Back catalogue: All genres

Review: John Wilcox has been slowly disseminating crusty hardware jams for some six years now, in which time he's appeared as Cyclonix on Horn Wax, and now he nips over to Tusk Wax for more robo-charged antics in the curious corner of grubby, electro tinged house music the label orbits. "Telemachus" is a dreamy opening number that keeps the spook level up to maximum and the reverb voluminous throughout. "Synth Run" has a bit more bite, but not at the expense of atmosphere. Whatever/Whatever get hold of "Telemachus" and strip it down to a sparse skeleton of a track, and then Wilcox rounds the record off with the steppy ambient excursion "Ronin Love (dub)".

Review: It was the iconic Copacabana Records that put out this classic MPB back in 1964. That makes 'Um Balanco pra voce' by Os Rouxinois one of the oldest releases in Mr Bongo's Brazil45 series and it is also one of the best. Arnaud Rodrigues wrote the tune which is a superb mix of exotic funk, bossa nova rhythms and quirky melodies from a five-track 7" of tunes that the band originally used to play on TV. On the other side, 'O Viajante' is the sort of irresistibly sunny sound that quickly wins your heart and is sure to light up any dancefloor.

Review: The mysterious Waffles series, rumoured to be the work of Belgian legends Soulwax, has been one of the success stories of 2016. It has succeeded, in part, due to the eccentricity of much of the source material. There's plenty more madness on this fifth volume in the series, with A-side "Aqua Dolphin", offering a skewed fusion of razor-sharp, acid-style electronics, mind-altering new beat rhythms, and plenty of weird, chopped-up vocal samples. Flipside "Computer" boasts similarly psychedelic acid lines, alongside gravelly, end-of-days vocals, synth riffs seemingly inspired by the original 1988 version of The KLF's "What Time Is Love", and a head nodding, toe-tapping breakbeat rhythm. We have no idea what the original source material is, but it's a deliciously weird and wonderful re-edit.

Review: "Huxley's Howl" by Bay-area keyboard savant Howard Wales was originally released as a 7in single in the early '70s on his own Costal Records imprint. Luv N'Haight is proud to present the first official reissue of this classic slice of mid-tempo, instrumental funk, loaded with stabbing horns, explosive Hammond organ and heavy drums with a nice dose of psychedelic vibes to round out it out. The B-side "My Blues" chugs along at a slower pace, with a "bluesier" sound as the title suggests while keeping the same killer psych flavor as the A-side.

Known primarily for his work alongside Grateful Dead frontman Jerry Garcia on their collaborative album "Hooteroll" while also appearing on the Dead's seminal "American Beauty" LP, Howard Wales had already established himself as a talented player during the mid-1960's working and touring with the likes of Ronnie Hawkins, the Four Tops and the Godfather of Soul himself James Brown. A true original and progenitor of the oft-used but mostly maligned "Acid Jazz" genre, Howard Wales paved the way for the psychotropically enhanced excursions of 70s' Jazz, Funk, Soul and fusion.

Review: The small but well-formed Snaretrade label squeezes out the third release just before the end of the year. It is some super stylish minimal from the Walrus with 'EchoEva' opens up with a dark web of twisted synths and whispered vocals. 'Your Heart Is Your Passport' is a deft tapestry of icy snares, chopped vocals and fizzing synths that get you into a late-night dream state. Last is 'Weekend', a punchy acid house cut with elastic bass and knack-snapping drums all fizzing and spitting with real sleaze and attitude.

Review: Miles Away Records are proud to introduce their latest single to land on the label: the cosmic soul gem 'Super Star' by Ruth Waters and the State Of Mind Show Band. Ruth 'Silky' Waters was best known for her two disco-infused albums Never Gonna Be The Same and Out In The Open, produced by the late, great John Davis. 'Super Star', however, was released on the tiny independent KMBA Recordings label in the late 1970s, and draws on the twin wells of modern soul and gospel, lending both a touch of cosmic goodness. On the flip, there's 'Super Star Pt.2', which plunges deeper into the cosmic essence of the track by way of both extended guitar and synth solos; both tracks are stupendios in their own rights, making this a hotly versatile release for a far-and-wide DJ demographic.

Review: Tamara Lindeman was at a real transition point in life when What Am I Going to do With Everything I Know was first unveiled. A six track strong EP, here the moodiness and tangible sense of isolation, loneliness, and hopelessness that had once emanated from her voice dissipates into equally tender and gentile thoughts on an impending marriage and all that may come with it. For some, an equally troubling time in their lives, for others something to truly work towards and - when it finally arrives - celebrate, either way it's a subject ripe for emotional songwriting.

But in actual fact, Lindeman, her fiance and troupe treat the concept of matrimony with something close to apathy, or at least lackadaisical 'might as well'-ness. The culmination of this record, 'Almost Careless', sees her ask the question 'what if', but in a way that's neither excited nor nervous, but simply filled with inquisitiveness and a matter of fact consideration.

Review: Charles Webster's 2020 album Decision Time - the veteran East Midlander's first full-lengthi 19 years - was predictably good, but more downtempo and immersive than dancefloor-ready. This EP of remixes from the album is therefore long overdue. The EP-opening Dazzle Drums remix of 'This Is Real' is a luscious slab of jazz and bossa-tinged deep house soul perfection, while Jazuelle's 'Retro Rhapsody' version of 'Music' effortlessly joins the dots between laidback breakbeat, street soul and warming deep house sonics. Over on the flip, Mark E reimagines 'The Spell' as an analogue-rich chunk of gently dreamy deep house hypnotism, while 'Luciano' channels the spirit of Matthew Herbert's greatest micro-house productions on an undulating, soul-enriching full vocal take on 'Music'. Grown-up fare that sounds as good at home as it does in the club.

Review: Fresh from an appearance on the excellent Rush Hour Amsterdam All Stars compilation, Simon Weiss breaks free with a debut solo release on the Hometaping imprint. A label that has provided a boost to many a producer's profile, Weiss is likely to countenance a few remix and booking requests off the back of the sumptuous sounds here, not least the title track "Yesterday Is Around". Very much influenced by the likes of Parrish and Dixon Jnr, there is an undeniable warmth to the expertly looped strings and delicate vocal sample that will turn many an ear, whilst the rhythms and textures are delightfully fuzzy. Alongside it Weiss flexes his percussive muscle on the expertly poised beatdown of "Bird Movement" which is notable for some excellent pitch shifted melodics, whilst "Body Signature" is delightfully sloppy. Best Hometaping release in ages!

Review: Six Minute Mile has rightly got plenty of attention for its first few outings and their early good work connotes with this eight 7". It's from Ohio's Wesley Bright who has joined forces with The Means of Production and New York's Ben Pirani, and is a lovely mid-tempo roller that reminds of balmy summer nights. The tune comes in two parts and opens with lovely Rhodes chords that are a great foundation for the tenor vocals of Wesley. Then come plenty of irresistible hooks and the rousing vocals sing of love and devotion like all good soul sounds should.

Review: The deep archives of disco legend and synth wizard Patrick Cowley continue to prove inspirational for Dark Entries. Cowley, who passed away from AIDS-related illness in 1982, was the multi-faceted producer behind numerous disco anthems such as Sylvester's "You Make Me Feel (Mighty Real)". Since 2009, Dark Entries has been working with Cowley's friends and family to shed light on the lesser known facets of this singular artist's output. This has resulted in a string of celebrated archival albums, including Catholic (featuring Jorge Socarras), School Daze, Muscle Up, Afternooners, Mechanical Fantasy Box, and Some Funkettes.For the latest addition to this saga, White Trash Boom-Boom, Dark Entries has teamed up with The Stud to release four tracks culled from some of Cowley's earliest rehearsal tapes. In 1972 Patrick was living in the Haight-Ashbury neighborhood with Theresa McGinley and Janice Sukaitis, friends of his from New York. In 1973, Theresa and Janice formed White Trash Boom-Boom, an all-female avant-garde performance troupe. Reacting to the Angels of Light and the Cockettes, they captured the spirit of the times: camp, confrontational, and delirious.

Review: The mysterious Who is a Berlin based artist who releases brilliant music but only sporadically so. They launched their own Who Is Paula label in December last year. That was an original EP which now gets revisited and remixed for the label's second release. Electro don Cignol gets first with a plenty of rueful pad work and leggy drums. Vertical67 's take on 'Bang Tang' is hurried, with bleeping melodies and closely stacked kicks bringing the cyborg-funk. The Sound Synthesis remix is a punchy one that goes deep and Train Station (36 Night Train remix) is lo-fi and thoughtful, with end-of-the-night melodies sending you home in a blissful state.

Review: .There's plenty to talk about with The Who's historic show at Fete De L'Humanite, a huge open-air event hosted by L'Humanite, the main newspaper of the French Communist Party. For starters, on the day - Saturday 9th September, 1972 - an estimated 400,000 people were in attendance, a crowd size that dwarves pretty much anything we can think of today, and remains the band's largest ever gig. Taking to the stage as evening set in, they set to with a typically ferocious set, and four of the most standout pieces for the show are immortalised here on record. Unsurprisingly, that timeless anthem of misspent youth, love, rebellion, and hope for change, 'Baba O'Riley', is a dominant factor, although epic finale 'Relay' is perhaps where the might of their rock 'n' roll juggernaut is most felt here.

Review: Soul Clap have always dealt in their own brand of funk no matter whether they are serving up house or disco. They of course call it e-funk - a nod to their heroes George Clinton's p-funk - and it also provides their label with its name. This second volume of Detroit leaning e-funk is a faultless four tracker. Rick Wilhite's signature lo-fi sounds define 'Cheetah', the vital Ladymonix then brings the party, Soul Clap themselves join up with funk master Amp Fiddler and Jon Dixon completes the quartet with '4ever Searchin.'

Review: ***B-STOCK: Sleeve damaged, but otherwise in excellent condition***


Following on from Robert James' Revenge Of The Wasp 12" and a classy VA release, Body Movement is back with a new drop from Harry Wills. Wills has been building up a name for himself across a slew of releases on labels like Holding Hands, 2X, Lemak and Subsequent, and his sound is accomplished and engaging on this fresh batch of tracks. 'Waiting For Rob' is a warm and shimmering track that splits the difference between sharp tech house and fluttering melodic electro, which Tim Schlockermann then remixes into a low slung, broken beat mood that leans on the bass. 'Vimto Paradox' takes things into moodier territory with a broad sweep of keys spelling out an eerie mood around a minimal beat. 'Cap Snatching' finishes the EP off with a more overtly electro construction marked out with snappy acid flecks and a crisp 808-esque beat.

Review: Straight off the back of Nicolo's deep, dubby broken beat escapade, Baroque Sunburst strike again with two beguiling breakbeat originals from rising Milan-based Brazilian talent Worli. 'Dynamo' is a purring, rolling tribal breaks piece with strong undertones of techno that you could imagine anyone playing from Villalobos to Meat Katie. 'Breathe - Dance' meanwhile takes a more glacial, up-tempo twist as a foggy, steppy slab of drum & bass that's reminiscent of a Metalheadz B-side or something you'd find on Samurai. Complete with a nutty junglistic remix from Etch and you're packing serious heat. .

Review: Devoted fans of Abel Tesfaye were left in a spin when the latest The Weeknd album dropped out of the blue, offering up lead singles 'Sacrifice' and 'Gasoline'. The expansive reach of Tesfaye's musical world knows no bounds, straddling pop, rap, electro and much more besides on a quest for life-affirming, show-stopping songs that burrow straight into your heart. The cast of collaborators on this record is staggering, from Tyler, the Creator, Lil Wayne, Quincy Jones, and Oneohtrix Point Never to Jim Carrey and Swedish House Mafia, would you believe. Through it all, Tesfaye's dazzling persona shines through, making for another classic from one of the most unique artists in the premier league of contemporary RnB.

Review: It may have been released digitally six months ago, but Kanye West's "Jesus Is King" album - his 12th solo set in total - has finally made it on to vinyl. By now, most will have already heard it, but for the uninitiated "Jesus Is King" sees West meditating on Christianity, offering up a tight 27-minute set of tracks that draw influence from (or explicitly sample) gospel music in all its forms. It's still a hip-hop album of course, it's just that the beats, musical choices (gospel choirs, loops from killer records by gospel soul act The Whole Truth etc) and lyrics are closer to the black American gospel tradition than anything West has released before.

Review: Given that Isle of White twosome Wet Leg (AKA late twenty-somethings Rhian Teasdale and Hester Chambers) broke through with an insanely infectious chunk of monosyllabic rap-sporting post-punk pop, the stupidly catchy 'Chaise Longue', it seems fitting that the song lands early on their self-titled debut album - track two, to be precise. While the set features little else quite as upbeat, energetic and unashamedly joyous, it's still a boisterous and at times brilliant debut full of tongue-in-cheek lyrics, low-slung post-punk intent, raucous references to vintage '80s and '90s indie, weighty guitar riffs and ear-catching melodic motifs. It's the kind of set capable of pushing them towards super-stardom and will undoubtedly be warmly received by critics.

Review: As you may well be aware, the Winstons' most significant contribution to musical history was the righteous drum break featured on their 1969 single 'Amen, Brother', a breakbeat that has since become the backbone of countless hip-hop, hardcore and D&B tracks. Yet as good as that break is, there was always much more to love hidden in their catalogue, particularly debut album Color Him, Father. As this surprise reissue on CD proves, it is a genuinely brilliant collection of loved up East Coast soul songs - both dancefloor-friendly and downtempo - which on this edition has been expanded via the addition of a quartet of previous single-only cuts. This, then, is the definitive version of a vitally important soul album.