Back catalogue: All genres

Review: Beautiful Shibuya-esque hip jazz from Wa Yo Set, the dazzler jazz-funk band and fan favourite of the Urban Discos roster since 2020, when the quartet released their debut record, Boogieback. 'Don't Let Me Down' is their latest single for the label, and is rather like nothing we've ever heard before, overlaying a raspily swung vocal rap flow from MC KZ against a superbly improvised arrangement mixing snappy drums, classical guitar, double bass and alto sax. On the B is the similarly speedy 'Konyawa Boogie Back', an instrumental cover of the J-pop duo Halca and Yucali's 2009 chart smash.

Review: Osaka-incubated instrumental jazz and hip-hop group Wa Yo Set take their next big stride with a sure-to-be infamous new cover of a Notorious B.I.G. classic, 'Mo Money Mo Problems'. With Biggie having spat near infinite wisdom on this playful pop diversion - "it's like the more money we come across the more problems we see" - this killer 7" version takes heed, limiting its quantity to fewer than 1000, in case demand outstrips supply and concerns of fan rapaciousness bubble over. With a superb remix from DJ Koco on the B.

Review: A sophisticated blend of electronic, funk and soul, originally released in 1991 and back here in 7" form. Side-1 features 'Try My Love,' an underground jam that highlights Washburn's ability to blend these genres into a classy, enjoyable track. Side-2 presents the 2024 Boogie Back remix of 'Try My Love,' which smoothes things out and transforms the original into a melodic disco groove. This remix adds a fresh, modern twist while retaining the soulful essence of the track.

Review: Westside Gunn's latest project, Hitler Wears Hermes 8, shows his adeptness as a curator rather than a central figure. The confrontationally prolific Buffalo rapper strategically incorporates dynamic guest appearances throughout both halves of the album, allowing them to shine while he takes a more subdued role. Gunn's writing exhibits moments of brilliance throughout. The album's smart sequencing and near-uniform excellence of guest verses highlight Gunn's skill as an A&R, with interludes further enhancing the album's atmosphere. While each half of the project leans heavily on collaborators and mise-en-scene, the overall result is a supremely competent yet somewhat forgettable addition to Gunn's discography. Notable moments include standout tracks like 'TV Boy,' where Gunn's delivery shines amidst grimey production, and collaborations with Mach-Hommy, showing their chemistry.

Review: Winfree's 'Friday Night,' a catchy 7" on Six Nine, delivers a fresh take on soul with a modern twist. Side-1 features the T-groove remix of 'Friday Night,' blending a slamming slow groove with funk and electro complete with vocoder work that nods to Zapp. Side-2's 'The Way She Makes It Bounce' dives into early electro sounds, perfect for low-rider music enthusiasts, channeling the spirit of Roger Troutman. This release captures the classic vibes while infusing it with contemporary elements, making it a track to check out for fans of both old-school and modern funk. Both sides, needless to say, are proper party starters.

Review: The accomplished London musician and producer Wu-Lu serves up a new EP on Warp that is actually more like an album here. It is 30 minutes of well rounded sound files with narrative that takes and more nuanced, personal approach than his breakthrough, anti-gentrification anthem 'South' and much loved LP, LOGGERHEAD. The big energy of those is replaced here by a series of diary entries that all take inspiration from growing up in Brixton. These of death and loss feature as do the general struggles of life while poet and artist Rohan Ayinde and award-winning author Caleb Femi also guest.

Review: Mid-90s East Coast hip-hop classic 'CREAM' is one of the best Wu-Tang Clan tunes if you ask us, but we never thought it might get mashed up with a Beatles tune. That's what we have here on the Tea Breaks label, which flips it into a lush, soul-drenched hip-hop sound with low-slung drums and Raekwon & Inspector Deck delivering the bars. On the flipside is an instrumental that strips them away and allows the introspective melodies and laid-back, golden-era beats to shine. Two heady tunes for sure.

Review: This split single pairs two hip-hop legends for a compelling blend of styles. On Side-1, 'What's Happening', unites Method Man and Busta Rhymes over a soulful piano-driven beat, delivering charismatic flows and undeniable energy. Their chemistry crackles as the track bridges classic Wu-Tang grit with Busta’s rapid-fire dynamism. On the Side-2, an exclusive mix of 'Back In The Game' collides with the instrumental of 'House Of Flying Daggers', creating a hypnotic reimagining. The intricate production layers cinematic depth under sharp lyricism, offering a fresh perspective on both tracks. This release shines as a celebration of lyrical mastery and innovative production, giving fans of both Wu-Tang and boundary-pushing hip-hop plenty to savor.

Review: Taken from the album Black Gold, this 7" single comes on limited edition white vinyl and offers up the superb 'What's Happenin'' featuring Method Man and Busta Rhymes on the A-side. It's a beat-driven workout with funk in the drums. The B-side offers an exclusive and rather more stripped-back mix of 'Back in the Game' with Ron Isley, Inspectah Deck, Method Man, GZA, Raekwon and Ghostface Killah all seamlessly blended with the instrumental of 'House of Flying Daggers.' It's not often you get so many iconic collaborations all on one record which is why it is such a big hitter.

Review: The funky and physical beats of 'What's Happenin' are originally from the album Black Gold with Method Man and Busta Rhymes. It's a dusty gem with kilelr bars and a real hip-hop masterpiece. The B-side offers a stripped-back exclusive mix of 'Back in the Game' which blends Ron Isley, Inspectah Deck, Method Man, GZA, Raekwon and Ghostface Killah with the instrumental of 'House of Flying Daggers.' Combining so many legendary artists on one record makes this an essential release. Pressed on green vinyl with only 100 copies available, this is sure to prove a collector's item.

Review: Warren G's 2005 album In The Mid-Nite Hour delivered more of his already by then well-established signature West Coast sound with smooth G-funk beats and laid-back flows. He will always be known for his classic track 'Regulate' but Warren G continued to fuse hip-hop with funk, soul and r&b influences throughout the following years, not least with this record. Standout tracks like 'In Case Some Sh*t Go Down' and 'I Need a Light' feature collaborations with Snoop Dogg and Nate Dogg and they perfectly capture that timeless West Coast vibe. The album blends some witty, pithy storytelling with his signature infectious grooves and stands tall as a testament to Warren G's talent as both a rapper and producer while keeping the G-funk legacy alive.

Review: An essential work in the trip-hop landscape, now reissued to offer a fresh chance to experience its cinematic soundscapes and genre-crossing influences, weaving samples from jazz, hip-hop, soul and film scores into a cohesive, evocative sonic tapestry. Tracks like 'Que Sera', 'Ungodly Fruit', and 'How I Feel' showcase his unique ability to craft lush, atmospheric beats reminiscent of RJD2 or Portishead's Geoff Barrow. A key part to the success of this release, is the use of samples - ranging from classic hip-hop to cinematic dialogue - with some tracks, particularly those featuring orchestral arrangements, stand out for their unusual intricacy, with 'Hypnosis Theme' and 'Our Dance' exemplifying Wax Tailor's mastery of blending classical elements with laidback rhythms.

Review: Following the massive success of his 2021 debut album Gratidao, French producer Wealstarcks returns with another standout record, this time called Valeu Obrigado.' Once again he skilfully blends house and electro sounds with the vibrant energy of Funk Carioca culture to make for a collection of tracks that are filled with soulful grooves and irresistible dancefloor anthems guaranteed to get any crowds moving. Most notably these sounds showcase Wealstarcks' knack for creating fresh, dynamic grooves that work on modern ears but also maintain a deep connection to authentic Brazilian funk influences. It comes as a limited edition release that will no doubt be a longtime favourite in any collection.

Review: Shockingly, "(Hurry Up Tomorrow) is probably my last hurrah as the Weeknd." With speculation that this could mark the final release under his stage name, Abel Tesfaye returns with his sixth studio album, doubling as the soundtrack for an upcoming psycho-thriller film of the same name, where film and album are to be released in tandem. A known cinephile, and widely applauded for his screen debut in the OPN-scored Safdie Brothers sensation Uncut Gems, Tesfaye's upcoming directorial collaboration with Trey Edward Shults presents an insomniac musician on the verge of a mental breakdown, pulled into an existential odyssey against his best volition. 'Timeless', 'Sao Paulo' and 'Cry for Me' lead the charge, in the aftermath of a vocal injury sustained on tour in 2022. Blending r&b, synth-pop and trap with flourishes of Brazilian funk and hip-hop, the new record doubles as the film's soundtrack, and pushes the Weeknd's palette ever further out into unsettling neon pop territory, contradictorily into the early hours of the weekday.

Review: Scarred by a high-profile breakdown, Abel Tesfaye aka The Weekend has spent much of the last three years rebuilding his mental health - a process reflected in the introspective and surprisingly open lyrics at the heart of Hurry Up Tomorrow, his sixth studio album. Said to be the final part of a semi-autobiographical trilogy, the two-disc set is a dizzyingly varied and star-packed affair that confidently strides between squelchy synth-pop (Justice collaboration 'Wake Me Up'), thrillingly bass-heavy Baille funk (Anitta hook-up 'Sao Paolo'), attack-on-the-senses EDM-pop ('Until we're Skin & Bones'), heavily orchestrated slow jams (' Reflections Laughing' with Travis Scott and Florence and the Machine), head-nodding R&B ('Enjoy The Show' with Future), 80s pop revivalism ('Take Me Back To LA'), and shimmering analogue synthscapes (Giorgio Moroder collaboration 'Big Sleep').

Review: The Weeknd's latest project continues to push boundaries, but it's the quieter moments that really leave a mark. Take 'Dancing in the Flames'iit starts with muted synths, almost tentative, like something trying to find its footing, before blossoming into a dense, emotionally charged soundscape. Tesfaye's falsetto feels particularly vulnerable here, a perfect match for lyrics that seem to teeter between hope and resignation. On 'Timeless (feat Playboi Carti),' the mood shifts entirely. Carti's jagged verses cut through the lush production, creating a tension that makes the track feel alive and unpredictable. And then there's 'Sao Paulo (feat Anitta),' which bursts out with a vibrancy that feels like a releaseia rare moment of pure celebration. Overall, the album's impact lies in its restraint, in the contrasts and the spaces between moods where it truly resonates.

Review: The Weeknd's upcoming release marks the final chapter in the trilogy that began with After Hours and Dawn FM, bringing his signature fusion of nocturnal R&B and cinematic synthwave to new emotional depths. Highlights include 'Timeless', a brooding collaboration with Playboi Carti, and 'Sao Paulo', a sultry track featuring Anitta, blending Latin rhythms with atmospheric production. Thematically, the album explores redemption and self-reflection, with Abel Tesfaye's haunting falsetto weaving through stories of loss and longing. Fans can experience this new chapter live at a one-night-only show at Pasadena's Rose Bowl, a fittingly grand stage for what promises to be an unforgettable closing act.

Review: ***B-STOCK: Warped records***


Kanye West's new collaborative album with Ty Dolla $ign, VULTURES 1, feels unexpectedly cohesive and fully realizedia surprising change of pace for West's recent output. Known for raw and often incomplete releases, this time he brings clear production and a crisp, polished mix. Ty's smooth delivery contrasts with Kanye's own verses, blending effortlessly on tracks like the Donna Summer-sampling 'Good (Don't Die)'. Rhythmic, industrial beats provide a dynamic backdrop, especially on tracks like 'Paid' and 'Carnival,' giving this album a depth that stands out in West's complex, ever-evolving catalogue.

Review: Kanye West and Ty Dolla $ign's collaboration offers a compelling blend of hip-hop and r&b, showcasing their distinctive styles. Tracks like 'Burn' and 'Talking' highlight their seamless integration of vocals and production. The splattered vinyl 2xLP edition enhances the auditory experience, complementing the album's rich soundscapes. This release underscores both artists' enduring influence in contemporary music.

Review: Kanye West may be widely criticised and sidelined these days, but he will forever be known as a vital hip-hop pioneer whose influence is undeniable. Back in 2024, he teamed up with Ty Dolla $ign to release Vultures 1 - an album that is bold and genre-defying and reflects the duo's musical prowess and polarising personas. Production is layered and lush, with contributions from heavyweights like Timbaland and James Blake, and standout features from equally big names like Playboi Carti and Travis Scott. Tracks here all shine with lively rhythms and high-energy flows, even if the lyrics don't always hit the mark. Nonetheless, the project topped the Billboard 200 all the same.

Review: Kanye West and Ty Dolla $ign join forces on Vultures 1, delivering a polished, cohesive project that showcases their combined talents. The album feels unusually complete for West's recent output, with crisp mixes and dynamic arrangements that highlight Ty's signature silk-and-grit vocals alongside Kanye's evolving artistry. From the airy melodies of opener 'Stars' to the Donna Summer-sampling 'Good (Don't Die)', the album strikes a compelling balance between nostalgia and innovation. Tracks like 'Burn' and 'Paid' stand out with hypnotic beats and intricate rhythms, while the Brazilian funk-inspired 'Paperwork' adds a playful, global flair. Ty's smooth hooks complement Kanye's performances, which, while technically precise, focus more on fitting the production's mood than dominating it. The production shines throughout, blending industrial textures with moments of emotional resonance. Songs like 'Carnival', featuring Playboi Carti and Rich the Kid, bristle with energy, while the lush layering on 'Do It' and 'Fuk Sumn' enhances their infectious grooves. Despite occasional lyrical flatness, the album's sonic brilliance and pacing make it a captivating listen.

Review: Vultures 1, Kanye West's collaborative album with Ty Dolla $ign, is a refreshingly cohesive entry in West's catalog, showcasing his attention to refined, crisp production. Unlike his recent, more experimental releases, Vultures is polished and sonically unified, with beats that highlight Kanye's inventive sound design and Ty Dolla's smooth vocals. Tracks like 'Good (Don't Die)' nod to 808s & Heartbreak, delivering a nostalgic yet modern take on Kanye's signature introspection, while 'Carnival' pulses with rich textures, blending elements of Brazilian funk and industrial beats to create a hypnotic groove. Kanye's verses are more technically precise than ever, and though his lyrics are less personal, they maintain a certain energy that keeps the momentum alive. Ty Dolla's silky, gravelly tones are the perfect counterpoint, adding warmth and balance. From the bouncy 'Stars' to the club-ready 'Burn', the album is built on rhythms that are as intricate as they are accessible. Though more restrained in theme, Vultures achieves a polished, infectious sound with irresistible beats and thoughtful production, proving Kanye can still push boundaries while embracing a more mainstream appeal.

Review: He might pretty much be cancelled these days but there is no denying the impact Kanye West has had on hip-hop. As recently as last year with Ty Dolla $ign he cooked up 'Vultures 1' which now comes as a special Carnival Edition and is a provocative, genre-blending affair that showcases both artists' strengths and controversies. The production is sonically rich with contributions from top-tier talents like Timbaland and James Blake, and guest appearances from venerated verse men such as Playboi Carti and Travis Scott. Tracks like 'Carnival' stand out with their infectious drum patterns and energetic deliveries even if the lyrical content is not up there with their usual best work. Despite the controversies surrounding West, this album achieved commercial success and topped the US Billboard 200 chart.

Review: Vanessa Williams' Survivor marks her return to music after a 15-year break, where she focused on acting and other ventures. In this album, Williams seamlessly blends the many facets of her career, from pop and r&b to jazz and theatre. The lead single, 'Legs (Keep Dancing)', is a bold, confident dance track that reflects her enduring energy, while the house-pop track 'Bop!' entertains her fanbase with cheeky humor and vibrant beats. The album's range includes pop standards like 'Junk Man' and the jazzy 'Zaz Zuh Zaz,' where Williams showcases her sultry, polished vocals. Her love for classic music shines, especially on 'Come Dance with Me' and 'Being Good Isn't Good Enough', where she brings an elegant, theatrical touch. With thoughtful production, Survivor revisits Vanessa Williams' signature sound while incorporating fresh elements. Despite its familiar themes, the title track carries a personal resonance, illustrating her journey and resilience. Williams' versatility and her ability to evolve while staying true to her roots, proving that she's still a commanding presence in music. This comeback reaffirms her as a talented performer across multiple genres.

Review: It marks five years since the release of Hiding Places, the groundbreaking collaboration between billy woods and Kenny Segal. In 2019, this partnership was unexpected; both artists had extensive solo careers yet had not deeply collaborated outside their respective coastal scenes. Kenny's recent projects included jazzy instrumental albums and production work for artists like Self-Jupiter and Open Mike Eagle, while woods had just released a solo project with Blockhead. This fifth-anniversary reissue returns to the iconic house cover and includes a gatefold with fresh artwork from Musgrove. Musically, the album remains a compelling exploration. Segal's lush soundscapes gain a new intensity, while woods' writing achieves a directness rarely seen in his work. Featuring contributions from artists like ELUCID and Self-Jupiter, Hiding Places offers a surreal yet poignant experience, likened to a child's game that is both humorous and harsh.