Review: We always love to hear from the Swedish folks at Studio Barnhus, a bunker-turned studio in Stockholm that serves up left-of-centre sounds on the regular. Ari Bald and CJ Scott combine for this one and bring a usual sense of melodic flair and catchy pop hooks to quality club beats. 'Disko Lena' is house music full of whimsy and charm, 'Panta Tanta' is packed with fun samples and 'Lasse Mango' is a steamy workout with shuffling, garage-lining drums. 'Bogges Bubblor' shuts down with some cosmic magic.
Review: Bongo Joe and Sofa Records' third instalment of the Maghreb K7 Club Disco Single series dives deep into Algeria's vibrant 1980s scene, offering four tracks that shine a light on the region's overlooked gems. The A-side is led by two irresistible pop-boogie-funk tracks from Khaled Barkat: 'Galouli Enshara' and 'Zourini'. Self-taught and self-produced in 1983, Barkat's music was a hit at the time but got overshadowed by the rising tide of rai. His dynamic collaboration with Yazid Fentazi, Redouane Ayoub, and Mhenni Benlala resulted in a sound that blends infectious grooves with local flair. Now, for the first time, these tracks are on vinyl, offering fresh ears the chance to rediscover a key player in Algeria's pop history. Cheb Tati takes over on the B-side with 'Dub El Hammam', a heavyweight dub number that showcases his range as a rai vocalist. Tati was flown to London in 1989 to work with dub pioneer Denis Bovell, and this track is a standout from their sessions, merging the pulsating rhythms of reggae with a distinctly North African flavour. Closing out the release is the Kabyle band Asif, whose only known recording, 'Tafsut', serves as a fitting finale. Formed by three brothers in Lille during the late 70s, this beautifully crafted pop-boogie track captures the band's unique sound, bringing a sense of nostalgia and triumph to the collection.
Nick Bike - "Scratch Sentence / 98 Beat / Skipless / 101 Beat" (6:19)
Review: Private Stock Records serves up a treat for DJs and turntablists with a new 12" packed with beats, scratches, and skipless tracks. Four skilled DJsiBig Once, Cutso, Double A, and Nick Bikeicontribute their skills to this collection, offering a diverse range of flavours for scratching and beat juggling. Each DJ delivers a 'Scratch Sentence' and a selection of beats at various tempos, providing a versatile toolkit for creative routines. The inclusion of skipless tracks adds another dimension, allowing for seamless blends and extended mixes. With its focus on functionality and quality, this release is a must-have for any serious turntablist or DJ looking to expand their arsenal of sounds.
Nicola Brusegan, Camilo Gil - "Take A Groove" (6:27)
Nicola Brusegan, Camilo Gil - "Take A Groove" (Jorge Caiado remix) (6:12)
Review: Renowned producer Bodeler makes his mark on the newly emerging Minimal Brooklin label with a masterful display of minimalism on his A1 cut, then respected Argentinian Franco Cinelli remixes and delivers something immersive. On the B-side, Nicola Brusegan and Camilo Gil unite to create a soulful deep house track complete with lush chords and pulsating basslines, and this one is paired with a remix from Jorge Caiado that is sure to electrify dance floors thanks to his knack for crafting statement-making sound and pulsating acid vibes.
Review: When Cabaret Voltaire returned to the release schedule in 2020 as the one-man Richard H Kirk show, fans were relieved to find that mind-bending meld of 1970s Kosmische, techno, dub, house and space-age experimental electro was as pure as it ever has been - the results being a typically fresh and forward-thinking record the man in question summed up as "no nostalgia... normal rules do not apply. Something for the 21st Century. No old material."
Less than six months later and the big CV has more next level business to offer us, coming in the form of Shadow of Funk, a new EP that offers something of a counterpoint or extension to last year's full-length, Shadow of Fear. Based on 'Billion Dollar' alone - an acid-driven big, dark room banger that closes this EP -this release looks set to make an equally heavy impact, but as with anything this man touches, the joy is in discovery. So, let's leave it at that.
You Don't Love Me (No No No) (feat Delroy Williams) (3:38)
You Know How To Make Me Feel So Good (5:01)
Review: Susan Cadogan is an esteemed reggae vocalist who has been since the 1970s. Now she continues her musical journey with this cover single which is taken from her excellent 2020 album Hurt So Good - Storybook Revisited, distributed by Burning Sounds. Side-A features a rendition of the reggae classic by Dawn Penn, while Side-B offers a sweet soul interpretation of Harold Melvin & The Blue Notes' track. Enhanced with Japanese-inspired artwork on the jacket, this release showcases Cadogan's timeless talent and versatility as it bridges the gap between reggae and soul music across generations.
Review: This adventurous Bio-Synthetic EP is a dystopian exploration of the intersection between biology and technology that includes two original tracks alongside remixes by CREASOL, C-SYSTEM, 5ZYL, and EC13. 'Biomantics' delves into a sci-fi world where memory and energy are biotechnologically manipulated, while 'Synthogerm' envisions hybrid beings born of synthetic and biological fusion. The remixes expand the EP's themes with Creasol adding 80s synthwave, EC13 bringing an electro-techno edge, 5ZYL infusing electro and breaks, and C-SYSTEM delivering techno vibes.
Review: GC Cameron was born and raised in McCall Creek, Mississippi, and by the age of 22 he was already famous having joined Motown Records. He was signed up as lead singer of the legendary group The Spinners and had several web recover tunes and a few hits such as 'It's A Shame,' which was co-written and produced by Stevie Wonder. After that, Cameron left the group and went solo and teamed up with Harvey Faqua, Greg Crockett and Elgie Stover to record his best-ever work, which now makes its way onto this fine four-track EP courtesy of Soundway.
Review: A genuine one off, largely made using the then-new Yamaha DX-7 synth, Joe Car's sole single from 1984 has long been one of the rarest Italo-disco 12" singles around. This reissue has been a long time coming, with the revitalised Best Record finally securing the rights to re-release it earlier this year. It remains a fun and surprisingly on-point release. It appears in two takes, both of which we think were laid to tape at the time. On the A-side you'll find the 'Electro Potato Mix', where chiming lead lines, Fairlight style sampled stabs and male vocals rise above a chuggig, arpeggio style bassline and machine drums. Nestled on the flip is the original vocal version, which sounds like the sort of thing Chris Lowe from Pet Shop Boys may have been dancing to during the period - there are certainly a few cuts in the duo's earlt catalogue that utilise similar sounds and grooves.
Review: Undancel is a new label out of Spain that announces itself with a various artists EP, Alternative Sound Concept. It is electro much at heart but explores a wide sphere of sound on the periphery of the genre, and the dance floor, and the universe. Caradusanto kicks off with the silvery claps and retro-future basslines of 'Semillas' then Dark Vektor's 'En Mitg De L'Espai' brings some nice snappy snares and vocoder vocals. Intervalo's 'Solitude' layers up colourful arps full of hope over raw drum loops and Garate's 'Larga' picks up the pace with more direct drums and rubbery bassline designed for serious shape-shifting. Tio Solo closes down with the more cinematic 'Dark Fluid.'
Review: Carlita comes hot off the heels of a recent remix of Diplo's 'Don't Be Afraid' with a fresh EP for Life And Death. Tinged with inflections from Italo house to ambient techno, 'Bon Trip' and 'Run Run Run' are dreamlike trips through chordy syncopation and whirly vocal. By far the best aspect of this EP is the techno remix by Krystal Klear, which has a sprinkling of autotune that's been amped up to French house levels. A glossy and ear-piquing new EP.
Review: Carmy Love brings a stylish hint of gospel to the beautiful vocal on this new single on Big A C. 'Rebel' was actually written many years ago yet the lyrics have huge repugnance today. The song has regularly been performed in that time with New Street Adventure but now the live version becomes all the more glorious as a full studio production. On the back is a tune inspired by the fertile soul crossover sounds of the late 60s and early 70s, with funky bass and body brass. These are tunes to warm your heart and uplift you as you leave the bad times behind.
Die Klapperschlange (Escape From New York) (vocal)
Die Klapperschlange (Escape From New York) (instrumental)
Die Klapperschlange (Escape From New York) (edit)
Die Klapperschlange (Escape From New York) (Nomoo remix)
Review: One of legendary filmmaker John Carpenter's few forays into electro-disco proper, 'Die Klapperschlange' is an instant throwback, the title theme from the 1981 sci-fi film Escape From New York. Everyone knows this melody, yet few could point to its origin, and that's likely due to the German release of the John Carpenter film being titled 'Die Klapperschlange' ('The Rattlesnake'). And yes, you heard us right: John Carpenter himself made this piece of music. A multi-talented man indeed, though he did work with fellow composer and sound designer Alan Howarth to add the finishing touches here. It's as if this track were made for the anarcho-discos of the future, its inherent darkness rendering it seemingly unassailable by the crumbling of society or public breakouts of violence depicted in the film. Plus, there's *that* unmistakable four-bar extension, in which a three-note hook has permanently wedged itself in our minds - wowee. And on this new release via ZYX, we've got two new alt-mixes and an outrun techno remix from Nomoo. Sweet!
Review: Carpenter embraces the holiday spirit with a playful and modern twist. A festive reimagining of her earlier work, the release brims with cheeky wordplay and shimmering pop production. Tracks like the opening number reinvent familiar holiday tropes with wit and charm, while others pair Carpenter's signature catchy melodies with a distinctly festive warmth. A rework of a seasonal classic closes the record on a high note, showcasing her vocal versatility and contemporary approach. This is a fresh and vibrant take on holiday music, as fun as it is memorable.
Review: Sabrina Carpenter's 'Please Please Please' gets a luminous vinyl 7" release, adding a tangible glow to the hit single. This limited-edition format elevates the song's country pop and yacht rock blend, with its disco-pop undertones shining through on this high-quality pressing. Produced by Jack Antonoff and written by Carpenter, Antonoff, and Amy Allen, the track flows effortlessly with its catchy hooks and breezy production. The vibrant neon-green vinyl captures the song's playful yet cinematic vibe, echoing its Bonnie and Clyde-style music video that captivated fans globally. With its chart-topping success across the US and UK, the 7" version of 'Please Please Please' is an excellent collector's item for fans, serving both as a visual and sonic treat. A nod to Sabrina's artistic evolution, this release stands out as a polished gem in her catalogue.
Review: Building on the momentum of their debut album, the legendary musicians and 577 mainstays return with Shine Hear, Vol. 2, a stunning continuation of their avant-garde exploration. Saxophonist and multi-instrumentalist Daniel Carter, pianist Leo Genovese, bassist William Parkeriwho also contributes on Gralla and Shakuhachiiand drummer and vocalist Francisco Mela, reunite to create another cosmic journey through sound. This second volume maintains the same spirit of improvisational brilliance while pushing the boundaries even further. Drawing from classic jazz structures, the ensemble weaves in modern experimentalism and a broad palette of instruments, resulting in an album that feels both timeless and innovative. The tracks and the album title are inspired by a new poem written by Carter, reflecting the transience and ceaseless motion of modern life, much like the city of New York, where all the musicians are based. This collaboration has unique magic can emerge when these legendary artists come together. Their interplay blends elegant, traditional jazz with daring, avant-garde arrangements. Shine Hear, Vol. 2 stands as a powerful and innovative work, affirming the quartet's ability to continually reinvent themselves while honouring the roots of jazz.
Outside Looking In (Full radio edit version 2024) (4:58)
Review: Cash Money Experience are soul dons and if you need proof listen no further than this new 7". Darryl Howard is the vocalist and songwriter of Nu'rons and here he offers up the lead vocals while Emanuel Campbell, who is one of his co-members in Nu'rons, is responsible for the lyrics. On the extended version of 'Outside Looking In' the vocals convey plenty of pain on nice laidback drums and funky riffs. The Full Radio Edit distils things to a shorter play length but is just as effective.
Review: 1asia is a label that focusses on Asian artists from a broad array of genres and Caslean is next up with the beguiling Sweet Adventure, a remix EP that finds her work reinterpreted by an array of innovative talents. 'Munir's Bandung First Trip' is serene electronica with lush and dreamy lines and naive vocals floating up above the smooth and uplifting rhythms. 'Meng Que's Yard' brings jumbled percussion and sugar synths to a broken beat jumble and 'Mogwaa's Studio In 07307' is a retro-future cut that pairs bouncy nu-disco with dubby pads. Last of all is 'Knopha's Re-clockwork,' another innocent and pure electronic world of neon synths and intriguing vocals.
Review: Casquiat - a mysterious production moniker, and clear play on words of the name of a famous New York neo-expressionist artist, punned with either a casket or casque (we're not sure which) - lays down an equally mysterious but also supremely effective edit of the infamous Boyz II Men tune, 'If I Ever Fall In Love Again', re-baptizing it 'Lady Friend' and lending two alternate takes on the rerub (whether 'Bad Self' or 'Lady Storm' are artists or mix names, we also can't tell). Whereas the original track's bittersweet barbershop tones exist purely as an acapella - unusually, in their case, it was an original acapella, not recorded for a produced pop song - Casquiat lays down two, boxy contemporary breaks / hip-hop mashups here, one operative at 90bpm and the other more at 70bpm, and both bringing unusual dubby flavours to an otherwise pure R&B hit.
Review: Seven Psalms finds Australia's most imperious musical misfit Nick Cave leaving his Bad Seeds at home and teaming up with frequent collaborator Warren Ellis for a limited 10". The spoken word pieces on this record are the result of a daily song writing practice over a week during lockdown - Cave himself describes them as "small, sacred songs," set to appropriately subtle musical accompaniment. Recorded during the sessions for Cave and Ellis' 2021 album Carnage, it's a rich work in its own right that offers a different perspective on Cave's considerable gifts as a soothsayer.
Review: Oceanic Zones is a brand new album on a brand new label. CCO is the artist and the fledgling label is Silum which is brought to us from the Liechtenstein Alps via Zurich. This is a stylish electro outing with elastic chords and silky pads that all, we are told, explore 'the layers of the sea.' The A-side is the more cheerful and represents the light-flowed upper regions of the ocean while the flip side is where things get darker and more menacing, as you would expect as you head down to the ocean floor.
Review: BMG reissue the second ever release by the pioneering Swiss extreme metal band Celtic Frost, originally released in 1985 as an EP. Emperor's Return often goes criminally undersung as a fleshing-out of black metal as a genre, with the bleak imagery surrounding it going on to cement the style as its own niche. Their first record to feature American drummer Reid Cruickshank (aka Reed St. Mark), the EP comprises five thrash-come-black metal rabble-rousers, ahead of their time for 1985.
Review: 'Photochrome' is a track that is shrouded in mystery. It has a rather elusive original release date, likely sometime between the late 1970s and early 1980s, and came on Italy's Idea which was a well-regarded label despite its small catalogue. Now reissued in full, the single exudes an organic aesthetic infused with early electronic elements that were emerging during that era. A brisk, pulsating groove is intertwined with what resembles an early 303 bassline and ethereal vocal. Dry drum recordings evoke a raw, DIY ambience next to the experimental effects that swirl and drift. A new two-part bonus beats remix is also included.
Review: It's rare we hear reissues from those close to the original horses' mouths, but the work of G.U.S. Records is an exception. Run by vinyl and tape collector Gustavo C., the aim of the imprint is to re-release the soul, funk and early proto-electro of artists from Detroit whose music had only circulated in unreleased demo form. Mainly focusing on funk and boogie, '80s music abounds; notwitshstanding two former releases from rather unrecognised names, their third is a mega-rare single from Central Line. 'Love Will Find It' and 'Do You Remember' have never before seen the light of day, despite the four-piece band's long stint with the major label Mercury. The B-side is a favourite; a unusual slice of falsettoing boogie in triplet time.
Review: Cetu Javu's iconic track 'Por Que?' (which as you probably can work out translates as why?) returns on a lovely grey marbled vinyl 12" courtesy of Blanco Y Negro Spain. A timeless classic from the late 80s and early 90s synth-pop and electronic scene, this single captures the band's signature blend of infectious melodies and emotive Spanish vocals. It's a fiery sound that is packed with melancholic undertones and driving rhythms that mean it has remained a dancefloor favourite for fans of vintage electronic sounds. This special edition offers a pristine homage to the era that takes you back in an instant.
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