Review: For those in the know, this new collab between veteran Portuguese DJ and producer Dedy Dread and fast-rising Hawaiian singing star Olivia Ruff has been a long time coming. But it was worth the wait. The opener 'Cover Me' features Ruff's, well, slightly rough - or at least gravelly - vocals over a rhythm and bass instrumental. It's accented with wispy chords, neat little guitar riffs and crunchy claps. Flip it over and you'll find a remix by label founder The Rebel and Roman pianist and producer Shiny D. Their version is a modern update with brilliant reggaeton rhythms.
Review: Thompson Sound and Dubquake Records collaborate here to present O.B.F-style renditions of classic roots and rub-a-dub tracks from Linval Thompson's esteemed label. Rico O.B.F revitalises gems from the '70s and '80s using original recordings with each release featuring reinterpretations of the vocals, dubs, and mixes that include the beloved Nazamba. Following 'Curfew' and 'Sweet Sensimilia', the latest offering is 'Evening Love', a fresh take on Sammy Dread's emotive 'Morning Love' from the iconic dub album Scientist Meets The Space Invaders. Nazamba shines on 'She Nah Lie', delivering poetry steeped in warmth and romance, enhanced by the finesse of the Roots Radics.
Review: Classic soul band The Moments serve up a couple more gems for this red hot series on Dynamite Cuts. First is a steamy, seductive, sexy version of the Lee Forsey classic 'Ride Your Pony'. The gentle drums, the swinging synths and the sting sounds are all topped with butter-smooth vocals. On the back side is something just as majestic and heart warming - 'Sugar Sugar' is a real singalong gem with nice sax stabs, freaky synth bass that never stops squelching and just good vibes that you never want to end.
Review: O! Kult was a post-punk and industrial band from Yugoslavia that was active in the 1980s. Like many of their peers at the time, they were censored by the communist party that was in charge but that didn't stop them from making music and gaining a cult following. Their cut 'Zvestoba' has been found in old Radio student archives and brought back to life here and then remixed by modern luminaries Silent Servant, Christian Kroupa (who is one half of Black Dot) and 198319831983. They add weighty tech, EBM and moody electro vibes to make for a strong package.
Review: Any Omar S release is worth checking, but when it also features Detroit funk godfather and Motor City legend Amp Fiddler, as well as Andre Foxxe of Parliament-Funkadelic, then it's pretty much buy on sight. You never know what you're gaping to get with the FXHE boss, and never was that more true than here on this sweet little 7". A-side 'The First One Hundred' is a loop of Omar S's trademark dusty drums and a deeply buried bass guitar riff that is super funky, and 'Dance Your Blues Away (feat Amp Fiddler)' sounds like Prince making house music in Omar S's studio. They are short, but oh so sweet.
Review: This new 7" from the Far East is part of the Neville King Lovers Rock Revisited series. It's as smooth and heartfelt as roots reggae gets with One Blood and Simplicity really tapping into a loved-up vibe. 'Lady Lady' has meandering basslines and lazy horns unfurling next to the buttery sweet and tender vocals which muse on a dream girl. On the B-side is 'Loving Kind', a more traditional dub with tropical island vibes, subtle steel drums and this time a female vocal delivering a carefree lament.
Review: In 2024, over 30 years after its release, Incognito's 1991 hit 'Crazy For You' has been reimagined by ONEGRAM with a stunning new arrangement. It brings out the soul with gorge vocals and lazy dub drums providing a perfect counterpoint. The B-side brings a vibrant twist featuring a groovier rhythm, ONEGRAM's signature horn section and lively steel pan melodies that blend Caribbean disco and reggae vibes. Adding to the fun, the ET Edit on the B-side is tailored for DJs and enhanced with tasteful effects for an energetic finish. This fresh take breathes new life into a beloved classic that showcases ONEGRAM's infectious sound.
Review: Murray Clark, Chris Deverell, and Robert Ellerby have been responsible for some genuinely inspiring electronic music over the years, their instrumental approach to downtempo and avant garde synth stuff originating in and among the fertile bounty of new ideas that was the early-1990s. On Hear My Mind, the trio - AKA Opik - take us deep into their DAT archives to see what's hiding in the darkness. Two tracks, both equally stunning, 'Hear My Mind' opens the pair with a slow burning, jazz-influenced atmosphere builder, reversed-out harmony floating over stepping bass loop and distant ethereal vocals. 'Kaulsoum' goes for something even more late night and subtly euphoric, growing and developing into a bold and beautiful slice of rave-hued ambient.
Review: Opolopo is a machine when it comes to serving up superb disco, funk and soul sounds. He's done so for two decades on plenty of top labels from Toolroom to Version Galore to Gamm. This time out he finds himself on a self-released tip with X Machine which is a mash-up of James Brown. The original vocals cut through funky basslines and lots of big percussions as the loose drums rumbled on next to warming organ chords. The instrumental is a more direct to dancefloor jam.
Ozzy Osbourne & Lemmy From Motorhead - "Hellraiser Mashup" (4:59)
Ozzy Osbourne - "Hellraiser" (4:54)
Motorhead - "Hellraiser" (4:33)
Review: "This 10" single reissue comes in celebration of the upcoming 30th anniversary of Ozzy Osbourne's 'No More Tears'. A new mashup sure to inspire only the best moshpitting and hair-flicking skills from every true hard rock head, this new track hears a the original Ozzy song mashed up with Motorhread's version. Never before released, it sounds like an alternate Dante eagerly cruising through the many layers of hell, as new drum reversings, stereo effects and soundscapes are peppered into this masterful musical jigsaw. The B-side also contains the two original, unremixed versions.
Review: Detroit label and weekly party Funk Night rolls out another unmissable 7" here in the form of The Oscillators, who bring a late night and woozy sound to lo-fi production aesthetics. 'The Scoop' is a slow motion and psychedelic tinged groove with squealing guitar leads taking you into melon twisting territory while the flutes keep things in the here and now and the dusty drums rumble on. It is truly intense. 'Spare Cheeks' then has a more upbeat funk feel led by nice horns and a more silky and seductive groove, particularly the lithe bass.
Review: There's not a huge amount we can say with certainty about O$VMV$M. The act is based in Bristol, UK, and certainly reinforce preconceptions of the city as a hotbed for leftfield stuff. Whether that's politics, art, or, in this case, music. Or perhaps all three. Beach Road is as much an exercise in sound-as-art as it is music per se, and as such is a strong statement about the lack of vision and imagination stalking streaming services and record shops alike in 2023.
None of which is to say that O$VMV$M's six-track EP isn't packed with incredible music. 'Diablo', one of the wildest, strangest efforts here, is disjointed mutant pop-electronica that seems like someone is warming up for an MPC showcase, and exemplifies our point. It's pleasurable to hear, but fascinating to take apart. Similar points can be made about the sparse, glitchy percussion of 'Beach Road' and 'Follow', making this one for the deep dive enthusiasts.
Review: Originally released in 1972, these are the only known recordings from Tulsa soul band Outback. The A-side is an eclectic, psychedelic funk ballad with lyrics drawn from religious scripture and drawing powerful parallels to Black slavery in the U.S. They lend a deeply spiritual and socially conscious edge to the track which is potent in groove as it is message. The B-side, 'Reggie's Thang,' takes a different turn and is a raw, psychedelic instrumental showcasing the band's musical range and experimental edge. Together, these are a time machine back to powerful moments in soul and funk history, now rediscovered and sure to be appreciated all over again.
Review: The latest EP by noise and industrial maverick Oxymosoon delves into the intricate interplay of ego, vulnerability and self-reflection. This genre-defying release combines haunting electronic textures with evocative melodies and poignant lyrics to create a sonic narrative that challenges conventional perceptions of self-identity. Each track flows seamlessly while blending ambient atmospheres with bold beats and experimental soundscapes. Oxymosoon's signature style shines through with compelling production and emotional depth all drawing you ever deeper into an introspective journey that explores the beauty and complexity of the human psyche.
Review: Verdant's tenth release is another meandering and mystic trip through ambient electronic sounds that leaves you a million miles away from wherever you started. All four artists here excel with electro producer Reedale Ris kicking off in languid, far-sighted fashion with their mournful synths and distant cosmic designs. Out.Lier's 'Track 2' is another one cast adrift on deepest space with smeared pads and floating aural details suspending you in mid air. Jo Johnson's cascading synth motifs are pure and innocent and cathartic and Romanticise The World's 'Track 4' is mellifluous and hopeful.
Review: Should you be able to find original copies of the two dusty-fingered classics featured on this "45", your bank balance was be significantly smaller. Of course, just because something is rare and expensive doesn't make it good, but Jimmy Thomas's 1969 cut 'Springtime' is genuinely brilliant. Released when funk-rock was arguably at its height, it sees the legendary soul man belting out Alan de Roches' lyrics over a Hammond-heavy fusion of soul, funk and Hendrix-style heavy rock. This time round, it comes backed with a relatively hard to find - on vinyl, at least- chunk of reggae/soul/rhythm & blues from iconic Jamaican singer Owen Grey. It's superb, of course, but we still prefer the incendiary A-side.
Review: For well over a decade, Italian producer, electronic musician and sound designer Ocralab (real name Rocco Biscione) has been serving up immersive and enveloping ambient soundscapes, most of which tend towards the meditative and subtly sun-kissed. That's the trademark sound that he explores on gorgeous new full-length Locus Impervio, a set whose gently rising and falling melodic motifs, calming soundscapes and spacey sounds recall the halcyon days of ambient music in the mid-to-late 1990s. It's a genuinely gorgeous, soul-enriching set all told - the kind of thing we might have expected Pete Namlook, Jonah Sharp, Move D and Mixmaster Morris to put out circa 1994 (albeit with subtle nods to more contemporary, sound design-driven academic ambient releases).
Gave My Heart/Its So (Interlood) (feat Leon Ware/Grant Windsor Big Beat Band) (5:02)
Feeds My Mind (Feal Floacist) (3:56)
De Ja Vu (feat Mayra Andrade) (3:25)
This Way That Way (3:44)
Hold Me Closer (feat Stuart Zender) (3:48)
I Want It To Be (3:47)
Doobie Doobie Doo (4:08)
Grey Clouds (5:01)
Review: One of the UK's most distinctive, consistent and authentic male soul voices returns with his eighth album in 27 years... And it's a serious piece of work. Rich in range, warmth, creativity and a keen eye on the dancefloor, everything about him feels refreshed and energised. Highlights include the Dilla-meets-Iz & Diz style "This Way That Way", the glistening Balearic charm of "Feeds My Mind", the syrupy organs and harmonies on "Insatiable". Winding down with the almost filmic narrative "Grey Clouds", it's one of those records that will have you leaping up, flipping to side A and starting all over again. Feel the love.
Review: Omar is one of the UK's most notable soul stars and revered vocalists. His 1997 album This Is Not A Love Song came at the heart of the acid jazz explosion and remains one of its most vital works. It was his fourth album in a career that has produced nine overall and has plenty of his signature grooves, from the jazz flecked 'This Is Not A Love Song' to the -soul stylings of 'Wherever' via his spine tingling cover of the classic 'Golden Brown'. This is a limited and numbered 180 gram audiophile gold & black marbled vinyl reissue on Music on Vinyl with new a insert.
Review: Joshua Smeltink is a pianist and producer who works under the On-Ly alias. Since around 2017 has he been playing local bars as well as being a part of a number of different bands. He is currently busy with his own On-Ly band which features Carl Lindeberg on bass, Henry Hicks strumming the guitar and Bryce Zelno from Astral Feld on drums. This heavyweight new album explores worldly rhythms with plenty of off-beat grooves, finger clicks, hulling great drum hits, dark synth sounds and expressive broken beats and jazz melodies to make for an album that is as primal sounding as it is beautiful.
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