Review: FOXBAM INC is back to build on the momentum of their first EP with a second one that packs a mighty punch. This one kicks off with EBY, who this year has been cooking up acid for 40 years and here offers the warped low ends and garage-techno power of 'Goldtooth'. Foxtrot vs Ma Bla then mashes up old school samples with earth-shattering bass on 'Deep Down Inside' and bRz vs Stije is a double-time hard techno stomper with warped synths and twisted bass that is inspired by and named after ISCO, a concept from Einstein's general theory of relativity that makes predictions about the dynamics of black holes.
Review: Mushroom Pillow is on a proud and so far successful mission to bring back Latin American music from the 60s-80s via its Relatin project. it's all about mixing up the traditional and the modern and putting fresh spins on what went before. Many of the originals they look to have gone unnoticed the first time round and that's the case here as Franc Moody adds his own twist to Elia & Elizabeth's 'Alegria.' His remix is a sympathetic one that gets the hips swinging over fat and funky disco bass and beneath the sunny Latin vocals. He strips them away on the instrumental version on the flip.
Review: Fabulous Performers are a golden age Philadelphia group with a distinctive take on heart aching blue-eyed soul. Never was that more evident that on the two subtle and super sweet sounds offered up on this new double sider from Blackjack. It is a limited edition 45rpm that has artwork made to look like it came from the original era and has been made in cooperation with Reggie Marshall, brother of the late Fabulous man James Marshall. 'Oh How You Hurt Me' is a real heart wrencher with lush falsettos and frankly the flipside 'There She Goes' is just as good.
Review: Belgian DJ and producer FAiG has been making techno for decades under several different aliases for plenty of top labels. His latest on Planet Rhythm is another hefty slab of subversive sonics with 'South West' layering up streamlined drums and bass with rickety percussion that pans about the mix as distant synths flesh things out further without ever detracting from the rhythm. 'Logg' is more unhinged and urgent with manic synth loops and alarming sirens getting your hackles up as the drums bump on. 'Deep Within' is stylish 90s techno with funky claps skating over the pumping drums and silky bass. 'Taro' runs out with sub-aquatic and dubbed out loopy deepness. It's simple but done well and impossibly effective.
Review: Expansion have been busy recently with a wealth of superb releases all dropping in relatively quick succession. This one comes from 70s and 80s Us soul family, Family Brown. They put out just one album in 1978 and a couple of singles with these two tunes now pressed onto 45rpm some of the best. On the a-side is the slow motion stepper 'Never Had A Love' which has pirouetting strings and male and female vocals playing off in seductive fashion. On the flip is the more groovy but just as melodically lush 'Listen.'
Review: Reade White has many aliases to his name, including Caustic Everything and Fiction Life, but the Fate 258 moniker is the one that has grabbed our attention the most thanks to the excellent Why 2K? EP that came out in 1999 on Path - still a digger's favourite and a gorgeous piece of techno. He's back out of the blue on Path with the dark and molecular sonics of "Path To Hell" on the A-side, followed by the slower and more hypnotic "Path To Heaven", and the wonky sways of electro in "Heaven Or Hell"; both the B-side tunes are the ones for the corner dwellers. Sick; please do not sleep on this.
Review: Faut Section is Lewis Fautzi's own label its last trick of the year is another brilliant one. Fautzi's take on techno will be familiar to anyone who likes it deep and classy and that's just what you get from the opener 'Uncharted Realms'. The drums are punchy but the mood is stripped back and designed to make you move. 'Enlightenment' is an edgy one with synths dangled above the loopy beats in an unsettling fashion, then 'Time & Space' ups the ante with burrowing basslines and leaner drums for late night marching. 'Forging New Paths' shuts down with icy percussion snaking its way between rooted, rolling drums. Stripped back and stylish perfection.
Review: Is A Feeling ensures that their new 12" very much is with some classically inclined but not overly nostalgic deep house from Scott Featherstone. 'Plan B' is a bulky, wonky deep house cut for the pumping after party hours, then 'We Played House' taps into the early Chicago sound with Peach Boys style synths and dubbed-out vocals. 'Bad Mother Fucker's a raw, sleazy looper that DJ Sneak would love not least because of the rude-boy vocals and filtered synths, then 'Badass Breaks' spins out on just that. 'Journey' might be the best off the lot with its soulful xylophone melodies and smooth-cruising deep house beats. An eclectic and excellent EP.
Review: Fedo prides himself on exploring beyond the usual genre tropes you get in minimal and tech house worlds. Opener 'Sin Titulo' goes some way to proving that with its innovative take on club-ready tech and boiled-down minimal synths. 'Calisthenics & Coffee' is a trippy blend of smooth bass and undulating neon pads. Warped vocals also pepper the mix to keep the brain and body occupied. 'Film Noir' indeed brings a darker energy and 'My Weapon' shuts down with some razor shape precision.
Review: International Feel kicks off what is presumably a new series given its title, Mediterranean Dreams - Part 1. For it, they turn to Perugia synth obsessive, underground mainstay and fine producer Feel Fly for four tracks of breezy and sunny disco-house chuggers. 'Onironauta' brings retro Italo chords and nice chunky drums, 'Grace In Space' is a leggy cosmic wonder with far-sighted chords and muted acid magic, then 'Mediterranean Dreams' is pure 80s dream house bliss. 'Becalmed' is the most rough edged and analogue house jack track of the lot.
Review: Italian DJ and producer and Afrotemplum co-founder, Feel Fly, revisits the sunned, balearic mood of his childhood on this early-stage career definer of an EP. As a series, 'Mediterranean Dreams' lets the light in on only the haziest of sonic visions, letting in island stenches and coconut skitters between the palms. Everything from dub, ambient, balearic and kraut is here channelled into a realised smattering of deep trance, tittilating the senses with an echoic foray into navel-gazing reverie.
Review: The connection between ZamZam and Feel Free Hi Fi was sparked by Bristolian Neek out in Portland and lead to an immediate bond forged over a shared sound and DIY ethos. Inspired by early digi-era dancehall and UK dub, the duo crafts a sound here that honours tradition while venturing into bold, idiosyncratic territory. It comes on their own Digital Sting label and opens with 'Voyageur' which is a mix of cinematic atmospherics with haunting synths that evoke wild and mythic landscapes. 'Underground' pays tribute to the spirit of DIY underground music and captures the struggle to preserve both nature and the essence of basement gigs in today's shifting cultural landscape.
Review: Watery and washy techno tracks from Vernon Felicity aka. Borris Bunnik aka. Versalife, conjuring an array of sci-fi vistas on this four-track fantasy. 'Contemplation' hears synth organ and detuned saw-synth imagine a heady stew of soniquatics, while 'Alternate' rounds things off with a light and breezy kaleidoscope of kicks, claps and breath sounds.
Review: Shout out to the Palinoia label for here niching up its tenth release, and another stylish and stripped-back techno outing it is too. Feph is handed the controls for this one and 'Kinetics' opens up with the sort of smooth and silky lines and drum rhythms that lock you into a meditative state in an instant. 'Reasons Unknown' follows a similar linear and loopy path but with some brighter daubs of synth colour that pulse up top like distant stars. 'Low Immortals' is a little more dark and moody with fizzing static electricity and underlapping bass, then 'Settlement Research' shuts down with airy broken beats and sci-fi designs that are abstract and charming.
Review: Scott Ferguson came to house and techno in one of its most fertile grounds - Detroit, in the mid 90s. Since then he has served up his own take on the timeless genres on a range of quality labels. Now he arrives on Chateau Chepere with four more of his stylish cuts. They are couched in deep house as always but with cues taken from future jazz, garage and plenty in between. These are real winter warmers that will seduce an early evening crowd or lock in a 5 am dance floor in equal measure.
Review: Andrea Ferlin is the Italian DJ and producer who heads up the Sleep Is Commercial label. His latest release however comes courtesy of Germany's Pleasure Zone, featuring two advanced and breakbeat-driven minimal cuts. On the first side of Crepuscular Beats Part 2 is the lean and subtle groove business of 'Thai' featuring enough atonal blips and clipped rhythms to soundtrack Sunday morning mischief, while the equally reduxed B-side cut 'Varia' is another hypnotic affair benefiting from a sparse and experimental arrangement.
Review: This week on Peoples Potential Unlimited we have '1 2 3 Stella' which is the debut release by Alex Fernet - an artist from Bassano del Grappa, near Venice, Italy. A breezy and neon-lit boogie down affair from the late night that gives a brazen nod to the '80s, it is complemented on the B side by the romantic late '70s easy rock vibe of 'Tornerai' which is an Italian cover version of 'In your Eyes' by Badbadnotgood featuring Charlotte Day Wilson. Fernet impressively walks the fine line between undeniably kitsch and impressively cool.
Review: Fidelio and Luca Piermattei hook up here to explore worlds where acid, techno and electro all happily coexist. Fidelio's A-side offers three cuts that fuse 90s acid rawness with baroque drama that results in a unique mix of classical organ melodies and razor-sharp basslines. Punchy kicks and sizzling hi-hats drive the energy as you're happily lost on a neon-lit techno odyssey. On the flip, Piermattei's 'Gas' features a fluid bassline and glitching robotic vocals that are eerie yet inviting and 'Third Rec' (with Tascam 122) rounds out the release with pulse-driven electro and intricate percussion, perfect for late-night explorations.
Review: Berlin techno stalwart Fiedel serves up some more reissues of effective DJ tools on Fiedeltwo. This time around we have a 2021 Remaster of 'Doors To Manual' which was featured originally on Berghain (where he's resident) compilation Funf back in 2010. It's a typically wonky and off-kilter cut by him that showcases a truly singular approach to techno. Over on the flip, Kyiv's Espen Lauritzen contributed 'F/T/S' to Fiedel's very own mix for the esteemed Berlin club's mix series, the eighth to be precise, and it too gets a 2021 remaster. A pounding warehouse techno workout in the vein of classic Djax Up Beats, this one's serious.
Review: Filth Rich gets suitably filthy on this fresh outing on Zimp. His Rave EP collides many different influences from techno to electro, acid to rave, and also chucks in some classic samples to really make the tunes pop. The first is a peak-time breakbeat bruiser with slapping hits and yelping vocals, then 'Hippies Gathering' is a prog techno classic from the late 90s Castle Morten rave scene. Randolph offers his own Filthy Rave remix that gets even more wild and included along the way are some sample-tactic snippets to liven up your set no end.
Review: Hands up - this is one of our favourite ever jams and frankly we can't really understand anyone who doesn't rate it pretty highly. It is a classic of the early dance scene that got hammered everywhere from Warehouse to Paradise Garage and remains in a class of one decades on. Next to the brilliant original, which is from a time when proper songwriting and musicianship defined house and disco, you get a Ron Hardy edit that is more uptempo, with hissing hi hats cutting through the funky rhythms and loopy drums. Sublime.
Review: The first anyone heard from Robert Fleck was an early drop on Well Street back in 2018, and it's been quiet since then. Anyone following Well Street knows it's a hot tip for upfront artists in the fractured fissures of the UK underground, and Fleck makes a welcome return to prove the point. There's a lot of different touchstones you could point to on this release, from nimble-footed broken beat and a whiff of nu jazz orchestration, not to mention a bass music sensibility and an appreciation for deeper strains of UK techno. But more than all that, Fleck merges his unique spread of influences into something fresh and unique, comfortably slipping between conventional genre markings with the kind of flair we've come to expect from Well Street.
Review: Fletcher's arrival on Ausblick brings another fine selection of techno sounds that tend towards the more deep, heady and minimal end of the spectrum. 'Blurred Lines' kicks off and is a sublime fusion of rubbery drum loops and shuffling percussive sounds that lock you into a mindful state that's eventually heightened by some dreamy little synth sequences and lovely dry hits. On the flip, 'What's It All About' is more abstract and sparse, a late-night sound full of intriguing little details to trip out the after-party crew.
Review: Fleur is a firm favourite with fans and now teases the new upcoming album with a new 7" single that is going to resonate well with fans of acts like The Kinks, Holly Golightly and The Remains. The A-side, 'Nous Continuerons a Marcher Ensemble' kicks off with a sharp guitar riff and builds into a catchy, powerful chorus. The B-side, an exclusive to this 7", is 'Tu M'as Mise a Genoux' a fast-paced punk track driven by fuzz bass. Both of them are superb retro indie-pop bangers and have been penned by Mark ten Hoor of The Kryng, and he also recorded the backing tracks for this release.
Review: Sometimes a tune comes along that is so good it stands up on its own on a single bit of wax. Flipsight's 'The Lizard King' is one such tune. It's got everything needed to both appeal to the heads but also hook in those who like a characterful and accessible tune to get them going. The drums are Paradise Garage-style house grooves with a great sense of shuffle and swing. Keys up top are jazzy and echo Herbie Hancock, with chord stabs, scratching and odd vocals all meaning this one has huge anthem potential. Move fast!
Review: The Florence label is back with more of its high grade funk here with the eponymous artist or artists behind another healthy dose on this new 7". 'Dancing' is a raw sound with slapping drum hits and plenty of noodling synth lines that elevate the whole thing next to big horns. But the icing on the cake is of course the raw vocal lead that is offset by some more sooth female coos. A more funky and bouncy break is the foundation of the flipside joint 'Be My Baby' with its alluring vocals and raw 60s aesthetic serving to get you up on your toes.
Review: Florence is another white label series that marries '80s pop vocals with heady minimal house grooves. With previous titles such as 'Born Trippy' and more blatantly 'Rihanna', 'Chaka' or 'Bonobo' - you can kinda see where this lot are coming from. For their tenth edition though, they've put a twist on a modern microhouse classic (guess which one) on "Easy". Whoever churned out this one certainly had some audacity, but respect to them! Over on the flip, we have some boompty swing-fuelled deepness on 'Resist' followed by a dope hip-hop joint in the form of 'Game' which provides a welcome change in tempo.
Review: Fly T is back on the Japanese label Ninjapan Music with a beguiling two-tracker on 7". 'JapaNepal' brings a world mix of sounds including dub and sun continental rhythms, exotic flutes and some unique take on ragga vocals. It's a colourful and playful cut with a hefty low end that will be a standout cut in any set. '567' (Tengaku dub mix) is a psyched-out and deep dub with an Indian twist and bottomless bass. Two brilliantly original cuts for sure.
Review: REPRESS ALERT!: DJ and producer Fold presents a new label called FLDIN2. Double-sided vinyl EPs pairing two self released singles together with a 45 RPM cut. The cut is an ode, like some of the tracks themselves, to how he collected Drum & Bass and UKG records at the turn of the millenium. The tracks have been on heavy rotation in 2024 from huge acts such as Ben UFO, Overmono & Joy Orbison.
Review: Strap yourselves in for this one because Fon Smith manages to pair great drum programming with lush synth arps that very much take you to the stars. Opener 'Noche En El Suburbio' is a gorgeous mix of both, with molten and mellifluous patterns rising and falling through the sky as the rubbery drums motor below. A Keymono remix of the same track adds more heft to the kick and pares things back to a more icy and minimal vibe but still one that is superbly cosmic. 'Happy Times With Happy People' is a loose-limbed house cut with dusty drums and languid synths.
Review: Swirl People revisit their roots with a nostalgic four track EP from their early days as Fortune Cookie. This collection - which is their third release on L.I.T.S. - features carefully selected tracks from their original 1996 releases on Marguerite, a small label run by a friend. Nearly three decades later, these still much sought-after tracks are finally being reissued. The EP opens with 'Glitter Girls,' which is characterised by a catchy bassline, followed by the deep groove of 'Um Bongo.' On the B-side, 'Galactic Snackbar' offers a retro-futuristic feel, while 'Frisko Heaven' wraps up the EP with classic disco-filtered house energy. Timeless tackle, for sure.
Review: Arthur Foy was a popular solo performer and band member in the late 70s and early 80s. He was born in Alabama but raised in Mississippi and later lived in Louisiana. His masterpiece 'Love Dreams' came in 1980 and has his rich and soulful vocals front and centre with great arrangement and tight rhythms. It is a super hard to find original and prove expensive rarity. Here it gets pressed up with southern strutter 'Love Storm' which was co-produced and written with the legendary Carl Marshall. Arthur passed in 2018 and this official reissue is dedicated to his memory.
Review: In the write-up for this admirable label debut by newcomer Framboisier, Gestalt has promised "a new kind of club sound" based on the foundations of "tech and hardgroove". So what does that mean in practice? Well, title track 'Buffout Trax' is a brilliantly bouncy and breathless affair, where rave-igniting riffs, bassline house style organ bass motifs and UK garage samples ride a beefed-up house groove. 'Orbit Reflex' sees the producer lean more into glassy-eyed rave-era nostalgia - all stabbing bleep techno style bass, hybrid techno-house beats and fizzing melodic motifs - while 'Flex-o-matic' is a more rolling concoction that puts retro-futurist fun at the top of the agenda. Closing cut 'Holodisk Data', meanwhile, is an all-action fusion of past and present dancefloor tropes with extra lashings of TB-303 psychdelia and nods to early progressive house.
Review: Before making it big with Maze, Frankie Beverly was the man behind Raw Soul, a heavyweight, politically conscious band whose fuzzy, full-throttle sound sat somewhere between the J.B's and Sly & The Family Stone. The band's most famous moment was 1975 single 'Color Blind', which was originally recorded as 'What's The Color?' Here that never-before-heard recording is finally issued. Rich in fuzz-soaked horns, crunchy drum-breaks, weighty bass and clipped funk guitar licks, the track features some superb, James Brown style lead vocals from Beverly. Brilliantly, there's also a chance to savour the unheard Raw Soul instrumental version, which features an extended, DJ-friendly drum solo midway through. A slice of history that's well worth picking up. As played by DJ Koco....
Review: DJ International presents the re-release of this rare classic, "Only The Strong Survive". Frankie Knuckles' timeless production combined with the powerful vocals by Ricky Dillard makes this a dancefloor hit.
Review: Fred Everything's profile may not be as high as it once was, but he continues to serve up high quality treats - as this surprise collaboration with legendary vocalist Robert Owens proves. The latter is in fine form on the EP-opening 'Classic Mix', a warming, musically detailed chunk of vocal deep house positivity that sounds like it was partially inspired by Dubtribe Soundsystem classic 'Do It Now'. Fred Everything also provides two 'BDTW' mixes on the flip: the fluttering synths sounds and vintage Chicago house grooves of the 'Deep Mix', and a more stripped-back 'Vox Dub'. Best of all though is Martin 'Atjazz' Iveson's rework, which recalls the fluid synth sounds, jazzy flutes and intricate percussion programming that marked out his early 2000s work on Mantis Recordings.
Review: Hot on the heels of the "Lush Culture" EP with Deetron that landed on Perpetual earlier this summer, more lush licks come from Mr Fred P aka Black Jazz Consortium. Four soul hurricanes that range in weight and emotion, the two poles here can be found slap-bang in the middle of the EP: "Moonlight" is a sultry brushed-drum break for lovers while "Riverside Drive" jacks like a rhino but soothes you with big breeze feels. Elsewhere "Reaching For The Stars" cruises on a skippy break with airy early 90s New York pads and "New Ways" closes on a stunning 88 tip. Have nice dreams y'all.
Review: Back in 2020, hip-hop, breaks and electro stalwart Freddy Fresh decided to turn his hand to vintage-sounding house and techno, self-releasing a set of tracks called The Harvest online. Rawax were impressed, with the popular label deciding to put the pick of the cuts out on vinyl. Title track 'The Harvest' sets the tone, with the veteran producer wrapping a house-tempo, post-electro groove in sustained organ chords, spacey synths and bubbly electronic melodies. 'House-Spanner' sees him doff a cap to The Middle of Nowhere-era Orbital (seriously, it's very reminiscent of the Hartnoll brothers' late '90s output), while 'Misunderstood' is a woozy, delay-laden chunk of early morning U.S deep house. Elsewhere, the deep house dreaminess continues on the interestingly swung 'Twain', and clonking, TB-303 speckled 'Horlywagon'.
Review: Little is known about Friction Band's hyper-rare 45" besides the fact it's a brilliant example of outsider, slightly experimental style of modern soul, it's passed hands for strong triple figures in recent years and it's just been injected with a whole new lease of life by Fryer. "Watchin' You" is a footloose boogie jam with unabashed use of freeform keys while "To The Sky" flips for a softer, more sentimental soul affair that's fringed by just the right amount of dreamy cosmicity. Another precision find by AOTN.
Review: Beyond Electronix hits the min milestone of a 10th EP, which is even more impressive given that it has only taken a couple of years. The quality levels have remained high in that time with blistering jungle and drum & bass innovations from mainstays like Tim Reaper, DJ Jubilee 1997 and FTL, who returns here on another solo EP that features one collaborative with DJ Mudak 2000. That is a cinematic cut powered by turbocharged breaks., a format that is toyed with across the other three immensely powerful cuts.
Review: The cultured ESHU label has pulled other some more tasteful talents for this four track 'Conrexture' EP. It opens up with Julien Fuentes's 'Jah Justice' (Klaridub Ambient mix) which is a nice atmospheric opener with some conscious dub mutterings and sci-fi pads. Jocelyn & Yasin Engwer then kick on with some watery, sub-aquatic minimal dub tech bliss in the form of 'Sticks & Stones', Voal gets even more dark and dirty with some grubby dub basslines on 'Eight Ball' and Ivano Tetelepta/Christine Benz layer up watery droplets, melodic whistles, static electricity and rubbery rhythms to mind-melting perfection on 'Supreme.'
Review: 51 years have now passed since Funkadelic dropped their first two albums, Funkadelic and Free Your Mind and Your Ass Will Follow. The latter album's numerous highlights included 'Funky Dollar Bill', a flash-fried funk-rock masterpiece that's as bonkers as it is low-slung and floor friendly. This anniversary edition of the song, which was released as part of a double A-side single in 1971, combines the pioneering Detroit crew's original vocal version (side A), with a never-before-heard instrumental take from the original recording sessions (B). This is particularly revelatory, as it offers a chance to hear everything that was going on below George Clinton's singing - and trust us, that's a lot! It's genuinely refreshing to hear an alternate take on a such a fantastic funk-rock gem, so we'd recommend giving it a listen.
Review: After a break of two long years, tech-house scene stalwart Sascha Funke has finally delivered a new EP of typically atmospheric, on-point music. It's his first outing for Running Back after years spent flitting between BPitch Control, Multi-Culti and Endless Flight. Interestingly, what's on offer is more retro-futurist in tone than much of his work, with audible nods to vintage electronic disco, early 2000s nu-disco (think Morgan Geist) and tactile '90s deep house. Our picks of a very strong bunch are rubbery, morse code-sporting nu-disco-goes-bleep house number 'QAM', moody analogue deep house treat 'SEZ', whose creepy chords and spacey sonics are undeniably alluring, and ultra-melodious, Italo-disco-influenced opener 'FEZ'.
Review: A veteran of the Berlin electronic music scene, Sascha Funke is no stranger to local expatriates Multi Culti, debuting for them back in 2016 with the terrific In Relationen EP. For his latest outing, he paris up with multi-instrumentalist Niklas Wandt, one half of Gehoelzpflege, for some trippy and low slung sonic shenanigans on the Kreidekreis EP. From the slo-mo tribal trance of opening cut 'Kometenschweif' which will propel you into the cosmos in vertically locomotive fashion, followed by the funky sundown nu-disco of the title track which receives a wicked rework by Alexander Arpeggio up next - taking the track into psyched-out lounge territory. Also on the remix is Neapolitan Whodammanny, channelling '80s Neue Deutsche Welle sounds, German vocals to boot, on a rendition of 'Kometenschweif'.
Review: Funkyjaws is the Belarusian DJ and producer Sergey Abramov, who has been dropping his funky disco heat on the likes of Kolour LTD and Shadeleaf Music before now, as well as his own fledgling self-titled imprint. This one kicks off with 'WME' which has some big horn action and stomping disco drums to liven up any party. 'Snapshot' has a raw vocal and atmospheric energy that is sure to uplift and 'Dancin' then brings some sweet hip-swinging claps. It's a string-laced disco affair to close with the majestic 'You'.
Jose Finagandara, Juan Diego Lllescas & Ground - "Something Sign" (5:39)
Akira Arasawa With KUN & FRANKY-CH - "Yunnan" (8:18)
Review: Especial Specials has joined forces with Osaka-based imprint Chillmountain Recordings to offer up another Enjoy Your Self EP. This one once again showcases the talents on its roster with label head Ground kicking off with a beatdown meets trance sound on "Utau Narukoyuri'. After that slow burner come tribal percussive sounds from 'Arauma' (Kobato Dub), sunny cumbia on 'Something Sign' and a meandering Balearic journey from Akira Arasawa With KUN & FRANKY-CH that is brought to life with new age flute sounds, bird calls, jungle drips and folkloric strings. A fantastic EP, then.
Jerome Oscar & Oscar Worldpeace - "(Why You So) Green With Envy" (4:49)
Franc Moody - "Cristo Redentor" (5:20)
Review: Oscar Jerome, Oscar Worldpeace and Franc Moody have got new music coming on the latest Blue Note Re:imagined compilation this year which is already getting us hella excited. Before we hear what is sure to be a contemporary great, we get treated to a couple of singles from it on this tidy 45 rpm. Jerome Oscar & Oscar Worldpeace go first with '(Why You So) Green With Envy' which fuses jazz styles for across the age with Worldpeace's tight and thoughtful bars. On the flip side is Franc Moody with 'Cristo Redentor' which balances jazz's traditional past with its freshest future.
Review: More scorching hot soul sounds here from Original Gravity who look to Jodie and Floyd James and the GTs for their latest dose of 7" goodness. Jodie is in powerful form on the a-side as she delivers an empowering vocal over fast paced and chested-puffed drums that will steamroller all in their wake. This soul anthem has class and depth with some slick guitar solos and big horn energy. Floyd James & The GTs step up on the flip side with 'Johnnie's Blues' which is full of Hammond organ chords and 60s guitar riffs.
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