Review: Berlin-based Korean Peggy Gou has been surprisingly quiet since first bursting onto the scene back in 2016. Here, she returns to action having graduated from Technicolour to parent label Ninja Tune. Many may already have heard EP standout "It Makes You Forget (Itgehane)", a percussively ambidextrous beast based around a bouncy, off-skilter, snare-heavy rhythm track. It has been much discussed online after Gou included it her recent Resident Advisor podcast. On the B-side you'll find tracks representative of her developing style, which draws together elements of European deep house, electro, early '90s U.S house, the rubbery disco eccentricity of Maurice Fulton and the instinctive polyrhythms more often found in traditional African music.
Review: We can think of a fair few disco diggers who will be more than a little annoyed by this re-issue. Originally released on the obscure La Shawn label back in 1980, "Take Me I'm Yours" is widely considered to be one of Patrick Adams' best productions. It's certainly something of a dusty gem, with Mary Clark's soulful, country-tinged vocals simply soaring over a reggae-tinged, string-drenched disco groove. It would have been nice to have seen original flipside "You Got Your Hold On Me" included, but it's not a major issue; given the in-demand (and hard-to-find) nature of the A-side, we should be pleased it's come back round again.
Review: Originally pressed (on a limited run) in 2013, LA Latin funk troupe Boogaloo Assassins have reissued these two spellbinding cover versions again due to public demand. Still on a highly limited run, both cuts need to be in your collection: Dawn Penn's "No No No" gets a strict samba switch with lavish percussion and consistent vocal harmonies throughout while Sonny Henry's "Evil Ways" (best known from its Santana cover) gets the dreamy instrumental treatment where the horns and glocks do the narrating over a tight bed of wood blocks, shakers and liquid Rhodes. Killer stuff and Juno is one of the few stores outside of USA which is carrying the 45. Don't Sleep !
Review: Acid Jazz has pulled off something of a coup here by persuading legendary '70s soul man Leroy Huston to part with a couple of previously unreleased cuts. A-side "Positive Forces" was recorded by Hutson in 1977 and sits somewhere between the sweeping, orchestrated bliss of Philly soul, the soaring dancefloor celebration of disco and the loose-limbed instrumental goodness of jazz-funk. It's an absolute stunner, all told, and sounds like it was tailor-made for spins at sweltering summer festivals. On the B-side you'll find a previously unreleased instrumental version of 1975's "All Because of You". While a vocal-free version has previously been released, this particular mix includes a little more drum action at the beginning to assist with mixing.
Review: Two all time funk/soul classics from the Skull Snaps - a funk group active between 1963 and 1973. They were known as The Diplomats up until 1970 and released a number of singles with moderate success. Renamed Skull Snaps, they released an eponymous album on the small GSF label in 1973, before disappearing into obscurity. These selections are from the said album. New 7" reissue label Dynamite Cuts is releasing these two gems as a limited edition 500 only pressing, showcasing the two best tracks on the LP. Both have been heavily sampled in many hip-hop and club classics by Eric B. & Rakim, Digable Planets, DJ Shadow, The Prodigy and Panjabi MC to name but a few.
Review: The shadowy EEE series has already brought us tasty and much-played tech-house interpretations of a familiar jazz-house gem and a string-laden '80s synth-pop shuffler. Their third single-sided affair - as championed by Zip and Riccardo, no less - takes on a much-loved early noughties R&B classic, placing carefully selected and sequenced vocal snippets around a seriously snappy and sub-bass-heavy groove. Although tech-house in style - note the glitchy electronic noises and spacey effects fixed to the beats - the track's infectious rhythm track was clearly influenced by the current electro revival. This added swing and shoulder-swinging looseness, coupled with the familiarity of the vocal elements, makes EEE03 a guaranteed peak-time winner.
Robert Glasper - "Enoch's House" (DJ Kemit remix) (7:03)
Guy - "Groove Me" (KZRekchampma club mix - part 1 & 2) (8:55)
Review: There's been little information released about this three-track EP, though we do known that it's the work of "a classic US label going incognito". Whatever the source, what counts is the quality of the music; happily, the EP is impeccable. Leading the charge is Karizma, whose remix of Flacko's "Lonely Town" is a breezy, soft-focus chunk of modern soul/broken house fusion smothered in hazy synthesizer chords and slowly strummed Latin guitar breakdowns. DJ Kemit dances towards peak-time floors with a wonderfully emotion-rich house version of jazz pianist Robert Glasper's "Enoch's House" built around similarly tropical drums, while KZRekchampma's glorious flipside club revision of Guy's "Groove Me" sits somewhere between bass-heavy UK house, soul-powered New Jersey garage and revivalist synth-boogie.
Review: Released 40 years ago in 1977 ''Rhythm Of Life '' by James Mason was possibly one of the greatest vocal Jazz fusion releases of all time . New vinyl imprint Dynamite releases a quality limited edition double pack release showcasing the highlights from that album plus some additional rare versions of the tracks. The version of 'Sweet Power Your Embrace'' is taken from the incredibly rare 7 inch promo only issue. On the flipside is a different version of the club floor dancer ''Free'' which features a heavy bongo workout . The 45 second slab on this package features two tracks featuring the vocals from Clarice Taylor on ' I've Got My Eyes On You'' and the superb 'Slick City' which were both never commercially released as a 45 before.
Review: Sophie Sweetland (AKA D.Tiffany) delivered one of the strongest tracks on the Rhythms of the Pacific Vol 2 compilation 12", so it's little surprise to see Pacific Rhythm releasing an entire EP of her productions. Predictably, the Canadian serves up a quartet of tracks inspired by the glowing warmth of stretched-out sunsets and the morning-fresh feel of summer sunrises. She begins with the bustling instrumental hip-hop shuffle of "Get Back to You", before diving headfirst into the crystal clear waters of dub-flecked deep house trip "Blue Dream". Flip for Regular Fantasy hook-up "How RU Plush", a superb fusion of two-step influenced drum machine hits and ambient house chords, and the humid brilliance of "Something About You" (think dream house chords, ambient house textures and tribal drums).
Review: REPRESS ALERT: Compared to some of the ultra-obscure releases buffed up and reissued on Best, Loui$' "Magic Dance" is something of a perennial classic, but that doesn't diminish its value in getting another airing. Loui$ released a modest wedge of killer party anthems in his 80s peak, but this debut 12" in 1985 was the glittering prize. Of all the versions of this release, the rare Blow Up Records edition is the one that gets a look in here, and it's all about that special disco mix of "Pink Footpath". From gutsy analogue bass to shimmering lead pads, it's a dreamy dancefloor jam in every way.
Review: Although Clone's series of remastered Drexciya retrospectives are excellent, it's nice that Tresor have decided to reissue the majority of material the Detroit pair released through the Berlin label in its original format. This way you get the music in the manner Donald and Stinson originally intended. The four tracks on Digital Tsunami were drawn from the same recording sessions that resulted in the sublime Drexciyan document Harnessing The Storm and thankfully got pressed on an addendum 12" after not making the cut for the double LP. With Tresor having just reissued Harnessing The Storm it seems only fair Digital Tsunami should be granted the same treatment. Some 13 years after it's original release and all the music here still sounds like it was drawn from the future, with Donald and Stinson excelling at rapid fire bursts of abstract subaquatic electro, such as towering highlight "The Plankton Organisation".
Review: Garden Of Eden was another one of those obscure, one-shot bands who released a sole single at some point in the 1970s and then promptly vanished from view. That single, "Everybody's On A Trip", has long been sought-after amongst collectors of intergalactic disco-funk, hence this reissue from the Backatcha crew. The title track is a downlow delight, with flanged guitar riffs, spacey synth lines, punchy horns and quality male vocals rising above a hot and heavy groove. Over on the flip "It Takes Two" is sweet, slow and dewy-eyed in the tried-and-tested tradition of B-side ballads.
Billy Squier - "The Big Beat" (extended Breaks Special edition) (2:54)
Le Pamplemousse - "Gimmie What You Got" (extended Breaks Special edition) (4:12)
Review: We've said this before, but there's something brilliantly simple about the Beats & Breaks label's "Extended Breaks" series of seven-inch re-edits. There's no superfluous fluff or needless rearrangement, just solid and matter-or-fact extensions of key drum breaks to both aid mixing and light up dancefloors. For proof, check the mysterious re-editors' take on Billy Squier's 1980 heavy rock workout "The Big Beat", which prioritizes the track's fat, bottom-heavy drums and the singer's impassioned vocal yelps while stripping out most of the gnarled guitar riffs. If you need a bit of a breather from the heavy dancefloor pressure, the crew's subtle revision of Le Pamplemousse's drowsy, synth-laden deep disco shuffler "Gimme What You Got" - a string-laden slice of sun-kissed sweetness - should do the trick.
Review: Well, we couldn't really be happier. In fact, there is almost nothing to say about this album apart from the fact that it is absolutely, downright essential. Originally released in 1986 on Rough Trade here in the UK, it has been reissued a few time over the years but has always vanished in the blink of an eye and reappeared on the EBay and Discogs circuits for big bucks. Finally, you can indulge in a beautifully remastered version on virgin vinyl. In what is seen by many cultic Russell fans as perhaps his biggest achievement, the LP drifts in and out of light and shadows with utter ease, truly portraying the genius of the man who paved much of the way for modern electronic music generally. From start to finish, it's an ethereal mixture of sparse beats, effect manipulations and folklore, charismatically told by one of the only artists in the history of experimental music to really combine and successfully bind so many unexpected musical terrains. We are only mere mortals, so we won't describe the music to you...just get yourself a copy and see...
Colors Of Autumn (feat Speech Of The Group Arrested Development) (4:10)
This Is My Rock (feat Sophia Kennedy) (5:19)
Illumination (feat Roisin Murphy) (4:40)
Planet Hase (feat Mano Le Tough) (4:18)
Pick Up (6:37)
Scratch That (feat Roisin Murphy) (5:02)
Muddy Funster (feat Kurt Wagner) (5:23)
Baby (How Much I LFO You) (4:31)
Lord Knows (4:04)
Seeing Aliens (4:53)
Drone Me Up, Flashy (feat Sophia Kennedy) (6:26)
Take A Run (feat Ada) (4:51)
Review: DJ Koze's music is very much suited to the album format. Although his last effort through this medium was back in 2013, his explorative nature and wide-eyed, improvisational style are simply made to branch out into areas outside of the more predictable house and techno formats. Knock Knock comes through on his own Pampa label, with its seventeen tracks all providing us with something different and wonderful, from slo-mo r&b sounds to funky, wayward house music that is most certainly at the 'outside' of the house spectrum. There are plenty of special guests, too, including Mano Le Tough, Sophia Kennedy, and many other relevant talents. A Koze speciality.
Movement 2 - "Toto, I've A Feeling We're Not In Kansas Anymore" (6:03)
Movement 3 - Wherever Two Or More Are Gathered (8:24)
Movement 4 - Life In The Gravity Well (7:02)
Movement 5 - As The Earth Kissed The Moon (7:20)
Movement 6 - Something's Moving (7:35)
Review: Michael Stearns is perhaps less namechecked than many of the early ambient pioneers, but his expansive catalogue reaches back to 1977, when his first expansive synthesizer dreamscapes unfurled themselves on his own Continuum Montage label. Emotional Rescue have picked up on seminal 1981 album Planetary Unfolding, giving a much needed vinyl reissue to a classic slice of hyperboreal ambience spread across six long-form movements. Expansive, emotionally charged and constantly exploratory, this is deep space listening at its finest - an essential purchase for any lovers of truly classic, cosmic synthesizer music.
Review: Since its release in 1973, Ze Roberto's debut single "Lotus 72 D" has become something of an in-demand item amongst collectors of soul-fired Brazilian "MPB". So much so, in fact, that Mr Bongo has licensed it and served up this 7" reissue. In its original A-side form, the track is a carnival-ready slab of samba-soul brilliance rich in razor-sharp horn blasts, rich bass guitar, punchy hand-percussion and twinkling jazz piano solos. Roberto's confident vocals take centre stage, inviting us towards the dancefloor. Over on the flip you'll find a "Fast Version" of Roberto's tribute to 1972 Formula 1 champ Emerson Fittipaldi. This has a slightly more dancefloor-centric tempo, an effect achieved when it was accidentally pitched up for inclusion on a 2001 compilation.
Review: REPRESS ALERT: Sideway Invisibility Theory are already well versed in the Romanian minimal scene both individually and as a duo - on top of their releases on Do Easy and Amphia, Cristi Cons and Vlad Caia represent two of the most prolific operators in the second wave of Bucharest-based dance music. With a mammoth wedge of music delivered to Sushitech in the form of two double packs entitled Invisibility Chapter I & II, this single serves as a pint-sized distillation of those records for the DJs with less time on their hands. "Alternate" is right at home on Sushitech, all elegant beat programming and huge, billowing clouds of dub chord. Label regular Steve O' Sullivan is right at home on such smoky ground, although his remix on the B-side blows the vapour away to deliver a tightly woven tool for the heads down crowd.
Review: Sam Shepherd may have spent the last few years offering up off-kilter, jazz-fired grooves and heady ambient soundscapes, but he still knows how to rock a dancefloor. That much is proved by his first Floating Points single for almost two years. "LesAlpx (Extended)" is his most forthright, club-focused cut in ages - a thrusting chunk of rumbling, peak-time techno built around heavy bass, sweaty drums, twinkling electro piano motifs and raging, foreboding electronics. Shepherd teases in the most melodic, rush-inducing elements, introducing spacey synthesizers and dreamy chords midway through. It's breathtakingly good. Flipside "Coorabell" is similarly potent, with acid style electronics, warm chords and sun-kissed electronics wrapped around swinging, two-step influenced house beats and a weighty, sub-heavy bassline. In a word: essential.
Turn Me Loose/My Design (extended version) (13:58)
Turn Me Loose (Sirs cut) (10:32)
Review: Best Records present another deep cover jam Balearic diggers will rejoice at being able to lay their hands on. Blue Night was the brainchild of Peter Miconi, who created "Turn Me Loose" in 1983. All the elements are present here, from the aching blue-eyed soul vocals to rich guitar solos and an irrepressible funk bedded down in the groove, here stretching out for a full 14 minutes of pure sunkissed bliss. On the flip, SIRS takes a careful run at the original that simply reframes the elements with a more pronounced rhythm section - this is someone who knows exactly what the track needs and declines to change anything for the sake of it. Classy stuff, as you would expect from a reissue on Best Records.
Review: When it comes to exotic, off-kilter edits, you'll struggle to find a stronger series than Jonny Rock's Disco Hamam. This fifth volume is every bit as essential as its predecessors. Beards In Dust claims the A-side with "At The Dawn", a tidy revision of a druggy and "chuggy" version of a blue-eyed psychedelic funk-rock roller that comes complete with some serious sing-along sections. The heady world of Turkish music - a constant source of inspiration at the Disco Hamam HQ - comes to the fore on the B-side. Tales Of Voodoo's "Sharky" is a deliciously percussive, dancefloor-friendly fusion of Middle Eastern exoticism, funk-rock guitars and heavy disco percussion, while Esen Gunduz's "Deve Gucu" is an even sweatier, Italo Disco-era stomper that sounds like something you'd have heard in Istanbul clubs circa 1985.
Last I Heard (...He Was Circling The Drain) (5:10)
Dawn Chorus (5:34)
I Am A Very Rude Person (3:52)
Not The News (3:57)
The Axe (6:58)
Impossible Knots (4:19)
(Ladies & Gentlemen, Thank You For Coming) (4:57)
Review: It's taken a while, but finally Thom Yorke's impressive third solo album, "ANIMA", is available on wax (and in a fetching shade of orange, too). A future classic that continues the legacy he started with XL Recordings back in 2006 (with his solo debut The Eraser), ANIMA is well worth picking up, as Yorke and co-producer Nigel Godrich offer up evocative, off-kilter songs built around the twin attractions of the Radiohead man's distinctive vocals and skewed backing tracks rich in layered electronic noise, body-bending sub-bass, discordant synthesizer parts and intriguingly jaunty drum loops. Highlights are plentiful throughout, from the creepy, lo-fi ambient swirl of "Last I Heard (...He Was Circling the Drain)" and "Dawn Chorus" (a blissfully dewy-eyed early morning soundscape), to the low-slung, post-trip-hop hum of "I Am A Very Rude Person" and the fizzing, jazz-fired thrust of "Impossible Knots". Melancholic, yes. Deep and self-effacing, of course. Nihilistic, not really. Percussive futurist sub-pop is back.
Review: A sweet reissue of an underground classic from 1982 here, bootlegged badly in recent years, but Isle of Jura does it right with this remaster by Matt Colton. Q were a one hit wonder (if you could even call them that!), responsible for "The Voice Of Q". Comprised of American producers Bruce Weeden & Michael Forte with their revolving cast of musicians - this electro funk/disco project is finally getting paid its dues. Deep, funked-up and spacey disco, complete with vocoder - it almost seems familiar! A true spirit of the times. Features a previously unreleased track on the flip, "Keep It Strong" (unreleased dub edit) which is a balearic tinged number that's equally as good.
Review: This is just the fourth release on Negentropy, but already the label has been catching attention for doing some really interesting stuff, while consistently delivering dancefloor material that refuses to let go once you've been hooked in. French groove monster Sweely seems like a pretty good fit for the imprint, then, as this three tracker proves with ease. Crisp, sharp, and packed with energy, 'Take One' kicks off with the kind of punchiness that belies what's about to happen- soon dropping into a freeform, jazz-infused breakdown that appears to come out of nowhere, switching the vibe of the tune completely. You can almost see the sci-fi console lights behind the micro-percussive detailing on 'One Or Another', while 'Deep Into The Rhythms' is destined to please anyone who enjoys getting their head down to an archetypal relentless roller.
Review: This limited edition 12" presents the heavy weight debut from Italo Disco/House tour de force, Robot84. With chaos being caused across the dance floors all over the world, the two tracker features a mind bending vocal version and a vinyl only Dubstrumental version. With support from the likes of DJ Harvey, The Black Madonna, Gerd Janson, Honey Dijon, Artwork and many many more, this one is bound to be heating up the summer parties for a long time. Hot Tip!
Review: Fresh from the success of two top notch EPs on iile, Leo Pol unveils his most ambitious release to date. All I Got In Me is something of a beast, with seven tracks stretched across two slabs of wax. It's a rather pleasingly varied affair, all told, with the experienced producer flitting between Detroit style techno futurism ("BH2"), warm, chunky and occasionally tough deep house ("All I Got In Me", "Live Concrete"), spacey beatbox electro ("Live Love") and the kind of tech-house cuts that look to both the Motor City and Chicago for inspiration. As a bonus, he's also included a collaborative cut under the St Ouen Connection moniker, the deep and hazy, techno-tempo positivity of "Masile".
Review: Best strike Italo gold once again with this Maurizio 'Sangy' Sangineto production. The original of Valery Allington's Stop has more of a pop funk feel, giving the vocalist and her backing crew stacks of space to hit the right spot but the real magic here is Maurizio's production on the special electronic version and instrumental. Aeons ahead of its time, the relentless pump and near-majestic synth work sound closer to '92 than '82. Tunnelling, hypnotic, percussive and funky, this was - and still is - the sound of the future.
Review: By all accounts, Son of Sound and Jus' Ed have been pals for years, though this is the first time they've penned a joint release. They begin with the fluttering, riff-propelled deep house bounce of "Cuchfritos", where rubbery drum fills help to create extra energy, before notching up the tempo via the spacey, synth-fuelled stomp of "I Have You On My Side". The swinging, jazz-dance friendly organ garage swing of "Bridgeport 2 Brooklyn" brilliantly draws the curtain down on Side A, before the duo kick off the flipside with the ultra-deep beauty of "Wicked Self", whose undulating synthesizer solos are particularly tasty. As if that wasn't enough to set the pulse racing, closer "Manhattan's Projects" is a fizzing chunk of rolling and spacey peak-time house.
Review: If ever there was a record that warranted a one-track single-sided pressing, it would be this one. The legend of this track harks back to the golden years of dubplate culture, when a track's infamy could be felt months before it dropped. Sherelle lay waste to the place when she dropped Fixate's utterly devilish bootleg of Double 99's timeless garage classic "Ripgroove," which artfully nudges the track back into the rudest jungle styles the original made such good use of. It had to get an official pressing, and who better than original label Ice Cream Records to do the business? This one is going to fly out, so don't hang around.
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".
Pimping People In High Places (Woodword Ave alternative mix) (6:50)
The Medusa Touch (6:52)
Review: Gary Martin is well known for his unique productions and his label Teknotika is surely a classic coming out of the famous motor city. This special 10" holds two sought after tracks that were found on a lost DAT tape by Yossi Amoyal and Gary Martin himself. On the A side we have a long time secret weapon, it's a hypnotic groove that was heard on many classic sets, Zip and Ben Klock to name a few. An extremely insane, hard to find Gigi Galaxy track that was changing hands for silly prices is on the B side, for those who know... massive release!
Review: Four years deep into its disco, beatdown and edit adventures, Smokecloud's status is nigh-on impeccable. Here we find them uniting four of their most creative craftsmen for four straight-up dancefloor pacifiers. Highlights include the sludgy slo-mo Edwin Starr on acid flavoured "Caught Up" and the Diana Ross homage that is the sun-skanked reggae party jam "CC Tribute" by VinylAddicted & SMQ. Instant smiles.
Review: REPRESS ALERT: Larry McCormick's Monotone label is one of the finest outposts for darkside electro operating in these bountiful times for the genre, and following on from the first volume of vinyl-only compilation MonoTrax, brace yourselves for round two. The Hacker is at his stalking, sinister best on "Rhythmus Machine," while McCormick himself brings a tough, street-level grittiness to "Root Code." Cosmic Force is on a dystopian sci fi tip with the nagging synth patterns of "Maximilian Of Roma", and DeFeKT completes the package with the audacious synth acrobatics and jackhammer beats of "I Am Here." What more do you need to know? This is high-end electro business for down and dirty, sweat-box dancefloors.
Review: It was way back in 1992 that Remake - an Italian quartet that serial pseudonym collector Alex Neri amongst its number - first released their take on Vangelis' legendary theme from Blade Runner. You can find their original version - a pulsating, floor-friendly take which heavily influenced the development of both trance and progressive house - tucked away on the B-side of this timely Renaissance reissue. The main attraction, though, is undoubtedly Maceo Plex's A-side remix. Fittingly, this not only comes smothered in creepy noises - very Blade Runner 2049 - and a fresh tech-house rhythm track, but also boasts sharp Fairlight-CMI stabs and far greater use of the oh-so-familiar piano melody.