Love Touch Canada レコード& CD

Review: MIA's latest single, Crime of Passion, picks up where her last hit left off, delivering another dose of sultry funk with producer Gil Masuda. With deep bass and a groovy vibe, MIA's silky voice weaves a tale of compassion and desire over an up-tempo 80s-tinged boogie beat. The track's infectious energy is sure to get listeners on the dance floor, with lyrics like "Am I your shining diamond, baby, kryptonite?" enticing them further. On the flip side, 'Love Bug' offers a chill roller skating jam with lush Rhodes chords and warm synth tones, perfect for anyone who's ever been in love. Released on Love Touch Records, this single hints at the possibility of a long-awaited debut album from MIA in the near future.

Review: For her latest trick, long-serving Canadian singer, songwriter and multi-instrumentalist Ivana Santilli has decided to cover one of her favourite Level 42 tracks, 1983's 'Out of Sight, Out of Mind'. Her take, which includes additional lyrics she wrote especially, sits somewhere between glossy mid-80s soul and colourful boogie. It has a much more electrofunk and soul flavour than the British band's Brit-funk/jazz-funk original, which is no bad thing. B-side 'Air of Love' sees Santilli dip the tempo and charge towards the close-dance zone - all sparse, slow-motion Loose Ends beats, chiming synthesiser melodies, dreamy chords and her own impeccable, slow-burn lead vocals.

Review: Somewhere between a sauerkraut connoisseur, an ancient Athenian philosopher, and a crate-digging obsessive (we'll assume this is the threefold meaning of the nominal pun until we're course-corrected) Saukrates returns with a new single 'Driftin'' via Love Touch Records. This new limited 7" is indeed as, perhaps even more so, delicious as a jar of pickled cabbage considered in Socratic dialogue. The Juno-nominated Canadian icon is here heard teaming up with producer Gil Masuda, who provides a neo-eighties synthfunk bomb over which Sauks flaunts his singing chops (this is a surprise delicacy, as Masuda is not often heard since his 2006 Big Black Lincoln project). Bursting pianos glide over huge gated digi-snares on this gem, the featureless version of which also appears on the B-side.