Search results: AAA

Review: Originally planned for release last year to mark the 50th anniversary of the album's creation, Gil Scott-Heron's most renowned full-length returns in stunning, audiophile quality sound. This time round, the album has been stretched across two discs, both of which have been pressed at 45rpm for louder sound. Created by Scott-Heron and musical sparring partner Brian Jackson with the assistance of producer Bob Thiele, Pieces of a Man remains an incredible album, with a string of classic cuts - think 'Home is Where The Hatred Is', 'The Revolution Will Not Be Televised' and 'Save the Children' - being joined by such lesser-celebrated delights as the fizzing 'Lady Day and John Coltrane', the blissful 'I Think I'll Call It Morning' and 'A Sign of the Ages'.

Review: The secretive Only Music Matters label rolls out its seventh EP here and it's from an unknown producer or producers who seem to have a love of tech house. Opener 'AAA001A' is a warped cut for freaky 'floors with trippy vocal details and gloopy beats and bass. 'BBB001B' is more airy and light in its silky minimal rhythms but is detailed with some paranoid pads that keep you on edge while 'BBB002B' rides a nice gritty, propulsive beat and has some wonky, detuned keys adding colour. Another great outing from this low-key but high-quality label.

Review: The Only Music Matters label is slowly but surely building up a fine head of steam as it now offers up a sixth EP in just a couple of years. As always it is an unknown artist behind these stripped-back and direct-to-dancefloor beats and each one goes long for over eight minutes. That playtime is well warranted, too, as 'AAA001A' is the sort of groove you never want to end: dry drums and hits and paddy bass that are tightly woven together into a hypnotic sonic tapestry. 'BBB001B' is a little more gritty and twitchy to fire those sleep-deprived after-party synapses while 'BBB002B' shuts down with some underlapping tech-house funk and tripped-out designs.

Review: 12", 180g, Vinyl Only. Limited copies and no repess! Stripped down instrumentation, panther-like drums and bassline pairing, and the odd deep voice booming in the dark is what to expect from these thee handy, playable cuts, that clock in somewhere between the progressive and minimal markers.

Review: New York punks Love Child first burst onto the early 90s scene in the same aeonic breath as Pavement, Sebadoh and Beat Happening. But despite the ignition and hype, their debut seven-inch and subsequent releases have remained long out of print until now. Never Meant to Be: 1988-1993 pulls from these releases and some unreleased radio sessions, unearthing a trove of lost gems by the quadrangle of Will Baum, Alan Licht, Rebecca Odes and Brendad O'Malley. The former obscurity is undeserved and the reissue deserved, as the climaxes on this record - from the garbly top-reg guitar solo on 'Know Its Alright' to the tape-warblings of 'Sofa' (through and despite which we can still make out its humourous lyrics) - are full of forceful punk rapace.