Review: Hope & Faith Records has put together three different 7"s featuring the original 'Standing Tall' riddim, which is a slick production in the early 70s roots reggae style. Acclaimed Spanish singer Payoh Soul Rebel is behind one, the female harmony trio from Basque reggae band Tacumah another, and this one comes from Jamaican legend Horace Andy who brings a fresh take on the classic roots sound. His smoky vocals bring real warmth and depth while a flip-side dub goes deep.
Review: B.Love is next up on Leeds legend Ralph Lawson's 20/20 label having come to his attention on Record Store Day 2024 with his Music Dance Experience EP and then later that day when playing as a resident at the Bizarre Trax party Lawson was en route to play. Here he showcases his electro sound across four cuts starting with 'Rhythm Freq', a celestial and disco-tinged sound. 'Movement Feeling' is a party starting cut with old school style and plenty of percussive lushness, then 'Soda Junior' brings louche, low-slung disco funk before 'Bisous' shuts down with more cosmic playfulness and vibrant synth colours.
Review: Cheb Bakr's latest release reflects the rich interplay of North African tradition and modernity. Rooted in rhythmic Arabic melodies, the tracks blend warm, soulful instrumentation with a contemporary edge. The production draws from Libyan pop's energetic pulse, merging traditional sounds with subtle nods to r&b and hip-hop. This is a striking example of how regional influences can be reinterpreted for new audiences while retaining their cultural depth and vibrancy.
Review: Bashman is something of a Glasgow legend to those who know and after some stellar outings on Tom Carruthers' Non Stop Rhythm and Data Sync labels, he is back with more techno power. 'Corker' is a frenzied and caustic assault with unrelenting percussive hardness and 'I Want It' then pairs things back a little for some jumbled 909s and buzzy synth pressure, but the standout is the impish synths that dart about the mix. 'Gimme' then goes hard and raw again with eye-wateringly stark sounds and textures and 'Opening Hour' ends with a gurgling, swampy mix of messed-up drums and synths.
Review: Planet Rhythm bring a high-energy, percussion-driven EP from this hot new Brazilian producer. Side-1 launches with 'Latin Hot Sauce', a tribal-infused, mysterious techno cut that rides on rolling drums and deep, hypnotic grooves. 'Small Talk' follows with relentless, loopy energyidriving, hard-hitting and built for peak-time chaos. On Side-2, 'Locking Collar' dives into darker territory with subterranean bass and pounding beats, creating some heady atmosphere. Closing things out, 'Overcharged' brings a playful, high-voltage energy, balancing intensity with a sense of movement that keeps dancefloors locked in. A dynamic ride through modern techno's heavier side, built for DJs who thrive on pushing momentum forward.
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: Patrice Baumel returns to Kompakt's Speicher series with 'Speicher 133' and it's every bit as captivating as you'd hope. 'Luce' delivers a sleek, minimal groove infused with Chiara Gamo's ethereal vocals, building tension and warmth with just a few masterful elements. 'The Cave' continues the journey, drawing us into a mystical world of echoing droplets and haunting whispers, evoking the sensation of wandering through a stalactite-filled cavern. Baumel once again proves his ability to create pure magic with minimal means.
Review: On March 31, 1964, The Beatles recorded seven songs for the BBC's Saturday Club. Three of them were covers of American rock 'n' roll and country songs. The final segment aired on the BBC's General Overseas Service and earlier that day, the band filmed a live performance at the Scala Theatre in Kings Cross for their upcoming film, A Hard Day's Night. This EP includes 'The Hippy Hippy Shake', recorded for Saturday Club and originally broadcast on February 15, as well as the catchy 'Everybody's Trying To Be My Baby' and 'Long Tall Sally'. The band's tight musicianship can be heard throughout this record, which serves as a great example of The Beatles' dynamic early sound during their rise to global fame.
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.
Curumin Chama Cunha Ta Que Eu Vou Contar (Todo Dia Era Dia De Indio) (3:43)
Rio Babilonia (4:50)
Review: Number 80 in Mr. Bongo's Brazil.45 series shines a spotlight on two iconic 80s tracks by Brazilian legend Jorge Ben. The A-side features the infectious groove of 'Curumin Chama Cunhata Que Eu Vou Contar (Todo Dia Era Dia De indio)' from the 1981 Dadiva album and paying tribute to Brazil's Indigenous tribes. On the flip, 'Rio Babilonia' delivers a classic Brazilian-boogie vibe that celebrates life in Rio, its beaches and landmarks. Originally released in 1983, the track showcases arrangements by the legendary Lincoln Olivetti.
Review: 'OHM Series #11' presents a vibrant mix of techno with contributions from four talented producers, adding depth to the ongoing series. On Side-1, Christine Benz's 'Sunset' opens with warm, enveloping chords, creating a serene atmosphere that feels like a sunset on a tropical island. Following that, Brizman's 'As We Should', featuring Linn, shifts the tone with a lighter, dub-infused house sound, perfect for a more relaxed vibe. Side-2 kicks off with Hidden Sequence's 'Dub Cycle', a darker, more ominous track, weaving catchy dub techno rhythms that pull you in. Finally, Martin Jarl's '02_37 AM' brings a smooth, ambient dub feel with a traditional techno edge. This airy composition evokes the timeless sounds and reminds us of Model 500's Starlight. This edition of OHM Series showcases diverse approaches to dub techno, balancing the atmospheric with the rhythmic - and all delivered with precision.
Review: Having played a slew of inimitable and unforgettable television comedy characters over the past decade or so, from Toast of London's Stephen Toast to Douglas Reynholm in The IT Crowd, Dixon Bainbridge in The Mighty Boosh and Todd Rivers in Garth Marenghi's Darkplace, you could be forgiven for expecting Matt Berry to use songwriting and music as another form of hilarious release. That's definitely not the case. There's plenty of release on I Gotta Limit, but this is anything other than satire. The first new music to come from Berry's 2025 album, Heard Noises, the two tracks here are pure joy, authentic and genuinely impressive on a technical level. Exchanging lines in a duet with Kitty Liv for the titular number, the vibe is part Northern Soul, part psych rock, and pretty much all completely captivating.
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: With this latest hyper-abstract club release, Italian-born, London-based producer Big Hands straddles an impressive range from chthonic sound design to readily lock-innable grooves. Named after the Roman equivalent of Dionysus, the god of fervour, celebration, and debauchery among other vices, 'Bacchanalia I' and its three inversions touch on furrows dug between dub techno, dubstep and brutalist techno no man's lands and they grow in intensity with each passing track. By the time of our tricky and energetic favourite, 'Bachannalia III', us bacchanals find ourselves raising a blood-filled chalice, haemoglobin spilling about the place.
Review: This remix reimagines Birdy's heartfelt original with a polished d&b edge, Nu:logic introducing rolling breaks and shimmering atmospherics, blending seamlessly with Birdy's emotive vocals. The production balances the emotional weight of the track with an uplifting rhythm, creating a release that resonates equally on the dancefloor and in reflective moments. A refined example of how drum & bass can enhance the depth of a song without overpowering its essence.
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: You might think you know exactly what to expect from Pressure System EP, the latest offering from Black Eyes, released via HOUSEWAX. The label's dedication to underground club music has always been clear, and this 12" doesn't stray far from that path. But beneath the surface, Matthew Jesus serves up more than the usual deep house fare, with each track revealing a different side of his craftsmanship. The opener, Hydro Warmth, starts gently, with soft keys and a laid-back vibe, offering a warm welcome. But there's more here than simple relaxationithere's an attention to detail that sets the tone without overwhelming. Then there's Blue Grooves, where the mood shifts. The bassline gets heavier, the track's raw energy becomes more apparent, and the melody takes on a darker edge, offering a solid deep house groove that's anything but background noise. On the flip side, Ancient Water Funk changes gears, opting for a more laid-back, funky rhythm. It's smooth, understated, and lets the funk seep through with a restrained confidence. Finally, Bohemian Waters rounds off the EP with a touch of spacey elegance, blending sharp drum patterns with a subtle, dreamlike atmosphere.
Review: Blackhole drops a vital new 7" that features a pair of tidy edits of some classic cuts. First is a Dorothy Ashby masterpiece that has been remastered and is awash with lush, golden harp sounds and gently broken drums. It's a charming escape to heavenly melodic worlds. On the flip is 'Gold' with some masterful guitars and Donny Hathaway on piano. This is the first time this cut has been on its own 45 rpm and is one that has been sampled by greats like hip-hop kings Jay DIlla and Pete Rock.
Review: Matasuna Records, based in Berlin, kick off their 2025 with a ladling of fresh soul soma food, this time by Barca's finest one-girl band The Blaxound (Marta Roman), in collaboration with singer John Vermont. Building on irreverent, vintage 60s pop from Spain, whose sound is categorically fiendish to replicate, the two artists have nonetheless managed a close hewing here. 'No Es Por Ti' showcases Vermont's throaty singing, lyrically playing out the eternally relatable breakup trope of "it's not you, it's me." Then 'Qu Ms Te Da?' follows with an affectingly syncopal rhythm, with a tightened snare played only on the 4, heightening the erotic tensity of the scene, driven by shuffling hats alone, whilst the artists' respective cools are kept.
Review: A slept-on roots gem from the mid-70s gets a timely reissue, perfect for warming up those cold winter days. Originally produced by Hector Wright at Lee "Scratch" Perry's legendary Black Ark Studios, this timeless piece showcases the vocal harmonies of The Blue Bells. A-side 'Come Along' features a captivating blend of soulful vocals and uplifting melodies, while the flipside offers a dubwise reimagining, stripping back the arrangement to reveal its hypnotic depths. Originally released in 1976, this repress makes a rare gem accessible once more.
Review: We shall never apologise for our love for the work of Steve O'Sullivan. His contributions to the world of dub techno are second to none. They are also mad consistent both in style and quality which means they never age. Here he steps up to Lempuyang with his Blue Channel alias alongside Jonas Schachner aka Another Channel for more silky smooth fusions of authentic dub culture and Maurizo-style techno deepness. Watery synths, hissing hi-hats with long trails and dub musings all colour these dynamic grooves. They're cavernous and immersive and frankly irresistible and the sort of tracks that need to be played loud in a dark space. In that context, you'll never want them to end.
Review: Reading shoegazers Blueboy are the real deal - top-tier within its genre up there with the likes of Lush, Slowdive and Cocteau Twins. They left behind a remarkable back catalogue with releases on the legendary Bristol label Sarah Records and the Shinkansen label in the 90s. To our joy they've returned to do some live shows and release their first new music in 25 years in the shape of this banging single 'Deux'. Anyone who has even the slightest inclination towards the dreamy ambiance and power that the shoegaze genre offers can do a lot worse than buying 'Deux' - it is a slice of nostalgia and has a timeless quality to it. The B-side is less poppy but highly atmospheric and evocative. A triumphant comeback.
Review: Blundetto unveils a captivating folk single here that features the ethereal voice of French singer Juliette Magnevasoa. 'La Playa' is an acoustic-rich cover of Marie Laforet's 1970 classic and this rendition has a new vocal whose unique timbre adds depth and all-new charm. Together, the artists create a delicate harmony of softness and melancholy and blend soothing tones that evoke timeless beauty. Already heralded as a classic gem, this subtly evolved new version of 'La Playa' offers a serene and heartfelt sound for intimate moments.
Bobby Aitken & The Carib Beats - "Keep On Pushing" (with Lloyd & Glen) (2:54)
Bobby Aitken & The Carib Beats - "Soul Special" (2:39)
Review: The BA label is back with more super essential, late-60s rocksteady goodness here. this one finds the one and only Bobby Aitken & The Carib Beats doing their thing on a mega rework of Curtis Mayfield's classic 'Keep On Pushing' which features Lloyd Robinson and Glen Brown on vocals. The beats are raw and the guitars earthy with falsetto vocals soaring up top. On the flip is 'Soul Special' which is more laidback and chilled with spoken word musings and whimsical flute.
Review: ***B-STOCK: Warped, otherwise plays fine***
The second various artists EP from the Merkwurdig label is another tasteful collection of up front sounds from a clutch of inquisitive underground names. Body opens up with some nice cosmic tech powered by rasping bass and reverberating synths. Nate SU's 'Neutrino' is a busy jam with hooky synths and splashy cymbals that takes on a twisted sense of cyborg funk. OBG very much smooths things out with the heady house roller that is 'With The Wave' and Fabiano Jose shuts down with the rock solid kick patterns and subtly rising joy of his diffuse piano chords on 'Discotale.'
Review: Fresh instrumental Afro-funk-disco magic from LA-based quartet The Bombillas, once again emerging from their post-LP slumber with the complementary 'Kidi Bloom' and 'Hatif'. In no rush to release again since 2022's 'Nac Nac/Senebi', this new 12" is suitably taciturn and unaffected; the A-sider riffs on distinctive Arabian folkloric music styles, its brand of funk closing in on a harmonic minor key, as David Michael Celia and Tyler Nuffer digitally riffle the electric keys and vintage-amped guitar respectively. 'Kidi Bloom' is a similar pre-car-chase scene complement, bringing cluing vibraphones and mod-wheeled synth work to a relative slow jam.
Review: The reissue of Joao Bosco's 'O Ronco Da Cuica' alongside Antonio Adolfo E A Brazuca's 'Transamazonica' captures a slice of Brazil's musical brilliance. Bosco's track, originally from his 1976 album Galos de Briga, pulses with vibrant cuica rhythms, soulful vocals, and delicate acoustic guitar. On the flip side, Adolfo's 'Transamazonica' is a stunning piece of Brazilian jazz fusion, rich with dynamic instrumentation. This release brings these timeless Brazilian gems to a new audience, reintroducing their infectious grooves and intricate musicianship.
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