Review: Mr Bongo has already reissued a swathe of classic albums and singles from legendary hip-hop duo EPMD, whose place in the pantheon of rap greats has long been assured. Here they continue to mine the duo's catalogue, delivering a new edition of the pair's 1987 debut single (which, it should be noted, has long been hard to find on "45"). 'It's My Thing' remains a classic hip-hop club cut, with flowing rhymes rising above a backing track rich in raw drum machine hits, aquatic p-funk bass and sampled snatches of a smooth, disco-era soul number. Flipside 'You're a Customer' is a more sparse and stripped back affair, with slightly faster-paced raps riding stuttering beats and a squelchy synth bassline.
Review: A 7" is all about having a perfect nugget of music on the most compact of wax, and here Mr Bongo pick out two of the best cuts from one of the greatest crews to touch the mic. EPMD were on their finest form when they dropped Unfinished Business in 1989, doubling down on the runaway success of their debut Strictly Business, and here we get two of the album's hottest joints for your instant gratification. 'The Big Payback' piles the funk on heavy, keeping it moody in the low end for EPMD to do their thing over the top, while original opening track 'So Wat Cha Sayin' nestles on the B side with one of the wildest rub downs Erick and Parrish ever committed to record. Truly essential hip hop from the golden era.
Review: EPMD arrived as an almost unbelievably well-formed hip hop group in the 1980s. Right from the moment they dropped their 1989 debut - 'Strictly Business' - they soared, immediately backed it up with 'Unfinished Business' in 1989 then came more big hitters like 'The Big Payback.' But 'Strictly Business' remains one of the NYC duo's most significant and best-loved singles and it is pressed up here to its own 7" courtesy of hardcore fans Mr Bongo. It's a track with tons of samples, scratching, smooth bars and churning beats. Flip it over for an instrumental.
Review: A 7" is all about having a perfect nugget of music on the most compact of wax, and here Mr Bongo pick out two of the best cuts from one of the greatest crews to touch the mic. EPMD were on their finest form when they dropped Unfinished Business in 1989, doubling down on the runaway success of their debut Strictly Business, and here we get two of the album's hottest joints for your instant gratification. 'The Big Payback' piles the funk on heavy, keeping it moody in the low end for EPMD to do their thing over the top, while original opening track 'So Wat Cha Sayin' nestles on the B side with one of the wildest rub downs Erick and Parrish ever committed to record. Truly essential hip hop from the golden era.
Review: Although it was originally released at the height of hip-house mania (1988 to be exact), EPMD's 'I'm Housin' is not a rap-sporting house record. It is, though, a bona-fide club classic, with E Double E and PMD trading verses atop a rolling, dancefloor-friendly groove built from elements of Aretha Franklin's 1971 soul classic 'Rock Steady'. All these years on, it still sounds fresh - as this Mr Bongo reissue of the rare 1989 UK seven-inch version proves. In a word: essential.
Review: Mr Bongo's EPMD reissue series continues with a fresh pressing of one of the NYC duo's most significant and best-loved singles, 1988's 'You Gots To Chill'. Predating much of the West Coast G-funk material that later covered similar sonic ground, it sees the duo delivering some of their rap verses over a beat crafted from samples of Zapp's P-funk classic 'More Bounce To The Ounce' and Kool & The Gang party classic 'Jungle Boogie'. This time round, it comes backed by another EPMD classic from the same period: the mid-tempo, JB's-sampling head-nodder that is 'Let The Funk Flow'. That's never appeared on a single before, making this "45" even more desirable.
Review: An original 7" of this gem will cost you upwards of 100 quid so Know How are doing us all a favour here. As EPMD, Erick Sermon and Parrish Smith were a red hot duo who served up many quintessential rap gems. "So Watcha Sayin'" is taken from their second album "Unfinished Business", imbued with scratching by DJ Scratch, deeply buried chords and of course a slick verse that is pure old school. While flipside "You Gots To Chill" has some fresh vocoder work, dusty drum loops and body popping bass, the a-side takes all the glory here.
Review: Originally released on the Soulful Thangs Vol. 7 compact disks for Latin Soul Recordings in 2007, the song 'It's So Hard To Say So Long' by the Equasions took on a life of its own. A timeless soul and funk single recorded in San Antonio in 1971, revered by sweet soul collectors internationally, has now become available for the first time in over 50 years through Symphonical Records. In partnership with band leader and songwriter, Robert Williams, this group also features high school classmates Vernon Shannon, James Hartfield, Ricky Cotton, and Lamar Sumter. 'It's So Hard To Say So Long', is a poignant sentiment to lost love, yet hope created through beautiful harmonies, whereas 'World Of Loneliness' is a psychedelic reflection of society of the era, which Robert mentions remains true today. Big shout out to Symphonical for putting out this very desirable 7"
Rhano Burrell - "When Can I Call You" (feat Lisa Lee - Honey Dijon & Luke Solomon edit) (5:21)
Review: The second volume of edits of classic outings on Nu Groove records, assembling modern house heroes such as Dam Swindle, Phil Weeks, and Honey Dijon to re-fix tunes by the legendary Equation and The Burrell Brothers among others. Highlights include Dam Swindle's misty eyed extension of Equation's 'I'll Say A Prayer 4 U'- a perfect rainy day house anthem, and the paranoid phonk of Rhano Burrell's 'When Can I Call You' as remapped by Honey Dijon & Luke Solomon. Surefire party starters all round.
Review: Mr Bongo's Eric B & Rakim reissue series continues via a fresh pressing of the hard-to-find U.S seven-inch single release of the NYC duo's second single, 1987 gem "I Ain't No Joke". Rakim's distinctive vocals naturally take centre stage on side A, albeit over a sparse-but-strong Eric B beat high on the kind of crunchy drums, headline-grabbing scratches and sampled horn motifs that marked out the duo's best collaborative work. As with the original American single, the B-side boasts "Eric B On The Cut", a quality cut-and-paste affair in the style of Grandmaster Flash's "On The Wheels Of Steel" that's little more than a highly impressive DJ routine.
Review: There can be few hip-hop heads who don't know Eric B & Rakim's "I Know You Got Soul", a Bobby Byrd and Funkadelic-sampling beast from 1987 that remains one of rap's most recognizable moments. The rap from Rakim is iconic, but it's the Eric B beat behind - all loose-but-heavy, snare-heavy beats, recognizable guitar licks and chorus-style blasts of Bobby Byrd vocals- that makes the track such a club-ready hip-hop classic. Here it gets the reissue treatment on "45" courtesy of Mr Bongo, with the duo's brilliant vocal version being joined on the flip by the overlooked, delay-laden "Dub Mix". For those who covet alternate versions of classic cuts, this instrumental revision is a must.
Review: Intriguing new reissue from Ernie & The Family McKone on the acclaimed Boogie Back, just one of many labels to focus on obscure street soul, freestyle and R&B since the early 90s. One side is a freestylectro remix of an absolute classic, while the B's 'Make A Move On Me' is much sultrier, replete with digital organs and soft strings against a steady-sexy house backing.
Review: Since first appearing last summer the label has retained its air of self imposed anonymity, while keeping the spotters busy with a supremely rewarding approach to digging up and re-editing "lost classics from the raw, decadent and formative birth of club music" in a manner befitting of modern dancefloors. People who class themselves as knowledgeable on the sounds that pumped out from the mixing desk of Ron Hardy at the height of his popularity probably won't have much trouble placing the source material for the four tracks here, but the genius of the EROS series is the way they've been edited which betrays a mastery and understanding of the music a legion of soundcloud dwelling hopefuls could only dream of. As the series' final release, it's hard not to think of the often stated platitude that all good things must come to an end.
Review: Gerard Hanson, known as techno don Convextion, delivered three deep electro gems as ERP for Frustrated Funk and the cuts were soon regarded as mini modern classics. As such the EP gets reissued on blue vinyl and from the off he lays down a killer moody electro-funk vibe with the elastic basslines and emotive synth strokes of 'Luctu.' The B-side 'Tuga' captivates with its beautiful strings and harmonised synths, while 'Pith' charms with its hushed, In Sync-style drum machine rhythms and a nocturnal vibe. Hanson's rich, emotive electro-artistry is fully on display here.
Review: The man best known as Convextion assumes his ERP aka Event Related Potential alias for four more next level cuts that find him pushing his electro electronics ever more into the future. 'V/Eight' opens with a melancholic bassline under busy drum programming to get things going. 'Equiponderance' is more complex with squirming electronics, more hefty bass notes and serene background pads adding a third dimension. 'Engine Vibration' is a more gritty mix of busy analogue machinery and star-gazing chords then 'Enfield' closes with optimistic sonics and propulsive bouncy bass to end this cosmic cruise on a high.
B-STOCK: Sleeve split at the top but otherwise in excellent condition
V/Eight (6:52)
Equiponderance (5:10)
Engine Vibration (6:38)
Enfield (6:04)
Review: ***B-STOCK: Sleeve split at the top but otherwise in excellent condition***
The man best known as Convextion assumes his ERP aka Event Related Potential alias for four more next level cuts that find him pushing his electro electronics ever more into the future. 'V/Eight' opens with a melancholic bassline under busy drum programming to get things going. 'Equiponderance' is more complex with squirming electronics, more hefty bass notes and serene background pads adding a third dimension. 'Engine Vibration' is a more gritty mix of busy analogue machinery and star-gazing chords then 'Enfield' closes with optimistic sonics and propulsive bouncy bass to end this cosmic cruise on a high.
Review: After his recent releases on X-Kalay and Craigie Knowes, Melbourne's Escape Artist returns to Phonica where he has previously released his well-received Energy Breakthrough EP. Once again here he shows his love of serving up euphoric and energetic cuts with the A-side, 'Forgot Who I Was,' building great intensity with delicate melodies and a shifting bassline. The B-side, 'Remembering', offers a contrasting yet complementary vibe that keeps on with the previous track's two-step rhythm while evolving into a more uplifting direction with ambient techno elements and acidic breaks. It's potent stuff.
Review: Isle Of Jura come through once more with a superbly in demand reissue of a sought after disco cut from the 1980s. 'Save Our Love' by Escape From New York is a blend of disco, new wave and funk that has a mystical atmosphere and drums perfectly of their time. The vocal is full of yearning under the shimmering synths and on the flip is an even more 80s-leaning tune, 'Slow Beat' (dance mix) has more obvious 80s leanings and the 12" closes with the Instrumental of 'Save Our Love, stripping back the vocals and giving more air to the bass.
Review: The faultless Razor-N-Tape label has long been one to keep an eye on for fans of all forms of house, disco and plenty in between. This new one from Balearic man Max Essa with slow-motion maestro Eddie C is perfectly timed to arrive as days are getting longer and the sun is out more. It features four lush tunes that roll deep with languid chords, deft little funky guitar riffs and laidback vibes that douse you in all the feels. 'We Live In The Hills' is the standout for us with its fleshy synth work and a sprinkling of tropical percussion.
Review: Leading big room house label Toolroom, which hassling been under the charge of boss man MArkKNight, is back with more firing and high energy sounds. ESSEL & Alex Mills are on this one and unleash 'Rave Is The Weapon' which has got it all - wonky hooks, white noise blasts, chunky drums and a firing vocal that is sure to electrify the floor. On the reverse, it is ESSEL who goes solo for 'The Edge' which is a pumping house cut with some swaying tech beats and a nice hooky vocal up top. Great fun.
Review: South London's Tom Esselle returns with a standout EP on Rhythm Section that cements his place at the core of the UK underground. Building on past successes like 'Praise Bes' on Wolf Music and 'Lou's Groove' on Rhythm Section, this release shows off his wide-ranging house influences which have all been refined through collaborations with Chaos In The CBD. The A-side delivers club heat with 'Baddies' featuring a killer mid-2000s r&b sample, and the techy 'Plaything'. The flip is breezier as 'One Of These Days' shines with Dave Koor's jazzy keys, while 'Harmonise' closes things with dreamy warmth. A mature, versatile offering from a producer hitting his stride.
Review: Slow Life has always nudged at the edges of typical genres, be that deep house, tech or minimal. Here comes another case in point - a remix EP that finds key associates rework originals by Ethereal Logic. S Moreira get first with a psyched-out sound dripping in colour and percussion. Paolo Mosca's remix is a glistening one with airy breaks and twinkling melodies and the Primary Perception remix then slows things down to a vibey downtempo and boogie delight. Mosh Project's remix closes with a slow motion and snaking sound that would work well as a backing track to a DMT trip.
Review: The Ethiopian Brothers transport you to a vibrant fusion world where Ethiopian jazz, Afro drums and funk all collide. Released in 1972, this single showcases the band's mastery of traditional Ethiopian rhythms intertwined with elements of Western funk and soul. 'Ashadwa' exudes infectious energy and is driven by lively brass sections and mesmerizing vocals weaved into the dynamic arrangements next to wah way guitars and steamy sax. It is a real dancefloor heater while a version comes on the flip without the vocals.
Review: Waveforms is as a brand-new label from ASC and Presha who are already well known and respected for their work with Spatial/Auxiliary and Samurai Music. It's a new outlet that will specially tap into the sounds of 90s jungle and serve up new tunes on 10". Tim Reaper has been behind one, and Eusebeia is now on this one on blue-marbled vinyl. A-side cut 'Waveform 05' is a cavernous cut with pulsing bass and spine chillingly ethereal vocals up top while 'Waveform 06' keeps the pressure on with more throwback jungle realness and unrelenting breakbeat pressure.
Review: Three new undiscovered species from sound taxonomist Eusebeia, spotted deep in the heart of the jungle. Described as "mind massages", Eusebeia leans further into his preferred mode: sculpted highs and caresser sound design. Sparking up the proceedings with pre-release single 'Zenith', we reach vicarious peaks of untrammelled 808 and sprightly sub-aqua pads. Emphasis shifts between cute, gamified pluck melodies and deeper persuasions, proving that surface and depth persist in necessary dialogue with one another.
Review: UK up-and-comers Eusebeia and Aisatsaana team up for an incredibly deep, bass-conscious, nigh sonar-systemic new drum & bass EP, 'Transnformation'. Few artists in this circuit dare to delve quite so abyssal; if anyone's ever seen the nuclear subnautical sci-fi thriller The Deep, one will know just how risky, how odds-bucking the attempt to plunge the deepest of the ocean's depths truly is. Clearly, only the best sonic submersible wearables will have cutted the mustard in aid of salvaging the jetsam-makings of this thriller; frankly, we're blown away by the ear for layering and bass heard on this EP, whether on the snareless impacts, shock-absorptions and depth-charges of 'Shed A Light' or the dim but angelic underwater intellibreaks lodestar that is 'Wayfinder'.
Review: ** PPU REPRESS ** Following the killer Moon B album II, the peerless Peoples Potential Unlimited wind back the clock to bring us some unreleased late '80s material from Evans Pyramid. The alias of Boston musician Andre Evans, the disco and boogie project was the subject of an extensive retrospective a few years ago, but PPU have managed to uncover these two further gems regardless. "Where Love Lives" is the killer cut here, an "accelerated funk anthem" whose vintage synth bass sounds particularly relevant in today's retro-obsessed musical climate. On the B-side is "I Want Your Body", from Evans' side project Royale, a more classic disco number that still hits all the right notes.
Review: Oh we do so love a mysterious white label. Everything You're About To Hear Is True appears to be a disco edit label with plenty of Balearic chops, which leads in with a supremely slinky rub down of Lynsey De Paul's 1981 disco funk masterpiece 'Strange Changes'. Things pitch down without holding back on blue-eyed funk for 'Jesus Train', originally by Swedish songwriter Per-Erik Hallin. On the flip there's no less than three hits, from the boogie funk perfection of 'Get It' to the jazz funk ascendance of 'Surge' and the swooning disco of 'Wilson'. Rock solid songs given a respectful touch up for the discerning DJ.
Review: 'Everything You're About to Hear Is True' is a home for the now well-documented breed of 'unknown artist' seeking an outlet to release their disco edits and this second instalment by yet another mysterious figure hears a blitzing blend of electronic and acoustic parts, marrying tropes such as sports-game chants, reverb-drenched balearic boogie and funk across four tracks.
Review: You can always count on Clone's Repetitive Rhythm Research label to bring a proper, hard-edged strain of techno that matches brawn with brains. Next up on the label after a knockout record from Frequency is The Exaltics, tailoring their signature electro style to a blown-out 4/4 sound to incite a thousand sweatboxes. 'It Never Ends' is brilliantly jacking, with deep space synths on top, and 'Hammerheads From Outta Space' doubles down on brute-force kicks and dirtbag leads. 'Corroded From The Future' dips into dystopian acid from the depths, and 'Dumb MST Digital' caps the record off with a stripped back 303 workout for those who carry a torch for the glory days of Bunker Records.
Review: Electro don Robert Heise turns his attention back to The Exaltics project for a new EP on his steady label home Repetitive Rhythm Research. Forgetting the proverbial "house" that birthed the song, Heise borrows the canonic title and lends it a certain force majeure, in the vein of bristly "helicopter blade" synths and classic techno drum machine furrow. Best on this fearsome crock is 'Parallel Reality', whose impressively miscible cuckoo-clock offbeats and sneak-up, reverse-worked, burring lead line have yet to meet their match this year. ORX's opening edit is the most expulsive, firing off a grunting artillery of monstrously low synths and brusque cymbal crashes in enfilade.
Review: To coincide with the reissue of the standout Exaltics album Das Heise Experiment, Robert Witschakowski has reached out to an all-star cast for a bonus 12" of remixes and collaborations which will only serve to add weight to the whole project. Iconic Detroit duo ADULT. team up with Exaltics on 'Dreizehn Habits', which is a vocal update of a track from the original soundtrack. Then Gesloten Cirkel jumps on for the typically incisive, edged-out machine language typical to his Bunker Releases. The mighty Keith Tucker dons his K1 cap for a punchy slice of Motor City machine funk, and then Gerald Donald's Arpanet alias locks on for a creeping, slippery excursion to close the record out on the B2.
Review: Spanish label Fanzine keeps its quality output coming with this 19th EP, and it takes the form of a various artists' EP and the fourth instalment of the Xuntanza series. The Exaltics open up with some moody and stripped-back downtempo electro on 'The End' and Robot City then picks up the energy with the snappy rhythms of 'TerrorVision.' Elektrotechnik's 'Autopilot' is a nice bumping, tightly programmed drum workout with sci-fi effects and rising arps, then Acidulant brings some manic 303 action and Roi shuts down with more industrial electro tension.
Review: The ever shadowy Explorations label - background info about whose releases are notoriously difficult to find - follow up their recent unknown artist remix of George Duke's 'Brazilian Love Affair' with a second remix from Chicago house music legend Jordan Fields. As far as we can tell, Fields is the first named artist to appear on the label, lending the whole outing an extra-musty shroud of cool. We're not sure what song exactly 'As Always' is a remix of - it's not a take on Stevie Wonder, nor is it a version of 'I'll Be Loving You' by 1993 one-hit-wonder freestyle act Collage - so we're sad to say we're stumped on the chain of ideas behind this one, unlike the Benson rerub. We will say, however, that this is a wicked dub disco lick, with Fields' generous use of phrase-stop dub delays lending the track a real cool enjambment. Oh, and it comes to an ultra-limited randomly splatter coloured 100-record run; just like the intermittence of Explorations' releases, you can't be sure which colour you'll receive.
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