Back catalogue: All genres

Review: A genius soundclash with a distinct New York flavour, bringing two generations of world beating sounds from the Big Apple together on the same track. The rapping is just as smart mouthed and amusing as you'd expect, but it's their unlikely pairing with these familiar 70s disco grooves and additional beat enhancing that brings this release to life. It all makes for a heady, ludicrous but also ludicrously natural sounding mashup that you can really imagine causing carnage on many a dancefloor. There's an instrumental mix on the flip, too, for those after something a little less audacious to spin, but the A-side is where the true action is.

Review: Flip The Script Radio is a place those in the know head to hear the to new MCs and hip hop acts before they blow up. To celebrate their six year anniversary, they have joined forces with Good For You Records and legendary MC and lyricist Grand Puba for this red hot new special edition 7". It finds the icon's classic 'I Like It' replayed by a n eight piece band but with some new verses delivered from the rap legend himself. He lays down in fine style and makes this a great new version of a classic that is filled with heart warming soul.

Review: Street Corner's FliP Sessions is a great source of beats for hip-hop heads and this eighth volume is no different. It's limited to just 200 copies and features five more exquisite little sketches that are loveably rough around the edges and full of laidback and dusty soul. After the busted breaks of GREENMINDZ, Toby Glider zones you out with lo-fi loops and Beaulemaire brings heavier beats. Side 2 has a more jazz cut from Elusive and star gazing cosmic melody from Shri!. All five of these are delightful little pieces.

Review: Omar S sets his considerable dancefloor skills to something a little different on a new 7" featuring the vocal talents of TroiAlexis. A young talented Detroit female songwriter who was discovered by Omar S at the Conant Gardens Party Store when she sung acapella to him at a Hi Tech party, TroiAlexis lends an air of soulful class to Omar's trademark electro-slanted electronics on both sides of this single. There's a stripped down - and we mean stripped right down - bass heavy R&B mix on the A-side, while the flip has a sturdier house mix that still gives her voice room to soar.

Review: Potatohead People's classic tune 'What It Feels Like' featuring T3 (Slum Village), Kapok and Illa J, first released in 2020 alongside an unmatched live video, gets not only a reissue on vinyl here but a remix treatment from in-demand bass player Carrtoons. Switching up the order of the verses, dubbing out the horns and adding in his signature basswork, Carrtoons brings a fresh flavour to the track's already steaming, boom-bap verve. Fans of Anderson Paak, Smoove or anyone operating in the crossover of neo-soul, jazz and rap will be much pleased by this one.

Review: Paul Sitter and Tony Lavrutz's collaboration on Eu e Meu Amor plays like a breezy stroll through sun-drenched sounds and smooth rhythms. Their work here pulls effortlessly from bossa nova and tropicalia, but without leaning too heavily on nostalgia. The production is tight and warm, with layered guitars and whispered vocals that could easily soundtrack a lazy afternoon. It's not overly flashy, but it doesn't need to be; the charm is in the simplicity, the way the melodies unfold and gently stick with you long after the record ends.

Review: TNT Rap Classics are a ghostly rap reissues outfit, operating in the shadows, but they've churned out a truly solid ream of stadium/megastar rap reissues on 7" for several years now. After lookbacks on Nelly and Beyonce they now pay due deference to Eminem, placing special attention on the rapper's early-noughts Slim Shady era. 'Without Me' was the whimsical, cheekily intoned lead single from The Eminem Show, finding Eminem lampooning pop culture, the media, and his critics. 'The Real Slim Shady', meanwhile, came before, with biting critique of the pop cultural fascination with authenticity: "Will the real Slim Shady please stand up?"

Review: American R&B girl group Total penned the original 'Can't You See' in 1995 as part of the New Jersey Drive soundtrack. By then, the duo had already appeared on classic joints by Notorious BIG such as 'One More Chance' and 'Juicy,' so he returned the favour with an intro rap verse to this one. IT made it a huge success n the US Billboard Top 100 and also hit the Top 50 of the UK chart. On the flip is the Keith Murray Bad Boy remix which is that bit slower and more sensuous

Review: Grammy award-winner Tyla broke the internet with her viral track 'Water', becoming the first South African artist in over 55 years to enter the Billboard Hot 100 - as well as the youngest South African of all time ever to do so. The 'Water' challenge swept the internet, earning her top ten placements in multiple countries and nominations for various awards - rightly so, her voice is sultry, the beat is smooth and the hook is infectious. On the other side of the 7" coin is Nigerian Afrobeat sensation Rema with his career-defining breakout hit 'Calm Down', his vocal talent shining through the minimal instrumentation. It's easy to see why the world was entranced, bolstered massively by a remix featuring Selena Gomez that has since led the track to be nominated for several Billboard and MTV awards, as well as holding a long list of world records: Most streamed Afrobeat song on Spotify, Longest charting African song on Billboard, most watched Nigerian music video... we could go on.

Review: The bright idea of British producer Tom Carauna, this mashed-up Wu-Tang/Fab Four was first released in 2011, and followed a legacy of infamous acapella reshakes of rap works by the named East Coast hip-hop collective. Retreading the bread-crumbed trails of producers Cecil Otter and Swiss Andy's 13 Chambers, which did the same for the punk band Fugazi, a profusion of rock-rap shred-spits followed, most of which kept Wu-Tang in tow whilst varying the rock greats providing the instrumental versions. Carauna returned to source with 'CREAM', a special selection from the original LP now culled by Tea Breaks; the tune combines elements of the already rather Tangy beat with the core piano riff from 'And I Love Her', proving an incendiary combo.

Review: Mid-90s East Coast hip-hop classic 'CREAM' is one of the best Wu-Tang Clan tunes if you ask us, but we never thought it might get mashed up with a Beatles tune. That's what we have here on the Tea Breaks label, which flips it into a lush, soul-drenched hip-hop sound with low-slung drums and Raekwon & Inspector Deck delivering the bars. On the flipside is an instrumental that strips them away and allows the introspective melodies and laid-back, golden-era beats to shine. Two heady tunes for sure.

Review: Unhelpfully, there seems to be scant information out there about the identity of TBZ, a producer specializing in "raw cassette outtakes" whose previous output has been limited to a handful of appearances on compilations and multi-artist EPs. OG_Beers is the mystery artist's debut full length and contains 13 shots of hardware-heavy machine music. While rooted in electro and distorted machine funk, the set is notable for its alluring eclecticism. Those with a wide musical knowledge will be able to detect audible nods towards skewed cold wave, Moon B style boogie fuzz, Miami Fuzz, post-punk dub disco, mutant hip-hop, weirdo electronica and sludgy, guttural electronica - all smothered in oodles of tape hiss and analogue machine noise. Tip!

Review: We've become accustomed to Chazwick "Chaz Bear" Bundwick surprising with each successive release. He's at his genre-bending best once more on Hole Earth, the Oakland native's eight album as Toro Y Moi. Born of a desire to incorporate elements of "rap rock, Soundcloud rap and 2000s Emo", much of the material sees the proudly independent musican blend head-nodding hip-hop beats with picturesque synth sounds, pop-punk guitar licks, multi-tracked vocals (sung more than rapped, interestingly) and a radio-friendly veneer. There are some suitably entertaining and ear-catching moments, from the lo-fi indie pop cheeriness of 'Hollywood', and the picturesque electronics of 'CDR', to the low-slung grooves and fuzzy guitar riffs of 'Tuesday' and the jangly dreaminess of closing cut 'Heaven'.

Review: Tyler, the Creator's fifth studio album was produced entirely by the Californian artist himself, but it does feature guests like Solange, Playboi Carti, Kanye West and Lil Uzi Vert. It immediately debuted at number one and it's easy to see why. Rich with a complex fusion of funk, rap and r&b that glides on Cali-synths and neo soul melodies, the whole thing is tethered to the ground with a hefty low end and follows the narrative of a love triangle as told by American comedian Jerrod Carmichael. Arguably his best work to date, the production is next level and storytelling wholly involving.