Review: Deep in the Jungle have emerged as arguably the biggest standout new jungle label in recent times and, off the back of their growing family of artists, they've decided to try and represent both where the label and the genre are in 2020. With artists from DJ Hybrid, to Conrad Subs and beyond, it's a statement of intent from the imprint. The music reflects that intention as well, with jungle sounds throughout but punctuated with that modern, sharper edge that we've come to expect from our newly revitalised scene. DJ Hybrid's 'On A Riddim' is the best example, as a punchy bass note streams out of a bedrock of clattering breaks, whilst we're seriously digging the rolling reece's of 'The Rhythm' by Conrad Subs. All of these are proper percys.
Review: The idea that music should stay away from politics is flawed, and Break The Silence is one of the most convincing counter-arguments against this notion. Featuring unreleased tracks donated by a stellar cast of underground electronic music artists, the compilation seeks to raise funds for Campaign Zero, an initiative that campaigns against police violence in the US. With artists like Rob Hood, 4 Hero and Luke Slater all contributing to Break The Silence, the listener really is spoilt for choice while also supporting a great cause. However, the standouts come from Eddie Fowlkes and Jon Dixon, who both drop superb jazz-influenced house tracks.
Ben Soundscape - "Delayed" (Bonus Track) - (4:30) 174 BPM
Review: The yearly escapades of Bristol's Intrigue Music are entering their seventheenth consecutive year, a huge achievement for the label. Like always, the album is full of a broad range of tempos and sounds that embody the ethos of an imprint known more for its consistent quality than any particular style. 'So Many Moments' by Philth and Farz, with Collette Warren on vocals, is a beautiful, floating track that rests on solid foundations but which carries a lightness, a deftness which sees it hover in hypnotic fashion. Randall, MC Fats and Ben Soundscape get jungley on 'Rollin' Ruff', Octo Pi gets even heavier on 'Battle Cap', and the album is all round just an ideal LP for all the heads out there. Big.
Review: Having recently notched up a sixth year in business, Fingerman's Hot Digits imprint is in a celebratory mood - hence this all-action round-up of recent delights and unheard treats from the disco-loving label. Encompassing no less than 30 tunes, the collection giddily skips between warming beatdown disco (P-Sol's "Walter"), Mark E style slo-mo loop jams (Vigi's "I'll Be There") and glassy-eyed Balearic nu-disco (Picklejam's "Untitled Love"), before raising its hands skywards as the peak-time party-starters begin to appear thick and fast. Highights in this category include the vibrant jazz-house flex of Dexter Jones' "Swing Thing", the bustling boogie re-edit business of Monsieur Von Pratt's "Let's Dance" and the hearty disco-funk heaviness of Chewy Rubs' "Funky Bee Bop".
Review: If we're counting correctly, this is the eighth album in the 'Too Slow To Disco' series overall, and the second 'Ladies Of...' volume, so you should have some idea what to expect by now! But for anyone who hasn't been introduced, slo-mo nuggets that are roughly contemporaneous with the disco era are the series' stock-in-trade, and they've unearthed some truly splendid nuggets here. See for instance 'Love The Way You Love Me', a surprisingly sensual groove from light entertainment stalwart Marti Caine that's absolutely dripping in funk - you'd swear that bassline was Imagination, for starters. There are one or two slightly over-schmaltzy moments but generally speaking these are late-night smoochers n' swayers of the highest order... soft focus, white wine and roses optional.
Kusp - "Nobody Likes The Records That You Play" - (7:03) 140 BPM
Alessandro Grops - "Beyond" - (7:01) 130 BPM
Charly Schaller - "Moonshine" - (8:40) 133 BPM
Review: For the second instalment of the Electric Soul Music series, Alan Fitzpatrick has recruited some new producers alongside well-known names. Embodying the label's tough but soulful approach is
Niereich Vs. Shadym & Linus Quick's "Don't Let Me Down", where pounding kicks and lithe break beats underpin haunting female vocals. Konrad delivers a similar sound, albeit with more brash vocals delivered over a rolling, filtered groove. Meanwhile, Tenzella represents an intense version of Fitzpatrick's sound, as acid lines are fired at hyper speed over the pounding drums of "Excuse". Representing better known artists and the more extreme end of We Are The Brave's sound, Filterheadz drops the rave siren and hardcore bass-led "Emphasis".