Review: Steve O'Sullivan returns to Phonogramme Records with his latest EP, Tribal Dubs, a strong three-track offering that exemplifies his mastery of deep grooves and atmospheric textures. Building on the success of his debut on the label, O'Sullivan reaffirms his position as a leading figure in the techno scene with this mesmerising release. The EP's title track, 'No Aura,' sets the tone with its hypnotic rhythms and immersive soundscapes, while 'We Got Dis' on Side 2 delivers a deep, looped tech-house burner that is both hypnotic and irresistibly funky. Closing the EP is 'Tribal Dub,' a sultry and deep exploration of dub-infused house music that further showcases O'Sullivan's talent for pushing boundaries while maintaining his signature style.With Tribal Dubs, Steve O'Sullivan demonstrates once again why he is regarded as one of techno's most respected artists, delivering an exceptional release.
Review: New Zealand dance-pop trio Obscure Desire are among the finest to come out of the first wave of the Auckland club scene in the 80s, which centered around the venue named A Certain Bar. Auckland's answer to the Hacienda. They used the inspiration from that scene to craft this EP of effervescent pop, new wave and funk. The group were vehemently DIY and disbanded shortly after the release so the original pressing sells for hundreds because of its scarcity. This reissue comes after a surge in popularity over the past decade making this hotly-anticipated short but exceptional collection properly accessible for the first time.
Review: UK rave pioneers Orbital are revisiting their early 'Brown Album' EPs with the launch of a new and ongoing Orbital LEDs ('Limited Edition Drops') series. These 12"s are being re-issued with newly commissioned artwork by Intro. This one was originally released in September 1992 and is one of the group's most famous because it contains their most iconic track 'Halcyon' which blurs ethereal vocals with hypnotic breaks that define 90s dance music and still get huge reactions to this day. The EP also includes 'The Naked and the Dead' which is a darker techno track, plus 'Sunday' and the previously unreleased dub version of 'The Naked and The Dub.' Essential.
Review: UK electronic innovators Orbital have been revisiting their early roots with Orbital LEDs, a limited-edition series remastering their old greats. Now fully remastered and paired with striking new artwork by Julian House, the latest drop highlights the duo's groundbreaking early sound when tracks like 'Midnight' innovated with a blend of hypnotic house rhythms and minimalist influences from Philip Glass and Wim Mertens. Also included here is 'Choice' which stands out for its anarcho-punk edge and bold vocal sampling. Paul Hartnoll has often said he aimed to inject house music with a sense of rebellion and social commentary and these reissues reaffirm Orbital's ability to do that while pushing boundaries from the start.
Review: A cornerstone of early 90s electronic music, Orbital's Lush resurfaces with renewed energy through the Orbital LEDs reissue campaign. Originally released in 1993, the EP is a masterclass in melodic techno, featuring the iconic 'Lush 3-1' and 'Lush 3-2', two seamlessly interwoven tracks that exemplify the Hartnoll brothers' knack for crafting emotionally resonant, rhythmically complex soundscapes. Reissued on 12" with striking new artwork by Intro, this edition includes heavyweight remixes by Underworld and CJ Bolland, whose reworks push the tracks deeper into the club stratosphere. Underworld brings a dense, propulsive momentum, while Bolland injects a sleek, hard-edged urgency. Yet it's Orbital's originals that remain the centerpiece. Those epic gliding arpeggios, layered synths and rolling percussion conjure both introspection and euphoria. A vital part of their Brown Album, Lush helped define the progressive techno movement, influencing generations of producers. Three decades on, the tracks still pulse with a timeless vibrancy.
Review: Conoley Ospovat's 'Transcontinental Trip' on Continental Drift captures a lush, bass-driven vibe that's both grounded and explorative. The title track kicks off with a jazzy, rhythmic pulse, setting a warm atmosphere that flows into the loose drumming and field recordings of 'Hold On,' evoking the understated style of Ricardo's Sei Es Drum. 'Sunbreaks' showcases Ospovat's melodic touch with a moody, layered groove, while the EP closes with the hazy, atmospheric 'Pacific Coast Rain'ia sparkling finish to an EP that bridges ambient textures with club-ready energy.
Review: This 7" is a reissue of one that first dropped back in July and soon sold out but with two extra cuts. It offered a rare chance to discover hidden gems from the Austrian Public Broadcasting Institution (ORF) vaults which were all vinyl debuts in summer. This gatefold double 7" kicks off with Stefanie & ORF Big Band's 'Compared to What,' a hard-hitting funk track featuring lo-fi vibes and powerful horns. The A-2 offers a subtly tweaked version, maintaining the same high energy. 'Feelin' It' then comes on the flipside with big brass leads, deep-cut drums and a stirring, emotive female vocal lead. A second alternative is also featured.
Review: Record Shack unearth two tunes from the vaults of Austrian public broadcasting institution ORF, available for the very first time on officially released 7" record. Pressed using only the strictest high-grade equipment, the flame of soul soprano Stefanie Vhynak's 'Feelin' It' is rekindled with a rejuvenative flair: the Viennese singer cut her teeth in the USA before her return to her birthplace, where she was discovered and subsequently enjoyed a longstanding career. Though her stint with the Austrian Broadcasting Company was short-lived, it could still be argued that Stefanie's rep of contributions to the broadcaster lie among her best. The exigency of radio is paramount to good songcraft, which is why there are two versions of 'Feelin' It' here; the first of which lays down the centrality of the song's lyrics via pared-backbeat and muted funk, and the latter pulling the pull ring on the sonic grenade, allowing a full-throttle vocal and instrumental amour to explode.
Review: Celebrating 25 years of two of the most influential house labels around, this joint double-pack from London's R2 and Osunlade's Yoruba Records is a heavyweight offering that bridges soulful roots and dancefloor depth. Karizma's long-awaited 'Spirit' appears in multiple formsihis original gospel-powered burner, a Josh Milan remix (as Honeycomb), and a dub version featuring Nicholas Ryan Gant, all radiating righteous, late-night warmth. The second R2 cut, 'W!thout !t' is stripped and punchy, full of Karizma's trademark percussive invention. Yoruba's side sees Osunlade light up the system with 'Electricity' and 'Sumpin' Like Dis', both steeped in rhythm and spiritual uplift. Afefe Iku's '823' dives deep into his signature twilight textures, while Karizma's Baltimore remix of Mr. Flip's 'Drippin'' closes the set on a loose and funky high. It's a snapshot of two defining voices in house musicirich in groove, spirit and intention.
Review: Fourth volume of Library Music miniatures by Daniel O'Sullivan (Ulver, aethenor, This is Not This Heat, etc.) for VHF, this time commissioned by the legendary German Music Library, Sonoton. Another sampling of O'Sullivan's versatility and brilliance as a composer, performer and sound designer, the focus on The Pastoral Machine is more "electronic" compared to the three previous albums O'Sullivan recorded for KPM (also issued on LP by VHF), with simpler arrangements and a focus on gentle and emotive synthesised soundworlds. Even without as many full ensemble arrangements, there's still a wealth of diversity - 'Empathogen' opens the record with latticed arpeggiating sequences recalling Japanese "environmental music" or Persian Surgery-era Terry Riley, 'Fruit Of Stream Entry' burbles with gentle ripples evoking the album's title, while 'The Silversmith Of Space' mines a simple chord sequence evoking Eno's 70s classic short instrumentals. Recalling futurist new-age pop in the vein of Enya or Virginia Astley, the record comes housed in a jacket and heavy euro-style inner featuring collages by O'Sullivan, soon to be the subject of an art book published by Timeless Editions in mid-2024.
Review: We didn't see this coming but we're very much delighted it has: the peerless dub techno don Steve O'Sullivan with a full length of past triumphs and unreleased gems on Nina Kraviz's always adventurous Trip label is always going to be worth hearing. The Brit stretches his legs and pulls out all the stops here to cover plenty of ground while reaming true to his signature sound design excellence: bouncy, minimal but strobe-lit cuts like 'Kesk', twisted 90s techno sounds like 'Grun', barely-there IDM-adjacent sounds like 'Groente' and ice cold dub cuts like 'Botala'. A real masterclass.
Review: London-based New Zealander Arjuna Oakes impresses hugely with this debut album, a contemporary soul and jazz fusion, global folk, electronica and post-rock motifs all woven in. Like any good LP, While I'm Distracted is a deeply personal journey exploring common themes of vulnerability, identity and hope in a world shaped by ever-more existential angst and social media stress. We're told that Arjuna approached this full-length album like a filmmaker crafting a feature and aiming to evoke emotion over concept. Performing vocals, piano, synths and arranging strings himself, he also leads a talented ensemble of collaborators who help him on this emotional odyssey.
Review: Ocean Moon, the alias of Cornwall-based producer and Lo Recordings founder Jon Tye, presents his latest offering, an ambient electronic work imbued with a gentle positivity. Tye, also known for his work with the UK ambient duo MLO, explores themes of artificial intelligence and consciousness evolution throughout the album. Side one delves into AI through a philosophical lens, drawing inspiration from Buddhist perspectives and texts like 'The Physics Of Immortality' and 'Novacene'. Tracks such as 'Ways To The Deep Meadow' and 'Souls Fall Away' offer a refreshing counterpoint to the often-negative portrayals of AI, radiating a sense of optimism and possibility. Side two features two extended compositions created for visual projects. 'Made In Dreams', utilising AI technology, creates an ethereal, warm atmosphere and 'An Ending Full Of Light', composed for Vix Hill Ryder's Wild Edges film, evokes a sense of serenity and resolution. Subtle melodies and delicate touches help craft music that truly nourishes the soul here.
Review: Bordeaux-based producer Franck Zaragoza aka. Ocoeur has always drawn on the natural world as a basis for his sprawling ambient compositions, and his latest album Breath is no exception. Over just six immersive pieces that intend to evoke the gratitude for simply being alive, Zaragoza this time evokes an impressionistic mountainscape, though still combines this romantic image with digital sonic pepperings and minimalist glitch textures throughout.
Review: Odopt's Snaker 011, the first release in five years by Snaker and the tenth in their catalogue, marks a compelling full-length debut for the duo. Known for their hypnotic and freaky sound on labels like [Emotional] Especial, Hivern Discs, and Born Free, Odopt delivers a "contemporary library sound" for Snaker Records that defies conventional dancefloor or home listening categorizations. Instead, it offers a unique cinematic soundscape for a fresh auditory experience. Highlights include 'Antimilitarist,' with its experimental broken beat that's subdued yet intriguing. 'Barfold' presents a movie-like quality with a unique groove and production. 'Spakra' features a dark, slow groove with metallic sounds, echo, and a slight EBM influence. 'Mangrove' stands out with its otherworldly, alien sounds. 'Orch Noise' rounds out the album with its atmospheric and distinct character. For those seeking something different and unique, Odopt is here for you.
Review: "To follow this rainbow of silky sounds is to reach a point of no return," the release info for the latest from French electronic musician Offline reads. "[A place] where the last person on Earth you'll be able to communicate with will be a 1970s synthesiser." If that's not a statement of intent, we don't know what is. Arriving on the Delodio France label - an imprint you should get to know if you don't already - Timeless Echoes lives up to its name. Glistening and shimmering like a satellite reflecting the sun's rays back out to the eternal darkness of space, tracks veer between the authenticity of 'Idle Dreams' and 'Sunset Reset', two slow burning retro sci-fi steppers, to the closing breaks-y-tech-y hued '24/7', 'Ignite's electro stylings, and 'All Gone' with its beat-free electronic overture.
Review: This French artist, who has captivated audiences with her collaborations alongside Mura Masa, Pomme and Flavien Berger, returns with a deeply personal album that explores the complexities of self-discovery and the search for meaning in a world obsessed with self-improvement. The album's title track, 'choke enough', is a poignant reflection on the need for connection and the pursuit of intense emotions. Oklou's warm, beautiful productions, a signature of her sound, conjure a liminal space where the boundaries between introspection and euphoria blur with delicate synthesiser arpeggios and found sound samples. 'family and friends', the album's first single, delves into the search for answers and the desire to escape from intangible memories. Oklou's lyrics, delivered with a vulnerable yet defiant honesty, capture the anxieties and uncertainties of a generation navigating a world where virtual and physical identities are inextricably intertwined. After gaining international acclaim with her collaborations and her critically acclaimed mixtape 'galore', Oklou's debut album marks a turning point in her artistic evolution, a bold yet introspective work that challenges listeners to confront their own anxieties and desires.
Review: Embark on a journey through Berlin's pulsating house music scene with Italian-born, Berlin-based Luca Olivotto, who infuses his beats with the energy of the city's underground while blending in his Mediterranean roots. This album encapsulates the essence of Olivotto's musical universe: a fusion of cultures, a celebration of diversity, and a testament to the universal language of music. Highlights include 'I'm (Not) Sorry,' which delivers a smooth New York house sound, embodying late-night beauty with its uplifting and deep tones. It's a perfect combination for those seeking a soulful experience. 'Don't Change' offers another excellent eyes-closed house burner, maintaining the album's deep and introspective vibe. Also, 'You & Me' stands out as the hands-up moment in any house set with the peak energy and communal spirit of the dance floor at its heart. Olivotto's ability to command dancefloors as a DJ and evoke emotion as a producer shines through in this double pack.
Lovey Dovey (feat Eric Roberson & Raheem DeVaughn) (5:36)
Research (feat Honey Larochelle) (3:52)
On My Own (feat Paul Weller) (4:06)
Omar & Don-e - "Out Of Sight" (interlude) (0:37)
Can We Go Out? (3:46)
It's Gonna Be Alright (feat Scratch Professer) (3:49)
We Can Go Anywhere (feat Giggs) (4:43)
Latin Salsa (3:55)
Holding On To Life (feat Ledisi) (4:49)
Much 2 Much (3:23)
1234 (feat Jeru The Damaja) (3:46)
Love Is Like (feat India Arie) (3:38)
Review: Brit soul legend Omar's new work finds him in full command of his craft, gracefully vaulting through decades of soul, funk and jazz with a sound that feels both grounded in history and refreshingly modern. His collaborations - from Paul Weller's understated elegance to Giggs' streetwise energy - highlight his remarkable versatility, yet it's his own magnetic voice that pulls everything together. The arrangements are lush, rich with organic instrumentation and tinged with Caribbean warmth, offering a sound palette that's as riveting as it is all-consuming. Tracks like 'There's Much Love In The World' reflect the timeless optimism that runs through Omar's music, celebrating unity while reminding us of the power of soulful connection. Despite the star-studded line-up of guests, this release is unmistakably Omar's. His voice - distinctive and effortlessly smooth - remains at the heart of each song, whether he's trading verses with Raheem DeVaughn or harmonising with Ledisi's rich tones. The musical textures on display are just as varied, blending organic rhythms with electronic beats that never overwhelm the track's emotional core. Over time, Omar's musical approach has only become more layered and expansive, yet his unmistakable sound remains intactianchored in the originality that made him a key figure in modern soul and funk.
Review: Orchestral Manoeuvres in the Dark (OMD) and their 2017 future classic The Punishment of Luxury, is an album that brilliantly merges biting social commentary with the band's signature synth-driven sound. Now available on blue vinyl, this release not only delivers sonically but also visually, with its vibrant cover art reflecting the album's thematic depth. From the opening title track, OMD sets the tone with an unapologetic critique of consumer culture, driven by Andy McCluskey's impassioned vocals and sharp lyrics. The band's ability to craft music that feels timeless yet relevant is on full display, blending modern production with the nostalgic essence of their '80s work. Tracks like 'What Have We Done' capture the disillusionment of the current era while offering a plea for a better future. Despite the absence of original drummer Malcolm Holmes, the album remains powerful, with Stuart Kershaw stepping in seamlessly and the deluxe edition's packaging, with its striking design and included lyrics booklet, further enhances the experience.
Review: The reissue of Oneness Of Juju's 1976 album Space Jungle Luv stands as a crucial addition to the Black Fire Records reissue series. When James "Plunky" Branch founded Oneness Of Juju in 1975, he had already spent years engulfed in the vibrant jazz scenes of both coasts. The group, previously known as Juju, was deeply rooted in New York's avant-garde jazz scene. However, upon relocating to Richmond, Virginia, Plunky gathered a fresh ensemble, blending African rhythms with funk and r&b. This lineup produced two of their most acclaimed albums, African Rhythms and Space Jungle Luv. This era marked the band's peak, with Space Jungle Luv embodying a shift towards a more serene, spiritual sound. The album showcases Lady Eka-Ete's enchanting vocals and guitarist Melvin Glover's celestial tones. Plunky's vision for this record was influenced by artists like Pharoah Sanders, aiming to deliver a message of spiritual upliftment through "space music, jungle music, love songs." Tracks like 'River Luvrite' and 'Follow Me' explore themes of unity and exploration.
Review: Calling the curtain on Field Records' Waterworks trilogy, Yui Onodera turns his ear to confluences of hydrology and history, dedicating his latest record to Japan's Kiso Three Rivers and their transformation by 19th-century Dutch engineering. The Kiso, Nagara and Ibi rivers, once prone to catastrophic flooding, were reshaped under the guidance of Johannes de Rijke, whose work helped protect Nagoya from seasonal deluge by 1912. Onodera, known for his nuanced sound architecture, approaches this subject with a finely honed ear for subtlety, layering quiet field recordings with fuller instrumentation, evoking the widening of a river from brook to strait. The A-side's bell tones provide a sensory-meridian intimacy, processed alongside guitar, and ethereal pads; while the B-side's contradictorily colossal quietude makes itself across two long-form studies, which drift through sampled water and restrained electronics.
Review: Citirax's next outing takes the form of a debut album from Los Angeles-based duo OP-ART. This pair, like so much great music of recent times, is born out of the creative isolation of lockdown and features Andrew Clinco, who you may know for his work with Drab Majesty. The alias they have adopted is an acronym of "Oblique Pleasures Amidst Rough Times" which they say reflected the challenges of their formation. Musically the duo is inspired by the 1960s visual art movement so embraces layered, psychedelic soundscapes with a minimalist approach and takes cues from New Wave artists like John Foxx and early OMD. OP-ART in particular focuses on analogue synthesis and gear like the Arp Odyssey and Moog Rogue while exploring time, romance, and existential themes with real emotional depth.
Review: Reel People Music expands the fizzing dynamic between highly accomplished label associates Opolopo (AKA Peter Major) and Angela Johnson with the release of their brand new album Best of Both Worlds. The nine-track record is an impressive merging of soulful souls, building on the pair's previous 'track-by-track' collaborative approach, and calling on influences from Quincy Jones to The Isley Brothers. From the twizzling decrescendos of Buffalo, which hears the pair summon the bruk maestro Kaidi Tatham on recording and co-prod duties, to the sparkly, sparky whetstone electro-disco track 'The Ones You Love', we really do get the best of both worlds here; we get nine worlds, in fact.
Review: The Orb's 13th album is a carefully crafted collection of tracks that are couched in minimal techno and ambient house. The first half embraces so-called 'Schaffel' rhythms, while the second half explores classic Orb sonic landscapes and features guest appearances from Schneider TM and Ulf Lohmann. The likes of 'Captain Korma' are warmly infused melodic jaunts with shimmering vocals, 'Cool Harbour' is a lumpy, dubby and off-balance workout and 'Kompagna (Zandic mix)' is a raw, experimental blend of harmonic tones, smeared samples and ambient bliss. This one, then, continues The Orb's legacy of genre-defying music which started in the late 80s when they pioneered chill-out and ambient house.
Review: Although their debut single 'Chime' hit the UK top 20, it's the duo's iconic second album in 1993 that marks the moment when the Hartnoll brothers transcended the UK rave underground and became bona fide electronic superstars. This faithful reissue brings back a record that didn't just capture the spirit of the time i it helped shape it. The Brown Album takes Orbital's sound to a new level of sophistication and emotional depth. Tracks like 'Halcyon + On + On' are serene, dreamlike soundscapes that remain some of the most beautiful in electronic music history. Meanwhile, 'Lush 3-1' builds and blossoms with hypnotic layers, a masterclass in dynamic progression, a perfect balance between transcendence and tension. 'Remind' and 'Impact (The Earth Is Burning)' are pulsing techno beasts that dip and drive, blending rave intensity with atmospheric richness. Each track flows into the next with seamless ease, crafting a journey that feels both epic and intimate. The Brown Album isn't just a milestone in Orbital's career i it's a timeless work that continues to influence electronic music today. Essential listening for anyone who wants to understand the genre's evolution.
Review: Originally released in 1993, seminal UK duo Orbital's Brown Album marked a bold leap forward in emotional depth and sonic ambition for electronic music. Tracks like 'Halcyon + On + On,' 'Impact (The Earth Is Burning)' and 'Lush 3-1/3-2' showcase the duo's masterful blend of driving rhythms and lush melodic textures. It was hailed as an instant classic at the time and made Mixmag's Best Dance Albums of All Time list. It has endured well over the last 30 years and is now reissued on vinyl for the first time in a decade, with a half-speed remaster and new liner notes by Andrew Harrison.
Review: Caracoles propels Orquesta Akokan's GRAMMY-nominated mambo into the contemporary era here with sounds infused with akokan-a Cuban Yoruba term for heartfelt expression. Led by producer Jacob Plasse and pianist Michael Eckroth, the album is their third and it delves deep into mambo's rich tapestry. Collaborating with Cuban artist Kiko Ruiz, who is known for his work with Buena Vista Social Club, the album intertwines everyday Cuban narratives with Palo Mayombe spirituality that adds layers of depth. Rooted in the traditions of Benny More and Perez Prado, Caracoles revives mambo's essence as both celebration and prayer here while invoking spiritual resonance through impassioned grooves.
Review: BBE, known for its groundbreaking J-Jazz and J-Jazz Masterclass series, now shines a light on an inerasable gem in Japan's national discography: the debut LP Rainbow Love by Orquesta Del Sol, the country's first authentic salsa band. Salsa's roots in Japan trace back to the post-WWII era, with groups like Tokyo Cuban Boys, but it was the 1977 Fania All-Stars tour that initiated wider interest. Percussionist Masahito "Pecker" Hashida, influenced by New York's salsa scene, formed Orquesta Del Sol on his return. Their debut, put out in 1981, blends compositions in Japanese, Spanish, and English, while working in a cover of Noro Morales' 'Rumbambola'. Produced by Shuichi "Ponta" Murakami, the album's bold sound was a product of Japan's studio scene and the band's connection to the Nuyorican salsa style. This reissue includes seven bonus tracks from the band's later years, remastered for a new generation.
Review: Marysia Osu's debut album, harp, beats & dreams, is a stunning example of her musical evolution and innovative spirit. Known for her role in Levitation Orchestra and as a Brownswood 'Bubblers' graduate, Marysia blends her classical roots with contemporary exploration in this enchanting release. Originating from Poland and enriched by her musical education in London, she has embraced the harp with profound artistry, now intertwining it with electronic elements and personal introspection. The album opens with the hypnotic 'seatime,' a journey through coastal reverie that celebrates self-acceptance and inner harmony. It continues with 'care to care,' where Levitation Orchestra's Plumm adds ethereal vocals, advocating for self-care and personal space. The track 'memento mori' features YUIS's illuminating flute, echoing stoic reflections on life's impermanence. Marysia's return to the piano and spontaneous clarinet experiments, inspired by a vivid dream, add depth to her soundscape. The clarinet's breath symbolises life's essence, bridging body and mind, enhancing the album's introspective quality. Marysia Osu's debut is a an exciting debut, offering a serene escape thanks to her talent and unique vision.
Review: Osunlade's latest release continues his transformative journey, evolving from a major-label ghostwriter to one of deep house's most spiritually attuned and culturally conscious figures. His Yoruba Records imprint has long been a conduit for globally infused, soul-drenched house music, but here he turns inward, stripping things back to something more meditative while maintaining his signature warmth. 'Wiggle Room' opens with rhythmic vocals, strings and congas that gently invite movement. The pace slows in 'PASS!!,' building a quiet tension, before 'Hang Nail' introduces Middle Eastern-inspired melodies and sharp, punchy beats. 'Luv' offers a burst of warmth with lush chords and smooth vocals, capturing the essence of that classic deep sound. In 'She Represents,' heavy 303 basslines pay tribute to Shirley Chisholm, intertwining excerpts from her iconic speech with commanding rhythms. 'So Long...Stranger' reflects on the isolation of the pandemic, a quiet moment of introspection, before 'Modular Movements' closes the collection with an emotionally charged resolution. This set offers a journey that balances movement and stillness, reflecting Osunlade's own pathideep, unhurried and reverent, like the house music he's crafted throughout his career.
Review: 'Dreamstate' is Kelly Lee Owens' fourth studio album, hinting at a relatively bouncier electro-pop direction - in stark contrast to her much demurer, rougher-hewn earlier albums. Owens comments that Dreamstate is "the sound of a person letting loose and letting go while encouraging everyone else to do the same." Whether this necessarily results, for musicians, in an increased orientation towards chart-worthiness, remains to be seen, but we'd say this has certainly worked in the case of Owens, whose new forerunning singles 'Love You Got', 'Higher' and 'Sunshine' combine overcast dance productions and pristine angel voices from Owens herself, resulting in a much brighter yet equally thunderous sound, and 'Sunshine' is our favourite, future-avant progressive house number here.
Review: Kelly Lee Owens' fourth studio album marks a significant shift in Owens' musical journey, embodying themes of freedom and escapism. Dream State emerges from a period of inner transformation following a break-up, and is a testament to collaboration, featuring producer-writer contributions from electronic music luminaries Bicep, Tom Rowlands of The Chemical Brothers and George Daniel of The 1975. The synergy between these artists infuses Dreamstate with a rich, dynamic sound that blends Owens' ethereal vocals with innovative electronic beats and lush production. A range of emotions and sonic landscapes, offering both introspective and liberating experiences.
Review: This is Oye Manny's second album and it is a fine progression from his first across six tracks that blend classic Salon-style house with the producer's own unique rhythm-forward sensibilities. His personal Houston roots and a wider sphere of timeless deep house influences all feature in dynamic and percussive tunes that are built on propulsive beats and rich textures. Congas, bells and timbales weave seamlessly into four-to-the-floor rhythms as each track reflects Manny's skill as a producer and composer. This one hits a perfect sweet spot between classic and contemporary and is sure to sound good all year long.
Review: The long-lost gem YU Disko Expres, by Igor Savin and Orkestar Stanka Selaka - both Croatian / Yugoslavian studio dons, the latter at one point serving as visiting tutor at Berklee College Of Music, and an electronic music studio founder at the Vatroslav Lisinski Concert Hall - returns with its first official reissue, fully restituted from the original reels. Its 1979 first editors, Jugoton, couldn’t have foreseen its later status as a “highly sought-after” album, one which perhaps resultantly remained nearly impossible to find in good condition since. With an all-star lineup of Yugoslavian musicians, including trumpeter Stanko Selak and bassist Miljenko Prohaska, Yu Disko Expres remains a coal-fired viaduct scaler of impossible speed and panache. Essential for fans of jazz-disco, rare grooves, and, on the off chance, Yugoslavian music history.
Review: We Carry Eden is an album so deep you can plunge right into it and forget the real world entirely. It comes from Son Of Chi, the latest project by Dutch ambient pioneer Hanyo van Oosterom, and it melds drones, field recordings, dub, jazz and fourth world influences across a two-part composition that features storytelling by West African vocalist Omar Ka. A founding member of CHI and Chi Factory, van Oosterom crafts textured soundscapes rooted in meditative grooves and spiritual depth and is inspired by Patmos and Hopi wisdom. He also weaves nature, myth and memory into a unified sonic journey with fine artwork by Michael Willis underlining the message of harmony.
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