Spectrums Data Forces - "Darkness In My Head" (6:04)
EC13 - "Profundo" (Interludio) (0:49)
Wicked Wes - "X1000" (feat Space Frogs From Saturn) (5:48)
Review: Granada's Cosmic Tribe know the definition of "electro" in its broadest sense; their new Xtrictly Electro comp keeps the dystopian sound endemic to the genre's most present incarnation, but refuses to restrict itself to one tempo: the standard 130-ish that has sadly infected the otherwise genius genre as a necessity. An international splinter cell of spec-ops and mercenaries are recalled from retirement here, as we hear Calagad 13, Nachtwald, EC13 and many more mechanoid ilk lay down all manner of slick utilities, making up a morbid multi-tool. 5zyl brings further lasery Lithuanian steeze on 'Vilnius Bass', whilst Spectrums Data Forces betrays the existence of a sinister corporate entity, whose business model works towards the object of instilling 'Darkness In My Head' through giant, killer mozzy basses.
Review: Building on the momentum of their debut album, the legendary musicians and 577 mainstays return with Shine Hear, Vol. 2, a stunning continuation of their avant-garde exploration. Saxophonist and multi-instrumentalist Daniel Carter, pianist Leo Genovese, bassist William Parkeriwho also contributes on Gralla and Shakuhachiiand drummer and vocalist Francisco Mela, reunite to create another cosmic journey through sound. This second volume maintains the same spirit of improvisational brilliance while pushing the boundaries even further. Drawing from classic jazz structures, the ensemble weaves in modern experimentalism and a broad palette of instruments, resulting in an album that feels both timeless and innovative. The tracks and the album title are inspired by a new poem written by Carter, reflecting the transience and ceaseless motion of modern life, much like the city of New York, where all the musicians are based. This collaboration has unique magic can emerge when these legendary artists come together. Their interplay blends elegant, traditional jazz with daring, avant-garde arrangements. Shine Hear, Vol. 2 stands as a powerful and innovative work, affirming the quartet's ability to continually reinvent themselves while honouring the roots of jazz.
Review: Joe Hisaishi's latest release offers a compelling fusion of classical and cinematic music. The compositions, originally crafted for film soundtracks, are reimagined with orchestral arrangements that breathe new life into the pieces. The album showcases Hisaishi's signature style, blending emotive melodies with intricate orchestration. Listeners are treated to a rich auditory experience that highlights the depth and versatility of Hisaishi's work.
Review: Osaka-incubated instrumental jazz and hip-hop group Wa Yo Set take their next big stride with a sure-to-be infamous new cover of a Notorious B.I.G. classic, 'Mo Money Mo Problems'. With Biggie having spat near infinite wisdom on this playful pop diversion - "it's like the more money we come across the more problems we see" - this killer 7" version takes heed, limiting its quantity to fewer than 1000, in case demand outstrips supply and concerns of fan rapaciousness bubble over. With a superb remix from DJ Koco on the B.
Review: Beautiful Shibuya-esque hip jazz from Wa Yo Set, the dazzler jazz-funk band and fan favourite of the Urban Discos roster since 2020, when the quartet released their debut record, Boogieback. 'Don't Let Me Down' is their latest single for the label, and is rather like nothing we've ever heard before, overlaying a raspily swung vocal rap flow from MC KZ against a superbly improvised arrangement mixing snappy drums, classical guitar, double bass and alto sax. On the B is the similarly speedy 'Konyawa Boogie Back', an instrumental cover of the J-pop duo Halca and Yucali's 2009 chart smash.
Review: Osaka-based jazz-funk band Wa Yo Set is dropping this new 7" single as a way of offering fans a sneak peek of another new album project they have coming up this year. The A-side features a jazzy, acoustic, and danceable instrumental cover of MISIA's 'Tsutsumikomu Youni,' which has been skilfully reimagined in the band's signature style. On the B-side, the original track 'R308' delivers a breezy summer vibe and closes out a tasty release that showcases the band's ever-evolving sound. It has more than got us interested in hearing the full length that is soon to come.
Review: wAFF is a part of the big room techno future at this stage. The UK artist has been rolling out effective tracks to lock in large crowds for many years on a range of labels. It is Nature where he finds himself here and once again he sticks to his usual formula - well designed drums that are chunky but warm, with burrowing synths up top and some effects and vocals to bring them alive. 'Leaving You' starts things at a slick pace, 'Underbite' is a little more minimal and loopy and 'Fat Couch' brings a classic r&b sample to the tech beats for even more crowd-pleasing effect.
Review: Cha Cha's latest drop revisits some essential roots reggae with the original 12" mix of the late 70s classic 'Very Well,' which is a standout track dripping in Channel One's signature so-called 'ruff & tuff' style and rich Jamaican soul. Complementing it are two heavyweight cuts of 'Kunta Kinte,' the iconic original dubplate version and a previously unreleased mix from the same era. These selections are packed with deep rhythms and militant vibes with signature production that is alive and raw. This reissue harks back to a golden moment in roots history and also offers fresh depth for collectors and selectors alike.
Review: For our money, XL Middleton is one of the best producers in the game right now. His ability to craft timeless funk and electro sounds that make you want to move your ass is second to none. Here he does just that with his remix of Hannah Warm's 'Just In Time.' It's defined by his usual sense of LA cool with squelchy synth bass, stepping street soul beats from the 80s and in this case a Japanese vocal that soars through a cloudless sky on a sunny day. Flip over this tidy 7" for the original version which is a pure city pop delight.
Review: Jazz fusion supergroup Wasafiri dropped a lush double album in the form of Klearlight and it now receives a house remix makeover from some top-tier producers. Grammy-winning Chris Penny aka CPen layers in plenty of clean digital melodies and dusty tech drums to his version, while UK jazz maestro Greg Foat excels with some cosmic broken beat bliss. Dolfin Records' Ben Hixon brings a signature deep and also offers a more loopy and rough house cut that reminds of early Armand Van Helden with its loops melodies and deep, dirty bass.
Review: Paul Weller unveils the 'Supplement: 66 EP', featuring four exquisite new tracks. These songs, recorded at Weller's Black Barn Studios, reflect a heartfelt homage to his musical roots while showcasing his evolution as an artist. Produced by Weller himself, the EP includes contributions from the Wellerband, along with notable musicians like Max Beesley - yes, the actor - on vibraphone and folk legend Danny Thompson on double bass. Original Jam member Steve Brookes adds guitar work, enhancing the rich soundscape. The closing track, 'So Quietly', features esteemed folk artist Kathryn Williams on lead vocals, who also co-wrote the haunting piece. 'Supplement: 66' delivers an additional four tracks of soulful, roots-inspired rock, perfectly complementing its parent album.
Flying Fish (Alexis Taylor & Pilooski remix) (5:46)
Nothing (Richie Stevens Smudge remix) (4:39)
Review: Two tracks from the Modfather's current 66 album get the remix treatment, with the A-side seeing Alexis Taylor of Hot Chip joining unlikely forces with Parisian DJ and producer Cedric Marszewski aka Pilooski for an overhaul of 'Flying Fish', before the flip hosts 'Flying Fish' Richie Stevens of virtual band Spacemonkeyz works his magic on 'Nothing'. Weller's remixes have been well chosen and generally top drawer ever since Brendan Lynch reworked 'Wild Wood' back in the mid 90s, a rich tradition that continues unabated here.
Last Christmas (live At Wembley Arena, December 2006) (5:52)
Last Christmas (instrumental) (4:25)
Review: Wham!'s 'Last Christmas' has transcended mere holiday music, firmly establishing itself as a cultural touchstone since its release. As we celebrate its monumental 40th anniversary, this new collection gathers every iteration of this timeless classic. Fans can relish the previously unreleased live performance from George Michael at Wembley in 2006, alongside the 'Pudding' mix and the original instrumental. This festive release encapsulates the joyous spirit of the season, ensuring that 'Last Christmas' remains essential listening for both new and longtime admirers.
Ano Kane O Narasuno Wa Anata (feat Ken Yokoyama) (3:16)
Ano Kane O Narasuno Wa Anata (feat Mayumi Kojima) (3:16)
Review: Popular Kayou ska band What's Love? is back with some more of their delightful sonic creations. This time they release two 7" nuggets on Warner Japan and both feature their own idiosyncratic pop cover songs. One of the highlights is their ska rendition of Akiko Wada's well-known national hit 'Ano Kane o Narasuno wa Anata,' which was originally put out to great success back at the turn of the new millennium in 2001. The A-side features vocals by Yokoyama Ken from Crazy Ken Band, while the B-side showcases a vocal version by Kojima Mayumi. These releases are a must-have for anyone looking for a little left-of-centre magic to drop into their curveball sets.
Review: Stefan Schwander is known for aliases like Harmonious Thelonious, A Rocket In Dub and Antonelli Electr and now strikes once more with his third EP, 'While My Sequencer Gently Bleeps'. Entirely crafted on Elektron's Monomachine, this one delivers deep basslines, ravey bleeps, piano chords and synth melodies that evoke the sounds of Jamaica, UK and Chicago while looking toward the future. The EP opens with the groovy 'Title Track' followed by the minimal, dub-influenced 'Sublime' with shuffling beats and a smooth synth line. On the flipside, 'Definition Of ...' combines deep bass, lively percussion and subtle melodies that are both danceable and storytelling.
Review: Raised on gospel in Mobile, Alabama, Lynn White's path to soul stardom began in Ike Darby's record store, where her habit of singing along to the songs that boomed from the speakers spiralled into a recording deal, not to mention eventual marriage with the store owner. Her 1978 debut on Darby wove a string of local releases, but it was her smouldering 1982 single 'I Don't Ever Wanna See Your Face Again' that caught the attention of Memphis soul legend Willie Mitchell. Signing to Waylo, White spent the 80s carving out a distinctive place in Southern soul, with highlights like the modern soul favourite 'See You Later Bye'. This reissue brings together two standout tracks from her early 90s period: the Lanier & Co. assist 'I Don't Know Why' and a tender cover of George Jackson's 'The New Me'.
Review: Ralph White's early ventures into disco are finally gathered in one place with the first official anthology of his 1978 recordings at Sydney's Albert Studios. Better known at the time as a session player and producer in the city's studio scene, White was tapped by M7 to craft four disco pieces aimed at an emerging dance market. Over just two days in the studio and a small group of local players - including a young Tommy Emmanuel - he recorded four standout cuts, together which remain some of the most refined Oceanian disco ever put to tape. Though the original 12"s saw limited success domestically, M7's distribution push into markets like Canada, India and Argentina helped cultivate a quiet cult following. Now remastered and housed in a deluxe spot-UV sleeve with inserts featuring new liner notes and White's biography, this reissue shines overdue light on a forgotten chapter in Australian dance music.
Review: Whodamanny's Biloba sublabel on Periodica Records takes us into dark, hypnotic sax-driven sounds here with a new single that comes with four unique versions. The Club mix of 'Volveran ' features chanting vocals and neon-hued pads over tinny electric disco beats with some big sax stylings. TehSax Only does what it says on the tin and the Radio mix condenses this energy into a spellbinding pop gem while the Dub version removes the sax, highlights delayed drums, cosmic chords and sunlit guitar riffs and tops it with hazy vocals. These are lively, retro-future disco delights that are sure-fire crowd-pleasers.
Review: The fifth release on the rather mysterious Wicked Disco encapsulates the dazzling spirit of classic disco, channelling the soul of the late 70s with a sound that feels vintage but also revitalised. This one-sided edition bursts to life with a bold horn section that immediately grabs attention, paired with shimmering strings that weave a lush, cinematic backdrop. Add a deeply emotive vocal performance that elevates the groove into something truly joyous and layers of vibrant rhythms and intricate instrumentation and bang - you'red transported to an era of glamorous nightlife.
Review: Wicked Disco demonstrate that they really have gotten no rest, sharing a new remix-remix of Whitney Houston’s version of Chaka Khan’s ‘I’m Every Woman’. While the original disco numbers, both in Khan and Houston’s incarnations, are much smoother-edged and naturalistic, Wicked Disco bring a choppier and more staccato garage house beat to the table, lending tasteful pepperings of dub delay and bass-boosting to a mix that we didn’t know needed it. A touch of generalised femininity is thus lent to the quintessential disco dancefloor, adding much extra umami to this already felicitous freakout.
Review: Who can resist a lovely one-sided, blue-marbled 12" that is mad limited? Well it depends on the tune, of course, and the good news is this one from Wicked Disco on the newly minted eponymous label is superb. 'Too Late Is What You Are' is an action-packed fusion of Afro soul, organic percussion, disco grooves and wet finger clicks topped off with a soul-drenched vocal and some big horns. The arrangement is fulsome but never over-loaded which means this one has it all, basically, and will bring great times to any dancefloor.
Review: While Wilco has often regarded EPs as secondary offerings, their latest release, 'Hot Sun Cool Shroud', defies that trend by presenting a cohesive artistic statement reminiscent of a full album. Unlike previous EPs, which were typically promotional in nature, this six-song collection embraces the format's potential, showcasing the band's versatility and depth. The opener, 'Hot Sun', blends sensations of pleasure and existential anxiety, as Jeff Tweedy questions his role in the face of climate change. Each track feels intentional, flowing smoothly into the next while exploring various facets of the band's identity. The two-part structure features instrumental pieces that punctuate the vocal tracks, showcasing a mix of melody and dissonance that reflects their eclectic sound. From the reflective 'Ice Cream' to the energetic chaos of 'Inside the Bell Bones', Wilco exhibits an impressive range, seamlessly blending elements of rock, country and experimentation. 'Hot Sun Cool Shroud' not only stands as a remarkable addition to their discography but also redefines the possibilities of the EP format in their artistic journey.
Review: Missile Vintage deploys a sixth sizzling techno weapon here and it comes from the studio of Damon Wild and Tim Taylor who combine in electric fashion. 'Band The Acid' really does that. It is cantering, hi-octane techno with lashings of wet 303 lines that flash about the mix like an untethered hose. Add in some slamming analogue drums and eye-watering percussion and you have pure club dynamite. The DJ Dextro remix does nothing to offer you respite and is just as much of a caustic and timeless acid techno classic.
Review: Bristol-based Will You (AKA Oleeva label founder Will Spence) is finally ready to make his vinyl bow, with fast-rising Berlin imprint Stolar the lucky label handling the imprint. He begins in predictably confident mood with 'Sante', a deeply swirling, psychedelic and immersive slab of hypno-house wrapped in waves of TB-303 acid insanity, before treating us to the unsettling off-kilter tech-house wonkiness of 'Is It 2 Late?' Over on the reverse side, both cuts are given the remix treatment. Lb Honne re-frames 'Is It 2 Late?' as a smoother and more intergalactic-sounding chunk of deep tech-house, while Orion turns 'Sante' into a field recordings and effects-laden ambient techno shuffler.
Review: Winfree's 'Friday Night,' a catchy 7" on Six Nine, delivers a fresh take on soul with a modern twist. Side-1 features the T-groove remix of 'Friday Night,' blending a slamming slow groove with funk and electro complete with vocoder work that nods to Zapp. Side-2's 'The Way She Makes It Bounce' dives into early electro sounds, perfect for low-rider music enthusiasts, channeling the spirit of Roger Troutman. This release captures the classic vibes while infusing it with contemporary elements, making it a track to check out for fans of both old-school and modern funk. Both sides, needless to say, are proper party starters.
Review: Wisp's debut EP, Pandora, shows off her understanding of modern shoegaze. This release has garnered significant attention and when you heat it, it'll be clear why. The standout single, 'Your Face,' opens with crashing drums and ethereal guitar leads, perfectly complemented by Wisp's dreamy, drowsy vocal effect. The track's structure and key changes between verses create a stunning listening experience. Pandora and the reflective atmosphere are breathtaking with Wisp's gentle soprano and shinning shoegaze guitar. Although the lyrics may meander, the overall sonic impact is undeniable. 'Luna,' a highlight of the EP, blends dreamy and reverb-drenched vocals with influences from Slowdive and Candy Claws. The balance between instrumental focus and vocal presence is exceptional. 'See You Soon' stands out lyrically, with poignant lines and an overdriven indie lead. The closing track, 'Mimi,' impresses with its clean vocals and unique writing with the best lyrical content on the project. In Pandora, Wisp delivers a collection of tracks that effortlessly blend wistful melodies with her breathy voice, creating a dreamy shoegaze experience. As debuts go, this is pretty spectacular.
Review: Chelsea Wolfe's latest album, She Reaches Out to She Reaches Out to She, is a haunting and emotionally charged masterpiece. Known for her shadowy blend of Gothic industrial, doom, and folk, Wolfe delves deeper into electronic soundscapes with this release, while maintaining her trademark dark, atmospheric style. The album explores themes of severing toxic ties and the cyclical nature of grief and healing. With ten tracks that seamlessly blend industrial textures, eerie vocals and ambient layers, it's an immersive journey from start to finish. Tracks include the opener 'Whispers in the Echo Chamber', where Wolfe's hushed vocals and industrial beats create a brooding atmosphere, and 'Everything Turns Blue', a track full of lyrical power and electronic drive. The closer 'Dusk' is a breathtaking finale with a casual yet explosive climax. While the middle sectionifeaturing 'The Liminal', 'Eyes Like Nightshade' and 'Salt'islows the album slightly, their deep atmosphere still shines. Other highlights like 'House of Self-Undoing' and 'Unseen World' elevate the record to new heights with their driving rhythms and haunting melodies. Overall, this is a powerful, deeply personal album that fans of darkwave, industrial, and ambient metal will adore.
The Wonderland Band - "Thrill Me" (Joe T Vannelli Classic mix) (5:51)
The Wonderland Band - "Thrill Me (With Your Super Love)" (8:05)
Pure Energy - "Party On" (Vannelli Bros Classic mix) (7:31)
Pure Energy - "Party On" (8:24)
Review: Use Vinyl looks back to two iconic tracks from the 70s and 80s here for source material for a new remix EP by the Vannelli family. Joe T remixes 'Thrill Me' by The Wonderland Band into the sort of direct and funky house sound that brims with early dance music charm while the Vannelli Bros offer their rework of 'Party On' by Pure Energy which comes with plenty of energy for club contexts. Both tracks are presented as Classic Mix versions and bring plenty of new life to the original hits without forgoing the timeless, catchy and meaningful melodies that define the originals. House music like this is as authentic as it gets.
Review: Byrd Out Limited presents a remarkable find here in the form of previously unheard music from The Woodleigh Research Facility. The four-tracker captures the essence of chugging, acid-tinged electronica and offers a unique glimpse into the duo's creative journey. Recorded between 2016 and 2017, the tunes showcase their signature fusion of hypnotic grooves and experimental flair as the duo blends intricate electronic textures with a retro-futuristic edge. A vital pick-up that comes in limited pink vinyl.
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