Back catalogue: All genres

Review: In a meeting between generations of broken beat titans, Andrew Ashong and Kaidi Thatham's Sankofa Season rightly earned classic status soon after its release in 2020, and now we're being taken back into the heart of these tracks with a heavyweight remix package from some serious talent. Mala's imperious dubstep touch brings some low-end pressure to 'Low Ceilings' or Shy One chopping up 'Learning Lessons' in her peerless deft style, there's a lot of ground covered by this considered gathering of minds. Special mention goes to Equiknoxx's Gavsborg and Shanique Marie, bringing a sweetly soulful touch to 'To Your Heart'.

Review: Back ion 2021, the relaunched Foliage Records imprint offered up a killer mix from NYC house legends Mood II Swing, the must-check Deep Rooted. Soon, the revitalised label will release a sequel, with long-serving British deep house don Atjazz at the helm. This sampler EP boasts six of the highlights from that set - all remixed and reworked by Atjazz himself. There's much to enjoy throughout, from the tense, slowly building deep-tech shuffle of Halo''s 'Glorty (Atjazz Galaxy Art Remix)'and the sun-splashed 6am bounce of Atjazz's remix of Dominique Fils-Aime's gorgeous 'Sun Rise', to the dreamy dancefloor wooziness of Ralf GUM's 'AWA' (re-imagined by Atjazz as an Osunlade-esque spiritual house workout) and the jazzy, bass-guitar-propelled broken house excellence of 'On The Road (Vocal Mix)', a three-way collab between Atjazz, Kelli Sae and The Realm.

Review: UK legend Dego and killer keys-man Kaidi Tatham have been in a rich vein of form of late, dropping brilliant EPs on Eglo, Sound Signature and Rush Hour (the latter under their 2000Black alias). Here, they return to Eglo with four more slices of warm, rich, soul-flecked fluidity. As with previous outings, much of the material has a laidback jazz-funk feel, particularly "Orbiting Uhara" and the delicious "The Vault Descends" (think bustling bruk rhythms and darting boogie synths). They also offer up some tougher, synth-laden bruk-funk in the shape of "Man Made", while "Black Is Key" sees them unfurl a head-nodding vocal roller.

Review: Japanese talent DJ Koco aka Shimokita is a hardcore 45rpm devotee. They are his chosen tools as a beat-juggling DJ who can do logic-defying things with his grooves. He is a regal on Bloom and already dropped serious heat in January with 'World Famous'. This time he is back with a fresh take on 'Made In New York' which is a 1985 classic by renowned Brazilian funk and jazz pianist Tania Maria. He brings his signature hip-hop flair and creativity with his trusted crew, 45trio, and enlists the dynamic saxophonist King TJ (DA-Dee-MiX) to elevate things further.

Review: Reel People Music breaks new ground, in more ways than one, with the launch of fresh compilation series Broken, Deep & Dope. A spin-off from acclaimed compilation brand Soulful, Deep & Dope - introduced back in 2015 - this new series sees the much-loved independent imprint pushing further at the boundaries of soulful music. All with that customary Reel People feeling. Broken, Deep & Dope 2024, the series' first instalment, unleashes 20 superlative examples of the soulful 'bruk' (broken beat), nu beat and nu jazz sound that has so innovatively informed contemporary dancefloors around the world since its inception back in late '90s West London.

Review: K15 has never let us down ever since he emerged with a brilliant double pack on Kyle Hall's Wild Oats several years ago. The thoughtful London-based beat smith turns up here on 200 Lack, the acclaimed also London-based outlet for broken beats. 'Resonance' is a gorgeously shimmering and summery opener with pensive chords and lush drumming, while 'Within Reach" then brings some playful funkiness with the majestic squelchy bass work and free-spirited melodies that dart about up top. 'Resistance' closes down this superb EP with more thrilling drum patterns and lithe synths.

Review: London-based beat smith K15 is a UK answer to the likes of Kyle Hall - his house music is steeped in jazz, soul and funk. His drums are dusty and loose - and louche - and his moods are deeply meaningful. His latest EP is another case in point with three more sublime and seductive sounds. 'Still Devoted' is a downtempo cut with analogue drums and gorgeous female vocals soaring up top with the elegance of a church choir. 'State Of Play' has a fantastically cosmic outlook and a nimble bassline that rides its own ride as the synths soar and 'Time Reveals' then closes down with a more melancholic but no less beautiful vibe.

Review: Son of Todd Osborn (Soundmurderer/Ghostly) Kaito Ian makes a hugely impressing first outing on the Galaxy Sound Co label with a series of lo-fi hip-hop beat-strumentals that cannot fail to get your head nodding. He is a dedicated music lover and skater with a deep knowledge of his craft and that shows here with some refined sounds starting with the soul drenched 'Revert', then on to the warped angelic vocal samples of 'Sequoia' and the percussive jumbled and scratching of 'Trek'. 'Wait Up' is another excellently blissed out joint and 'Sloan' is a sunny, laid back, lazy vibe to close down a superb EP.

Review: Kalita Records are proud and honoured to announce the first ever and official reissue of Kallaloo's sought-after 1982 disco single 'Star Child', accompanied by interview-based liner notes. Originally released on Jeffrey Turpin's Trinidadian record label IDA, 'Star Child' has since become highly sought-after by both DJs and collectors alike as an invisible, yet astonishing piece of Caribbean disco. Unable at the time to gain the traction and success that it deserved, we hope that this re-release provides an opportunity to bring such a great record to a much wider audience.

Kallaloo consisted of various Trinidadian musicians including Keith Alexander and Peter Wayne Barkley. Keith had been well-respected as a member of the Trinidadian group Impact, and was later to become an in-demand producer and composer under the name of Keith Diamond, responsible for various hits by Billy Ocean, Donna Summer, Starpoint and Melba Moore. In contrast, Peter was a well-known recording session drummer, but after 'Star Child's' release he moved to North Carolina to pursue other interests and "was never heard from again".

'Star Child' was recorded at Right Track Recording, in mid-town Manhattan, New York. As Jeffrey recalls, the atmosphere in the studio was "great", with "everyone upbeat, the cream of the crop just looking for that break... everyone was talented and just wanted the chance to express their own ideas". Five hundred copies of the record were released on IDA with a white label design, and they were sold both in Brooklyn, New York and Port of Spain, Trinidad. It was also released on a red label, however this was not to Jeffrey's knowledge at the time.

Jeffrey explains that the reason why the record didn't fare well at the time was because of the difficulty in getting the song played on the radio. As he recalls, radio stations were much more likely to play 'radio versions' of songs which lasted for a couple of minutes, rather than five or seven minute 'extended' versions such as 'Star Child', which were more suitable to a club environment. In addition, as Jeffrey explains, radio airplay is a "political business", and also within a short while band members such as Keith got their own breaks, and the Kallaloo era was over as quickly as it had started.

Review: The Polyversal Souls are renowned for the strength of their collaborative singles, which to date have featured all manner of legends and rising stars from the underground African music scene. This time around, the German-Ghanaian band provides high-grade backing for guest vocalist Frank Karikari, son of legendary Highlife musician Ralph Karikari. The A-side medley of "Siakwaa/Nana Agyei" is particularly good, with Karikari's confident lead vocal rising above shuffling, soft-focus drums and ear-catching juju guitars. Flipside cut "Odo Agye Gye Me" is great, too, offering a slightly more upbeat and undeniably percussive fusion of highlife/Afrobeat fusion.

Review: Still riding high from the success of his superb re-make of Manuel Gottsching on Test Pressing ('A Reference to E2-E4'), Alex Kassian returns to Pinchy & Friends - who released his similarly popular 2021 EP 'Leave Your Life' - after a three-year break. Beginning with the lusciously languid, Balearic, effects-laden and sonically layered title track ('Body Singer', where Jonny Nash style guitars and tumbling sax motifs rise above a sparse drum machine beat and shoegaze-esque aural textures), the Berlin-based producer offers up a loved-up mix of weightless ambient bliss (Kinship), kosmiche soundscapes (the sun-flecked 'Skinship'), revivalist Krautrock (the Can-after-several-spliffs headiness of 'Trippy Gas') and immersive, cinematic excusions (the gorgeous 'Mirror of the Heart').

Review: KAU return just one year after their debut on Sdban Ultra, and they're not slowing down. Their latest double single release is another energetic showcase of the trio's tight band dynamics, with intricate synthesiser arrangements, rapid drum patterns and deep basslines that capture the raw energy of their live performances. The first track, 'Kaugummi', fuses a dub bassline with complex drumming, resulting in a groove that feels both fresh and familiar. On the flip side, 'Mad Kau'-a reimagining of 2022's 'Mad Max'-stays true to the live version, bursting with frenetic arpeggios and synths. Both tracks push forward into the vibrant space where jazztronica meets jam band sensibilities, with nods to British jazz and that unmistakable 'Brussels sound'. This double A-side, set to drop on limited 7" vinyl in September 2024, is a must-have for fans who crave the trio's signature fusion of live energy and studio precision

Review: Since the success of his breathlessly good debut album 99.9% in 2016, Kaytranada has become one of the most in-demand producers on the future R&B and leftfield hip-hop scenes. Here he takes a break from remixing Robert Glasper and producing Craig David records to drop three high-grade instrumental versions of tracks included on last year's U.S-only "Nothin Like U" EP. "Chances", a gorgeous mix of spacey chords, crunchy MPC beats, intergalactic synths and lilting melodies, sets the tone, before he reaches for the pianos on the low-down fusion of twinkling pianos, rolling beats and raw bass that is "It Was Meant 2 B". Closer "Track 3", meanwhile, is a sparkling slab of unfussy positivity.

Review: The intriguingly named Humus Per Tutti label has made us wait well over two years for a seance EP after the tantalising first volume of this self-titled series. It comes from a section of artists who are all editing some worldly source material. First off is a Jean Kefta edit that locks you in a guitar loop while intoxicating vocals up top bring the charm. The Babach Flangerman mix of the A1 is another loopy disco cut with a Middle Eastern flavour and the comes Jean Kefta & Max Houmous's snake charming and psychedelic disco groover 'Muharaqa'.
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Review: A Delusional Guide for the Disillusioned is an all new collaboration between Kemastry and Jazz T that takes in five seriously heavyweight cuts that skirt around the edges of hip-hop. The beats have a futuristic and otherworldy quality with sinewy synths and twinkling celestial pads as the well-articulated and menacing bars are delivered with precision and an absorbing narrative. Some fine guest features from Ramson Badbonez and Roughneck Jihad add extra character to the beats and the artwork to this vinyl pressing, and the flipside full of instrumentals, is the icing on the cake.

Review: Long-serving, jazz-loving deep house duo Kemetic Just have been working with Terrence Downs for years, with the singer's soulful vocals appearing on many of their tracks over the last two decades. There's no original mix of 'We R Culture' here, but rather a quartet of club-ready remixes. DJ Spinna leads the way with vocal and instrumental variations of his 'Galactic Soul Mix' - a gorgeously colourful, pin-sharp shuffle through synth-powered deep house loveliness with all of the intricate musical touches and kaleidoscopic keyboard solos you'd expect from the NYC producer. Elsewhere, Wipe The Needle re-frames the track as a breezy, musically rich slab of jazz-funk-tinged broken beat of the sort regularly served up by Dego and Kaidi Tatham, while the Househeads mix is a carnival-ready, samba-house treat.

Review: The fledgling hip-hop label Pibe marks its fifth release with a rather lovely 7" that packs a genuine punch. Kero Uno is the artist behind the two singles with some great bars from contemporary lyricists. Opener 'Do You Remember?' is a summery sound with a feel-good vibe and guests Blu & King Most do a fine job of adding extra colour and charm. On the reverse is a much more soulful and sentimental sound with more gentle beats and a crystal clear and clean vocal from Ace Hashimoto swirling up next to jazzy chords. Tidy stuff.

Review: For five years, Acid Jazz has been showcasing Kevin Fingier's productions with each one carrying his signature Latin flair. It all began with 'Latin Dynamite', which sold out 15 days before its release and was followed by 'Cocktail de Medianoche' and 'Why Don't You Go Home', which were both instant sellouts. The second pressing of 'Latin Dynamite' included a fiery Latin rendition of the r&b classic 'It's Your Voodoo Working'. When Fingier released 'Not Strictly Soul,' it featured the Latin gem 'El Popcorn' which is now available on 7" for the first time. These four Latin Soul anthems are now united in one explosive Boogaloo EP that arrives just in time for summer.

Review: Fingier Records is a new Acid Jazz sub-label that is back with a brand new 7" from The Kevin Fingier Collective. It's a real dance floor heater that is perfectly aged and authentic as it mixes up Northern Soul and r&b with driving guitar rhythms and steamy piano chords. The horns are killer but the vocal is the icing on the cake. On the flip things get Latin flavoured with the bossa-tinged mod jazz of 'The Great Akerman' which is defined by lush flute and organ vamps. This is a great taster of the full length to come from The Kevin Fingier Collective.

Review: Fashioned around the concept of a Swiss zoo, Kind & Kinky Zoo are the animistic four-piece coming-together of Olivier Bill (flute), Adrien Knecht (bass), Marc Siegenthaler (keys) and Sylvain Rutti (drums). Together they routinely invoke a wild and spirited jamboree in the veins of funk, groove and rock, best exemplified by their latest single 'Pamukkale' here, a bustling thicket of offbeat stinkplant wafts, big drum canopies and hitherto undiscovered species of sound. The two new follow-ups on this Soul Garden edition, a remix by Soulsupreme and a new original featuring Koperu, plunge us further into the band's audio jungle, expanding outwards into six-eighting funk-hop and Hammond-organic house.

Review: Emotional Rescue closes out another brilliant year with one final hot drop. This sorting 7" Safari by King Sporty was the artist's first ever single back in 1976. It comes after the label has served up plenty of reissues of the man known as Noel Wiliam's tackle but this one might be the best. It's from his album Deep Reggae Roots and is nice tropical excursion with steamy hits, wooden percussive sounds and funky bass over a low-slung groove and chanting vocals. This one is backed with a special disco mix by Lexx that reworks the tune for more lively moments.

Review: Shanghai-based producer Knopha lands on Mule Musiq after picking up plaudits for his Nothing Nil EP on Eating Music. What he turns out here is some beautiful stuff inspired by Oriental New Age. 'Water Play' imperfectly blissed out and liquid ambient house and dub fused into something soul-soothing. Kuniyuki turns out a magical remix that has shimmering melodies and organic drum sounds washing over you then 'Palm Warmth' is all glistening melodies, celestial pads and delicate hang drum patterns that suspend you amongst the clouds. 'Prairie' shuts down with bubbly broken beats and warped leads peppered with soft shakes and more heavenly harmonies.

Review: Mood Hut's semi-regular forays into ambient-adjacent territory are always worth checking, largely for their preference for hallucinatory sounds, new age melodies and loved-up textures over academic concepts and po-faced experimentalism. Their latest chill-out room friendly missive, which comes courtesy of Chinese producer Knopha, embraces this approach while also offering nods to his own off-kilter dancefloor productions. So, opener 'Fizz', a languid, post-club shuffler, is followed by the jazz-flecked, opiate ambient soul of 'The Light', and the sun-bright joy of 'Mizu Le Gout', where loose-limbed breakbeats, star-burst melodies and cut-up vocal snippets catch the ear. Arguably best of all, though, is the EP-closing 'Corundrum', where Mediterranean guitar sounds and echoing electronic motifs cluster around a UK garage-influenced ambient house groove.

Review: Electro-disco bordering on future funk from Kokoro Disco San, the Barcelona trio behind the excellent 'Isla Fantasia' released a few years back. On the A-side comes 'The Brightest Light', corralling enchanting female vocals (those of Brigitte Emaga) on a driving, French-house reminiscent accompaniment, amount to a watery poolside bounce. The B-side's 'Mistura Magica', meanwhile, is skewed to be more organic and comes as an impactful but relaxed foray through tropical futurisms and technicolour flute soarings by Irene Reig.

Review: 'Get The Message' is London jazz collective Kokoroko's latest EP, and is set to follow fresh on the heels of their pre-release new single 'Three Piece Suit', featuring Azekel. The latter track is a heartwarming tribute to the Nigerian immigrant experience; an initial draft began life at Kokoroko's studio under the working title 'Get The Message', which led to an interesting dialogue between one-off single and wider EP; 'Three Piece Suit' was recorded first, but appears last on the EP, which overall mounts and rides a trotting broken jazz advance. Lilting vocals, brassed-backed chorus harmonies and chop-chop drumming all mirror the quiet confidence with which band member Onome Edgeworth's grandfather first touched down and made his way in Balham, London in the early 1960s. An intentional vessel for joy, coming heavily filled with themes of community, connection and relationships both romantic and platonic.

Review: Kokoroko very quickly broke through with the last EP on Brownswood. The talented musical collective stuff their tunes with elements of afro, funk, soul and jazz and each one makes an indelible mark. This new EP offers two more such gems: first up, 'Baba Ayoola' has silky drumming that would make Tony Allen proud. The lead trumpets and mellifluous chords all make for a rich sonic tapestry that is ripe for dancing. On the flip is 'Carry Me Home' with more big horns and complex drum patterns, as well as some soulful vocal coos to finish it in style.

Review: This London-based crew follows up their recent and acclaimed Akyio project with a 12" that dives deep into the vibrant rhythms of Brazil. The original is by the unique Samba De Matuto Leao Do Norte De Maragogi and was recorded by DJ Tudo. Kolago Kult offers a mix that is packed with Latin swagger, organic percussion and jumble of hand drums while the late Master Tiao adds his vocals to this samba-inspired street sound. Kolago Kult then steps up with two psychedelic remixes that are packed with heavy and dubby rhythms and many layers of percussion. A truly global journey, this one.

Review: Bosq's take on Konkolo Orchestra's 'Le Secret' feels like the moment when an Afrobeat anthem gets suited up for the club. Infused with his trademark Latin disco edge, the remix blends the rich pulse of Afro rhythms with sleek, dancefloor-ready beats. It's clear Bosq's move to Colombia has added a fresh sense of urgency to the track: percussion snaps with precision, while lush, warm keys wrap around the groove. The instrumental mix on the B-side strips it back, leaving only the track's hypnotic beats and intricate textures to breathe perfect for DJs looking to build atmosphere. This is Bosq's take on Afrobeat, refracted through his own shimmering lens, and it's infectious.

Review: Spanish reissue label Rocafort present this wonderful slice of highlife from Konkolo Orchestra, this time on nice blue wax as well as a plain black version. It's not exactly clear where, or indeed when, exactly the band came from, but their sound is all you need to worry about. 'Blue G' is a lilting, shuffling message of love and support for future generations, and from the message to the effervescent musicality, it's a no-brainer. On the flip, 'That Good Thing' is an instrumental that spirals outwards on the sweetest keys, joyous brass and dreamy guitar, driven by a pattering drum section to radiate good vibes wherever it's played.

Review: Kool Keith's album Keith's Salon was a big hit when it came out back in 2001. It was produced by the talented electronic mainstay Bruno Pronsato and now it has been remixed with just as much elan by a stellar team assembled by French label Logistic. First to reimagine Kool Keith's hip-hop hit 'Wiggle' is the masterful micro-house don Losoul who keeps it deft and abstract. Ben Nevile then brings crunchy texture and slow motion beats to his version. Last of all, Flabbergast (aka Vincent Lemieux and Guillaume Coutu Dumont) keep things elegant with lovely hits riding a skeletal rhythm and with shuffling pads down low.

Review: Insense Music Works finished off 2024 on a high by serving up this brilliant pair of wonky jazz sounds. Noriko Kose & Haruka Nakamura's 'I Miss You' pairs pensive piano playing with alluring vocal sounds and raw beats into something heady and beguiling that almost seems to shift space and time with its smeared designs. Joachim Kuhn's 'Housewife's Song' on the flip is a busier sound with mad jazz keys, cascading piano chords and a vibrant sense of energy that flourishes ever brighter as the track unfolds.

Review: Takuya Kuroda is a highly respected trumpeter and arranger from Kobe, Japan but now based in New York City. Midnight Crisp was his seventh studio album and now First World has had a selection of cuts from it remixed. 'Choy Soda' gets superb treatment in the form of Waajeed's Hi-Tech Jazz remix which jumbles the trumpet motifs with shuffling drums and future soul. On the flip, 'Dead End Dance' gets a signature Kaidi Tatham remix that brings the broken beats and sunny sounds to the fore with more languid jazz notes adding sultriness.