Charlotte & Reinhard for WeCanDance - "To Be Free Again" (extended) (5:10)
Ollie Loudon - "LMT" (extended) (6:21)
Lily Ko - "Pure Rubber" (5:58)
Biancolato - "Resolution" (edit) (5:46)
Review: We're promised Mellow Magic and that's precisely what we get, across four tracks emerging from disparate corners of the globe but united in a common mission to provide beats that work on the more relaxed end of the dancefloor. Belgian duo Charlotte & Reinhard of Rheinzand fame kick things off with a slow motion Balearic version of a well known 80s MOR classic. Ollie Loudon's 'L.M.T.' finally makes it to vinyl after long being a secret weapon in Gratts' DJ sets, where handclaps and languid strumming meet a gentle but infectious groove. Flip it over for the more tracky affairs, as Japan's Lily Ko makes an impressive debut with 'Pure Rubber', an original mix of disco foundations and always snazzy but never showy 80s synth play. Melbourne's Biancolato finishes things off with understated deep house shuffling that adds just a touch jazzy keys and dreamy, wispy pads.
Ebony Evans - "Loving You Is All I Wanna Do" (4:38)
Lewzarius - "Step Up" (4:54)
Review: Ebony Evans is a superb soul talent who for this single worked with Manny Campbell who wrote and arranged. Originally recorded in 2004, 'Loving You Is All I Wanna Do' appeared on the Luv's Fire CD Maxi Single and later on a full album in 2006 through Coastal Records but now debut on vinyl thanks to Soul Direction. On the flip side, Lewzarius' 'Step Up" shines as a rich collaboration between Campbell and Haran Griffin, who is best known for 'Movin' Much Too Fast.' Atlanta-born Lewzarius recorded this track during his time at Coastal Records in the late 90s.
Review: Lady Gaga’s Bloody Mary, originally from her 2011 album Born This Way, is now available as a stunning glow-in-the-dark 12" single. Co-written and produced by Gaga, this track is a haunting electropop masterpiece. Incorporating elements of synth-pop, trance, and Gregorian chants, Gaga channels Mary Magdalene, a "feminine force" she revered since her Catholic school days. The song’s religious themes and dark, atmospheric production make it one of Gaga’s standout tracks. The limited edition features an etched B-side with pre-chorus lyrics and is housed in a striking picture sleeve. A great looking package for one of her best singles.
Review: A reissue of American singer Debra Laws' 1981 single here on Expansion. She made her debut as a solo recording artist in in the same year, with the release of her album titled Very Special. This album, produced by her brothers Hubert and Ronnie, was a success with the singles "On My Own" (a lovely neon-lit disco-funk groove) and "Very Special" (a super sensual ballad on the slo-mo tip) being featured here. Up until the beginning of the '90s, Laws worked with her three siblings, recording and doing many live performances in the United States and abroad. Samples from "Very Special" can be heard in Jennifer Lopez's 2002 hit single of "All I Have".
Review: Lawson Jr'Music is based in Montreal in Canada and is a drummer, singer and music composer who has played all over the world since a young age. He brings a distinctive Afro vibe to his take on hip hop as demonstrated by this masterful new cut on BSide/Lawson Entertainment. 'Let It Go' is defined by its screwy bass down low and the echoing hits up top. Aside from that I'd an empty but atmospheric cut with yearning vocals and melancholic chords. The flispide instrumental allows the slick production to shine.
Give Me The Sunshine (extended UK 7" Grapevine RED 3 mix) (4:40)
Review: Leo's Sunshipp is an iconic rare groove record that gets a reissue here on Expansion. The special Record Store Day 2021 limited and hand-numbered 7" offers up two different versions, both of which are primed and ready to add at least 10 degrees of heat to even the sunniest DJ set. The original US 7" mix is languid and long legged, laidback and in a hurry to go nowhere fast. The soaring strings and steamy vocal, tumbling perc and distant horns capture a lazy afternoon soaking up some rays. The extended UK 7" Grapevine RED 3 mix ups the ante a little for slightly more energetic moves.
Review: You'll find few jazz-funk era rays of sonic sunshine better than 'Give Me The Sunshine', the career highlight of relatively short-lived American soul band Leo's Sunshipp. It originally opened their 1978 debut album, We Need Each Other, but later became something of an anthem throughout the UK on the jazz-funk and rare groove scenes. If you don't already own a copy, you should cop one of these reissues. The full six-minute version of the track featured on the A-side is little more than a languid bob through sun-soaked pastures full of liquid bass, simmering strings, whistling synth lines and a smooth, ear-catching lead vocal. Also worth a listen is flipside 'Back For More', a more up-tempo modern soul club cut that's not quite as incendiary but every bit as alluring,
Review: A fresh collaborative dance effort from the fine folks over at Leng, centring on reworks of the brilliant debut album Waving by producer Lex (Alex Andrikopolous). Released in 2022, we're now two years ahead, and come met with this fine array. Kicking things off with a glorious Faze Action remix of 'Punta Allen', on which guitars, steel pans and clap-slaps abound, we're soon further into the mid-rave movements of 'Libre De Amor', a new one with Locke, followed by the acidic additives of Ruf Dug's version of 'Prezend'. Finally, another original, 'Super Awake', surfaces as the cascading coda to an all-out suite of neo-Balearic delights.
Review: Fantasy Love re-issues a cherished soul and funk underground classic. Liason was a legendary Bay-Area group who were known for their vibrant performances and distinct sound. Led by Morris 'Skid' Clay, Liason was originally released on their independent imprint, 'A.L.C.' and named after three of the group's members' astrological signs: Aquarius, Libra, and Capricorn. Recorded in 1977, this double single shows the spirit of the band in these stellar songs. 'Life' features a grand vocal performance with a fantastic horn section while the B-side, 'Disco Party' enjoys dancefloor romp from the disco heyday. Both tracks are special in their own way. For those people looking for rare grooves, look no further!
Review: Numero are taking a look through the cult Chicago label Magic Touch and dusting down some of the most coveted releases from their archives, starting with this smokin' hot joint from Light Touch Band. It's a record of two halves which kicks off with the laid back rap of 'ChiCAGO (Is My Chicago)', a funky-as-hell jam which pays tribute to the Windy City in fine style. The flip is the real gem though, as 'Sexy Lady' swerves into P-funk flavoured waters with dazzling results. The OG copies of this record were changing hands for crazy money, so don't hang around while this one's in reach.
Review: Kiss Klassics is keeping all you party DJs supplied with the best tackle once more here as this time they spotlight a trio of standout tracks from Montero Lamar Hill aka Lil Nas X's debut LP. Montero came back in 2021 and these cuts haven't been available on wax before now. There is the celebratory pomp and hefty distorted low end of 'Industry Baby' as well as the more deep sounds of 'Montero' with its strings, finger clicks and Afro-tinged beats, then the high-speed party pomp of 'That's What I Want' with its epic chorus and summer festival feel.
Review: This six-track EP, crated between the late 'Cloud rap' icon and producer Nedarb Nagrom, is a miraculous refind and repress. The EP originally dropped in 2016 during the early wave of Peep's rise to the broth cream of the etherground emo rap and SoundCloud scene. Peep was still in the thick of lo-fi, punk and emo experimentations, and fellow traveller Nedarb had already been a frequent collaborator. The Katy Perry song referenced in the title is a red herring, as these tracks are original internet artefacts through and through, bearing none of the same pop sensibilities; they're loose and aerated, packing slipshod 808s and drawly hooks from the pink-haired icon.
Review: Definitely one for the collectors, Lime was Canadian duo (then husband and wife) Denis and Denyse LePage, and 'Angel Eyes' was originally the second single from their third studio album, 1983's Lime III. Almost 40 years later, the track has returned as a short form release, offering the original synth pop anthem, and a clubbier dub mix.
For many, though, not least Unidisc Canada, the label carrying this re-release, the major selling point is a remix - and something of a remodelling - courtesy of Turbo Recordings boss and dance music icon Tiga. Forsaking the rather smiley and bouncy original work, in favour of something grittier and altogether more dystopian, it's a masterclass of rough, gnarly broken electro, reworking and chopping vocals into disorientating loops, before finally introducing a kind of warehouse synth pop sound.
Review: Minimal Wave presents an exquisite 7" EP release by Martin Lloyd entitled "L'Amant Electronique". Martin is mainly known for his Oppenheimer Analysis (Minimal Wave) and Analysis (Survival Records) projects, yet through the years he recorded over two dozen tracks on his own, most of which never saw the light of day. The four selected tracks were recorded between 1980 and 1984 in his own "Feedback Studios" in Battersea , London. Martin Lloyd delivers vocals via the vocoder and carefully layers synth melodies which range from upbeat and danceable, to what could be the soundtrack to a 1981 post-apocalyptic science fiction film. The record is pressed on white vinyl with a heavy black jacket (spot gloss) and is limited to 999 hand-numbered copies.
Review: REPRESS ALERT!: Local Sugar Diggers is a series from label head Scruscru that draws together a fine selection of re-edits and reworks of a mix of hard-to-find old records, all done by his mates. This time out it is LTF who steps up his 'At The Pier' is an effortlessly funky jam with some laid-back horn work adding extra spice next to the jumbled percussion. Flip it over and you find 'Con Ritmo Y Melodia' which is a slower, steamier, more Latin-flavoured sound with shuffling percussive grooves and big old breaks to get the floor going.
Review: Ooof! Two forever-scorching disco gems from the one and only Cheryl Lynn. This extended version of the screaming funklet "You Saved My Day" has only been available on rare promo, while the full version of her seminal party jam "To Be Real" enjoys pride of place on the B. 40 years young and still untouchable.
Robson Jorge & Lincoln Olivetti - "Aleluia" (3:52)
Review: Two silky sides of Brazilian disco soul on Mr Bongo's perennial Brazil 45s series. First up, long-haired lothario samba fusionista Marcos teams up with Leon Ware for a pristine polished piece of early 80s disco funk. Golden harmonies, staccato vocals and a super juicy bassline; it's not hard to see why it was his best selling single. Flip for the equally smooth "Alleluia" from Brazilian boogie gospelist; this one is all about the percussion heavy breakdown. Proper sunshine block party business.
Review: This record marks a bold return to Lady Gaga's pop roots. It fuses the eclectic energy that first captivated her fans with a new and ever-fearless artistic vision that means she delves into themes of chaos and transformation while celebrating music's ability to unite, provoke and heal. Gaga has said that the album began as a response to her fear of returning to the pop sound her early fans loved. Far from merely nostalgic, Mayhem reinvents her signature style with a kaleidoscopic approach by drawing from her broad musical influences. Gaga compared the creative process to "reassembling a shattered mirror," and has created something beautifully new from the pieces.
Review: Many critics have dubbed Lady Gaga's Mayhem, the superstar's latest full-length excursion, as a return to her pop roots - not to mention her strongest and most coherent set since breakthrough album Fame. Recorded at Rick Rubin's studio with the help of a crack team of producers, the assembled songs variously draw on synth-pop, EDM style pop-house, gritty industrial funk, the gnarled strut of electroclash and, perhaps more surprisingly, guitar-driven alt-rock. Naturally, Gaga is in fine form throughout, sassily and confidently delivering lyrics that muse on "love, chaos, fame and desire". This Japanese CD edition comes bundled with an art card, stickers and an expansive booklet.
Review: Lady Gaga's latest album is as bold, chaotic and emotionally charged as you would expect of the singular artist as she returns to her pop roots. Blending electro-grunge with theatrical flair, Gaga embraces fame and identity across 14 tracks that span snarling anthems like 'Perfect Celebrity' to raw love songs like 'Blade of Grass.' Along the way are nods to Bowie, Nine Inch Nails and disco, which all bring many layers of intrigue next to the vulnerability and bombast of the vocals. To that point, Gaga's voice shapeshifts from snarling to purring to belting as she examines fame's toll and personal transformation. Though maximalist to the core, MAYHEM never loses its heart and is messy, loud, and thrilling proof Gaga is still defining pop on her own terms.
Review: Harlequin, Lady Gaga's latest project, marks yet another bold and triumphant return for the pop icon. Initially seeming like an unusual conceptia Joker-inspired album with swingy jazz and American songbook classicsiit surprisingly works, showcasing Gaga's signature playful and bold artistry. The album's vibrant opener, 'Good Morning,' kicks off with big energy, while 'Oh, When the Saints' spirals into delicious chaos. Her potent vocal delivery paired with electrifying instrumentals means this is an album full of spark and even quieter tracks like 'Smile' and the original title cut form the movie 'Folie a Deux' reveal deep emotional sincerity. Harlequin is a playful and unapologetic work that proves Gaga is in fine form.
Review: Lady Gaga's brand new album Mayhem documents yet another modification in look and feel for today's North Star of pop music: the 'Bad Romance' conquistador has described her latest record as "utter chaos", fusing influences from 90s alt-rock, electro-grunge, Prince and Bowie-esque melodies, funk, French electro-house, and analog synths. Headed up by the lead single 'Disease', Gaga's visually striking yet newly gothicized turn is quite unsettling, offering a fresh "era" in the pop pantomorph's approach, which invites comparisons to Taylor Swift and David Bowie, yet more latexy.
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