Review: Deep Sleep Robot awakens once more for another offering of slick and seductive late night house and tech fusions. It was Len Lewis who got this label underway and set out its mission to release music that first dropped between 1994 and 2004, but here were get four artists in fine form. Ronin keeps it simple but effective on the silky electronic house depths of 'Mysterious City' while 'Takemountain' gets more muscular and 'Adjust' gets cosmic. Dav closes down with the tightly coiled and kinetic kicks of 'Flight.'
Review: Mote Eovler has only ever dealt in serious techno and that's what we get here from Roogunit. Across four fierce tracks various different moods and grooves are offered up. It is the brutal drum patterns and brushed metal textures of 'Bash Box' which open up with urgent siren sounds up top, then 'Don't Let Go' is more fulsome and freaky, with funky drums and dark vocals looping up top. 'Koox' then layers in glassy melodies and silky synths that unravel in linear fashion and 'Sanity Regard' is the eerier and edgy closer. This is some serious techno for those who like it proper.
Review: For decades, the humble disco re-edit has offered wannabe-producers a way into music production. In recent years, there's been an upsurge in house 'edits' too - a trend that has seen countless producers combine bits of classic and obscure cuts with their own peak-time ready grooves. This debut from the previously unknown Jay Rook fits into that category. Check first opener 'Master Wonnin', where Rook turns what appears to be a classic Highlife jam into a bouncy, bass-heavy Afro-house workout, before further refining the same attractive, sun-splashed formula on 'Eme (Yeah Yeah)'. Over on side two, Rook changes tack on 'Do God a Favour', adding a touch of hip-swinging, disco-flexed gospel-house flavour to a bluesy old soul-jazz cut, while 'Jesus Saved Me (Glad)' is a filter heavy disco-house re-wire of a righteous gospel number.
Review: For the latest in their ongoing series of remastered reissues, FRL Classic Edition takes us back to 1992 and the sought-after debut EP from Long Island producer 'Big' William Rosario. Double Intensity, as it was originally entitled, did an excellent job in joining the dots between the deeper, jazzier and hazier end of the NYC house spectrum and the loose-limbed swing and organ love of New Jersey garage-house. Highlights include the sax-sporting shuffle of the notably atmospheric 'London Fog', the tactile, warm and dreamy 'Decibels', the head-nodding golden era hip-hop instrumentals 'Mo-Mo BEATZ' (very Craig Mack) and 'Take Me Out (With The Fader)'. Classy!
Review: Rosati's debut release on his new imprint, Global Pulse, heralds a bold venture into the future of techno. The Automatic Response EP is a four-track exploration of sonic innovation, blending powerful dynamics with intricate textures. From the hypnotic energy of Automatic Response to the atmospheric depths of Ufo Memory, each track pulls you in with the futuristic landscape of sound. 'Feeling' pays homage to the late 90s era with its percussive loops and funky bass lines. Global Pulse promises to be a platform dedicated to sustainability and authenticity in Electronic Music, setting the stage for a series of releases that push the boundaries of the genre.
Review: The latest single from Finnish indie label Timmion Records is 'Souvenir' by The Rosettes, fronted by vocalist Tytti Roto. This sombre, mellow 70s-flavoured ballad is delivered with raw emotion, lacking in sophistication but rich in depth, reflecting on the world's dangerous and harmful conditions. Timmion Records introduces new talent with The Rosettes' 7" vinyl single, blending soul and jazz with smooth pop sensibility. Dubbed the 'Khruangbin of the North', The Rosettes bring a fresh cinematic perspective to contemporary soul music. On Side-1 'Souvenir' offers a deep soul experience showcasing Tytti Roto's emotive storytelling and the band's melodic depth. The Side-2, 'Green Ray,' delivers a psychedelic soul groover with a funky backbeat, evoking a 1960s vibe. Drawing inspiration from Cymande and Isaac Hayes, The Rosettes infuse their sound with experimental elements while keeping it catchy and accessible.
The Rotating Assembly - "Seasons Of My Life" (feat Billy Lo)
Green Pickles - "Feedback" (feat Billy Lo & M Pittman)
Review: Sound Signature kick off the new year with a pleasing reissue of some smoky soul from Theo Parrish's outlet for his most jazzy tendencies. On "Seasons Of My Life" Billy Lo croons over a muted trumpet while a surprisingly rough stomp gets hammered out of a live kit. It's a dreamy, sunkissed jam with all the loose, free-flowing elements you would expect from something with Parrish's stamp on it. Marcellus Pittman helps out on "Feedback", as a sparser, meandering groove does the nasty with some restrained keys. For that Detroit beatdown flavour away from the dancefloor, this is as good as it gets.
Review: Roy Ayers made a number of killer disco cuts in the late 1970s, though few are quite as essential as 'Running Away', which has now been reissued by South Street Disco. Built around an instantly recognisable (and much-sampled groove), the extended 12" version is rich in rubbery, rising and falling bass, clipped guitars, spacey Rhodes motifs, superb lead vocals from Ayers and even better backing vocals courtesy of the female quintet who would later become Eighties Ladies (who's superb 'Tell Him' was reissued in 2020). Turn to the flip for another chance to savour Fever album-opener 'Love Will Bring Us Back Together', a deeper and more low-down disco groover that boasts some seriously good Clavinet riffs and another inspired Ayers' vocal.
Review: Dynamite Cuts has got a couple of Roy Ayers Ubiquity projects in the fire this month - a brilliant 7" double pack as well as this 45rpm. Both sides of this one rather take quite different paths to your affections. 'A Tear To A Smile' is high-speed and complex funk for the dance floor with loopy rhythms and Roy's mad vibes playing over the top next to some neat bass work. Flip it over and you'll find the much more deep and laid-back 'Time & Space' with its lavish cosmic keys and jazz vocals all working you into a star-gazing lather.
Review: Dynamite Cuts back up their name once more with another red hot 7" of pure dancefloor gold. This one brings tufter four cuts from the inimitable Roy Ayers Ubiquity. The opener 'Hummin' In The Sun' will have you feeling the rays on your face as his signature percussion and vibes work brings a soulful groove alive. 'The Fuzz' is a more tender and intimate soul sound for late-night romancers and 'I Can't Help Myself' pics up the pace again with some funky drums and warm melodies while 'Love' has a conversational style and smooth groove.
Review: Who doesn't know this classic? Sampled by almost every hip-hop artist under the sun, and remixed many-a-time even by electronic artists and covers vultures, 'Everybody Loves The Sunshine' is Roy Ayers' least deniable classic, often placed firmly in many 'greatest songs of all time' lists. In theme and sound, it is pure summer, capturing Ayers at his creative peak while in the company of his employ band, the Ubiquity. Peaking strings, lackadaisical melodies, and references to 'bees and things and flowers' paints an almost dizzyingly high-as-a-kite mood, as if Ayers wrote the song while under the effect of heatstroke. Whatever overtook him, it worked. Once more, the original releaser Polydor reminds us of the song's impact.
Review: Roy Of The Ravers may be best known for his lysergic rave pelters, but there's always been a hint of grandiose melancholy in his synth work that suggested there was more to the machine botherer than tear-out acid beats. Emotional Response worked with the artist in trawling through a vast archive of material recorded between 1997 and 2017, rescued from hard drives once thought lost, and now gathered as a compelling ambient release with the full fat hardware veneer of Roy's work to date, but coming from a more reflective angle. From cathedral-quaking drones to deeply submerged aquatic excursions, this album has plenty to draw you into the inner world of an acid hero.
Review: Roy Of The Ravers takes a break from his mischievious outings on Acid Waxa et al to lay down some of his braindance tackle on Emotional Response. White Line Sunrise II.I (Le Roy Soleil) can rightly be considered a follow-up to White Line Sunrise II and indeed it represents a similar kind of spectrum of electronica. Roy's sound is edging further into the kind of 'artist' territory where slower, softer tracks, odd vocal diversions and some pop sensibilities merge with the acid, electro, breakbeat and other well-established tropes of his sound. It's the kind of record which could easily broach this quirky fringe operator of UK electronics to a broader fan base, and there's no doubt he's got the melodic, emotional heft on tracks like 'Versace 101624' to get everyone on board.
Review: Six years have now passed since cuts from Roy of the Ravers' brilliant '2 Late 4 Love' cassette made their debut on vinyl, via a highly limited EP that's now fiendishly hard to find. This '2023 Edition' of the in-demand EP offers two tracks from that 12" - pleasingly lo-fi acid jack-track '2 Late For Love (Part 1)' and the fuzzy, machine-driven deep house-goes-acid minimalism of 'Emotium' - plus a pair of favourites featured on the cassette version but not the previous vinyl release (the brain-melting acid electro jam 'Cwejman Acid (Part 2)' and the hissing, distorted TB-303 and TR-909 weight of 'Melchester Acid (Part 1)'. Throw in a bonus cut recorded in the same period ('Track 5') and you have an indispensable reissue.
Review: The Barefoot Beats crew return with outing number 14 and once more it is music for sunny climates. Aroop Roy takes care of the A-side of this 10" with 'Fankiando Taniador', the Latin flavoured deep cut disco and funk roller with 80s horn stabs and rumbling bass all topped with a red hot vocal full of flair. It's pure Brazilian heat that is perfect for outdoor dancing and Bernardo Pinheiro's 'Expresso Amor' then brings more sunshine goodness with its slinky disco house beats and swinging hand claps all irresistible to anyone with a heart.
Review: The Royal Organ Duo is an exceptional name for a project and the music they cook up is no less good either. It comes on Funk Night out of the Us in the form of this tidy 7" and opens up with a new take on a stone-cold hip-hop classic. 'White Lines' sounds the same but different here - the main melodies are intact but replayed on a Hammond organ while the dusty drums are live and jazzy with some extra flourishes added for good measure. The flipside is a deeper cut but one that will still work floors into a frenzy.
Review: The Roz Ryan studio real reissue series hits a third and final instalment here. This one is another superb piece of previously unissued 2 step soul that will pirouette its way into your heart. It was discovered in 1980 and produced by the mighty Mike Theodore and Dennis Coffey. First up is 'Love Changes' which was also covered by O.C Smith and is a slow and sultry number with buttery but poignant lyrics. Flip it over for the more upbeat, driving and dancefloor ready number that is 'Funky Way To Treat Me' with a production that heightens all the lush disco elements.
Review: Super Disco Edits decision to focus on releasing previously unissued gems from the disco era has resulted in a string of essential 7" singles. Predictably, this is another must-have. Vocalist and actress Roz Ryan recorded them with producers Dennis Coffey and Mike Theodore in 1980, during a spell in Broadway musical Ain't Misbehavin'. They were destined for a six-track album that was sadly never released. A-side "Keep Shining" is a killer chunk of sing-along jazz-funk/disco/boogie fusion, full of sprightly P-funk synths and punchy horns. Flipside "Put Love Back", on the other hand, is a slow burning delight: a wonderful chunk of boogie-era late night soul shot through with heartbroken emotion. Both tracks are brilliant, in other words.
Review: Experimental artist Matthew Rozeik turns his hand to jungle with the start of a new series 'City Spectre'. An intense voyage back to the blueprints with echoes of Reinforced and early Metalheadz, but done with his own vision, Rozzer slaps us silly from the off... 'Abducticate' is all about those gruelling Amens a la No U-Turn while 'We Must Come To Earth' has much more of a spacious sense of tension that's comparable to Soul In Motion era Krust or classic Photek. Flip for ice cold brutalism in the form of 'Cold Metal' before 'Dust Storm' takes us far away from this wretched planet on a rocket made of pure Prototype-level tension. Bring on Volume 2.
Review: RQZ invites us on a sonic adventure with this diverse and captivating EP. 'Sunset Strip' sets the scene with its hypnotic groove, a pulsating rhythm section interwoven with atmospheric textures and subtle melodies. The track gradually unfolds, revealing new layers of sound and taking the listener on a mesmerizing journey through the depths of RQZ's sonic imagination. 'MK Ultra' delves into darker, more experimental territory, its ominous soundscapes and distorted rhythms creating a sense of unease and intrigue. The track's title hints at its mind-bending nature, as RQZ expertly manipulates sounds and textures to create a truly unsettling yet captivating sonic experience. On the flipside, 'The Rhythm' provides a stark contrast, its driving percussive groove and infectious energy demanding movement and commanding attention. This track is a testament to RQZ's ability to craft dancefloor-focused cuts that are both hypnotic and exhilarating, showcasing a different facet of his production prowess. With its diverse sounds and moods, this EP is a testament to RQZ's versatility as a producer and his ability to craft captivating electronic music that pushes boundaries and defies expectations.
Review: The Ruby Rushton gang is one of contemporary jazz's finest. They pull a wide range of influences into their music and have had an instantly recognisable sound since busting onto the scene with their still classic debut album Two For Joy. They reach the same heights again here with Giden's Way. 'Spanish Raga' was inspired by an evening out in Madrid in 2019 and floats on dreamy flutes while 'Fall From Grace' is lead by some virtuous sax and florid drum work. The flip side offers two more brilliantly busy but accessible, upbeat and sunny jazz jams.
Review: Horning Sounds is fast approaching 50 releases and is doing so with some classic roots and lover's rock from Ruddy Symbol, who are also behind that landmark 50th. This new reissue is of their classic mid-eighties sounds, namely 'A So The System Work'. It's as laid back and loved up as this stuff comes - the loosely picked guitars, the oh-so-sweet falsetto vocals and the gentle chords all serve to melt your soul. Flip it over for a dub version but the A-side really does take some beating.
Review: Fresh from releasing his "Sagittarii" album on Bear Funk, the ever-prolific Ilija Rudman is back on his own label Imogen with two stellar remixes from the mighty Ron Trent. First up is the vocal mix of the track, keeping Andre Espeut's passionate voice front and centre around a classy cascade of pattering rhythm and swirling deeper than deep keys. On the flip you get treated to the Imogen Soundsystem edit of Trent's instrumental, which finds the track charting a course for the stars in the most delicate and elegant of ways. Truly life affirming, soul-soaked stuff.
Review: The latest one on Faze Action's label comes from Robin Lee in his Rudy's Midnight Machine guise. This is where Lee's disco funk fantasies run amok, with 'Dyane' in particular coming on strong with the sound of the early 80s. This is blissfully melodic, good time stuff throughout, steeped in classic motifs but delivered with a fresh, modern panache. There are downtempo Balearic moments like 'Crystal Dragonfly' to get lost it as much as there are plenty of invigorated calls to the dancefloor, making this a five track EP to really get your teeth into.
Review: Raf Dug has always been outspoken when it comes to the less favourable aspects of 'the scene' which if course means more eyes are on him when he steps out with new music. Fortunately he has more than enough skills to keep criticism at bay as this new one on the legendary International Feel shows. He kicks off with the epic electronics and dubby rhythms of 'Casita Mas Alta' which unfold over nine fine minutes. After that dancefloor workout comes the blissed out downtempo of 'Cala Vedella', steamy Balearic of 'Las Cicadas' and innocent new age melodic charms of 'Niu Blau.'
Review: Manchester character Ruf Dug has never shied away from poking fun at the sone and its all too often safe sounds. He really backs that up with his own music here as this Asking For Trouble EP is a brilliantly weird and wonderful concoction. 'Buttoned Down' has gun shots, curious melodies, ambient pads and hulking great kicks that are hella fun. 'Pomegranate Dub' is red hot island music for blissed out afternoons blazing in the sun and 'Open Air' brings sleazy rock riffs and chubby disco dub to the party. The flipside explores digi-dancehall-dub vibes on 'Watching', carnival house on 'Pipes' gorgeously melodic deep house shuffles on 'Night Blossom'. What an EP.
Review: David Ruffin's 1977 classic "I Can't Stop The Rain" has carried on being essential throughout the ages. An original copy is still worth much more than it was initially sold for and the Mississippi artist's voice carries as much soul now as it did right back in the Motown heyday. His biggest single takes up the a-side of this new 7" from Expansion and its swooning strings, buttery vocals and rousing and strident groove cannot fail to uplift. "Questions:" on the flip is a little more subdued, with more thoughtful vocals but the whole thing still benefits from superbly rich Philly disco stylings that are golden and glorious.
Review: Hailing from Las Vegas, Johnny Ruiz and the Escapers offer up two sides of haunting group sounds sure to scratch the itches of doo-wop and soul enthusiasts alike. Adorning the a-side is 'Sorry' a stark, creeping, dirge-like ballad with a sparse rhythm track that swings eerily underneath Johnny's sublime lead and the Escapers plaintive harmonies, creating an hypnotic vibe that will have you dropping the needle over and over again. Continuing with the dark vibes but picking up the pace a couple BPMs, 'The Prettiest Girl' brings a measure of hopefulness to the tune, evoking the earnest, lovelorn memories of youth. A must for fans of Nolan Strong and the Diablos Fortune Records output.
Review: While most celebrate Patrice Rushen's wondrous disco and boogie tracks of the 80s, her early output was more heavily tipped to jazz and jazz funk. This single reissue from BGP makes the point in no uncertain terms by shining a light on 'Haw Right Now', a certifiable jazz-dance monster with absolutely stellar playing from Rushen and her band, including Joe Henderson absolutely shredding it on sax. Pulled from her 1974 debut album Prelusion, this jam is backed up by the opening track from her 1975 follow up Before The Dawn. 'Kickin Back' is a loose and freaky funk jam sunk way down low, all the better to sneak into your subconscious.
Review: Ruby Rushton's latest offering presents a vibrant exploration of rhythm and texture, breathing new life into contemporary jazz fusion. On the title track, 'Stapodia,' an infectious groove shifts effortlessly between time signatures, creating a dynamic backdrop for striking solos on saxophone and trumpet. 'Kalo Livadi' bursts forth with a whirlwind of flute, trumpet, and synth bass, only to wind down into a hypnotic hip-hop groove, its keys solo lingering like an unexpected afterthought. The interplay of improvisation and structure feels both daring and deliberate, capturing the energy of a band constantly in conversation with itself.
Review: Last year, the Expansions label kicked off a wonderfully intriguing 10" series featuring classics from soul music's rich canon complemented by contemporary cover versions and so far it's seen Blue Note troupe Quasimode tee off against Johnny Hammond and Bembe Segue challenge Norman Connors. A third edition duly arrives and hints Expansions are really enjoying the creative challenge the concept allows them with the jazz funk classic "Zaius" from Eddie Russ joined by a cover from the celebrated UK funk veterans Incognito. Originally appearing on the 1976 LP See The Light, "Zaius" is a blinding example of why Russ is described a master of the keyboard and it's complemented well by Incognito's B Side cover which appears on vinyl for the first time. Don't sleep!
In The Light Of The Miracle (Ponytail club mix - parts 1 & 2) (14:10)
Review: These legendary remixes of Arthur Russell's 'In The Light Of The Miracle' receive their first commercial release having long been deemed transcendent masterpieces and worthy of the title "holy grails." Clocking in at almost 30 minutes, these mixes fulfil long-held desires for their eternal presence in the music world, now accessible to every Arthur fan worldwide. Originally discovered by Phillip Glass for Another Thought in 1993, these remixes, overseen by Steve D'Aquisto, never saw a proper release until now. Both extending and enhancing the original, they elevate the music to new heights, defying genre labels and delivering pure sonic beauty.
Heptones, Tommy McCook & The Supersonics - "Crying Over You" (2:38)
Review: After a recent Pressure Sounds compilation put together the best of Caltone Records - documenting the truest gems of a great Jamaican dub label - the horse's mouth is now heard neighing. Caltone themselves have now reissued Devon Russell & The Tartans' 'Making Love', a long-lost from the late 1960s troubadours. Ne'er released before, it also comes backed exclusively with a bluesy Heptones, Tommy McCook & The Supersonics lamentation, 'Crying Over You'.
Review: Tokyo-based artist Ryota OPP is launching his own label, Encrypt Nude, to showcase his unique sound having worked before with greats like Meda Fury/R&S and Le Temps Perdu. With extensive experience as a buyer and curator at Tokyo's Coconuts Disk Ekoda, Ryota draws influence from his favourite non-dance music artists like Santana, Jaco Pastorius, and Herbie Hancock and infuses that with jazz, minimalism, experimental, and ambient elements into a unique take on deep house. The A-side 'Palace' blends ambient, ethnic percussive sounds with cosmic Detroit vibes, while the B-side offers a psychedelic deep house trip inspired by Terry Riley's minimalism and Motor City's raw machine soul.
Review: Since 2019, Ryozo Band have attracted the attention of fans both in their native Japan and overseas, owing to their deft workings in the realm of jazz-funk and fusion, all tempered by a buzzing affective irreverence. In 2023, they released the 'Utopia' EP, and now follow up said award-winner with yet another, equally affecting EP-form homage to all things felicific and dopaminergic: 'Pleasure'. Kicking off with an impressive, minimalist keyboard exposition, the Ryozo formula soon unfurls as a counterpoint of uptempo wrist-flicked drumming and two horns in unison, overlaid further by sax, trumpet and synth saw. Heavily borrowing from rhythmic and vibeish trends in the current UK jazz scene, 'Pleasure' is a synaptic surge of various sonic serotonins and oxytocins, amounting to what is best describable both as a qualitative and quantitative hedonic calculation in jazz.
Review: Mongo Santamaria's 'Green Onions' here (a cover of the iconic Booker T standard) is a classic cut that showcases the legendary Cuban percussionist's mastery on the drums. First released in 1969 alongside the nighttime swayer 'In The Midnight Hour' , the single hears a funking reissue here that once more shines a blinding light on Santamaria's deft ability to blend originally American compositions with Latin rhythms and soul-jazz structures.
Review: Craft Music's Good For Dance series continues with its second instalment and this one has been curated by none other than DJ Craft himself. Joining him are talented pals Schmoltz, Bogdan Ra, Romain FX, and Outra, also known as Joutro Mundo. These deep diggers are celebrated for their prowess in unearthing hidden gems and transforming them into dancefloor anthems and that's what they do here as each artist brings a unique flavour to the mix. Schmoltz's 'Luv The States' is a peak-time percussive disco jam, Bogdan Ra brings some slap-funk drums and glossy Italo synths and 'Tell Me Why' has crunchy drums and jagged synth stabs before a camp closer in 'Colosso'.
Review: City Pop-era Japanese girl group Shohjo-Tai's 1984 EP with Red Bus Project (an alternative alias for their then synth-loving production outfit, Redbus), 'Escape', has long been a favourite amongst crate diggers - hence this handy reissue courtesy of Sound Metaphors offshoot Thank You. While the artwork has been refreshed, all three original tracks appear in freshly remastered form. On side A you'll find 'Forever', a body-popping slab of 1984 electro featuring Shohjo-Tai rapping in English over bubbly drum machine beats, squelchy bass, 'Rockit'-esque sounds and periodic horn breaks. Turn to the flip for Antal favourite 'Electric City', a driving City Pop-meets-Italo-disco club track blessed with a heavy and metronomic bassline, and the electro-goes-jazz-funk brilliance of 'Ku.Ro.O.Bi.Magic'.
Review: Four new motoric Hardgrooves from the eponymous label, riffing off the back of a mountain of DJ support in recent months to bring three of the best formerly digital-only tracks to grace the label's catalogue, plus a brand new, previously unreleased cut from Ben Sims and Mark Broom under their infamous Roku guise. Sims and Broom whack up the velocity thruster to eleven on the As 1 and 2 respectively, with 'Snapshot '99' and 'WWWWWWWWork' providing little opportunity for exhalation or ease. The odometer hand is well and truly straining, nigh broken by the time we reach Mark Williams' 'Next 21s', with its hypey falsetto rave shouts, while the diminutive duo Roku round things off on a salacious acid smoke bomb, 'Acid Amnesia'.
Max Sinal Vs KingCrowney - "Intentions" (feat Liv East) (3:24)
Slxm Sol - "NYBB" (5:40)
Hitch 93 - "Uno, Dos, Tres, Four" (8:00)
Rob Redford - "Garden Party" (6:19)
Soul Groove - "Blues Kitchen" (6:29)
Flying Moth - "Edith" (2:55)
Review: Since its inception in 2023, Soul Quest Records has released some superbly deep and soulful records. To prove the point, the Hackney-based label has decided to serve up a compilation style EP featuring fresh cuts from current artists and new signings. Max Sinal joins forces with King Crowney and vocalist Liv East on the ultra-deep, super soulful warm-up sounds of 'Intentions', before Slxm Sol cannily combines loose-limbed drums, warming bass, sensitive chords, tactile Rhodes keys and soulful vocal snippets on 'NYBB'. Hitch 93 doffs a cap to Chez Damier on the excellent 'Uno Dos Tres Four', Rob Reckford delivers some bright MPC-house action ('Garden Party'), and Soul Grooves goes deep, gently dubby and spacey ('Blues Kitchen'). The gentle broken house sunniness of 'Edith' by Flying Moth completes a fine EP.
Review: Aaron Andrew's Chubby label doesn't rush things. Since launching in 2018 and now only just hitting its sixth release though the music sure is worth the wait and is proof that quality will always win over quantity. Leonid's twin brother, Al Smith opens up with the cuddly and cosmic depths of 'Drama Room' before getting more dark and unsettling with his twisted synth modulations on 'Full Of Music', which then becomes a gorgeous downtempo cut with star-gazing pads and splashy hits within the Specter remix. Dan Piu picks up the pace for some delightfully warm deep house dynamics on 'Days Gone' and 'Snows Of Solaris'. Last of all is the more scuffed up, heads down deep house murk of Rai Scott's remix of Dan's intro tune, 'Day's Gone'.
Sonic Soul Orchestra - "Good Inside" (feat Kathy Brown) (6:17)
Da Lukas - "Drop The Funk" (7:05)
Yam Who? & Rikky Disco - "Set Me Free" (6:49)
Guy Preston - "Purple Heart" (feat Adrian Crutchfield) (4:49)
Review: Disco Juice kicks off with some irresistibly sweet disco jams on this first volume on 12". Sonic Soul Orchestra get things underway with 'Good Inside' featuring the one and only Kathy Brown belting out some big hooks over strident drums. There are more rickety drums and loose-limbed funk workouts on Da Lukas's 'Drop The Funk' then Yam Who? & Rikky Disco's 'Set Me Free' brings big trumpet energy and withering pads next to lush strings. Last but not least, Guy Preston's 'Purple Heart' (feat Adrian Crutchfield) rounds out with a hip-swinging groove and call and response vocal to get hands in the air.
Review: Swung Selections is back with a second volume of club ready tech house bangers. There is a great blend of retro nostalgia and fresh and forward-facing sound designs across the four-track selection. Soulfreq's 'Holiday Break' begins with twisted old shock bass and slapping hits. Retrospect then keeps it smooth with the nice cool tech bubbler 'Pickled Moose,' No Results Found wigs out the floor with the wriggling synth madness and electro rhythms of 'Tackle Maestro' then Harrison BDP shuts down with the thumping house of 'Buggin Out.'
Review: Izipho Soul once again link up with Sound of Superbad here on a super smooth and seductive funk 7". This one raises the bar even in comparison to the super nice 'I Want Cha' last time out. Chicago-based singer extraordinaire Robert IMtume Owens is the man who offers up his beautifully buttery tones, which are layered over nice classy drums and warm synths, with trumpets and strings all adding ear golden texture. The 'S.O.S. Vibe Mix' on the flip is a heavier jam thanks to the more direct percussion, but with everything else also turned up it's still a super lush tune with those vocals doing plenty of great work.
Review: Dan 'The Drum' Spalding, known for his house and rave DJ sets, teams up with dance music producer Ronnie Turner and DJ/vocalist Emma Noble to reinvent Coffee's 1980 disco take on 'Casanova'. Originally sung by Ruby Andrews in 1967 and penned by Jo Armstead, the trio's version channels a retro, jazzy vibe that could easily pass for a lost Blue Note gem from the '60s. Their fresh spin breathes new life into both versions, delivering a timeless, love-infused track that's sure to keep dancefloors moving. It's cleariCasanova isn't done yet.
Review: It would seem we're back on the Christmas card list... 2000 Black supergroup comprising the likes of Dego, Mensah and original Bugz members Lord and Tatham have been slowly ramping up their releases again and this year has seen their largest output yet. Following "Two Way Here One Way Go", "Simmering" proffers three more sublime and silky instrumentals from deeply decorated foursome. "Simmering" is a tight jazz funk jam with a sprung guitar groove spine and a blissful switch into soothing flutes midway, "Private Life" flips for a sunnyside digidub, all spacious and rippling with its breezy keys while "Climb The Sun" brings us back to the funk root note but with rising synth insistency that's bruk to the bone. Simmering now, boiling tomorrow...
Pig & Dan vs Gregor Tresher - "Granular" (Update 2022 mix) (6:37)
Wehbba - "The Next Step" (6:10)
Nicole Moudaber - "Come To My Beat" (feat Romina) (6:50)
Review: The all powerful Drumcode label still does a fine line in big room techno after countless years and even more releases of the stuff. This third part of the A Sides collection brings together a towering selection of names from that scene including Tiger Stripes with the smooth cruise that is 'Altar'. Veterans Pig & Dan vs Gregor Tresher get more intense with frosty loops and dubby hits building a vibe and Wehbba ups the ante with acid daubs and fizzing drums on 'The Next Step.' Nicole Moudaber's 'Come To My Beat' (feat Romina) then hammer home a hefty techno groove.
Review: 'Warlock' is the latest release to be pushed via Bob Stanley's Measured Mile imprint, and pulls two floor-friendly but still retrospective gems from the storied De Wolfe music library, based in the UK and widely known as the progenitor and originator of what has now become known widely as library music. To demonstrate the gestation times common to this corner of the music industry, these two tracks have never been heard before, and yet were recorded in 1983! First comes Reg Tilsley with 'Warlock', a full yet light-winged flight through linns of flute, funk bass and notes inegales. Meanwhile, 'Flashpoint' by Roger Jackson is a space-age tittup of booming, long-tailed proportions; it's tempered by the nagging nip of a clavichord and the formidable frown of the lowest piano note.
Review: If you like your deep house lovingly crafted and exquisitely musical, Quintessentials' Deep & Raw & Real rarely disappoints. This latest instalment features four more fabulous international cuts to contend with, each delivering a distinctly different take on deep house. Ricardo Miranda's "Rush Hour" is wonderfully sleepy, offering hissing cymbals and super-deep chords. Toby Tobias, meanwhile, works the filters and backwards effects on "Love Papers", a real string-drenched sweetie. NO Milk's "Bubble People" ups the atmosphere again thanks to some choice double bass loops and distant jazz piano, while Marcello Napoletano's "All My Things" brilliantly recalls early St Germain and Aqua Bassino.
Pink Family - "Don't Give Your Life Away" (AI-Tone extended mix) (5:00)
Review: Rain & Shine's "Soul Is My Salvation" project is something of an epic: an eight-part series of "dancefloor friendly gospel songs" curated by veteran Chicagoan DJ Tone B Nimble (real name Anthony Fields). This first part - "Chapter 1" - opens with a sublime, gospel style sing-along cover of Sister Sledge classic "We Are Family" that sounds like it was actually recorded in church. It's brilliant, life-affirming stuff. Over on side B, scalpel fiend Al-Tone offers up an extended version of obscure New Zealand group The Pink Family's 1979 cut "Don't Give Your Life Away" - a warm-hearted - some would say righteous - disco workout that's almost as good as the A-side. We await the next volume in the series with baited breath.
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