Review: Adeen Records is back with it's follow up to Alton Miller's "More Positive Things" with Chez Damier's parisian outfit French Connection. This Chinese only import five song Ep features remixes from Nicholas, Chez's Panarama Bar club banger remix, and Beijing, China's production team Camille. The B-side features "Queen Of The Elephants" remixed by Jef K, and a scorching edit of "It Ain't right" guaranteed to set the dancefloor ablaze.
Review: Another fine deep spiritual Jazz reissue on Japanese label P-Vine that came out on Strata East originally in 1974. Soaring vocals are charismatic of this album and it features the track Optimystical which Andres previously sampled.
Review: The King & City label is the subject of three 12" reissues, starting with One Blood's classic Lovers Rock take of William DeVaughn's soul anthem, Be Thankful.
Taking the influence of reggae from the Caribbean diaspora within the cultural melting pot of 70s London, the birth of Lovers Rock, often-dubbed 'romantic reggae', is a uniquely black British sound, developed against a backdrop of riots, racial tension and sound systems.
A style suited to the London scene, it represents an apolitical counterpoint to the then dominant conscious Rastafarian sound and continued the soulful and commonly love-themed rocksteady style.
Active during the scene's peak, King & City was launched by Neville King and Lee Laing to champion the sound and alongside other producers like Dennis Bovell, created genre-defining hits.
Formed in 1979 One Blood was made up of the 5 Robinson brothers - Errol, Jerry, Lloyd, Trevor and Paul - and recording at the legendary TMC studios, went on to release two albums and countless singles.
Be Thankful pays homage to DeVaughn's original, with smooth vocals gliding atop tight drum and bass, vocal jumping up dub pom acapella to summer perfection. The tapes here passed to cohort Lexx, crafting a wonderful discodub that is all groove, expertly cutting back and forth...diamonds in the back, sunroof top.
Review: On its initial release in 1994, "Sceneries Not Songs" became deep house legend Larry Heard's first solo album under his given name. At the time, it caused quite a stir on the electronic underground, in part because it saw the Chicago veteran showcase the depth and variety of his musical personality whilst retaining the emotive dreaminess and jazzy inflections that had always been a big part of his work. As this much-needed vinyl reissue proves, it remains a stunning album. Highlights include the sparkling synthesizers, slo-mo grooves and twinkling pianos of "Tahiti Dusk", the classic Heard deep house warmth of "Midnight Movement", the head-nodding trip-hop-goes-ambient jazz flex of "Summertime Breeze" and the luscious beauty of bonus cut "Question of Time".
Review: REPRESS ALERT: Trelik reach into their recent archives with a much needed repress of Whalesong, the label's 2011 debut from UK producer OCH. With a compulsive passion for the dying art of crate-digging combined with a love for modern synthesis techniques the now Sweden based OCH manages to put together a 12" that could easily be described as psychedelic Chicago. "Whalesong" is a pulsating floor work-out which references the US greats whilst building an emotive sub-aqua soundscape. "Blind is The Wind" follows with a sneaky chord driven spoken interlude which creates an air of tension before climaxing into "Last Chance Saloon".
I Hear Music In The Streets (LV Classic Boogie mix)
Review: It would be fair to say that post-disco outfit Unlimited Touch's 1980 single "I Hear Music In the Streets" is one of the greatest boogie/electrofunk records of all time. Louie Vega clearly agrees, because late last year he decided to gather together the remaining members of Unlimited Touch and record a fresh 2020 version. The A-side "Touch Mix" is the bomb. It features a more organic-sounding disco-boogie groove than the 1980 original, with delicious guitars, bass and electric piano/organ underpinning seriously good group vocals from the sometime Prelude-signed outfit. Over on the flip, Vega serves up an electric piano solo-laden dub mix, as well as a "Classic Boogie" take that naturally sounds very similar to the band's much-loved original version.
Review: After long lust, Roy's mega anthem Emotinium finally gets re-released into the wild, following its original inclusion on the lo-fi Acid Waxa cassette classic 2 Late 4 Love + the much sought after 12" EP version released in 2016. This time however, Emo finds itself playing up-front alongside the previously unreleased Melchester Acid Pt. 3 + two wonderful raw studio jams (Home & Away Game Acid) If Emotinium is the cute & cuddly festival fave played by the likes of Aphex Twin & Feel My Bicep et al, then Shirley this bonus disc of mutant acids are the evil Gremlin offspring, fed & watered after midnight; bubbling, fizzing, hissing and multiplying. 'It's been a rough night for Rockin' Ricky, but he's still on the air!'
Review: Dynamite Cuts latest double seven-inch presentation takes us back to 1973, and James Brown's often-overlooked soundtrack to Blaxploitation crime movie "Black Ceasar", a set previously described by one critic as "a full-frontal funk attack". What we get is four of the soundtrack's strongest cuts: electric piano solo-laden funk shuffler "Blind Man Can See", one of Brown's most celebrated and best-loved songs, "The Boss" (sample lyric: "look at me, what do you see? A bad mother!"), the softly sweet, strings-and-solo laden breeziness of "White Lightning", and the crunchy heavy funk strut of "Make It Good To Yourself". As the old saying goes: all killer, no filler.
Review: For Those That Know step up with another exquisite choice of underground hero to boost with a retrospective release - ADJ. Andy Jaggers has been a lynchpin to the UK electro scene since the 90s, and his Pyramid Transmissions label (run with Pathic) is rightly lauded and unsurprisingly hard to get hold of after release. This release gathers together some of Jaggers' finest work from recent years, including some previously unreleased tracks and highly sought after album cuts that have been out of reach for too long already. If you want high grade, forward thinking electro with a braindance tint, this is an album you won't want to miss.
Review: It's no secret to anyone who has done their homework on US alternative rock of the early 90s, and specifically East Coast alternative rock, that Galaxie 500 should have been much bigger. Nevertheless, they remain one of the most under-appreciated and overlooked bands of their era, a bolt of beautiful but raucous indie guitar stuff that only lasted four short years, and three albums, but really was something special.
This reissue of their live album, a recording of the final show of their last European tour, certainly reflects this point. Seeming to call on influences from relatively disparate sub-genres of the day - the end of post punk, bloody-nosed rock and, in many ways, something along the lines of what was happening thousands of miles away in Manchester at the time, it's a soaring stunner that has as much stadium drive (the epic 'Fourth of July') as it does woozy and weird experimentation ('Spook').
Review: Back once again we have the long anticipated 2nd release from Hearlucinate . Based around a party in London where each guest DJ is asked to collaborate on an EP with the Hearlucinogenic host and resident Tristan da Cunha . This time round we have the uber talented Ron Obvious laying down two killer cuts aimed straight at the dance floor . UK attitude mixes with New Jersey style organs , breaks , bass and a bad ass beats... Giving us two tracks that have an old school flavour but super fresh with a modern aesthetic. Once again showcasing his ability to produce timeless , tasteful grooves that make you move . Next up is TdC with his bass driven hypnotic hybrid sound . Picking up where from the last ep with heavy bottom end , driving beats , a spooky groove , all topped off with a dash of sleaze. To Finish the EP we welcome back Freakenstein with his electro funk monster taking no booty prisoner. Dance floor dynamite as always from this exciting new artist . As always it comes dressed to impress with heavy weight 180g vinyl and artwork from the workshop of Atelier Superplus.
Review: The varied and changing music of Noel Williams and his Konduko label are explored further with a second series of EPs, this time expanding out of the late 70s / early 80s disco sound to encompass funk and early electro, highlighting this ground breaking artist's influence from reggae roots to the following Miami Bass sound.
Here Williams steps out of his King Sporty moniker for a series of forward thinking and now highly sought after releases. With Konduko as his vehicle, he again teamed up Bobby Caldwell. Recorded at North Miami's Ovadradial Studios, the lowrider funk is underpinned by Caldwell's arrangement, KC & The Sunshine Band's Robert Johnson (drums) and Eugene Timmons' (sax) wonderful solo.
This is augmented by Moton Inc's Diesel & Jarvis subtle but on point Discomix for extended club play. The incessant looping lifts the song and places it firmly in the long line of edit history, from Gibbons to Terje. Synonymous with the "discoid" sound of 90s London and beyond, the cut and paste skills of Diesel (Ballistic Brothers / Yellow Sox) and Jarvis (Pamela / Love Vinyl) have continued at a higher standard since. Their delicate arrangement and deceptive dubbing act the perfect foil to this special Miami funk machine.
Review: **All Juno Records, Juno Distribution and label profits from this release will be going to Black Lives Matter charities**
Musically, the EP is as strong as the message. It kicks off with a track from NDATL label head and Atlanta house great Kai Alce. His "Hear The Waves" is exquisite vocal deep house with jazzy chords to die for. Demuir then picks up the pace with some cosmic bass driving along a super smooth house viber, and on the flip the master of depth that is Nick Holder layers up balmy late night pads and live sounding drums into a steamy and intimate atmosphere. "My Sound" from 83 West rounds out a tasteful EP in mysterious late-night fashion, with pads that draw you ever deeper down the rabbit hole. Do not delay in copping this one.
Review: To close the 3 EP reissue series of Neville King and Lee Laing's King & City label, the all female group Charisma are presented with their summer infused Lovers cut, Everything Is Fine.
Three Lewisham friends, Angela Richardson on lead vocals, with Geselle and Janie backing, were active from 1982 to 1990, but are really remembered for the early recordings made with Neville King. Their debut, Everything Is Fine rides the Lovers sound at its peak. Written with One Blood's Lloyd Robinson, with the rest of band of Robinson brothers providing the rhythm section, this is pure South London sound system music.
Recorded again at TMC (Tooting Music Centre) Recording Studios - working alongside the likes of Dillinger, Tradition and New Musik - Everything Is Fine rides a beautiful soul reggae rhythm as Trevor (Drums) and Lloyd (Bass) Robinson set the foundations, while One Blood provide the Dub mix.
A true love's lament, a song of hope, serenity and pure vibes. Label head Chuggy slides behind the mixing desk for an extended Discomix that stretches, loops and dubs the vocal and dub back forth, to close a glimpse at this uniquely British phenomenon, taking reggae closer to it's heart and soul.
Review: The latest featured editor to contribute to Magic Wand's Special Editions series is former Public Possession regular - and recent Internasjonal signing - Anton Klint. As you'd perhaps expect, the tracks he's chosen to rework tend towards the eccentric and more crate-digging end of the Balearic spectrum. For proof, check the slip-sliding fretless bass, bubbly drum machine rhythms and AOR-goes-synth-pop vibes of opener 'Rain', the sax-laden, mid-80s AM radio goodness of 'Special O', and the lolloping, late night soft rock-meets-reggae pop brilliance of 'Marie'. Best of all though is 'Full Dose of Love', an extra-percussive, delay-laden chunk of undulating dub that's just crying out to be played loud at sunset.
Review: Several years in the making Mike Grant finally completes the second Cool Peepl project. Originally assembled in 2002 for the Puzzlebox Sharevari remixes, Cool Peepl is a collection of Detroit artists coming together for a session. Focusing less on machine based tracks, the group focuses onorganic productions. Free features former Members of the House vocalist Bill Beaver, longtime percussionist Sundiata O.M. and the multi-talented heavyweight Amp Fiddler.
Brother Soul - "Cookies" (extended Breaks Special edition)
Ramsey Lewis - "Back In The USSR" (extended Breaks Special edition)
Review: More "extended breaks" re-edit fun from the popular Breaks & Beats bootleg "45" series, with the mysterious scalpel fiends behind the project delivering two more light-touch rearrangements of killer cuts from the soul and funk canon. On the A-side theys uccesffully tamper with Bronx outfit Brother Soul's heady 1974 classic "Cookies", naturally giving more prominence to the band's killer funk breakbeats, hazy horns and undulating bass guitar. Over on the flip they lengthen the bustling, tough and loose-limbed drum-breaks featured in Ramsay Lewis's electric cover version of Beatles' rocker "Back in the USSR". Lewis's organ solos are, as ever, energetic, sweaty and breathless, guaranteeing dancefloor pleasure every time the track is dropped.
Review: Tomas Jirku began his career in the golden era of minimal and glitch techno, helping to define the genres through releases on Alien8, Force Inc., Klang Elektronik, and Traum. Over the past two decades, Jirku has built a strong repertoire with his exploratory approach to music, experimenting across genres to develop a sound he can call his own.
"Touching the Sublime" is the culmination of this work, with material transformed through performance, experience and introspection. Inspired by his explorations of the remote wilderness that surrounds his home in Vancouver, Canada, Jirku evokes the philosophical concept of the sublime, where an overwhelming experience of awe confronts us with the limits of our rational minds. The album is a synesthetic auditory expression of Romantic era prose and stories of early alpinism. Bringing epic orchestral compositions and intimate guitar passages together with Jirku's unique sense of space and texture, "Touching the Sublime" draws from his most important collaborators and influences to create a uniquely personal result.
The album is accompanied by a limited edition photo book, where, as an accomplished photographer, Jirku has captured the landscapes and vistas that have been his inspiration.
Review: An Odyssey is a classic Detroit House album featuring timeless, eternal tracks such as Midnight Hours, Inspiration, Feel This, What I Do and Odyssey to name a few. Essential stuff made by the legend Delano Smith. The 15th anniversary collectors edition includes coloured vinyl and A3 poster.
Marcel Vogel & Tim Jules - "Just Because (feat Javonntte)"
Detroit Swindle - "Time"
The Message - "Feel The Love"
PBR Streetgang - "Madame Z"
James Curd - "Lets Get Get Get It"
Review: Lumberjacks in Hell comes out with a milestone compilation to celebrate 10 years in business with an all star line up made of the likes of Detroit Swindle, Waajeed, PBR Streetgang and Lumberjacks founder Marcel Vogel himself, alongside Tim Jules and Javonntte. You are used to quality from this label and quality it is.
The Funk Is Back (Ilija Rudman Disco club mix) (3:31)
Review: Back in 2015, Imogen offered up a 12" featuring two rubs of fresh Brand New Heavies tracks by label co-founder Ilija Rudman. Five years on, they've decided to repeat the exercise, this time on a 7" single, with the long-serving Croatian applying his magic touch to cuts from the legendary British jazz-funk band's 2019 set TBNH. On the A-side he delivers a near perfect, cowbell-laden, stripped-back disco rework of 'Beautiful', which comes topped off by a superb lead vocal from Beverly Knight. Over on the flip he gets his mitts on jazz-funk-meets-disco-funk number, 'The Funk Is Back', successfully stripping it back and emphasizing the track's excellent instrumentation and floor-slaying percussion breaks.
Henry Hyde - "Every Day's A Good Day For A Swim" (6:18)
Review: The ever-charitable Needs project continues apace with another stunning cast of characters offering up their dancefloor creations to help a good cause - the environmentally-focused Cool Earth NGO. On this 12", Eris Drew delivers the uplifting breakbeat celebration of "See You In Snow", while Edward takes things deeper with the tripped out minimal house groove of "Mind Loop". D. Tiffany brings a particularly crafty approach to her own drum funk science on "Sun Trip" and Henry Hyde cools things down with the mellow, new age 2 step stylings of "Every Day's A Good Day For A Swim."
Review: Taken from a trio of 45s from the Vong45 record label, here the West Loop collective remake some of their favourite soul, jazz and funk tracks. This release in the series has West Loop remaking the original foundation to the A Tribe Called Quest masterpiece 'Electric Relaxation' - 'Mystic Brew' as recorded by Blue Note keyboard player Ronnie Foster in 1972. Featuring all live instrumentation including some fierce Hammond organ vamps, a deep rich bassline and a vibrant electric piano solo, West Loop revitalise the jazziness of the original on 'Part 1' but move into a funkier direction with 'Part 2' on the flip. Perfect 45 territory for the funk and hip hop DJs.
Review: EXCLUSIVE LABEL: The Infamous Access Imprint is making the difference embracing the very unique Parisian Sound Athmosphere with a cultural and polymath approach. Starting with a Detroit Synth infectious loop, DEEP AGAIN, that has the perfect advanced structure to burn any dancelfoor, on the flip side, NMS, you will be hammered by the chirurgical balance between raw and atmospheric inside travel.
Review: The second release on the Masaala label explores a brief time in the late 80s and early 90s, when musicians were fusing Acid House with Bhangra. One of Leicester's unsung DJ heroes was Cutmaster Singh, who for this record has revived a selection of his own edits from back in the day. Also included is Cutmaster Singh's massive 'Acid Agah', an unreleased 1994 dubplate that more recently you might have heard being championed by Mr Scruff.
Review: Previous offerings on No Fuss have featured the likes of Saison, Crispin J. Glover and Dean Zepherin, and now the upfront house label brings together another selection of party heaters from a range of producers. Saison makes a welcome return with the feisty "Till The Day I Die", a richly produced vocal jam with plenty of uptempo shuffle in the drums. Risk Assessment lean on the keys to create a melodic mood on "I Don't Understand" and then Saison does it again with the bright and breezy "The Riff". That leaves it to Natasha Kitty Katt to finish things up with the heavy funking disco licks of "Plenty Good" - a get-down cut for all seasons.
Sun Culture (Hardway Brothers Balearic Channel remix)
Sun Culture (Hardway Brothers meet Monkton Uptown)
Shimmer Dub (Woolfy vs Projections mix)
Ranura De Marihuana (Max Essa remix)
Review: Coyote have pulled in some label compadres to remix 3 tracks from their latest album Buzzard Country. Sean Johnson's Hardway Brothers remix the sunset meditation Sun Culture into 2 deep electronic dub excursions, Max Essa groove up Ranura De Marihuana with all his usual style and Woolfy vs Projections add a little boogie to Shimmer Dub. All new versions hitting home hard. Essential
Review: We're firmly convinced that the A-side of this sneaky seven-inch from Mushi 45 main man Mister Mushi borders on genius. Entitled "Hard Lifetime", it sees the Japanese DJ/producer pepper a killer hip-hop-meets funk groove - all tight horn blasts, addictive drum breaks and jazzy soul guitar riffs - with elements of David Byrne's celebrated vocal from Talking Heads classic "Once in a Lifetime". The whole thing is wonderfully infectious, toe-tapping and hip-wiggling, breathing new life into one of music's most familiar tunes (and, for the record, the production is so good that Byrne's vocal sounds like it was tailor-made for the backing track). You'll find the Mushi one's fine instrumental take, shorn of all Talking Heads references, tucked away on the flipside.
Review: Juno exclusive hand -numbered to 299 only copies dinked limited white vinyl edition 7 inch with an additional branded wooden 45 adapter.By now, you should know Devon Russell's sought-after 1984 cover of Curtis Mayfield classic "Move On Up", a incredible, post-disco era reggae-soul revision that just oozes sun-splashed positivity. It's virtually impossible to pick up the original 45 so this dinked reissue from Mukatsuku Records is most welcome and has been lovingly remastered. The seven-inch is also notable for including another overlooked gem from Russell's even lesser-known 1993 album of Mayfield covers, "Darker Than Blue". His rendition of "Give Me Your Love" here presented for the very first time in a 45 format is blissfully glassy-eyed, colourful and hazy, giving the Mayfield classic a decidedly Balearic reggae feel via head-nodding grooves, fluid synthesizer lines and jazzy guitar solos. In a word: brilliant.Supported so far by DJ Koco & DJ Muro from Japan and Craig Charles BBC 6 Music, The Allergies,Mr Thing, Andy Smith & Boca 45 from the uk....
Review: Brawther's Negentropy is booting off the year with a return of London's best kept secret, Ron Obvious. The EP is a musical delight formed by three club ready deep house cuts that Ron hs on lockdown. The title track "Builded Mind" has his signature rolling basslines, etheral vocals and lush pads that we've come to love in his music. "Nearly Forever" is a faster bumpy and swingin' number while "Foreground" closes the EP on a light and dreamy note. A versatile record that will stand the test of time and cater for a discerning audience is the promise we make with this one at Negentropy HQ.
Stasis Sounds For Long-Distance Space Travel (Stage 1) (6:01)
Stasis Sounds For Long-Distance Space Travel (Stage 2) (6:21)
Stasis Sounds For Long-Distance Space Travel (Stage 3) (5:02)
Stasis Sounds For Long-Distance Space Travel (Stage 4) (10:36)
Review: REPRESS: The world has found itself in a significant hurry. We have also found ourselves in the most distracted period of time in history; finding it tremendously difficult to remain in a moment of stillness, quietude, or allow time for self-reflection. Conversely, our vast universe continues its expansion into infinite development; a climate of deafening silence in a boundless four-dimensional continuum. It remains mesmerizing with a quiet allure that freely suspends in space-time; a true account of the beautiful unknown that sparks hope, reverence, and an awesome realization of impenetrable mystery.
"Stasis Sounds For Long-Distance Space Travel" is audibly rich in its delivery with an array of tranquil billows and patient tones. It is a journey and soundtrack that commences at Earth's thermosphere, gently moving towards the untraveled parts of space, lushly floating on forever.
These arrangements represent a group of celestial transmissions that are delicate in nature and intended for the listener to embrace moments of stillness, quietude and reflection, of which are on a trajectory of extinction at a place we call Earth.
Review: Burnski has been as relentless as he has faultless in his work as Instinct. This second album in as many years is another on point garage offering that fuses just the right amount of UKG tradition with forward thinking invention. From sweet-as-chocolate vocal anthems like opener "Show Me" to more dark and twisted late night jams "Select", these are killer cuts with kinetic kicks that cannot fail to get you on your toes. Further highlights come in the form of hyper-speed jam "Twister" with reversed stabs that will melt your face, and the deep bass drills of "Hologram". Point Of View is some seriously heavy weaponry, then.
Review: While trying to keep himself busy during lockdown, musician Laurence Mason decided to record a Dave Brubeck style cover version of the Stranglers' classic "Golden Brown" full of excitable drum solos, and snaking horn lines replacing the oh-so familiar lead vocal. It became a big hit online after he posted it on YouTube, so Jazz Room Records boss Paul Murphy asked if he could release it on wax. It's a superb version that successfully reinvents the Stranglers' gem as a quality jazz tune. Equally as impressive is his flipside version of the Police's "Walking on the Moon", which is as deep, atmospheric, enticing and intoxicating as they come. In fact, it could well be better than the in-demand A-side, and that's saying something.
Review: Emotional Rescue presents the music of Haile Maskel in the first in a reissue series working with Patrick Billard aka DJ Duckcomb, sourcing and licensing from this digger's vaults and out to the wider world.
Heralding from the furtive 60's Trenchtown, Jamaica, young Michael Ashley aka Haile Maskel grew up singing, learning guitar and bass. His first recording session was produced by friend Bob Marley, with Peter Tosh on keys, Robbie Shakespeare on bass and Carlton Barrett on drums.
The list of sessions is long, working with Lee Perry, Light Of Saba, Dennis Brown and Sugar Minott. Touring took him overseas where he settled in Los Angeles in 1983, soon launching his Opulence (Sound) label.
Maskel's band, the 101's featured members of The Twinkle Brothers, including cousins Asher and Debo Brown on drum and bass, and augmented by local players. Mixing conscious messages in love songs, Maskel crafts a boogie discodub on which to exalt an uplifting summer jam.
With the highly prized original the tapes unearthed unreleased dubs - "Take 1" providing a wonderful version. LA native Duckcomb found a trove of tapes of unheard material, still for discovery. For now, his longform Discomix, cutting and editing Maskel's vocal along with the dubs, completes a first archival splendor.
Review: After the infamous success of our first vinyl release from label owner Romain FX, played by some of the biggest names in the game: Move D, Skatebard, Oliver Hafenbauer, Gene Farris, Horse Meat Disco, Joris Voorn...
We've decided to have the EP remixed by a collection of maestros from all the spectrum of music.
With Lauer (Running Back/Permanent Vacation) on duty for the title track, Mr. Ho (Klasse Wrecks) from Hong Kong on Ke Ai, Warehouse Preservation Society (Mercury Rising / DJ Harvey) from Los Angeles on Fray and young up and coming Singaporean producer Bongomann (Darker Than Wax) on Air House. Needless to say, this one has a track for everyone, from nostalgic emotional vibes to club bangers, to dubby goodness and Italian influenced dream house beats, take your pick!
Review: The second in the series of DJ Duckcomb affiliated reissues brings the Jamaica / London connection to light, with a reissue of the Brixton based band Red Cloud under the spotlight.
Double Talk was their debut release, coming on House / Freestyle / Reggae label Dancefloor Records, first explored by Emotional Rescue several years ago. After meeting with label head, Jeffrey Collins, in his then London base, the band went on release 2 albums, a 12" and 7" with him, as well as notably being Floyd Lloyd Seivright's backing band.
The original 1983 12"" - now a highly sought after digger's disco reggae bomb - Double Talk is a perfect summer Lovers jam. A tale of sweat talking, cross loving and loss, with redemption and strength, all backed by an uplifting drum and bass, with guitar, keys and piano highlighting the JA climbs instilled in dem sound.
Dubble Dub brings it all down, stripping away and lifting the interplay between keys and piano, allowing guitar to ride above warm bass grooves.
On the flip Duckcomb returns, with his now trademark riding the vocal'n'dub, gently teasing'n'pulling, looping'n'flipping, before letting the echoplex loose to just let the wonderful groove bump'n'grind.
Review: "The third edition of the Exit Planet Earth vinyl series features four more exclusive intergalactic selections from Ralph Lawson.A
'Exit Planet Earth - Nitrogen' features a selection of pioneers and up and coming talent. First up is a true legend of the UK electro scene, Keith Tenniswood aka 'Radioactive Man', who creates a constantly evolving sonic trip called 'One Out'. Watch out for the surprise sting in it's tail too. Sharing the A side is the incredibly talented Spanish producer Annie Hall, arriving fresh from her stunning CPU releases. Annie creates melodic landscapes, layered with intricate string orchestration driven by deep bass.A
On the flip side Helsinki-based Sunny Seppa aka Sansibar shows exactly why he is fast becoming hot property following his immense debut album on FTP - 'Targeted Individuals'. ASansibar brings the record back to the 4/4 with a flowing yet subtle working of synths and pads. Also based in Finland yet hailing from Holland is VC-118A, who previously caught our attention with his track 'PCB' a firm favourite at Exit Planet Earth events. VC118-A delivers some deep space dub with expertly crafted production centring on low end theory.
Review: This is the only studio album from US Soul/Rare Groove unit "Heaven Sent & Ecstasy", originally issued in 1980. An mysterious jacket design, inexplicable sub-title, some songs included in the soundtracks of "Scrolls, The Book of Life", many mysteries and great music have included and high demanded album with collectors are reissued as vinyl for the first time! P-Vine reissued it as CD in 2006, and now we present it as vinyl with OBI.
Review: "I'm from the 60s, the time of "Louie Louie" and "Little Latin Lupe Lu"," Jonathan Richman memorably quips on the opening to his 1992 classic, 'I, Jonathan'. He then tells us those days are gone, but we can still have parties, and those parties can still carry the spirit of those days. Little does he know it's his attitude, rather than the parties, we all rely on to keep those fires alive.
Simply considering Richman as a nostalgist is missing the point. When this record arrived he was 41, and while much of his career had been dedicated to recreating doo-wap, rhythm and blues and early surf rock 'n' roll, he'd also been a staunch critic of what would now be labelled toxic masculinity and, on 1975's 'The Modern Lovers', helped steer guitar culture towards new punkish horizons. Even if he did so wearing the trappings of traditionalists. A true legend, here giving us one of his finest acoustic gems.
Review: You would expect an EP titled "Retro-Future" to do a good job in uniting sounds from dance music's past and present. Naturally, Kepler's does just that on his first Sukhumvit release, opening with a hot-to-trot workout that adds warehouse-ready, turn-of-the-90s acid bass and glassy-eyed electronic riffs to smooth and shuffling tech-house drums ("Pickled"). He continues the glassy-eyed fun on the more squelchy, vintage MK-influenced bustle of "Out of Time" and "Groove Breakfast", which sounds like it could have been recorded at any time since 1990 (for the record, it also boasts some lovely piano stabs). Arguably best of all, though, is closing cut "In The Loft", which sits somewhere between '90s Italian house and organ-rich New Jersey garage.
Review: Sometimes a record comes along that is a wonderful anomaly that really is all about the music. Silver Leaf recently appeared on the radar via obscuro diggers on both sides of the Atlantic and landed with a Hey!
What is known about Silver Leaf, beyond that it was a short-lived mid-80s project out of Cincinnati, Ohio, is that it features ex-Zephyr keyboardist John Faris, working alongside the mysterious vocalist Silvia Leaf.
The difference between the blues and occasional psychedelic rock of early 70s Boulder, Colorado's Zephyr and the lo-fi recordings of Silver Leaf are striking, but in Hey! and Can We Rebuild Our City?, the power of the ballad and strong playing of John, is wrapped in mid-80s, mid-States lo fi heaven.
Whether a non-de-plume, Ms Leaf's searing, innocent vocals fly above John's keys and programming. Hey!'s repetitive exhalations act like a mantra to a party, while tom's chime in accompaniment. Here it comes!
Can We Rebuild Our City? starts with Faris' forlorn intro before crashing percussion heads to some kind of wonderful, as Leaf questions a calls to hearts.
Releasing just 3 singles, Silver Leaf's music is unique and essential, an experience and a delight to present.
Can't Run Away From Yourself (Holloway remix) (5:27)
Can't Run Away From Yourself (Holloway dub) (5:24)
Badman (0113 remix) (5:47)
Can't Run Away From Yourself (Desert Sound Colony remix) (5:56)
Review: Burnski laid out one of his most impressive artistic statements to date late last year with the Instinct album "Still Life", where his love of UK garage reaches into intriguing and experimental realms. Now he's invited a host of artists to turn in remixes with some stunning results. Holloway is up first, delivering an essential remix and dub version of "Can't Run Away From Yourself" that rides a crafty breakstep groove and places plenty of moodiness into the mix. On the flip, "Badman" gets the treatment from 0113, who keeps the 2-step flex up and matches it with some tasteful atmospheric drops in all the right places, plus plenty of bass of course. Desert Sound Colony completes the set with another highly developed take on "Can't Run Away From Yourself" that locks into its own ethereal groove.
Love Is The Message (7" Classic edit By Mr K) (5:32)
I Can't Turn Around (7" edit By Mr K) (5:24)
Review: A must have 7"... this is a big one! Although Danny Krivit had a few well-regarded edits on wax before "Love Is The Message," it was his head-turning cut-up of MFSB's masterpiece on TD records that put him firmly and irrevocably on the scene as a go-to man with the razor. The song was already well-established, but existed in many manifestations. Krivit's version focussed on Leon Huff's rippling electric piano solo & breakdown of the powerhouse rhythm section of Earl Young and company, a much anticipated highlight for subsequent generations of disco devotees. For its debut on 7-inch, Krivit has trimmed his famed original mix down to a fully functional five and a half minutes, a tight distillation of an undisputed classic of the genre. While the four-on-the-floor drums of Earl Young are rightly cited as key inspiration for the rhythmic style of house music, the flip side of Mr. K's new 7-inch showcases another immediate predecessor, this one recorded more than 1,000 miles southwest of the discos of New York and Philadelphia. "I Can't Turn Around" is the final track on Isaac Hayes's 1975 Chocolate Chip LP, and it builds steam like a locomotive, until the Memphis musicians of the Isaac Hayes Movement are open throttle on a hypnotically repeating orchestral funk riff. The song was a huge favorite in Chicago's Warehouse and its subsequent incarnation The Music Box, and the direct inspiration for early house hits by Steve "Silk" Hurley and Farley "Jackmaster" Funk. Krivit's edit is lean and tough, with all the fat surgically trimmed and nothing but the gloriously relentless vamp remaining, a fierce force that has left countless dancefloors in sweaty disarray.
Diminishing Returns (Bluetrain special edition dub)
Don't Rush The Dub
Give I Strength (remastered)
Review: Originally released back in 2013, Bluetrain Retrospective is a collection of extremely rare tracks from archive of UK Dub master Steve O'Sullivan, exclusive edits and unreleased tracks. This is definitely one of the most influential dub techno releases of the last decade and a proper showcase for the dub-echo lovers. The 15th anniversary collectors edition includes coloured vinyl and A3 poster.
Review: Following on from the excellent "Scene In Mirage" reissue that broke O Yuki Conjugate to a whole new crowd, Emotional Rescue return to the archives of the over-looked Nottingham "dirty ambient" outfit. Their second LP "Into Dark Water", originally released in 1987, is just as powerful as the first - a hypnagogic journey fuelled by a global stew of sound, feeding into elegant, evocative pieces. Fans of classic Jon Hassell will find much to enjoy here, but equally those appreciating the exotic post punk undercurrents of 23 Skidoo et al will easily find themselves drawn to the likes of "Ba-makala". Stunning, borderless musings from a hidden treasure of the UK's post-industrial heritage.
Review: There must be a place in everyone's heart for passion projects. In art and music these endeavours often push boundaries we thought immovable, throw curveballs in directions we didn't realise existed and prove that just because we don't initially see something doesn't mean it isn't there, or isn't worth exploring. Los Angeles' Damaged Bug have outdone themselves on those terms here. 'Bug On Yonkers' is a suitably strange ode to the inimitable Michael Yonkers, taking his 'Goodbye Sunball' record and reworking it in a way the he'd appreciate. Known for oddball pop-folk-jazz-rock mutations, here we're given that but with fresh ears on task. 'Sold America' is a cacophonous, brass-fuelled punkish hoedown. 'In My Heart' is a tear-inducing, all is lost slice of sombre yet serene balladry, strings apparently crying over the record itself. 'I Tried' brings the psychedelic funk in generous, drummy helpings.
Review: Chubby's third volume of split EP goodness welcomes two seasoned veterans of the deep to spin some yarns, with a couple of equally sagely remixers on board too. Vincent Floyd takes up the A side with the beautifully lilting house haze of "Meditation". Deep88 takes the original and gives it a more forthright set of drums - a more visceral jack for those who love the mellow moods but want some bite for the floor. Brad P's "Time Machine" is a typically refined trip into the undergrowth with gorgeous techno synth lines flitting around a warm and easygoing groove made all the sweeter by a little broken beat kink.