Review: Earlier in the decade, Bobby "S-Type" Perman impressed all and sundry with a series of inspired EPs that put kaleidoscopic synths, chopped and screwed beats and fuzzy bass tones front and centre. Listening to "Beat" - the Scottish producer's first release for four years - it seems little has changed. Its six tracks are as vibrant, thrilling and entertaining as ever, offering a mangled mix of future R&B motifs, recycled '80s synths, stuttering trap beats, off-kilter hip-hop grooves, weighty analogue bass and glassy-eyed, sharply chopped vocal samples. There's little revelatory here, despite a keen sense of adventure, but Perman remains a superb beat-maker whose work still stands out from the crowd.
Review: Rising 140 sculptor Samba proudly presents his own label 26.RAIN. Following a whole string of heavily supported releases on the likes of System Music, Deep, Dark & Dangerous and Encrypted, the label is a new outlet for a fresh synth-led fusion style he's been developing gradually. Deep, musical, not shy of an 808 or a two-step or two, there's a touch of UKG, wave and trap deep across both sides. "Acecloud" is the big neon dreamer of the duo while "Cookies" crumbles a little more delicately and introspectively. An excellent launch release, we're saving our rainy day money for 002.
Review: The Saturday Knights are a culmination of three freaks, a jaw-jacking combination of performing personalities: storyteller and entertainer Tilson, who can tickle any lady's funny bone; low-income yarn spinner and urban graffiti poet Barfly; and pumped up by the big beats and psychedelic turntable-artist, DJ Suspence.
Round & Round (feat Darrion - Living Room version) (4:44)
Review: SimonAyEm has been collecting records and generally immersing himself in rap for a quarter of a century. He makes his own beats, held a rap show on Swiss national and here one of his homemade demos is presented on Burning Sole. The first version was a raw, made in the kitchen jam with rough drums and noodling keys next to a heady whistle, while the flip side is a more refined lounge version with a fuller, richer, warmer sound and more steamy chords, as well as a hook sung by the producer's own young son. Nice.
The Big Throwdown (Muro vocal edit version) (4:36)
The Big Throwdown (Muro instrumental edit version) (4:32)
Review: Japanese digger doyen Muro returns to one of the most important OG rap records of all time; South Bronx's ultra-funky, politically-sharpened block party jam "The Big Throwdown". The edit titles say it all; Muro's vocal edit really flexes Mike Serrette's vocals right down to the iconic gutsy 'huh!' chant and the big backing vocal rhythm while his instrumental version lets that groove run loose as the plucked bass walks cut through with charm and the keys spiral out of control in the best way possible. An stone cold classic.