Review: The chain of interpolation is strong with this one. Dope Music On Vinyl present their next release, a 7" flipper of struttingly classic proportions. You'll see what we mean when you hear the A-sider: the aptly named "Ludwig Hill" offers a boom bap version of Walter Murphy's disco interpretation of Beethoven's Fifth, sprinkling it with an overdubbed Cypress Hill acapella for good measure. Angela G backs up the biz with a fresh flip of Warren G's 'Regulate', steering the proceedings even funkier and phatter.
Review: The MC was one of a kind. His legend lives on through his work which here gets served up on new label Doom in instrumental form. 'Saffron' (MF instrumental) is a silky late-night sound with warm melancholic chords and subtle boom-bap beats. On the flip, things get more jazzy with the expressive trumpets and more raw broken beat patterns of 'Arrow Root' (MF instrumental). It's a timeless and sophisticated sound that will woo any listener into a calming mood and comes on a limited 7".
Review: New York producer P-Sol has hit on a super effective formula for starting the party, stitching together a selection of familiar samples and hooks, adding some beautifully dusty breaks and adding a final sheen of shiny production skills. Both sides of this 7" have a touch of raw 'two turntables' action about them, while remaining impeccably constructed and tight, with the A-side 'This Way' proving to be the slightly speedier and slightly more funk/r&b-flavoured, while 'Breathe & Stop (Abstract Blend)' is the one for the pure hip-hop heads. Both, however, are dynamite in the box, needless to say.
Review: The figurative "battle weapon" is a kind of warring sonic heuristic; a dirty, up-your-sleeve musical "tool" made expressly for the MVP DJ to use in times of soundclash-y trouble. The Battle Weapons label know this all too well, and here they welcome new trainee assailant DJ Maars to demo his skills in the colosseum, bridging a fine line of recognisability and productive sample-flippage. 'A Nah Gun Nah Heat' brews Snoop Dogg's 'Drop It Like It's Hot' and Doug E. Fresh's 'La-Di-Da-Di' to delicious acapella effect, whilst 'Feel Like Standing' smashes Ludacris and Marcia Griffiths in an almost fated blend. Why didn't anyone else think of these before?
Review: Mega-sick big breaks from Brighton's Krafty Kuts, flipping undocumented verses from an earlier collab between the producer and verbalist TC Izlam, 'Ill Type Sound'. Every beat hits with huge plantar weight here, with kicks and reverso-claps rooting themselves in sonic continual soils. The original mix features here too, with twisty scratches, pan pipes and turntablist's kick rolls bringing a distinctively kitsch, jazzy, De Wolfe samply feel. "We got the groove, we got the sound, we got the vibe to make you get down!"
Review: Originally, a landmark album in underground rap and a standout collaboration has since become a cornerstone of the genre. The album's chaotic, sample-driven production and intricate, stream-of-consciousness rhymes create a unique album that has grown in accolades as the years have gone on. The beats, blend jazz, experimental hip-hop and underground sensibilities, making tracks like 'Sickfit' and 'Do Not Fire!' stand out. DOOM's lyricism shines through, with brilliant flows and rhymes that elevate tracks like 'Money Folder' and 'Figaro' into hip-hop classics. The album's vibe is defiantly playful, with weed references and quirky samples, but it's the chemistry between Madlib's unconventional beats and DOOM's meticulous wordplay that sets this album apart. Despite leaks and delays, this record remains one of the genre's most influential works, showcasing both artists at their peak.
Review: REPRESS ALERT!: New York's P-Sol steps up to the PS7 label in soulful form. 'Brooklyn Interlude' opens up with some brilliantly buttery vocal harmonies over a lazy and seductive deep funk and soul groove. The drums have hints of hip-hop and neo-soul and are sure to warm through any Autumnal dancefloor in style. Flip it over and you will find the distinctly festive-sounding 'Sad Party' which has some warming drum breaks and lush feels, swirling wordless vocals and glowing melodies that all give off a rather Christmassy feel. A great outing from P-Sol, then.
Review: Egyptian Lover has been kicking out the jams now for a full four decades. His famously hardware-driven sound is pure bay-popping perfection and has seen him define and redefine electro many times over. Staying true to his signature 80s west-coast electro sound, his new album 1987 echos classics of his like 'Egypt, Egypt' and Thebes of them all, 'I Need a Freak', by blending signature Roland 808 beats with Kraftwerk and hip-hop influences. He's a veteran at this stage, but he still moves a floor like few others can.
Review: REPRESS ALERT!: King Most is a revered American edit and remix master who is back with yet another big vinyl drop. This one is the first on his own new KM label and has already, we're told, been getting some high-profile plays from the likes of A-Trak. The A-side pairs off two epic classics - 'Bam Bam Tom Tom Club' has that languid, ass-wiggling groove you know and love with a twisted reggae vocal to make for something brilliantly original. The B, meanwhile, is a vinyl-only exclusive packed with Jamaican sunshine. 'Reggae For Roy' is perfectly organic and horizontal with its new reggae beat delivered under a classic Roy Ayers vocal.
Review: A historical pairing of hip-hop and soul that celebrates the connection between the iconic rap track and its sampled origin. Side-1 features 'Mind Playing Tricks On Me' by the Geto Boys', a landmark 1991 hit, widely regarded as the first Southern hip-hop classic. Scarface, Willie D and Bushwick Bill deliver deeply introspective verses exploring paranoia, mental health and street life, setting a precedent for emotional storytelling in rap. The track's haunting atmosphere and raw vulnerability put Houston's 5th Ward on the map, cementing the group's legacy in the genre. On Side-2, Isaac Hayes' 'Hung Up on My Baby' takes center stage, the soulful 1974 instrumental that inspired the Geto Boys' masterpiece. With its funky guitar licks and cinematic grooves, the track embodies Hayes' genius and underscores the lineage between soul and hip-hop.
Review: Eastside Edits is back with yet another infectious disc's worth of funky disco edits for DJs and collectors alike. Welcoming a fresh throng of international talent, this eighth edition hears up-and-coming Indonesian producer Rhework appear alongside renowned UK duo Suckaside. The former's 'Street Sounds' channel the effortless bustle of square-blocked, gridlocked city streets, where steam rises from manhole covers, taxicabs trailblaze yellow light trails, and funk clubs roar as loudly as underground subway systems. Suckaside's B-side is a call-and-responsive version of equal calibre, though it does clock in at a slower tempo.
Beware Of The Boys (Mundian To Bach Ke) (feat Jay-Z) (3:59)
Review: Panjabi MC's Mundian To Bach Ke is a genre-defying track that blends traditional Punjabi music with modern hip-hop in a way that's both innovative and irresistible. The heavy bassline and rhythmic tabla create a foundation that's as hypnotic as it is dynamic, while the infectious hook effortlessly crosses cultural boundaries. This fusion of Eastern and Western sounds was a game-changer, catapulting Punjabi music into the global mainstream. Nearly two decades since its release, it still commands dancefloors with its timeless energy, proving that its appeal is as universal as ever.
Review: The Weeknd's upcoming release marks the final chapter in the trilogy that began with After Hours and Dawn FM, bringing his signature fusion of nocturnal R&B and cinematic synthwave to new emotional depths. Highlights include 'Timeless', a brooding collaboration with Playboi Carti, and 'Sao Paulo', a sultry track featuring Anitta, blending Latin rhythms with atmospheric production. Thematically, the album explores redemption and self-reflection, with Abel Tesfaye's haunting falsetto weaving through stories of loss and longing. Fans can experience this new chapter live at a one-night-only show at Pasadena's Rose Bowl, a fittingly grand stage for what promises to be an unforgettable closing act.
DJ Deviant & Swamburger - "Get On The Floor" (3:33)
DJ Deviant - "Where's The Party" (3:47)
Review: DJ Deviant and Swamburger join forces for a double-sided serving of feel-good hip-hop and r&b on this 7" release. 'Get On The Floor' is a surefire party starter, its infectious beat and catchy hooks practically demanding movement and setting the tone for a night of good times. The track is a vibrant blend of classic hip-hop elements and contemporary production, with DJ Deviant's cuts and scratches adding a layer of turntablist flair. On the flip, 'Where's The Party' sees DJ Deviant flying solo, keeping the energy high with a smooth groove and feelgood vibes that are reminiscent of 90s r&b classics. The ever enduring appeal of hip-hop and r&b in full effect.
Review: Damon Locks, the Chicago-based musician and educator, delivers a powerful and thought-provoking album that explores themes of Black liberation and cultural identity. 'List of Demands' is a sonic tapestry woven from spoken word, archival samples and intricate rhythms, a testament to Locks's deep understanding of music, poetry and social commentary. The album's title, inspired by Locks's work with incarcerated artists, reflects its central theme: a call for recognition, justice, and empowerment. Tracks like 'Reversed' and 'Distance' set the stage with their hypnotic rhythms and evocative soundscapes, while 'Holding the Dawn in Place' and 'Everything's Under Control' offer moments of introspection and reflection. Locks's vocals, often processed and layered, create a mesmerising tapestry of sound, his words weaving a narrative of resilience and hope. A powerful and timely work.
Review: The Weeknd's latest project continues to push boundaries, but it's the quieter moments that really leave a mark. Take 'Dancing in the Flames'iit starts with muted synths, almost tentative, like something trying to find its footing, before blossoming into a dense, emotionally charged soundscape. Tesfaye's falsetto feels particularly vulnerable here, a perfect match for lyrics that seem to teeter between hope and resignation. On 'Timeless (feat Playboi Carti),' the mood shifts entirely. Carti's jagged verses cut through the lush production, creating a tension that makes the track feel alive and unpredictable. And then there's 'Sao Paulo (feat Anitta),' which bursts out with a vibrancy that feels like a releaseia rare moment of pure celebration. Overall, the album's impact lies in its restraint, in the contrasts and the spaces between moods where it truly resonates.
Uptown Rulers (feat Apani B. Fly MC & Bo Dollis Jr.) (3:51)
Come On Down (To New Orleans) (feat Fullee Love & Hasizzle) (4:12)
All Night (Professor Shorthair extended mix) (4:57)
For The Wicked (Professor Shorthair extended mix) (5:13)
Everybody Pays (Professor Shorthair remix) (4:50)
Uptown Rulers (Professor Shorthair remix) (4:49)
Come On Down (To New Orleans) (Professor Shorthair Bounce remix) (4:40)
Review: This release sees Connie Price & The Keystones bridging the gap between classic soul and contemporary hip-hop, delivering a collection of hard-hitting grooves that are both nostalgic and refreshingly modern. It features a stellar lineup of guest MCs, including Bootie Brown, Rakaa Iriscience, and Guilty Simpson, each adding their unique flavour to the mix. The A-side is a showcase of raw lyricism and infectious beats, with tracks like 'All Night (The Pharcyde)' and 'For The Wicked (Dilated Peoples)' capturing the essence of golden-era hip-hop while maintaining a distinctly soulful edge. On the flip, Professor Shorthair provides a series of remixes, adding a touch of dancefloor energy to the proceedings. From the extended mixes of 'All Night' and 'For The Wicked' to the bounce-infused reimagining of 'Come On Down (To New Orleans)', these remixes showcase the versatility of the original material and its ability to transcend genre boundaries. This is a must-have for fans of both classic soul and contemporary hip-hop, a testament to the enduring power of music to connect generations and inspire new creative expressions.
Review: The second Shuggy Edits 7" to hit the shelves in 2024, and the fifth overall, this esteemed edits series by the otherwise mysterious Shuggy nonetheless makes for one of the most in-demand around. This time we've two further funk and soul come bombastic hip-hop edits to contend with: first up is a version of Baby Huey's 'Hard Times', a tromboning 1971 strut by the American singer whose sole LP for Curtom Records was instrumental in the development of hip-hop; Shuggy lends the a harder, steeple-high, needlepoint edit-edge. This is further teased out on the B-side, whose 'Harder Times' hears a phat breakbeat and brass bass parp further teased out to frighteningly formidable effect.
Review: The king of west coast hip-hop is back better than ever, with a massive sounding album blending cinematic production with nostalgic nods to funk, slow jams and new jack swing, creating a rich tapestry of different styles. At its core is a narrative of resilience and responsibility, exploring themes of artistry, sacrifice, and the pressures of being a role model. Opening with sharp reflections on personal and public controversies, the record sets a tone of wisdom tempered by humor. Tracks like 'Heart Pt. 6' showcase vulnerability and growth, while others revel in pure bravado, bolstered by thunderous beats and infectious hooks. Collaborations with seasoned producers and emerging talent add depth, creating a sense of community and mentorship that underscores the artist's commitment to nurturing the next generation. Lyrically, the album examines fame, familial bonds and self-acceptance with a sense of duty and truth. It's a powerful statement of intention, offering both anthems for celebration and moments of introspection.
One False Move ("Great Day" demo instrumental) (4:52)
Review: A fascinating piece of hip-hop history, offering a glimpse into the creative process behind one of the genre's most celebrated albums. These demos, originally leaked in 2002, capture the raw energy and unfiltered brilliance of Madvillain's early sessions. MF DOOM's vocals, recorded and mixed at Madlib's Bomb Shelter studio, showcase his signature wordplay and off-kilter flow, while Madlib's beats provide a captivating backdrop of dusty samples and head-nodding grooves. Tracks like 'Do Not Fire!', 'Bistro', and 'America's Most Blunted' offer a fascinating glimpse into the album's evolution, with alternate versions and early arrangements showcasing the duo's creative process. While these demos may be unfinished, they still possess an undeniable magic, capturing the raw energy and unbridled creativity that would eventually make Madvillainy a hip-hop masterpiece.
Review: Chase & Status and Stormzy coming together was always going to be huge. One rules the charts, the other the clubs, and between them they cooked up a massive single that got heard everywhere all summer long, including a special live performance of it in Ushuaia Ibiza. Now you can own it on a slab of vinyl that has been cut nice and loud, which is perfect for the tune - the bass is devastating, the bars from Stormzy are hard, the energy is dark and unrelenting and it's the perfect sort of jungle cross over sound that will continue to be heard everywhere well into 2025.
Review: Paul Sitter and Tony Lavrutz's collaboration on Eu e Meu Amor plays like a breezy stroll through sun-drenched sounds and smooth rhythms. Their work here pulls effortlessly from bossa nova and tropicalia, but without leaning too heavily on nostalgia. The production is tight and warm, with layered guitars and whispered vocals that could easily soundtrack a lazy afternoon. It's not overly flashy, but it doesn't need to be; the charm is in the simplicity, the way the melodies unfold and gently stick with you long after the record ends.
Review: This album offers a smooth, nostalgic journey through classic 70s soul, with a modern twist that captures the essence of that era while infusing it with contemporary flair. The standout track, 'Rollercoaster', exemplifies the soothing, sensual style of the album, with falsetto vocals that echo the best of vintage soul. 'Mulholland Drive', a collaboration with Latoya Williams, further enhances this atmosphere, blending smooth grooves with a timeless feel. While the album leans heavily on familiar Marvin Gaye-inspired moments, tracks like 'Make Me Wanna' and 'Back To Your Place' draw listeners in with their rich, soulful melodies. The music itself is both comforting and captivating, with lush arrangements and a relaxed tempo that makes it easy to get lost in the vibe. Though some may find the album too nostalgic at times, the reverence for classic soul is clear and the execution is top-notch. For those who appreciate the golden era of r&b, this album delivers a satisfying, if sometimes familiar, experience that's sure to please fans of smooth, soulful music.
The Deadly Art Of Survival (feat DJ Doo Wop, Defari & Truck North) (3:52)
On The Cover Of Word Up! (feat Guilty Simpson & Rockness Monsta) (4:06)
Return Of Zulu Beat (feat Casual & Moka Only) (3:35)
Rap Makossa (feat Vast Aire & Psalm One) (3:24)
Latin Quarter Stories (feat Milano Constantine & Hassaan Mackey) (4:52)
Me & Lee Down By The Trainyards (feat Lewis Parker & Myka 9) (4:02)
Live At Disco Fever (feat D.V. Alias Khryst & Curly Castro) (4:48)
A Guide To Cold Crushing (feat Illa Ghee & Miz Korona) (2:38)
Boosting At Crazy Eddie (feat Frank Nitt & Lmno) (3:58)
We Rap Even More Mellow (feat AG & Kool Keith) (4:24)
Review: Mighty Theodore's latest taps into the essence of golden era hip hop, where storytelling reigns supreme. His sharp, introspective lyrics resonate with authenticity, recounting life's struggles over boom-bap beats that feel both nostalgic and fresh. The production complements his style, layering raw, rhythmic foundations beneath his reflective verses. This release is a throwback to when hip hop was more about narrative and substance than spectacleipacked with depth, grit and realness. It's a return to form that will satisfy fans of classic, unfiltered rap.
Review: Melbourne's The Pro-Teens, led by Hudson Whitlock, pay tribute to the legendary MF Doom with MF TEEN: Your Concurrence In The Above Is Assumed. The album dives into Doom's extensive discography, reimagining iconic tracks like 'Doomsday' and 'Curls,' while also exploring rarities like 'The Gas Face.' With a blend of cinematic soul, boom-bap funk, and left-field textures, The Pro-Teens offer a fresh take on Doom's sound. The orange vinyl edition adds a visual pop to the already nostalgic and immersive listening experience. Limited and exclusive, it's a must-have for collectors and Doom fans alike, keeping the spirit of the Illest Villain alive with each spin.
Heavy D & The Boyz - "Don't Curse" (DNA edit) (4:41)
Review: You have to liov these 45s that elegantly bridge the lineage between the original and the sampled while also highlighting hip-hop and r&b, showcasing the seamless interplay that defined the 90s. On Side-1, 'Back & Forth (DNA Edit)' gets a UK remix treatment from the legendary DNA crew, amplifying the track's smooth groove and youthful energy, silky vocals and laid-back charisma shining even brighter under the remix's refined production.. Side-2 features 'Don't Curse (DNA Edit)', transforming the posse cut into a sharper, more rhythmically dynamic experience as playful, feelgood verses and the crew's lyrical finesse are elevated by the remix's polished beats.
Review: It may have been released digitally six months ago, but Kanye West's "Jesus Is King" album - his 12th solo set in total - has finally made it on to vinyl. By now, most will have already heard it, but for the uninitiated "Jesus Is King" sees West meditating on Christianity, offering up a tight 27-minute set of tracks that draw influence from (or explicitly sample) gospel music in all its forms. It's still a hip-hop album of course, it's just that the beats, musical choices (gospel choirs, loops from killer records by gospel soul act The Whole Truth etc) and lyrics are closer to the black American gospel tradition than anything West has released before.
Review: London's own Nectar Woode brings her acclaimed neo-soul singles to vinyl with this special 7" release, spotlighting the Ghanaian-British artist's standout tracks from 2022-2023. Side A opens with 'Waiting,' a soothing blend of lush harmonies and gentle swing, while Side B's 'For The Best' brings an uplifting touch, packed with bright melodies and Woode's unmistakably warm vocals. Known for her soulful depth and vibrant energy, this release is a must for fans of contemporary r&b's most exciting voices.
Ghost In The Machine (feat Phoebe Bridgers) (3:46)
F2F (2:56)
Nobody Gets Me (3:08)
Conceited (2:33)
Special (2:35)
Too Late (2:45)
Far (2:57)
Shirt (3:06)
Open Arms (feat Travis Scott) (3:23)
I Hate U (3:33)
Good Days (4:31)
Forgiveless (feat Ol' dirty Bastard) (2:24)
Review: SZA's last album Ctrl in 2017 took the American vocalist into the stratosphere and so a follow up was always going to be a big challenge. But she rises to it and then some as the GRAMMY award-winning Top Dawg artist calls upon a top draw list of collaborators including Jeff Bhasker, Rodney Jerkins, DJ Dahi, Ant Clemons and Lizzo. The album went straight in at number one on the Billboard chart and was widely acclaimed by critics for its vocal performances and mix of r&b, pop and hip-hop styles. Plenty fo SZA's own innermost feelings are fully translated into this record, making it another absurdist, ambitious work.
Review: Innersoul's The Theory, originally released in 1996, has long been revered in the underground hip-hop community, and now it's getting a well-deserved reissue on limited edition vinyl with a Japanese obi-strip. The standout track, 'It's The Right Time', which was also released as a 12" single, captures the essence of the era, with its jazz and soul samples evoking the unmistakable East Coast underground vibe of the 90s. The album is full of lighthearted rap exchanges and soulful beats that are quintessential of the time. This reissue also includes bonus tracks, making it an essential pickup for both longtime fans and newcomers to this classic slice of hip-hop history.
Review: Often considered to be one of, if not, the most iconic performances from nu-metal legends Limp Bizkit (not including the riots of Woodstock 1999), their set at the Rock im Park festival in Nuremberg, Germany on 1st June 2001 featured the band touring their multi-platinum selling career highpoint Chocolate Starfish & The Hotdog Flavoured Water. Boasting, what in retrospect, seems like a greatest hits collection featuring cuts such as 'Hot Dog', 'My Generation', 'My Way', 'Take A Look Around', and 'Rollin'', while also offering up older essential bangers like 'Nookie' and 'Break Stuff', ample room is still provided not only for their iconic rendition of George Michael's 'Faith' but a surprise cover of Metallica's 'Master Of Puppets'. A time capsule live performance from one of the most maligned yet smugly successful acts to ever throw out the metal, rock and hip-hop rule books, this enigmatic set is the stuff of legend, with frontman Fred Durst's ensuing ego-trip backed by the band's venomously grooving execution at every turn.
Pain Au Chocalat (with Extra Butter bonus Beat) (3:43)
Review: Galaxy Sound Company has become one of those cop-on-sight labels thanks to is cultured 45rpm edit series. This time, label staple, bedroom B-boy beatmaker and Michigan native Strictlybutters drops a sweet duo of beatstrumentals that skate, stomp and groove with great style. Side A's 'Espresso Con Panna' flips Salt of the Earth's 1984 gospel-funk banger 'Love Light II' into a bass-thumping, sax-smooth hip-hop gem that will enliven any party. The second offer is just as sweet: 'Pain Au Chocolat' is a Detroit-inspired and buttery groove dripping in jazzy Axelrod-esque flair. Pure head-nod gold.
Review: There's a reason that Massive Attack's Blue Lines frequently appears in "greatest albums" lists. To put it simply, it's brilliant, and arguably remains the Bristol-based outfit's finest work to date (though some would argue that the dark and paranoid Mezzanine is possibly better). As this weighty vinyl reissue proves, it's lost none of its hazy, dub-propelled trip-hop charm. All-time classics such as "Unfinished Sympathy", "Safe From Harm" and "Hymn of the Big Wheel" have lost none of their soulful, mood-enhancing brilliance, while lesser celebrated cuts such as "Five Man Army" and "Lately" still sound great despite their vintage.
Review: First released way back in 1999, Raphael Saadiq's Q-Tip-sporting "Get Involved" is a warm and woozy, retro-futurist chunk of soul/hip-hop fusion that harked back to an earlier musical age. It remains an arguably underappreciated dancefloor bomb and here gets the reissue treatment courtesy of the freshly lauched 45 Jams imprint. It comes backed by another stone cold classic from Q-Tip, "Vivrant Thing" - a cut first featured on the flipside of the Tribe Called Quest member's much more celebrated "Breathe Don't Stop" single. It's a little more stripped back than the A-side, with Q-Tip delivering his distinctive flows over a crunchy and fuzzy, Jay Dee produced backing track crafted from samples from an old funk record.
Review: Private Stock Records is slowly but surely building up a golden catalogue of funk magic. This fourth EP is another high-class double dose that opens with Cutso's 'Fallen Love (Woo Woo)', a swirling slow burner of a tune with heavy, languid drums and twisted vocal samples that eventually coalesce into a warming party vibe. Excel's 'Had To Shut You Down' is a glorious soul gem with lush Philly strings and ornamental arrangements that raise your spirits and elevate your mood with its seductive grooves, not to mention a classic r&b vocal sample.
Review: Nourished by Time's latest work blends lo-fi r&b, freestyle, and bedroom pop with a confident ease that feels fresh and alive. The album, created in a Baltimore basement, is a snapshot of raw creativity, with a sound that's deeply personal yet accessible. Tracks like 'In the Quiet' and 'Tides' experiment with layers of rhythm and texture, pulling you into a world that feels uniquely his. It's an album that doesn't play by any rulesistriking a balance between introspection and broad appeal, while challenging what we expect from contemporary music.
Review: Shuggy's It's A Soul Thing featuring Alvin Worthy offers a captivating blend of soul and urban vibes. The vocal mix on Side-1 exudes catchiness and hipness, with smooth vocals delivered over a backdrop of sleek instrumentation. The track boasts a great horn section that adds depth and texture, contributing to its overall urban feel. On Side-2, the instrumental version showcases the band's excellent playability, with a groovy arrangement that allows the instrumentation to shine. Overall, 'It's A Soul Thing' is a standout offering from Shuggy, blending soulful vocals with tight musicality to create a track that is both infectious, enjoyable and a lot of fun.
Review: Famously self-taught musician Adrian Younge is at the forefront of modern soul music after starting as a hip-hop producer in 1998. He expanded his skills by learning multiple instruments and took inspiration from classic soul and Italian soundtracks before he self-released his debut album Venice Dawn, a moody, synth-heavy album blending Ennio Morricone's style with contemporary flair. His Something About April album followed years later and is a modern classic that merges psychedelic soul, cinematic instrumentals and hip-hop aesthetics while taking cues from greats of the genre like Wu-Tang Clan.
Review: Melodiesinfonie, Bluestaeb and S. Fidelity join forces to form a powerful trio, unveiling a rich nonnet of tracks destined for the universal chillout space. Taking shape in a picturesque studio in the South of France - and then completed in centres from Zurich to Berlin - the likes of '365 P', 'Summertime In '92' and 'Just Give Me The Aux' carry on the sparse and material-sonic tradition that has in recent decades inflected the neo-soul and jazz-electronica worlds. Every track here sounds to have been made with what sounds to the most apparently humble means available; rimshot clicks, wooden hits, impassioned hums and coos, Rhodes chords here and there. Loyal to one rule and one rule only - "we need to stay in the room together to make this a record that feels exciting to us" - the result is an evenhanded five-track flirtation with soul-bearing passion, toeing the hobline of cool and hot.
Review: American neo-soul pin-up D'Angelo has released a couple of the smoothest records of the last 30 years. He even made a welcome comeback in the mid 2010s and added some more magic to his cannon. Here Kero Uno remixes a couple of his tunes and ups their funky quotient to make them more suitable to dancefloors. First, he flips 'Spanish Joint' into a key-laced and funky workout with low-slung, hip-swinging grooves sure to seduce next to the zippy synth leads. On the flip is his hot take on 'Feel Like Makin' Love', another bona-fide gem full of heart and soul.
Review: Def Radio marks the return of Marc Mac's long-running Visioneers project. As ever with Visioneers, this record reimagines the default stock of hip-hop's best-stocked jukebox, often beginning from scratch and/or working around a central sample, to either recontextualise a classic or come up with a new song; whatever the case, the key hallmark of a Visioneers album is its live instrumentation, with flaunts a *gauche et droite* mastery over hip-hop's laggard swing. Where this would usually handled by the chance placement of the sample snippet on the timeline alone, here it (sounds) actually drummed in. On Def Radio, lead tune 'The Look Of Love' predominates with its three-note ostinato and unhurried beat flaneur, whilst runner-ups 'Layin' Low, Gettin' High' and 'Cuban Candy Sticks' also stick out as salient among the troupe.
Review: Marc Mac's Def Radio marks the return of the Visioneers project and another superb fusion of live instrumentation with hip-hop's signature swing. True to Visioneers' style, the album reimagines classics or crafts new songs and often rebuilds them around central samples. Unlike the rigid swing of sample placement, Def Radio boasts grooves that feel naturally drummed in which brings a nice organic touch. Lead track 'The Look of Love' shines with its minimalist three-note motif and relaxed rhythm while standout tracks like 'Layin' Low, Gettin' High' and 'Cuban Candy Sticks' further elevate this collection which is a soulful exploration of the dual live and sampled essence of hip-hop.
God Gave Me Feet For Dancing (feat Yazmin Lacey) (4:11)
Ajala (0:42)
The Traveller (4:48)
N29 (3:56)
No One's Watching Me (feat Olivia Dean) (4:57)
Hear My Cry (3:31)
Shaking Body (3:14)
Expensive (6:10)
Streets Is Calling (feat Manifest & Moonchild Sanelly) (3:08)
Why I Smile (5:20)
Have Patience (2:35)
Everybody (4:01)
Review: The Mercury Prize-winning British jazz group returns this September with the greatly anticipated follow-up to the award-winning 'Where I'm Meant to Be'. The first jazz group ever to win the prestigious accolade, their unique blend of jazz, calypso, afrobeat and roots has carried over into the two singles 'God Gave Me Feet For Dancing' and 'Ajala'.The former features up-and-coming star Yazmin Lacey, whose sudden scouting has made her a necessary one to watch in the British soul scene. Interpolating Nina Simones's 1965 classic 'Feeling Good', the track proposes the group's manifesto of dancing not just as an activity confined to the club, but as a God-given ability - an act of spirituality and community. 'Ajala', by contrast, is a fast-paced afrobeat-cum-bebop jam named after the Yoruba slang for being unable to sit still. Lucky fans were able to hear the recording live at the 'Beyond the Bassline' exhibition at the British Library - with some of the live adlibs and crowd work being included in the single version currently on streaming. Pressed on an indie-exclusive deep red stain disc.
Review: Casual Connection returns with a pair of clever edits that breathe new life into familiar classics. On 'Downtown King Kunta', the team samples Ginuwine's iconic 'Pony' and adds a fresh rap vocal, reimagining the smooth, sultry vibe with an energetic, streetwise twist. The track strikes a perfect balance between nostalgia and innovation, giving listeners a new appreciation for the beloved sound. On the flip side, 'Billie's Milkshake' takes Busta Rhymes' 'Gimme Some More' and gives it a playful, bass-heavy makeover. The edit retains the original's dynamic energy while adding a contemporary flavor that'll have crowds moving. Casual Connection's ability to elevate these tracks while keeping the essence intact showcases their skill in remixing and reinvigorating hip-hop and r&b staples.
Review: Warren 'Hanna' Harris, the multi-talented producer and instrumentalist from Cleveland, returns to Vibes And Pepper with a five-track EP of sophisticated and soulful sounds. The A-side features two previously released gems, 'Omnipotence' and 'The Dark', both timeless examples of Harris's ability to craft intricate arrangements that meld future jazz, broken beat and deep house influences, while the B-side unveils three previously unreleased tracks, highlighting his deft hand in manipulating sound, creating a landscape of unconventional sounds and structures. 'His Eyes (Detroit Remix)' is a standout, its mesmerising groove and soulful melodies take us to the heart of Motor City, while 'Menace' takes a darker turn, its brooding bassline and haunting chords evoking a disquieting aura of suspense and mystery. 'Spirit Logical' closes the EP with a flourish, its uplifting melodies and intricate rhythms again highlighting Harris's masterful production skills.
Denzel Curry, Gizzle & Bren Joy - "Dynasties & Dystopia"
PVRIS & Miyavi - "Snakes"
Fantastic Negrito - "When Everything Went Wrong"
Sting - "What Could Have Been" (feat Ray Chen)
Review: The Arcane Season 1 Soundtrack brings the electrifying energy of the acclaimed Netflix series to vinyl for the first time, featuring 16 dynamic tracks that set the tone for the epic clash between Piltover and Zaun. With contributions from renowned artists like Imagine Dragons, JID, Woodkid, Denzel Curry, Jazmine Sullivan and Sting, this album offers a rich mix of styles and emotions. Side-1 begins with Bea Miller's 'Playground,' and includes standout tracks like 'Enemy' by Imagine Dragons featuring JID and 'Guns for Hire' by Woodkid. Side-2 continues the journey with Pusha T's 'Misfit Toys' and Denzel Curry's 'Dynasties and Dystopia.' Presented in a high-quality vinyl format, this is collector's gem for both music lovers and Arcane fans equally. This soundtrack is great for anyone looking to relive the powerful moments of the series, while listening to the music makes you appreciate the series in such a different and unique way.
Review: Kendrick Lamar's 'King Kunta' and Kelis' 'Milkshake' hear an unlikely pairing on the perfunctorily named Edits series. The former track - some might agree its dust is still settling, as it was released in 2015 - sounds almost twice as lively here, its "oh, yes, you can, oh, yes you can!" ad-lib sounding about as squeezed as a hand-wrung lime steeped in its own juices and then dried out in Saharan heat. There's a diatonic, electric piano hook added on top too; Kelis' flip has a similar feel, mashing up the noughts teaser hit with a dash of easily identified r&b goodness - we're 99% sure you'll recognise the instrumental, its having also originated somewhere in the familiar fires of pop musical preeminence.
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