Junior Dell & The D-Lites - "Watch That Girl (Little Fatty Boom Boom)" (3:30)
Woodfield Rd Allstars - "Sharpen Up!" (3:11)
Review: Junior Dell & The D Lites so often and so brilliantly work together and this is another fin example of it. Red hot vibes and sunny soul flow freely throughout the airy and breezy 'Watch That Girl (Little Fatty Boom Boom)', which muses on a passing beauty with a lovely behind. It's a single bursting with catchy hooks and tight rhythms topped by Junior Dell's charismatic vocals and all coated in nice authentic lo-fi fuzz and analogue warmth. The Woodfield Rd Allstars provide a Hammond organ-laced groove with brighter melodies and still lush, dynamic instrumental backdrops that elevate the song's lively edge.
Review: In 2021, Douglas Dulgarian of TAGABOW launched Julia's War Recordings with Guttering, a collaborative EP by MJ Lenderman and Wednesday which was described at the time as bringing out the best bits of both artists' work. It's an EP that paired sighing harmonies with dense power chords and twangy lead guitar and set them on the path to becoming the indie rock giants they are in 2025 with Wednesday's Rat Saw God and Lenderman's Manning Fireworks both being loved by indie fans and critics alike. Now back on wax, this early collaboration offers a glimpse of the magic that sparked their rise to the top.
Review: We're not sure what a Groovebom exactly is, but we can assure you that the head of this Ialian label Luis Radio has you covered. Emphasising constancy and sophistication, the dispositif of Groovebum is as follows: "untroubled by internal strife, untempted by drastic changes of direction, inspired by the long shadows of its own history but with feet planted in the present day and one eye of the future". Remarkable! Their newest comp is a Hammond-heavy hoverer in the vein of deep house, lilting between the leading solo-tastic 'Reach Up' from Radio himself, before the soulful house reactionary motto detourner 'Make Love Great Again' by Deep Roger and Marc Evans, and the closing handpan calypso culmination, 'Zou's Song', by Woody Bianchi and Pietro Nicosia.
Review: A reflective step sideways from the ever-restless Paul Weller, this new release finds the modfather reinterpreting the music that shaped him with measured reverence. Not just a covers project, but a kind of internal cartography-charting influences that feel intimate and formative. The standout 'Lawdy Rolla' is loose and lived-in, a bluesy drawl that lands somewhere between campfire spiritual and basement jam. On the flip, 'Pinball' is rendered with fragile grace, stripped of Pete Townshend's original angst and reimagined as something more quietly resigned. With guests including Noel Gallagher, Robert Plant and Seckou Keita, it's a record driven less by ego than memory. Produced with warmth by Ocean Colour Scene's Steve Cradock, it's an understated, deeply felt offering from an artist still unafraid to look inward.
Clovis Chilwell - "Don't Let The Night End" (5:16)
Dominic Oswald - "Never Letting Go" (4:40)
Rico Scott - "Slow Burn" (4:59)
Review: Bobby Donny's ongoing ACE series of vinyl releases has thus far delivered some genuine deep house treats. This is particularly true of the Dutch label's sporadic, compilation style EPs, which tend to showcase tracks previously released on digital-only EPs. There's plenty to set the pulse racing on EP number four, with highlights including two fine collaborations between label founder Frits Wentink and fellow Amsterdam scene stalwart Malin Genie (the sub-heavy peak-time bounce of 'Ambrosia' and the techno-tempo hypnotism of 'Exopaq'); the ultra-deep two-step house shuffle of 'Comet (Deep mix)' by ZZ Banks; the Italo-house influenced colour of Clovis Chilwell's 'Don't Let The Night End'; and the deep, hazy and dubbed-out brilliance of 'Slow Burn' by Rico Scott.
Review: After recently singing to Ministry of Sound, Wh0 - Robert Chetcuti, formerly of Rhythm Masters- continues his ascension in the dance music world with a 12" for esteemed label, Rekids. The original mix is a polished club weapon that blends sensual grooves with deeper house textures. Wh0's ability to layer catchy vocal hooks with finely tuned production helps the overall sound and the intricate changes. With over 30 singles to his credit in less than a decade, he keep the volume up as well as the quality. Adding firepower to the release is the remix from Catz 'n Dogz, who take the original into more intense techno territory. Their rework simmers with suspense before breaking into a charged, kinetic drop. Where Wh0's version leans into flirtation and bounce, Catz 'n Dogz opt for a tougher, warehouse edge. Together, these two versions provide a versatile one-two punch for DJs.
Review: The Magic Wand label casts another of its sonic spells with an anonymous artist at the helm. It's a knowing blend of many different influences all subtly distilled into a low-key classic. There are elements of yacht rock, Balearic, dub, funk and soul all to be found here. The bassline of 'Crossfire' is slight but funky, the drums sit low in the mix but soon sweep you away on a gentle breeze at sundown and the vocals are effortlessly cool and carefree but really cut through with a quiet charm. This bit of disco sorcery is a one-sided gem that is never going to leave your bag.
Review: Raw but slinky Chi-style deep house from Boo Williams, a key fixture of the Illinois city's nightlife since 1981. Originally released on Relief in 94 'A New Beginning' and its sequelae 'The-B-W Groove' and 'Phasis' are surprising contrasts here, providing affective sonic snapshots of the city's many blocked, narrow streets. The former of these two tracks serves steam-trailed strings and gulping chords down below, whilst the later jacks up the high knob to enclose an FM-bobbing bounce, around which spitting 909s, tuned cowbells and overdriven kicks collect.
Review: Cinthie's 803 Crystal Grooves offshoot Collective Cuts returns with a sharp four-track group hacksaw, which snips off four freshly sheared sonic swatches from both ends of the Atlantic. Active since 2020 and previously home to names like Kettama, UC Beatz and Anaxander, the sub-label continues its mission of spotlighting idiosyncratic house from the deeper fringes. Nashville's Willy Mikk kicks off with 'Devastate', a tough-edged hip-house workout built on punchy drums, rubbery bass and chopped rap bars, before Luca Olivotto goes disco baller on 'Passion', weaving nimble guitar through dream pads and kicks. 180 degrees over, and it's Batch One's 'When U R Free' with an arpy, pianistic uplift, before Basel-based Spaniard Roque's 'Bring It Down, all clipped vox, dubbed stabs and creeping strings.
Review: Rene Wise returns to Dustin Zahn's Enemy Records with a potent follow-up to his 2022 debut 'Jungle House'. This EP delivers four hypnotic, heads-down techno cuts in his trademark style. The A-side leans into minimalism with 'Anxiety' and 'Insomnia' both bringing stripped-back, tripped-out moods that are built from subtle textures, deep grooves and eerie synth work. On the B-side, Rene ventures into more experimental territory while retaining the moody essence. 'Sakar' builds tension with a constantly evolving synth line, while 'Cutting Thick' brings percussive flair and staccato basslines for the release's most rhythmic, funk-infused moment.
The Valentinos - "Rock In The Cradle Of Love" (2:40)
The Valentinos - "Don't Go Away" (3:01)
Review: The 'SAR' EP celebrates the early brilliance of the American Womack family, originally performing as the Womack Brothers before evolving into The Valentinos. This well curated collection showcases four lesser known gems that trace a certain aspect of soul's evolution from the gospel depth of 'Couldn't Hear Nobody Pray' to the raw r&b of 'Don't Go Away' and 'Rock In The Cradle Of Love,' while the stunning group soul of 'Put Me Down Easy' is another doozy. Most tracks make their vinyl debut here, with 'Couldn't Hear Nobody Pray' previously only appearing on a rare SAR pressing. It forms a vital tribute to soul's origins.
Review: Tea Breaks comes through with the goods again here in the form of a killer hip-hop hit that comes from the legendary East Coast scene back in the mid-90s when, for our money, it was turning out its most vital artists and albums. 'CREAM (feat R & ID)' has familiar dark soul energy with strumming strings running across its face, dusty and deep beats and iconic vocals. On the flip of this tidy 7" is an instrumental version that strips things back to the core ingredients and lets your mind do the rest.
Review: A dream pairing from opposite corners of the sonic world, British synth polymath James Holden and Polish clarinettist Waclaw Zimpel land somewhere deep in the trance zone on this six-track debut. Opener 'You Are Gods' flickers into motion with modular ripples and clarinet spirals, setting a tone that's at once meditative and exploratory. 'Sunbeam Path' floats toward more radiant territory, while 'Time Ring Rattles' and 'Incredible Bliss' channel fast-paced, arpeggiated fervour. 'Sparkles, Crystals, Miracles' cools the system with ambient drift, before the closer melts into layered organ drama and a reverent air. The pair's range of instrumentation-violins, algoza flutes, lap steel, and modulars-gives each piece a handmade feel, but it's their shared commitment to improvisation and trance that binds it all. Rather than chase genre, they zero in on shared instinct-and let the current carry them.
Review: Warda Ftouki was an Algerian singer whose songs tot up to a repertoire of about 300; all shine with the coptic reverence of a scarab beetle, triangulating a legacy of traditional songcraft stretched between North Africa and the Middle East. Wewantsounds here present the first-ever vinyl reissue of We Malo, her 1975 gem. Backed by a full Egyptian orchestra and penned by famed composer Baligh Hamdi, the album is a blanching blend of classical Arabic music and 70s funk, with electric guitar and organ flourishes adorning an undivided two sides of tape. This edition has newly remastered audio by Coloursound Studio (Paris), faithful reproduction of the original cassette artwork, and a two-page insert with fresh liner notes by Mario Choueiry of the Institut du Monde Arabe.
B-STOCK: Sleeve damaged (boxcutter scratch on the back) but otherwise in excellent condition
Review: ***B-STOCK: Sleeve damaged (boxcutter scratch on the back) but otherwise in excellent condition***
New Zealand-born dream pop legend Dean Wareham made his name in the Rough Trade-signed Galaxy 500, where his off-kilter vocals and stark/lush songs struck a chord. He then went on to form beloved indie greats Luna, in New York, and is still having success with them today. As a solo artist, Wareham has created this album with Galaxie 500 producer Kramer - the pair working together for the first time in 34 years. It's a long overdue meeting of minds because the album lands with awe-inspiring charm. Listen to its highlight, 'You Were the Ones I Had to Betray', where notes drift with a sense of weightlessness and joy, and you'll get exactly what we mean. This is music that makes life that bit better.
Review: New York glam-metal outfit White Lion carved out a distinct place in late 80s rock with melodic precision, glossy riffs and stadium-sized sentiment. This collection captures their most anthemic highs, with cuts from Pride, Big Game and Mane Attraction laid out in full power-ballad and riff-led glory. The one-two of 'Wait' and 'Radar Love' opens with slick drama, while 'Hungry' and 'Broken Heart' showcase their knack for writing choruses with teeth. Ballads like 'When the Children Cry' and 'Love Don't Come Easy' dial into emotional overdrive, but there's bite too: 'Little Fighter' and 'Lights & Thunder' burn with righteous intent. Two live recordings-'Lady of the Valley' and 'All You Need Is Rock N Roll'-round it off with arena energy. A slick document of their platinum-era peak.
Review: Zamrock pioneers WITCH continue their remarkable second act with Sogolo, a suitably fuzz-driven follow-up to their 2023 reunion album Zango. Recorded in Berlin during a rare break in their busy touring schedule, the album peers confidently into the future (its title drawn from a Zambian word meaning just that) without losing sight of the raw psych-funk energy they helped define in the 70s. Lead single 'Queenless King' sets the tone: perky, funky and full of bite, with frontman Jagari Chanda's powerful energy driving the band forward. The track explores the fallout of a bad marriage, anchored by a sublime bassline from producer Jacco Gardner and spaced-out synths from founding member Patrick Mwondela. WITCH are still pushing forward, turning decades of invention into something timely, vital and completely their own.
Review: Zambian psych rock trailblazers Witch - formed in 1971 and led by Emmanuel Chanda - endured decades of dormancy but enjoyed a new lease of life over the past few years. This follow up to their 2023 reunion album, Zango, sees them continue their blossoming relationship with the Desert Daze festival's label arm and Partisan Records, which is the label that broke Fontaines D.C. A notable producer of the album is Finland's Jacco Gardner, who has dabbled in myriad projects including an impressive solo career and what he's been able to oversee here is remarkable. The rabble-rousing garage rock opener, 'Kamusale' sees fuzz-laden guitars intertwine with Chanda's raw, energetic command as a frontman and we are quickly cast into their spell. Another highlight is the eye opening 'Queenless King' where a kraut-funk bass groove sets off a free-spirited psychedelic tapestry, bursting with bright ideas and soulful charm.
Review: Aside from his many seminal soul sounds, Bill Withers will always be a favourite of ours for the way he simply quit the music industry once he felt he had said all he had to say. And he never changed his mind, never got lured back for money, instead enjoying quiet retirement. What a set of tunes he left behind though, many of them on this album, Still Bill, including the dark paranoia of 'Who Is He (& What Is He To You?)' the funky licks of 'Another Day To Run' and anguished leads and menacing drums of 'Use Me'. Singles aside, this also plays out as all great albums should, as a coherent and absorbing story from front to back.
Review: South London's Patrick Wolf's seventh album unfurls with the sound of wind buffeting coastal cliffs and gently recedes with a hymn to the sea fog. The intervening tracks chart a course through grief, folklore and ritual, woven with strings, synthesisers, and a vocal timbre that carries the weight of experience. Marking his return with his first full-length in over a decade, Wolf delves into the traditions of East Kent and the pagan Wheel of the Year. He conjures a landscape steeped in liminality, harvest, and mortality, resonating with both personal loss and ancient myth. 'Dies Irae', featuring the poignant vocals of his sister Jo Apps, centres on their mother's passing with devastating clarity, while 'Limbo' (with Zola Jesus) transitions into a stormy, cinematic realm. 'The Curfew Bell' echoes his earlier chamber-pop sensibilities, now imbued with a newfound restraint, while 'Lughnasa' (featuring Serafina Steer) and 'Song Of The Scythe' tap into deeper, more elemental undercurrents. Across all 13 tracks, Wolf navigates confidently between orchestral grandeur and stark minimalism, seamlessly blending field recordings with folk revival elements. The result is a record that feels simultaneously ancient and futuristicias if unearthed from the soil, blessed by the moon and cast out to sea.
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