Review: New Zealand funk and reggae troupe Fat Freddy's Drop call on the man Theo Parrish to rework "Mother Mother" from last year's third LP Blackbird on the first of two planned remix 12" singles - watch out for the second featuring the handiwork of Cosmo, Yam Who and Ashley Beedle. In original form, "Mother Mother" was already quite a long track, clocking in at just under nine minutes and though this new rendition from the Sound Signature boss is not that much longer he does add his signature (sorry) twist to the track. There's also an instrumental on the B Side for those that aren't partial to Joe Dukie's distinctive tones but love the Parrish production.
Review: One for the Sam Shepherd completists here; the 2015 debut Floating Points LP, Elaeina, now available in US import edition via David Byrne's Luaka Bop label. We've been waiting on this one since "J&W Beat" six years ago; there's something about Floating Points sound that instantly lends itself to full-length album immersion. It's clear he feels this way too; using the album to delve deeper into electronic deconstructions and delicate ensemble arrangements. At its most adventurous and contemporary classical "Argente" is up there with Frahm, at is dreamiest and jazz-influenced "For Marmish" is a deeply cosmic affair with disparate chords making more sense than they perhaps should. At its most traditional Floating Points we hit the finale "Perotation Six" where the brushed drums are buried under layers of sound and elements in a way that's not dissimilar to Radiohead. Well worth the wait.
Review: Dutch producer Larry De Kat has been spotted delivering an album to Lazare Hoche and sliding his wares onto SlapFunk and Dungeon Meat alike, but his Katnip label it the one to watch for some of his most personal wares. This new release finds him purring his way through downtempo, soul-inflected selections that open out a whole new dimension to this talented, versatile producer. Juno's vocals are the icing on a particularly funky cake on "Do For Love", while "So Damn Fine" is an instrumental beat worthy of D'Angelo (sadly not included). The jazzy licks pour out of this release like honey - Larry De Kat just upped his game yet again and we strongly advise you to take heed.
Review: Here's something to get excited about: a cracking new cut from Detroit deep house legend Alton Miller, backed with a 'Sound Signature' translation from the equally revered Theo Parrish. Miller's version of "Bring Me Down", is something of a treat: a sparkling, starry deep house epic that's blessed with immaculate vocals from soul chanteuse Maurissa Rose. Parrish's translation is equally as stretched out and similarly enjoyable, but is far looser and dustier in feel, with warmer bass and beats that naturally tend towards the jazzier. It's naturally more in keeping with Parrish's work than Miller's, but retains enough of the latter's touches to be counted as a fine remix.
Review: Theo Parrish lays down a marker for a long overdue fifth album, apparently due out later this year, with the sublime Footwork 12". Named in reference to the dance as opposed to the breakneck offshoot of Ghetto House, "Footwork" is a sublime slab of Theo with many of his trademark production touches. Think lightly brushed percussion, meandering bassline that juts out with an odd funk, and subtle yet sumptuous musical touches, all topped off by a gruff "let me see your footwork baby" croon. Those Theo fans out there that like the man to get a bit rugged will be all over "Tympanic Warfare" too, where off the grid polyrhythms cannon around the channels, augmented by an ugly bassline and dexterous keys.
Palov meets A Angelides - "Joder" (feat Daniela Bolano) (4:01)
Zero DB - "Come Party" (7:39)
Chico Mann & Captain Planet - "Ya Te Toca" (Yukicito remix) (4:33)
Review: Hearty congratulations to legendary NYC event Turntables on the Hudson, which recently celebrated 20 years of good grooves, eclectic selections and even better parties. Here founders and residents DJs Nickodemus and Mariano continue the celebrations with a triple-vinyl set showcasing some of the tracks that have rocked their parties over the years. It's naturally pretty varied, flitting between skanking neo-reggae-soul (Fat Freddy's Drop), vibrant Latin beats (Truby Tio, Joe Claussell), tropical treats (Quantic and Nickodemus, Palov & A Angelides), broken beat (Jazzanova remixing Men From The Nile), dubbed-out afro-house (SUMO tweaking Lonesome Echo Production), and techno-tempo jazz house (Zero DB's killer "Come Party"). Oh, and an awesome New Orleans brass band cover of Inner City's "Good Life", which is insanely good.
Review: You have to admire Leon Vynehall's ambition. Although he built his career by delivering atmospheric, otherworldly club music, his first set for Ninja Tune is a sprawling, largely ambient - or at the very least hazy and horizontal - concept album inspired by the story of his parents emigrating to New York. Thus, the ten tracks that make up the album - crafted from a combination of field recordings, sound effects, orchestral instrumentation recorded at Konk's studio in New York and his own sublime electronics - were produced and sequenced to tell a story. It's epic stuff, all told, but crucially also incredibly good. It proves, without any shadow of a doubt, that Vynehall is a producer with talent to match his widescreen vision.