Review: Following Eps for R&S, Adam Longman Parker drops Colored, his debut Afriqua album, on the label. Inspired by artists like Quincy Jones and Roy Ayers but also rooted in modern electronic production, it features soulful vocal jams like "Dope" sitting alongside subtle house/techno steppers such as "Shout" and "Upstream". Meanwhile, the album also sees him indulge his experimental flights of fancy, audible on the warped chimes of "Birdlandia" and "Noir". Possessed by a rare ability to turn these seemingly conflicting narratives into a seamless whole, Parker's unique approach means that Colored is a bewildering but often quite brilliant work.
Review: Following his R&S debut last year, Berlin-based American Afriqua (aka Adam Longman Parker) presents Vice/Principle, which veers into psychedelic territory and is inspired by the cosmic departures of '70s krautrock and jazz. After several years developing a hefty catalog of releases, Parker has embraced his R&S signing as an opportunity to dive deeper into his signature, yet versatile sound. From the hypnotic and ethereal bounce of "Melamed", the broken beat hi-tech soul of "Noumenon" or the immaculate production of "Cerch" which showcases Parker's classically trained foundations, he serves up a cohesive effort here which further demonstrates his abilities as one of electronic music's most innovative sonic heroes.
Review: Global Underground's Nubreed series has a huge amount of kudos, having brought respected DJs like Lee Burridge, Steve Lawler and Danny Howells to attention during the early 00s with a series of iconic mixes. Although it was on hold for much of the second decade of this millennium, it has been successfully resurrected and now gives the same platform to Theo Kottis. In keeping with its usual format, this instalment sees the Beautiful Strangers boss explore a range of styles and sound across two mixes. Accordingly, his selection ranges from Gigi Masin's melodic piano composition, "Maja", to the Mountain People's sensuous deep house "La Onda", taking in some underground classics like DJ Assassin's garage/house hybrid "Face in the Crowd" as well as left of centre oddities like The Horn's "Villager". It's a fitting testament to the Nubreed aesthetic.