Review: South African Warrick Sony is a ground breaking composer who was behind the Kalahari Surfers project which now gets a vital spotlight courtesy of Emotional Rescue. This compilation shows how effortlessly eclectic his sound was, from jive rhythms to jazz, tabla to political speeches and much more in between. A Hindu pacifist who was once conscripted into the South African Defense Force, he founded this group as a way out getting his ides out there, calling on other musicians as and when he needed them. It was the first radical white anti-apartheid pop in South Africa and as this vital collection shows it explored polyrhythms, slow motorik, dub sound collage and even a goofy cover of Nancy Sinatra.
Review: If you're reading this then you will know that Instinct is one of the UK's powerhouse garage labels. Run by Burnski aka James Burnham it deals in serious tackle for rude boys and nasty girls. The drums hit hard, the reversed bassline burn goose old school cool and there gun finger salutes come thick and fast throughout this EP from Mance. 'Checkpoint' opens with the dusty drum shuffles and bulbous bass, then 'The Going Is Rough' is a little more soulful and sweet with its rolling basslines and silky pads. 'Beat 93' closes down with a seriously OG garage sound that takes you back to the mid-90s.
Review: Belarusian producer Four Walls is back - this time around he finds himself on the new Ultraworld Records imprint from DJ Craft. This one kicks off with the lush prog house and silky synth arps of 'Mind Charger' which soon takes you to the stars. 'Metamorphosis' is a more raw-edged and acid-laced techno stomper for peak time action and 'Summer Nights' is a bubbling, elastic tapestry of new age overtones, thudding kicks and trance-tinged pads. A remix by Toronto-based Pletnev adds another dimension to this club-ready EP.
Review: Next up from eatmybeat, a vibrant collection of percussive-driven rollers from the one and only D-Nite, showcasing his crazy ability with some top level production skills. We open up with 'Ominous Arrival', a fluctuating combination of high energy rhythms and subtle vocal samples, followed by both the industrial synth thumps of 'Sine DNA' and arpeggio-lead soundscaping of 'Circular' to follow. From here we then move into the highly unique title track 'Ai Amor', a glorious roll through samba-style drum patterns and catchy vocal slices, followed by the bleeping synth sweeps of 'Amargo' to close off. Awesome work!
Review: Casino Classix is one of several aliases for legendary minimal man Baby Ford. Here it is also the name of a four-track EP that finds the long time UK underground operative working alongside fellow British techno luminary Mark Broom on a quartet of devastating cuts. 'Ringer' opens up with some dark and nimble baselines darting about beneath a dense layer of percussion and FX. 'Hoppa' is then a more precise and minimalist cut with wonky bass snaking down low beneath the icy hi-hats and jumbled toms. There is a warm dub depth to 'Hot Pot' and 'Beach Club' shuts down with a restless mix of synth daubs and deft percussion over an ice cold groove.
Review: Has any re-edit imprint ever released more music than Katakana Edits? GAMM aside, we can't think of any. This EP of reworks from DJ Laurel is, astonishingly, the label's 141st in total. Predictably, the release gets off to a cheery and sun-splashed start via the lolloping, musically detailed 105 BPM disco excellence of 'Can't Fight Your Love', before DJ Laurel subtly ups the tempo on the swirling, string-laden, dewy-eyed disco-soul of 'Perfect Play'. Those seeking more up-tempo, peak-time-ready thrills should head straight for the gloriously grandiose disco-era Marvin Gaye style brilliance of 'One on One'.
Review: Rimini-based Duca Bianco has quickly established itself as one of the most interesting and on-point edits imprints around, primarily by showcasing subtle, floor-friendly rubs of thoroughly obscure, uncredited cuts from around the world. They're at it again on this fantastic multi-artist extravaganza. Franz Scala kicks things off via the clandestine, chugging, Italo-era Arabic new-wave funkiness of 'For Me', before celebrated London crate-digger and hyped selector CW offers up a punchy take on a horn-powered zouk gem ('Mind Zouk'). Der Sexa impresses with the druggy, delay-laden Germanic robo-disco of 'Gabi Plane', before Mancunian misfits Talking Drums reach for squally guitar solos, cosmic disco aesthetics and pulsating slo-mo grooves on 'DMNB'.
Review: It's always good to see the Doro Sounds team back in action, who this time invite the enigmatic production talents of Matt Brockman inside for four tracks of pure energy. The time-dance sounding bass grooves and choppy drum arrangements of 'Talk Bout' lead the way firstly, giving us a grizzly introduction to a dungeon-driven approach, with 'All Night' then following with a much more garage feel, flipping together high pitched vocals and groovy feelings throughout. We then take in the breathy melodies and glittering backdrops of 'Changes', which again switches the mood of the whole EP, before 'In The Rave' takes us back down to the gritty basement with a hard hitting piledriver of a bassline, closing off the EP just how we started!
Review: In a musical landscape that's drowning under a sea of often quite lazy re-edits, it's refreshing to find a producer who's made the effort to pay musical homage in slightly more inventive fashion. Step up Beatconductor, who here serves up another motley collection of covers, mash-ups, sample-based tributes and yes, the occasional straight-up re-edit that draws on sources as varied as Teena Marie ('Chemical Flashbacks' bites the vocal from 1980's 'Square Biz'), the Human League ('Human Emotions' marries a Mariah vocal to the 'Don't You Want Me?' riff), Fleetwood Mac ('Dreams (Again)', obviously), The Beatles ('Fixxin A Hole'/'I Can Fixx A Hole'), Hall & Oates (ditto), The Who ('Who R U') and Gladys Knight & The Pips ('Goodbye' reworks 1973's 'Neither One Of Us').
Review: With 30 tracks to choose from, you certainly can't fault this latest collection of re-edits from Manolo Brigante's Vienna-based WE MEAN DISCO!! stable on the value for money front. You might, admittedly, question whether a collection that packs reworkings of Chic's 'Good Times', Marvin Gaye's 'What's Going On', James Brown's 'Sex Machine' and Peter Gabriel's 'Sledgehammer', among others, can really set sail under the 'deep disco' flag and keep a straight face. But never mind that, because there are some very playable remakes on offer here for sure, ranging from the lightly beefed-up to the truly transformational - as well as plenty of less obvious sources to keep the 'spotters happy.
Review: Not to be confused with the French indie/rock band of the same name, Black Bones are a DJ crew from Belfast who are known for their genre-agnostic Glimmers/Alkan-esque club sets. No surprise, then, that this four-track EP for Duca Bianco is a similarly wide-ranging affair. At least two of the four cuts are essentially re-edits, with 'B.E.E.F' biting Heaven 17's '(We Don't Need This) Fascist Groove Thang', while 'Keep Dancin' reworks Chris Isaak's 'Dancin' from 1985. The genesis of the other two is less clear, but the angular, strutty 'T-2017' appears to have beamed in straight from mid-80s Berlin while 'Coming On Strong' takes us into pounding Italo/EBM territory.
Review: These ears have seldom encountered a Katakana release they didn't like but Vol 128 really does pack some sterling re-edits, kicking off with MBO's reversioning of Jackie MacLean's 'Dr Jackyll & Mister Funk' from 1979. Next to get the treatment is The Jackson 5's 'Get It Together' from 1973, followed by The O'Jays' 'Give The People What They Want' from 1975. There's a similar 70s soul feel to 'Mine' - source sadly unknown - before we come to the jewel in the EP's crown, a stunning take on Don Covay & The Goodtimers' 'See Saw' from 1965. Mod R&B was, of course, the original rave music - check this and you'll understand why!
Review: Parisian Morlack is back with the fifth edition in his Cheeky Edits series on Funk Blasters. A classic funk anthem gets a resplice on the charmingly titled "Take Ur Dead Ass Home", getting balearic on the low-slung "Bamboo Vendor", then going down a neon-lit '80s sounding route on "Turn Up L." while doing what it says on the tin on "Getting Deeeep" which gets down Cameo style (and super sleazy) then going for a funky disco house groove on "Don't Letting Go".
Review: There's no shortage of disco re-edit collections on the market right now, so props to Funk Hunk for doing things a little differently! Where most re-editors will simply loop up a track's most familiar sections and whack a 4/4 kick underneath, Funk Hunk takes almost the opposite approach, often all but abandoning the original vocal and teasing out the instrumental sections instead. What you end up with are nine cuts that, in many cases, are naggingly familiar before you've quite realised why, with sources including Phyllis Hyman, Frankie Smith, Love & Kisses, Gepy & Gepy, Vicky D and, coming right up to date, Daft Punk. A welcome break from the re-edit norm.
Review: With the breakbeat movement growing stronger and stronger each week, it's quite incredible to see just how consistent Morlack's release schedule has been over the last few years, with a new project dropping seemingly at least once a month, this time on Funk Blasters. We are treated to four powerful originals, kicking off with sizzling horn lines and crunchy drum smacks of 'Robin Practise', alongside the chiming melodic lines and percussive rhythms of 'Jamaica Girls'. Next, the project takes a more violent turn with the powerful electric lines of 'Sardines' and the funk-infused approach of 'Kinda Hectic', signing this one out with a bang!
Review: If you're looking for some funk bootleg action and can handle a light cheese topping then this four-track EP from Funk Fusion is well worth investigating. Cut & Shut's 'Hey Jimmy' mashes together Jimi Hendrix's 'Hey Joe' and Tupac's 'Troublesome', Ghetto Cats' 'Funky Smell It' is a simple re-edit of Parliament's 'Flashlight', Sticky Icky's 'Dollar Bill' pits Aloe Blacc's chart smash against the vocal from Wu-Tang Clan's 'C.R.E.A.M', while Cut & Shut return to close out the EP with 'Summer Freeze', a slo-mo nu-funk cover of the Isley Brothers complete with an uber-squelchy, bruk beat-style bassline.
Review: It's a great time for breakbeat in general, with new heavyweight releases dropping every week, thanks primarily to the consistency of top labels such as Funk Blasters. They here welcome sounds of fan favourite Morlack across four wicked originals, beginning with the spooky themes and grizzly synth rolls of 'Candy Skank'. Next, 'Lorins Dance', in which we hear choppy vocal slaps forged together with smooth jazzy saxophone lines before 'Rhythm 20' lets a funkadelic bassline run riot. Finally, the euphoric harmonic structures of 'Same Feeling' work as an excellent sign out for a top quality body of work.
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