Review: Kryptogram is back at it once again with another sumptuous dive into dance music on a wider scale with the second edition of his 'Krypt' LP series. Across the full breadth of this project we see a real flexing of production muscles, from the groovy garage arrangements of 'L.U.V.' and catchy vocal spikes of '3000' to the more mainstream sounding influences of 'Never Enough'. This is a real display of musical ability and versatility from Kryptogram, with some real highlights making their way to the surface throughout this well chiseled tracklisting. Those include the unusual yet super catchy grooves of 'More Than I Love You', alongside the fantastic vocal manipulation of 'Olvidar', which sits as an immediate summer banger. Fantastic stuff!
Review: France's Soulab label is largely known for it's jazzy, soulful sounds. Here though, it's all about the lazy, hazy sounds of the 70s & 80s. Over 13 tracks we get taken on an analogue party heavily indebted to the likes of Roger Troutman & Shalamar. The mellow g-funk of Uptown Funk Empire's "Take You Out" starts things lying down, before the electro-soul of Fatback 4Way's "Sweet Summer Daze" livens things up. From then on we get classic boogie (Cool Million "Lift Me Up") , retro pop (Confection "Lift Me Up") and even flute-core (Uptown Funk Empire "Boogie").
Review: Listening back to this collection of remixes from UK producer Dave Taylor aka Switch, one is reminded of how different electronic music sounded during the mid-noughties. The bleepy bassline, chopped-up vocals and lo-fi sample aesthetic belongs to a different era, yet there is still something endearing about Switch's approach. On his version of Ben Westbeech's "Dance With Me", this manifests itself through a grimy acid line, boisterous vocals and a shuffling groove that sounds like an early incarnation of the UK bass/techno groove. Switch's interpretations of The Futureheads and Spank Rock (one of the era's genuine classics) are even more radical, with his take on the former's "Worry About It Later" containing merely a stuttering vocal and looped guitar riff from the original, and on the latter's "Bump", he moves from filtered disco stabs into a carnal ghetto house narrartive.
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