Review: Seldom does a tune have a more fitting title then "Check It"... Everything about Myth's latest rump-shaker demands your attention. The baggy trousered rolling breaks, that grizzly little waspy bassline and those spooky tones. Once again Ill Truth's Myth delivers some authentic goods. "Sabotage" does the classic b-side thing and take us even deeper. More stripped back and dubwise but still rolling and creeped out, it's another precision minimal roller mission accomplished.
Review: Hot on the heels of his Subtitles debut last month, Ill Truth's Myth gate-crashes the CIA party with four more certy heavers. Proper back-to-the-roots Bristol-flavoured bassline business, each cut smacks with timeless grit and funk. Highlights include the wild fluctuating wobbles on "Pathological" and the big diva vocal snippet and high voltage bass snarls on "No 1 Else" with Madcap. There are no limits to this man's gulliness.
Review: Computer Integrated Audio or CIA (the better one) don't release terribly frequently but when they do, you know you have to pay attention. Total Science curate the label and this time they've sourced a seriously cool four-tracker from Myth, who has smashed it out of the park with his wicked combination of breaksy steps and rolling beats. All of the tunes here are exceptionally well produced but not over-engineered, they still pack a rough edge and they don't sacrifice rowdiness on the altar of clarity. The title track is the standout, with a punishing array of drum hits and a spacious bassline that wobbles its way into your heart by the end of the track. Top stuff here from the CIA crew.
Review: The series is the result of house legend Joey Negro's admiration for all the semi anonymous vinyl junkies that he has encountered on his own vinyl quests. Following the success of the Red Greg-compiled first instalment, we now have veteran radio broadcaster and soul aficionado Paul Phillips delivering his selection of long-lost classics. It's a veritable feast of rare disco releases (25 in all!), highlights of which include the glossy Philly sounds of State Department's "Slow Love", the Chic-isms of Pike's "Good Feelings", the digital electro-funk of Midnight Energy's "Saving Of My Love" and the sublime synth-soul of Ron Richardson's "Ooh Wee Babe".