Tactics Of Bass - "Big Hips Blue Gloves (No Dubs)" (7:48)
Tactics Of Bas - "Tactics Of Bas" (7:59)
The Ron Honey Experience - "D66" (7:15)
Quadruplex - "Sky Wave" (7:01)
Quadruplex - "Robot Rotate" (5:30)
Quadruplex - "G-Hop" (7:24)
The Secret Garden - "Rough Diamond" (3:25)
Review: Matt Hodgson's 7th Voyage is one of those mid-90s labels that enjoyed cult status almost from the off. Its releases helped to define the sound of the London underground of the time and have since become pricey and sought after. The Return Voyage is a new seven-track collection of back-catalogue gems that pays tribute to the label's fine work. From the deep and atmospheric 'Big Hips Blue Gloves (No Dubs)' by Tactics Of Bass to the squelchy lo-fi hip-hop funk of The Secret Garden's 'Rough Diamond,' this is a vital look back at a hugely influential label.
Tactics Of Bass - "Big Hips Blue Gloves (No Dubs)" (7:48)
Tactics Of Bas - "Tactics Of Bas" (7:59)
The Ron Honey Experience - "D66" (7:14)
Quadruplex - "Sky Wave" (7:01)
Quadruplex - "Robot Rotate" (5:30)
Quadruplex - "G-Hop" (7:24)
The Secret Garden - "Rough Diamond" (3:24)
Review: A special white vinyl edition of a stonker of a UK techno LP. The legendariness of The 7th Voyage's Return Voyage LP is said to outstrip that of others, with the short-lived label and artist moniker of one Joe Smilovitch locking in a "lost album" compiling works by fellows Tactics Of Bass, The Ron Honey Experience and Quadruplex for gem-hunters. That's the cherry on top of two already-wonderful single-EPs from the Smilovitch himself, 'The Predator' and 'The 4 Point', both from 1996. Pariter deem it "an exceptionally rare issue of a highly sought-after classic", and we can vouch for that. Wicked tunes all round.
Review: What's that, a new year means a new label from Burnski? We'd expect nothing else. The man has more imprints than a beach has grains of sand, but importantly they all serve a purpose and all kick out killer jams. Mikasa starts with this lush and lithe prog house EP from Abdul Raeva. Stylish opener 'Cream' is a bouncy, feel-good and sleek electronic house sound for peak time fun. 'Helico' is laced with acid and 'Tex Mex' has psyched-out lines rising through the uplifting drums while 'Vanguard' shuts down with a percussive edge and a killer bassline.
Review: This new solo outing from Aussie talent Ad Nauseaum has it all - acid, rave, techno, hardcore and more. 'Omega System' sets a pretty brutal tone to get things underway with filtered synths and blazing acid lines searing about the mix over raw, hard, flat drums. 'Alpha System' is even quicker and brings serrated synth madness to video game motifs and slamming kicks. Last of all is 'Always Acid,' a track that was made back in 2004 but doesn't sound in any way out of date. It's another one to blow the roof off any party.
Review: Aleqs Notal shares a machinic new EP of counfounding delights for the Industrial Light label, also run by the artist and based out of Paris. Named after the artist's debut release which shared equal sides with fellow producer Modern House Quintet, here Notal changes the game, occupying a full four sides of wax. The A-siders 'City Smile' and 'True I Am' bring atmospheres of motoric rigidity, functioning as premier schema for the human navigation of comparatively less human urban environments. 'Let Me In' and 'Confused Reaction' offer similar blueprints, though there's an ever so slightly upped acidity on the B2.
Review: US house and techno maverick Amir Alexander has long been operating in his own unique lane. His take on those genres is based in superlative drum programming and raw emotion and this new outing on French label Phonogramme comes n coloured vinyl so looks as good as it sounds. 'Feel Me' kicks off with signature drums setting a mid-tempo groove while a classic vocal belts out to bring emotional release. 'Clear My Friend' is low slung dub house with an eerie vibe, and there is also a dub version of 'Feel Me'. 'Sunk Coast Fallacy' might be the highlight - a sparse, moody deep house cut with dusty drums and intriguing melodies that rolls for days.
Review: Alpha & Omega is a legendary dub duo and despite them having many superb sounds to their credit, this one is a real standout. 'One Culture' pens with heavy bass as you would expect, but the alluring Indian vocal up top is even more hypnotic. It has a transcendental feel and is soulful and smoky while warped synths rumble away beneath the dusty drums. It's a real mental trip. On the flip is 'One Prayer' which is paired right back to dubby rhythms and subtle vocals are smudged and smeared throughout. Both of these are perfect for lazy Sunday afternoons in the sun.
Joe Gibbs & The Professionals - "Calico Suit" (3:43)
Review: Althea & Donna combined to beautiful effect on the Joe Gibbs label here with a tune that very much remains an iconic reggae anthem. It was originally released in 1977 and effortlessly captured the spirit of Jamaican music of the day with its irresistible blend of ska, rocksteady and reggae influences. Althea & Donna's stylish vocals are paired with expert production that is full of catchy hooks and neat riffs. The clever lyrics and upbeat rhythm mean it still sounds like a hit as it did back when it did well on the UK charts.
Review: The Altons are a product of the South LA scene's love of indie soul and the duo - who expand to five members for live shows - display their unique charms on this double-sided 7". It's a perfect introduction to their sound, showcasing their tight harmonies, evocative songwriting and undeniable chemistry. 'Waiting' sets the tone with its sultry, downtempo groove, Adriana Flores and Bryan Ponce sharing vocal duties, their interplay creating a delightful dialogue that speaks to the complexities of love and longing. On the flip, 'Teach Me to Forget You' picks up the pace with a shoulder-shimmying rhythm and Adriana's soulful vocals that offer a bittersweet ode to lost love.
Review: Formerly run by both Michael Wollenhaupt and Conrad Protzmann, the Ancient Methods project is now run solo by the former producer, an artist who is clearly intending to keep the sound of the project going strong. This EP, however, launches the new Parsephonic Sirens label, and the sounds are very much grounded in something altogether more surreal. The opening "Remember Me" is a chilly, frost-bitten ambient affair, whereas "Born Of Ashes launches with a mean, fiery techno blow that sounds like the inside of a jet engine. On the flip, "I Am Blazing Sound" rolls out its deafening techno punch with melodies reminiscent of something Middle-Eastern, leaving "Now Come Closer" to offer a more traditional 4/4 stance in the most poignant of German fashions.
Review: Oooh! Angie Stone's "Wish I Didn't Miss You" definitely belongs in the canon of all time modern soul classics. Taken from her 2001 second album Mahogany Soul, the Swizz Beats produced track made optimum usage of an O' Jays sample and was instrumental in that LP going gold and propelling the former D'Angelo collaborator to stardom. It also inspired countless official and under the counter remixes with Blaze's perhaps the most recognisable. So yes this reissue on 7" from Outta Sight is worthy if you don't have the original in your collection and features a housed up remix from Hex Hector on the flip.
Review: Montreal producer and keyboard maestro Anomalie offers a full-MOT servicing of funk-jazz on 'Velours', a choice track that presaged his 2018 EP 'Metropole'. Born of a chilled bedroom jam, the first iteration of this track was uploaded to YouTube in 2017, and utilised stacks of Yamaha pianos as well as sleek, sexily designed sample pads. Anomalie provides a rich, honeyed set of chordophonal can-cans over nothing but a swung backbeat, bringing seemingly boundless phonic fruition from little nutrient. Now the song hears a full reproduction and repackaging in vinyl form via Devins 7s.
Review: As well as being one of electronica's most distinctive, recognisable and long serving warriors, Richard James is a man of many surprises. From his massive Soundcloud dump in 2015-6, to this unexpected 2023 EP - which was his first fully released material for around five years and appeared without warning - he likes to stay several giant leaps ahead of his public. Across its four tracks, it showcases his unmistakable, queasily melodic touch while revisiting the roots of his drill 'n' bass sound with a modern twist. Opening with 'Blackbox Life Recorder 21f', the EP sets a reflective tone, its light breakbeat and melancholy melody underscored by 80s-inspired drum textures, evoking a wistful yet futuristic atmosphere. This track encapsulates the beauty of his signature style, fusing emotion with intricate production. 'Zin2 Test5' shifts the mood slightly darker, with crisp production and an optimistic undercurrent woven through its melodies. It feels like a contemplative counterpart to the opener, balancing light and shadow with finesse. The second side dives deeper into experimental territory. In 'A Room7 F760' is a fast-paced, broken-beat journey through eerie soundscapes and sinister rave melodies, teetering on the edge of chaos while retaining a hypnotic allure. Closing with 'Blackbox Life Recorder 22 (Parallax mix)', the EP ventures into dubstep territory with a deeper, growling bass and ominous undertones. a dubbier reinterpretation that offers a more textured, shadowy perspective. Black (box) ops indeed - as ever.
Review: Re:discovery has got a superbly illusive reissue eon its hands here with 1993's Clouds Over Europe EP from Aquarian Atmosphere, 39626 and Unit 2. It is a cosmic deep tendon voyage that tingles all of your sense as you ride on the gloriously serene synths of opener 'White Clouds'. It is one of the three tunes from Aquarian Atmosphere, the others being 'Floating On Boyne' a dreamy downtempo number that leaves you gazing at the stars and also 'Rhiannon', a thinking melodic masterpiece. 39626' 'Elixir Of Life' is an intense mix of synth modulations and minimal rhythm and Unit 21s' 'Clubtraxx' (Movement 1 - unreleased version) is pure Detroit techno goodness.
Review: On 'Ten Steps' and its accompanying tracks, new Fokuz signee Archangel nails a much coveted mixture of sweetness, simplicity and maximalism, etching and planing each final mix as though they were blocks of marble to produce a muted, yearning and propulsive set of workouts in hard liquid. Higher powers and penitent milestones are invoked on the title track, with its memoric cascades of yearner vocals and una corda pianos set against piston-powered breaks. 'U & I' goes on to swirl its vocal samples into sloshy sci-fi garbles of emo science, while 'Darkside' near-perfectly hangs the balance between headbang jump-up and resolute emotion. Serious stuff from the 12" newcomer.
Review: It's another touchdown for Running Back, who've here reissued the disco-rock artist Aric's 'I Love Your Love'. A beloved track that first featured on the later psychologist's 1980 single 'Oh What A Night', 'I Love Your Love' was not intended to stick out in the minds of disco fanatics as a forgotten favourite. A careful reselection job has gone into this one, then, with the initial A-sider now appearing as B-side, and three new mixes surfacing from Gerd Janson, Elado and Pete. The vibe of the new record is almost as uniquely ecstatic and summit-mounting as the producer and singer's exquisite performance was back in 1980; Elado's production is quantic enough to motorise the original's best romantic excesses, while Pete's is more of a sensuous extra slice and Janson's version takes up womp-disco with a fearless weight.
Review: This Vincent Arthur album is a tribute to his daughter Vivian and was crafted by talented musicians from Africa, the Caribbean and Germany. Once obscure for 30 years, its standout track, 'Travel With The Music' became an anthem after making a high-profile appearance in a Dekmantel set where its euphoric afro-disco sound really made a lasting mark. Online sleuths uncovered its origin which has reignited interest in this hidden gem, which has been remastered by Frank at The Carvery. It revives three key tracks in 'Travel With The Music' which shines with afro, disco, and gospel-like euphoria. 'Afro Disco' brings playful energy while 'Jubilation' closes the night with deep, celebratory vibes.
Review: This third volume of instrumentals continues the faultless Isle of Jura label's deep dive into dub versions and beyond. Side one takes in references from UK street soul and reggae and features two late-'80s tracks by Howard Hill with machine-led rhythms, rudeboy reggae skank and soulful pads. Protek's 'I Love to Dance With You' is a proto-house gem featured in a Jura Soundsystem mix and here it gets a loving re-edit by The Nightlark. Side B includes an instrumental-driven track with spacey FX from The Cool Notes' and Ilija Rudman's 'Dub 4 Love' which is a knowing nod to acid house's golden era.
Nathan Haines - "U See That" (feat Vanessa Freeman & Marcus Begg - Atjazz Love Soul mix) (5:12)
The Realm x Atjazz x Kelli Sae - "On The Road" (vocal mix) (7:58)
Review: Back ion 2021, the relaunched Foliage Records imprint offered up a killer mix from NYC house legends Mood II Swing, the must-check Deep Rooted. Soon, the revitalised label will release a sequel, with long-serving British deep house don Atjazz at the helm. This sampler EP boasts six of the highlights from that set - all remixed and reworked by Atjazz himself. There's much to enjoy throughout, from the tense, slowly building deep-tech shuffle of Halo''s 'Glorty (Atjazz Galaxy Art Remix)'and the sun-splashed 6am bounce of Atjazz's remix of Dominique Fils-Aime's gorgeous 'Sun Rise', to the dreamy dancefloor wooziness of Ralf GUM's 'AWA' (re-imagined by Atjazz as an Osunlade-esque spiritual house workout) and the jazzy, bass-guitar-propelled broken house excellence of 'On The Road (Vocal Mix)', a three-way collab between Atjazz, Kelli Sae and The Realm.
A Soft Mist Production - "Upside Down Rainbows" (5:01)
Dr Sud - "Zaffiro" (Jazz cut) (3:59)
DatSIM - "Influx" (4:40)
The Rabbit Hole - "Tail Groove" (4:27)
Review: No matter your particular preference in the deep house world, this various artists' outing from Q1E2 Recordings is sure to have something for you. Mike Riveria & Marco Ohboy, for example, tap into an early sound on 'Euphoria' with its big, brash piano stabs and whistles, while A Soft Mist Production keeps it all cuddly and deep with languid chords draped over gentle drums on 'Upside Down Rainbows.' DatSIM brings in some space-tech vibes for a deft rhythm and neon infused sound on 'Influx' and The Rabbit Hole's 'Tail Groove' has a mad double bass sound jumping about beneath frantic jungle breaks.
Review: An intriguing song is 'Aftershower Funk', the Latin American musician Joe Bataan's curt salsa single from 1974. Fresh, cologned, groomed, and with towel firmly wrapped round hair, Bataan's largely instrumental track is about as lightfooted as the sprightly young man he was, then at 34 years old. With heavy tin drum and cowbell clangings peppered throughout, a toe-tapping mood is sure to beset the listener. B-sider 'Fin' continues the mood, uniting percussion with piano, brass, whistle and rhythm guitar; a much fuller exercise in triumphant finality.
Review: The BDQ duo were in the studio 25 years ago working on these tracks but never quite finished them due to life changes like marriage and kids. Recently, while revisiting old tapes, they discovered a lost tape and decided to give it another listen. They liked what they heard and after a bit of effort to transfer the tracks, they now feel the time has come for a vinyl release. Side 1 features their version of Timebox's 'Beggin'' with vocals by Sarah Orpen and Bryn Barklam laying down some killer Hammond sounds. Side 2 presents their take on the Mirettes' 'Take Me For a Little While' with more stellar vocals from Sarah.
Review: Belpaese Edits hits a 12th release with more mash-up and reworked takes on classics from across the disco, funk and Italo spectrum. 'Ancora Noi' is first here and is a lively jam with raw drums and expressive Italian vocals over tight, funky guitar riffs. 'Profumo Di Mar' keeps up the energy levels with some big horns rising high out of a tight and funky disco groove. These are timeless and charming sounds designed to blow up mature dancefloors.
Review: Much loved Michigan techno and ambient virtuoso John Beltran wraps up the so far so excellent Back to Bahia 7 series with the a final volume that proves to be the most dancefloor focussed offering yet. Leading with 'O Patio,' Beltran shows his class with a blend of jazz-funk and MPB that comes with a rather sunny Ibiza-inspired twist while echoing the vibes of Latin greats like Robson Jorge and Lincoln Olivetti. On the flip side, 'Belle Isle' is a perfect party anthem for those outdoor sessions - think beach gatherings or cookouts and you won't go wrong. This has been a brilliant series and while it's a shame it's over, this is a fitting way to end it.
Review: The latest from Swedish techno legend is a full-throttle techno assault, pushing Drumcode's legacy forward with relentless energy. The title track is a peak-time juggernaut, built on heavy chords, pounding kicks and a futuristic intensity that commands the dancefloor. With its driving momentum and anthemic hooks, it's a high-octane statement from two producers at the top of their game. On Side-2, 'Living In The Moment' ventures into atmospheric territory, teetering on the edge of trance with sci-fi textures and sweeping builds. Its long, tension-heavy progression culminates in devastating drops, overloading the senses with a euphoric yet punishing crescendo. With Drumcode nearing its 30th year, this release proves there's no slowing downithe label continues to deliver high-impact techno designed for maximum effect. Beyer and Brown's collaboration is a successful dose of tension, release and unrelenting intensity.
Review: The Birgan project is all about melding diverse musical words - ambient, techno and Afro-inspired polyrhythms - into something that is utterly unique. Many artists set out with this intention but few achieve it as successfully as this one, as this sensational EP shows. It is an immersive and escapist five-track work of stunning sound designs and inventive rhythm that feels both organic and natural yet synthetic and futuristic. The tracks explore deep, mysterious sonic landscapes that are both tranquil yet complex and make for an immersive, thought-provoking listen from the dubscapes of 'Beats Of The Congo Cosmos' to the more psychedelic realms of 'Subaquatic Sonic Voyage'.
Review: Fresh off the heels of their fiery 'African Dubplate 12"', Disco Dub 45 returns with another scorching selection of rare and unheard disco gems. Compiled and re-edited by Black Disco Demo Club, this limited-edition release is a treasure trove for disco aficionados and DJs alike. It's a four-track journey through the diverse sounds of disco, with each cut offering a unique flavour and infectious energy. From the soulful vocals and soaring strings of 'Track 1' to the pulsating rhythms and funky basslines of 'Track 3', this compilation is a masterclass in dancefloor ecstasy. Don't miss out on this opportunity to add a piece of disco history to your collection.
Review: Blawan is not only the most notable electronic producer to have ever come out of Barnsley (as far as we know, anyway_ but is also one of techno's most relentless innovators. He's done it all from heft, swinging bass to the most caustic and experimental techno. For this one on XL he aims at the club once more. 'Fires' is our pick - an unrelenting, tightly stacked rhythm with alluring vocal hooks swirling up top and weird synth sounds adding even more unusualness.
Hate 2 Love U (feat Ari Lashell Marquinn Mason) (3:34)
Patterns (5:56)
Sex Fire Passion (4:52)
Wya (3:19)
Review: Luminaries of the St. Louis and Atlantan experimental dance circuits, Blvck Spade and Stefan Ringer reign over similar territories in the niche downland of raw, soulful house. Here the pair team up for the first time ever for a notable Touching Bass debut, with Ringer handling production and Spvde masterminding all things poetic, choral and verbal. Building on both artists' slowly accrued, and now prolific, contributions to such labels as Eglo, FWM and Dolfin Records, this newly erected album-temple hears the duo shift impossible sacral brickwork by the force of composition alone, with star relic 'YOURZZZ' especially cultivating an inner sanctum of humid cowbell, funky acid line, and theophanic vocal run.
Review: Across four elegantly crafted tracks, Italian producer Bottone blends rich melodies with smooth, intricate production, creating a collection that feels effortless and deeply refined. Side -1 opens with 'On Hilly Earth', a laid-back yet deep cut where light, jazzy chords float over a deep, groovy foundationiperfect for early evening unwinding. 'Teach Me The Way You Walk' steps up the tempo slightly, embracing a warm, melodic house feel with a sunset-kissed glow, its uplifting vibe tailor-made for golden-hour dancefloors. The title track, 'Beggin' For Love', leads Side-2 with gentle, beachy rhythms and keyboard work that exudes warmth and relaxation. Finally, 'It's A Heart Feeling' closes the EP with a deep, emotive grooveiits soulful touch and flowing melodies making it an ideal end-of-the-night moment. With 'Beggin' For Love', Bottone crafts a great balance of sophistication and ease, showing he is a name to watch for in the future.
Review: To bear a name like Breakbeat Lou, you'd have to have earned it. And Louis Flores is indeed arch-digger numero uno: mainly having cut his teeth as a co-creator of the Ultimate Break And Beats compilations on New York's Streetbeat Records, Lou was born anew as a DJ as way back as 1974 (!), amassing a boss pile of vinyl and thus music intel, largely as to where and how to source the best breakbeats out there. With elite producers like DJ Premier, Large Professor, The Bomb Squad, Pete Rock, Dr Dre and Marley Marl all having sampled Lou's wholesale procurements over the years, the man himself now steps back up to flaunt his very own pump-action breaks works. From KRS-One to Loose Ends, the samples on this are electric, and the original beats bombastic.
Joe Gibbs & The Professionals - "Runnings Irie" (4:31)
Review: If you are reading this you will already likely know that Dennis Brown is a reggae don. Even amongst his rich and vital catalogue, 'Money In My Pocket' is a quintessential track produced by the legendary Joe Gibbs and backed by The Professionals. This one really captures Brown's smooth vocal delivery and signature soulful style over an effortlessly catchy, rhythmic groove that takes elements of roots reggae and infills with accessible, polished sound. The lyrics focus on struggles and aspirations so resonate on a deeper level and make this one a long-standing and beloved anthem.
Review: Through persistent questioning and doubting, Socrates challenged the norms and mores of his local Athens; through persistent flipping and releasing, BusCrates bucks the established trends and staid sounds of his local Pittsburgh. The synth wonder and beatmaker shares two new ones onto breakout translucent vinyl here, enlisting singer Anda for an embodied song on 'Drift', whilst DJ Epik joins on production duties. Meanwhile, 'Serenity' persists on the inverse side as an instrumental Minimoog meditation session.
I Know You Got Soul (Mister Mushi Special vocal mix) (4:00)
I Know You Got Soul (Mister Mushi Special instrumental mix) (4:03)
Review: Bobby Byrd's classic 'I Know You Got Soul' was originally recorded with James Brown's band The J.B.'s back in 1971 and soon became a club staple. It has endured in original form ever since but now it gets subtly reimagined by Mister Mushi. He offers a fresh, funky remix that's perfect for both crate diggers and DJ sets with the standout feature being the open drum break, which is a percussion lover's dream and has been designed to be sampled and looped for fun. Mister Mushi's impeccable mix stays true to the original funk spirit and the whole thing has been pressed on high-quality vinyl so it sounds superb.
Review: We love to hear from Byron the Aquarius. The US producer is a magician on the keys and also knows how to lay down deep, smoky house beats that brim with soul. His latest comes on Frequencies Rhythm Life out of Italy and opens with the nice and loose drum grooves of 'House Is Black' then 'Is She Here' cooks up a late night vibe with jazzy motifs and swaying claps. 'Atlanta (dub)' strips things down to bare-bones essentials and 'KEMET' brings a more direct sound but is marbled with brilliant percussion and wispy melodies. 'Bamboo Bong' is a nice trippy end to another accomplished outing.
Review: Terry Callier's rediscovery in the early 90s was a turning point for Acid Jazz and few records symbolise that era quite like 'I Don't Want To See Myself (Without You)'. Originally released as a one-off on the indie label Erect, the track was Callier's final release before stepping away from music, leaving behind a career that had spanned Prestige, Cadet, and Elektra. By the time Acid Jazz reissued it in 1990, the original pressing had become a grail for collectors, with prices soaring. The song itself is a masterclass in understated soul, Callier's plaintive vocal weaving through rich instrumentation with the kind of deep emotional resonance that only he could deliver. Over the next decade, his legend grewihe returned to recording, toured the UK, and finally received the recognition he deserved. In 2006, Acid Jazz gave the record another limited pressing, featuring a fresh edit from Andy Lewis. Now, with the blessing of Callier's estate, the single is back once more, backed with 'If I Could Make You'. A vital piece of modern soul history, fully restored.
Review: We may not all have Common Ground between us, but we can certainly agree on many things when we look back on our vernal roots. This fresh 7" by the UK label homes in on one of the greatest lights to brave the Caribbean sonic Sea, Al Campbell. 'When Spring Is Around' was put out again by the label only last year alongside Ansel Collins on the B, but now a properly labelled version also materialises through their sublabel Jah Fingers. Campbell's canny song is a crackly breeze, detailing the lush renewal of love in the earliest months of the year. Keep your frog's hunkers coiled for this one, so that you can spring on it when Spring springs!
Review: CASQUIAT's ability to balance heavy, floor-filling beats with thoughtful, experimental layers is on full show in this new 7" from DATUM. The two cuts push the boundaries of hip-hop and bring in a raw electronic edge. 'The Stopper' is a high-energy cut that collides skittering percussion and intricate rhythms to make for an intense yet hypnotic club vibe. In contrast, OG Ranks takes a deeper, more introspective route with moody undertones, spacious production, and a sharp focus on atmospheric tension. They make for a fine yin and yang and cannot fail to make their mark in the club.
Review: The third edition in Ten Lovers' Coin series hears Marcello Cassanelli, Caruso and Helen McCormack fuse churnout disco, chicken pickin' guitar and Rhodes solos, in an extravaganza of fresh, sartorial dance music. Never pressing too hard, Cassenelli's 'Starlight' and 'Tropical Breeze' go easy on the master channel, with unhurried pan flutes, roiling strings and twizzling G-synths stuck loosely to a soft but firm electro-tropical backbeat. 'Dream Horizon' is a brilliant outerlude on which to close the side. On the flip, Caruso & Helen McCormack allude equally to the Manchester Street Soul scene of the late 80s with 'Have & Hold', whose razor-edge r&b vocals and low-slung progression lend the record a surprise twist. Their 'Love You More', meanwhile is lushness personified, before Caruso's 'Central' chugs magnficently towards the run out groove with oozing synths and glitterball glamour.
Ice Cream Dream Boy (Functional Gelato mix) (6:38)
Ice Cream Dream Boy (Soft & Swirly acappella) (4:17)
Review: A feature of Shanti Celeste's sets for the best part of a year, 'Ice Cream Dream Boy' is arguably the Peach Discs founder's most accessible, joyous and impactful single to date - a genuine anthem in the making with serious crossover potential. In its original mix form (track one), it's a bouncy, lightly acid-flecked slab of colourful deep house pop topped off with a hybrid sung and spoken vocal delivered by the British-Chilean artist (who, we shouldn't forget, appeared as a vocalist on several records before making her production debut). She provides a trio of alternate takes herself: the rolling, punchy and enjoyable 'Sorbet Dub', the tougher, darker and more percussive 'Functional Gelato Mix', and the self-explanatory 'Soft & Swirly Acapella'.
Review: The cover of this new one from Tomi Chair is a whole lot darker, more menacing and moodier than the music within. 'Waiting For The Typhoon To Pass' is in fact a beautifully plaintive sound with a slow, calming rhythm. Gentle chords are draped over the top and no one is in an hurry to go anywhere as curious synth keys come and go like passing memories. On the flip, 'Dream Universe' is a more propulsive sound with metallic drums cascading over raw hits and distant winds howling with a hint of danger.
Review: Kerri Chandler's 'Bar A Thym' is one of those tracks that seems to contain everything great house music aspires to beia groove so undeniable it feels perpetual, melodies that loop and evolve as though they've always existed. This reissue, spanning Chandler's original extended mix, Foremost Poets' vocal edit, and THEMBA's reimagined version, charts not only the track's history but its continuing relevance. The Foremost Poets edit imbues the already hypnotic motif with an enigmatic narrative, its vocal fragments both anchoring and reframing the mood. THEMBA's remix, on the other hand, nudges the groove toward Afro house, subtly opening up the track's spatial dynamics while preserving its magnetic pull. Chandler's work never feels datediit shifts and reshapes to meet each new moment, and 'Bar A Thym' remains as arresting today as it was when it first found its way onto the dancefloor.
Review: Canadian soul artist Tanika Charles is very much on the rise and these two new singles, produced by Scott McCannell and mixed by Kelly Finnigan of Monophonics for Record Kicks, mark another step on that journey. 'Don't Like You Anymore' and 'Here When You're Ready' are from her upcoming album Reasons To Stay. The A-side is a mid-tempo gospel funk track with booming drums and basslines, perfect for the dancefloor. The B-side then offers a smooth mid-tempo soul vibe that enriches your heart. Tanika Charles has toured globally and performed with notable artists like Lauryn Hill and Mayer Hawthorne, so is a real modern titan.
Review: Charlie Charlie's 'Save Us' is a track brimming with raw emotion, and Mondag's remix feels like a perfect counterpart, bringing a subtle touch of melancholy with its soft saxophone solo. The track maintains its weight, but Mondag's approach gives it a dream-like quality, coaxing out the depths of its aching beauty. Bella Boo's edit brings a noticeable shift, tightening the rhythms and infusing the track with a sharper energy, but it never loses the soul of the original. Gerd Janson, meanwhile, offers an ambient version that feels like an entirely different experience - less immediate, but no less absorbing. On the other side, Hypernatural's remixes expand on the dreamlike, almost otherworldly feeling of the originals. Knightlife's take on 'Spirit Walk' stretches the song's already fluid nature, making it feel weightless, while Gerd Janson's remix of 'Stormfront' adds a darker, more reflective mood.
Review: Cheeba's Latin brothers are back with yet another Havanan shuffle, extensively vacationing in Cuba to soak in very best of the nation's ripest stylistic amassments. Taking cues from cut and paste funk to Latin boogaloo, 'Cuban Shuffle' and 'Pablo's Theme' urge us formerly to "keep it going, now" before latterly dropping us into a fuzz-scat vat of hazy brass and stomping, found percussion. Most notably, the A-side's vinyl scratches sate a pruritic itch, and a careful dosage of reverb marks out a roomy but expansive atmosphere, one difficult to recreate lest you actually were there in 1970s Cuba.
Review: Massive jazzdance and UK bass fusions on the new e-glowup from Eglo (though the record is also released physically). Celebrating 15 years of the nominal "post-dubstep" label, this limited 12" EP hears four exclusive, unreleased tracks from an upcoming label-definer compilation, the third in a series. Born from the basement of Plastic People, the pressure has remained continuously on Eglo to keep the same foment of bass musical innovation that the club nurtured alive. Plastic People is a routinised object of nostalgia, and it is often deemed the last proper place for innovation in bass music before austerity Britain militated against it. Zed Bias's remix of Chunky's 'Dancing On Tables' with Metrodome - and the deep, bruk-inspired track, 'Minerals,' from Liverpool's rising star Sticky Dub - both prove this assessment totally wrong. Genius thrives. On the flip, we've also house legend Giles Smith (formerly of Secretsundaze) delivering fresh material, as well as label boss Alexander Nut making his official debut with the lo-fi electro house track 'Arcade Fun Pt. 1.' The full compilation, featuring artists like Shy One, Steve Spacek, and Fatima, drops in April.
Chris Coco - "Yawa Ze Asfos" (instrumental) (4:02)
Jake Slazenger - "168B" (3:47)
Global Goon - "Untitled" (4:39)
Ruckus (4:47)
Jodey Kendrik - "Thanx" (5:56)
Gavin Masih - "Unknown Track 1" (6:55)
Monika Subrtova - "Alata" (7:08)
Review: Furthur Electronix's first two Furthur Journeys Into compilations tune plenty of heads and shift plenty of copies. The third one keeps the quality levels high with more explorations around the periphery of underground electronics. Chris Coco opens with a soothing synth sound before Jake Slazenger brings crystalline synths and abstract modulations to the mid-tempo '168B.' There is more pace and twisted acid energy to Global Goon's untitled contribution and then old school jungle comes to the fore on the super stylish and atmospheric Gavin Masih cut. Monika Subrtova's 'Alata' is a serene and widescreen ambient synthscape that brings things to a suitably poignant close.
Coflo, Steve Howerton & Niya Wells - "Ecru" (9:51)
Review: A San Francisco house producer who is taking jazz influenced house music to another level is Coflo aka Cody Ferreira 'Syncopatience' is a stunning deep house release that highlights his signature blend of soulful rhythms, intricate grooves, and rich musicality. Each track brims with personality, that blend clever and creative vocals and lyrics to a deeper level than just for the dancefloor. Side-1 starts off with 'Get Down, Show Love', a collaboration with Fenyan that exudes a hip, jazzy charm. Playful yet refined, it features catchy vocal work and a high-level jazz flair, effortlessly blending house with improvisational energy. Next, Coflo's remix of 'Cee.Side's Elektrify' brings atmospheric depth, wrapping Latin influences around a funky, sultry groove that's as hypnotic as it is danceable. Side-2 delivers Ecru, where Coflo, Steve Howerton, and Niya Wells craft a deeper, tech-tinged house cut with sharp, clever lyricism. Its polished production and layered instrumentation elevate it to a higher plane of jazzy house, demonstrating Coflo's versatility and artistry. 'Syncopatience' has the solution on how merge soulful textures with dancefloor energy in a unique way.
Review: On Synchrophone Records comes Conforce for with second edition in the Commuting series, bringing stygian control room techno to already chapped ears. Sometimes, to feel good on the floor, warmth isn't what you need; and these further four fan-greasers are perfect complements for said latter kind of mood, the cold and unattached unjamming of inner vibes. With coolly bureaucratic track titles like 'Recuperation' , 'Self Assessment' and 'Stable Velocity', Conforce's series has succeeded in portraying the secret joys of humanity's greyer modern face; the tracks here of course continue to fit us in sleek uniform, now deploying such neo-futuristic cyphered titles as 'SCC-ML' and 'RTM-Zuid', the meanings of whose acronyms you'll just have to deduce from the zapping, emissive sound design yourself.
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