Back catalogue: All genres

Review: Hot Casa France reissue a sultry drum workout from master Turkish darbouka player Yasar Akpence's 2004 album 'Passion Percussion'. 'Desert wind' layers unbelievably tight darbouka trills and phrases over a pulsing, almost dembow-esque core, making for a perfect Balearic DJ tool for any occasion. We can imagine this one bookending hypnotic techno wormholes in a small hours Donato Dozzy set, with its wide stereo drum intrusions and tight production longing to be aired off a suitably weighty soundsystem. Truly chameleonic and compelling music!

Review: Original Gravity's very own identity-invention Nestor Alvarez returns with yet another two new and hot Latin funk productions. 'Plata O Plomo' takes its namesake from an old Spanish adage, literally translating to English to mean "silver or lead", implying that the recipient of the phrase must either accept a bribe or lose their life. In keeping with this heavy-handed theme, the track is punchy and surface-tense as a bullet yet to exit the barrel. Meanwhile, 'Reality For Nuttin' gets at an equally nihilistic and existential theme, all while finding joy in the conundrum of life with huge rhythm guitars and pop-out pianos and brasses.

Review: Bacao Rhythm & Steel Band is an enigmatic steel pan collective from Hamburg that has a hardcore fan following around the world and a new album on the way that is superb. They are loved for their covers of hip-hop classics and last year served up a version of the Stranger Things theme tune but this time out we get 'Love For The Sake Of Dub' of 45 rpm. It is another pair of funky tunes with the signature brass sounds front and centre as the fat bottom rhythms roll deep and fleshy. Another gem from this leftfield outfit.

Review: This 2024 edition marks the return of Joe Bataan, via the same track that made his name in 2004. Vampi Soul first welcomed the Latin Soul king to the label two decades back, facilitating the release of his 2005 album Call My Name. The pre-release singles for the album were 'Chick-A-Boom' and 'Cycles Of You', packed onto a single 7"; these quickly became DJs' favourites and have thus since remained long out of print. As it was twenty years ago, 'Chick-A-Boom' is a simultaneously upbeat but ghostly track, with Bataan's vocals quadrupling up in a wall of sound while providing the vibe equivalent of a Jackie Chan flick. 'Call My Name', meanwhile, goes heavy on the clavichord and synth whistle, as Bataan revels in a funereal theme, dancing, thundersticking into the great beyond.

Review: The Bayara Citizens dropped the original 'Ju/Ru Music' 7" on Joe Clausell's Sacred Rhythm label back in 2006. It has become a rather pricey little 45 prm that now gets reissued as two different, dubbed out Afro rhythms with swirling guitar licks. The Afrikan Art opener on the a-side is full of sunshine and Latin vibes thanks to the superbly plucked strings and shuffling groves, while the flip is the Afrikan dub Drum Drums version - darker, more percussive more moody. Both sides bring something different to any dub set.

Review: Collignon brings some real class to this new one on Bongo Joe Records. It is a tidy two-track 45rpm that is best described as psychedelic tropical. Opener 'Viemos De Longe' is a dense and busy mix of warped synth wobbles and steamy jungle effects, humid pads and mystic melodies that take you deep into overgrown flora where all manner of birds and frogs await with their weird and wonderful calls. Add in some psyched-out rock guitars and a sense of 60s spy theme funk and you have a marvellous cut. Flip it over for further sonic fun in the form of the magical 'Visita Noturna.'

Review: Earthtones have got a new albumin the way and this is the very first and very tasty teaser single from it. This one is actually a collaboration with longtime friend and co-producer Oliwa and it has a stunning lead vocal that is full pf passion and heart ache and comes from Colombian-Canadian talent Lido Pimienta. The drums are slow, heavy and cumbia influenced extra bass synths, keys, guitars and drums all making it feel contemporary as well as traditional. We're told "the vision of this track is one of upliftment of womxn and femmes everywhere."

Review: The Ethiopian Brothers transport you to a vibrant fusion world where Ethiopian jazz, Afro drums and funk all collide. Released in 1972, this single showcases the band's mastery of traditional Ethiopian rhythms intertwined with elements of Western funk and soul. 'Ashadwa' exudes infectious energy and is driven by lively brass sections and mesmerizing vocals weaved into the dynamic arrangements next to wah way guitars and steamy sax. It is a real dancefloor heater while a version comes on the flip without the vocals.

Review: Natacha Fink's 'Pirarublue' delivers a sexy lounge vibe with hints of jazz rock, characterised by its catchy rhythms and melodies, while on the flip Nimalan Yoganathan presents 'Unseen Songlines,' an ambient piece rich in field recording atmosphere and experimental textures. With its unique sounding hord structures and ample use of echo, this track transports listeners on an introspective journey through soundscapes. Overall, the EP showcases the label's commitment to showcasing eclectic and boundary-pushing music from emerging artists.

Review: As Galathea, Sicilian producer Massimo Napoli has been cooking up some outstanding cuts for the Italian Space Echo label over the past couple of years. Afro-Latin rhythms, soul jazz, dub and more besides all feed into his sound, which manifests perfectly on this new single fronted by vocalist Giulia La Rosa. 'Sacred Love' has a stripped-back, minimalist approach which makes it all the more potent, as Napoli exercises a restraint which creates drama and tension in the negative space around the groove. La Rosa's smouldering vocal is the icing on the cake for this deep, funky cut which will turn heads each and every time it gets dropped.

Review: The titular release from Kumomi Records, based in Japan, hears Okinawa salsa band Kachimba 1551 fuse two enduring traditions: Okinawa folk music and salsa. The band embarked on this fusion first in 1998 and have continued their activities in their hometown of Okinawa ever since. A-sider, their rendition of 'Asatoya Yunta', appears first - a folk song said to have originated on Taketomi Island in the Yaeyama Islands, and which has been covered by many musicians around the world (including Ryuichi Sakamoto, Haruomi Hosono, and Akiko Yano). On the B, meanwhile, is 'Uminu Chinboraa', said to have been handed down from 'Ie Island In Kunigami Gun Of Okinawa', a folk song known for its use in traditional party settings.

Review: Elado Gulab Jamun did a fantastic job with his edit of this Bollywood gem to the extent that it has become a real dancefloor gem that's been much loved all around the world for the last two years. Now it makes its way to a 7" vinyl pressing and is backed with his 4am mix of the same tune. This one is a sublime and dubbed out, acid tinged electronic trip that comes with original CD artwork that pays great tribute to original artist Nadim Khan. Another tasteful outing from Razor-N-Tape for this fresh edit.

Review: Vampisoul dedicate one more 7" to another fresh-from-the-woodfired slice of modern cumbia, this time from the eponymous La Cumbia Moderna De Soledad band and Machuca Cumbia respectively. On the A, the former band offer up a two-toning cumbia version of Rod Stewart's 'Da Ya Think I'm Sexy?', sparse but well-wrought in its sound. The B is a treat that vibrates at a different, but equally as effective frequency, being a convincingly retro take on the Bee Gees' 'Stayin' Alive', and lending the song's ineluctable melodies a Latin twist by way of hypnotic percs and guitars.

Review: Several years before Uzi Kinrot, we were lucky enough to attend a cultural exchange, of sorts, between Lithuania's burgeoning electronic scene and Israel's fertile alternative music community. The results were staggering, and in addition to presenting the Balkan state as an epicentre of leftfield dance, it also made a strong case for the Middle East as a hotbed for the kind of music makers destined to score some Quentin Tarantino or David Lynch movie. Back up to date, and Les Dynamites, whose reputation has long reached beyond their Jerusalem hometown, have returned to emphasise the latter point. Uzi Kinrot is a groove-packed double-A side that feels alive with energy, perhaps thanks to the single-take recording process. It's twangy, psychedelic, nostalgic and yet utterly timeless stuff that yearns to be heard on a beach while you hide from the heat of afternoon sun.

Review: "Here we go again, yeah!" exclaim Luchito Rodriguez and Nestor Alvarez - Original Gravity's two core mainstays - who team up once again to evoke the undeniable spirit of a 'Boogaloo Party' for the ages. Channelling the sound of the inimitable Latin dance style, but also gradating it so as to be mixable in DJ sets, 'Ain't Nothing But...' delivers compelling call-and-responses and horn-swelling builds. 'Fiesta Bugalu' dubs things out for a reflection on the party just gone, retaining the tempo but relaxing things for extra percussive effect.

Review: The wonderful Mr K is back with more edit magic on his own Most Excellent label, this time adding his own spin to 'Wela Wela', a hard edge and raw funk cut from Black Blood, a band of musicians from central Africa but who were based in Belgium. This one was never a hit back in the day for some reason but is built on a killer groove that Mr K reworks and tweaks for more suitable dance floor deployment. It was formerly on his Grass Roots record but now makes its way to a handy 7". On the flip is 'Komi Ke Kenam (Fish & Funjee)' which has tough breaks and funk bass that will ensure 'floors get down and dirty.

Review: Comb Edits is, at least in our world, officially the best thing to come out of Norwich since Colman's Mustard (or perhaps Justin Fashanu). The hush-hush project has been serving up occasional must-have re-edits for a while, with some of their earliest releases becoming in-demand items on the second-hand market. 'Por Amor', which opened the mystery editor's first EP in 2021, is probably the most sought-after scalpel job of the lot. It's a light-touch rework of a gorgeous slow-motion and sun-splashed Latin cover of a Bobby Caldwell classic - the kind of thing that disco, soul and Balearic heads will love. This reissue presents two new tweaks: a slightly shortened (but no less gorgeous 7"-mix), and a stripped-back, bass-heavy and delay-laden 'dub mix' that's especially essential. Don't sleep!

Review: Reposado aka Tequila Funk brings more Latin and Afro flavours magic to this new 7". It makes a perfectly international soundtrack for global dancefloor fun with A-side 'All You Got To Do' bringing an uptempo soul vibe with some legendary guitar from the one and only Jimmy James, while some soulful background cooing comes from Alex Rose. It's a feelgood gem that will unite all who hear it and then the reverse is a salsa-tinged delight. 'Original' has masterful piano from Marina Albero and is an irresistible gem that completes a fine two-tracker.

Review: Over the last couple of years, we've been treated to numerous reissues of classic cover versions by Japanese reggae/rocksteady combo Inokasira Rangers, including takes on Nirvana's 'Smells Like Teen Spirit', Pharrell's 'Happy' and New Order's 'Blue Monday'. Here we're treated to another, as the band's 2017 take on Underworld anthem 'Born Slippy' gets a fresh pressing. It's certainly a revolutionary revision, with Keichi Sokabe's surprisingly Karl Hyde-sounding lead vocal rising above a lusciously languid, sub-heavy reggae groove. Over on the flip they take on 'Groove Tube', a 1991 indie-pop-meets-acid house single from Japanese outfit Flipper's Guitar, reframing it as a baggy, glassy-eyed rocksteady number.

Review: Tito Puente's classic 'Guayaba' has been rerecorded by a plethora of artists over the years, but it's safe to say these two covers by Sonora de Lucho Macedo and La Logia Sarabanda are among the best. In their respective versions, we find two proper dancefloor shakers for all tropical heads out there, recorded under the influence of the early 70s Latino rock. Here Vampi Soul reissue this precious gemlike cut, with the two versions never paired together before, on 45 for the first time.

Review: Ricardo Suntaxi's wonderful 'Baile De San Juan' perfectly encapsulates the vibrant spirit of traditional Latin rhythms. With plenty of pulsing drum machine beats and dazzlingly infectious melodies, Suntaxi blends elements of salsa, merengue, and cumbia to create a truly dynamite dancefloor anthem. The track cannot fail to transport you to the lively streets of San Juan where the music fills the air during festive celebrations. 'Que Siga La Farra' on the flip has more of a dub feel but is still pack with vivid and vibrant melody that is a testament to Suntaxi's talent for infusing contemporary flair into classic Latin sounds and will ensure a lively atmosphere wherever it's played.

Review: The brilliant Jimi Tenor is adored in the scene by those how know his music. For over 30 years now, his discography shows his work for him to be labeled a genius. 'My Mind' was a track that was included on his 1999 album Organism. This new version is more akin to his recent live performances of it across the world in recent tours. This version is a bit rawer but doesn't lose the smoothness of the original. A classic of his discography and a signature song of his concerts, you get a glimpse into what makes Jimi Tenor once of the most beloved personalities in electronic music history.

Review: Peru has enjoyed a thriving and exciting music scene since the mid-1960s. Bands such as Los Saicos, Los Shain's, and Los York's, to name just a few, released a number of brilliant records that drove young fans crazy and set an example for many to follow. The end of the decade brought about an evolution in sound and new music, as Peruvian bands kept an eye on the groundbreaking British and US artists. One of them was Traffic Sound, founded in Lima in 1967. Over a very short period of time the band managed to successfully develop their career, and by 1971 their Latin influences had overpowered the psychedelic prog vibe of their previous records. The song became a local hit and several versions were recorded by different Peruvian artists. On the other side of this single we find Black Sugar, a Peruvian band considered to be a pioneer group in Latin America in mixing funk influences with rock and Latin rhythms. In 1976, following their gig at Coliseo Amauta in Lima, opening the night for the legendary Spanish band Barrabas, they started to show a growing interest in disco music, resulting in some line-up changes with members leaving the project due to their lack of interest in the new sound and new ones joining in. Their own take on 'La Camita' was released in 1978, and adds a modern twist to the original song.

Review: This latest addition to the Legofunk series is sure to precipitate somatic reactions, whether floorbound crowds like it or not. On the A, Voodoocuts pins down a massive Latin / Afro-funk boogaloo edit for 'Ray's Delight', topped off by trilling trumpets and palm-outstretched piano chords. On the B, Tommy Manero gets samplier with it, collapsing the spatial-temporal plane between breakdance and salsa for 'B-Boy Chunga'.

Review: Discodelic has established itself well with its first ten releases and now the 11th keeps up the momentum with a pair of funky psychedelic jams. First up is the Wilson Boys with their 'Funky Bocas' which pairs busy Afro rhythms with tight interwoven guitar lines and their impassioned vocal cries. It's a full flavour jam with oodles of charm and then on the flip is something just as solid. Alma Fuerte's 'Baila Muchacha' is a brilliantly loose jumble of raw rock guitars, shuffling samba rhythms, flame vocals and synth magic that will electrify the 'floor.

Review: Discodelic does not muck around when it comes to putting out their music on vinyl - they serve up a standard black version but often also a cured pressing alongside it. And that's what we have here - a yellow and red splattered vinyl 7" with a booklet featuring some backstory, and all heavily limited to just 100 copies. Musically this one packs a punch too with Wilson Boys opening up with 'Funky Bocas' - a busy Afro rhythm with tight interwoven guitar lines and big vocal cries. On the flip is Alma Fuerte's 'Baila Muchacha' with its hypnotic mix of aw rock guitars, shuffling samba rhythms and flamey vocals.