Review: Many Hands is a fresh label helmed by Jona Jefferies and Kava that here kicks out an eclectic EP with four tracks from various members of its musical family. Dan Aikido opens with '0800 TXT4 Herb,' a smooth fusion piece that builds a laid-back groove, blending fretless bass, jazzy keys and soulful vocals all reminiscent of Rare Silk's 'Storm.' Ernie Ruso's 'Stroke It' offers slow, sensual r&b infused with P-funky wah-wah effects while DJ Nomad's 'African Boy' brings upbeat pop house next to funky organ and a female reggae MC.Jefferies' closer 'A Change Will Come' samples Dr. Martin Luther King Jr with a rave-inspired beat and soulful piano. Cracking stuff.
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.
Outside Looking In (Full radio edit version 2024) (4:58)
Review: Cash Money Experience are soul dons and if you need proof listen no further than this new 7". Darryl Howard is the vocalist and songwriter of Nu'rons and here he offers up the lead vocals while Emanuel Campbell, who is one of his co-members in Nu'rons, is responsible for the lyrics. On the extended version of 'Outside Looking In' the vocals convey plenty of pain on nice laidback drums and funky riffs. The Full Radio Edit distils things to a shorter play length but is just as effective.
Review: After his debut album E o que a casa oferece from 2023, Gabriel da Rosa is back with another silken bossa nova record, in homage to the musical style that raised him. 'Cafune' was first released digitally a follow-up single to the alnbum, one which rounded out the year that said debut was released, and which was written for the soundtrack to the film film All Happy Families (Haroula Rose). Now an authentic 12" version, the song is here backed by the B-side 'Sort Of', an impressive desert passage through refractive, rainbow dream pop.
Review: In late 2023, Tokyo-based musician Daigo Sakuragi moved to London where he revisited recordings made with fellow Japanese artists. Inspired by the city's energy and atmosphere, he crafted Togenkyo, a 28-minute fusion of early 2000s folktronica and contemporary ambient music that now comes as two long continuous pieces on one slab of vinyl. Layering immersive synth textures with spatial production, he grounds the piece in organic drum and bass grooves while a saxophone elegantly weaves through the soundscape. Togenkyo reflects an inner utopia that is attainable yet imperfect and is a comforting, meditative work.
Chez Damier - "Speechless" (Chez Damier Panorama Bar remix) (5:04)
Makez - "Rocket Music" (5:15)
Alkalino - "Rio" (Alkalino rework) (5:30)
Gledd - "Sere Yo" (5:31)
Review: Adeen Records returns with a superb EP that blends a classic with three new and fresh unreleased tracks. Deep house don Chez Damier's Panorama Bar Remix kicks off and is a a 2021 standout with a killer baseline and Spanish guitar that brings some sunny soul and makes for some top level house grooves. Makez then shines with 'Rocket Music' which has a chunky low end and glistening, golden piano chords making it a late night favourite. On the B-side, Adeen regular Alkalino delivers a tropical-infused edit for the peak time and Gledd closes with a classy cut 'Sere Yo' that is all about the drums. Lovely stuff.
Review: Japanese electronic disco producer and performer Fujisawa Hideki aka. Dance Man coined the term "mirrorballism" as the philosophy behind his ultra-tight brand of disco. Four albums of mirror-ballistic albums, New Generation Dance Classics Volumes 1-4, appeared before his fifth album, Funkoverlic, surfaced in 2004, from which this ingenious pair of trax, 'Bomber' and 'Hey Hey Ookini Maidoari', came. Translating roughly to "there is a lot of everything" from Japanese, the latter track brims with posse-backed instrumental disco-hop steeze, worthy of bombastic emceeing should any rap collective fancy it. 'Bomber' is comparatively funky, save for its devilish wax scratches, giving way to one of Dance Man's more glamorous vocal lines.
Review: The Extra Soul Perception label held a first ever writing camp in Nairobi in 2019 and Lynda Dawn was one of the pupils. She has already released 'Roses' on the label's New Tangents...Vol. 1 EP with other music from the UK, Kenya and Uganda. But this was the standout track so now it makes its way to its own 7". It is the sort of heart achingly beautiful slow motion disco-soul that will be perfect end of the night send home or early evening warm up for more cosy dance floors. There is a slightly more beefed up version from XL Middleton to complete this tidy 7".
Review: 'Listen To Me Girl' is a previously unreleased Philadelphia recording licensed from veteran producer Emanuel Manny Campbell Jr. Although featured on a Coastal Records CD project, this marks the first vinyl release of one of The Delights' best tunes. The group consisted of four young male singers, two of whom were Manny's cousins, Keith and Ellis Hill, along with their cousin Jaime and teenage friend, and all were all aged 16-17 and from Chester, Pennsylvania. Under Manny's guidance, they recorded this soulful dancer in 1968. Despite their potential, the group never completed the planned projects and so 'Listen To Me Girl' remains a rare gem from their short-lived career.
Review: Kent records brings a lesser-known soul gem back to vinyl where it truly belongs. Originally recorded by Terri Bryant on Verve in 1967, '(You'd Better) Straighten Up And Fly Right' has long been a fan favourite, but it has never before been available on 7". The Devonnes' version, led by a powerhouse female vocal group, captures the aura of 60s soul with an infectious melody, catchy hooks, and an exciting energy that makes it a standout in the era's soul catalog. On the flip side, 'Doin' 'The Gittin' Up' is another lively, danceable track that showcases the group's versatility. Written by the prolific Larry Banks, the song was first issued in 2005 on a compilation but has been in high demand ever since. Both tracks highlight the talent of the Devonnes, who, despite their impressive output, didn't gain the recognition they deserved at the time. This reissue finally gives their recordings the attention they've long warranted.
Review: Originally composed by Don Blackman and recorded by Weldon Irvine in 1975, this rare 70s groove has been reimagined in a brand-new recording that importantly stays true to the essence of the original. The updated version features Natalie Duncan alongside DOS on vocals and the music is arranged by Bluey and showcases a talented lineup of musicians from Incognito who bring a fresh yet faithful twist. It blends soulful instrumentation with a contemporary touch that is sure to connect with all new audiences.
Funkin On The One (feat Funkin' On The One) (4:42)
Review: These are two proper old school dance floor heaters from DJ Friction - yes, the very same - who in 2017 debuted his boogie and modern funk project, Ground Control, with first album Boogie Some More via Sedsoul Records. The glorious tunes feature vocals from David Whitley, Tansy Davis, Adriano Prestel, Ciaan, and Talkboxers Sin2 and CJ and now two tracks from the album come on this exclusive 7". This marks the beginning of a new era for DJ Friction who launches Soulsonic Recordings. Both of these are two more colourful and charming neo-boogie bangers with rich licks, bold basslines and irresistible funk.
Review: Originally released in 2017, 'All Night Long' now gets a well-deserved vinyl release on 7". A tribute to the golden era of funk and disco, this release perfectly captures the electrifying energy of the early 80s while keeping things fresh for modern dancefloors. 'All Night Long' is a shimmering fusion of funk, soul, disco and electro, dripping with nostalgia. The groove is infectious, with crisp drum machines, funky basslines and synth stabs that instantly bring to mind classics from the likes of The Whispers or Shalamar. It's the kind of track that oozes retro charm but remains undeniably timeless. On the flip, 'Funkin On The One' shifts gears into a deep funk workout inspired by legends like Zapp & Roger and The Gap Band. Heavy slap bass, talkbox vocals and tight rhythms make this a certified dancefloor bomb, embracing the spirit of 80s funk with authentic precision.
Review: It may have been seven years since DJ Koze last delivered an artist album, but in defence the popular Hamburg producer had his hands full working with other artists (most notably Roisin Murphy). He has managed to put out the odd single, though, to which you can add this typically interesting and off-kilter two-tracker. A-side 'Buschtaxi' is deep house with a subtle Latin tinge - rhythmically at least - and layered with dreamy chords, African vocal samples, twittering melodies and attractive, sun-soaked synthesiser sounds. The long-serving producer flips the script on side B, reaching for crunchy, house-tempo breakbeats, moody bass, rising chords, what sound like mangled electric guitar motifs and effects-laden vocals courtesy of Marley Waters. More, please!
Review: After the critically acclaimed Avoude (5 stars & 'Top of the World' on Songlines, Bandcamp top pick, Le Monde, BBC Radio, Pop Matters), Sol Power Sound proudly presents a scorching remix EP from West African psychedelic powerhouse Dogo du Togo & the Alagaa Beat Band. Rooted in Togo's deep cultural and Vodun traditions, Dogo's sound is reimagined here by a heavyweight lineup of producers. Captain Planet kicks things off with a percussive African house groove, while Sol Power All-Stars ask, What if Prince joined Dogo in 1983? The result? A synth-laced funk HIIT workout. Detroit icons John Beltran and Blair French bring Afro-Brazilian and deep house flavors, before Glenn Echo closes with a mind-bending 12/8 dub trip.
Review: The new soul project by ex-members of Silver Skylarks, Dorrington Drive, hears lush productions and distinct melodies channelled into the self-revelatory spirit of early 70s AM pop and soul. This cut could've easily been heard on one such radio station, a staple of the time. With the track named after the Riegelmann Boardwalk in Brooklyn, we find ourselves embarking on a thoroughly enjoyable Atlantic coastline jaunt here, through bombastic funk bass and slapping toms.
Review: Former Paper Recordings artist Sophie Lloyd apparently started working on "Calling Out" whilst gripped by the January blues. Her intention was simply to make "happy music". To that end, she turned to her gospel roots. The results, shared here on 7" single for the first time, are little less than spectacular. With collaborator Dames Brown in tow, Lloyd's vocals - accompanied by a gospel choir, of course - simply soar above a jaunty, piano-heavy track rich in live instrumentation. It sits somewhere between traditional gospel, house and disco, with a flipside instrumental brilliantly showcasing the quality of the instrumentation throughout. The piano solos, in particular, are breathlessly good.
Review: Four artists with a taste for classic deep house infused with more than a touch of house line on the Silver Walker label's sixth release. Following releases on the likes of Local Talk, Balance, Traxx Underground, Mate, Quintessentials and upcoming projects on Nervous and NDATL, Shaka opens proceedings with a flurry of Hammond and plenty of exotic percussion, lie Alan Hawkshaw riffing with Underground Resistance. Glenn Davis (Wolf, Yore Records, Deeper Groove and Selections Records) delivers a deeper house workout on the A2 house track, the jazzy keyboard chords, fluttering flute and restless synths working real magic. One of the masterminds behind the Silver Walker label, Diego aka DFRA, comes on all perky with the saxes and soloing Rhodes, on the second side's opener, 'Nitewax'. Then we close with Damien aka Keymono (founder of several labels including Monocturne Records and Funkyshirts) laying on the handclaps of classic disco strings, the snippets of funk guitar and vibes the cherry on top.
Review: Solo Arabian nocturnes for oud return to haunt us on Tunisian-born musician Anouar Brahem's latest full-length project, backed by stellarly moving counterpoints for cello, piano and bass. Beginning with Arab traditional music as a start-point, Brahem has, over the course of his career, slowly verged into the domains of contemporary classical and jazz. Fusing tradition and modernity, his compositions have a chiffon feel, creaseless and impeccably recorded, yet they also stomach a certain chronicity and locale, indulging harmonic modes and inherited composition techniques.
Review: This early gem - in fact, it was the maestro's first ever 12" record - shows a masterful command of space and melody, spotlighting a warm, muted trumpet tone alongside a pared-down ensemble. Without a saxophone, the spotlight remains squarely on the lead, providing ample room for expansive solos and lyrical interpretations. Anchored by a stellar rhythm section featuring a buoyant bassist, impeccable pianist and dynamic drummer, the performances exude a relaxed yet precise energy. Highlights include a fresh, distinctive take on the Dizzy Gillespie classic 'A Night in Tunisia', where the group reimagines the piece with effortless ingenuity. Original compositions add further depth, with a witty riposte to a well-known standard and a contemplative piece that lingers in the listener's mind. A transitional moment for one of the all time greats, hinting at the greatness to come all the way back in 1955.
Review: April 10, 1970. Miles Davis, fresh from his Jack Johnson sessions and with a new face in the band, soprano saxophonist Steve Grossman, take the stage at San Francisco's Fillmore West and set about sparking a revolution in jazz by fusing it with rock and funk elements. Captured on Black Beauty: Miles Davis at Fillmore West, this performance is one for the agesifull of explosive improvisation, raw energy and a palpable sense of transformation. The album, finally reissued on vinyl after years of being locked away in Japan, is a time capsule of a moment in jazz history where tradition was discarded and a new frontier was being built. With his usual crewiGrossman, Chick Corea on keys, Dave Holland on bass, Jack DeJohnette on drums, and Airto Moreira on percussioniDavis steered the ship into turbulent, unpredictable waters. It's all about the groove, the shifts in rhythm, and the untamed trumpet blasts that echo through the room like firecrackers. Tracks like 'Miles Runs the Voodoo Down' - from the milestone Bitches Brew album, which had come out a mere month before - and 'It's About That Time' tear apart the old jazz playbook, plunging deep into rock territory while still holding on to the open-ended freedom of improvisation. This is the raw, unfiltered jazz that would come to define the electric period of Davis' caree - a live-wire snapshot of a jazz legend finding new possibilities in real-time.
Review: As it is the month of love - or another overbearingly capitalist instruction to treat people for the sake of it, depending on your viewpoint - why no indulge in some loved up jazz from Miles Davis? My Funny Valentine captured delicate ballads and was met with immediate critical successes. It is an album that demonstrated profound emotion with minimal fuss and represents a high point in Miles Davis' early 1960s career, capturing the excitement and sound of a road-honed group at its peak. Herbie Hancock's piano intros, George Coleman's melodic tenor, Ron Carter's steady bass, and Tony Williams' unexpected drumming contributed to an unforgettable collective sound.
Review: Captured live in 1974, this performance at Carnegie Hall showcases Miles Davis at the height of his electric fusion era, blending jazz with rock in a fierce, exploratory manner. The show features the monumental 'Moja' and 'Wili,' each spread across two parts, with the band improvising freely and building intricate, pulsating rhythms. Davis's trumpet and organ create a swirling, unpredictable sound, while the guitar work from Pete Cosey and Reggie Lucas adds texture and energy. Tracks like 'Tatu' and 'Nne' display Davis's shift towards African-inspired sounds, experimenting with complex rhythms and haunting melodies. This is a tour de force, an unfiltered snapshot of Davis's creative genius.
Review: Miles Davis' quintet was formed in 1955 and soon after began impressing the jazz world with the sort of invention that eventually saw them hailed as one of the greatest in history. Each member - including Miles on trumpet, John Coltrane on tenor sax, Red Garland on piano, Paul Chambers on bass and Art Taylor on drums - was a creative force in their own right. Cookin' proved that and came on Prestige as the first in a series of four albums, later followed by Steamin', Workin' and Relaxin'. These albums were recorded during two highly productive sessions in May and October of 1956 and the quintet's groundbreaking work explored a dynamic blend of improvisation, technical skill and innovative jazz exploration.
Review: Neo soul singer and producer Lynda Dawn follows up her 2019 debut At First Light with the sophomoric sopor 11th Hour. Prompted by the trauma of the global pandemic, which stunted the momentum garnered by her first LP, 11th Hour was made after Dawn found a defiant space of resilience and took up a music production course. Thus flaunting a newly strung skill, the record is a consumptive blend of emotions, with moods of both criticality and soothing. The subtlety of Dawn's ear in the company of producers Jackum and Blake Rhein is astounding, the likes of 'Love Is Callin'' and 'Do You Dream' exemplarily working down a slow-jammed, psych-soul sensitivity; Dawn's vocals also play out like gauzy mists, seemingly ungraspable and palpable at the same time.
Review: Although he initially broke through decades ago as a talented keyboardist- a role he still performs alongside his work as a solo producer - Mark de Clive-Lowe has always been much more than a prodigious musician-for-hire. That was particularly evident on 2021's Hotel San Claudio album, a musical meeting of minds with Shigeto and Melanie Charles. It shines through loud and clear on Past Present (Tone Poems Through Time)', an inspired collection of 'tone poems' - musical pieces that draw direct inspiration from the landscape - created using an electric piano, an enormous list of mostly vintage synthesisers, and field recordings captured on a trip to his father's native Japan. Sitting somewhere between ambient jazz, the epic synth-scapes of Tangerine Dream and the most vivid movie soundtracks, Past Present is emotive, immersive and effortlessly evocative.
Intrusions Des Racketteurs Noirs Dans Les Maisons Closes De La Ficelle Et De L’Elegant (2:17)
L’Orgue De Migli (3:30)
Quand Les Amours Se Meuren (5:39)
La Scoumoune (Mixage Alternatif) (2:37)
L'Excommunie (Orgue De Barbarie 1) (1:47)
La Scoumoune (Generique Debut) (1:14)
Intrusions Des Racketteurs Noirs Dans Les Maisons Closes De La Ficelle Et De L’Elegant (version alternative) (2:56)
La Scoumoune (Maguette Trompette/Piano Bastringue) (1:01)
L'Excommunie (Orgue De Barbarie 2) (1:41)
La Scoumoune (Sortie De Prison) (2:20)
Pigalle 1944 (version Courte) (2:03)
La Scoumoune (Generique Fin) (2:38)
Kidzaballoon (Manuel Breton & Benjamin De Roubaix) - "La Scoumoune" (2:31)
Jean-Michel Bernard - "La Scoumoune" (Piano version) (3:22)
Alessandro Baldessari - "Intrusion Des Racketteurs" (3:27)
Beniamino De Roubai - "La Scoumoune" (5:41)
Review: Decca and CAM Sugar present the complete edition of Francois de Roubaix's historic La Scoumoune score, contracting unreleased tracks, demos, and alternate takes. The 1970 thriller, directed by Jose Giovanni and starring Jean-Paul Belmondo, witnesses a small-time crook entangle himself in a torrid torsion of crime and fate, themes mirrored in de Roubaix's palpating score. Roubaix blended barrel organs, synths and unconventional sounds like rattles and springs, inculcating in the viewer the thrill of the chase, while the formal strategy to use entirely different instruments for each track went on to nail its touchstone status. Now a well of versatility, it comes regularly sampled in hip-hop and electronica; remixes by Alessandro Baldessari, Jean-Michel Bernard, and Benjamin de Roubaix, doing justice to a record whose very being seems to beg out loud for the remixing.
Review: This long-lost 1973 album from Graham Dee is a fabled record from the man who was a key figure in the 60s London session scene and later a prolific songwriter and producer, and it is now released on vinyl for the first time. Dee was a renowned session guitarist who played with legends like Jimmy Page and Jeff Beck as well as artists such as John Lee Hooker and The Walker Brothers. After working with them, he became an in-house producer for Atlantic Records and honed a distinctive 'British Soul sound.' In the 70s, he moved to the U.S., writing songs and working at the legendary Muscle Shoals. Mr. Super Cool was only rediscovered in 2019 and it's clear to hear Dee's unique talent on a record that offers a fascinating glimpse into early 70s recording.
Review: A multifaceted personality, 24-year-old breakout folk star Maya Delilah shares The Long Way Round on Decca Records, fresh off the back of a Spotify "One To Watch" award. "I get so influenced by different genres, people, places, and experiences that it's always felt hard for me to fit my music into a consistent sound or mood," the singer said in a statement. Forerun by the likes 'Squeeze' and 'Necklace', Delilah's vocals are breathy and her backing instrumentals smooth, tinged with the torrid strokes of Ayers-esque sunshine funk. Recorded between LA and London, the record flags up themes from cyclical relationships to predestination, with Delilah feeling that the record expresses a future nostalgia for someone she's never met before.
Review: The third instalment in Quattro Bambole Music's Moderna Sonorizzazioni series is anotther doozy that explores instrumental hip-hop as a contemporary form of library music. Created by Roman producer Delphi, the album blends raw beats, nostalgic loops and samples to craft cinematic sketches. It captures moments tied to football and sports and evokes memories of family Sundays, street games and stadium atmospheres that you may not have actually experienced. With 12 introspective tracks, this record offers a more conceptual and emotional narrative than danceable rhythms which makes it all the more crucial.
Review: On this indie-exclusive pressing, English jazz sax man Alabaster DePlume's latest sees him in raw and expressive mood. 'Oh My Actual Days' pairs slow, swelling sax lines with Macie Stewart's strings, a march toward reckoning. 'Thank You My Pain' turns its mantra into rhythm, embracing discomfort rather than escaping it. 'Form a V' pulls from jiu-jitsu, confronting the world head-on. Instrumentals like 'Prayer for My Sovereign Dignity' and 'Kuzushi' embody movementitension, release, transformation. Packaged with an obi-strip and insert, this edition is a fitting addition to DePlume's workiphysical proof of a philosophy: dignity is not given, it's claimed.
Review: Mancunian saxophonist Alabaster DePlume's new long player is an introspective and meditative album exploring dignity, healing and self-discovery. Rooted in poetry and philosophical inquiry, the album brims with his soulful saxophone melodies and their uniquely evocative lyricism. Tracks like 'Oh My Actual Days' and 'Invincibility' convey resilience while 'Thank You My Pain' draws on mindfulness teachings. DePlume's compositions are inspired by personal growth and global injustices which reflect both individual and collective struggles. Add in his intricate instrumentation and these such deeply felt themes and you have a powerful statement.
Review: Manu Dibango knew how to work a crowd. By the time he hit the stage at Marseille's Theatre La Criee in December 1982, he had long mastered the art of turning a gig into a full-blown celebration. This was the man who took makossa global, who made 'Soul Makossa' an international sensation a decade prior and who could pivot between jazz, funk and African rhythms like it was nothing. The recording, unearthed from the INA archives, captures him in peak form, leading an eight-piece band through a set that refuses to sit still. 'Africa Boogie' is all clipped guitars, tight horns and a bassline that struts like it owns the place. 'Ashiko Oumba' turns the groove alluringly, locking into intricate polyrhythms before erupting into pure brass-fuelled joy. Then there's 'Waka Juju', sprawling across three parts, moving from simmering tension to full-throttle release with the kind of control only Dibango could pull off. He's conducting, shaping the music in real-time, every solo a conversation, every break a setup for the next explosion of sound. Four decades later, the set still feels alive. It's there in the call-and-response with the crowd, the sweat-soaked momentum of a band that knows it's on fire. Dibango, effortlessly cool at the centre of it all, proves once again why his music never ages.
Wie Schon Du Bist (feat Arnim Teutoburg-Weiss & The Dusseldorf Dusterboys) (3:46)
Tu Dime Cuando (feat Ada & Sofia Kourtesis) (3:38)
The Talented Mr Tripley (3:13)
What About Us (feat Markus Acher Of The Notwist) (4:46)
Unbelievable (feat Ada) (3:31)
A Donde Vas? (feat Soap&Skin) (1:29)
Vamos A La Playa (feat Soap&Skin) (4:35)
Die Gondel (feat Sophia Kennedy) (3:37)
Brushcutter (feat Marley Waters) (5:19)
Buschtaxi (album version) (7:20)
Aruna (3:48)
Umaoi (feat Marewrew) (3:43)
Pure Love Day (feat Damon Albarn) (4:30)
Pure Love Night (feat Damon Albarn) (5:00)
Review: DJ Koze's brings his signature blend of hypnotic rhythms and whimsical, melodic structures into full focus. The opener slowly unfurls, with a spacious, groove-driven beat that evolves into a richly textured arrangement. Tracks like take on a playful tone, using infectious percussion and subtle vocal samples to create a joyful, almost surreal atmosphere. Throughout the album, Koze's production is masterfulieach element serves a purpose, from the deep basslines to the delicate, almost orchestral flourishes. The record's unique mix of electronic dancefloor sounds and emotional depth ensures it resonates long after it ends.
Wie Schon Du Bist (feat Arnim Teutoburg-Weiss & The Dusseldorf Dusterboys)
Tu Dime Cuando (feat Ada & Sofia Kourtesis)
The Talented Mr Tripley
What About Us (feat Markus Acher Of The Notwist)
Unbelievable (feat Ada)
A Donde Vas? (feat Soap&Skin)
Vamos A La Playa (feat Soap&Skin)
Die Gondel (feat Sophia Kennedy)
Brushcutter (feat Marley Waters)
Buschtaxi (album version)
Aruna
Umaoi (feat Marewrew)
Review: The new album from the German producer offers a captivating auditory journey, blending unique and genre-defying styles that transcend trends. Described as a 64-minute return trip to space, the album mixes psychedelic, unconventional elements with a rich tapestry of sound, showcasing the artist's ability to create his own musical universe. The work draws on a deep synergy between the producer and collaborators, offering slow grooves, treated vocals and passionate declarations in tracks like the flamenco-esque 'Pure Love'. The artist's approach to production is a slow-cooked, evolving process, allowing the music to transform over time. Known for his career in hip-hop and his involvement in electronic pop, the producer's distinctive style continues to shine, offering a profound and cerebral dance experience. Following a successful collaboration with Roisin Murphy, this new album promises to be another standout project in the artist's esteemed catalogue, delivering music that is both deeply personal and universally appealing.
Review: DJ Motive hails from he charming city of Gifu, Japan, and has spent 20 years crafting a signature blend of Latin, jazz and hip-hop both solo and with DeadBundy. His latest release draws on all that experience to cook up a tasteful soundtrack that will transport you from dawn to dusk. Tracks like 'Sunrise' offer dreamy broken beats and nostalgic samples, while 'Chill On A Lotus' melts vocals and chords into an ambient haze. Jazz drums meet Balearic vibes in 'Howling 2 You' while 'Walker grooves with squelchy synths. This reflective, escapist trip rewards deep listening and is another high class album from sophisticated Italian label Hell Yeah.
Review: Weldon Irvine was a pioneering musician whose innovative style and emotionally powerful melodies earned him admiration across generations and genres, from 1970s jazz and soul to 1990s club and rare groove scenes. Known for his versatility, Irvine left behind a legacy of timeless tracks and this best-of album, curated from his extensive catalogue, features eight standout songs that showcase his genius. The always-sensitive P-VINE presents this special collection in style and offers a comprehensive glimpse into the depth and breadth of Irvine's musical contributions, all of which highlight his lasting impact on the music world.
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