kick drums buried miles below, gently moving you along.
Review: FunkinEven's Apron label rarely, if ever, puts a foot wrong, whether putting out ragged techno, raw hip hop or whatever in between. It is Molinaro who steps up now after first landing on the label back in December 2017. The NTS host has long been a firm part of the London underground and has a lo-fi, frazzled sound that blurs the lines between a number of different genres. Here he offers spaced out and grizzled drum tracks, unsettling machine-made ambience and rough and ready beatdown that Theo Parrish would admire. It's been a long wait since his last release, but this EP was well worth it.
Lenny Fontana, Tension - "A Place Called Heaven" (Joey Negro dub Groove) (6:58)
Jay Denes, Ada Dyer - "You Make Me Whole" (Joey Negro Rhodes dub) (5:17)
Julian Sanza - "To Love" (5:16)
Frankie Knuckles, Satoshi Tomiie, Andrea Mendez - "Bring Me Love" (Eventual dub) (6:56)
Review: Some serious no-nonsense house grooves for all true-school DJs to cop, dug out from the annals of club music history. Things kick off good and proper with Joey Negro's insanely powerful "Dub Groove" mix of Lenny Fontana's "A Place Called Heaven". Negro's on the buttons once again with the classic, pumping "Rhodes Dub" of "You Make Me Whole" by Jay Denes and Ada Dyer. On the flip, Julian Sanza drops the squelchy boogie inflected "To Love" before the record ends on a serious bang with the dream team of Frankie Knuckles, Satoshi Tomiie and Andrea Mendez's "Bring Me Love (Eventual Dub)". This is as actual house as actual house can get - the real deal, crystalised in four evergreen gems pressed on one handy record.
Earl Zero - "None Shall Escape The Judgement" (6:10)
Soul Syndicate - "None Shall Escape The Judgement" (version) (2:54)
Earl Zero & Soul Syndicate - "None Shall Escape The Judgement" (extended) (6:51)
Review: Earl Zero is a foundational figure in the roots reggae scene of '70s Jamaica. Working with producer Bunny Lee on this self-penned piece, it was originally given to the more established singer Johnny Clarke in 1975 and went on to become a hit. It wasn't until 1980 that Earl's own version came out on Epiphany Records and saw similar success. "None Shall Escape The Judgement" is a crucial cut that rides on a higgledy-piggledy rhythm section as bass twangs and rim shots peel off the groove. Earl's buttery, blissed out and heartfelt delivery soars up top next to celebratory trumpets to seal the deal in style.
Prince Alla & Phillip Fraser - "Black Rose" (3:22)
Prince Alla - "Black Rose" (Alt mix) (3:16)
Soul Syndicate - "Black Rose" (version) (3:14)
Review: Archive Recordings have fully licensed a reissue of this classic of Freedom Sounds roots from 1977, and press it up on a tasty bit of blue wax. "Black Rose" is a real heater, with swaggering drums and bass, noodling chords buried deep in the mix and lead organ lines that carry you away on a breeze. Making use of the heavyweight Stone rhythm and produced by the late Bertram Brown, this 12" also features a previously unreleased solo Prince Alla vocal and Soul Syndicate's take on the original rhythm track.
Review: London-based retroverts Art Of Dark return with a wicked double header here for their third vinyl release. Antonin Hifda aka Daif takes up the A side, offering up the hardcore rave reductions of "Another Version Of The Truth" followed by the deep down Detroit styled electro beats of "Devil". On the flip, it's all about newcomers DC EFX who follow through with the electro bass vibe on the absolutely booming "Expansionz", before closing with the bass-driven acid techno "The Roller Express".
Review: Jazz-man Greg Foat has always been more open-minded and eclectic than many give him credit for, delivering nods to pastoral folk, movie soundtracks and library music amongst his more jazz-focused output. Even so, "Photosynthesis" is still a curveball, featuring as it does drowsy and mostly leisurely soundscapes that move from Radiophonic Workshop influenced weird-outs and mutant lounge music, to stoned horizontal grooves and post trip-hop soundscapes. Interestingly, some of the album's standout moments come laden with woozy electric pianos and the kind of hazy, slow motion guitar motifs that evoke mental images of long, drawn-out sunsets.
Review: Many disco-era modern soul collectors regard, Larom Baker's "You're The Best", which initially appeared in 1978 on an impossible to find, single-sided 7" single, as one of the style's genuine "Holy Grail" records. It's good news, then, that Athens Of The North has secured the rights to reissue it, releasing the full studio version (rather than the shorter edit that was released all those years ago) for the very first time. It's a genuine gem, with Baker's deliciously breezy West Coast soul vocal seemingly floating over a killer backing track rich in hazy horns, bustling slap bass and crunchy Clavinet lines. Turn to the flipside for the more disco-minded "Train Of Thought", one of a string of recently discovered Baker recordings that form the basis of a forthcoming album of previously unreleased tracks.
Life Is A Movie (feat RZA & Irfane Khan-Acito (Of Outlines)) (3:10)
Elastic Audio (live - bonus track) (4:02)
Review: Wu-Tang are very much in the headlines right now thanks to the four part Netflix documentary series that is chronicling their essential history. The collective's various members famously went off and served up a number of killer side projects, including this one from GZA. It's his fifth studio album from 2008 and features nuggets like the 50-Cent baiting beef track "Paper Plate" as well as other uptempo joints laden with the sort of sombre soul that defines much of Wu-Tang's work, all with GZA's potent rhymes front and centre. For such a prolific artist, the quality levels remain remarkably high here.
Review: Latin trap star Bad Bunny's debut album got widespread acclaim when it was released at the end of last year. Now "X 100pre" (which is an abbreviation of "Por siempre" in Spanish, meaning "Forever") gets a vinyl release complete with cuts featuring Diplo, Drake and El Alfa. Even without speaking the lingo, the production tells its own story and conveys a wide range of feelings from, you suspect, dejection "Otra Noche En Miami" to empowerment ("Ser Bichote") and romance on "Como Antes." It is a vibrant and crisp debut from the Puerto Rican that is powerful as well as off kilter.
Review: Transhumanism is a collective of Dutch producers who first met on the dance-floor at Dave Clarke's Whip It party at Melkweg in Amsterdam, so that will give you a reliable indicator of their sound: it's brash, serrated electro that fires your synapses and awakens your every sense. Juan Atkins and Helena Hauff have been dropping it all summer and it's easy to see why. There is strobe lit action from Slaves Of Sinus, walls of high intensity sound from RXmode, rave tinged stuff from W1b0 and a more throwback jam from TFHats to round out a high impact EP.
Review: Following a string of sizzling singles released over the best part of a decade, The Pendletons (AKA E Da Boss of Myron & E fame and Bay Area producer Trailer Limon) has finally got round to recording a debut album. It's something of a slick, soulful and groovy affair, offering a mix of breezy West Coast grooves, sun-kissed instrumentation, snaking horn solos, colourful synthesizer lines and oodles of soul-powered vocals from the group and guests including Howard Johnson, K-Maxx and Gizelle Smith. While it's something of a time capsule, stylistically at least, few do this kind of warm, glassy-eyed nostalgia better. Put it this way: it's every bit as good as we'd hoped for and much more besides.
Review: This is a big reissue of some disco-not-disco weirdness as cut up and chopped, skewed and made to dazzle by the Bastedos camp. "Keep Me On Fire" is a chugging pumper with fat drums and noodling riffs that sets the groove train in motion and keeps it running. "I Tried To Help It" is even more wild and impassioned thanks to the unabashed vocal that cries in soulful falsettos while Chic-style riffs power it along. "Termination" ends in a freaky but funky fashion with twisted vocals and gauzy guitar chords layering up into a marching wall of sound that's laden with effects.
Review: Don't believe everything you read - the fifth Bat For Lashes album confirms this girl (or woman) found herself musically and thematically some time ago, freeing up creative energy to explore new approaches to deliver her often mournful, always heartfelt songs inspired by personal crises and private longings. On this outing there's more than a hint of 1980s pop evident in the mix. Shades of Prince ("Feel For You"), Madonna ("So Good"), Bowie's Berlin days and electro-era Gary Numan (the stunning, infectious instrumental "Vampires") cast the record in a nostalgia that suits the sense of yearning that always seems to pervade Natasha Khan's work. Simply name-checking reference points is lazy and unfair, though. This is an incredible collection of tracks moulded in the artist's own image - bold, beautiful and instantly captivating. Then again, it would be surprising if anyone had expected anything less.
Review: Bjarki's BBBBBB label has carved out its own unique niche in the techno world and next to occupy it is core label artist Stian "EOD" Gjevik. The former Rephlex artist shows off his magnificently complex and busy yet harmonic and melodic sound across five fantastically restless cuts that has lead synths taking you down a number of rabbit holes. Calming pads vie for your attention on "(Untitled) (W-R6)" while the acid laced "The Battery Poles (Are Conic!)" is so bright and shiny it'll have you reaching for your sunglasses. Few people speak so freely through their machines as this man right now.
Review: For their first album away from spiritual home Claremont 56, Ben Smith and Paul "Mudd" Murphy have decided to put a decidedly Balearic slant on the kind of atmospheric and quirky music that once was the mainstay of library music stalwarts KPM Records. Given their influences and seemingly innate ability to create heart-stopping, mind-soothing soundscapes, it's a canny move. Certainly, the music contained on "Tea With Holger" is impeccable, combining picturesque guitar and piano motifs with lilting easy listening orchestration, heady choral vocals, razor sharp strings and nods to various well-known TV and film soundtrack styles. Yet for all the knowing nods to old library music sounds, it's the quality of the duo's emotive and inspiring compositions that stands out.
Me! I Diconnect From You (BBC Peel Session) (3:07)
Down In The Park (BBC Peel Session) (4:18)
I Nearly Married A Human (BBC Peel Session) (6:38)
Review: Beggars Banquet turn to their Arkive arm for this 40th anniversary edition of Tubeway Army's classic early works. "The First Recordings", from 1979 has been identically sequenced as the original release with early versions of the tracks. Alongside hits "Replicas" and "Are "Friends" Electric?", our picks of the batch are "Me! I Disconnect From You", an archetypal deadpan delivery with mechanical grooves, the grungy and rock-laced "Only A Downstat" and lovable robo-pop "We Have A Technical".
Review: The sneaky scalpel fiends behind the Belpaese Edits imprint are back with more inspired reworks of obscure, little known and overlooked European - and mostly Italian - gems from the 1970s and '80s. First up is "Vieni Con Mi", a wonderfully overblown chunk of loose-limbed jazz-rock/disco-soul fusion blessed with breathy female vocals, mazy flutes, wah-wah guitars, heavy bass and drumming so wild it may well be capable of raising cadavers from their graves. Flipside "20 Secoli Di Favole" is similarly minded, if a little closer to Baldelli "cosmic rock" territory - all ragged rock riffs, manic female vocals, groovy bass and intergalactic analogue synthesizer lines.
Review: Tectonic bossman Pinch on Berceuse Heroique? Now this is a match made in boundary-breaking heaven. Not even the lead track "Border Control" can keep things confined as we're hurled into a swampy, heady, paranoid and relentless stampede which is just as much techno as it is 140. "Fortune Tellers" brings us back down to even woozier 125 as layers of off-kilter percussion scuffle up and down the mix in a blurry, sense-deceiving way before "Loose Cables" turns us inside out with its tripletty off-beat, subaquatic pressure. A one of a kind artist on a one of a kind label; there are no borders here.
Review: Blue Feather were a truly blue-eyed funk outfit from the Netherlands who had a prolific run in the 80s with two albums and a string of club singles to their name. "Let's Funk Tonight" was surely one of their bigger hits, and it sounds resplendent with a fresh master and the full extended version spread out across the A side here. Offering something new for the modern market, Best call upon Faze Action to flesh out this reissue with a killer dub of the track that treads softly but funks deep, just like a good dub should.
Review: It's been four years since Fat Freddy's Drop's "Ten Feet Tall" and the ongoing remix series that joins the dots between the New Zealand outfit and the best beat makers in Berlin. Winnie & Somow are house and reggae aficionados who straddle that divide on a remix that has a rumbling bottom end and super silky lead vocal from Joe Dukie. As much as it makes you want to move, it also tugs at the heartstrings. LoYoTo then layer in endless reverb to their remake, which is invitingly cavernous and dubbed out as they rework Dukie's vocal into something more detached and blissed out.
Review: Pure, infectious, filthy, brilliant club energy. Steve Marie takes the a-side by the horns, first with the ravey, jacked up acid cut "JuplVtrax", then the nimble drum work and ducking and diving synths of "Psychedelia", which brings to mind flickering old VHS of illicit field gatherings from the nineties. Astral Body then takes you even deeper down the rabbit hole with the manic 303 and hyperdrive drums of "Galaxy Beat". "Equinox" closes things out with surging solar waves, rippling acid modulations and kaleidoscopic colours that leave you breathless. Reach for the lasers, etc.
Review: Whether offering up dreamy, loved-up synth-pop or languid Balearic beats, Michael Silver's work as CFCF has always tended towards the summery and sun-kissed. Yet even by his high standards, "The Colours Of Life" is extra-special. The album first appeared on Canadian tape/download imprint 1080p back in 2015, becoming something of a cult item amongst ambient and Balearic collectors. The good news is that it's finally made it to wax, and not a moment too soon. The album's mixture of lazy, elongated chords, bubbling synthesizer melodies, soft focus beats, seductive aural textures, gentle new age motifs and occasional heartfelt jazz guitars is a treat for the ears: an aural bubble bath whose sonic smelling salts will tickle and tingle the senses.
Late For Sum (Kincaid Sleep Deprived version) (5:24)
What's The Time? (Kincaid remix) (5:59)
Distant Storm (Kincaid remix) (6:36)
Not A Priority (Kincaid remix) (6:10)
I Smashed Your Phone (Kincaid Wolfish remix) (5:22)
Review: This is a second release from the familia collaborative duo of Kincaid and his dad Blancmange. Their first EP made a big mark when it landed on Moscoman's Disco Halal imprint and now they back it up with more sludgy electronics, deconstructed dark disco and coldwave synth styles. "Late For Sum" opens in mysterious, spacious fashion before a Kincaid version reworks it into something more propulsive for the club. The darkened mood and trippy synths continue on "What's The Time?" while the b side offers exotic Middle Eastern disco, cosmic melodies and stark electro-techno with real panache.
Review: New York's Blank Forms Editions welcome back Catherine Christer Hennix for a second album in quick time after her widely acclaimed debut last year. This one manages to hit even harder than that debut across four twenty minute suites that defy many western musical conventions. It is drone music with a difference, weird synth sounds drawn out and contorted before your very ears. It's caustic, challenging listening that plays out like the soundtrack to a horror movie in your own mind. Experimental music as occult as this truly sounds as if it comes from another planet, and tuning into it is a real thrill.
Review: Aphelion is a Greek producer who is part of the Equations Collective, and here he offers up his first ever release. Clearly well schooled in production, the atmospheres of his tracks belie his debutant status as he kicks off with the mutant bass and pounding kicks of "Volatile Radiance". More warped bass characterises the sparse and eerie "Cosmic Vibrations" before Silicon Scally aka Carl Finlow heads off in a more menacing direction on his remix of "What You Want". The original is a more haunting and paranoid affair that has you looking over your shoulder.