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.
Review: Curtis Electronix is a brand new electro label out of Holland (where else?) run by CEM3340. The label is said to be is inspired by Doug Curtis, the father of the "CEM" chip as well as being a synthesizer pioneer and innovator, and the boss himself is behind this notable first EP. His brand of electro is a crunchy one, with distorted drums frying brains and computerised synth arps jagging their way about the mix. Next to three busy, textured originals is a remix from The Exaltics that is as raw as they come.
Review: Basic Rhythm's second appearance on Planet Mu plots a path from hardcore to footwork via jungle in devastating fashion. The A side houses the kinetic "2 Da Core" with mashed up vocal samples and crunchy drums into a bass heavy bomb, followed by "Get Up" with its hazy vocal samples and fat bass which comes together into a weird and wonderful rhythm. RP Boo's remixes are rather few and far between but we're treated to one here that is icy and skeletal, with echoing hits ringing out over impossibly deep sub bass. "Nah Ramp" is a destructive final offering with off grid clatter and lurching drums keeping you in a spin.
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: 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: Often cited as the sort of album that took hip hop in credible new directions and opened it up to a broader audience who had previously been put off by rap and all its streetwise slang and urban references, Hieroglyphics' "3rd Eye Vision" landed in 1998. It has been cited as one of the best indie hop hip albums of all time thanks to its lavish instrumentation and stellar production from Domino, with contributions from A-Plus, Opio, Del and Casual. Each of the 20 tracks tell their own stories but mesh them together and it's a coherent album overall that proves going your own way, away from the majors can be a scary but rewarding move.
Review: It's hard to believe that Enzo Siragusa's Fuse label has now been carving out its own niche in the tech house world for a full decade. To mark the occasion, the label boss has pulled together more key tracks for his second volume of "A Decade of Rave". This compilation is another treasure trove of club cuts that feature the main man alongside some of his key associates, Rich NxT, Rossko, Archie Hamilton and Seb Zito. The tracks are unwaveringly dubbed out and driving, with weighted bottom ends that will get any moody dancer moving. From warms up to peak time to afterparties, these are hugely versatile tracks.
Review: Ilari Larjosto has worked with Austrian Finnish trio Skymax and collaborated with the likes of DJ Fettburger as 358 Men, but now becomes Stiletti Ana for a debut solo record that explores the similarities and differences between synth, kraut, techno, kosmiche and new age ambient. The multidisciplinarian artist has a widescreen cinematic style that will expand your mind to an infinite horizon. This is music with real architecture that invites you deep within to be more attuned to what is unfolding around you.
I Want You (She's So Heavy) (CD2: Abbey Road Sessions - Trident Recording Session & Reduction mix)
Goodbye (Home demo)
Something (Studio demo)
The Ballad Of John & Yoko (take 7)
Old Brown Shoe (take 2)
Oh! Darling (take 4)
Octopus' Garden (take 9)
You Never Give Me Your Money (take 36)
Her Majesty (Takes 1-3)
Golden Slumbers/Carry That Weight (Takes 1-3)
Here Comes The Sun (take 9)
Maxwell's Silver Hammer (take 12)
Come Together (CD3: Abbey Road Sessions - take 5)
The End (take 3)
Come & Get It (Studio demo)
Sun King (take 20)
Mean Mr Mustard (take 20)
Polythene Pam (take 27)
She Came In Through The Bathroom Window (take 27)
Because (take 1 - instrumental)
The Long One (Trial edit & mix - 30 July 1969)
Something (Tale 39 - instrumental - Strings Only)
Golden Slumbers/Carry That Weight (take 17 - instrumental - Strings & Bass Only)
Abbey Road (Blu-Ray Audio)
Review: There's a chance this Liverpudlian four piece will be familiar by now. This, their 11th studio outing, first unveiled as the 1960s slipped into the 70s, is a bonafide epic from an outfit that weren't lacking in epics; in many ways a culmination of their time together, marking the end of their active years and beginning of their legacy. By this stage, then, they've emerged from years spent on the inner journey and time on the outer, space cadeting to the hallucinogenic fuelled tones of "Sgt. Peppers" and "Revolver". Of course, there's still plenty of explorations happening, but the gritty blues rock of opening track "Come Together" really sets the tone. Five decades on, it still sounds great and maybe even better than you remember. Even if you own the original, this anniversary edition is worth having.
Review: Last year's hair-raising adventures of everyone's favourite jungle superhero Action Saxxon continue to see the light of day as Liondub drops this second EP of album favourite on 12". Running the full range, we kick off with gritty atonal groans with DJ Limited ("Way Back") and end with one of the fattest, distorted rollers the Norwich man has mustered ("Rollcall"). In between we're treated to sensual jazzy flutters ("Cherry On Top") and a wobbler so flabby it often swaps wardrobes with your dad. Action stations!
Review: In 2009, two years after the original version appeared on Somi's debut album "Red Soil In My Eyes", Joaquin "Joe" Claussell and Brian Bacchus joined forces as Soul Feast to remix Fela Kuti cover "African Lady". A decade on, Claussell has decided to reissue the package's most potent and percussive moment, the layered "Drum Dub" on a tasty seven-inch single. While there are key elements of Somi's original version present - the killer bassline, some delay-laden horns and fleeting glimpses of guitar - the mix is dominated by layered Afro-house percussion. This time round, the mix comes backed with an "Acapella EFXS" version, which contains all of Somi's superb vocal and is closer in tone to the duo's 2009 club mix. Like the A-side, it's superb.
Review: Butter Sessions latest must-check release comes courtesy of Melbourne-based rising star Furious Frank, whose recent EP on Paper-Cuts was particularly impressive. "Ahora Si" is similarly inspired, with the young Australian producer placing Ivy Barkakati's "Sueno Latino" style whispered vocal over a bold, alluring blend of jangling dream house pianos, rugged acid lines, sunrise-ready chords and loose-limbed analogue beats. He provides his own dream house style interpretation (the brilliant "Frank's Sunrise Mix") before inviting Ivan to give his take on the track. He adds some tribal percussion whilst retaining the cut's inherent dreaminess before Canadian producer D. Tiffany re-imagines "Ahora Si" as a bass-heavy chunk of UKG/breakbeat house fusion.
Review: It's been a long time between drinks for Chris Korda, a transgender artist and activist whose last releases of note came on famed electroclash label International Deejay Gigolo way back in 2004. New album "Akoko Ajeji" is very much a surprise return to action, though its melodious, ear-pleasing and accessible blend of house and techno drums, digital synthesizer sounds and cheery post synth-pop refrains is both striking and hugely addictive. Korda's compositions offer subtle nods towards various vintage house and techno styles - particularly turn-of-the-90s deep house and early Chicago jack - but never sound anything less than thrillingly DIY productions giddily made in back rooms and bedrooms over the last decade and a half.
Review: Spain's Fanzine hits double figures by welcoming Nullptr (the alter ego of British artist Eddie Symons) for some heat that has made him a cult favourite over the last decade. The man behind Cambridge electro night Motherchip Connexion and his own [d]-tached label invites you to strap in and surge through the skies with him on a pulsating journey that finds him tease real funk out of his machines. From sombre and stripped back cuts of lonely electro to masterfully melodic affairs via devastatingly emotional groovers, this EP does it all in fantastic fashion.
Review: Originally prolific in the late 90s and back with a renewed sense of vigour in the past few years, Dan Piu's classic, widescreen vision of hardware techno captures the verve of the original Detroit blueprint while bringing a fresh, welcome energy to the genre. This drop on Common Dreams brims with the same head-swirling magic, especially on vividly rendered lead track "Halo City". "Falling Framework" has a more mellow veneer, but there's still so much playful detail bringing the track to life. "Akira 2171" has an old-skool sci fi quality balanced out by its linear sense of progression, and "Ilipsyon" takes things deeper into a wistful jack reminiscent of the spookiest Trax output.
Wartilla (feat Warren Ellis, Stephen O'Malley) (4:08)
Review: Malian musicians have a rich history when it comes to turning the world on to organic, mystifying, exotic sounds. A country that - even for Africa - stands out as a hotbed of aural talent, artists hailing from the desert nation never fail to immerse and intoxicate us. Here tracks grow and groove like a hypnotist at work, embracing Western influences, not least psychedelic rock, to produce what might have happened if Jim Morrison went walkabout in the Sahara looking for inspiration. As an album, "Amadjar" is everything that description might make you hope for. Opening on the delicate, spatial guitar plucks of "Tenere Maloulat", you can see the oasis shimmering in the distance through heat vapour. Evocative stuff, from there it only pulls us in deeper into an amalgamation of sounds overflowing with an adventurous atmosphere.
Review: It's the release that recently moved Skream to tweet he'll make 140 music again, Rarefied dig deep back over the vaults for their first remix release. First up is the Skream co-signed remix of T. A. R.'s "Amplivagant" in which Navy Cut captain J.Sparrow flips the bassline into a steamroller of a mix where the groove has a technoid mind of its own and the demolished results speak for themselves. Flip for Crypticz twist on Primer's "Signals". Switching out the skittering two-steps for ghostly amen echoes while keeping the tone and vibe just as eerie and haunted, it's another remarkable remix. Absolute solid gold.
Review: In 2016, Family Groove Records released a 12" of previously unheard 1979 demo recordings by Webster Station, a boogie-funk band from Dayton, Ohio whose studio efforts were initially binned by Warner Brothers for not being commercial enough. Demand for Family Groove's limited 12" of their recordings has remained high, so the label has decided to do a reissue. There's much to admire throughout, from the high-octane thrills of opener "Are You For Real" and the spacey warmth of the super-soulful "Can You Feel My Love", to the sugary sweetness of the Latin tinged ballad "Lady" and righteous closer "If You Feel Like Dancing", a killer combination of spacey synths, crunchy drums, urgent vocals and killer Clavinet lines.
Review: Studio One have put out plenty of big tunes and this is the latest to get a big reissue on a super loud-cut 12" single for extra devastating impact. It's a well-known classic every self-respecting reggae fan should know and blows up any party, especially when tweaked like these two versions. They were originally produced by Studio One bossman Coxsone Dodd and have been covered by The Clash as well as sampled by The Fugees and hip hop MC KRS One. The snaking lead synth, the rumbling drums and classic ska trumpet are all straight up irresistible.
Review: Chonk Mob familia Koma joins the gang at White Peach with this far-out four-piece that showcases his broadest and most considered range. "Arrival" sets the scene with big cinematic pads, arpeggiated pipes and a mood that gets deeper and darker the more you stride into it. "Missing Amsterdam", meanwhile, shows a calmer Koma as we mooch to poignant chimes in the most contemplative way. Finally, the bashy steel drum twister "Tasteful" plays the consummate pudding course as Koma and fellow Chonkster Rygby serve up the final course of this exceptional feast. Koma back soon.
Review: Dark Entries has been at the forefront of the coldwave and synth revival that has slowly taken hold over the last decade. Next up they turn their attention to a reissue of an out of print EP from 1988 by Jordi Guber and Krishna Goineau as Velodrome. Villalobos has been known to drop cuts from it, which should give you a good idea of its musical style: freaky 80s electro built on steppy drums, with taut and twanging synths reverberating around the mix, as exemplified by the opener. "Glasfabrik" is a hyper-speed cut with a tongue in cheek vocal, while "Capataz" is the most well-known joint with its acid bass and crashing hits.
Review: Sammy Massamba's "Azali" originally came out in 1990. The afrobeat artist's sound is shockingly potent, fusing his roots with disco and boogie to create the stuff party dreams are made of. The song has just the necessary edge to make a classic, with the vocals leading the way through the tune beautifully. "Birika" is a slower jam, but no less bold with its keyboard brass and choice guitar solo. Aroop Roy jumps on the flip to edit "Azali", stretching out a touch and adding a little subtle drum machine jack to the beat. It's tastefully done, keeping the vibe on the original intact.
Review: No longer dealing in edits, but instead long lost or out of print disco and soul gold, Super Disco Edits turn their focus to the early works of The Plainwrap Band here. These are all tracks produced and arranged by Marvin Augustus that were recorded to a dusty reel that ended up in the hands of producer Stu Gardner. He transferred the reels and once the label got wind they decided to track down Augustus. He'd forgotten all about the project but revelled that some of leading musicians from America's West Coast were called upon to play on these romantic, emotional and musical soul-groovers.
Carlton Jumel Smith - "This Is What Love Looks Like" (3:47)
Jonny Benavidez - "Tell Me That You Love Me" (3:45)
Pratt & Moody - "Lost Lost Lost" (2:57)
Nicole Willis & The Soul Investigators - "Paint Me In A Corner" (3:52)
Ernie Hawks & The Soul Investigators - "The Scorpio Walk" (4:57)
Wanda Felicia - "Until You're Mine" (3:19)
Bobby Oroza - "This Love" (part 1) (3:57)
Bardo Martinez & The Soul Investigators - "Bad Education" (3:53)
Emilia Sisco - "Don't Believe You Like That" (3:45)
Willie West - "I'm Still A Man" (4:31)
Review: Destination Helsinki: Daptone dig deep into the vaults of their friends at Timmion Records. Heavily championed by the likes of Nicole Willis, it's one of the most influential funk labels to come out of Finland this century, and this collection brings some of the many highlights together. The syrupy falsettos of Jonny Benavidez, the yearning lament of Pratt & Moody, the sincerity of Wanda Felicia and of course the driving focus and funk power of the Soul Investigators. The list of talent on Timmion goes on and on and this is a great snapshot of what they offer. See you in detention.
Review: When it comes to offering up albums of carnival-ready Latin-soul, it could be argued that Gabriele Poso is in a league of his own. Certainly, his 2018 set for BBE, "Awakening" was superb, and this follow-up on Soundway is every bit as good. The South American influences - think samba, Azymuth sytle jazz-funk, Brazilian boogie, MPB etc -catch the ear throughout, alongside his extensive use of warming synthesizers, sun-kissed electronics and his own voice, which seems to get richer and more seductive with each successive release. The quality threshold remains so high throughout that it's barely worth picking out highlights: it's literally "all good", and you really should check out the album when you get a chance.
Review: The Pioneers were pivotal during the skinhead reggae period and their 1970 album Battle Of The Giants on the mighty Trojan Records is as fine as they come. At the time it was released, the band was spending lots of time in the UK and taking cues from ska, but always returned to Jamaica to record. It shows in a record that mixes driving reggae grooves with more pop leaning songs and flourishes of soul. Swaggering rhythms like "Samfie Man" sit next to love struck tunes like "Consider Me" and it's not hard to see why this outfit was one of the first to have international reggae hits in the post-rocksteady era.
Review: Hozan Yamamoto is a widely revered figure in Japan, and a true icon of the seventies jazz scene. This album from 1971 is one of this best and a seminal work that effortlessly floats through fusion, soul and big band styles and has been basically impossible to buy in original format. Trust Mr Bongo to come correct with this fully licensed version which features his trademark flute playing and finds the maestro in a soaring, uplifting mood here. Big brass adds weight to his leads while well formed grooves drive the album along. Add in subtle Japanese stylings and it all adds up to a J jazz classic.
Between The Lines (feat Keyon Harrold & Sparkz) (4:42)
Introspection (feat Theo Croker) (5:00)
Cranes (In The Sky) (5:47)
I Still Believe (feat Milton Suggs) (5:41)
Elipsis (interlude) (1:07)
Dark Honey (4TheStorm) (feat Makaya McCraven) (5:48)
Pressure (instrumental) (4:41)
Lullaby (Rise & Shine) (feat Judi Jackson) (3:55)
Battle (feat Binker & Moses) (4:32)
The Mighty (feat Ben Marc) (3:31)
Review: South London pianist and composer Ashley Henry is a versatile musician who can move between all niches within his musical realm: hip hop, broken beat, jazz and fusion flows from his finger tips and all characterise his expansive and expressive new album "Beautiful Vinyl Hunter". Stellar collaborators Makaya McCraven, Judi Jackson and MC Sparkz amongst others all help enrich this album as it flows from post-bop to classic jazz to neo-soul in thrilling fashion. Rooted in tradition but with a distinctly London edge that soars to new heights, this record sets a new benchmark for the contemporary scene.
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: Detroit producer Scott Grooves returns to his Modified Suede imprint with Bitter Sweet, following on from the jazz-driven Motor City funk of "The Journey". This 12" sees the underappreciated Grooves on typically excellent form; the title track offers a piece of dusty, subtle Detroit house, where fuzzy Rhodes piano are joined by jazzy string melodies and a mechanical groove in a similar manner to Kevin Reynolds' similarly slow burning "Liaisons", while "C Track" offers a sublime piece of rolling house whose urgent yet gentle piano chords are caught in a swell of bottom heavy bass and rattling hi-hats.
Smile (feat Ms Dezy, Aloe Blacc, Latoiya Williams) (4:12)
Fruitful (feat Sean Biggs) (4:31)
Big Mel (2:56)
Review: Cali-bred, Nevada-based couple G&D aka Georgia and Dudley have long been dealing in lyrically challenging hip hop that brings racial issues to the fore. More relevant and impassioned than ever in the era of Trump and his MAGA nonsense, Dudley says of this new album, "Truth fucks with people. This ain't just music; it's a message and a tool to raise up the spirit of the black race". As such the album mixes up those ideas with g-funk, soul, 70s funk, psychedelic sounds and contemporary beat making into an album that runs the gamut of emotions and will keep you coming back for more.
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.
Dennis Brown - "Blessed Are The Men (The Pill)" (6:33)
Junior Delgado - "Cry, Cry" (6:32)
Review: The influence of The Crown Prince of Reggae, as Bob Marley used to call him, still looms large over the genre 20 years after he passed. The latest reminder of his considerable talent comes from this gem Dennis made with Jux produced by Niney in 1977. "Blessed Are The Men (The Pill)" is unusually long for a dub track at over six minutes, but it sinks you into it throughout via the cuddly groove, sliding snares, hanging guitar twangs and buttery vocals. Flip over for Junior Delgado's "Cry, Cry", an impassioned anthem with plenty of blazing potential.
Review: Blue World is an album that was never intended for release. It features music commissioned for a soundtrack for a Canadian film in 1964 and showcases a quartet that was at its very best. It's made up of short tracks and alternate takes of early Coltrane material and is utterly vibrant. Catchy little ditties like "Village Blues", stripped down numbers like the title track and the mostly-improvised "Traneing In" are all testament to the enduring brilliance of Coltrane, no matter the setting in which he was playing. The clarity of the recording and richness of the bass playing also add to the overall beauty of this record.
Review: Plastik People cast their gaze back to a garage house staple and give it a new lease of life on this cool and deadly white label. The original "Blues For You" by Logic is a pinnacle on the Strictly Rhythm catalogue - some might say untouchable - but Danny J Lewis and Marc Cotterell are here to tell you otherwise. Lewis lands on the A side with a version that keeps the structure of the track intact, and speaks those iconic hooks through a different set of instruments that gives the track a new lease of life. Cotterell meanwhile smooths the garage jerk of the original out into a more linear house thrust while working the vocal samples with glee - it's a respectful approach that simply repositions the groove of the original to give it a fresh flavour.
Review: Let's get one thing straight: Ravanelli Disco Club is exquisitely named. The output has proven just as tasty, too, and with Eben Rees at the buttons of this latest EP, you'll want to tuck in once more. He serves up a brace of breezy disco house tunes: opener "Bongo Boulevard" is a funk licked and perfectly carefree sort of tune you'd drop at sundown to hint at the fun to come, while "Dyfal Donc" gets more upbeat with an eco system of cosmic leads and pads dancing above well swung drums. Freerange man Jimpster provides a remix laden with wet claps and funk riffs, and Tech Support's rugged disco arps will make any floor take flight.
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: You know the crew mean business, or at least mean not to give a flying guitar what you think, when they call themselves Tropical Fuck Storm. Perhaps what's most surprising, then, is the troupe's second album proves beyond doubt that despite the name, their music is accomplished and, while challenging at times, instantly enjoyable. The fact that Gareth Liddiard and Fiona Kitschin are also members of The Drones should tell you everything there is to know here. TFS is as logical a progression into an artsy, unpolished and unapologetic unknown as could ever be possible when you consider these guys are disinterested in playing anything by numbers. Logic is perhaps not the operative word, then. Like the unkept character propping up your local bar who suddenly reveals themselves to be a borderline-musical genius, respectfully avoiding the cliche of addressing individual tracks is the least we can do.
Review: Barely six weeks after dropping her debut single on River Rapid, Henrietta Smith-Rolla pops up on Skam with a surprise debut album. As first full length excursions go, "Break Before Make" is undeniably impressive. Beginning with the spooky, minor key electronics and angular IDM rhythms of "Day Turner", the 14 track set sees Smith-Rolla successfully turn her hand to bittersweet synth-wave ("And!"), dystopian pitched-down electronica ("Guess What"), spacey electro ("Work It", "Wtfwtfwtf"), clandestine electronic soundscapes (the panicked shuffle of "Blanket Ban") and grandiose sci-fi soundtrack fare ("The Middle Middle"). Throughout, the Manchester-based producer consistently delivers otherworldly musical melancholia with a panache not associated with a producer of her relative inexperience.
Review: With the state of world politics at the moment, we could all do with the occasional pick me up. Enter The Pharaohs who link with Chicago natives Spencer Jackson Family for "Bring Back Peace To The World", which gets a timely reissue on Ubiquity. It's a spiritual bit of jazz funk with sax lines to get you grooving, deep soul vocals that stir you from the inside out and gospel overtones that get anyone ready to rejoice. Each part is as essential as the other and despite adding up to just over five minutes in total, both cuts will no doubt enhance your mood.
Review: Primal Code brought plenty of fresh ideas and new perspectives to their debut album "La Via Della Seta" last year, and continue to do so on this fascinating new 12" for Sweden's Hypnus Records. They have a tribal take on techno that draws on indigenous cultures and instrumentation to make for darkly hypnotic tracks that echo the experimental work of the likes of Donato Dozzy, Neel and even Shackleton. It's mesmerising and cerebral stuff with psychedelic overtones and plenty of intriguing sounds, effects in the swirling ambient pads and deft little hooks that litter the rubbery, drawn out grooves.
Review: "Call Of The Righteous" is the latest in an ongoing series of releases by Indica Dubs and Chazbo. Once again it is a 10" that boasts the perfectly interwoven drums, chords and bass of Indica, with the chest pumping, uplifting and warrior style synth leads of Chazbo. The bass rolls deep, the tops are crispy as bacon and the frequencies can be felt in your chest while hits ricochet about to enveloping effect. The low riding swagger and infinite horizons of "Raw (Dub Mix)" has to be the pick of the bunch for us.