Review: Subwoofah are rolling things out nicely here with a joint four-tracker from Grimesy and Speaker Louis, who manage to combine riotous jungle with more considered tones to great effect. 'It Was' lands more on the side of the former except it smashes out the jump up stabs over a staggered, junglist undercarriage which injects a whole new dynamic of broken, torn energy to create a proper choon. 'What You Do' is a bit more stripped back, a bit more focused on the drum side of things and it works really well, sub-bass stabs abound in the gaps and its all just very sick. Top work you two.
Review: Shady scalpel field Lolita clearly has a vast archive of edits just waiting to be unleashed, as this bumper collection of tried-and-tested reworks follows hot on the heels from several other seemingly expansive volumes. So what you we expect this time round? It begins with a warm, drowsy and sun-kissed slab of soft focus soul ("051") and ends with a decidedly Balearic shuffler full of glistening, delay-laden guitars ("060"); in between, you'll find a mix of re-tooled classics (the piano-heavy disco stomp of "059", the slap-bass propelled brilliance of peak-time workout "056" and the party-starting goodness of "055") and rearranged obscurities (the Italo-disco/new wave throb of "057" and the deep disco bliss of "053"). From start to finish, it's an excellent collection of tasty, floor-focused revisions.
Review: There's something impressively "matter of fact" about Audaz's "Lolita" series, which offers up numbered, untitled re-edits with no information about their origin or the producer behind them (it's most likely label boss Alkalino, but that's not been confirmed). This fifth selection brings offers up another 10 slabs of dancefloor heat that ranges from sneaky revisions of well-known party anthems (see Prince re-rub "042" and the vaguely familiar 80s soul goodness of the D-Train style synth warmth that is "043"), to strong rearrangements of lesser known boogie, Italo-disco and AOR disco workouts. Highlights include the breezy disco-funk of "044", the end-of-night haziness of "046" and the snaking sax lines and Latin rhythms of "047".
Review: The way Audaz has been churning out these Lolita collections lately, you'd think "possession of an unreleased re-edit" had just been made a crime under German law! But the quality standard shows no sign of slipping, so that's hardly cause for complaint. Standouts of this fourth volume include '038', which revisits Kim And Rasa's obscure 1982 Ghanaian funk/rap jam 'Love Me For Real', '035' with its fusion of country rock guitar and sweet female disco vox, and '037', which reworks Brass Construction's 'Changin' from 1975. Dead Or Alive get the Lolita treament, too, on '032'.
Review: When operating under the V's Edits alias, re-edit maestro Valique can always be relied upon to bring the goods. It's little surprise, then, to find out that his latest collection of fresh cut-jobs - an epic affair featuring no less than 24 tracks - is packed to the rafters with high-grade fare. We don't have enough space to list all of the highlights, but we'd suggest checking out his rolling revision of Lee Dorsey's "Night People", the low-slung disco-funk heaviness of the Brass Construction rework ("Gotta Do It"), the intergalactic disco deepness of the Marvin Gaye revision ("Funky Space"), the lightly tooled-up, slowly unfurling take on Tom Browne's "Funkin For Jamaica" and the sweeping, string-laden disco brilliance of "Miracle (V's Edit)".
Review: Ganbatte's latest affair may be all-star affair, but Fabiolous Barker rightly takes top billing thanks to delivering two takes on his latest track, "The Expert". He opens the EP with a hybrid electro/disco flavoured "Old Skool Re-Master" full of whispered vocals, crunchy guitars, throbbing synth-bass and tight horn blasts, before returning at the end with a "Funka-Masta-House" version that underpins the music with a head-nodding house style beat. In between you'll find the bouncy, Hi-NRG era Latin disco-house insanity of Dim Zach's "La Habernaro", the dreamy harmony vocals and ear-pleasing nu-disco grooves of Carlos Gatto's "Call It Love" and the alien funk masterclass that is Don Dayglow's "Gotta Say Yes", a suitably throbbing revision of an old Yello favourite.
Review: Audaz certainly seem keen to get these 'Lolita' re-edits out there: this third installment follows hot on the heels of Vol 2, which only landed last week! Once again there are 10 tracks to choose from, with the source material once again ranging from vintage funk, soul and disco to 80s pop and beyond. '021' is based on an unknown cover of the Timmy Thomas/Sade classic 'Why Can't We Live Together' and '022' reworks The Floaters' mellow soul classic 'Float On', while '026' (source familiar-sounding but unidentified!) has an EBM/Italo kinda feel and '025' loops up The Detroit Emeralds' 1972 funk/soul gem 'Baby Let Me Take You (In My Arms)'.
Review: Five fine slices of contemporary disco make up this latest EP from Russian producer Alexandr Chebankov, better known as Sunner Soul. 'Feeling Of Spirits' is a midtempo shuffler that slowly breaks out into an intricate jazz-funk keys workout, 'Keep Strangers' is a Chic-y stomper, 'Liquid Disco' has distinctly Candido-esque overtones, 'Lay In Low (MF-SB Version' is a mellower, more lounge-y cut with muted space disco stabs and finally 'Simply Around' rocks a funkier, Blaxploitation-like vibe. With all five highly authentic-sounding and avoiding obvious samples, heavy rotation at the likes of Glitterbox and Horse Meat Disco is pretty much guaranteed.
Review: Audaz serve up a second set of re-edits by the mysterious Lolita. Whether label boss Alkalino or an anonymous backroom boffin are to thank we couldn't say, but whoever it is they take on an impressive range of source material, from Gene Pitney ('020') to 80s synth-poppers Alphaville ('013') via Talking Heads ('019'), Stargard ('016'), Laura Branigan ('014') and even a cover of Hank Williams' country classic 'Kaw-Liga' by new wave weirdos The Residents ('017') - all of which are given a druggy, chuggy makeover for today's nu-disco floors, with '015' (a take on 1979's 'Marathon Runner' by August Darnell and Bob Blank's Aural Exciters project) a particular standout.
Review: With "Rhythm & Waves", Russian producer Sunner Soul seems to be daydreaming of sunnier and warmer times. There's certainly something suitably sun-kissed about the title track, which gently beefs up and re-arranges a bouncy, Clavinet-heavy chunk of groovy disco-funk that comes smothered in atmospheric party sounds. The tighter, slap bass-sporting "Universal Disco" explores similar sonic territory, while "Red Hot Disco" sees him layer up the percussion and filter sweeps on a joyful, mid-set workout. Elsewhere, "Let's Somebody Love" is a soaring slice up tooled-up disco-soul and "Get ready With Me" is a fine slab of string-laden boogie brilliance that sounds like it was beamed down from a distant disco planet.
Review: Greek producer Chris GS returns to Israel's Thunder Jam with four more slices of reworked vintage funk/disco goodness. He's dug nice and deep for this set, so the original source material remains a mystery in most cases, but in his hands 'Shake It' is a strings-drenched disco number that would've sounded right at home on the 'Saturday Night Fever' soundtrack, while 'Lady' rocks a slightly rawer funk vibe. The same goes for 'The Funk', which reworks Positive Force's 'We Got The Funk' from 1979, while finally 'About It' leans a little closer towards early 80s boogie territory.
Review: Gather round: Editorial is revealing the contents of the mythical "Disco Scrolls", a sacred document for all those who kneel at the altar of the Church of Nu-Disco. It contains eight audio commandments, all of which should be listened to intently. Salvation comes first via the fluid nu-disco positivity of Bica's "Endless Rhodes" and the disco-house grooves of the soulful and musically expansive "Because I'm Black" by Old Chap. Elsewhere, you'll find righteous testimony from Hotmood (via the deep disco-funk of "Only Your Mom Calls Me Daddy"), The Owl (the boisterous horns and filter tricks of "Shake"), Frank Virgilio (the lolloping party disco-funk of "Out Here"), Labour Of Love (the bassline-driven percussion-fest that is "Good Feelin") and NFC and Key Sokur (the rubbery and down-low disco fun of "City Affair").
Review: Three months after allowing DJs to rummage through the contents of his "Sample Bag", Lego Edit has decided to repeat the trick. Unzip the bag and you first find his "4am" edit of "Flash Back", a sax and flute-wielding revision of a colourful and bass-heavy funk outing underpinned by chunky house drums and tons of energetic handclaps. Reach further within the bag's velvet-lined interior and you'll come across his smooth, rolling and dancefloor take on Philadelphia Soul era classic "The Ghetto" - check the sweet jazz guitar solos, locked-in house beats and scat vocal sections - as well as the wild, loopy and insatiable heaviness of stomping Latin jazz-funk revision "Journey To The Old Town".
Review: While he's not confirmed it either way, we're pretty sure that Lolita is a new re-edit alias of Audaz boss Alkalino - a producer who has been offering up tidy, scalpel style reworks since we were in short trousers. There's much to admire amongst the numbered, untitled tracks, from the gently housed-up soul bounce of "001" and the delightfully over-the-top disco pomposity of "003", to the throbbing disco-house cheeriness of "005", the deep house/soul fusion of "006" and the heavily percussive world music-meets-disco goodness of "009". Best of all, though, is the gritty disco-funk stomp of "008", a superb revision of a reggae disco-tinged cover of Donna Summer classic "I Feel Love".
Review: Some classy contemporary disco fare here from Irish producer Jones, coming to you courtesy of Israeli label Thunder Jam. 'Fluty Loops' itself opens with an intricate, extended percussive intro, before funk geetar and stabby strings usher in the meandering flute line that gives the track its title - imagine Joey Negro remixing Roy Ayers and you're somewhere in the ballpark. 'Everybody' shows the same attention to detail in the percussion department but has a more Chic-ish vibe, while completing the EP is the more sultry 'Been So Hard', which comes on like Linda Clifford given a Balearic makeover...
Review: Astonishingly, Loshmi's long-running "Serious Edits" series is now 15 volumes deep. We can happily confirm that he's not run out of steam yet with the seven-track selection featuring some suitably playable, floor-friendly revisions that are well worth your hard-earned cash. Our highlights include the gently housed-up 80s disco goodness of "Delightful", the heavy disco-funk/proto-rap fusion of "Funky Animals" - all eccentric mic flow, mazy organ lines and beefed-up disco grooves - and the languid, glassy-eyed loveliness of head-nodding warm up gem "Soul Food". There's naturally plenty to set the pulse elsewhere across the EP, too, so give all of the clips a listen if you have time.
Review: Under the DJ Laurel alias, Lavr Berzhanin has proved to be one of Katakana Edits' most reliable re-editors of recent times. We've lost count of the number of EPs he's delivered for the prolific imprint, but they're all rather good - as is his latest expansive effort. There's much to get the blood pumping across the six-track salvo, with our favourites including the rubbery, bouncy and glassy-eyed disco bliss of "All I've Got", the soaring, horn-heavy soundscape disco-soul shuffle of "Battend Ships" [sic], the blue-eyed soul goes drum and bass bounce of "Cookie" and the wah-wah guitar sporting two-step soul goodness of closing cut "Annie Mae". In other words, it's another rock solid collection of tried and tested reworks.
Review: It's been a very exciting 2019 for Morlack, who continues his run of top quality releases by teaming up here with the ever-ready Funk Blasters team for the third edition of 'Cheeky Edits'. We kick off with the classy sample work and pulsating drum pressure of 'Rumba', before moving into the spaced out percussive structures of 'Momie' and latin-inspired arrangements of 'El Ray'. Next, 'Masta Rocka' arrives with a real punchy drumline, before the the almost 80's sounding compositional layout of 'Da Bird' rounds us off with a bang.
Review: Ever turn up to a slightly strange but inviting house party to find a DJ playing a list of your favourite tracks - although you have no idea where they're from? It's label like Minimatic that keep the party going for another decade. Where electro-swing goes for sped up ballroom and big band jazz, Minimatic's approach to genre reformation takes the likes of UK pop (Oasis and "Owner of A Lonely Heart"), US hip hop ,(Eminem, Michael Jackson and Lady Gaga) to slices of R&B via Ed Sheeran and dresses them up latin rhythms of baile and urban funk, adding touches of turntablism, jazzy horns and keys to lowriding grooves.
Review: Ten more re-edits from Audaz's mysterious Lolita here. No idea what the source for opener '071' was but it's ended up as bluesy, organ- and harmonica-driven house stomper in the vein of Lemon Interrupt's classic 'Big Mouth', and sets the tone nicely for an EP that packs some killer dancefloor grooves, including a sterling re-edit of Geraldine Hunt's 1980 disco gem 'Can't Fake The Feeling' ('076'), a throbbing, Balearic take on 'Another Brick In The Wall' ('073'), the white-socked boogie of '077' and the driftaway space-lounge loveliness of '078' - though a beefed-up take on 'Oh What A Night' ('075') is probably one for the wedding jocks...
Review: Montenegro-based groove lord Mitiki is in a celebratory mood on his latest Disco Fruit re-edit outing. He gleefully skips between the beefed-up Spanish language disco cheeriness of "Celebremas" - a rework of a cover of Kool & The Gang's "Celebrate" - and the Clavinet-happy disco-funk muscularity of K.I.D tweak "Do It Again", before charging towards disco-house dancefloors via the beefed-up sweetness of "Love Somebody Today". The pie-eyed, smiling fun continues via the delicious disco-funk party vibes of "Ohio" and closing cut "To The Top", a chunky, horn-toting revision of another sing-along disco workout.
Review: This is an EP that oozes class from start to finish, and for us, sits pretty solidly as one of the most powerful dubstep releases of 2019 as OME lands of Simply Deep for five tracks of pure brilliance. We kick off with 'Another', a shimmering behemoth of glittering flutey tones and whirling atmospheric pads, followed by the warbling crunches of 'Way Too Far'. Next up, we face the haunting arpeggios of 'Luna Sangrante' before diving into a pair of very well designe remixes. Firstly, Busted Fingerz flips 'Another' into an apocalyptic grimey explosion, with Allone then reimagining 'Way Too Far' into a smooth hip hop roller. Awesome stuff!
Relight Dan's Fire (With Added Loleatta) - (12:00) 123 BPM
Twenty Percent - (9:22) 120 BPM
Luv Town - (9:04) 120 BPM
Review: Multi-track maestro Pete Le Freq is back with a third selection of hot-to-trot reworks created using original vocals and instrumentation from a range of disco and boogie-era cuts. He successfully teases and filters out the Jackson Sisters on "Refreq'ed Miracle", before putting his stamp on Phreek's Patrick Adams-produced Paradise Garage anthem, "Weekend". He then delivers two storming cuts based on Dan Hartman's "Relight My Fire": an extended instrumental ("Pete's Got Vertigo") and a sing-along version with added Loleatta Holloway ("Relight Dan's Fire"). Elsewhere, he successfully tampers with a Salsoul classic ("Twenty Percent") and sticks a bouncy house beat beneath a string-laden disco classic ("Luv Town").
Review: Mexico's Deep Sense serve up a six-track EP that shows there's more than one way to go about repurposing a classic. Rather than simply looping up chunks of the original, the edits here get a little more creative - Sauco & Manuel Costela's 'Are We Ready?', for instance, takes the vocal from Fatback's 'Bus Stop' vocal and places it over a fresh (and utterly irresistible) funk backing, while on 'Last Nite' Tony Disco uses a similar trick to reinvent an InDeep classic in altogether sultrier, jazzier form. An equally well-known chanted vocal tops the brass-tastic 'Flamingo' from Hot Mood, and there are three more very playable nuggets where those came from!
Review: Thunder Jam's latest EP comes from a producer yet to make his (or her) mark in music, the capital letter loving REZ. The artist has another EP due out on Hatched soon; if this debut EP is anything to go by, that will be well worth a listen. We're particularly enjoying the chugging, slow-motion disco-rock head-nod that is opener "Too Cool To Be Careless", a revision of a well-known 1980s AM radio hit that will have your dancefloors singing along when the chorus eventually drops. Elsewhere, "Believe In Magicians" re-imagines a quirky and bluesy swing number into a locked-in chunk of hip-house, while "It Was All A Dream" successfully rearranges a slap-bass sporting chunk of "juicy", 80s-inspired 1990s hip-hop/R&B.
Review: Clich?s like 'melting pot' or 'smorgasbord' are chucked around way too freely in music reviews, but it's hard to describe the wide array of influences on display here any other way! 'Baller' is an Afro-jazz workout, albeit more 'Afro' than 'jazz', with something of a makossa-ish vibe about it. 'Schweet' itself, which follows, is a more straight-up homage to 70s funk and soul, but we're back in jazz (or more accurately swing) pastures for 'Les Frites', albeit here served up in Latin rather than Afro flava. The EP's then completed by 'Listen', another electro-swing cut with a ragtime kinda feel.
Review: Liondub's renowned Street Series continues in full force and this next instalment is courtesy of Dez, a producer comes with some serious junglist heat on this one. All five of these cuts mean business and our favourites are the steppy bits, 'Burundanga' especially, which combines apocalyptic vibes with urban sonics to create a powerful patchwork of force and energy, all underpinned by a broken percussive line. The other four are also strong and we're definitely looking forward to hearing these out and about - the Liondub crew kill it yet again.
Review: Conrad Subs has more than one release out this week and it's entirely different to this one, proof of his stylistic flexibility, especially considering how hard he's killed this rolling liquid two-tracker on Liquid Flows. 'Keep Holding On' stays away from the common liquid mistake of neglecting the bassline, instead its gentle yet energetic melodies sit above a wide, deep and satisfying low end. 'Tropic Thunder' also packs a big back end but also heightens the feeling of frivolity and lightness with its upbeat stabs and funky flow. Lovely.
Review: Prestige is definitely one of the more talented producers out there, with previous releases on a host of other labels and his aggressive sound is back with a vengeance here. Packed with harsh, barking tones and a stripped-back, industrial aesthetic, Prestige doesn't waste any time in laying out the rules: there are none. 'A Ghost' is one of the heavier cuts, with a punching back end and an obstinate feel of solidness that reflects down all the way onto the rest of the tune. 'Magnificent' is the title tune and you can see why, with a KoTR-esque approach to drawn out basslines and tough sonics, all of which come together to round out a sick release from the Sub-liminal crew.
Drop It Like That (feat Velocity) - (3:39) 175 BPM
Review: With some cool, dark, artwork, Blckhry has landed on On Point Audio with a hard-hitting five-tracker which combines a penetrating sense of attitude with a non-nonsense approach to musical arrangements. 'Method' has an warped-out, Souped Up vibe in its arrangement that feels powerful to the extreme and is perfect for a crowded dancefloor, especially with its underpinning in some weighty percussion. 'Don't Know' is the roller of the EP and grounded in wobbly atmospherics and a sense of space which makes it a pleasure to listen to, its snapping drum line providing the ground rock underneath. Yes boys.
Review: After a series of crucial free downloads, prominent online jump up hub Jump Up Cave level up with a full digital label Cave. They're launching in style, too as west coast roustabouts Sub Killaz light the fuse. Two tunes, two vibes, one heavy message: "Hold On" is all pneumatic kicks, slime sub harmonics and gritty stabs on the fills while "Panic" lives up to its name with a higher-toned riff that sizzles with proper mischief. One for the Cave mandem...
Review: The latest release on Groove Manipulation comes from east European artist Buben, with a three-tracker that's tailor-made for the dance floor. The title track is a tough, acid-soaked metallic banger, underpinned by hollowed out drums and steely high hats. Buben ups the ante on "Mark The Day", where more intense 303 lines are combined with a relentlessly dense rhythm that is populated by looped vocal snippets. Changing tact radically, "Voter Turnot" is a dubbed out groove that resounds to ponderous vocals and dramatic organ stabs. It serves as a reminder why this prolific artist is held in such high regard.
Review: Of late, Dean Meredith's Rogue Cat Sounds label has been exploring the more cosmic and Balearic end of the musical spectrum, so it's little surprise to see him welcome Italian legends DJ Rocca and Daniele Badlelli to the imprint. The storied twosome begins in fine fashion via the lilting electric guitar solos and bubby electronic disco grooves of "Sky Dump", before opting for a weirder and more psychedelic dancefloor sound on Afro-Cosmic workout "Massive Birth" and doffing a cap to Yello on the eccentric electronics of "Talorypo". The accompanying remix package is epic and uniformly high standard, though if we were picking favourites we'd opt for Warehouse Preservation Society's warm, thickset nu-disco version of "Talorypo" and Mind Fair's Chicken Lips-esque rework of "Massive Birth".
Exquisite Corpse (Zero Gravity remix) - (5:42) 80 BPM
Running To Paradise - (6:08) 90 BPM
Ursa Minor (radio edit) - (4:43) 116 BPM
Review: From Robsoul and Tsuba to Is It Balearic? and Futureboogie, Craig Bratley can be many things depending on who's releasing his music. He launches the Automatism label in a flurry of cosmic disco finery with "Ursa Minor", a synth-rich escapade that could make Cerrone feel a little giddy on its course to the stars. "Exotic Matter" slows things right down and ramps up the rock drums to create a noirish soundtrack vibe. "Exquisite Corpse (Zero Gravity Mix)" changes tact once more with some plaintive piano tinkering over subtle arpeggios, and "Running To Paradise" slides down into a smooth Balearic groove that rounds out this wonderfully diverse EP.
Review: We're not sure who Hoochie Coochie Papa is - or are, as it may be more than one producer - but this first outing on Golden Soul is pretty darn good. "Work Me Body" is a deliciously sweaty and throbbing affair; a contemporary take on Italo-disco and mid 1980s Hi-NRG rich in arpeggio style synth-bass, spacey electronic melodies, sampled male vocal snippets and glassy-eyed chords. The first of two accompanying remixes comes courtesy of Spanish scene stalwart James Rod, who adds insatiable cowbells while stripping the cut back to its' muscular, arpeggio-driven core. To round things off, man of the moment Andy Buchan re-imagines "Work Your Body" as an ear-catching tribute to Giorgio Moroder's production work on Donna Summer's "I Feel Love".
Review: Hailing from Coventry, DJ Hybrid has firmly established himself over the last couple of years as someone at the forefront of D&B's re-discovered love for jungle-influences and bouncy but hard-hitting basslines. Drawing upon those influences, he's back on Audio Addict for a full-throated six-tracker that kicks off with 'On A Riddim', a gently weighted sine-based wobbler that pushes on every corner of the range. 'Madman' and 'Funk Pulse' have clear Kings of the Rollers vibes, with juddering bass pulses and that recognizable sense of hardware-based rawness. This release has overtones of Manchester and undertones of the South - proper UK underground stuff.
Review: As ever with JohnnyPluse, we are in for a treat as he lands yet again onto BulaBeats for a phenomenal display in breakbeat brilliance across twenty incredibly well produced originals. There is something on this project for everyone, from the colourful landscaping and bouncing drums of 'You Are Home' to the more tribal percussive smacks of 'Eat Your Government' and junglist inspired arrangements of 'The Wiggle'. There are a couple of clear stand-outs across this twenty track bonanza, including the euphoric drum breaks of 'Fantastic' and the smooth harmonies of the disco edition of 'Liquid Gold'.
Review: So it would appear that Zip Sound Recordings have landed on a slab of gold with this one as they unveil a chunky two track steppers selection from Royal Panic. Firstly, we dive headfirst into the grizzly bass synthesizers and ticking melodies of the title track 'God Shot', which kicks the EP off with a high dosage of energy. On the flipside, we then dive into the gnarly overtones and warbling bass designs of 'Shadow People', a crunchy, dungeon ready roller, perfectly summarizing the deep dubstep sound of 2019. What a way to round the year off for the Zip Sound team!
Review: Vital Elements is a long-time stalwart of the rougher side of the scene, the side of the scene that perhaps doesn't get as much flashy publicity but that day-in-day-out plays host to raves, bedroom hang outs and after parties up and down the UK. Vital Elements is that guy who'll be at the party, spinning tunes and having a good time and this single encapsulates that no-nonsense, fun-at-all-costs approach. 'Mass Projection' is a bouncing leviathan that rests on naughty snare-action and lives up with its jagged bass notes; 'Smoke of Calii' is more of a rolling beast, it's back end stretching out and lumping you in the face. Another top release from man like Vital Elements and this big one comes in at a cool eight tracks. Lovely stuff.
Review: Previously best known for offering up a handful of tasty singles on Sleazy Deep, Skeleton Keys pops up on Bandolier with a first solo single in almost 12 months. First up is "Barrio Fever", a wonderfully dubbed-out, bass-heavy and dancefloor-friendly revision of a much-loved disco-era chunk of Latin funk headiness. Skeleton keys has wisely retained many of the key original elements - think glistening guitar riffs, layered percussion and ear-catching horn motifs - while beefing up the bass and adding plenty of delay effects. "Not Whom You Seem" gives a similar sonic treatment to what sounds like an early 80s synth pop/AOR disco workout. It's good, though we still prefer "Barrio Fever".
Curse Go Back (Colossio Dembow remix) - (7:42) 110 BPM
Review: When they first started putting on parties in London, the collective behind the Kolago Kult alias operated as Tales of Voodoo. Here they make their first step into music production with an EP of inspired musical fusions that expertly join the dots between West African drum tracks, South American percussion workouts and contemporary deep house. This blueprint is expertly explored on "Curse Go Back", where shuffling drums and chiming percussion hits rise above doom-laden bass and trippy spoken word samples, as well as on the heavier deep house exotica of "Sangoma". That track is given a throbbing, synth bass and rave stab-propelled makeover by Tyu, while the brilliantly named Colossio Dembow re-imagines "Curse Go Back" as a druggy slab of psychedelic nu-disco chug.
Review: What a year it has been for the team at Dubtribu, a label who continue to impress in all areas, with their homegrown roster looking stronger by the second. This last project of the year sees them firing on all sides as they invite eight of their best in for 'Deep Dub Inside 2019', a comprehensive showcase of the labels sound, featuring potent originals from the likes of Arta, Tinky, Muhla, Kismat, Cel and Ran for starters. We have two clear highlights for this one, with the gnarly sub work of Takjacob's 'Can't Own Me' being a real heavy hitter, along with the spooky overtones of Copley's 'Bombay Bad Boy'. Awesome stuff!
Review: Liquid Lab essentially do what their name would suggest: they make deep music that touches your soul. It's one of the best small liquid labels out there and it'd definitely be worth your time to check out their stuff, starting with this EP from Motiv. This release is certainly deep, the title track kicking you off with a lovely combination of funky jazz samples and more melancholic ambience. It's a trend that repeats itself over and over, especially on 'Clap Your Hands', which has a gorgeous depth yet feels rooted right in the moment. 'After Hours' is the is all about the jazz vibes and it does this very nicely, stretching piano cords out over a rolling beat.
Review: Next up on Donald Wilborn's long-established Embarcadero label is US duo Dahli aka Shaun Valentine and Darin Carter. In its radio edit format, "Dolorous" resounds to a throbbing bass and evocative synth builds, as the pair conjure up a dramatic, euphoria-inducing tracks that's on the right side of epic. On the club mix, Dahli opt for a leaner approach; the bass is throbbing and menacing, the synth melody soars with dark abandon and the overall result is the perfect, moody counterpart to the radio edit mix. It goes to show that Dalhi can cover both bases with effortless ease.
Review: After a great first release from NonniMal, Icelandic label Lahar is back with a new drop from Den Nard Husher, who was also recently spotted on US label Strobelight Network. The project is a collaboration between Octal Industries and Vector, and finds the pair conjuring up a limber strain of techno with industrial tones and textures but a more springy execution that makes it sound undeniably fresh. "Vector" is especially strong in this regard, while "Februar" juggles a smart array of wriggling rhythmic elements to create a highly technical club track with sound design and FX to get synapses firing all over the joint.
Review: Having conducted his own glassy-eyed sunrise s?ance, Vintage Music main man Sunner Soul has successfully summoned the "Spirits of the Boogie" for a hazy early morning dance. Perhaps the most alluring of these "spirits" is opener "Constanera Montana", a vibraphone sporting shuffle through drowsy Rhodes chords and metronomic beats, though the heavy and low-slung "The Bright Day" and all-action electrofunk workout "Voice of Saturn" run it close. Elsewhere, "Sprit of the Boogie" is a bass-heavy disco-funk party jam smothered in high-grade horn lines and brilliant bass guitar, while "Jazzy Patterns (Raw Edit)" is an accurately titled blend of dusty machine drums, jazz samples and crazy special effects.
Review: Funky Town reissue two tracks from Sound Factory Inc's 1977 long-player 'Night Shift'. 'The Limehouse Groover' opens with a resonating gong hit before revealing itself to be a sunny, carefree jazz-funk/jazz-fusion affair with a synthesized saxophone lead line - the likes of Spyro Gyra, Mezzoforte or Morrissey-Mullen would be useful reference points here - while 'The Funky Beauty' is a more uptempo number that leans towards Euro/Italo disco, with organic sax and trumpets counterpointing analogue synths that are very much of their time. It's all a bit "70s sitcom soundtrack", but leave your fromage-phobia at the door and just enjoy!
Review: Legendary disco diamond Rayko and his Rare Wiri label continues its relationship with the music of Ilya Sanata, aka Siri, a producer and remixer based out of The Canary Islands. With associations with Nang, Eskimo Recordings and Permanent Vacation back in the day, he surfaces as Sirs with a quality EP of four sides. The record goes deep into cosmic space and classy vocoder territory with the interdimensional "Pookish", while New York mafiosos are represented in the post-punk, drum rolls and heavy Italo sound of "Nosa Costra". Strands of rock and minimalism combine between the socialistic and angsty gestures of "Ja Gakaki" with the voice of a most alluring German devil hidden deep within "Der Trip".
Review: Emotional Rescue is delighted to present a collection of works by the founding father of the modern drum movement, Glen Velez. Collated from his first 3 solo albums from 1985 to 1989, Sweet Season is a snapshot in to the pioneering composing and performance of this four-time Grammy winner. Born in 1949, of Mexican American ancestry, Velez grew up in Texas before moving to New York in 1967. Playing jazz on the drums he soon gravitated to hand drums from around the world (frame drums in particular), seeking out teachers from many different musical traditions.
Among the many instruments Velez favours are the Irish bodhran, the Brazilian pandeiro, the Arabic riq, the North African bendir and the Azerbaijani ghaval. Although these instruments are similar in construction they have their own playing techniques that open new possibilities.
Sweet Season highlights this vocabulary, mixing and adapting techniques from various cultures to develop new ones. The music, often composed as cross-cultural ensembles, has a particular fondness for polyrhythms - superimposing different meters simultaneously - while incorporating Stepping Split-tone and Central Asian Overtone singing to complete the global horizons.
This new genre of contemporary drumming has been hugely influential and seen Velez work with the likes of John Cage and Steve Reich, as well as teaching his virtuosic combinations of hand movements and finger techniques to many emerging players.
Review: Within the UK, we have seen a real rise in popularity with the more experimental, unusual side of bass music, a sound that the team at Jelly Bean Farm have now been championing for a hot minute. This latest four track piece from Squane is a perfect example of just how cool it can get, as we kick off proceedings with a look at the silky subs and subtle breakbeats of the title track 'Vesta'.The smooth vibes continue as we parade through the luscious synthesizer sweeps of 'Crossed Wires' and clicky rhythms of 'Peculiar Duality'. Finally, 'Kamek' lands with colourful percussive melodies and bubbling atmospherics to round us off with a bang!
