Review: After visiting Australia earlier in the year, Vakula decided to join forces with Sydney-based crate-digger Daniel Lupica to launch Tropical Jam, a global-minded re-edit imprint. This tasty ten-inch marks the label's debut, and as you might expect, it's really rather good. All of the material going under the knife is thoroughly obscure, but also rather good. They open with a punchy and floor-friendly rearrangement of a horn-heavy disco-funk jam of African origin, before working their magic on a low-slung Afro-boogie gem full of low-slung bass, synthesized marimba melodies, flash-fried funk guitars and delay-laden vocal snippets. A brilliant package is completed by an extended take on a soulful, boogie-era Caribbean reggae jam.
Review: Tropical Jam is a sneaky imprint from Vakula and Aussie crate-digger Daniel Lupica. Here, the label presents it's second salvo, a three-track ten-inch single that boasts more dusty-fingered re-edits of unlikely dancefloor gems from around the world. Our highlight is undoubtedly the flipside excursion, a wonderfully trippy, delay-laden excursion that makes merry with a wonderfully groovy, low-slung and out-there boogie cut from the proto-house era. It sounds like the sort of thing that Larry Levan would have hammered in his sets, and that's never a bad thing. The A-side has a much more forthright, shirts-off vibe, with Vakula and Lupica serving up two tweaks of little-known Caribbean disco workouts.
Review: It's been a fair old while since we last heard from Tropical Jam, the sneaky re-edit imprint from Vakula and Aussie crate digger Daniel Lupica. Surprisingly, this is the duo's first 10-inch missive of humid, floor-friendly revisions since the summer of 2018. They begin in a suitably sunny mood, offering up an on-point rearrangement of a cheery, sax-laden Afro-synth workout that sounds like it originated in the early 1980s. The A-side also boasts a second bubbly synth workout, possibly of a South African cut from the same period, where jaunty Clavinet lines and male/female vocals rise above a sparse but funky groove. Side B, meanwhile, contains a more Balearic-minded electronic cut rich in lo-fi drum machine beats, dreamy chords, chiming lead lines and glassy-eyed vocal snippets.