Review: GAMM is one of those labels that is super consistent in everything they put out. It ranges in genre, era and mood, but always nails what it aims for. Originally from Canada and now based in the UK, rework specialist Jim Sharp is next to contribute to that fine canon and does so by showing his unique talent for elevating soul, funk and hip-hop with a masterful touch. This is his debut on the label and it sees him transform Anthony Hamilton's original into an irresistibly funky, soulful groove on the A-side. Meanwhile, the B-side delivers a deep, seamless blend of Donny Hathaway and Common and results in a stellar hip-hop and soul fusion.
Review: Smoove return with another finely tuned pair of edits, once again diving deep into the archives of Slave and reshaping their grooves with his signature touch. 'Blown' builds around heavy slabs of funk, expertly reconstructed and laced with Pharrell's unmistakable vocals, creating something that feels both timeless and refreshingly modern. The flip leans into a looser, more stripped-back groove, channelling a daisy-age hip-hop feel with crisp drums and effortless swing. It's another standout in the Wack series, reinforcing Smoove's knack for bridging eras while keeping the funk and hip-hop connection as vital as ever.
Review: The Boom Bap Classics 7"s series was launched in 2022 and sticks to a sturdy format, always billing two double-A-listers of rap stardom from the 90s on reissued vinyl. The choices are always lesser-trodden, and buck expectational trends; even longtime hip-hop heads are unlikely to have heard of Akinyele and Sadat X, solo progeny of the Rochelle rap collective, Brand Nubian. On 'Loud Hangover', rough gangsta rap hewings prove assimilable with boom bap's tendency to show its sensitive side, with an icy yet mournful string hung and suspended a "y'knowwhati'msayin'?" laden farrago. 'Stages And Lights' leans further into emotive dynamism, with Derrick Murphy waxing real on public housing shortages, church pieties and Black culture.
Review: Two fresh remixes of East Coast hip-hop classics by Large Combo acolytes Suckaside and Big Mac, hitting twicely as hard as a tandem-charge. First up is Suckaside with an improved remix of Ghostface Killah, Jadakiss and Comp's 'Run', which originates from Ghostface's Hidden Darts 2 mixtape from 2003; Suckaside underlays the track with a fresh instrumental composed of the Rocky Balboa theme tune, to unsurprisingly rousing, sumo-flooring effect. Then there's Big Mac with what sounds like a woofing Wu-Tang remix (of an otherwise obscure track), sacrificing the double bass stretchings of the original for a much harder rendition.
Review: In a rare backwards castling and killer checkmate, Friendly Records boldly re-press one of J Dilla's most beloved cuts, 'Geek Down', which appeared on his landmark Donuts LP. Known for its sample of the 2001 dark funk tune 'Charlies Theme' by The Jimi Entley Sound, this indelible, ringed hors d'oeuvre was essential for the critics' collective assessment that the 2005 LP was his magnum opus. Trailing pink sprinkles behind it, 'Geek Down' made Dilla's name. Sadly, the title would seem predict the artist's death just three days after the record's release. Dilla was a true productive geekazoid, and it shows in this track, with its untameable, above-the-law Western guitar wahs and tense, lilting strings keeping the goosebump hairs stood aright. The originally sampled track appears on the B, still only part-revealing the magic trick.
Review: An impressively retro-feeling "breaksoul" choice from London label Digga Please?, once again delivering on their promise to bring the finest in funk, soul, disco, rap, b-boy breaks and "all that good shit". First released in 2004 on the iconic Freestyle Records, 'Get It On' is a bona fide cut & paste classic, its break-do backbeat and slippery funk vamps harking a filtered Rhodes line; here an obscure r&b libretto sings demonstratively, warning us of an incumbent detailing of her preferred mode of frisking: "this is how we like to get it on!" The record then segues into a timeless Gil-Scott Heron sample and breaks-tastic track slathered in sax, attesting to a so-called coolness that can be tapped by anyone willing to ease into it: "hipness is not a state of mind, it's a fact of life".
Review: The MC was one of a kind. His legend lives on through his work which here gets served up on new label Doom in instrumental form. 'Saffron' (MF instrumental) is a silky late-night sound with warm melancholic chords and subtle boom-bap beats. On the flip, things get more jazzy with the expressive trumpets and more raw broken beat patterns of 'Arrow Root' (MF instrumental). It's a timeless and sophisticated sound that will woo any listener into a calming mood and comes on a limited 7".
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: This 45rpm features alternate versions of tracks from Marc Mac's Visioneers project. As always with Visioneers, the album reimagined hip-hop's foundational sounds and often started from scratch and focused on a key sample from the original track. Whether recontextualising a classic or creating something entirely new, the hallmark of a Visioneers record is its live instrumentation, which belies Marc Mac's ability to manipulate hip-hop's signature swing with a new type of mastery. 'What It Mean' and 'Today' are both standout from the album.
Review: After a year of energizing live performances, Say She She releases their vibrant cover of the Jackson Sisters' classic 'I Believe In Miracles.' With Sergio Rios of Orgone behind the fresh, funky production, this track is irresistibly danceable. On Side-2, 'C'est Si Bon,' is a French discodelia anthem from their acclaimed sophomore LP Silver. It's a bi-lingual, joy-inducing track that compels listeners to dance. This 45 features two crowd-pleasing tracks that promise to ignite any dancefloor. With its infectious energy and stellar production, this record is bound to become a favorite for vinyl enthusiasts and partygoers.
Review: After a ton of anticipation, Marc Mac's Visioneers project made a fine return late last year with a new album that delivered everything fans love and more. It was a mix of classic hip-hop reimagined, B-boy anthems and jazzy, funky lounge originals of the sort that are all staples of the Visioneers sound. The inclusion of guest musicians from around the globe added real richness to the compositions and now two of the standouts get cut to 45 rpm. 'Raid' is a nice laid-back funk roller with cute melodies over lazy drums that bring to mind a gentle afternoon in the park. Flip it over for 'Hurts So Bad' (instrumental) which is just as airy and organic.
Review: Some 30 years have now passed since Warp Records decided to repackage and reissue Red Snapper's first three EPs on one handy collection, the efflortlessly excellent Reeled & Skinned. Effectively the duo's introduction to a wider audience, it did a great job in showcasing their trademark sound - an enticing blend of loose-limbed live drums, double bass, intoxicating electronics and snaking sax sounds. As this anniversary vinyl reissue proves, it's a musical blend that still sounds fresh all these years on. The plentiful highlights include moody theme 'Snapper' (featuring Beth Orton), lightly Latin-tinged punk-funk workout 'Swank', the riotous and aggressive 'Wesley Don't Surf' and Sabres of Paradise's incredible rework of 'Hot Flush' - a jazzy, breakbeat-driven slab of dancefloor deepness that ranks among Andrew Weatherall and company's finest remixes.
Review: Romanian psych-house outfit DRG Series follows heartily in the tradition of dropping vowels and rendering titles in all-caps, helping us to vascularly administer a heavy dose of DRGs. Four disinhibitors - we mean it, as these tracks are incredibly loose in feel - 'Track 1' and 'Track 2' pump and sway through unholy garage house swings and vintage hauled, shoop-a-doop sample oddities; it's only at the point of the B-side when we reach a whistling version of Ciara's '1, 2 Step' set to clinching electro, and 'Track 4' befuddles further with tense, materially informed exercise in soulful bruk. A real eclectic release from an even kookier label, well worth the spin.
Review: Pittsburgh native beatsmith Buscrates touches down on the light-streaked runway intersecting electronica, funk and hip-hop, with a new six-track EP. Packed to the brim with features, you'd better pay attention to the escape plan, as this flight is at full weight capacity: raps from T.R.A.C. and Kuf Knotz, production accompaniments from C. Scott and DJ Epik, and vocals by Princess Nostalgia, Lailah Reich, Anda and Christine Elise. An eclectic crew built from connections in Sacramento, Chicago, Philadelphia and Buscrates' hometown make for an effortless aerial display of funky varieties incubated across the US.
Stix & Stonz (feat Grandmaster Caz, Tito Of The Fearless Four, Whipper Whip, La Sunshine & Superstar)
Review: This long-lost De La Soul gem, originally a promo-only release from 1994, finally sees the light of day. Featuring four tracks from their acclaimed Buhloone Mindstate album, this 12" also boasts two exclusive cuts showcasing De La Soul's collaborative spirit. 'sh.Fe.Mc's' sees them trading verses with fellow Native Tongues posse members A Tribe Called Quest, while 'Stix & Stonz' unites them with hip-hop pioneers Grandmaster Caz, Tito of the Fearless Four and Prince Whipper Whip. The real magic of this release lies in its ability to transport listeners back to the golden age of alternative hip-hop, where Tracks like 'iN tHe WoOds' and 'i aM I bE' showcase the group's signature blend of jazz-infused beats, playful lyricism and socially conscious themes. The presence of Maceo Parker, Fred Wesley and Pee Wee Ellis adds a layer of soulful funk, further enriching the sonic tapestry. This limited edition release offers a glimpse into a pivotal moment in De La Soul's career, where their adventurous spirit and collaborative nature were in full effect.
Review: Mongolian hip-hop producer Bodikhuu has never been to Rio but this is his lovely letter to the city he has often dreamt of. He has a love of the great Joao Gilberto and armed with that and a worm out MPC he set to work, laying down tropical beats and sunny melodies. The result became an instant classic and spawned a number of tunes that went on to pick up more than a million streams. It's a record that excites the imagination as well as warming the soul and this version comes with superb original artwork designed by illustrator David Burnett on a lovely splatter-coloured vinyl inspired by its own cover.
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.
Review: A historical pairing of hip-hop and soul that celebrates the connection between the iconic rap track and its sampled origin. Side-1 features 'Mind Playing Tricks On Me' by the Geto Boys', a landmark 1991 hit, widely regarded as the first Southern hip-hop classic. Scarface, Willie D and Bushwick Bill deliver deeply introspective verses exploring paranoia, mental health and street life, setting a precedent for emotional storytelling in rap. The track's haunting atmosphere and raw vulnerability put Houston's 5th Ward on the map, cementing the group's legacy in the genre. On Side-2, Isaac Hayes' 'Hung Up on My Baby' takes center stage, the soulful 1974 instrumental that inspired the Geto Boys' masterpiece. With its funky guitar licks and cinematic grooves, the track embodies Hayes' genius and underscores the lineage between soul and hip-hop.
Wake Up In The Sunshine (Naughty NMX LAX To JFK mix) (4:34)
Keep A Level Head (RuNmX Naughty But Humble mix) (4:21)
Review: Dusty Donut's Naughty NMX returns with a double helping of irresistible grooves to make you move. On the A-side, he reimagines a timeless summer funk classic with a vibrant, Nubian-inspired twist that instantly brightens up any space. On the B-side, he teams up with label mate Runex to deliver a deeper, soulful vibe, featuring smooth production, punchy rhythms, and slick drums. The result is a track that's impossible not to move to, bringing both energy and joy and the perfect way to get the spirit of summer alive and well, even as the darker months remain here.
Review: Crash Party kicks off the new year with a high-energy return to Breakbeat Paradise's Toxic-Funk series. Fresh from his debut album Everything Happens for a Reason on Big Beat Sunday, he delivers two explosive party anthems. 'Tribe Called Wonder' blends classic breaks with an infectious groove and legendary rap flows for instant dancefloor impact. On the flip side, 'Break On' slows the tempo but keeps the funk alive with heavy grooves and old-school rap hooks. This one is packed with vintage vibes and modern flair that makes it stand right out.
Review: El Michels Affair returns with a new two-track release that showcases his continued excellence as both a producer and musician. The A-side, 'Mr Brew,' opens with a menacing intro before evolving into a spacious tune masterfully balancing tension and release. Gentle guitars, strings, flutes and brass weave over a heavy drum track to make for a bright and immersive landscape. On the B-side, 'Kodak' is a lesson in space and arrangement with mellow drums and beautiful instrumentation setting the perfect mood. EMA's trademark restraint ensures the vibe remains the focal point while delivering a perfectly crafted sound that never overwhelms.
Review: Fresh from releasing a swathe of conceptual full-lengths, Los Angeles threesome Clipping have returned to their hip-hop roots via a mixtape style album reflective of their hip-hop roots. Of course, this is not hip-hop in the classical sense. According to the accompany sleeve notes, Dead Channel Sky is a collection of cuts focused on the present, dually inspired by the histories of cyberpunk and hip-hop. In practice, that means fast-flowing and lyrically dextrous rhymes, of course, but also beats that variously sample, chop up or reference everything from 90s rave classics, the rock-rave big beat antics of the Prodigy and Nine Inch Nails stail industrial grit, to TB-303-laden acid house, the dark and doomy trip-hop of Mezzanine-era Massive Attack, drum and bass and experimental electronica.
Review: New 13 track album via Columba Records. LP vinyl is ltd to 500 copies & the CD format will increase in price to £7.77 after 30 days. This U.S. 3-piece will bring their heavyweight sonic intensity to the UK for an eight date tour of major cities in May-June. Strong press support across NME, Q, Uncut, Mojo, Clash & other music mags. Specialist radio support (XFM/6 Music).
Review: Freestyle Records reissues The Apples Kings a full decade and a half after its first release. This version has been fully remastered and re-cut for an even more dynamic sound to remind why the landmark album was so special. It was a first for the band who crafted it with specific collaborators in mind and worked with funk legend Fred Wesley and Israeli world music icon Shlomo Bar In fusing elements of The JB's funky foundations, soul, dub, and Middle Eastern influences, they cooked up a genre-defying mix filtered through The Apples' unique decks-horns-bass-drums lineup. These unmistakable, floor-shaking grooves are just as potent today as they were in 2010.
Review: Perhaps the most striking moment on Kendrick Lamar's GNX comes early, with 'Squabble Up.' Opening on a sparse beat laced with an almost claustrophobic bassline, the track bursts into intricate lyricism, with Lamar delivering rapid-fire verses that bristle with urgency. It's an audacious statement that sets the tone for the album: introspection wrapped in cinematic production. Then there's 'Heart Pt. 6,' a deeply layered piece where ghostly synths and rolling drums frame Lamar's contemplations on legacy, loss, and identity. The interplay of Lamar's voice, alternately tender and defiant, with the productionicourtesy of Sounwave and Kamasi Washingtoniis nothing short of riveting. GNX doesn't provide easy answers; instead, it invites you to sit with its questions, its moments of chaos and its flashes of hard-won clarity.
Review: All time hip-hop classic alert! This is an evergreen gem from the US crew that is an evergreen favourite with hip-hop lovers of all ages. Released in 1993 on an album of the same name, it's a standout example of the lyrical dexterity of A-Plus, Opio, Phesto and Tajai. Its mellow, soulful production complements the effortlessly smooth flows which are packed with sophisticated wordplay and inventive beats that set it apart from usual West Coast gangsta rap by offering a fresh, alternative sound. Decades later, '93 'Til Infinity' remains a defining piece of hip-hop history. .
Janet Jackson - "Got Til Gone" (feat Joni Mitchell & Q-Tip - DNA edit) (4:43)
Black Eyed Peas - "Joints & Jam" (DNA edit) (3:45)
Review: Two iconic tracks, each remixed with finesse by the DNA crew. On Side-1, 'Got Til It's Gone' receives a fresh edit that enhances its laid-back groove and lush, genre-blending aesthetic. The DNA touch subtly amplifies the track's timeless charm to a higher level. Side-2 offers 'Joints & Jam (DNA Edit)', revisiting their breakout underground hit with a polished edge. The remix retains the track's infectious energy while elevating its funky, soulful essence, capturing the group's pre-megastardom authenticity. Together, these edits highlight DNA's ability to preserve the originality of each track while delivering a cohesive and modern reimagining. Neat work.
Review: Eastside Edits is back with yet another infectious disc's worth of funky disco edits for DJs and collectors alike. Welcoming a fresh throng of international talent, this eighth edition hears up-and-coming Indonesian producer Rhework appear alongside renowned UK duo Suckaside. The former's 'Street Sounds' channel the effortless bustle of square-blocked, gridlocked city streets, where steam rises from manhole covers, taxicabs trailblaze yellow light trails, and funk clubs roar as loudly as underground subway systems. Suckaside's B-side is a call-and-responsive version of equal calibre, though it does clock in at a slower tempo.
Review: Here's a timely re-issue that reminds us all just how quickly time flies. Already alternative rap OGs by the time this first saw the light of day back in 2004, De La Soul brought together the hip-hop elite to collaborate on their seventh studio album. Featuring cameos and production from the likes of J Dilla, Madlib, 9th Wonder, Supa Dave West, and MF Doom, the LP was met with critical acclaim when released and continues to stand up nearly 20 years later. Nostalgic yet forward-thinking, the well-formed album includes plenty of high points. 'Shopping Bags' offers a cautionary tale flow over dusty beats with a mightily hooky chorus, 'Rock Co.Kane Flow' demonstrates the group's ability to evolve with the changing times, while the feel-good flex of the title track is a standout, hands-in-the-air classic.
Review: Mega-sick big breaks from Brighton's Krafty Kuts, flipping undocumented verses from an earlier collab between the producer and verbalist TC Izlam, 'Ill Type Sound'. Every beat hits with huge plantar weight here, with kicks and reverso-claps rooting themselves in sonic continual soils. The original mix features here too, with twisty scratches, pan pipes and turntablist's kick rolls bringing a distinctively kitsch, jazzy, De Wolfe samply feel. "We got the groove, we got the sound, we got the vibe to make you get down!"
Jay Z - "Brooklyn's Finest" (feat Notorious BIG) (4:21)
Notorious BIG - "Sky's The Limit" (feat 112) (4:11)
Review: A one-off reissue on Brooklyn's Finest - whose name in turn takes after one of B.I.G.'s many nicknames - Biggie Smalls' 'Sky's The Limit' set out Christopher Wallace's verbal message in piercing tones: go big or go home. The third and final single from B.I.G.'s second album Life After Death, this is the kind of song that obsessive fans might conclude portended his sticky end: not only was it the flagship song from the album, it also contained ominous sound design and sample work, and the music video features children dressed up as and imitating B.I.G., P. Diddy, Busta Rhymes, Faith Evans, and more, in a farcical pantomime of the rap game.
Review: Released in 1994, Deee-Lite's follow-up to their colossal hit 'Groove Is In The Heart' and the World Clique album that contained it finds the trio taking a more adventurous route of funky rhythms, electronic experimentation and blissful psychedelic vibes. Tracks like 'River of Freedom' tap into a carefree dancefloor energy, while 'Picnic In The Summertime' evokes sun-soaked nostalgia, its bouncy beat an effortless backdrop to the dreamy, carefree lyrics. Deee-Lite's willingness to explore genres and sounds is evident throughout, with samples from The Orb and Carl Craig, among others, meshing seamlessly with live instrumentation and infectious grooves. One of the album's defining features is its ability to balance quirk with cool. The smooth transition in 'Somebody,' where the track slows down into a human beatbox rhythm, exemplifies the experimental nature of the band. And then there's the entrancing 'Party Happening People,' a track full of playful vibes, layered synths, and an unmistakable 90s energy. This isn't just for fans of the groupiit's a record that captures the essence of the 90s club scene. A perfect soundtrack to the era's fashion and carefree spirit, its sounds still hit fresh today, reminding us of the euphoric, experimental days of early electronic music. For anyone who has ever found themselves lost in the vibe of house, techno, or the club, this collection is essential listening.
Review: The DMV crew presents two Biggie-inspired tracks on a limited 7" vinyl here that drives just in time for you to flip some Christmas party dance floors inside out and back to front. Side A opens with the wonderful and timeless 'Juicy Groove,' which is a funky, brass-infused twist on a classic NYC hit that will connect with a wide array of dancers. Flip to side B and you will find a Caribbean-flavoured mashup that's sure to leave you 'Hypnotized'. Do not excuse the pun.
Review: The second Shuggy Edits 7" to hit the shelves in 2024, and the fifth overall, this esteemed edits series by the otherwise mysterious Shuggy nonetheless makes for one of the most in-demand around. This time we've two further funk and soul come bombastic hip-hop edits to contend with: first up is a version of Baby Huey's 'Hard Times', a tromboning 1971 strut by the American singer whose sole LP for Curtom Records was instrumental in the development of hip-hop; Shuggy lends the a harder, steeple-high, needlepoint edit-edge. This is further teased out on the B-side, whose 'Harder Times' hears a phat breakbeat and brass bass parp further teased out to frighteningly formidable effect.
FreaK (feat Lil Wayne, Joyner Lucas & Tee Grizzley) (4:09)
Won't Keep You Waiting (feat Mario) (3:18)
Mmmm (feat Davido) (2:56)
Afterlife (3:15)
Sex So Good (3:29)
My Slime (2:43)
Sweet Lullaby (3:36)
Residuals (3:31)
Angel Numbersiten Toes (1:56)
Sensational (feat Davido & Lojay) (3:02)
Press Me (5:42)
That's On You (feat Future) (4:21)
Feel Something (3:15)
Best Ever (feat Maeta) (2:40)
No One Else (feat Fridayy) (3:32)
Shooter (3:40)
Nightmares (feat Bryon Messia) (2:34)
Very Special (3:15)
Messed Up (2:52)
Midnight Freak (2:49)
Moonlight (2:59)
Bouncin' Ig5 (2:59)
Make Up Your Mind (2:28)
Stutter (2:51)
Need A Friend (3:13)
Summer Too Hot (3:08)
Feelings Don't Lie (2:12)
Red Flags (2:47)
Closer (2:14)
Views (2:19)
Review: Chris Brown's deluxe edition of 11:11 adds 13 new tracks to the original release, bringing the total to an impressive 35 across this triple vinyl set. The album opens with 'Bruce Lee,' a heartfelt ballad where Brown reflects on relationship struggles, using water as a metaphor for resilience. 'Go Girlfriend' delivers an upbeat, danceable rhythm, while 'No Interruptions'' is a smooth tribute to a dance partner. The sultry ballads like 'Sex So Good' and 'My Slime,' both likely to resonate with his loyal fanbase. 'Sweet Lullaby' and 'Residuals' close the album on a high note, hinting at a more mature direction that Brown might possibly explore.
Review: The late legendary Japanese beatmaker Nujabes was a musical genius, this we know to be true. His constant resurgence on social media throughout the years affirms this, with 'Modal Soul', his second full-length album in 2005, blowing up time and time again online. It comes as no surprise, his meticulous devotion to hip-hop-jazz was unlike any before him, or since. 'Other Side of Phase' is a 12" three track record, with its title track being the instrumental for the famous anime 'Samurai Champloo', originally featuring one of Japan's most prolific MCs to ever hold the mic. A standout is 'Rainyway Back Home', a fly song combining the keys from an old Jeru the Damaga cut and the drums from a Power of Zeus track. Nujabes will never - ever - go out of style.
Review: Modern electro phenom Steven Julien (aka. Funkineven) marks a beaming detour with his new EP 'Time/Wraap't'. The producer has never really attempted anything much like this before, fusing unpeggable trap heavies, house offhands, and plummy G-funk, touring a squeakily oiled, cyborg pan-Africa. The front cover reflects a metanoiac conversion of Julien's style, which features him posing in a seductive left lateral position; collabs with James Massiah, Yung Ethernet and Fatima go on to help cinch his status as an object of desire, around whom an inexhaustible stream of in-demand artists flurry.ABut despite the cadre, it's the closing solo 'LIL'BIT' that really grabs us; the track is an ultra-wonky outsider, where in an alien vocal mix, pitch-warped questions are asked, and immediately met with noncommittal "think so"s.
Review: Imagine a world where the pioneers of hip-hop and electro reign supreme, their sounds echoing through the neon-lit streets of a futuristic metropolis. This is the world that Clipping creates, their music a heady blend of gritty beats, razor-sharp rhymes and dystopian soundscapes. 'Dominator' and 'Change the Channel' set the tone with their raw energy and infectious hooks, while 'Run It' and 'Go' showcase the group's lyrical dexterity and knack for crafting intricate rhymes that weave tales of technology, alienation and social unrest. Collaborations with Aesop Rock, Nels Cline and Cartel Madras add further depth and dimension to the album's sonic tapestry, each artist bringing their unique flavour to the mix. Tracks like 'Simple Degradation' and 'Mood Organ' delve into the darker corners of this dystopian world, exploring the anxieties and uncertainties of a future dominated by technology. It's not for the faint of heart, but it is a thrilling ride through a world of futuristic sounds and thought-provoking lyrics.
Wake Up In The Sunshine (Naughty NMX LAX To JFK mix) (4:34)
Keep A Level Head (RuNmX Naughty But Humble mix) (4:21)
Review: Dusty Donut's Naughty NMX has been busy laying down some killer joints but also working on releasing them in several different formats including this one which arrives on a limited edition blue vinyl 7". First up he brings a classic summer funk anthem up to date with a vibrant twist that hits hard with instant warmth. The B-side sees him join forces with label mate Runex for a deeper, more soulful track that features smooth production, punchy rhythms and slick drums that are perfect for any summery setting when the good vibes are flowing.
Review: Chase Atlantic's fourth album offers a more mature sound than previous LPs while exploring themes of loneliness, depression and fear. The title reflects the paradox of being in an ideal place yet feeling miserable and the music showcases the band's evolution into a fusion of pop, rock and r&b in their signature genre-defying style. The lead single quickly gained popularity by amassing millions of streams and views and follow-up 'Doubt It' continues the trend with addictive melodies and fresh sounds. Although Chase Atlantic pushes boundaries here, their original fans will still remain happy with the signature energy of this album.
Review: Featured on this new white 7" are three separate and equally essential "redrums" from the soundtrack of Belly. They are great works from DJ A L starting with the slow motion and seductive claps and beats of 'Back 2 Life (Impreach edit with intro)' then cruising into the 'Back 2 Life' (Re-Drum-Apella) with more knowing beats and prominent snares, then last of all is 'Devilz Pie' (Re-Drum-Apella) which is lo-fi and lovably loved up thanks to the D'Angelo vocal up top.
God Gave Me Feet For Dancing (feat Yazmin Lacey) (4:11)
Ajala (0:42)
The Traveller (4:48)
N29 (3:56)
No One's Watching Me (feat Olivia Dean) (4:57)
Hear My Cry (3:31)
Shaking Body (3:14)
Expensive (6:10)
Streets Is Calling (feat Manifest & Moonchild Sanelly) (3:08)
Why I Smile (5:20)
Have Patience (2:35)
Everybody (4:01)
Review: One year on from making history as the first ever jazz band to be awarded the Mercury Prize, Ezra Collective are continuing to pump out their sensational, unique blend of jazz, roots, afrobeat and calypso. 'Dance No One's Watching' is the highly anticipated follow-up to the aforementioned award-winning 'Where I'm Meant to Be'. Set to release in September, the two singles 'God Gave Me Feet For Dancing' and 'Ajala' set the bar high. The prior is a jazzy, drum-led groove backing the buttery smooth Yazmin Lacey, a name to watch in the soul scene (famously she was scouted after being persuaded to sing on a drunken night out.) The track is a sunny interpolation of Cy Grant's 'Feeling Good' (though let's face it, Nina Simone truly made that record) with a quintessential British soul sound that brings to mind the stylings of Greentea Peng, early Jorja Smith work etc. To boil it down to 'easy listening' would feel reductive but, my God, it's easy on the ears for sure. Single number two, 'Ajala' is quite a stark contrast. Incorporating the hectic feeling of bebop classics, it's a blaring and fast-paced brass session with some great high-tempo percussive afrobeat. Taking its name from the Yoruba slang for fidgety, derived from the Nigerian journalist who one day decided to travel the world on a moped, the track does just that: it begs you to get up and move. If these two tracks are anything to go by, the world is set for a future award winner this Autumn.
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.
Review: This is one of the most ambitious 7"s we've ever come across - it is an EP with 11 'tracks' that all play out like a beat tape with interludes crafted by SNDTRAK. It has everything a good beat tape should have - dusty drums, ill samples and a rich sense of soul and storytelling. It moves at pace through the different moods and grounds with gorgeous pianos, sunny vocals, lush strings and mellifluous melodies all grabbing your attention at various points as it plays out. A wonderful and cultural trip through sound.
Review: Antony Szmierek's debut album, Service Station at the End of the Universe, is an electrifying fusion of spoken word, indie pop and dancefloor energy. Following his rise from Manchester's spoken word scene, Szmierek gained widespread recognition in 2023 with hits like 'The Hitchhiker's Guide to the Fallacy', which earned him Artist of the Year honors from BBC 6 Music. This debut album cements his unique voice, blending sharp, insightful lyricism with infectious beats. The album is a journey through Szmierek's distinct style, where he deftly combines poignant moments with irresistibly catchy, upbeat tracks. Songs like 'The Great Pyramid of Stockport' explore the absurdity of modern life, showing him disoplaying both humor and melancholy. Szmierek's sharp observationsidrawn from the grit of British lifeiare woven seamlessly into the music, creating a sound that's as danceable as it is reflective. Szmierek proves himself an artist who balances introspection with celebration.
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