Review: Milkcrate Mondays has got a red hot 7" on its hands here with DJ Abel and DJ Spinobi taking one side each. The former kicks off by, says the label, "taking an Ocean classic for a trip to Miami." His take on 'Lost' is a funk-laced jam that blends r&b vocals with bubbling beats and jazzy keys into something brilliantly seductive. On the flip side, DJ Spinobi lays down some heavyweight Afro drum patterns and raw rap bars on 'Bay Bunny' while 'PRVNZA VIP' is a more blissed-out island sound with reggaeton undertones and angelic Spanish vocals up top. A real summer weapon.
Review: Melodiesinfonie, Bluestaeb and S. Fidelity join forces to form a powerful trio, unveiling a rich nonnet of tracks destined for the universal chillout space. Taking shape in a picturesque studio in the South of France - and then completed in centres from Zurich to Berlin - the likes of '365 P', 'Summertime In '92' and 'Just Give Me The Aux' carry on the sparse and material-sonic tradition that has in recent decades inflected the neo-soul and jazz-electronica worlds. Every track here sounds to have been made with what sounds to the most apparently humble means available; rimshot clicks, wooden hits, impassioned hums and coos, Rhodes chords here and there. Loyal to one rule and one rule only - "we need to stay in the room together to make this a record that feels exciting to us" - the result is an evenhanded five-track flirtation with soul-bearing passion, toeing the hobline of cool and hot.
Review: Chase & Status and Stormzy coming together was always going to be huge. One rules the charts, the other the clubs, and between them they cooked up a massive single that got heard everywhere all summer long, including a special live performance of it in Ushuaia Ibiza. Now you can own it on a slab of vinyl that has been cut nice and loud, which is perfect for the tune - the bass is devastating, the bars from Stormzy are hard, the energy is dark and unrelenting and it's the perfect sort of jungle cross over sound that will continue to be heard everywhere well into 2025.
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: A new song by the acclaimed DJ Mitsu The Beats (a member of Sendai's hip-hop crew Gagle) and rapper Sorane, 'Daily Meets' is a chillaxed, fluid lo-hi-fi hip-hop tonic for those whose ears require polishing, refreshing and/or full-blown aneling in the morning. Getting at a quotidian "everyday life" themes - bleary eyes, coffee shop hissings, cutlery tinkles, long gazes out the window - this jazzy track blends sharp lyricism with repetitious slice-of-life themes, finding joy in those life periods that the less patient among us dare to call groundhog days. Backed up by the instrumental too, you're more than well equipped for both DJ and home system play here.
Review: NEMS, the "Mayor of Coney Island," joins forces with DJ Skizz and SkyAsia to drop 'Christmas Spectacular' on 7" vinylia physical release after its digital debut. This one is a proper holiday banger backed by High Water Music, FYL and DWMG and featuring eye-catching artwork with Kith's photography and a layout by Sieteson. Known for his gritty style and wit, NEMS puts his own twist on festive vibes, making this bit of vinyl a must-have for hip-hop fans wanting a fresh spin on holiday cheer.
Review: This superb remix of Yuji Ohno's soulful gem 'Fairy Night' feat. Sonia Rosa, which is the ending theme for the anime Lupin the Third Part III from 1984, is now released as a 7" single to mark the 40th anniversary of its original release. The 45 rpm features two tracks: Side A showcases DJ Taro's fresh city funk remix, while Side B presents the classic 1984 version by Yuji Ohno. This limited release offers a rare opportunity to enjoy Sonia Rosa's sweet, evocative vocals through both the original and contemporary renditions which are subtly different but both equally excellent.
Review: The Boom Bap Classics 7"s series was launched in 2022 and sticks to a sturdy format, always billing two double-A-listers of rap stardom from the 90s on reissued vinyl. The choices are always lesser-trodden, and buck expectational trends; even longtime hip-hop heads are unlikely to have heard of Akinyele and Sadat X, solo progeny of the Rochelle rap collective, Brand Nubian. On 'Loud Hangover', rough gangsta rap hewings prove assimilable with boom bap's tendency to show its sensitive side, with an icy yet mournful string hung and suspended a "y'knowwhati'msayin'?" laden farrago. 'Stages And Lights' leans further into emotive dynamism, with Derrick Murphy waxing real on public housing shortages, church pieties and Black culture.
Review: Somewhere between a sauerkraut connoisseur, an ancient Athenian philosopher, and a crate-digging obsessive (we'll assume this is the threefold meaning of the nominal pun until we're course-corrected) Saukrates returns with a new single 'Driftin'' via Love Touch Records. This new limited 7" is indeed as, perhaps even more so, delicious as a jar of pickled cabbage considered in Socratic dialogue. The Juno-nominated Canadian icon is here heard teaming up with producer Gil Masuda, who provides a neo-eighties synthfunk bomb over which Sauks flaunts his singing chops (this is a surprise delicacy, as Masuda is not often heard since his 2006 Big Black Lincoln project). Bursting pianos glide over huge gated digi-snares on this gem, the featureless version of which also appears on the B-side.
Review: Say She She's latest festive offering becomes even more irresistible with this special opaque dark purple vinyl edition. The A-side reimagines Marvin Gaye's 'Purple Snowflakes,' wrapping cascading piano lines and delicate harmonies in a mood that's equal parts nostalgic and otherworldly. On the B-side, their first original holiday tune, 'This Wintertime,' evokes warmth and intimacy, celebrating the simple joy of togetherness. Pressed on this stunning coloured vinyl, the release pairs perfectly with its timeless sound, offering collectors and fans alike something truly special for the season.
Review: Say She She bring soulful magic to the holidays with two tracks that effortlessly combine tradition and originality. Their cover of Marvin Gaye's 'Purple Snowflakes' brims with soft, tumbling melodies and an understated psychedelic charm, while 'This Wintertime' radiates with the heartfelt warmth of their first original Christmas tune. Lush harmonies and thoughtful arrangements define both tracks, reminding us of music's power to connect and uplift. This festive 7" single captures the spirit of the season in Say She She's signature style.
Konya Wa Boogie Back (Luvraw remix - acappella) (6:16)
Review: Scha Dara Parr's 'Konya Wa Boogie Back' 7" vinyl brings a smooth, laid-back vibe that channels classic West Coast hip-hop. On Side-1, the Luvraw remix, delivering mellow, low-rider energy with its sun-soaked beats, perfect for a breezy summer day. The remix's polished production and easygoing flow highlight the track's relaxed groove, blending hip-hop with subtle r&b warmth. On Side-2, the acapella version strips things back, allowing Scha Dara Parr's vocal cadence and lyrical flow to shine. This release is a nod to smooth, old-school vibes while showcasing the group's timeless style and adaptability. Unique!
Review: Shat is a place in Yorkshire (well, the nickname a village called Skelmanthorpe). Shat is something you hope to never do. Shat is also the alias of an artist who makes progressive house with a 90s twist. This outing is a third on the Party Tricks label and it opens with some swirling celestial pads, dream-scape beats and dusty hits that get your head amongst the clouds. 'Dwingeloo' is a faster slice of progressive techno with freewheeling pads and raspy basslines. Two remixes on the flip that things into very different territory but both of them are going to prove effective in the right setting.
Review: Shuggy's It's A Soul Thing featuring Alvin Worthy offers a captivating blend of soul and urban vibes. The vocal mix on Side-1 exudes catchiness and hipness, with smooth vocals delivered over a backdrop of sleek instrumentation. The track boasts a great horn section that adds depth and texture, contributing to its overall urban feel. On Side-2, the instrumental version showcases the band's excellent playability, with a groovy arrangement that allows the instrumentation to shine. Overall, 'It's A Soul Thing' is a standout offering from Shuggy, blending soulful vocals with tight musicality to create a track that is both infectious, enjoyable and a lot of fun.
Review: The second Shuggy Edits 7" to hit the shelves in 2024, and the fifth overall, this esteemed edits series by the otherwise mysterious Shuggy nonetheless makes for one of the most in-demand around. This time we've two further funk and soul come bombastic hip-hop edits to contend with: first up is a version of Baby Huey's 'Hard Times', a tromboning 1971 strut by the American singer whose sole LP for Curtom Records was instrumental in the development of hip-hop; Shuggy lends the a harder, steeple-high, needlepoint edit-edge. This is further teased out on the B-side, whose 'Harder Times' hears a phat breakbeat and brass bass parp further teased out to frighteningly formidable effect.
Review: Paul Sitter and Tony Lavrutz's collaboration on Eu e Meu Amor plays like a breezy stroll through sun-drenched sounds and smooth rhythms. Their work here pulls effortlessly from bossa nova and tropicalia, but without leaning too heavily on nostalgia. The production is tight and warm, with layered guitars and whispered vocals that could easily soundtrack a lazy afternoon. It's not overly flashy, but it doesn't need to be; the charm is in the simplicity, the way the melodies unfold and gently stick with you long after the record ends.
Review: An impressively retro-feeling "breaksoul" choice from London label Digga Please?, once again delivering on their promise to bring the finest in funk, soul, disco, rap, b-boy breaks and "all that good shit". First released in 2004 on the iconic Freestyle Records, 'Get It On' is a bona fide cut & paste classic, its break-do backbeat and slippery funk vamps harking a filtered Rhodes line; here an obscure r&b libretto sings demonstratively, warning us of an incumbent detailing of her preferred mode of frisking: "this is how we like to get it on!" The record then segues into a timeless Gil-Scott Heron sample and breaks-tastic track slathered in sax, attesting to a so-called coolness that can be tapped by anyone willing to ease into it: "hipness is not a state of mind, it's a fact of life".
No Way Out (feat Slimkid3 & Moonbeam Kelly) (3:49)
Review: The latest vinyl release from RS Records, their third, is a 45rpm dedicated to hip-hop lovers and wider genre enthusiasts. Produced by Slick Walk (ala SaturnVybz and DJ Robert Smith), Side A features '50 (More Hits),' a mellow, space funk-inflected banger with NYC legends QNC (aka Q-Ball and Curt Cazal). The track boasts crisp, Premo-like drum programming, cloud-like synths, and warm bass, all of which create a sensation of flying or walking on air. Rich in old-school and golden-era references, nearly every bar is a hyperlink to a hip-hop classic, making the track an almost literal hip-hop encyclopedia. The superb No Way Out" (feat Slimkid3 & Moonbeam Kelly) seals the deal on this vital pick up.
Review: Smoove AKA Jonathan Scott Watson brings us Bizarre Cut 'N' Paste Ride for the most recent Wack Records release. The producer is known for using his cut up style of east coast flavor. On the A-side, 'Bizarre Cut 'N' Paste Ride' uses Pharcyde tracks and edits them seamlessly like a DJ would. Focusing in on the original instrumentals, he creates a jazzy sound with them. 'Summer Cyde' expands upon this theme while using the all-time classic 'Passin Me By' in the mix. This is like having a dub plate of Pharcyde cuts to your own personal bag. Sounds like these will never get old.
Review: Jonathan Watson aka Smoove sees his version of "one of the greatest posse cuts of all time" - or so say reissuers Wack Records - re-pressed for the masses to hear. One half of the British funk and hip-hop edits duo Smoove & Turrell, the former of the two made, but never released, this wicked remix of Heavy D & The Boyz's 'Don't Curse' sometime in the late 2000s. Now released as though it were an official posse cut, it comes backed by a flip of Kool G's 'Rich & Famous', equally bouncy and decadent as they come.
Review: Smoove works his magic once again on Multitrack Reworks Volume 7, delivering standout edits of classic tracks. The Temptations' 'Papa Was A Rolling Stone' gets a refreshing update with crisp drums, rich vocal harmonies, and majestic orchestral breakdowns. On the flip side, Rufus Thomas' 'Do the Funky Penguin' shines with exposed drums and extended guitar riffs, adding new layers of groove. As an extra treat, Smoove presents his extended version of The Magic Disco Machine's 'Scratchin',' revealing a seriously funky bass line and pounding drums. With regular support from Craig Charles on BBC6 Music, this release is hailed as Smoove's best Multitrack Rework yet, offering a fresh take on timeless classics.
Review: This is one of the most ambitious 7"s we've ever come across - it is an EP with 11 'tracks' that all play out like a beat tape with interludes crafted by SNDTRAK. It has everything a good beat tape should have - dusty drums, ill samples and a rich sense of soul and storytelling. It moves at pace through the different moods and grounds with gorgeous pianos, sunny vocals, lush strings and mellifluous melodies all grabbing your attention at various points as it plays out. A wonderful and cultural trip through sound.
Review: Solene and J. Rawls team up for a delicious pair of pelagic, coolant nu-soul and house nocturnes, crossing the sparse but oceanic space between genres. On 'Love Moon', the producer and singer respectively cover such intense themes as late-night reflectivity and good company: "nothing glam, it's just you and me..." Solene intones this sombrely, as the last syllable is heard to trail off into a surfactant mist. Meanwhile, 'Can't Catch Me In Love' raises the emotive drawbridge once more, hoisting supporting pillars of kick drum and serene pan flute, as flirtatious gingerbread taunts are heard in the chorus, not to mention musings on past relationship blunders.
Review: All time hip-hop classic alert! This is an evergreen gem from the US crew that is an evergreen favourite with hip-hop lovers of all ages. Released in 1993 on an album of the same name, it's a standout example of the lyrical dexterity of A-Plus, Opio, Phesto and Tajai. Its mellow, soulful production complements the effortlessly smooth flows which are packed with sophisticated wordplay and inventive beats that set it apart from usual West Coast gangsta rap by offering a fresh, alternative sound. Decades later, '93 'Til Infinity' remains a defining piece of hip-hop history. .
Review: Southpaw Chop, a true hip-hop DJ and producer who remains dedicated to the vinyl craft, delivers a standout release with The Canyon/Fantastic Voyage. Known for his work with legends like Large Professor, A.G., Kool G Rap, and Craig G, Southpaw Chop continues to impress with his impeccable production skills. Side-1 opens with 'The Canyon,' where smooth rap lyrics glide over a classy, deep groove that sets it apart from the standard hip-hop fare. 'Fantastic Voyage' follows with a cool, old-school rap flow, making it perfect for anyone seeking unique and timeless hip-hop vibes. Side-2 offers instrumental versions of both tracks, allowing listeners to fully appreciate the rich, intricate grooves that Southpaw Chop meticulously crafts. This release is perfect for those who value authenticity in hip-hop and want to experience the genre in its purest, most refined form.
Review: Before NWA, Wu-Tang, A Tribe Called Quest or Run DMC, there was James Bromley Spicer. Active during the late 1970s and early 80s, Spicer's best known hit was 'Money (Dollar Bill Y'all)', which fewer heads know is the referent source of Wu-Tang's latter-day touchstone record 'C.A.S.H.'. Both songs deal with the embittered centrality of money in the waking daily lives of just about everybody, sympathising with the grim reality of the situation whilst also insisting we get with it. Yet Spicer's original lacked the distinctively streetwise tang of 'Tang's later interpretation of the theme, going with a rather excitable and impish mood, which went with the melting-pot territory of hip-hop in the 80s. Spicer's flows are gnarly and rabid rather than affected and cool, revealing the roots of moneybagging hip-hop as fanatically on-beat. "It takes money to pay rent to eat, without which you're hungry and on the street..."
It Takes A Moment To Make Money (original version) (4:11)
Review: Stretch Money delivers a characteristically smooth, polished vibe with 'Take Money 25'. It's a track that has it all - funky rhythms and soulful grooves and superb vocals. It also does what all good hip-hop does in that it manages to blend contemporary style with elements of the classic sound without being too much of an old-school homage. Catchy hooks and rhythmic flow abound on this low-key but feel-good anthem with lyrics that encourage you to stay focused and hustle hard. On the flip, 'It Takes A Moment To Make Money' is just as seductive and soul-fuelled.
Pain Au Chocalat (with Extra Butter bonus Beat) (3:43)
Review: Galaxy Sound Company has become one of those cop-on-sight labels thanks to is cultured 45rpm edit series. This time, label staple, bedroom B-boy beatmaker and Michigan native Strictlybutters drops a sweet duo of beatstrumentals that skate, stomp and groove with great style. Side A's 'Espresso Con Panna' flips Salt of the Earth's 1984 gospel-funk banger 'Love Light II' into a bass-thumping, sax-smooth hip-hop gem that will enliven any party. The second offer is just as sweet: 'Pain Au Chocolat' is a Detroit-inspired and buttery groove dripping in jazzy Axelrod-esque flair. Pure head-nod gold.
Review: Smif-N-Wessun, the veteran Brooklyn rap duo, deliver a poignant reminder of their lyrical prowess - a collaboration with the late Sean Price. This track captures some of Price's final verses and proves to be a fitting tribute to his raw, uncompromising style. Over a hard-hitting beat crafted by Amazing Maze, Tek and Steele trade verses with the Ruckus Man, their flows as sharp and potent as ever. Price's presence is undeniable, his gruff voice and gritty lyrics cutting through the mix with a ferocity that will be sorely missed. DJ Danetic's cuts add another layer of dynamism, weaving seamlessly between the verses and enhancing the track's raw energy. The B-side instrumental offers a chance to appreciate the depth of Amazing Maze's production, a head-nodding blend of boom-bap drums and soulful samples. Danetic's cuts take centre stage here, showcasing his technical skills and adding a playful touch to the otherwise hard-hitting track. This release is a collection item for fans of classic hip-hop, a reminder of Smif-N-Wessun's everlasting legacy and a fitting tribute to the late, great Sean Price.
Review: Stylistic Murder Records is back with a special new release that features the legendary Smif-N-Wessun as well as the late Sean Price, whose final verses, captured during his last ever recording sessions, add real gravitas. The stone cold classic, vibe-drenched 'All Time Great' has drums and beats made by Amazing Maze, with extra cuts by DJ Danetic layered in next to dreamy pads and warm, lazy bass. This is golden-era boom bap with a heart-wrenching sense of soul, not least because of it being the last work of the great Sean Price.
Review: Suckaside, a creative artist with a deft touch in beat composition, sampling, and mashups, delivers a dynamic offering with Toxic Funk Vol 15. 'Sometimes Bootyful' is a piano-laden funk jam driven by a tight breakbeat that's both hip and infectious. The track seamlessly blends elements of house into its groove, making it accessible to pop fans while staying true to its funky roots. The addition of rap verses adds an extra layer of appeal, making this track a standout. Bringing in 90s funky rhythm vibes, 'Sugar Face' on the B-side cleverly incorporates hooks from D'Angelo's 'Brown Sugar.' This track is a 7" gem for funk and R&B lovers, combining nostalgic grooves with a modern twist.
Review: Some throwback and retro rap and early hip-hop fin here from Fraternity and Und Brother who join forces to put out this gem from Super Lover See and Casanova Rud. 'Girls Act Stupid-aly' takes up the A-side of the 7" with some playful bars and plenty of scratching, machine drum grooves and melodic hooks. 'I Gotta Good Thing' has some superb flow and plenty of James Brown vocals as well as big horns making it a real party starter.
Review: Munich's Ilian Tape is best known for its killer breakbeat driven techno sounds but various sub-labels and series also delve into ambient and, in this case, trap beats and grimy production. Sustrapperazzi hails from Hastings in the UK and make a great impression with the first volume of this Beat Tape. 'Part 2' is another one with late night menace, gritty textures and urban swagger all tempered by some meaningful melodies and indelible pads. It's an absorbing instrumental journey into nocturnal London with killer cuts like 'Japan Drillings' and 'Learn Suttin' parting physical low ends and screw basslines with emotive little vocal hooks and fragments of melody.
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