When I'm Alone (JKriv & Peter Matson remix) (6:14)
Review: Adeline is undoubtedly best known for being the front-woman of Brooklyn-based disco band Escort, an outfit whose members also included Razor-N-Tape co-founder JKriv. It makes sense, then, that her latest solo single is appearing on their "Reserve" offshoot. Co-produced by Midnight Magic man Morgan Willey, "When I'm Alone" is a revivalist leftfield disco cut rich in "Beam Me Up" style walking bass, ear-catching guitar riffs and lolloping drums - all topped off by a fantastic vocal from Adeline. Jacques Renault delivers a slightly heavier, house-influenced remix with subtle Italo-disco style arpeggio lines, while Dirty Channels offers a more bustling but still pleasingly organic sounding disco-house take. Finally JKriv joins forces with Peter Matson on a remix that sounds like vintage Escort with added dub delays.
Review: Kevin Gorman aka Adesse Versions brings his cut and paste ethos to Brooklyn edit series Razor-N-Tape with a varied pair of heaters. On this wicked two tracker, the label takes it back to their early format of one track per side: and these two cuts can certainly carry it! On this side we've got "Bumpin' NYC" a lo-slung disco classic with that proper New York City vibe, if ya catch our drift? On that side, we have a lovely little number in the form of "Sistem" that flips an afrobeat sample into a dark and groovy club track with even a little bit of acid for good measure.
Review: In the super saturated and competitive scene of disco edits, it takes a lot to differentiate yourself from the pack. Enter New York City's Razor N Tape. What do they bring to the table that is different, you may ask? They offer up what they call 'respectful edits'. Got it? There are the ones you can trust and play with confidence. On this volume they present Al Tone, who are known for their eponymous rework series. The duo comprised of Chicagoans Al Bumz and Tone B serve up some lovely Afro boogie on "Feelin' Irie" and some pitched up soulpower in the form of "Simone Manuel". On the flip, there's a familiar hook on the vocal driven deep disco resplice of "Groovin'" then they take us home with the Theo-esque looped sax and falsetto gallup of "Wishes".
Review: Moscow's Arsenii is up next on New York City edits imprint Razor N Tape. Following up the great Allegria on Basic Fingers last year, he's back with some more obscure oddities spliced to perfection once again. He takes the razor to "Son of the Sun," which the label themselves describe as "the Shaft-in-outer-space drama" (and we agree completely) to the 'proto-balearic lilt' of "Jungle Melody" by Pierre Dalmon and of course the big band funk of "Fool Like A Child"; more commonly known to some as Christian Gaubert's "Sweet And Fool Like A Child" from 1979.
Review: Earlier in the year, Rio de Janeiro-based duo Balako made their debut on Barefoot Beats, sharing the billing with Eddie C on a tasty 10-inch single. The chaps at Razor-N-Tape were clearly impressed, because they've given the Brazilian twosome a 12" on which to showcase their edits. The hit the ground running with breezy opener "Batuque", which sees them add heavy, elongated analogue bass notes and delay-laden drum machine percussion to a suitably summery and glassy-eyed chunk of mid-tempo Batacuda positivity. Elsewhere, "Deixa Acontecer" turns a sweet salsa offering into a throbbing, Italo-influenced delight, while "Honey, Honey, Honey" sees them make merry with a wonderfully low-slung Brazilian disco epic rich in stripped-back bass guitar, druggy synthesizer arpeggio lines and sparkling electronic melodies.
Review: Some six years on from his first edit outing on Razor-N-Tape, Frank Booker returns to the storied Brooklyn imprint with another batch of fire revisions. Leading the charge is the thrillingly low-slung A-side "Be Yourself". This is a driving slab of floor friendly disco that incrementally builds from a spacey, groovy start to a celebratory, string-laden conclusion. Just as good is "More", an elastic disco-funk outing that tightens up and extends a vaguely familiar workout and sounds like the kind of rearrangement that will create pandemonium when dropped at the right time. Finally, Booker dips the tempo considerably on the slo-mo space disco chug of "Starship", perfect for a rooftop boogie.
Review: Brooklyn label Razor N Tape return with some razor sharp edits from the personal armoury of Frank Booker, Anyone who keeps a left eye on contemporary deep house and disco should be familiar with the Auckland based DJ, producer and co-host of the Hit It & Quit It radio show with Recloose; in fact those that aren't should enrol in disco night classes right now! Those might help you ID the source material on the two edits from Booker here, though the gliding horn heavy funk and distinctive grunts of A Side rework "Skin" should be all the clue you need. On the flip, the loose limbed percussion and rising Philly strings of "Interstellar" provide equal doses of dusty disco delight.
Review: After building a reputation via a swathe of rock solid, digital-only EPs on About Disco (an imprint he founded in 2015), Rafael Cancian has finally been given a chance to showcase his wares on wax. There are lots of top-notch edits to enjoy on the Brazilian producer's first Razor-N-Tape outing, from the sax-powered, solo smothered disco-funk cheeriness of "C'est La Douceur", to the low-slung South American disco grunt of "Fragil" and the jazz-funk tinged carnival goodness of superb closing cut "Besos Libres". There's no needless production trickery or shamelessly beefed up house beats, just perfectly DJ-friendly rearrangements of obscure, little-known gems.
Review: Brooklyn label Razor N Tape is becoming increasingly well regarded in the edit community, returning here with their tenth release and it's an introduction for newcomer Caserta. Those who scour Soundcloud on the reg will be familiar with Boston-based Caserta who's been throwing up examples of his edit expertise on the orange and white place for the past year. Six tracks deep, the Dynamics EP shows Caserta's style incorporates thumping sample-laden hip-hop grooves, nu disco and bumping old-school house. Furthermore there's a deftness to his touch on cuts such as "Nobody Believed" and "All My Dreams" that sets Caserta apart.
Review: Chicago Nite Owl Chrissy returns with four more floor-focussed revisions that cater for all chapters of the night. Space jam "Discoglide" is the quintessential party starter, all whistles and crowd chants. "Fix It Man" takes tool-swinging Ragtyme into the future while "Every Person" explores the soulful nuances of Double Exposure with gossamer glee. Finally we climax with the bass-slapping super-strutter "Standing Passengers". A full instrumental rich in percussion and snake-like wah wahs and tightly sprung horns, there'll be standing room only when you drop this.
Review: For their latest journey into re-edit/original production fusion, Brooklyn's Razor 'N' Tape crew has turned to Munich duo COEO, who have previously impressed via fine outings on Toy Tonics and Let's Play House. The four-tracks here, which all blend samples from classic recordings with their own drums and musical flourishes, all sound like guaranteed dancefloor winners. Check, for example, the breezy Afro-beat-goes-disco cheeriness of "Nigerian Affair", the wonderfully rich keys and organic deep house bump of "Pajama Stomp", and the riotous, high-octane disco-house loop-funk of "Long Night Ahead". Best of all, though, is opener "Like It Is", a sweet, dewy-eyed, string-drenched soul revision that achieves the perfect balance between dancefloor grunt, and paying due reverence to the German duo's horn-heavy source material.
Review: Since 2012, Munich duo COEO has served up a swathe of sample heavy, disco influenced house EPs for such labels as Let's Play House, Toy Tonics, Lagaffe Tales and Razor-N-Tape Reserve. Here they pop up on Razor-N-Tape's main edit label with something different: a quartet of traditional scalpel works from their personal stash. First up is the elastic, horn heavy disco-funk of "Express Lane", which is quickly followed by the skewed Arabic boogie-funk brilliance of "Libyan Sun". Over on side B, "Don't Oho" is a breezy revision of a sun-kissed Afro-disco workout that sounds like it would be capable of causing a commotion in the club, while "Move Your Body" makes merry with a warm, rich and intoxicating early '80s boogie-soul jam of unknown origin.
Review: Razor 'N' Tape's latest recruit is Peter Croce, a producer previously best known for his blends of deep house and Afro-house on Rocksteady Disco. This time round, he's in full-on re-edit mode, offering up a quartet of tried-and-tested reworks. Those searching for peak-time gold should check opener "Spirit Dance", where Croce teases out a celebratory moment of release by extended particularly percussive passages of a heavy disco gem. Elsewhere, "Proletariat Blues" is a slightly loopier but no less groovy rework of a string-laden disco gem, "Get Up & Boogie" plays around with a punchy and horn-heavy disco-funk anthem and "Made in China" is a pitched-down delight full of crunchy Clavinet lines, sharp horn stabs and mazy synth solos. Superior edits, all told.
Review: On the two releases we've heard to date, Cody Currie has barely put a foot wrong, delivering a string of tracks that brilliantly join the dots between dusty, soul-flecked U.S deep house and hip-hop style sample-based beat jams. For this outing on Razor 'n' Tape Reserve, he applies the same approach to the world of disco and boogie. So, we get the rolling, sun-kissed warmth and gentle filter tweakery of wide-eyed disco house shuffler "Movin' Smoke", the slack-tuned jazz snares, swirling chords and bubbly synthesizer samples of "Infinity I & II" and the swirling, string-drenched orchestral disco-house bounce of "Magic City". Arguably best of all, though, is the more driving "Make Love", where Currie's ability to select and manipulate samples within a bumping deep house framework is best exemplified.
Review: On their latest 12", the Razor 'N' Tape crew has looked to Berlin, rather than Brooklyn, for inspiration. As the title suggests, the man at the controls this time round is Oye Records founder Markus "Delfonic" Lindner. He hits the ground running with "The Flow", a deliciously loved-up interpretation of one of the sweetest, baggiest and dewy-eyed disco-soul tunes around. While undeniably floor-friendly, there's no attempt made to beef up the track unnecessarily, with Lindner's addition percussion tending towards the subtle and reverential. Those hankering after something a little sweatier should check the disco-funk hustle of "SPF" (which comes complete with some seriously spacey synth solos) and Lindner's excellent rearrangement of a lesser-known cover of O'Jays classic "I Love Music".
Review: Since debuting on Stilove4music in 2012, Brooklyn duo Devin Dare has offered up an irregular smattering of brilliant EPs for the likes of Apron, Misterio and La Mission, including a couple of notable outings alongside London badman Stevie J AKA Funkineven. Here they showcase their scalpel skills via a first outing on local label Razor-N-Tape. They begin by offering an extra-percussive, party-starting revision of a low-slung, turn-of-the-80s deep disco-meets-punk funk affair ("Clash & Burn"), before romping their way through a weighty revision of a high-octane disco stomper ("KOHO2"). Over on side B, "Dust" sees them successfully re-wire a Hammond-heavy chunk of gospel disco-funk, while "Stop" is a pleasingly percussive revision of a soaring disco number.
Review: Suave Parisian scalpel-botherer Dimitri From Paris continues to churn out top notch re-edits, slightly altering his famous production persona from label to label. Here, he delivers a second 12" for Razor 'N' Tape under the Dimitri From Brooklyn alias. Like its' predecessor, it features a couple of stone cold bangers. "Right My File" offers a thunderous, housed-up take on a lesser-known cover version of Dan Hartman's grandiose disco smasher "Relight My Fire" - all vocal breakdowns, big builds and big-lunged sing-along moments. As for "I Want Your Back", it re-casts Dimitri as The Reflex, laying down a version of The Jacksons' "I Want You Back" that sounds like it was done from the multi-track parts. It is, of course, dancefloor dynamite.
Review: Razor 'N' Tape's two previous servings of Dimitri From Brooklyn edits (and, yes, they're the work of legendary DJ/producer Dimitri From Paris) were both must-haves, so hopes are naturally high for this third volume. Predictably, the disco-loving Frenchman is on fine form once more, laying down a trio of interpretations that breathe new life into classic jams. While the A-side "Kettle America" (say it phonetically) is something of a cheeky treat - impressively chopping between hard-wired guitar riffs and the original track's bustling disco groove - it's "I Knead You", an end-of-night, lights-up version of a Sylvester cut that smartly emphasizes the song's gospel origins, that really sparkles. "Without Rob", a harmonica-heavy rearrangement of a well-known favourite, completes another essential package.
Dimitri From Brooklyn - "Hooked On This Feelin’" (6:19)
Underdog Edits - "In Need Of That Phone" (7:12)
Arsenii - "Walter’s Afternoon" (5:25)
Joey Negro - "Let’s Get Ornery" (6:30)
Jacques Renault - "Said I Would" (6:30)
JKriv - "Lovin’ Lasers" (6:33)
Daniel T - "All Thai’d Up" (4:52)
Eli Escobar - "I Love Rochelle" (6:26)
Peter Croce - "Love, Peace, & Joy" (6:38)
Superprince - "Dependable" (edit) (6:56)
Review: To mark their 50th release, Brooklyn scalpel fiends Razor-N-Tape has put together a triple-pack of tried-and-tested reworks from some of the scene's heaviest hitters. It's as strong as you'd expect, with highlights including the heavyweight, delay-laden disco-funk brilliance of Dimitri From Brooklyn's "Hooked On This Feeling" (a dub disco revision of an old Frank Hooker jam by Dimitri From Paris), the Clavinet-driven, piano-laden peak-time hustle of Joey Negro's "Let's Get Ornery", the Clarinet and trumpet-sporting hedonism of Jacques Renault's emotive and heart-tugging "Said I Would" and the screaming, hands-aloft rush of Superprince's "Dependable". Fittingly, label co-fouder JKriv delivers one of the standouts, a rolling revision of an Italo-style, arpeggio-driven delight titled "Lovin' Lasers".
Review: Local Talk mainstays Dirtytwo jump ship for this fine release on Brooklyn's Razor-N-Tape label, calling in a host of remix talent. The Swedish duo's original of "The Remedy" is the kind of classic '90s tinged house which floats on a cloud of Rhodes keys, New Jersey garage beats and an irresistible female vocal. The "TwoDirty remix" is an altogether sleazier affair, using some funkier bass to retool it for dark basement affairs. Meanwhile Caserta's "Know The Cure remix" employs some particularly fine MK style vocal cut up trickery, weighty piano and tough bassline, while the more free flowing pads and rolling kicks of the Grey Area remix offer perhaps the classiest interpretation of them all, taking things properly deep with its sound design.
Byron Stingily - "Get Up (Everybody)" (Dirtytwo remix) (6:00)
Hageby In Your Eyes (feat Roman Andren) (7:06)
Found Love (6:30)
Ain't The Way (6:34)
Review: Razor-N-Tape welcome in a high grade remix and some original jams from regular contributors Dirtytwo, Sweden's finest contemporary house practitioners. They start with a bang by tackling the evergreen party-starting classic "Get Up (Everybody)" by Byron Stingily, turning the 90s piano house tones to a more modern, jacking tech house style without losing the iconic vocal. Roman Andren pops up for a guest spot on the laid back, jazz-licked "Hageby In Your Eyes," while "Found Love" draws on some familiar vocal tropes for an uplifting, soulful turn. "Ain't The Way" finishes the record off with a choice lick from Foreigner that should get the whole room grinning ear to ear.
Review: Inspired by early 90's house music, Toshihiro Moriguchi aka DJ Monchan has been spinning many genres, as well as producing disco edits and deep house for over a decade in New York City. The Brooklynite steps up to perform some surgical edit wizardy on four mouth-watering tracks for purveyors of the finest quality disco - Razor-N-Tape. Late night boogie down vibes are catered for on the joyous disco gem "Reaction Control", while you'll find something more of a classic soul/funk tip on "Dance It All Out" before getting back to the late-night NYC soirees of the 70s on the sexy vocal-led sway of "Get Down With Your Love". TIP!
Review: Last year, Marcel Vogel dusted down his Em Vee edit alias for the first time in three years, serving up a tasty four-pack of reworks for OYE's ongoing Edits series. It clearly inspired him to make more reworks, because now he's popped up on Razor-N-Tape with another fine selection of scalpel revisions. He begins by reworking a tongue-in-cheek chunk of disco silliness rich in spacey Moog lines and wonky vocals ("You Move Me"), before tweaking and rearranging a superb chunk of Latin-tinged tropical disco ("Spreading Energy"). "Don't Be Sabi Say" is a high-tempo chunk of Afrobeat/Afro-disco fusion full of ear-catching Nigerian vocals and bustling electric piano riffs, while "I Wish I Knew The Words" is a cheeky revision of an obscure Japanese synth-boogie number.
Review: Cosmic-minded Brazilians get busy with Razor N Tape for Record Store Day with an artistically presented eight track collection of native edits and originals. Charming from the off-beat funk of "7 8 E 1", we're soon hammered by the steady stamps of "Botoque", massaged by the come-to-bed soul of "Formula 1" and whipped into a shamanistic frenzy by the percussion-fuelled "E Um Barato". Complete with a cheeky little 7" brother - that features the acid slapping Latin club smasher "Margarida" and the ghetto-busting funk of "Blaus" - these are the type of packages RSD was invented for. Party time.
Review: Italian Patrick Gibin is probably most known to you all for his Black Aroma re-edit series, and is also the resident DJ and artistic director of ROOTS Corte Radisi in Verona, Italy: a seminal and unique club. His penchant for deep cuts and dusty reworks find a fitting home on Brooklyn's Razor N Tape - bringing you the most 'respectful' edits, as always. The evocative and sunkissed soul power of "Sunrise" is stretched over the A side, On the flip, "Searching" provides a handy extension of a certain soulful 70s anthem, and "Take Flights" is a well funky boogie-down joint that's looped for pleasure. Re-edits done proper.
Review: Texan psych-funk fun time outfit Golden Dawn Arkestra get some remix treatment via this double pack from Razor-N-Tape, which leads in with Austin Ato's positively dreamy deep house version of "Children Of The Sun". JKriv takes on "Cosmic Dancer" and makes it into a slick disco-fied workout that adheres to the RNT vibe, while Dicky Trisco takes the track and makes it into a suitably interstellar strutter heavy on the synth lines. Then then the second slab of wax offers up a side each to the original versions, from the Afrobeat-indebted "Children Of The Sun" to the sweet and starry-eyed disco of "Cosmic Dancer".
Review: Given their deep-rooted knowledge of the re-edit scene, it was probably only a matter of time before the Razor 'N' Tape crew turned their attention to Colombian scalpel fiends Felipe Gordon & Vagabundo Club Social. This outing on Aaron Dae and JKriv's imprint could well be the South Americans' finest work to date. We're particularly enjoying A-side "Shakala", a gently tooled-up and dubbed-out revision of a dusty, tropical disco-funk treat rich in Fela Kuti style Afrobeat grooves, rising horns and flanged guitar riffs. That said, we've also got a lot of love for the fiery horns, bustling rhythms and warm bass of "Los Bareteros" (a revision of a well known, boogaloo-era Afro-Latin jazz dancefloor classic), as well as the similarly minded - but altogether heavier - "El Cateter".
Review: Two years on from his first appearance on Brooklyn's finest re-edit imprint, Martin Hayes returns with a second salvo of DJ-friendly disco revisions. The Leipzig producer goes for the jugular from the start, delivering a slightly straightened-out, house-friendly tweak of a celebratory disco gem on boisterous opener "Easy Come Easy Go", before serving up a sizeable edit of a slo-mo orchestral disco groover ("Tiff"). He returns to peak-time pastures via EP highlight "Turn You On", a wickedly up-tempo anthem built around razor-sharp strings, jaunty piano riffs, bustling beats and a seriously good "walking" bassline. To round things off, Hayes delivers "Love Shine", a far warmer and groovier concoction blessed with breezy piano riffs, extended percussion breaks and incessant vocal snippets.
Review: New York's JKRIV is shaping up to be something of a nu-disco revelation, particularly for his love for all things 'outernational'. In fact, then DJ-producer has released nothing but hip-swinging Latin funk over the last few years, and this RSD 2018 release for Brooklyn's Razor-N-Tape, Ferias 77' Reworks, is testament to that. In here, you'll find nothing but sick reinterpretations of classic Brazilian funk and disco, re-moulded to fit the modern ear and, of course, the modern sound-systems. Subtle swings of boogie-filtered disco, deep and sensual house, and a whole load of trippy-hop make this a blazing summer belter, and there's even a slow, Balearic rework of Edu Lobo's infamous "Ponteio".
Review: Given that Juan MacLean has released almost all of his music on DFA, we were rather surprised when this Razor 'N' Tape Reserve 12" showed up. We suspect that these are sample-heavy dancefloor tracks from MacLean's personal stash - the kind of cuts you regularly hear in his DJ sets but have previously not seen the light of day. Check, for example, the percussive peak-time romp that is muscular disco loop jam "Fine Time" and the classic boogie-meets-NYC house fusion of "Don't Stop For Nothing", which tips a sly wink towards Toney Lee classic "Reach Up". Elsewhere, "Everybody Clap" is a dustier, looser and hazier deep house excursion, while "Panic In Fort Greene Park" sees MacLean smother a trippy and hypnotic groove in spacey motifs and acid-style electronics.
Review: Brooklyn's Razor-N-Tape reach out to the Lowlands and coax Hans Peeman into donning his Junktion alias for a new four-track 12" on their Razor-N-Tape Reserve label. Living up to it's dignified and reserved billing, this fifth release on the offshoot finds the Nijmegen-based Peeman laying down some luscious, colourful disco vibes that will brighten up any sun laden afternoon on the terrace. Title track "Hot & Bothered" sets the tone with a summery vibe underpinned by some bumping drums, whilst "I'm wishin'" glides with a subtle house bump and some wonderful vocal touches. "Fling Cleaning" sees Peeman veer off into disco chug territory, whilst "Visions of You" ends the 12" on a soulful note.
Icarus (feat 80s Babies - Tall Black Guy remix) (4:57)
Icarus (Moods remix) (5:22)
Icarus (JKriv remix) (4:38)
Review: For Record Store Day 2017 Razor-N-Tape presents "Icarus", a slice of chilled out analogue soul by Lovebirds aka Sebastian Doering with remixes. The original is a deep soul jam reminiscent of Roy Ayers' Ramp project, while the Tall Black Guy's remix gets more of an R&B swagger on in style. We particularly enjoyed JKriv's lush little boogie down rendition, which really hit that sweet spot in all its neon lit glory. Each mix gets its own side in this double 7" pack, with stunning full color artwork, making it a truly special package perfect for both
Review: Since serving up a tasty debut album back in 2011, Magic In Threes has provided sporadic dose of funk-fuelled delight that variously draws influence from jazz-funk and soul. The three original tracks included on the combo's first Razor 'N' Tape reserve appearance fit this formula, layering up live horns, guitars and drums with loose and heavy results. Title track "Work Tapes" is a Blaxpolitation funk affair with subtle disco flavours, "Come On Down" is an Isaac Hayes style orchestrated disco-funk roller, and the superbly summery "Chupa Cabra" sounds like it could have been made in Brazil around 1979. All three tracks are given the remix treatment, with Patchworks' Afrobeat revision of "Work Tapes" and Fouk's hybrid jazz-funk/disco-house version of "Chupa Cabra" standing out.
Review: Having previously persuaded some of the re-edit scene's biggest names to contribute reworks, Razor-N-Tape has now recruited the Grand-daddy of the scalpel scene: 1970s disco original Danny Krivit AKA Mr K. He begins with "Stuff", a deliciously epic revision of an atmospheric and joyous disco cut rich in snaking synth solos, evocative instrumentation and glassy-eyed vocals. Krivit teases the tune in slowly, eventually cutting loose as the nine-minute edit reaches its final few minutes. Side B is all about "The Story", a jaunty and musically complex instrumental disco number that contains some fantastic orchestration, spacey 1970s synthesizer flourishes and heady female backing vocals.
Review: Brooklyn-based Razor 'N' Tape has some serious pulling-power these days. Having already released material from Dirtytwo, Mr V, Loz Goddard, Kraak & Smaak and Fouk, the New York imprint has managed to score an EP from Mister Saturday Night regular Nebraska. Predictably, it's a party-starting affair from start to finish. Bouncy, horn-heavy disco-house A-side "Drill Deep" - a weighty chunk of unashamed peak-time goodness - leads the way, with beatdown-tempo shuffler "Keep On Keeping On" snapping at its heels. This bubbles along tenderly via swirling disco orchestration, before bursting into life midway through thanks to the introduction of a sublime female vocal. "Instant Pressure", a chunkier, dub-flecked fusion of dewy-eyed soul and low-slung acid bass, is also superb.
Review: You can always rely on New York's Razor-N-Tape for high quality respectful edits. Cut in Brooklyn, here's another disco killer that is great for dancing - courtesy of JKriv & Aaron Dae out now via their Reserve imprint is Londoner Ali Gibbs aka Nebraska, who tweaks a soulful sample with signature finesse; it's part disco, part house and all vibes on "Usin' Me". Lovebirds then get in on the action to deliver a soulful and bittersweet early Chicago house perspective, the legendary DJ Nature never fails to deliver either and gets properly deep and emotive with his terrific remix. As does Scottish veteran The Revenge on the flip, taking the track into the late night on his stellar effort.
Review: Having built up a rock solid reputation via a handful of fine rework EPs on his own Orange Tree Edits imprint, Jimmy Rouge has been snapped up by Aaron Dae and JKriv's Razor-N-Tape imprint. He's in fine form on this label debut: A-side "So Long" is a quirky but undeniably peak-time-ready affair, with hazy, dewy-eyed vocal snippets and bold, Moog style synthesizer motifs rising above dusty, full-throttle drums and a warm, metronomic bassline. He moves further towards shirts-off disco territory on flipside "Movin'", a thickset and energy-packed affair whose mind-altering, delay-laden vocal snippets will appeal to all those who enjoy the output of the Idjut Boys and DJ Harvey.
Review: Who can deny anything Roy Ayers, really? Japanese pianist and electronic music producer Kan Sano reworks the American soul, funk and jazz legend's infamous hit "Everybody Loves The Sunshine". He breaks down the sugar-dusted original into something freeform, downtempo and acid jazz leaning, while on the flip, "Music Overflow", sounds exactly like a production you would make after being inspired by sunshine, soul, Roy Ayers and a room full of drum machines and synthesisers.