Review: UK legend Dego and killer keys-man Kaidi Tatham have been in a rich vein of form of late, dropping brilliant EPs on Eglo, Sound Signature and Rush Hour (the latter under their 2000Black alias). Here, they return to Eglo with four more slices of warm, rich, soul-flecked fluidity. As with previous outings, much of the material has a laidback jazz-funk feel, particularly "Orbiting Uhara" and the delicious "The Vault Descends" (think bustling bruk rhythms and darting boogie synths). They also offer up some tougher, synth-laden bruk-funk in the shape of "Man Made", while "Black Is Key" sees them unfurl a head-nodding vocal roller.
Review: Having proved their stripes live with an extensive tour last year, Theo Parrish's live supergroup get busy on the release front. With Theo and Amp Fiddler both on keys and vocals and Myele Manzanza on drums, the grooves on both sides are that perfect balance of dancefloor tightness and a loose funk from players who are confident in each other's abilities. Skye cover "Ain't No Need" is a swinging broken beat adventure with rolling frenetic drums where the keys wrap around the vocals like a thick tog duvet. "Walkin Thru The Sky", meanwhile, takes us back to 1996 and Theo's Baby Steps EP. With a strutting rhythm and insistent hook, it's a perfect example of how house music can be executed live with perfection.
Only Time All The Time/Making Friends With Studio Owl (1:05)
Building A Ladder (5:41)
Review: Dream factor set to stun: Aussie future jazz troupe Hiatus Kaiyote follow up their debut Tawk Tomahawk with this extensive, multi-stranded narrative that comes complete with all manner of twists and turns. From the Secret Life-era Stevie Wonderisms of "Breathing Underwater" to the deep sea harmonies of "Fingerprints" by way of the dense, frenetic vocal complexities of the wonderfully titled "Shaolin Monk Motherfunk", the entire album swoons and sways with tidal jazz majesty and excitement. On this occasion, our weapon is our ears.
Review: Russian beat technician Long Arm gets all nostalgic on his sophomore album. Capturing the special feeling that allured him in the beginning, the entire album has that hazy, foggy, dreamy texture that resonates deep within us all. With an air of Dego-meets-Bonobo, or Fink-meets-Swindle, the whole story treads a fine line between delicate and robust. The best examples of this are the Blue Lines-esque breakbeats and overweight bassline of "House In The Wood", the woozy minor key washes and strange laughter on "Little Boy" and the live drum chaos and dynamic unpredictability of "Dreams". Stories so strong you don't want them to end; Long Arm is lawlessly on-point right here.