Review: Frollen Music Library is a premium sample library and production house focused on live ensemble recordings and analogue production techniques. Drawing inspiration from the 60s and 70s - which is of course - the era that shaped hip-hop sampling, it provides producers with accessible, high-quality sample packs. Founded by long-time collaborators Darvid Thor, Henry Jenkins and Hudson Whitlock who are all active members of Melbourne's soul scene, the library offers a rich collection of sounds perfect for film, television and music productions. It's an essential resource for fans of artists like David Axelrod and Ennio Morricone and also makes for a good standalone listen.
Review: Frollen Music Library is a high-quality sample library and production house specialising in live ensemble recordings and analogue production techniques. It has a creative process rooted in a love for 60s and 70s music, the foundational sounds for hip-hop sampling, so offers producers easy-to-use sample packs. Created by long-time collaborators Darvid Thor, Henry Jenkins and Hudson Whitlock who are members of Melbourne's soul scene, Frollen Music Library is a rich sound source for productions and compositions in film and television and a go-to resource for fans of artists like David Axelrod and Ennio Morricone. It also works as an evocative mental trip when listened to from back to front.
El Expresidiario (feat Humberto "huango" Muriel) (2:49)
Bang Bang (El Tiroteo) (3:07)
Langaruto (feat Humberto "huango" Muriel) (2:29)
Todo Es Todo (feat "Piper Pimienta" Diaz) (3:20)
Oriza (feat "Piper Pimienta" Diaz) (4:20)
La Chica Del Barrio Obrero (feat "Piper Pimienta" Diaz) (3:22)
Perlas Negras (feat "Piper Pimienta" Diaz) (4:15)
El Dia Que Naci Yo (feat "Piper Pimienta" Diaz) (5:36)
Algo Pa' Goza (feat "Piper Pimienta" Diaz) (3:38)
Yo No Vuelvo A Querer (feat "Piper Pimienta" Diaz) (3:04)
El Coco (feat "Piper Pimienta" Diaz) (4:46)
Dame Un Break (feat "Piper Pimienta" Diaz) (3:34)
Canto A Panama (feat "Piper Pimienta" Diaz) (4:23)
Cumbia Bacana (feat "Piper Pimienta" Diaz) (4:45)
Pa' Los Bomberos (feat "Piper Pimienta" Diaz) (3:38)
Caifaz (feat Joe Arroyo) (4:29)
Va A Llover (feat Wilson Saoko) (5:10)
Fruko Presidente (feat Joe Arroyo) (3:57)
La Loteria (feat Joe Arroyo) (4:22)
Review: Given that it can be tricky to track down the original album releases by Colombian 'salsa drura' greats Fruko Y Sos Sus Tesos, this compilation from Vampi Soul makes an excellent introduction to their trademark sound - even if it is made up of 'deep cuts and rarities; from the band's releases on the iconic Discos Fuentes label. This is fiery, dancefloor-ready salsa from the era of psychedelic rock, and it's that aural colour and low-end heaviness that catches the ear throughout. There's not a duffer amongst the 20 tracks on show, which makes picking highlights tough. That said, our current favourites include 'Bang Bang (el Tiroteo', the effervescent 'Oriza', the horn-heavy cheeriness of 'Perlas Negras' and the richly percussive 'Canto a Panama'.
Review: It's very much a case of expecting the unexpected when it comes to Omar S' FXHE label and this latest effort is no exception. In the US the gap between hip-hop and dance music culture is even wider than it is here in the UK, only not in Detroit and its unique export, namely ghetto tech. FULL BODY DU RAG whips up an idiosyncratic but thoroughly addictive combination of ghetto, house and garage, hip-hop and jazz across eight tracks here, the borders between the genres being fluid at all times. Omar himself makes an appearance on 'Juice', a speedy but classy dancefloor workout, half tech and half house, that along with the hilarious but irresistible 'Trillionaire' boasts a skippy garage swing to the beats to boot. At the other end of the BPM spectrum we get 'Pussy On The Map" (feat NLGHTND) with its r&b strains, only nicely warped and sonically corrupted. Probably best of all is 'FBD X CERT', almost a moody grime exercise until a four to the floor rides roughshod through such conventional plans. Raw, racy - and utterly essential.
Review: Lucky Brown continues his relentless quest to keep the spirit of deep funk alive with this latest LP drop on his spiritual home of Tramp Records. The Seattle funkateer has been credited with keeping authenticity and gritty flair at the heart of his sound and that comes through by the bucketload on this essential record from the archives of his band The Funk Revolution. Pulled from the heady, spiritual living room sessions from which his 2011 Tramp debut was compiled, this is the first half of a veritable feast of hot and heavy jams from a band locked into something just beyond their comprehension, like all the best funk should be.
You Can't Miss What You Can't Measure (Alton Miller mix)
Get Your Ass Off & Jam (Marcellus Pittman remix)
Cosmic Slop (Moodymann mix)
Music For My Mother (Andres Wo Ahh Ay vocal mix)
Undisco Kidd (Gay Marvine edit)
Super Stupid (Dirtbombs version)
Take Your Dead Ass Home (The Fantasy version)
Music 4 My Mother (Underground Resistance mix)
Let's Take It To The Stage (Amp Fiddler Laugin @ Ya mix)
Standing On The Verge (Anthony Shake Shakir & T dancer remix)
You & Your Folks (Claude Young Jr club mix)
Be My Beach (Mophno & Tom Thump mix)
You & Your Folks (Claude Young Jr dub)
Let's Make It Last (Kenny Dixon Jr edit - mono)
Looking Back At You (Ectomorph Stripped & dubbed)
Maggot Brain (BMG dub)
Review: Given the brilliantly simple concept behind this fine compilation - contemporary Detroit producers remix Funkadelic - we're rather surprised nobody's done it before. With 17 varied re-rubs stretched across two hugely entertaining CDs, there's plenty to enjoy. Highlights come thick and fast, from the deep house/P-funk fusion of Alton Miller's take on "Get Your Ass Off and Jam" and Andres' loose, hip-hop influenced revision of "Music For My Mother", to the thrusting loops and heady late night hypnotism of Anthony Shake Shakir and T-Dancer's version of "Standing on the Verge". While many of the versions stay relatively faithful to the original, the more "out-there" interpretations - see BMG's outer-space ambient dub of "Maggot Brain" and Moodymann's epic revision of "Cosmic Slop" - are also consistently impressive.
I Got A Thing, You Got A Thing, Everybody's Got A Thing (3:53)
I Wanna Know If It's Good To You (5:59)
Standing On The Verge Of Getting It On (3:18)
Hit It & Quit It (2:46)
Cosmic Slop (5:21)
Can You Get To That (2:50)
Loose Booty (3:16)
Funky Dollar Bill (3:06)
A Joyful Process (2:55)
I'll Bet You (6:14)
Review: This is a first-ever CD-reissue of legendary funk outfit Funkadelic's Greatest Hits album - known amongst fans as 'the sheep album' - from back in 1975. It came on Westbound and has plenty of the most enduringly iconic tunes as one of George Clinton's group's most iconic covers in a catalogue full of them. The tracks here are taken from the band's first six albums and features 45 mixes, LP mixes and an edit of the instrumental 'A Joyful Process' which has never before been reissued. The whole thing has been remastered as the original was known for being a little thin in the low end.
You Can't Miss What You Can't Measure (Alton Miller mix) (5:17)
Get Your Ass Off & Jam (Marcellus Pittman remix) (6:46)
Cosmic Slop (Moodymann mix) (9:26)
Music For My Mother (Andres Wo Ahh Ay vocal mix) (5:23)
Super Stupid (Dirtbombs version) (4:30)
Music 4 My Mother (Underground Resistance mix) (5:41)
Undisco Kidd (Gay Marvine edit) (5:46)
Take Your Dead Ass Home (The Fantasy version) (7:46)
Let's Take It To The Stage (Amp Fiddler Laugin @ Ya mix) (6:11)
Standing On The Verge (Anthony Shake Shakir & T Dancer remix) (5:37)
You & Your Folks (Claude Young Jr club mix) (6:43)
Be My Beach (Mophono & Tom Thump mix) (6:08)
You & Your Folks (Claude Young Jr dub) (5:55)
Let's Make It Last (Kenny Dixon Jr edit) (7:32)
Looking Back At You (Ectomorph Stripped & dubbed) (6:12)
Maggot Brain (BMG dub) (10:09)
Review: Given the brilliantly simple concept behind this fine compilation - contemporary Detroit producers remix Funkadelic - we're rather surprised nobody's done it before. With 17 varied re-rubs stretched across three slabs of wax, there's naturally plenty to enjoy. Highlights come thick and fast, from the deep house/P-funk fusion of Alton Miller's take on "Get Your Ass Off and Jam" and Andres' loose, hip-hop influenced revision of "Music For My Mother", to the thrusting loops and heady late night hypnotism of Anthony Shake Shakir and T-Dancer's version of "Standing on the Verge". While many of the versions stay relatively faithful to the original, the more "out-there" interpretations - see BMG's outer-space ambient dub of "Maggot Brain" and Moodymann's epic revision of "Cosmic Slop" - are also consistently impressive.
Review: Man With A Gun is the debut long player from Singaporean prog and funk group Funkgus. It has a famously enigmatic toxic blue jacket that lurks you in and musically it is no less intriguing. As well as a passionate cover of King Curtis's 'Memphis Soul Stew' there are plenty of supremely psychedelic sounds. The opener is steeped in funky bass riffs with rock-tinged drum breaks and plenty of raw vocals and from there the grooves come thick and fast, often with plenty of texture and charismatic vocals such as on 'Spill The Wine' and the leggy, expressive sounds of 'Everyday People' with its twisted wah wah guitars.
Review: Nelly Furtado's debut album, Whoa, Nelly!, is a unique blend of pop, folk and r&b, establishing her as a distinctive voice in early 2000s music. The Canadian-Portuguese singer-songwriter stunned audiences with her breakout single 'I'm Like a Bird,' a dreamy, folk-infused pop anthem that soared to the top of the charts. Furtado's lyrical introspection and emotional delivery, combined with the production talents of Gerald Eaton and Brian West, created an album filled with heartfelt melodies and infectious rhythms. Tracks like 'Turn Off The Light' and 'On The Radio (Remember the Days)' further exhibit her versatility and knack for catchy hooks. Whoa, Nelly! is not only a commercial success but also a creative triumph, blending genres and showcasing Furtado's unique artistry. Now, enjoy the album reissued on beautiful vinyl.
Te Busque (feat Juanes - Spanish version - bonus track) (3:40)
Review: UMR reissue Nelly Furtado's third studio album Loose, notable for its stature as one of the foremost pop collisions between a doe-eyed starlet and the 21st-Century production mastermind, Timbaland (this time in cahoots with his protege Danja). An all-out genre tour, this is the Furtado record responsible for such r&b, reggaeton and funk-inflected ditties as 'Promiscuous', 'Say It Right' and 'Maneater', enduring additions to her everlasting canon.
Review: When asked in a 2023 interview why he hadn't contributed any production work to long-time collaborator Future's 2022 ninth full-length I Never Liked You, tireless hip-hop producer Metro Boomin revealed that he was aiming to save his beats for a potential collaborative album, which now appears to have been the plan all along. Marrying the aquatic, lysergic production style Boomin has helped to majorly popularise with Future's hazy, xanned out delivery, the duo deliver a trap opus weaving the most accessible and underground facets of the genre into one malleable set of fluid bangers, while the guest feature section boasts a who's-who of modern day hip-hop acts such as The Weeknd, Rick Ross, Playboi Carti, Travis Scott and Kendrick Lamar. The project also would eventually be retconned as part one in their ongoing collaboration series with the follow up to We Still Don't Trust you dropping only three weeks later.
Review: Contemporary American stars rapper Future and record producer Metro Boomin make for a great combination, as they proved with their debut collaboration. We Still Don't Trust You is their second such work and is an even more impressive work with guest appearances from the likes of the Weeknd, Chris Brown, Brownstone, Ty Dolla Sign, J. Cole, Lil Baby, and ASAP Rocky. It's a double album with the first half being r&b-centric while disc two leans more into hip hop- and trap-focused beats with plenty of memorable tracks.
Review: Future and Metro Boomin's double-disc sequel, We Still Don't Trust You, is a revitalised exploration of their dynamic, pushing familiar ground into brighter and sappier spaces. Future swings between flexing his status and indulging in tear-soaked reflections, notably in tracks like 'One Big Family' and 'Mile High Memories.' Metro Boomin balances his brooding, maximalist beats with polished, r&b-inflected production, as heard on the synth-pop title track and the smooth 'All to Myself.' While the album is nearly 30 minutes more than its predecessor, Future and Metro shine when they venture out of their comfort zones, making the music both prettiest and nastiest. Standout moments, such as Kendrick Lamar's verse on 'Like That,' inject a sense of animosity and excitement. Overall, We Still Don't Trust You is an adventurous AAA rap album, focusing on heartbreak more than feuds.
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