Altered Tapes Vs King Most - "I Wanna Vivrant Thing" (The Maestro remix)
ATCQ - "Scenario" (Boombaptist dubplate)
Review: Chicago's Altered Tapes alter two brand new ones for their latest 7", making up for a short AWOL period with two mashups of the utmost rawness and class. First, on the A-side, comes a slick homage to ATCQ's brightest star Q-Tip, who nonetheless, shockingly, only ever scored one hit single in his lifetime, 'Vivrant Thing'. We are reminded of this once again, if only for the fact that it shouldn't have been the case, through Altered Tapes and King Most's raw but relaxed new version. The B-side marks an unusually roomy and reverberative rework of the Tribe's 'Scenario' by their fellow editor Boombaptist, bringing dub effects-laden heat to an already wild tune.
Shining Of Life Flutemental (unreleased version) (11:01)
Shining Of Life Flutemental (Lambros Jahmans remix) (5:15)
UNDUB (Space Ritual dub) (10:40)
Shining Of Life Flutemental (Space Ritual dub) (11:15)
Review: Some 20 years ago, Japanese producer donned the K.F alias (the initials of his given name, Kiyotaka Fukagawa) and delivered the astonishingly good 'Shining of Life', a sun-soaked Balearic house treat shot through with Japanese nu-jazz musicality, gospel-influenced vocals and expansive, life-affirming piano solos. This EP offers up previously unheard 'Shining of Light Flutemental' takes. Calm's own 'unreleased mix' retains some of the key elements of the 2004 original while adding morning-fresh flute solos and starry sounds seemingly inspired by Detroit techno. The 'Lambros Jahmans Sunset Mix' is a dreamy and immersive interpretation underpinned by an Afro-house style beat, while the 'Space Ritual Dub' is an almost entirely beat-free soundscape. On 'Undub (Space Ritual Dub)', the same producer wraps echoing flute and piano motifs around a tactile, hand percussion-driven rhythm track.
Review: French synth-dub duo Froid Dub return with a fresh sonic exploration on their new six-track album, taking their blend of synth wave and dub to new depths. Known for their organic-meets-digital sound, they push the boundaries even further with this release. The album features the unmistakable rhythms of the TR-808, now more submerged than ever in the thick, swirling echoes of digi-bass, creating a hypnotic atmosphere. Perfect for fans of experimental electronic and dub, this latest offering is another testament to Froid Dub's ability to fuse genres in a way that feels both timeless and forward-thinking.
Review: Some expansive, cinematic, orchestral spiritual jazz for you here, from the trio of talents that Fumio Itabashi, Kuniyiki and Henrik Schwarz. While the latter two are generally better-known for their deep and sometimes tech-tinged house and ambient productions, the original mix of 'Watarese' (featured here on side B) is a dense, immersive jazz soundscape laden with evocative Japanese vocals, improvised piano, moody orchestration and definite nods towards vintage free-jazz. Spiritual Life supremo Joaquin 'Joe' Clausell provides the remix and, somewhat predictably, steals the show. His take is gently rhythmic, sun-splashed spiritual jazz full of hand percussion, fluid piano motifs and rubbery double bass.
Review: Kalocain's debut vinyl release is a haunting trip through sound and science and is underpinned by some seriously weighty bass. The title track bridges ancestral echoes and present-day rhythms, while 'W.N.G.' unveils cryptic mysteries from a forgotten past. 'Ivermectin' crafts surreal molecular melodies that look to "decipher the enigma of sonic DNA." Remixes by Normal 4, Patricia Kokett, and Jacques Satre twist each original into new and bizarre realms. Evaldas Bubinas aka Hermandrowning, adds eerie artwork that fuses sound and visuals into an uncanny harmony to close out a high-concept, high-class package.
Review: After the impressive scope of the first volume of Dysphoria |Euphoria, Ka-One and St-Sene have returned to their Flyance label with a second installment that goes even deeper into adventurous electronic pastures. There's a cinematic quality to the original productions that make up the first disc of Chapter Two, using mournful melodic refrains and a widescreen approach to production that draws the listener in to their emotive electro and techno world. In terms of remixers on the second disc, they haven't held back as AWB, Setaoc Mass, Luke Hess and Anetha all provide a more propulsive, club ready perspective on these thoughtfully crafted electronic gems.
Review: Freerange's City To City series returns with its second edition, this time spotlighting Lisbon. Known for its stunning views, beautiful beaches and vibrant nightlife, perhaps one of the city's best-known hotspots is the iconic Lux Fragile, which has shaped the city's sound since the late 90s. Longtime resident DJs from Lisbon are now gaining global traction; to butterfly-net the essence of the coastal metropolis, this new mix LP hears six original tracks from local talents, chief among whom are Megatronic, progressor and ambassador for the city, and Yen Sung & Photonz, two names closely tied to the circuit's deeper-underground corners.A
Review: This new release from Best Record Italy contains for the first time the 3 tracks edited and mixed by John Jellybean Benitez between 1981 and 1982 of the Italo Disco songs by Kasso (the pseudonym used by Claudio Simonetti) who became a classic in the underground house music scene of N.Y. and Chicago !
Review: Domingo Dark makes his solo vinyl debut as Kaxtelian with an EP that really finds him stretching his legs across a mix of electro, UK hardcore and techno with a smattering of Belgian influences and the authentic sound of Valencia also peeking through. Created between the ghettos of Albacete and Badalona, the release marks a fine new chapter in Dark's career. 'Hardcore Motherfucker' is just that with its blistering drum funk and acid brightness. 'Ghetto Cyberpunkers' has booming low ends and caustic synths and 'Hardcore Boys' is a dense melange of ghoulish vocals and synth intensity that rides a slamming electro-techno rhythm.
Review: Since the success of his breathlessly good debut album 99.9% in 2016, Kaytranada has become one of the most in-demand producers on the future R&B and leftfield hip-hop scenes. Here he takes a break from remixing Robert Glasper and producing Craig David records to drop three high-grade instrumental versions of tracks included on last year's U.S-only "Nothin Like U" EP. "Chances", a gorgeous mix of spacey chords, crunchy MPC beats, intergalactic synths and lilting melodies, sets the tone, before he reaches for the pianos on the low-down fusion of twinkling pianos, rolling beats and raw bass that is "It Was Meant 2 B". Closer "Track 3", meanwhile, is a sparkling slab of unfussy positivity.
Review: Miami's legendary TK Disco label has swung open the doors to its vital back catalogue and allowed some of the most golden gems to be reissued here. These are two stone-cold breakbeat classics and b-boy delights that come kissed by the sun and ready to get your party started. 'Dance To The Drummer's Beat' opens up with plenty of joyous vocals and loose percussion over fresh and funky breaks. On the flip of this 45rpm is 'Do The Handbone', a hard-hitting and raw cut with big vocals and plenty of lively trumpet action. Both are surefire winners.
Review: The fledgling hip-hop label Pibe marks its fifth release with a rather lovely 7" that packs a genuine punch. Kero Uno is the artist behind the two singles with some great bars from contemporary lyricists. Opener 'Do You Remember?' is a summery sound with a feel-good vibe and guests Blu & King Most do a fine job of adding extra colour and charm. On the reverse is a much more soulful and sentimental sound with more gentle beats and a crystal clear and clean vocal from Ace Hashimoto swirling up next to jazzy chords. Tidy stuff.
Review: If you've caught either Khruangbin or Leon Bridges live before, or indeed listened to anything by either band or producer-singer-songwriter, you'll know where this 20-minute EP is heading. The sleeve art, which gives more than a nod to the 1960s hippy movement, also offers a major clue.
Tripped out, smoked out, lackadaisical, bliss-infused overtures, honied and syrupy, easing you in so far that you don't quite realise how hard it is to crawl back out of the sugar-coated opiate haze. A collection of heady, hallucinogenic work for 21st Century high plains drifters, it's jazzy, psychy, lush soulful fare you'll be wanting to hear again and again, capturing the heat and slow pace of America's southern states with heartfelt songwriting from genuine masters. The result is something very special indeed.
Review: Sometimes it's just too difficult to contain our excitement; we're quaking in our boots at news of Khruangbin's next release, with the Texan three-piece this time lending their alt-indie-funk mastery to vocal frontage by Leon Bridges. The humorously titled lead single 'B-side' is emblematic of their stated aim here - to redefine "how people perceive Texas music i that beautiful marriage of country and r'n'b i and really paying homage to that." The sonic result? Bubbling bass and wahhy riffs, over a ghostly and misty relaxers' beat. Its hook digs into our thighs deeper than a Sheriff's steel spurs, and fittingly, it's music video is themed after a 19th Century western town.
Review: Kiasmos are a Reykjavik based duo comprised of BAFTA awarded composer Olafur Arnalds and Janus Rasmussen from the band Bloodgroup. The sounds of classical music and electro-pop collide fantastically on this release. First track "Drawn" is a sublime and emotional serving of trip-hop with Arnald's signature piano style floating on top of Rasmussen's immaculately programmed beats. And then that lush string section comes drifting in, its magnificent! "Gaunt" features some mutant pan pipes accompanied by a bleepy melody and sub-bass pulsations, but once again balanced out by Arnalds' lush piano and strings arrangements. On the flip "Swept" is a dreamy and melancholic deep house cut that could have come out on Kompakt, it's that good. There's even a remix of it by men of the moment Tale Of Us, who revise the track into one of their signature dark and adrenalised journey tracks, it's well done!
Review: Snappy breakdance come electro from Kid Ginseng, 'I Go Off', the third in a series of samply 12"s retrograding the inimitable sound of the diskette floppy disc, and its timely usage throughout the 80s and 90s in cities like Detroit, LA and New York. Channelling an 8-16 bit sound - and influenced by DJs Di'jital, Arabian Prince, and the LA X-Men - the centring of these influences is undeniably the instrumental Techno Hop label; Ginseng truly does go off on one in response to their legacy, with the title track forcing us to spit out the teabag with an abrupt "ptooey", in light of its spicy choral samples and bitty acid line. The runner-ups 'Romancing The Droid' and 'Konstrukt' also offer variable takes on the Techno Hop sound, the former especially bringing a downtempo proto-industrial hip-hop jaunt to an already totalised, militarised sonic zone.
Review: Compton's King Tee is an important name in the genesis of west coast hip-hop. Originally signed to the legendary Techno Hop Records as far back as 1986, King Tee left an indelible mark on the scene still being discovered today. So much so in fact, that RMV Sweden has smartly gathered a few of his earliest and most desired tracks on to one special mini compilation. Hats off to them - those who like early NWA, Ice Cube, Compton's Most Wanted, Spice 1, DJ Quick or MC Ren will be digging this, a snapshot of why he was so revered still today.
Review: Before I Die have been putting out some high-grade leftfield delights from respected operators like Bernardino Femminelli, Tungusku and most recently Sewell & The Gong. Now it's the turn of Klangkollektor, indulging a collection of hazy dub excursions which sit somewhere near Balearic splendour, piano-charged melancholy and isolation tank meditation. In the dub tradition the approach is consistent and evenly paced, but it's certainly not aiming for any kind of typical Jamaican sound. Instead, there's a gentle introspection to the melodic content which gels perfectly with the spacious approach to mixing, unfurling across four sides of wax for an album you can just melt into.
Review: Best Records fire up a surefire classic from the annals of Italian dance music, crafted courtesy of Italo-disco heavyweight Klein & MBO. "The MBO Theme" was originally a hit in the nascent Chicago house scene, spun by the likes of Ron Hardy thanks to its punchy synth bass and hooky Euro-vocals. This sought-after dancefloor gem has been given a faithful remastering touch, as is the Best Records way, and they've also dug out a previously unheard edit of the track named as the "Italian Version," which stretches out the club qualities of the jam for maximum party impact.
Review: The Soul in the Horn label is "a movement" with roots in New York City. It is a collaborative project from music curator DProsper and resident DJ Natasha Diggs that is now back with another party-ready 12", this time from Knevrmind. It kicks off with a rugged house cut that chops up some big Kendrick samples to make for something of an anthemic opener. 'Major Hot' then flips the script with more sun-kissed and dusty house loops that are nice and loose and 'Matters Of Time' slows it down again to late-night and loved-up dub house. An instrumental strips it back so the cosmic synths shine brighter.
Review: It almost seems redundant, writing something about the latest fabric Originals release. If you could think of a more enticing double-header for fans of bass, Leftfield techno, and UK-hued alternative electronic music then we want to hear it, with both producers here moving well beyond cult status and into the world of households names in homes well beyond their original audiences. And yet, remarkably, neither have strayed too far from where they initially set stalls. Hyperdub boss Kode 9 proves this first, with the sightly dizzying 'Infirmary'. Born from a combination of loose, open, galloping UKF and organic techno, with its foundations rooted in footwork, it's a bounding high-energy body mover that refuses to quit. Flip it and find Burial edging closer to 'dance music' than many might be used to, although it's a deep, moody interpretation packed with the spellbinding vocal flourishes of a mutant garage and suppressed, fidgety drums so subtle they're close to background noise.
Review: 'Get The Message' is London jazz collective Kokoroko's latest EP, and is set to follow fresh on the heels of their pre-release new single 'Three Piece Suit', featuring Azekel. The latter track is a heartwarming tribute to the Nigerian immigrant experience; an initial draft began life at Kokoroko's studio under the working title 'Get The Message', which led to an interesting dialogue between one-off single and wider EP; 'Three Piece Suit' was recorded first, but appears last on the EP, which overall mounts and rides a trotting broken jazz advance. Lilting vocals, brassed-backed chorus harmonies and chop-chop drumming all mirror the quiet confidence with which band member Onome Edgeworth's grandfather first touched down and made his way in Balham, London in the early 1960s. An intentional vessel for joy, coming heavily filled with themes of community, connection and relationships both romantic and platonic.
Review: Wiesbaden, Germany-born Florian Kupfer has spent the last decade exploring around the edges of the dancefloor with hugely evocative sounds that are always much more than mere tools. This latest mad-limited 12" is another doozy that opens with the menacing and mechanical rhythms of 'Sidelined' topped with eerie spoken word loops. 'Integrating The Shadow' is a more rugged electro rhythm with hissing hi-hats sweeping through the mix and downbeat chords adding a touch of melancholy. 'Unmasked' gets dark, dirty and messed up for those 5am wig-outs and 'Severed Lines Of Communication' is a hypnotic roller alive with static electricity.
Review: Kurious and Cut Beetlez bridge the international waters between the USA and Finland, laying down twin rapid-fire conscious numberes. Reminiscent of Quasimoto or Pan Am, 'Monkeypox' and its remix version are quirky, string-sampled oddballs, with Kurious' raps phasing in and out of an already difficult-to-nail rhythm. This record will never be repressed, making it an instant collector's item.
Review: Star Creature returns with another impressive 12" showcasing Anchorage, Alaska talent Kurtiss, aka DJ Kurtiss, aka Curtis Vodka, a long-time favourite in underground circles. He is known for recent releases on Mutual Intentions and Deep Fried Music and here serves up a robust six-tracker that collides disco edits, club tools and anthemic originals. The record exudes foot-stomping, wall-pounding deep house that is part Jersey, part Detroit, part Chicago, with squelchy boogie synths and gospel vocals adding to its allure. Ideal for DJs, this crate-worthy slab is primed and ready to get the club in a sweat.
Review: Seun Kuti has released his highly anticipated album Heavier Yet (Lays The Crownless Head) via Record Kicks to great excitement. This album, executive produced by Lenny Kravitz and featuring Fela Kuti's original engineer Sodi Marciszewer, marks a significant milestone in Kuti's career. Following his Grammy-nominated album Black Times, this release showcases his evolution as both an artist and activist. The album features six powerful tracks, each embodying themes of resistance, resilience, and revolution. The track 'Dey,' featuring Damian Marley, emphasises self-empowerment, while 'Emi Aluta' pays homage to revolutionaries, featuring the innovative Sampa The Great. 'T.O.P.' critiques societal values, promoting empathy and a connection to nature. 'Love and Revolution' highlights Kuti's belief in love as a catalyst for change. Kuti expressed gratitude for Kravitz's brotherly support and Sodi's guidance during the production process. He continues to uphold the legacy of his father, Fela Kuti, using his music to inspire social change. This album promises to redefine contemporary Afrobeat while staying true to its roots. Fans can expect an album that entertains, inspires and ignites activism.
Review: We're happy to report that the music on the 'Son of a Biscuit' EP from Kuwahara aka Mick Wilson and Scott Gray is every bit as colourfully eccentric as the title it bears. 'Ginger Cut' is dubbed up cloud of sound billowing over choppy hip-hop breaks, with an old skool female MC poking her head out of it to have her say every now and again. Rich Tea's edit of the track takes it into housier territory but, like one of those old Orb ambient singles singles on Wau Mr Modo, still gives plenty of work to the studio's echo chambers. 'Jaffa Quake' goes for snazzy, jazzy overtones and off kilter breaks, 'Kustard Cream' offers up reggae skank, again served up with plenty of sonic exotica, and there's even a more relaxed, Balearic bonus mix of 'Ginger Cut'. A thoroughly nutty record, but a genius one at the same time.
Review: Occasionally a single comes along that shows off a contemporary group's samplework. 'Hustler's Convention' from Dynamite Cuts is one. This new 7" recalls funk supergroup Lightnin Rod's album of the same name - originally released in 1973, it is renowned for being one of the major influences on hip-hop, bringing a sociopolitical commentary to black music at the time. Here the original track 'Sport', named after one of the album's protagonist hustlers, is blended with the B-side 'Four Bitches Is What I Got', which builds a smoke-filled narrative story involving poker tables and underworld czars around the funk backing.
Review: While Last Poets are rightly regarded as the 'godfathers of rap', others would insist that Hustlers Convention - a 1973 solo album from member Jalal Nuriddin under the Lightnin' Rod alias - had more influence on the birth of hip-hop. In part, that's down to the funk backing he received on the album from his chosen backing bands, which included the mighty Kool & The Gang. Here, Dynamite Cuts prove the point by offering two killer cuts from the set on 7" for the very first time. A-side 'Sport' is a Blaxploitation style delight - all ear-catching horn motifs, shuffling funk breaks, weighty bass, wah-wah guitar and languid spoken word vocals - while 'Four Bitches Is What I Got' sees our hero make merry over a more stripped-back take on the same backing track.
Review: Outlier experimental label Eating Music brings back more for us to chew on here in the form of a varied four tracker from various artists. It is Mindexxx that opens with 'Track 1' which layers up snaking synths and deeply buried dark bass that grows in intensity and washes over you like a Tsunami. Laughing Ears then cuts back to a tender mood with soft piano chords and slowly unfolding rhythms that are warm and lithe. Gooooose's 'The Dusk Of Digital Age' is a churchy affair with textured drones shot through with beams of synth light and Knopha's 'Off-Peak Season Tourists' layers up choral vocals and jumbled drum sounds into something hypnotic and escapist.
Review: Love Love presents a collaborative release by two of the freshest contemporary Avon producers here in Best Pest and Kursa. Kursa, also known as one half of S.Murk, has picked up a significant following in both the UK and the USA with a unique mix of tight, maximalist bass music. Meanwhile, Pest is a familiar name on this label after two previous solo releases which showcased his crunchy techno, electro, and hardware-heavy sounds. Together, they deliver a five-tracker EP that transcends genres as it blends elements of dubstep, grime, hardcore, and garage with intricate sound design. Audacious, to be sure.
Asha Puthli - "Our Love Is Making Me Sing" (Black Devil Disco club remix) (4:04)
Review: Naya Beat, the LA reissues and reworks label gathering and recasting some of the most delicious sounds of the South Asian diaspora, gathers some of its standout digital-era reworks onto vinyl for the first time, offering a vibrant cross-section of global disco, house and experimental editry from its roster. At the centre is a brand-new reimagining of Asha Puthli's 'Our Love Is Making Me Sing' by Bernard Fevre, better known as Black Devil Disco Club, who brings to the fore his signature moody synth atmospheres. Also included is a pulsating disco mix of Pinky Ann Rihal's 'Party Tonight' by Turbotito & Ragz, already spun by the likes of CC:DISCO and Barry Can't Swim. JKriv then twists RD Burman's 'Birth of Shiva' into a house stomper laced with bansuri and squelching bass, while Daniel T. transforms 'Zindagi To Zindagi Hai' into a dubbed-out Bollywood journey.
Review: Medellin-based American Bosq - a renowned musical fusionist with a passion for all things tropical - has been working with Benin-based Nigerian guitarist/vocalist Kaleta on and off for 12 years, with the pair delivering a series of sensational singles. No Be Today is the duo's first collaborative full length, with previous singles being joined by previously unheard cuts across two slabs of wax. As you'd expect given their previous work, much of the music joins the dots between various Afro-Latin styles and similarly vintage Black American dance music genres such as disco, funk and soul. It's an effervescent and effortlessly brilliant set all told, with highlights including pitched-down Afro-funk number 'Ose', glorious Afro-disco number 'Sonayon', Afrobeat update 'Ipade' and scorching Latin dancefloor workout 'Miselou'.
Review: For the fifth volume of The Encyclopedia of Civilizations, Abstrakce's collection of split LPs - in which selected artists offer insight into fascinating ancient cultures - hears them focus this time on the enigmatic Babylon, visited by two of the label's favourite electronic bands currently active. Berlin-based duo Driftmachine take us on a journey between the ancient cities of Akkad, Uruk and Ashur. Bringing together astonishing electronics with a superb and precise sound - floating somewhere between modular ambient, leftfield, abstract dub - every detail has been carefully crafted to produce a complex architecture. Unconventional tribal rhythms recall obscure rituals, while warm, dynamic pulses contract and expand, interacting on their journey along the sandy roads of the Mesopotamian basin. Afterwards, Glasgow-based project Komodo Kolektif delves into the Babylonian vision of magic through the figures of the Kassaptu (witches and wizards), and the use of Mandragora. A blend of both tribal primitivism and a futuristic vision is provided by their vast arsenal of vintage synths and effects units, Eastern metallophones and traditional hand percussion. This is deep, psychedelic electronics that capture the spirit of ancient Babylonian sacred ceremonies and their vision of the cosmos.
Review: A contemporary jazz collaboration featuring the unique vocals of Deborah Jordan against the drum breakbeats and electronic nu-jazz fusion of fellow London native Kieron Ifill (aka K15). The collision of genres spans from the layered traditional R&B production on the smooth 'Heartbroken' to the 808 laden nu-jazz cut of 'Human' and the broken beats of 'Running'. Fans of Solange's 'When I Get Home', H.E.R's EPs and Liv.e's 'Couldn't Wait to Tell You' will have a long list of reasons to check this smooth mix of crystal clean production, jazzy soundscapes and hushed vocals. Jazz, Soul, Funk, and Blues fans cannot pass up the opportunity to give this LP a listen - R&B is far from dead.
Review: Trash Can Lamb is the layers solo work from Akron-based multi-instrumentalist Keith Freund. With two decades of musical exploration, Freund, known for his work with Trouble Books and Lemon Quartet, crafts an eclectic blend of analogue synthesis, piano, bass, saxophone, and field recordings. This album delves into experimental realms, melding 8-bit delays with acoustic elements that give rise to great ethereal melodies. Handmade electronics coalesce with wistful piano and saxophone melodies to make for a juxtaposition of chaos and tranquillity. Freund captures the essence of a backyard at dusk, where the cacophony of nature meets the serenity of twilight.
Review: K Lone has been turning out super sweet club sounds for years now, mixing up deep house, garage, a love of r&b samples and generally a good time groove on a range of labels but mostly Wisdom Teeth which he co-runs with Facta. Now he follows up his 2020 debut with Swells, an expansive record that also takes in synthpop, leftfield R&B and beyond. It showcases a rich array of melodies, chords and undulating arps and is defined by the lo-fi aesthetic of his CR78 drum machine. British singer-songwriter Eliza Rose features throughout the record in various forms but the highlight is the dubbed-out and diffuse 'With U'.
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