Review: Nocturnal Activity was released by Mark Rae on Manchester's Grand Central Records, an independent record label back in 2002. It is a remix album, composed of alternative mixes of the tracks from the Sleepwalking LP, plus one new track, a cover version of the Parliament track "Flashlight". It contains some of the labels most sought after tracks. For the dancefloor, The Nextmen remix of "It Aint Nothin Like" is considered a classic. Atjazz turns in a magical remix with Kate Rogers on "Not Just Anybody". Groove Armada went on a weekend break to a country house to flip the Pharcyde's Booty Brown on "Let It Go". However the best is left to last with the fully acoustic version of "Get A Life" with soul legend Bobby Womack.
Review: Barcelona-based Arnau Obiols has chalked up releases on such respected labels as Local Talk, Ibadan and Compost, and now returns to the latter in the company of Zurich's KAYYAK. Together they serve up two tracks that draw heavily on 70s Afro-funk for inspiration, with 'Faith' coming with a slightly mellower remix courtesy of Medlar & Dele Sosimi while 'San Diago' gets two rerubs, with Rahaan giving the track a slightly jazzier, more leftfield makeover while Prins Thomas's Diskomix transforms it into a slab of percussive, slo-mo disco. Any/all should go down well on floors where Afro-oriented beats are in demand.
Review: Alert: another Actual Sounds release has arrived! New school nu-skool breaks, if there ever was such a thing! These guys are not messing around and here's why: They start off with a block rockin' remix of "Twist & Shout", "Cypress Pills" is, well... But wait there is more: "2Pac Wine" is a mashup on "Red Red Wine" and a rap by the late great rapper. Elsewhere "Get Your Hold On" mashes up in style again merging Missy Elliot and Kanye, "Love The Police" samples N.W.A. over some fierce Meat Katie style breaks and we'd best not forget "Buttersweet Symphony" which samples 'that' famous track by The Verve over some more fierce breakbeats for U.K. dancefloors. The definitive party starter!
Review: Amazingly, it's 25 years since George 'E.A.S.E' Evelyn and then production partner Kevin 'Boy Wonder' Harper sat down and recorded "Dextrous", their monstrous, bleep-era classic on Warp. A quarter of a century later, Evelyn is still going strong, though the grooves have mellowed a lot in that time. Here, Warp celebrate the producer's epic career with a much-deserved retrospective. All the familiar favourites are present, from the rush-inducing thrill of early dancefloor smashers "I'm For Real" and "Aftermath", to the sinewy downtempo goodness of the decidedly Balearic "Les Nuits", the blazed hip-hop dub of "195 Llbs" and stoner soul of "70s 80s".
Review: Taken from the nocturnal stashes of Zero 7 main men Henry Binns and Sam Hardaker, the 17 tracks that go into this latest instalment of the Late Night Tales series provides a fascinating mix of hip-hop, soul, dub and acoustica. Fans of Zero 7's distinctive laidback hip-hop style will certainly appreciate beats from soulmates such as Yesterday's New Quintet or The Cinematic Orchestra (as on the classic "Channel 1 Suite"), while soul hunters will go nuts for the incredible '70s jazz-funk snap of Sylvia Striplin's "You Can't Take Me Away". With other names like Souls of Mischief, Don Blackman, Slum Village and The Stylistics included, this is a perfectly crafted late night journey.
Review: Based in Hanover, Germany, Mo' Horizons started out as the DJ duo of Ralf Droesemeyer and Mark Wetzler in the late 90s, but have expanded over the years into a loose musical collective blending a variety of jazz, funk and world music flavas. Quite a bewildering variety, in fact: with cuts ranging from the self-explanatory 'Anotha Bossa' to the Afrobeat of 'Mango Woman', the scorching Latin funk of 'Havana Boys', the Balearicisms of 'Sunset In Palmar', the straight-up reggae of 'Good', the equally self-explanatory (and entirely unexpected) 'Balkan-Maasai Party' and the subdued big beat shuffle of 'Sudoeste', 'Mango' is an album that keeps you on your musical toes but, crucially, is coherent enough for none of it to jar.
Review: Four typically solid contemporary funk jams here from Sound Exhibitions regular Funk Windows, coming just two weeks after his/her/their last release, the 'Africa Funk' EP. This time out, the Afro stylings are put on a back burner; instead you get the slow-building title cut (which would make a fine set-opener), 'Roller Night' which has a slightly more wonked-out/off-kilter feel, and then 'Bisca' and 'Low Down', both of which up the jazz ante somewhat, the former rocking some fine sax and a cut-up, chipmunk-y vocal while the latter has a similar MO but busts out the flutes. The EP as a whole is a headnodder's delight.
Review: Amazingly, it's 25 years since George 'E.A.S.E' Evelyn and then production partner Kevin 'Boy Wonder' Harper sat down and recorded "Dextrous", their monstrous, bleep-era classic on Warp. A quarter of a century later, Evelyn is still going strong, though the grooves have mellowed a lot in that time. Here, Warp celebrate the producer's epic career with a much-deserved retrospective. All the familiar favourites are present, from the rush-inducing thrill of early dancefloor smashers "I'm For Real" and "Aftermath", to the sinewy downtempo goodness of the decidedly Balearic "Les Nuits", the blazed hip-hop dub of "195 Llbs" and stoner soul of "70s 80s". This version also includes a number of exclusive remixes, with names like JD Twitch, Special Request, LFO, Morgan Geist and Loco Dice putting their own spin on this classic material.
Review: When it comes to making drum and bass that strikes a balance between the needs of DJs and home listeners, few are better than Dominick Martin AKA Calibre. It's for this reason that the album format suits him so well. The Deep, his 12th full-length in total, could well be his best set yet. Jam-packed with effortlessly soulful moments, evocative piano flourishes, rich live instrumentation and yearning vocals, it's a far more expansive and ambitious set than most D&B albums. It also supplements his trademark, club-ready rollers with tracks that look to modern soul, jazz breaks, dub and R&B for inspiration. Throughout, Martin barely puts a foot wrong, delivering a set that more than stands up to repeat listens.
Review: Brandon Weems and Craig Handfield are a pair of DJ/producers from New York, who've been putting on their Coloring Lessons parties since 2018 and have since launched a label of the same name. Here, though, they come to BBE Music with a cut that, with its fusion of Afro, jazz and soul elements, could perhaps only have come from the city that birthed Body & Soul. If the laidback, rolling beats of the Original aren't quite doing it for you then maybe Shannon Harris' A Love For Joy Journey Mix, with its fat funk bassline, spoken word intro and "party!" chants will, while an Instrumental Mix completes the package.
Review: Canada's premiere afro-Latin fusionists Souljazz Orchestra return with their ninth album, Resistance, which arrives a decade after they first announced themselves to the world with the dazzling debut Uprooted. That album was issued on their own Funk Manchu Records, but the collective are firmly within the Strut Records bosom these days with Resistance their fourth album for the UK stronghold. Never a band to tread water, this 10 track collection finds the Souljazz Orchestra exploring new territory on record, explicitly the French Caribbean and Francophone West African influences that have been key to the band from their earliest days. What's most impressive here is the band's sheer versatility with saxman Ray Murray, percussionist Marielle Rivard, drummer Philippe Lafreniere and keyboardist Pierre Chretien all taking on lead vocal duties as Resistance progresses.
Review: Never a dull moment on this eight-track, 10-mix collection from Sweden's Ture Sj?berg, AKA Beatconductor, which finds him in a re-edit/mash-up frenzy as he reworks a range of classic cuts in often highly unexpected style. Donna Summer's 'Love Is In Control' gets a 60s lounge jazz infusion on 'Finger On The Trigger', Beyonce's 'Crazy Is Love' is given a reggaefied makeover, Angie Stone goes head-to-head with the Steve Miller Band on 'Fly Like A Stone', and so it goes on. Along the way you'll find nods to Stevie Wonder and Tom Jones, before the album's completed by three different mixes of 'Good Vibes' - the Beach Boys if they'd formed in Kingston, JA rather than Hawthorne, CA!
Review: Earlier in the year, Good Vibrations music founder Sean McCabe offered up his interpretations of tracks from Blak Beatniks main man Harold Matthews Jr's excellent debut album, 'Peripheral Visions'. For this second selection of 'Re-visions', McCabe has assembled a crack team of remixers. Rising star Piers Kirwan steps up first to rework 'Into You', placing the spoken and sung vocals above a dreamy and sun-soaked fusion of deep house and broken beat. Wipe The Needle fuse bruk and jazz-funk sounds on their excitable take on 'Love And Hate', before Haze City delivers a genuinely atmospheric and ultra-deep interpretation of 'Deep Into My Sleep'. To round things off, we're treated to an instrumental version of Kirwan's superb, EP-opening 'Into You' remix.
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