Review: The wonderful new 'Womp In My Spirit' blends flashy 80s-inspired beats with smoothly delivered and rhythmic lyrics that together capture the essence of West Coast vibes with American Moniquea's distinctive vocals shining alongside masterful boogie beat maker XL Middleton's typically faultless contributions. Once again they have cooked up a gem for the modern funk scene and the instrumental version allows you to fully appreciate the depth of the production without the vocals. This one has already been getting bumped by renowned DJs like Walla P, Zackey Force Funk and Soul Clap and hits a perfect sweet spot between funk and hip-hop.
Review: The Peoples Potential Unlimited quest to unearth the Atlantic boogie that time forgot continues unabated - this time reviving a1983 gem from Detroit's The X Man. Wrapped in an excellently presented sleeve, the somewhat mysterious X-Man supposedly had what should have been a fruitful musical career cut short by a 30 year stint in a Motor City psychiatric hospital. This was no obstacle for PPU however, who were granted the master tapes to press up "That Body" and "Fired Up" at 45rpm on a nice fat twelve! There's an undeniable funk swagger to "That Body" which sounds like Jimmy Edgar if he was a child of the 70s - in a word, killer. The B Side proto hip-hop bump of "Fire It Up" proves to be just as infectious, driven by some loose limbed synth flourishes.
Review: Peoples Potential Unlimited or PPU, is one of the freshest funk labels out there, whether serving up new funk sounds that sound old, or reissuing classic funk sounds that seem bang up to date. Often lo-fi in design but high in emotion, they make for party-starting gems with real swagger. This latest limited 7" is a reissue of a classic from The X-Man, who has apparently been locked away in the Detroit Psychiatric Hospital for the last 30 years. His aggressive funk style pairs driving drums and taught synths with libidinous vocal delivers and plenty of great guitar riffs. Here we have the driving 'That Body' paired with the more deep and bumping 'Fire Up'. Both bang.
Review: Fresh off the back of X-Ray Ted's debut album Moving On comes this instrumental/scratch tool version of 'Get Loose', one of the record's best-loved non single tracks. Prior to the full album's making and eventual completion, The Bristol-based DJ and producer had spent years honing his craft and refining his signature sound, which drew heavily on soul, funk, hip-hop and breaks; all of which were styles heavily indebted to the street battle breaks culture found in 90s New York and other major cities. 'Get Loose', the seventh track on the record, features British rappers Dr. Syntax and Elemental and is a fiery exploration of what it means to loosen oneself; the track features here in full original form, alongside its locked groove and acapella versions, the former of which samples an oldskool comedy set characteristic of the kinds of sources battle DJs would sift theirs from.
Review: Born on the French Island of Martinique, Louis Xavier later settled in France where he discovered the freedom of jazz, and an idea to mix his influences into a global melting pot of sound. He formed his band (Synchro Rhythmic Eclectic Language) in Paris in the early '70s, making music that was both spiritual and eclectic for its time. Both tracks are jazz in essence but with instrumental funky rhythms infused with intricate percussion and electric keys.
Review: Now released officially, Zackey Force Funk & XL Middleton's 'Hey MF / Phone Home' first came in a cloud of hype amid the decision by MoFunk to release "exactly ONE" copy of the test pressing to whomever proved themself keen enough to own it. We're not surprised that the label might anticipate such fan fervour, since this is a uniquely totalising modern funk gem, manifesting technically as a Johnny Chingas cover but in practice evidencing the relentlessly singular, syncretic combined production style of the LA natives. Chingas' original lyrics are invidious but infectious, a mood coaxed further out by the duo's breathy talkbox usage: "hey motherfucker, who do you think you are? you think you so much better than everybody else... what do you mean I'm a fake DJ?!"
Get Loose (feat Dr Syntax & Professor Elemental) (2:29)
Watch Me Walk (feat Carys Abigail) (3:14)
Gimme Soul (3:15)
Bap Bap (2:39)
Love Inside (3:10)
Talkin' (2:33)
Review: X-Ray Ted's debut album, Moving On, is a tremendous journey through the realms of Funk, Soul, Hip Hop, and Breaks. With meticulous attention to detail and a keen ear for hidden musical treasures, X-Ray Ted delivers a collection that seamlessly blends vintage sounds with modern flair. From the infectious guitar riffs to the irresistible beats, each track on the album exudes an infectious energy that is guaranteed to get listeners moving on the dancefloor. What truly sets Moving On apart is the stellar lineup of collaborators, including hip-hop luminaries like Afrika Baby Bam and Fullee Love, as well as the soulful vocals of Carys Abigail. Together, they create a musical tapestry that effortlessly bridges the gap between retro vibes and contemporary beats, offering listeners a timeless experience that celebrates the rich history of music while embracing the future.
Love When It Comes Down To It (feat Z-Man & Moniquea)
Dena City Council (feat Blkwest, Pasadena Sean Fka S-Dee, & Gr8 Dane)
Kinda Faded
Under The Sun (Enois Scroggins feat XL Middleton & Dynamite D)
Another Summer
I'm Just Sayin (Blkwest feat XL Middleton)
Shotgun (feat Rev & Bo-Rocc Of The Doveshack)
Too Grown 4 That (The Touch Funk feat XL Middleton & Espe)
Why Don't They Get It (feat Pasadena Sean Fka S-Dee)
Review: A compilation of tracks from past albums, collaborations and formerly unreleased cuts by XL Middleton, G-funk-master extraordinaire from LA. Compiled specifically for XL's recent Japan tour, this release comprises the bulk of remaining copies, which, we can vouch, flew largely off the shelves, and fast. The sole focus on G-funk, albeit in his own signature style, has proven so far effective for XL; his production style tends towards the unmistakably steezy and squeezy, and it also borders on West Coast crunk and DJ Mustard-esque ratchet at points. XL entertains wonky 808s and smooth 2-stepped blears, effectively conveying the mood of "layered back", best enshrined in the happily system-conscious track 'Unemployment'.
Like We Used To Do (feat I, Ced & Moniquea) (4:33)
Review: If you think you know a cooler cat and more brilliant boogie producer than XL Middleton right now then you're lying. His Tap Water very much set that reparation in motion when it arrived back in 2016 right when modern funk was making a comeback thank to Dam Funk et al. It's a hard to find original that still stands up and now it has been followed up by a second volume of brilliantly squelch analogue funk, dazzling boogie baselines, lush sci-fi chords and retro future fills, vocals and hooks.
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