Review: The world of dark disco tech is vast and so covers plenty of niches and nuances with artists all over the world adding their voice to the conversation. Spanish label Waste Editions offers up four more to the mix here with another well-assembled VA. Dark Vektor's 'Amb La Mirada Ens Menjarem' begins with some synth sounds that evoke a horror scene over snappy drums and sleazy guitar riffs. Synth Alien's 'Replica Cosmica' gets a little more loose but still comes with evocative vocal samples and a characterful world of synth sounds, some that fart, some that gurgle, some that amuse. Imiafan's 'Stupaj (Keen K RMX)' is another prying, loopy sound brought to life with myriad effects, textures and vocal snippets and Wardum shuts down with 'Wrambling' which has grinding bass and scuttling effects topped with occult vocals.
Review: Kommuna marks its tenth year of activity with this new dancefloor-focused record from various artists whose music "reflects the glimmer of hope that music provides during these dystopian times." Fabricio's 'Collateral Effect' opens with a strident nu-disco sound and retro-future chords that get you moving. Charleze's 'Rage Power' is another chunky disco stomper with some nice cosmic melody and Wooka's 'Tirty Dalk' hits harder with mechanical beats and churning bass. Mooglee's 'Things I Love' brings a more dreamy synth sound but still club-ready beats.
Review: Dookuzot is the entrancing debut from Floid & W92 aka Woody92, and it's released on their own Omen Wapta imprint. Across eight tracks, they craft a labyrinthine soundscape full of shadowy textures, tribal rhythms and eerie, dissonant tones that feels both ancient and futuristic-an ambient-techno blend that channels family history into sonic myth-making. Standout 'Maushe' hints at dancefloor tension, while 'Veriyou' is seriously deep and heady as part of what is a haunting, high-definition journey through imagined realms and moody post-human worlds.
Review: dO iT nOw Recordings makes its debut in the world of vinyl with a various artists' sampler that shows just what they are all about. First up is Pigsie's wonderful 'Silk' which sets a fine tone with lush jazz-inspired keys, dreamy pads and intricate drum work that make it well suited to those late-night sessions. Wearing Shoes then offers 'Finding Your Words' with buttery Rhodes licks and looped vocals over fat bass, and the B-side begins with Michael Oberling and his deep jazz grooves, trumpet solos and swinging drums. Massive R closes with the lovely, jazzy house of 'This Feeling' complete with snappy drums and a catchy piano hook.
Review: Long-lost Tidewater soul classic 'An Extraordinary Dream' gets a welcome reissue here by Symphonical with input from the last surviving band member Larry Gray. This timeless love song was recorded in 1969 at Charlie McClendon Studios and was the first of two singles by Gray and his group, The Soul Seekers, which was made up of five Huntington High alumni who helped shape the region's musical scene. Led by Gray who was fresh from five years at Stax Records with Otis Redding, the group backed numerous touring acts and this single was produced under Wilson Harrell's Check Productions. It's a lovably forlorn and low-slung soul sound with heavy-hearted melodies, horns and aching vocals.
Review: Surely even he has lost count of how many tunes he has sung on now, yet still Robert Owens remains the most in-demand vocalist in the game. His smoky tones feature on Nat Wendall's 'Easy' and they come with a brighter tone than usual next to the nice piano chords which are draped over upright beats. As well as an instrumental, Kaidi Tatham remixes with his brilliant broken beat style and sunny synth disposition, and he also adds his own spin to the instrumental. A timeless package.
Review: Bristol-based Will You (AKA Oleeva label founder Will Spence) is finally ready to make his vinyl bow, with fast-rising Berlin imprint Stolar the lucky label handling the imprint. He begins in predictably confident mood with 'Sante', a deeply swirling, psychedelic and immersive slab of hypno-house wrapped in waves of TB-303 acid insanity, before treating us to the unsettling off-kilter tech-house wonkiness of 'Is It 2 Late?' Over on the reverse side, both cuts are given the remix treatment. Lb Honne re-frames 'Is It 2 Late?' as a smoother and more intergalactic-sounding chunk of deep tech-house, while Orion turns 'Sante' into a field recordings and effects-laden ambient techno shuffler.
Messin’ With My Mind (Electric Press remix) (8:03)
Messin’ With My Mind (Electric Press dub) (5:50)
Review: Ralph Lawson's legendary Leeds-based label 20/20 Vision is in the middle of celebrating 30 years in the game. Part of that now extends to this reissue of a record that played a huge part in establishing the imprint back in the day. It comes from the co-founders' production alias Wolf n Flow and though it was recorded more than 20 years ago, this record still bangs. 'Messin' With My Mind' is a perfect mix of squelchy tech and vocal loveliness that calls to mind early Fresh & Low. The Oliver.r dub is more sleek and blissed out and two Electric Press remixes close out with some late-night heft.
The Wonderland Band - "Thrill Me" (Joe T Vannelli Classic mix) (5:51)
The Wonderland Band - "Thrill Me (With Your Super Love)" (8:05)
Pure Energy - "Party On" (Vannelli Bros Classic mix) (7:31)
Pure Energy - "Party On" (8:24)
Review: Use Vinyl looks back to two iconic tracks from the 70s and 80s here for source material for a new remix EP by the Vannelli family. Joe T remixes 'Thrill Me' by The Wonderland Band into the sort of direct and funky house sound that brims with early dance music charm while the Vannelli Bros offer their rework of 'Party On' by Pure Energy which comes with plenty of energy for club contexts. Both tracks are presented as Classic Mix versions and bring plenty of new life to the original hits without forgoing the timeless, catchy and meaningful melodies that define the originals. House music like this is as authentic as it gets.
Review: The original Gravity label has assembled its Woodfield Allstars once more for a jam-packed 7" that offers up some summer ready and ska tinged reggae rollers. 'Hipshaker' is denied by its gleeful organ work which shines brighter over the earthy drums. 'Ruff & Tuff' has well defined guitar plucks and bendy baselines that pull you in different directions and 'Striker's Shuffle' picks up the pace with a little more immediacy while 'Rudeboy Riot' shuts down with a fat-bottomed groove and lovably lazy vibe.
Review: The Worm burrows deep with this evocative new outing on Deep Cub label, which continues to turn plenty of heads before it has even got to release number 10. '12 Days Of Squirm' is dubby, mid tempo and slow motion techno for early evening warm ups. 'Lisa' brings a more cid laced and percolating sound to up the energy levels and '808 Verb Talk' is darker, more heavy, with bright acid leaving a menacing mood in its wake. 'Pytch1' is another deft and atmospheric wedge of slow, purposeful techno.
Review: Weldon Irvine was a pioneering musician whose innovative style and emotionally powerful melodies earned him admiration across generations and genres, from 1970s jazz and soul to 1990s club and rare groove scenes. Known for his versatility, Irvine left behind a legacy of timeless tracks and this best-of album, curated from his extensive catalogue, features eight standout songs that showcase his genius. The always-sensitive P-VINE presents this special collection in style and offers a comprehensive glimpse into the depth and breadth of Irvine's musical contributions, all of which highlight his lasting impact on the music world.
Review: The second album from Vijay Iyer and Wadada Leo Smith on ECM is a meditation on resilience, sorrow and the human condition. Across four expansive tracks on Defiant Life, Iyer's piano and Fender Rhodes intertwine with Smith's haunting trumpet to create a soundscape that's both urgent and serene. From the solemn depth of 'Sumud' to the shimmering melancholy of 'Floating River Requiem' and the radiant close of 'Procession: Defiant Life' notions of suffering, resistance and hope are explored. The record was recorded in Lugano and produced by Manfred Eicher. It's a deeply reflective work of emotional and spiritual resonance.
Review: According to the blurb we have for Doomed Utility, Alex Wang is a firm believer that if a tree falls in the forest and nobody is around, it still makes a massive noise. "Sound existed before there were human ears to hear it," we're told. Not to mention the fact we have now surrounded ourselves with machines and digital tools that immerse us in tones we don't necessarily derive pleasure from. Industrial, frenetic, electronic, post-club, deconstructed and, in moments, straddling that genius-lunatic border. Doomed Utility makes no apologies for its most intense moments, and panders not to our inherent desire to understand and make sense. These are beats, basslines, distorted walls of tormented chaos and abstract moments don't lend themselves to meaning making. Welcome to the future. It's confusing.
Lonnie Dreams (Leroy's Latin Lament - Medley) (3:10)
The Way We Feel (0:54)
La FIesta (3:24)
Lament (2:28)
Smile Happy (7:20)
So (4:56)
Low Rider (3:12)
In Mazatlan (2:54)
Why Can't We Be Friends? (3:43)
Zorro (bonus track) (5:35)
Don't Let No One Get You Down (Unedited mix) (6:31)
Roam & Ramble (bonus track) (9:07)
Low Rider (9:28)
So (Unedited mix) (9:47)
Oatmeal Box (bonus track) (5:50)
Heartbeat (16:55)
The Making Of "Why Can't We Be Friends?" (22:54)
Review: This special Anniversary Edition celebrates the groundbreaking band War's 55th year with a remastered version of the original album by legendary engineer Bernie Grundman. The iconic, multi-million selling, Billboard 200 Top Ten original has plenty of seminal WAR classics such as 'Low Rider' and the title track 'Why Can't We Be Friends?' and next to this eon disc one is a second disc filled with unreleased tracks from the original sessions, along with unedited mixes that offer deeper insight into the group's creative process. Blending funk, soul, jazz, pop and Latin influences, this genre-defying band has remained a cornerstone of Los Angeles's scene for over five decades.
Review: American blues rock's other famous double zed, ZZ Ward doubles down on her blues instincts with her fourth studio album, going to the logical ends of her newfound motherhood and creative independence. Produced with longtime collaborator Ryan Spraker, the record folds four tracks from her recent EP 'Mother' into a broader canvas of originals and carefully chosen covers. In the midst of early parenthood, the songs confront exhaustion, strength, and clarity with grit and grace. "It just took me a long time to get here," she reflects, describing the album as a way of reclaiming her place in the genre, as lead single 'Love Alive' lights the way to a blues-traditional, real-life sound and upcoming tour, Dirty Sun. Messy, honest, and unmistakably hers.
Letter From An Unknown Girlfriend (feat Fiona Apple)
Rock Bottom
I Don't Know How I Made It (feat Taylor Goldsmith)
Frank (Let's F*ck)
Katherine (feat Anana Kaye)
Everybody Loves Dennis Hopper
Golf, They Say
Venice. California (Victoria) / The Passing Of Hopper
Aftermath
Review: Brit folk rock troubadours The Waterboys have put together an evocative exploration of life's complexities with this, their 16th album, all while being inspired by actor Dennis Hopper's defiant spirit. The album blends folk-rock, Americana and poetic lyrics into an introspective look at mortality, legacy and transformation. With Mike Scott's distinctive voice and emotive songwriting, the tracks balance philosophical musings with gritty realism and so embody Hopper's famously raw and rebellious energy, the sort that made him such a star of the silver screen and movies like Easy Rider. The album's atmospheric instrumentation includes sweeping strings and soaring guitars that enhance its reflective nature. Life Death & Dennis Hopper is an ambitious record but one that resonates with depth.
Review: Norwegian pianist and composer Bugge Wesseltoft, a jazz innovator known for the diversity of his sound, is back with 'Am Are,' which is an expressive exploration of many sonic textures and dynamic contrasts. This album showcases Wesseltoft's inspiring collaborations with a constellation of superb musicians who bridge generations and styles. From sparse arrangements to complex layers of dubs and loops, Am Are highlights the power of human connection through improvisational interplay. Wesseltoft's curated selection demonstrates his passion for projects that spark creativity and celebrate the beauty of musical communication and make another fine addition to his catalogue.
Carnival (feat Rich The Kid & Playboi Carti) (4:25)
Talking (feat North West) (3:08)
Vultures (feat Bump J & Lil Durk) (4:41)
Vultures (Havoc remix) (4:33)
Stars (CD) (1:57)
Keys To My Life (2:54)
Paid (3:17)
Talking (3:07)
Back To Me (4:55)
Hoodrat (3:42)
Do It (3:48)
Paperwork (2:29)
Burn (1:54)
Fuk Summ (3:30)
Vultures (4:40)
Carnival (4:24)
Beg Forgiveness (6:12)
Problematic (3:16)
King (2:41)
Review: He might pretty much be cancelled these days but there is no denying the impact Kanye West has had on hip-hop. As recently as last year with Ty Dolla $ign he cooked up 'Vultures 1' which now comes as a special Carnival Edition and is a provocative, genre-blending affair that showcases both artists' strengths and controversies. The production is sonically rich with contributions from top-tier talents like Timbaland and James Blake, and guest appearances from venerated verse men such as Playboi Carti and Travis Scott. Tracks like 'Carnival' stand out with their infectious drum patterns and energetic deliveries even if the lyrical content is not up there with their usual best work. Despite the controversies surrounding West, this album achieved commercial success and topped the US Billboard 200 chart.
Carnival (feat Rich The Kid & Playboi Carti) (4:20)
Talking (feat North West) (3:08)
Vultures (feat Bump J & Lil Durk) (4:40)
Vultures (Havoc remix) (4:24)
Stars (CD) (1:57)
Keys To My Life (2:54)
Paid (3:17)
Talking (3:07)
Back To Me (4:55)
Hoodrat (3:42)
Do It (3:48)
Paperwork (2:29)
Burn (1:54)
Fuk Summ (3:30)
Vultures (4:40)
Carnival (4:24)
Beg Forgiveness (6:12)
Problematic (3:16)
King (2:41)
Review: Kanye West may be widely criticised and sidelined these days, but he will forever be known as a vital hip-hop pioneer whose influence is undeniable. Back in 2024, he teamed up with Ty Dolla $ign to release Vultures 1 - an album that is bold and genre-defying and reflects the duo's musical prowess and polarising personas. Production is layered and lush, with contributions from heavyweights like Timbaland and James Blake, and standout features from equally big names like Playboi Carti and Travis Scott. Tracks here all shine with lively rhythms and high-energy flows, even if the lyrics don't always hit the mark. Nonetheless, the project topped the Billboard 200 all the same.
Review: Come and Get It was the fourth album by Boston's Westbound Train, and it was originally released in 2009 on Hellcat Records. The album is a smart mix of traditional Jamaican music with classic notes of r&b and plenty of contemporary influences that offer a great glimpse of the band's refined, soulful sound with rich horn sections and groove-driven rhythms. From uptempo ska anthems to heartfelt ballads there is plenty of ground covered here and all with trademark energy and musicianship. The album was produced by David Hillyard of The Slackers and Obi Fernandez, and this reissue marks the first-ever vinyl pressing with two bonus dub tracks for extra pleasure.
Review: London's Loraine James has built her signature sound through a mix of refined composition, gritty experimentation and intricate electronic programming. Under her Ghostly International alias Whatever The Weather, she explores emotional temperature and environment. Her second full-length offers a warmer tone compared to its predecessor by moving from an arctic cover photo to a desert scene. Mastered by Josh Eustis, the album blends hypnotic atmospheres and rhythmic textures with diaristic field recordings. The lead single, '12-C,' weaves melody and texture into a soul-stirring groove and is exemplary of James' imaginative and genre-defying approach.
The Squirrel & The Ricketty Racketty Bridge (21:00)
Review: "One might thus regard the Welsh rarebit as a Machine in which a process is applied to the conditioning and perception of the world of bread and cheese." Suffice to say, John White might not have had the same ideas about what constitutes Machine Music back in 1976 as you do today. This is also the first time we've ever managed to get a reference to Welsh rarebit into the first line of writing about a record, so everyone is learning something today. "The Machines" White refers to are the individual tracks themselves, all recorded between 1967 and 1972 and all comprising different combinations of a thing. Six pairs of "bass melody instruments" made 'Autumn Countdown Machine', different permutations of "the articulations 'ging, gang, gong, gung, ho!'" comprise 'Jews Harp Machine'. And 'Son of Gothic Chord' is crafted from the sequential chord progression of four keyboard players, spanning an octave. Conceptual experimental and wildly imaginative stuff on the borderline of electronica, abstract, mathematical and something otherworldly.
Review: Hard rockers unite. Or at least they used to. In an age when it often feels like even the last remaining vestiges of whatever subcultures survived MTV and the Millennium are themselves divided, every once in a while a record comes along that acts like a rousing call for unilateral response. The Satanic Rites Of is exactly that album. Reading reviews is smile-inducing, if for no other reason than the references to frontman Ginger as a 'godfather' of the British heavy-hard guitar scene. It's hard to deny, except if in your mind he still invokes images of a sprightly enfant terrible. In all honestly, the latest is both - an outfit that have lost none of their high energy snarl and commitment to doing interesting, ferocious things, but have years of wisdom on their side to achieve them.
Review: American jazz drummer Tony Williams rose to acclaim as a member of Miles Davis' so-called 'Second Great Quintet'. He later went on to pioneer jazz fusion with the group and formed his own outfit, the Tony Williams Lifetime. In 1986 he released 'Civilization', which marked a triumphant return to Blue Note and a great window into his visionary approach to jazz. Leading a stellar acoustic quintet with Wallace Roney (trumpet), Billy Pierce (sax), Mulgrew Miller (piano) and Charnett Moffett (bass), Williams served up a dynamic set of original compositions that pulse with intensity and technical brilliance, as well as emotional depth, while taking post-bop tradition into new relays. Each player brings sharp improvisational insight, but it's Williams' explosive yet precise drumming that anchors the session.
Review: BertBert's boundary-free TOPO imprint returns with a fascinating body of work from one of his nearest and dearest influences; Windu. A collection honed from hundreds of sketches, grooves and soundscapes written over the last eight years, Juxtapose is a beguiling blend of ambient textures, gritty technoid grooves and thunderous showers of breaks. At points bubbling with aggy rave energy ('Deck 16'), at others entirely disarming and likely to knock you horizontal ('Ti Si Isceljenje'), Windu (which stands for wave is not defined) has a refreshing ability to completely negate DJ formula, arrangement and genre trappings. A debut dispatch built up over years before unleashed into the wild on vinyl, this is a truly unique album.
Review: Wire's 'Nine Sevens' is a double LP that serves as a reissue of their 2018 box set of 7" singles, which brought together early iconic tracks with more obscure later works. The compilation tracks the band's evolution from their monochrome early phase to the more complex, almost psychedelic sound that emerged by the end of the 1970s. The first disc resembles a traditional greatest hits collection, while the second veers into experimental territory and between them, all these 7" singles represent Wire's pop art explorations as well as being snapshots of the band frozen in time. This fine take on pop culture is a thrilling, artful journey through Wire's pioneering work.
Review: Often touted as a "masterpiece of jazz-funk live albums," The Wooden Glass's 1972 live recording proves it's more than just hype. Featuring vibraphonist Billy Wooten who previously played with Grant Green, this record was recorded at Indianapolis' The 19th Hole club and captures the essence of fusion driven by soulful 60s influences. Wooten's gentle melodies contrast with the gritty, distorted sound of Harold Cardwell's powerful drumming and Emmanuel Riggins' Hammond organ while the energetic performance from the band, including guitarist William Roach, creates a tapestry of intensity and dreamlike vibes. It's raw, electrifying, high-energy jazz.
Review: The man, the myth, the legend... Workforce returns with a brand new album and you can feel that it's a breath of fresh air from the moment the Tyler Daley opener 'Falling Down' takes the lead and sets the scene. What follows is a flow of forward-thinking drum & bass cuts, all writhing in a different corner of the dance. 'Water In The Basement' reminds us of the genre's street roots while 'Drowning' and 'Really Small Boxes' both lose themselves in the cosmic moment. Deeper again we see Worky linking with old vocal partner Tamara Blessa for the introspective soul of 'Yours For The Taking' while 'Deep Ones' sees Bobbie Johnson adding a very special twist. Wrapping up, 'How They See It' and 'Waste Not Want Not' bring the album to a suitably stunning and unique close. Beguiling.
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