Review: Remastered from a lost cassette in composer David Toop's archive, Unsettled Scores Records has secured the rights to a first-ever release of the legendary title track from Dick Fontaine's iconic 1988 graffiti documentary. Originally airing on Channel 4, the film followed Brim's 1985 journey from the Bronx to the UK, where he linked up with future icons like Goldie and 3D of Massive Attack. A formative piece for graffiti writers and hip-hop heads alike, Brim's 'Bombin'' became a cult classic and remained so. This long-awaited 7" includes the full version and unreleased mixes.
Review: Dangerous Goods bring fresh energy to I Travel to You with 'Wish,' reshaping a 2001 r&b track through the lens of street soul. The A-side thrives on a punchy bassline, crisp 808 drums, and a newly recorded vocal, giving it a sleek, modern flair. For the Deepest Dub mix, the track slows down, cut to tape and drenched in the bass-heavy influence of late 80s and early 90s breaks. It's a dual homage, blending nostalgic grooves with bold, contemporary production.
Didn't I (feat Cerebral Vortex - 1773 remix) (4:05)
Review: The exact backstory of this one is hard to pin down but suffice it to say if you haven't heard Darondo's 'Didn't I' before then as soon as you do you will fall in love. It has previously been released on a 7" entitled 'Edits' by Stefan Trischler aka Trishes back in 2010 but with a different B-side. Here it comes on TLM with a 1773 remix on the flip. The original is a hard-ass funk cut with raw and tough drums and splintered hi-hats all topped off with the aching and soulful vocal sample and some distant lavish strings. The flip side version features Cerebral Vortex and has extra bars that add a hip-hop touch.
Review: There is a wealth of De La Soul music swirling about right now - much of it has been added to digital streaming sites for the first time and just as much is being reissued and repressed on vinyl from their full-length albums to some of their standout single. And few tunes the American hip-hop group put out are as great as this one - 'The Magic Number' is their signature hit, a happy mix of flower-power verses, colourful rhythms and captivating hip hop grooves laden with funk. An essential jam to own on this tidy 7", backed with an instrumental.
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.
Double A - "Oh My God" (Double A's Mid Tempo Rewor) (3:53)
Review: The EastSide Edits label outta Canada is here to provide big moments of fun for jobbing DJs. Their first EP sold out in quick fashion because of the irresistible nature of the mash-ups it contained. Now comes a second volume, this time in the form of a couple of edits. Demiur's Jacked Payboi edit of his own take on massive rap hit 'WAP' is smoothed out into a chunky house groove with all the controversial original lyrics from Cardi B and Megan the Stallion left in place. On the flip is a big, shimmering disco epic in the form of Double A - 'Oh My God' (Double A's Mid Tempo Rework).
Review: JAKe Detonator is a renowned graphic artist who shows another side to his skills here as he drops a slick 7" featuring two instrumental hip-hop tracks dedicated to the legendary MF DOOM. Both tracks, 'Requiem for Doom' and 'Stoneferry Morning,' were crafted during lockdown like so much good music of recent years. They are killer joints with woozy synths worming their way in and out of tough, classic boom-bap betas as dark vocal musings add extra weight. Naturally, this double A-side comes complete with full-colour artwork by JAKe himself and marks his first 45 release.
Review: 'Debes Llorar' is the second of two super limited 7"s being dropped by Dez Andres on the fledgling Future Rootz label this month. Like the other one, this 45 pulls out plenty of the Cuban influences Dez is known for. A-side 'Debes Llorar' is all life-affirming chords that fans of his classic 'New 4 U' will recognise, but stitched over ticking and raw drum beats with a Latin shuffle and Spanish vocals. 'Aqui Estamos' takes things down a notch with a more sunset sound, hip-hop flecked deep house beats and seductive vocal sounds next to gorgeous little acoustic guitar riffs.
What People Do For Money (Ben Liebrand Nu-Disco mix) (8:29)
What People Do For Money (Ben Liebrand Funk mix) (5:32)
What People Do For Money (Ben Liebrand Electro mix) (5:32)
Review: Divine Sounds were a rap group formed in Brooklyn in the early 1980s. Under the names DJ Mike Music, Disco Ritchie and Shelton D, they hit the scenes in 1984 with "What People Do For Money". For this 12", Ben Liebrand offers three different remixes that infuse the rap classic into each genre. Here you have a disco, funk and electro remixes which makes this the ideal edition to have for DJs looking to slip some hip-hop into their dance sets. Something for everyone.
Review: Featured on this new white 7" are three separate and equally essential "redrums" from the soundtrack of Belly. They are great works from DJ A L starting with the slow motion and seductive claps and beats of 'Back 2 Life (Impreach edit with intro)' then cruising into the 'Back 2 Life' (Re-Drum-Apella) with more knowing beats and prominent snares, then last of all is 'Devilz Pie' (Re-Drum-Apella) which is lo-fi and lovably loved up thanks to the D'Angelo vocal up top.
Review: LA-based label Milkcrate Mondays has pleased many a dancer with the MCM Edits series and now the fourth volume in relatively quick succession offers more irresistible heat from a trio of talents. DJ Abel opens up with 'Dem Nah We' which is low slung hip-hop fun with raw, characterful vocals and Afro flourishes. DJ Netwerk's 'Everlasting' is a more slow motion and Balearic joint for sundown and DJ Soulcab's 'Buena' is a shuffling and dembow-infused carnival rhythm with brilliant accordion leads.
Review: DJ A-L has been turning heads with his inventive edits for a couple of years now, always on this label and always reimagining classic hip-hop and r&b cuts with fresh twists. After kicking off 2025 with a bang, he's back already with two more standout reworks. First is 'MVP (DJ A-L Blahzay Blahzay Remix),' packed with raw, dusty breaks and that unmistakable golden-era grit. On the flip, 'Jump Around (DJ A-L Shoot Your Shot Remix)' leans into a smoother, more soulful vibe, riding a deep groove laced with 90s swing and crisp claps. It's another top-tier 45 rpm from DJ A-L that is tailor-made to get the vibes flowing.
Review: For the last couple of years, DJ AL has been serving up creative edits that breathe new life into iconic tracks from hip-hop and r&b. He's already dropped a big one in 2025 but quickly backs it up with two more razor-sharp reworks. First up is 'MVP (DJ A-L Blahzay Blahzay remix)' which has big old school energy, dusty and raw drum breaks and hard bars a plenty. 'Jump Around (DJ A-L Shoot Your Shot remix)' is a more soulful sound with a deep cut groove but still plenty of 90s hip-hop energy and some hip-swinging claps. A great return that is sure to fire up many a 'floor this summer and beyond.
Review: DJ Bacon's new edits LP Super Disco Raps takes two forms: firstly as a full-length 16-track LP, and secondly as a selectors' single edition, the latter of which you see here. 'Vol. 2' hears two extra remixes that did make the big disc's cut, but Bacon decided they also suited a limited edition 7" release for good measure. Playability is the implied reason: on the A we've a glossed-out disco scratch-tool remix of Wu Tang Clan's 'Gravel Pit', on which ghostly rap acapellas are laid to a lackadaisical funk beat, and on the B there's a similar version of Ultramagnetic MC's's 'Moe Luv's Theme', which loops and skips about an unmistakable four-beat, wax-scrubbing hook.
Review: DJ Bacon is probably the singular most eminent edits master to stock his serial releases on our digi-shelves; this credo alone is more than enough to turn heads for his latest limited 7”, ‘Bad / Theme From SWAT’. Here the auspicious Aussie reworks the ineluctable opening theme music from S.W.A.T., the ‘70s police procedural that more or less inaugurated the genre, but not before he detourns any actual swattage with a reworked version of LL Cool J’s breakout hit on the A.
Review: DJ Deviant's 7" single is a nod to classic hip-hop with a modern twist. 'The Rhythm' on Side-1 is a funky, horn-laden track layered over B-boy breaks, delivering a sound that's sure to get the party started. On the flip side, 'Make Em Bounce' offers a mid-tempo groove with '90s hip-hop vocals, horn stabs, and boom bap drum breaks, creating a vibe that will make you move. This single is great for DJs and 45 enthusiasts, blending nostalgia with contemporary beats in a way that's both familiar and fresh.
DJ Deviant & Swamburger - "Get On The Floor" (3:33)
DJ Deviant - "Where's The Party" (3:47)
Review: DJ Deviant and Swamburger join forces for a double-sided serving of feel-good hip-hop and r&b on this 7" release. 'Get On The Floor' is a surefire party starter, its infectious beat and catchy hooks practically demanding movement and setting the tone for a night of good times. The track is a vibrant blend of classic hip-hop elements and contemporary production, with DJ Deviant's cuts and scratches adding a layer of turntablist flair. On the flip, 'Where's The Party' sees DJ Deviant flying solo, keeping the energy high with a smooth groove and feelgood vibes that are reminiscent of 90s r&b classics. The ever enduring appeal of hip-hop and r&b in full effect.
Review: Japanese talent DJ Koco aka Shimokita is a hardcore 45rpm devotee. They are his chosen tools as a beat-juggling DJ who can do logic-defying things with his grooves. He is a regal on Bloom and already dropped serious heat in January with 'World Famous'. This time he is back with a fresh take on 'Made In New York' which is a 1985 classic by renowned Brazilian funk and jazz pianist Tania Maria. He brings his signature hip-hop flair and creativity with his trusted crew, 45trio, and enlists the dynamic saxophonist King TJ (DA-Dee-MiX) to elevate things further.
Review: As the man behind so many of the beats for Jurassic 5, not to mention an in-demand producer in many other places, Nu Mark has got chops for days. Roaming free on his own Hot Plate label, last year's Run For Cover was loaded with crisp, seriously funkified gems, and now two of the best have been pressed up as a tidy 7" for all those who love their platters compact. On the A side, 'Everybody Everybody' throws some tropical tones and exuberant organs into the blender with tough boom bap and plenty more besides, making for one sunny blast of a tune. On the flip Danny Drive Thru pops by to add some irreverent vocal madness into the mix on 'Break Ya Neck'.
Review: DJ Rude One's latest 7" single, 'Murder Paragraphs,' featuring Roc Marciano, sets the stage for his upcoming album, Upper Space. With gritty production and Roc Marciano's smooth delivery, the track exemplifies the underground hip-hop aesthetic that both artists are known for. The original and instrumental versions included on the single provide a complete listening experience, while new artwork by Spectacular Diagnostics adds visual intrigue. Roc Marciano's contribution to the underground hip-hop scene is undeniable, and his collaboration with DJ Rude One on Murder Paragraphs is an example of their creative chemistry. As DJ Rude One prepares to drop his official follow-up album, Upper Space, this single serves as a tantalizing preview of what's to come.
Review: Following his standout 'Just A Flute Thing' single last time out, DJ Scientist returns with 'The Baku Files', a limited release that's an immediate crate-digger's dream. Side-A delivers a hypnotic, jazzy boom-bap instrumental built from rare Soviet-era Azeri jazz samples layered with gritty vocal chops from vintage rap records. It's a brilliant cross-cultural collage that feels at once nostalgic and fresh. Flip to side-B for 'To See You,' a slick, DJ-friendly rework of a Murat Kashlaev composition originally reissued on Spasibo Records and packed with head-nodding grooves, old-school flavour and new-school execution.
Review: An eagerly awaited repress of DJ Shepdog's 2006 mashup of Damian Marley's 'Welcome To Jamrock' with Dead Prez's 'It's Bigger Than Hip Hop', effortlessly juxtaposing one of contemporary dancehall's most iconic vocals with undeniably one of the fattest basslines ever laid. This iconic pairing is flanked by ultra fun cut 'Sleng Hop' uniting the original Dead Prez acapella with another of the world's most famous basslines- Prince Jammy's Casiotone MT-40 'rock & roll' rhythm... You do the math!
Product Of The Streets (feat Sleazy F Baby) (4:10)
Product Of The Streets (instrumental) (4:10)
Review: The dream team Dogger & Mindstate return to TNQ wax with this hearty package of soulful, hip-hop-influenced D&B flavours that was originally unleashed digitally last summer. Representing both their pathways into this music, from north to south, the duo recruit the likes of London's Verbz and Manchester's Sleazy F Baby to vocal and narrate their delicate, subtle but ultimately heavyweight rhythms. From the deep jazz of 'Different Roads' to the symphonic dynamics of 'From The Concrete', this is one of the hardest hitting and emotional records Dogger and Mindstate have made so far.
Review: Hip-hop icon Dooley O is back with more of his killer production for the Nobody Buys label. This is a fifth new release in their 45 series and it's another doozy. 'Stick Yourself' is a mid-tempo joint with classic beats but also plenty of fresh contemporary touches. There are scratches, polished synth sounds, tons of effects and storytelling bars all sinking you into the groove. 'Death Blow' on the flip hits harder so offers something different from the flip to make for a vital little pick up.
Not Your Legal Type Of Fella (Double A rework) (3:59)
Toss 'Em Out (Double A rework) (3:47)
Review: Double A's latest project strikes with a directness that leaves little room for misinterpretation. The project teeters between raw street energy and moments of introspection, captured in lo-fi glory. Tracks pulse with deep bass, while the rhythms roll in a way that feels just right, balancing minimalism with unpredictability. What stands out most is the tone: it's brash, but there's a certain vulnerability that underpins every bar. The rapping is unflinching, revealing an artist completely comfortable in his own skin.
Review: Double A's 'Gotta be a Sucka 4 Luv' finally hits vinyl after two years of digital anticipation. This funk and soul-infused track is an instant party starter, boasting snappy drums, a catchy bassline, and horn stabs galore. It's a dancefloor anthem with undeniable energy and groove, perfect for any occasion. On Side-2, King Most's 'Standing Out' delivers classic funk and r&b vibes with a killer male vocal and infectious beats. This fun filled vinyl pressing ensures that these digital-only gems can now spin on turntables, bringing their timeless sounds to both collectors and DJs alike. Don't miss out on these essential additions to your music collection!
Review: Romanian psych-house outfit DRG Series follows heartily in the tradition of dropping vowels and rendering titles in all-caps, helping us to vascularly administer a heavy dose of DRGs. Four disinhibitors - we mean it, as these tracks are incredibly loose in feel - 'Track 1' and 'Track 2' pump and sway through unholy garage house swings and vintage hauled, shoop-a-doop sample oddities; it's only at the point of the B-side when we reach a whistling version of Ciara's '1, 2 Step' set to clinching electro, and 'Track 4' befuddles further with tense, materially informed exercise in soulful bruk. A real eclectic release from an even kookier label, well worth the spin.
Review: The Duke Ya Love To Hate might sound like a turntablist slash battle-scratcher from the late eighties, but he's actually a gaunt-looking dude from the-time-is-now. Real name Stefan Senf, this artist has enjoyed every stylistic meander from juke to noise since at least 1995, and he here marks his debut album in the vein of bristly potpourri prangout breaks; a golden crate of 7"s in the style has thus far also been procured for the Cold Diggin label. However, I Really Have No Idea What's Going On Here, But I Like It is the first continuous mix made for the moniker, limited to just 100 cassette tapes and continuing the beloved Cadillac tape series (whose original provenance we can't track down, but we'll take his word for it). A super-limited artist edition, made especially for the event Back In The Day, which took place in Dresden on August 24. Handmade, every tape is unique.
Review: Soul auteur Jonathan Diggs Duke returns to one of his older EPs for a timely reissue. Originally released in 2015, just after his critically acclaimed debut album on Giles Peterson's Brownswood, the three tracks catch Diggs at his most flighty and free-thinking; "Ambition Addiction" jumps and rolls like a tightly coiled jazz spring before hurling us into the deep harmonic soulful blue of "Welcome" and "Funky Overdose" lives up to its name with its off beat magic, tightly plucked guitar and staccato vocals. Addictive.
Lost Girl (Marc Hype & Jim Dunloop Late Night rework) (3:24)
Special Technique Of Love (Jim Dunloop Shaolin Soul edit) (3:08)
Review: The mighty Dusty Donuts return to Queensbridge where they encounter a 'Lost Girl' featured on a legendary mixtape by one of QB's finest. This bouncy, choppy Marc Hype & Jim Dunloop Late Night Remix is sure to ignite any gathering. On the flipside, the vibes shift from Queensbridge to Staten Island and bring a special sound to work the crowd - this heavy soul classic arrives in true Shaolin style with choppy, dark soul chords and classic hip-hop beats. It's a track that commands attention with the drums but also locks in head and heart.
Review: Jstar and Dubmatix's Scenario is an infectious mash-up of A Tribe Called Quest's 1992 classic, seamlessly blending hip-hop with dub and reggae influences. The remix revitalises the iconic track, infusing it with a modern, bass-heavy groove while retaining its original energy and lyrical parts. The instrumental version stands out on its own, showcasing the intricate production work and the deep, resonant basslines characteristic of Dubmatix. This remix respects the legacy of the original track while introducing it to a new generation.
Review: Telefax Productions - mysterious musical masterminds formed by veteran producers with roots in the late 80s - finally drop a vinyl release of their 2024 breakout club anthem, 'Break This House Down'. It is an unashamedly revivalist hip-house banger backed by proper DJs like Honey Dijon and Luke Solomon and features fiery verses from rising Buffalo MC DeeVoeNay. Alongside the flame-hot original is a live band version with HR Nightmare, plus a rough and ready bruk remix from London's EVM128 and last but not least, a visceral acid house rework. This is a perfect example of how you balance nostalgia and freshness and do it right. The package is finished in style with fine artwork by KLF legend Jimmy Cauty.
Review: This 7" delivers a double dose of expertly crafted edits that pay homage to iconic sounds. Side-1 features Vitamin D's 'Roger That', a funky, Roger Troutman-inspired masterpiece. With seamless edits of classic elements from Troutman's catalogue, the track is a groove-laden tribute packed with nostalgia and dancefloor appeal.Flip to Side-2 for Double A's 'You Can't Front On That', a clever rework reminsicent of the Beastie Boys' Check Your Head era. Double A skillfully amplifies the track's raw energy, blending its gritty funk and hip-hop essence into a crisp, modern edit. Both sides showcase sharp production and an undeniable love for their source material. Hip-hop and early electro funk heads unite!
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.