New releases last four weeks: Leftfield

Review: From the 1979 LP Accadde A... by Arawak, this superb 7" showcases standout Italian Library recordings that you need in your life. Arawak, one of Luciano Simoncini's many pseudonyms, crafted compositions for film scores, radio, and television in Italy and this album remained obscure until the legendary Madlib heavily sampled it in 2000 and drove up the price of originals. The LP received its first reissue by Golden Pavilion in 2017 so fans could cop it once more and now two of the best bits from it are on their own record. Both tracks oscillate between mellow dreamy atmospheres and irresistible drum breaks with 'Bali' being sampled in 'Real Eyes' by Quasimoto in 2000, and b-side jam coming on strong with bagpipes intertwined with punchy bass and steady drums.

Review: Darvid Thor, Henry Jenkins and Hudson Whitlock (of the bands Karate Boogaloo and Surprise Chef) founded the low-key Frollen Music Library in 2021. Now aided in kind with a public release of their works by Spasibo Records, a heartwarming dialogue is facilitated between two isntitutions by way of a new four-track EP. Hand-picking four sweet treats from two earlier releases put out between 2021 and 2022 respectively - 'By The Phone (You Rang?)', 'Jaw Breaker' and 'Sei Cardigani Di Ball' all hailing from the former's Sweet Treats Vol. 1 compilation and the final track '1/4 Cup Of Sunflower Oil' from the following year's The Fretted Neck' album - these tracks are laid-back, nonchalant refractions of talent, across which the aforementioned cycle through said covers of Ennio Morricone, Pierro Piccioni and Piero Umilliani's standout score cuts with ease.

Review: An iconic soundtrack to a classic blaxploitation flick, JJ Johnson and Martha Reeves & The Sweet Things turned a collective head when they simultaneously composed their core themes for Willie Dynamite, directed by obscure director Gilbert Moses. This ineluctable screen treat stars Roscoe Orman and Diana Sands in a quintessential portrayal of early '70s New York pimping, with the central character's foibles giving rise to a latent conscience when he comes into contact with a young social worker. As is often the case with the blaxploitation genre, Willie Dynamite begins with the lead character cruising down the streets of New York in some kind of fancy car, and 'tracked by the central theme: the theme of Reeves' 'Willie D' is clear as day, lyrically portraying D's hustle as 'magic', "never treating two girls the same", "it's no different from any other industry". 'Keep On Movin' On' contrasts this with a note of modesty, signaling the movie's inevitable tonal shift; nor should you miss the B-side instrumentals 'Willie Chase' and 'Parade Strut'.

Review: On this fresh 7" from Columbia Records' Japanese division, we hear pressed to wax two key musical motifs (yes, there are two) from the TV anime Saint Seiya, 'Sentoshi Shinwa Soldier Dream', as well as its counterpart, 'Yume Tabibito'. With the anime concerning the travails and trials of a five-piece justice-league of Athenian intergalactic warriors - who each wear their own "Cloths", i.e. supernatural outfits that grant each protagonist special, demiurgic powers - you can expect each piece to be as rousing and galactic as that description suggests.

Review: Tape Reworks Vol. 2 is the new 12" remix edition of the 2021 album Tape Works Vol. 1 (2021), by the UK's leading musique concrete ensemble Langham Research Centre. With the latter album following up the introductory Tape Works Vol. 1 (2017), which recollected the group's earliest experiments, the second album focused entirely on more recent, original splicings, cuttings and respoolings of the former modernist statement. Now, in turn, come two new remixes of the project by Kara Lis Coverdale and Beatriz Ferreyra, the former of 'Movable Fields' and the latter of 'Nachholbedurfnis'. Coverdale's version is an arresting, looming abstraction, capturing a sense of cosmic loneliness through exoplanetary whistles and deep subs gleaned from the original album's pickups of brutalist buildings; Ferreyra's is jerkier and stranger in palate, utilising glassy transitional sound effects and rapid, sped-up-slowed-down warbles.

Review: SOLO 500 is back on their own self-titled label with the third entry in Galaxy Sound Company's series and again it digs deep into jazz-funk to turn out some killer breaks. Up first is the main theme from 1974's subway hijack movie The Taking Of The Pelham One Two Three and it is one with a funky, jazzy, high-octane sound that has been sampled by Company Flow, Mix Master Mike and many more. On the backside is an edit of a tune from Manfred Mann Chapter Three's self-titled 1969 LP. This one has been famously sampled by The Prodigy. Another great little 7".

Review: Producer Soul Supreme is back with another 7" record, delivering two new phat'uns to that subsection of fans who prefer things on the wonkier side. Following earlier, acclaimed tributes the likes of A Tribe Called Quest, J Dilla and Mos Def, the new 'Dues and Don'ts' b/w 'Fraud Fades' 45 features two, all-original jazz-funk groovers by the Amsterdam-based keyboardist and producer. The former track burns slowly, carefully building up around a harpsichord improv, Herbie Hancock style, coming heavy-set by a thick and booming drum backing that soon enough late-blossoms into a cinematic, stringed soaring-on-high. The latter track pays complementary homage to the funk drum breaks of yore, with the central drum line around which the track is built echoing Serge Gainsbourg or Clyde Stubblefield, albeit making conspicuous its own electronically sequenced, not entirely live-performed, feel.

Review: The Soul Surfers & Shawn Lee have linked their creative energies once more with a new pair of singles for the cultured Spasibo Records. Both tracks on this limited gold vinyl were recorded in 2018. One was captured at Moscow's Magnetone studio during Lee's visit for the premiere of a movie documenting his prior recording with The Soul Surfers, and the other was recorded remotely with The Soul Surfers at their Nizhniy Novgorod headquarters and Lee at his London studio, The Shop. The collaboration is a fruitful one with two sublime and timeless funk cuts featuring some bittersweet replaying of classic melodies.