Review: For the latest in their series of "giant 45s" - loud 12" pressings of classic cuts from the Studio One vaults - Soul Jazz has decided to offer-up a fresh pressing of Brentford All Stars' 'Greedy G'. Based on James Brown classic 'Get On The Good Foot', the track was famously sampled by Boogie Down Productions on their iconic cut 'Jack of Spades'. It remains a bona fide party classic, adding a bass-heavy, Hammond-heavy reggae spin to Brown's insatiable funk groove. As it did the last time Soul Jazz issued it back in 1988, it comes backed with the deeper and more laidback 'Granny Scratch Scratch', another classic cut from Studio One's in-house backing band.
Julie Driscoll, Brian Auger & The Trinity - "Jeannine" (2:12)
Brian Auger & The Trinity - "In & Out" (2:59)
Review: BDQ's next limited 7" is a superb three-way collab between Julie Driscoll, Brian Auger & The Trinity. Their long-lost version of classic dancer 'Jeannine' is powered by wandering basslines and swinging Hammond Organ chords that bring warmth to the free-flowing jazz vocals up top. It has never before been on 45rpm and has been all but unknown for the last 50 years but was recently rediscovered while the label head was looking for something else for the recent 'Auger Incorporated' compilation on Soul Bank Music. On the flip is a mod jazz dancer who is just as hip and ready to make an impact.
Lost Girl (Marc Hype & Jim Dunloop Late Night rework) (3:24)
Special Technique Of Love (Jim Dunloop Shaolin Soul edit) (3:08)
Review: Dusty Donuts return with another heavyweight 7" of hip-hop gold, this time journeying from Queensbridge to Staten Island. Side A delivers a bouncy, chopped-up rework featuring a Lost Girl once heard on a legendary QB mixtape and it is guaranteed to ignite any dancefloor. Flipping over, the vibe shifts to Shaolin with a raw and soulful reinterpretation of a classic that pays tasteful homage to Staten Island's finest. With tight edits and a deep love for golden-era hip-hop, this release hits hard on both sides and is another great example of the craftsmanship, nostalgia and party-starting energy the Dusty Donuts crew always deals in.
Review: In celebration of 50 years in the performing arts, Idris Ackamoor presents Artistic Being for Record Store Day 2025-a powerful blend of jazz, spoken word and activism. Featuring the voices of acclaimed actor Danny Glover and stage legend Rhodessa Jones, this record captures highlights from the Underground Jazz Cabaret, which was performed during Black History Month 2024 at The Lab in San Francisco. Co-produced by Ackamoor's Cultural Odyssey, the release fuses poetic storytelling with evocative musical textures while reflecting on social justice, identity and resilience. Artistic Being is a profound statement from a visionary artist.
Take Three - "Tonite's The Night (All Right)" (7:22)
Brandon - "Suzy Hijack" (6:37)
Henning - "Arrival/Departure" (4:22)
Dam Funk - "Believer" (7:51)
Moon Moon B - "Oof"
Nicci Gable - "Close To Who?"
Randell & Schippers - "Love Jam"
Verticle Lines - "Theme From Beach Boy"
Brandon - "Suzy Hijack"
Take Three - "Tonite’s The Night (All Right)"
Index - "Starlight"
Uncle Jams Army - "Dial-A-Freak"
Gemini - "Log In"
Nexus - "Stand Up" (instrumental)
Reggie B - "Poison Candy"
L33 - "Keepin It Tight"
Gaussian Curve - "Broken Clouds"
Tony Palkovic - "True To Yourself"
Henning - "Arrival/Departure"
Nite-Funk - "Can U Read Me?"
Dam Funk - "Believer"
True Design - "I Wanna Break"
Crystal Winds - "Funk Ain’t Easy"
Review: Dam Funk has been foundational in crystallising Stones Throw's undisputed leadership in the nu-school funk and boogie scene, and he's up there with the great J Dilla in our books. Naturally, he's been asked to mix up the latest series of DJ Kicks and, ladies and gentlemen, it's a real masterclass - one of those comps you can safely leave on and let it do its thing on you. The mood is personified by a fine blend of electronics and tougher, funkier rhythms by artists such as Index, Moon B, and Dam himself. There are also a few rare cuts by Chicago house legend Gemini that fit in perfectly, and a whole heap of wavy, Cali-inspired electronic funk. Badass.
Review: This long-lost 1973 album from Graham Dee is a fabled record from the man who was a key figure in the 60s London session scene and later a prolific songwriter and producer, and it is now released on vinyl for the first time. Dee was a renowned session guitarist who played with legends like Jimmy Page and Jeff Beck as well as artists such as John Lee Hooker and The Walker Brothers. After working with them, he became an in-house producer for Atlantic Records and honed a distinctive 'British Soul sound.' In the 70s, he moved to the U.S., writing songs and working at the legendary Muscle Shoals. Mr. Super Cool was only rediscovered in 2019 and it's clear to hear Dee's unique talent on a record that offers a fascinating glimpse into early 70s recording.
Review: Delegation is a British soul, funk, and disco band known for their success across Europe, though they remained relatively under the radar in the U.S. Formed in 1975 by Jamaican singer Ricky Bailey, the group's music quickly gained traction with their first single, 'The Promise of Love' and follow up 'Where Is the Love We Used to Know' became a hit in Britain. Despite frequent lineup changes, Bailey was a consistent member throughout as the band recorded much of their music in London, including their popular Eau de Vie album in 1979. The band continued to evolve until the early 1990s and put out new music back in 20121. This is a comprehensive Best Of across two sides of coloured vinyl.
Review: The Delvon Lamarr Organ Trio are masters of the lost art of music that really makes you feel good without being cheap or cheesy. Making their sound so good is a careful mix of 60s organ jazz a la Jimmy Smith, some soulful strutting that Booker T would be proud of and plenty of sprinkles of Motion or Stax magic. The band is lead by Delvon Lamarr, a self-taught virtuosic musician who light sup each and every track, much like the warm, whirring organs that bring the funk. Expert drums and conversational playing styles all help make this one a real stand out.
Review: The Martin Denny reissue series continues at pace with one of his most sought-after albums. Exotic Moog was initially released in 1969 and pretty much does what it says on the tin - takes the iconic Moog synth and conjures up all manner of exotic and spaced-out sounds that leave you laying back and gazing on in awe. There's a retro-future feel to them which makes them all the more likable, and though some are beatless pieces of suspensory scene-setting, there are some breezy grooves like 'I Talk To The Trees' and sentimental space waltzes like 'The Enchanted Sea'. A characterful world of cinematic sounds for sure.
Review: Singer, poet and painter Di Melo (real name Roberto De Melo Santos) released his debut album in 1975 and it has since become a cult classic. If you can find a copy on second-hand markets it will cost you a small fortune so thankfully Fatiado Discos reissue it here in all its glory. The glorious tracks unite tango, soul, funk and MPB with lovely vocal work and plenty of Latin flair. Musically creative throughout, it is right up there with peers Jorge Ben and Tim Maia, and this version includes an insert with photos from personal family archives.
Review: Back in 2018, Sticky Buttons dipped into the vast back catalogue of Nigerian synth-funk supremo Dizzy K Falola and served up Sweet Music, a superb double-vinyl retrospective of his hard-to-find work. As the title makes clear, this is the inevitable sequel - a similarly impressive collection largely made up of tracks first showcased on the artist's final three albums of the 1980s. The music on show is colourful, attractive and effortlessly soulful, with Falola expanding his trademark Afro-boogie and Afro-synth sound via references to US r&b, soca and synth-pop. Highlights include, but are in no way limited to, the superb 'Afrikan Jamboree', Afro-electro gem 'Traffic Jammer', the stuttering excellence of 'Bad Boy' and the percussion-rich 'Dance Africa'.
Please Don't Break My Heart (DJ Andy Smith Reach Up Disco Wonderland re-edit)
I Like Funky Music (Skratch Bastid Turntable mix)
Black Water Gold Part 2 (DJ Andy Smith Reach Up Disco Wonderland extended mix)
Disco Hi-Life
Lovin' You (Smoove Disco dub)
Change
Free Yourself (Full Intention extended remix)
Bad Times (Yam Who extended vocal remix)
Body Work
The Big Throwdown
Losers & Fools (DJ Andy Smith Reach Up Disco Wonderland re-edit)
Beyond The Clouds
You're So Far Away (DJ Andy Smith Reach Up Disco Wonderland re-edit)
Five Days (CD2: Unmixed)
Love Don't Pay The Bills
Make It Alright
Please Don't Break My Heart (DJ Andy Smith Reach Up Disco Wonderland re-edit)
I Like Funky Music (Skratch Bastid Turntable mix)
Black Water Gold Part 2 (DJ Andy Smith Reach Up Disco Wonderland extended mix)
Disco Hi-Life
Lovin' You (Smoove Disco dub)
Change
Free Yourself (Full Intention extended remix)
Bad Times (Yam Who extended vocal remix)
Body Work
The Big Throwdown
Losers & Fools (DJ Andy Smith Reach Up Disco Wonderland re-edit)
Beyond The Clouds
You're So Far Away (DJ Andy Smith Reach Up Disco Wonderland re-edit)
Review: Bristolian turntablist and crate digger Andy Smith has long been renowned for the depth of his funk, soul and hip-hop selections, though it's only in recent years that we've discovered the quality and diversity of his disco collection. He continues to flex those credentials on the third instalment in his Reach Up - Disco Wonderland series. While there's plenty of obscurity on show, as you'd expect, Smith has chosen to include contemporary nu-disco cuts and fresh re-edits alongside vintage picks. So, while we cuts from The Sunshine Band, the disco-highlife of Orlando Julius and some late 70s electro-disco courtesy of French outfit Quartz, we're also treated to fresher tracks and edits from BB Soul, Birdee and Nick Reach Up, Yam Who and Full Intention. Throw in a killer DJ mix of the same material by Skratch Bastid and you have a genuinely essential collection.
Review: Andy Smith's Reach Up - Disco Wonderland Vol. 3 continues his exploration of the "Discosphere" with 16 more and one again carefully curated tracks. Featuring artists like Buscrates, Trailer Limon, and Rena Scott, the compilation also includes stellar edits and remixes by Full Intention, Yam Who, and Skratch Bastid. Initially curated during pandemic lockdowns and inspired by virtual DJ sets, Andy continues to share his superb collection via the legendary BBE Music label and once again this triple vinyl LP offers a treat for DJs, collectors and audiophiles alike.
Gustav Brom Orchestra - "Calling Up The Rain" (5:32)
Frederic Rabold Crew - "Ride On" (3:28)
Stan Kenton & His Orchestra - "Samba De Haps" (3:56)
Larry Rose Band - "The Sand" (5:25)
Review: The concept behind this new collection on BBE is a simple but effective one: sommelier Frederic Beneix has picked out a selection of wines, and beat maker DJ Cam has dug deep to serve up some rare but fitting musical accompaniments that were produced in the same year. Wine4Melomanes, therefore, is a unique collection of sounds from all over Europe that connects the complexity and sensuality of a tipple with the rhythm and melody of a song. Most are lush and sophisticated jazz cuts that sound good whether you're drinking or not. Delicious.
Review: Richmond beatmaker DJ Harrison is back with his second full length, Tales from the Old Dominion. This album finds the multi-talented artist play every single instrument on it after three heard years of graft. It swallows up a myriad of influences from across the ages such as soul, funk, rock, R&B, hip-hop, all with his own unique collage yet cohesive style. There are forward looking disco cuts, rubbery basslines, heart meltingly smooth neo-soul sounds and spaced-out hip-hop joints for the late night hours. This is a fresh record desire its nod to classic black music.
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.
Haruo Chikada & Vibra-Tones - "Sofa Bed Blues" (3:36)
Mitsuko Horie - "Chigasaki Memory" (3:49)
Review: The recent Tokyo Dreaming compilation on Wewantsounds was a huge success so the label does the right thing and follows it up with another collection of sounds from the Far East. This one again looks into the fascinatingly niche city pop sound with expert digger DJ Notoya at the wheels. He delves into the Nippon Columbia catalogue and turns out all manner of breezy and laidback gems from Hiroshi Sato, Hitomi "Penny" Tohyama, Midori Hara and more. In many cases, these tunes are making it tot vinyl for the first time. What's more, the audio has been newly remastered in Tokyo for this reissue making sure it sounds as good as possible.
Akira Yasuda & Beat Folk - "Yumura No Obaba" (3:04)
Pinky Chicks - "Tosetsu Donpan Bushi" (3:16)
Review: On the first instalment in the Wamono A to Z compilation series, released in September 2020, dusty-fingered diggers DJ Yoshizawa Dynamite.jp and Chintam focused on Japanese jazz-funk and rare groove gems recorded and released between 1968 and '80. For this speedy sequel, they've narrowed their focus further in order to showcase little-known Japanese funk slammers pressed to wax between 1970 and '77. As you'd expect, there's tons of absolute bangers amongst the 10 tracks on show, with highlights including the Blaxploitation movie soundtrack vibes of Mieko Hirota's 'Theme of Doberman Cop', the fuzzy, Hammond-sporting psych-funk of Fujio Tokita's quirky 'Watashi No Beatles', and the energetic, proto disco-funk of Hatsumi Shibata's 'Singer Lady'.
Hitomi Tohyama - "Sweet Soul Music (Kiss Of Life)" (3:50)
Review: For the latest edition of their essential Wamano A to Z compilation series - the third to date - DJ Yoshiwza Dynamite JP and Chintam have decided to focus on "Japanese light mellow funk, disco and boogie" tracks recorded between 1978 and '88. Like its' predecessors, the eight-track set is heavy on obscurities and little-known cuts, as well as bona fide killer cuts. There's much to savour throughout, from the intergalactic, slap-bass propelled boogie brilliance of Jadoes' 'Friday Night (Extended Mix)' and the laidback funk bliss of Yumi Sato's 'Ame', to the smooth jazz-funk lusciousness of Hitomi Tohyama's 'Rainy Driver' and the Latin-infused, Teena Marie style electrofunk brilliance of Mizuki Koyami's 'Kare Niwa Kanawanai'.
Review: Legendary Rephlex alumni and electro mainstay DMX Krew revisited a Minneapolis sound with boogie and freestyle elements in this timeless 2005 Japan-exclusive release. After almost 20 years it finally gets a vinyl issue over there in Europe thanks to Cold Blow and is a surefire way to kick start your day no matter the mood you are in. As ever, the studio wizard cranks up through the gears, gets the most out of his array of machines and explores rhythm and sound from many different angles, sometimes seemingly all at once. This remains a great record despite its vintage.
Review: Dogo du Togo & The Alagaa Beat Band bring a unique sound to West African music that blends psychedelic rock, traditional Togolese rhythms, voodoo-inspired melodies and infectious dance grooves. Led by Dogo, who dubs their style 'Alagaa Trance,' the band's music weaves hypnotic layers and vibrant beats that are both captivating and energising. Their much-anticipated album, Avoude, captures this powerful fusion and is set for release in November on the We Are Busy Bodies label and promises to transport you into a new world with its mix of cultural depth and rhythmic intensity.
Review: The man behind proto yacht rock anthem "Get It Up For Love", Ned Doheny's 1976 sophomore set is the stuff silky soul dreams are made of. Yet madly it's not been available on vinyl for almost its entire lifetime. Here newly emerged vinyl-revivalists Be With have reissued 500 copies. And it's pressed on 180g vinyl, allowing you to enjoy every gossamer nuance, from the glistening subtle slides on "I've Got Your Number" to the upbeat disco smoothness of "On The Swingshift". Sweeter than candy...
Review: A pivotal figure in the early 1970s MPB scene, Salvador was not only a highly regarded sessionist and composer but also a band leader. His 1971 album is a vibrant mix of bossa nova, samba, funk, and carioca styles, infused with raw energy. Original copies of this influential fourth album often fetch around $200 due to its eclectic range. From the lively opener 'Uma Vida' to the Beatles-esque narrative of 'O Rio' and the orchestral boogaloo of 'Number One', the album showcases Salvador at the height of his fusionist creativity and musical prowess.
Review: Som, Sangue e Raca remains a cornerstone in Brazilian music. The classic album epitomises Dom Salvador e Abolicao's fusion of samba, soul, rock, jazz, forro, and baiao. Their influential sound heavily impacted Banda Black Rio and that is just one of the reasons why this classic album is celebrated. It is also a great summer listen with its warm and infectious melodies and diverse musicality all of which means it's a must-cop for lovers of international sounds. Even better is the fact that Som, Sangue e Raca now comes in a limited edition of 1000 individually numbered copies on translucent red vinyl.
Review: Paper Can't Wrap Fire is the third album from Melbourne/Naarm multi-instrumentalist Don Glori, and it is a rich mix of jazz, soul, funk and R&B, but also marks a bold evolution in the artist's own songwriting. The title is based on a Chinese proverb about truth and underpins reflective tracks like the soulful 'Brown Eyes,' satirical 'Disaster,' and introspective 'Flicker' Recorded in Naarm with friends and past bandmates, these sparkling sounds are brimful of the sort of life-affirming harmonies and dynamic musical interplay that makes you smile broadly, while the heartfelt lyrics make this town mark. Influences from the likes Azymuth, SAULT, and Jordan Rakei are all clear, but Don Glori crafts his own take on those sounds that speaks to both emotion and intellect.
Review: The third album from Melbourne/Naarm multi-instrumentalist Don Glori merges jazz, soul, funk and r&b and marks a confident leap forward in his songwriting journey. Anchored by a Chinese proverb about truth, Paper Can't Wrap Fire explores themes of honesty and introspection across standout tracks like the silky 'Brown Eyes,' the sharp-witted 'Disaster' and the meditative 'Flicker.' It was recorded with close friends and longtime collaborators and radiates warmth, spontaneity and rich musical chemistry. While nodding to influences like Azymuth, SAULT, and Jordan Rakei, Don Glori delivers a sound entirely his own and it is wonderfully intimate.
Review: Joao Donato is one of the most well known and prolific stars of Brasil's MPB (which is short for "musica populera brasileira") scene. He has toped several highly sought of albums and is still turning them out today despite already having assured his legacy. A Bad Donato is something of a move away from his Brazilian bossa nova roots - instead the album, which was recorded in LA, is electric and eclectic with funk, psychedelic pop and groovy Fender Rhodes driven sounds. This reissue on Verve By Request comes on nice heavyweight 180g vinyl with classics like 'The Frog' and 'Lunar Tune' still sounding fresh.
Review: It's been a minute since we had a record from Donny Benet, the Australian singer, songwriter, bass guitar ace, disco evangelist and entertainer. Turns out it's always worth the wait, with Infinite Desire not only classic Benet - albeit on a smooth, sultry, easygoing tip - but also a record that marks the beginning of a new chapter for this beloved character. His first on a freshly minted indie label he set up. A fun odyssey with added glitter and swirl, like almost everything the man touches, Infinite Desires is inspired by a simpler time, when blazers with shoulder pads were nightclub attire, hair was big, and overbites ruled the dancefloor. But what really stands out is how right these sounds still feel today. This is no pastiche, let alone parody, but DIY innovation that serves to remind us of what groove really means.
Review: This new album is Dowdelin's therapeutic best and one that delves into themes of depression, life's highs and lows and resilience. Along the way, it blends Caribbean rhythms with jazz, electronic music and percussive soul to make for an ever evolving and intriguing trip through moments of struggle and hope that mirror those in everyday life. Sung in Creole, French and English, each track weaves rich melodies with deep emotion and makes for a powerful exploration of mental well-being. Dowdelin's take on well crafted funk is where tradition meets modernity and the result is a sound that is both healing and invigorating.
Review: Brian Auger's Streetnoise was originally recorded in 1969 with Julie Driscoll and The Trinity. It stands proud as a genre-blurring work of jazz, rock, folk and soul greatness that found the group moving beyond their r&b and jazz roots. Instead, Auger and Driscoll crafted a progressive, avant-garde yet deeply soulful record in which Driscoll's haunting vocals contrast beautifully with Auger's instrumentation. The gatefold sleeve was designed by Hunter S Thompson collaborator Ralph Steadman and was inspired by Hogarth's satirical etchings which in turn reflects the album's artistic ambition. Streetnoise features dynamic instrumentals like 'Ellis Island', great reinterpretations of 'All Blues' and 'Flesh Failures' and standout tracks such as 'Indian Rope Man' which highlight Auger's visionary fusion of styles.
Review: "I told her my plight, then I played her a song, and she told me I wasn't singing high enough for my speaking voice. When I returned to LA, I started coming up with new progressions, which I'd modulate up three half steps. It forced me to find a new way to sing."
So says Drugdealer founder, singer and primary songwriter Michael Collins of his chance meeting with composer-artist Annette Peacock at Mexican Summer's annual Marfa Myths festival, their conversation concerning his lack of faith in his own singing voice which, by this point, had become crippling to the point of giving up. Taking that sage advice and applying it, Hiding In Plain Sight is the result - an incredible exercise in modern soul-rock and an instant classic.
Review: Some serious gospel-soul action here from one of the most storied gospel groups in history, the Clark Sisters. The album, which was co-produced by their mother, the legendary choir director Mattie Moss Clark, first landed in US record stores way back in 1980. It's a stunning album all told, with the sisters' incredible vocals rising above backing tracks marked out by interesting arrangements, changes of mood and tone, and plenty of authentic soul and jazz instrumentation. The superb title track and the infections 'Ha-Ya (Eternal Life)' - the latter the subject of a number of re-edits over the years - are the best-known cuts, but other highlights include 'Pure Gold', the epic 'Speak Lord' and 'Salvation Means More To Me'.
Review: Back in the mid-to-late noughties, musical polymath Bruno Hovart (Patchworks, Voilaaa, Mr President, Uptown Funk Empire etc) helmed a revivalist dub reggae band famed for delivering dusty cover versions of soul, pop and rock hits. Hovart is a dab hand at making anything he touches sound scarily authentic, and much of Version Excursions, the band's now reissued debut album, sounds like proper Jamaican rocksteady, roots and ska of the 1970s. It's a simple idea, brilliantly executed, with highlights including their covers of 'Seven Nation Army', the Rolling Stones' 'Miss You' (reimagined as a toaster-sporting disco-reggae jam), and Led Zeppelin's 'Whole Lotta Love'.
Explanation Of The Funk (feat Dre King & DJ Stylus) (4:08)
Three-Season Crank (feat Raja Kassis) (6:11)
Slip 'n Slide (5:22)
Alligator Confrontation (5:09)
Off The Rails (5:57)
Pull My String (4:50)
Bleeps, Sweeps, & Creeps (2:30)
What Happened To Yesterday? (5:07)
Black Bird Dub (4:47)
Review: Glenn Echo & Daniel Meinecke won plenty of acclaim with their last outing What Happened To Yesterday?! and now they quickly back it up with a third outing on MotorCity Wine Recordings What Happened To Yesterday? Vol 2 is another blend of heady, dubby sounds with cosmic dance vibes that span serval sub-genres with ease. 'World In My Head' kicks off with lo-fi and low-key depths, and further downtempo tracks like 'Explanation of The Funk' with Dre King's trumpet and DJ Stylus's cuts, and 'Three-Season Crank' with Raja Kassis's guitar further sink you into blissed-out beats. The flip side has dancefloor-friendly jam 'Off The Rails,' then moves into dubby, meditative territory and ends with the gorgeous 'Black Bird Dub' which allows Echo's eclectic production and Meinecke's keyboard mastery to shine.
Review: Glenn Echo and Daniel Meineck are back on Detroit label MotorCity Wine with their first new music in two years following their well-received Partly Cloudy album. What Happened to Yesterday? is, we are told, the first of two albums from the pair that will arrive several months apart. It finds the pair get super hazy and dubby, with psychedelic charm swirling around their absorbing grooves next to subtle cues taken from the diverse likes of DJ Premier and King Jammy. There is a superb Moog-based cover of De La Soul's 'I Am I Be', Afro-Carribean disco in 'Dancehall of Grandeur' and epic jazz-rock on Volcano Sound' so dig in and prepare to be wowed.
Review: After their debut collab on this label back in 2020, Afro-Cosmic pioneer Daniele Baldelli and sometime FPI Project member Marco Fratty are back once again with a new album, Graffito that taps into all their many years of experience at the forefront of this sound as producers and influential DJs. It's a record packed with cosmic arps and dazzling synth lines that reach for the stars over heavy, churning drums that lock you in. The track titles give more than subtle hints as to the vibes of these pieces, all of which are utterly timeless and could be long-lost 70s classics or future gems.
Review: This third collaborative album between Scream & P. Rock takes inspiration from a trip to Brazil, where they collected samples in Rio. As such the sounds blend Brazilian grooves, bass synths, live percussion, funky drums, guitar solos and vintage breaks with raw, experimental touches into an album full of life. The duo's signature sound is a fusion of their own DJing and music production and is ever more refined, having been crafted over the course of a year. Cinematic arrangements and a fresh approach to sampling make this another great chapter in this duo's musical story.
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