Review: Hip-hop artist Shing02 (Shing Annen) is a longstanding fixture of chill hop, and is notable for his cross-cultural focus, having been born in Japan but growing up in Western cities. With a precise, multilingual emceeing style few of his contemporaries can match, he's also known for his involvement with Nujabes and the soundtrack for Samurai Champloo, we're happy to see he's still hard at it. 'Real With You' is a collaboration with contemporary lo-fi hip-hop/chill-hop artist 14? and is a bright and serene wonker, lyrically dealing in themes of going with the flow, revisiting memories and letting go.
Review: Melodiesinfonie, Bluestaeb and S. Fidelity join forces to form a powerful trio, unveiling a rich nonnet of tracks destined for the universal chillout space. Taking shape in a picturesque studio in the South of France - and then completed in centres from Zurich to Berlin - the likes of '365 P', 'Summertime In '92' and 'Just Give Me The Aux' carry on the sparse and material-sonic tradition that has in recent decades inflected the neo-soul and jazz-electronica worlds. Every track here sounds to have been made with what sounds to the most apparently humble means available; rimshot clicks, wooden hits, impassioned hums and coos, Rhodes chords here and there. Loyal to one rule and one rule only - "we need to stay in the room together to make this a record that feels exciting to us" - the result is an evenhanded five-track flirtation with soul-bearing passion, toeing the hobline of cool and hot.
DJ Deviant & Swamburger - "Get On The Floor" (3:33)
DJ Deviant - "Where's The Party" (3:47)
Review: DJ Deviant and Swamburger join forces for a double-sided serving of feel-good hip-hop and r&b on this 7" release. 'Get On The Floor' is a surefire party starter, its infectious beat and catchy hooks practically demanding movement and setting the tone for a night of good times. The track is a vibrant blend of classic hip-hop elements and contemporary production, with DJ Deviant's cuts and scratches adding a layer of turntablist flair. On the flip, 'Where's The Party' sees DJ Deviant flying solo, keeping the energy high with a smooth groove and feelgood vibes that are reminiscent of 90s r&b classics. The ever enduring appeal of hip-hop and r&b in full effect.
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: NEMS, the "Mayor of Coney Island," joins forces with DJ Skizz and SkyAsia to drop 'Christmas Spectacular' on 7" vinylia physical release after its digital debut. This one is a proper holiday banger backed by High Water Music, FYL and DWMG and featuring eye-catching artwork with Kith's photography and a layout by Sieteson. Known for his gritty style and wit, NEMS puts his own twist on festive vibes, making this bit of vinyl a must-have for hip-hop fans wanting a fresh spin on holiday cheer.
Review: In a break from their usual program, Circoloco look to Chicago and the rising star that is NEZ. Previously spotted last year on Three Six Zero alongside Felix Da Housecat, now NEZ throws down three varied cuts that show he's one to keep tabs on. First up comes 'You Wanna?', a pumped up peak time house cut with our man upfront inciting the dancefloor to come alive. 'Let's Get It' drops down into trap mode with Schoolboy Q jumping on the mic, and then the B side turns the heat up with the mighty Moodymann and Gangsta Boo chipping in to create a party monster in 'Freaks'. Skip this one at your peril.
Review: Eastside Edits is back with yet another infectious disc's worth of funky disco edits for DJs and collectors alike. Welcoming a fresh throng of international talent, this eighth edition hears up-and-coming Indonesian producer Rhework appear alongside renowned UK duo Suckaside. The former's 'Street Sounds' channel the effortless bustle of square-blocked, gridlocked city streets, where steam rises from manhole covers, taxicabs trailblaze yellow light trails, and funk clubs roar as loudly as underground subway systems. Suckaside's B-side is a call-and-responsive version of equal calibre, though it does clock in at a slower tempo.
Review: The Boom Bap Classics 7"s series was launched in 2022 and sticks to a sturdy format, always billing two double-A-listers of rap stardom from the 90s on reissued vinyl. The choices are always lesser-trodden, and buck expectational trends; even longtime hip-hop heads are unlikely to have heard of Akinyele and Sadat X, solo progeny of the Rochelle rap collective, Brand Nubian. On 'Loud Hangover', rough gangsta rap hewings prove assimilable with boom bap's tendency to show its sensitive side, with an icy yet mournful string hung and suspended a "y'knowwhati'msayin'?" laden farrago. 'Stages And Lights' leans further into emotive dynamism, with Derrick Murphy waxing real on public housing shortages, church pieties and Black culture.
Review: Somewhere between a sauerkraut connoisseur, an ancient Athenian philosopher, and a crate-digging obsessive (we'll assume this is the threefold meaning of the nominal pun until we're course-corrected) Saukrates returns with a new single 'Driftin'' via Love Touch Records. This new limited 7" is indeed as, perhaps even more so, delicious as a jar of pickled cabbage considered in Socratic dialogue. The Juno-nominated Canadian icon is here heard teaming up with producer Gil Masuda, who provides a neo-eighties synthfunk bomb over which Sauks flaunts his singing chops (this is a surprise delicacy, as Masuda is not often heard since his 2006 Big Black Lincoln project). Bursting pianos glide over huge gated digi-snares on this gem, the featureless version of which also appears on the B-side.
Review: Shat is a place in Yorkshire (well, the nickname a village called Skelmanthorpe). Shat is something you hope to never do. Shat is also the alias of an artist who makes progressive house with a 90s twist. This outing is a third on the Party Tricks label and it opens with some swirling celestial pads, dream-scape beats and dusty hits that get your head amongst the clouds. 'Dwingeloo' is a faster slice of progressive techno with freewheeling pads and raspy basslines. Two remixes on the flip that things into very different territory but both of them are going to prove effective in the right setting.
Review: Shuggy's It's A Soul Thing featuring Alvin Worthy offers a captivating blend of soul and urban vibes. The vocal mix on Side-1 exudes catchiness and hipness, with smooth vocals delivered over a backdrop of sleek instrumentation. The track boasts a great horn section that adds depth and texture, contributing to its overall urban feel. On Side-2, the instrumental version showcases the band's excellent playability, with a groovy arrangement that allows the instrumentation to shine. Overall, 'It's A Soul Thing' is a standout offering from Shuggy, blending soulful vocals with tight musicality to create a track that is both infectious, enjoyable and a lot of fun.
Review: The second Shuggy Edits 7" to hit the shelves in 2024, and the fifth overall, this esteemed edits series by the otherwise mysterious Shuggy nonetheless makes for one of the most in-demand around. This time we've two further funk and soul come bombastic hip-hop edits to contend with: first up is a version of Baby Huey's 'Hard Times', a tromboning 1971 strut by the American singer whose sole LP for Curtom Records was instrumental in the development of hip-hop; Shuggy lends the a harder, steeple-high, needlepoint edit-edge. This is further teased out on the B-side, whose 'Harder Times' hears a phat breakbeat and brass bass parp further teased out to frighteningly formidable effect.
Review: An impressively retro-feeling "breaksoul" choice from London label Digga Please?, once again delivering on their promise to bring the finest in funk, soul, disco, rap, b-boy breaks and "all that good shit". First released in 2004 on the iconic Freestyle Records, 'Get It On' is a bona fide cut & paste classic, its break-do backbeat and slippery funk vamps harking a filtered Rhodes line; here an obscure r&b libretto sings demonstratively, warning us of an incumbent detailing of her preferred mode of frisking: "this is how we like to get it on!" The record then segues into a timeless Gil-Scott Heron sample and breaks-tastic track slathered in sax, attesting to a so-called coolness that can be tapped by anyone willing to ease into it: "hipness is not a state of mind, it's a fact of life".
No Way Out (feat Slimkid3 & Moonbeam Kelly) (3:49)
Review: The latest vinyl release from RS Records, their third, is a 45rpm dedicated to hip-hop lovers and wider genre enthusiasts. Produced by Slick Walk (ala SaturnVybz and DJ Robert Smith), Side A features '50 (More Hits),' a mellow, space funk-inflected banger with NYC legends QNC (aka Q-Ball and Curt Cazal). The track boasts crisp, Premo-like drum programming, cloud-like synths, and warm bass, all of which create a sensation of flying or walking on air. Rich in old-school and golden-era references, nearly every bar is a hyperlink to a hip-hop classic, making the track an almost literal hip-hop encyclopedia. The superb No Way Out" (feat Slimkid3 & Moonbeam Kelly) seals the deal on this vital pick up.
Review: Longtime disco editor Smoove played his first cards right with Wack Records in 2007, and now he returns to the imprint after decades with another raw-cut, redone diamond; a synth-driven slab of filth-funk reflecting the talents of 80s soul mogul Bobby on vocals. On the flip, things speed up as Smoove flips Mrs Jackson's vocals into a razor-sharp electro funk rework, loaded with punchy edits, Mantronix-inspired stutters, and warped stabs that twist the track into club-ready territory.
Review: Jonathan Watson aka Smoove sees his version of "one of the greatest posse cuts of all time" - or so say reissuers Wack Records - re-pressed for the masses to hear. One half of the British funk and hip-hop edits duo Smoove & Turrell, the former of the two made, but never released, this wicked remix of Heavy D & The Boyz's 'Don't Curse' sometime in the late 2000s. Now released as though it were an official posse cut, it comes backed by a flip of Kool G's 'Rich & Famous', equally bouncy and decadent as they come.
Review: Smoove returns with his label Wack Records and delivers two killer cuts straight from the heart of Motown. Utilizing original multitrakcs from the home of Rick James and The Supremes, Smoove gets his swirv on and delivers two uptempo hip-hop bangers, curveball-tinged with the instrumental backings of Motown. On the A, 'Empty World', we hear an attention-grabbing Nas mashup ('Life's A Bitch'), while the aforementioned artists are equally as well fused on the much more positive B-side.
Review: Floridian musician Tedi Robinson specialises in what he calls "mellowfunkism" - a smooth, colourful, Prince-influenced take on retro-futurist soul that various draws inspiration from jazz-funk, '80s groove, contemporary R&B and P-funk. It's this attractive, effortlessly soulful trademark sound that's showcased on Robinson's second Six Nine Music "45" as Son of Pearl. Robinson's dazzling bass and smooth vocals take pride of place on A-side 'Wonderful', alongside head-nodding, hip-hop style beats, glistening guitars and twinkling electric piano sounds. Over on the reverse, 'The Other Side of Nowhere' boasts all manner of kaleidoscopic, P-funk-influenced synth sounds, crunchy R&B drums and more elastic bass courtesy of Robinson, whose vocals are once again superb.
Taking The Stand (feat Damu The Fudgemunk - Thes One remix) (3:33)
Taking The Stand (4:08)
Review: Alongside the wicked new 7" 'Dues And Don'ts / Fraud Fades', Amsterdam producer Soul Supreme simultaneously drops another 45 - of no less import - this time enlisting the fiduciary flows of American producer and emcee Thes One. 'Taking The Stand' includes both the original vocal number and the instrumental on the flip side, with Thes One musing on life's (in)justices, trials and negotiations as Supreme the wunderkind himself segues through wildcard turntable scratches, knocky drum hits and blue-note piano hits.
Review: Echo Chamber Recordings launches its new sub-label, Echo Labs, with a killer debut 7" from Southside Sound Surgeons, aka a coming together of label boss Si Cheeba and longtime DJ partner WeeG. After years behind the decks, the duo finally commits their sound to wax, and it has been well worth the wait. The A-side, 'Hi-Jakarta,' is a high-energy, Afro-Brazilian b-boy bomb aimed directly at the rump with stomping beats and wildly expressive synths. The B-side, 'Rockin' Roots,' flips golden era hip-hop vibes with classic vocal chops and chunky beats, and it builds to a dancefloor-smashing climax.
Review: Howard Stevens kicks off his own label with a new tune featuring Lewis Parker two make for a heavyweight combination of London artists. It emcees in many different forms but thermion mix is a hard hitting bit of throwback boom bap. Its raw hip hop with big horns and elastic bass beneath those neck-snapping hits. The verses deliver extra attitude and edge while musing on street life. The rocked-out b-boy vibes continue through a Scratchapella, instrumental and combination of both that is finely called a 'Scratchapella.'
Review: This one takes us all the way back to 1989 when it was originally released. Superbly remastered for this reissue, none of the potency and grit has been lost along the way. It's a tribute to mic man Stezo's sad and far too soon passing on Record Store Day 2022. 'To The Max' has tough beats and spangled synths with coarse stabs all overlaid by the hard bars. There is more soul and a rolling rhythm to the boom-bap of flip side jam 'It's My Turn'.
It Takes A Moment To Make Money (original version) (4:11)
Review: Stretch Money delivers a characteristically smooth, polished vibe with 'Take Money 25'. It's a track that has it all - funky rhythms and soulful grooves and superb vocals. It also does what all good hip-hop does in that it manages to blend contemporary style with elements of the classic sound without being too much of an old-school homage. Catchy hooks and rhythmic flow abound on this low-key but feel-good anthem with lyrics that encourage you to stay focused and hustle hard. On the flip, 'It Takes A Moment To Make Money' is just as seductive and soul-fuelled.
Review: For their sixth addition to the Eastside Edits series, Ontarian hip-hop editors (and here, total reconstructors) Suckaside drop two new versions down the chimney for Christmas. As ever, the cat-and-mouse game of original-track discovery is up; this time, we hear new takes on Snoop Dogg's 'What's My Name' (here reincarnated as 'Heres My Name') and Creedence Clearwater Revival's 'I Heard It Through The Grapevine' (here, 'Heard It Through Creedence'). Both are stereo-centred and bass-bolstered, with new big beats and slick instrumental varnishings providing ample extra headroom for ever-rejuvenative dancefloor goings-on.
Review: Munich's Ilian Tape is best known for its killer breakbeat driven techno sounds but various sub-labels and series also delve into ambient and, in this case, trap beats and grimy production. Sustrapperazzi hails from Hastings in the UK and make a great impression with the first volume of this Beat Tape. 'Part 2' is another one with late night menace, gritty textures and urban swagger all tempered by some meaningful melodies and indelible pads. It's an absorbing instrumental journey into nocturnal London with killer cuts like 'Japan Drillings' and 'Learn Suttin' parting physical low ends and screw basslines with emotive little vocal hooks and fragments of melody.
Review: A limited green version of this vital 7" is well worth copping as Svinkels are the most rock'n'roll group in French rap. They have respect for the old school but also innovate in new school ways. Their fourth album came back in 2021 and had four tunes composed by Djaar One including the original of 'Rapido.' Here he returns to mix the tune in his classic bomb-bap vibe which pays tribute to the golden age and acts like Cypress Hill. An instrumental comes on the flip side but it's that killer A-side that wins this one.
Review: What true head doesn't know 'Flowers'? Produced infamously by Sunship (Ceri Evans), this keystone lintel of the 90s UK garage door frames Leanne Brown's vocal - originally recorded as part of a much slower r&b demo - against a rolling, skippy beat that's all bounce and shimmer. Lyrically, it's a lovesick anthem, filled with longing and the ache of distance, but the groove keeps it light on its feet, providing a crossover appeal with a perma-adhesive sticking power. Though Sweet Female Attitude didn't follow it with another major hit, 'Flowers' has never faded. Tend to your garden, and your blooms won't wilt.
Review: Chris Glasson and Stu Whiffen's Hardcore Listing Podcast has over 1 million downloads and is part of Scroobius Pip's Distraction Pieces Network. Now a first instalment is pressed to vinyl, and features the one and only record don and scratch master DJ Yoda talking on his favourite golden era Hip-Hop albums. The whole thing was recorded in one take and wasn't edited afterward. There are plenty of personal stories included along the way making this a perfect accompaniment to a cosy home listening session.
Review: They may only have emerged in 2019, but Inflo's socially conscious, politically charged, impossible-to-pigeonhole Sault collective has already delivered a string of vital albums. Nine, the crew's latest set (and first of 2021) is every bit as incendiary, versatile and impactful as its predecessors, with the 10 collected tracks touching on everything from drowsy R&B, spoken word, classic soul and post-punk rock, to UK bass mutations, gospel, jazz-funk, Charles Stepney style excursions and hazy downtempo beats. Mixing live instrumentation, electronics and a wealth of guest vocals, Nine is a genuinely stunning, thought-provoking album full of razor-sharp lyrics and brilliantly executed musical movements.
Reap What You Sow (feat Enuff & Jaia Melodies) (3:40)
Time (4:15)
Wu Wu Intermission (5:09)
Play That Back (feat Jaz Wilson) (4:09)
Review: Master keys man Byron The Aquarius started out making hip-hop then in the last few years moved into house music and dropped some super deep and classy jams. Now he gets back to his roots with this new project from Birmingham, Alabama, alongside Shurlock, who started way back in 1990. The album takes its title from the fact both men were always told they would never make it out of their hometown. "Well this project is for those that stop dreaming, and believed that Shurlock, and Byron would never make it in the world of music," they say. It's a superb record with some fine guest bars to boot.
Review: Oakland's SNDTRAK dropped his long awaited debut album back in 2021. It was a big hit right off the bat and now it gets a welcome reissue. These are snappy beats with rolling drums, deep hip hop instrumentals that bring the best of the dusty school to fresh new school thinking. Delicate melodies are buried within, soulful vocal smears drift in and out of ear shot and well played bass slowly rotate sunder the tunes to bring languid funk. Sunny and heart aching, heat damaged and stoned, this is a warming soundtrack on many different levels.
Review: Cleo Sol has emerged on Forever Living Originals alongside the avant-gospel sensation of Sault, and in an understated way she's quickly positioned herself as one of the most compelling, original voices in UK soul. Hot on the heels of Heaven comes her third LP Gold, and it's another masterclass in low-key but wholly intentional production framing some of the most arresting singing and songwriting you're likely to hear all the way through 2024. On Gold especially there's a tendency towards a cosy, in-the-room sound from the live kit and warm keys to the subtle undercurrent of soundsystem mixing attitude, and it makes for an album you'll want to live in for days on end.
Review: Listen up and pay attention all serious soul heads - Cleo Sol is back with an album which confirms her position at the forefront of UK soul. Sol has a career which reaches back to the late 00s guesting for the likes of Tinie Tempah, but it's within the wider Sault orbit she's forged a renewed presence in recent years. Locked into a productive run of albums which kicked off with Rose In The Dark back in 2020, her latest long player might just be her best as she gracefully glides from piano ballads to pastoral funk, low-slung neo soul bump and beyond. Everything is bound together by her flawless voice and a persistently warm, mellow production, making this sound like a future classic in waiting.
Review: Three years ago, Dutch multi-instrumentalist and producer Noam Offir unveiled his debut album as Soul Supreme, a vividly realised fusion of jazz-funk, jazz-fusion, hip-hop, soul and electrofunk flavours that boasted impeccable musicianship. Poetic Justice, the rising star's hotly anticipated follow-up, continues in a similar vein whilst aiming higher. The musicianship is, if anything, even better, with liberal use of horns, P-funk synth sounds, Clavinet, warming electric piano motifs, loose limbed drums (blessed with the swing of live drums, but - we think - MPC-powered). It's basically the same old super Soul Supreme sound, taken to the next level. As a result, Poetic Justice is even better than its lauded predecessor. Don't sleep on this one!
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.