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Review: Remote working is not new - artists have collaborated by exchanging files since Internet connection speeds allowed it - but few have pursued it more enthusiastically than Sons of the Sun, a duo made up of South East London beat-maker/multi-instrumentalist Maverick Quest and Texas-based singer and rapper JTronius. The duo initially met online and decided to spark up a Transatlantic collaboration. The results, as showcased on this fine debut album, are rarely less than inspired. Casually joining the dots between future soul, synth-powered P-funk, Afrobeat, jazz and hip-hop, it's a set that oozes musical quality from start to finish. At times it sounds a little like Plantlife or Thundercat, at other times like a hip-hop head's take on 21st century London jazz; throughout, you'll be royally entertained.
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Review: Alex Green and Damon Kirkham's debut album has been a long time coming. It follows an action-packed decade that's seen them morph from drum & bass punishers to dubstep fusionists and, more recently, bass music experimentalists. With such experience behind them, it's perhaps no surprise that Resolution 653 is an eclectic set. What's more surprising is the expansiveness of their approach. Within the album's 13 tracks lies glass-clear electronic futurism, brain-warping acid tracks, murky dusbtep, slo-mo 4/4 sweetness, hard edged electro bounce, off-kilter IDM and, naturally, 140 BPM bass bangers. As a summary of where British bass music's at in 2011, it's unsurpassed.
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Review: When Hospital Records launched some 16 years ago, it was primarily to focus on the more soulful side of drum & bass. While London Elektricity's imprint is now about so much more than that, many of its' releases still bristle with an expansive soulfulness. This mixed, mid-price, two-disc affair pays tribute to the label's soulful side, delivering sinewy, string-laden gems, vocal anthems, and liquid D&B classics from the likes of SPY, High Contrast, Nu:Tone, Logistics, Danny Byrd, Phuturistix and, of course, London Elektricity. Who mixed it isn't revealed, but they've done a great job; both discs ripple with melody, emotion and, of course, skittering dancefloor rhythms. This is Fast Soul Music, after all.
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Cat: ENOCDX 6. Rel: 31 Jul 09
Ambient/Drone
Played by: The Planty Herbs
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The Killing Moon: The Singles 1980-1990 (low-price CD)
Cat: 019029 5786816. Rel: 03 Jul 17
Indie/Alternative
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Start The Party
Radio
We Live On
Let Me Go
Take Away The Misery
Keep Singing
Running Scared
You
Free Yourself
Sleep When You're Dead
Throw It All Away
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Review: Put it down to geographical isolation or simply a more vivid imagination that most, but this Russian troupe had already set their stall out as an outfit fit to take shoegaze and dreampop paradigms and reinvent them in innovative and startlingly luminous style. 'Grandfeathered' however is another quantum leap again, as Pinkshinyultrablast lurch into the unknown with a sound equal parts earthbound heaviness and sky-kissing rapture. Yet the beauty of this record is that it generally sounds like a step forward for a genre oft mired in retrospective reverence - if a multiplication sum of the ethereal and emotional strains of Sigur Ros and the glacial electronica of M83 sounds like your poison, look no further,
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Cat: 873921 1. Rel: 02 Nov 18
Soundtracks
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Cat: COOKCD 694. Rel: 13 Mar 18
Indie/Alternative
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Played by: Afro Beat Foundation, Mr Bongo Recordings
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Cat: SPEC 2130. Rel: 15 Feb 13
Funk/Reissues
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Jeff Wayne's Musical Version Of The War Of The Worlds (2xCD + 36 page booklet)
Cat: 88697 536102(1). Rel: 13 Jun 09
Progressive Rock
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Review: The big beat era was responsible for many musical crimes, but there remains a handful of tracks from that period that still sound fantastic 15 years on. The Prodigy's 'Beathe', one of the headiest, heaviest and most incendiary moments from their pioneering rock-rave fusion album Fat of the Land, is amongst that group. This reissued CD single places the edited single version of the track alongside three killer bonus cuts: a riotous, raucous, all-action live version of their anti-Criminal Justice Bill collaboration with Pop Will Eat Itself, 'Their Law'; a suitably gnarled and excitable version of classic single 'Poison' recorded live at the Tourhout & Werchter Festival '96, and 'The Trick', a bouncy and chunky, hip-hop tempo B-side that doffs a cap to Death in Vegas and Meat Beat Manifesto.
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Cat: 019029 6739408. Rel: 27 May 22
Indie/Alternative
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Cat: MDL 03CD (B-STOCK). Rel: 27 Jan 15
Deep House
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
Having built their reputation through 12" singles for the likes of Crosstown Rebels and Poker Flat, Dan Berkson and James What deliver their debut album, on their freshly minted imprint Modelmaker. Interestingly, Keep Up Appearances is an altogether warmer, melodious and more evocative set than you'd perhaps expect, with a smattering of rich downtempo cuts joining a solid selection of dancefloor-friendly deep house. You can hear a classic dub techno influence in cuts such as "Keep Up Appearances" and "Shadow Theory", while the acid-flecked, soul-soaked "Make It True" sounds like classic Osunlade. Best of all, though, are the more forthright efforts, with the ragged "Seraphim" standing out.
… Read moreHaving built their reputation through 12" singles for the likes of Crosstown Rebels and Poker Flat, Dan Berkson and James What deliver their debut album, on their freshly minted imprint Modelmaker. Interestingly, Keep Up Appearances is an altogether warmer, melodious and more evocative set than you'd perhaps expect, with a smattering of rich downtempo cuts joining a solid selection of dancefloor-friendly deep house. You can hear a classic dub techno influence in cuts such as "Keep Up Appearances" and "Shadow Theory", while the acid-flecked, soul-soaked "Make It True" sounds like classic Osunlade. Best of all, though, are the more forthright efforts, with the ragged "Seraphim" standing out.
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