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‘Recorded across East London, South-East Kent and Snaresbrook Crown Court during what is described as “the UK media’s attempt at divining integrity from the orchestrated turbulence of Brexit”, with the record setting out to “juggle the documentation of this particular moment with the desire to discern motivation from despair”. World In Action takes in field recordings, woodwind freakouts and percussion from Valentina Magaletti amongst other elements’ (The Quietus).
Bringing together two sevens originally released in Jamaica on the Afro Black label, in the mid-seventies. Rootical domestics, soulfully delivered, over tight, funky playing. You Let Me Down is Wackies’ sublime Black Harmony rhythm, no less.
Collectors’ heaven, utilising Joe ‘Basement Session’ Morgan’s own imprint Fish Tea, going since the 1980s.
Up from down under, following crucial releases on his own Body Language imprint, LJ shifts gears and steers his intricate sound-world — torn between house and ambient, with Larry Heard’s Alien LP coursing through — into deeper, more techno-infused waters.
Watch out for The Centre Of Time, evoking over its twenty minutes both the arctic vapour of Vletrmx21-vintage Autechre and the expansiveness of Vangelis in full flight.
Next-level stuff from Berceuse Heroique.
Crucial, ecstatic, magnificent disco, rinsed nowadays by the likes of Theo Parrish and DJ Harvey. Producer and writer Jerry Peter’s crowning ten minutes — notwithstanding credits with everyone from Foster Sylvers and Gene Harris to Aretha and Marvin.
Plus the mighty Bourgie Bourgie on the flip.
Superb disco boogie. A deeply soulful song, expertly sung. Killer, bare-bones break-downs, soaring strings, resplendent horns, with composers McFadden and Whitehead rocking the controls.
Plus an unmissable version of Curtis’ Make Me Believe In You! Fabulous, epic, Van McCoy drama, with a meaner Melba, thumping bass, and stomping kick-drum.
Outstanding, widescreen, blazing modern roots by way of the Dubmatix crew in Toronto. Horace Andy, too; and a shot of Wackies style and fashion in the mix.
Scintillating, hard-grooving, vintage afro-funk from coastal Kenya, drawn from rare sevens and a privately pressed LP.
It opens and closes with killer forays into left-field disco, featuring limber percussion and delirious synths, and breakdowns set to liquify dancefloors. Uru Wamiel catches the double-dutch bus to Mombasa, whilst Ndogo Ndogo is irresistibly reminiscent of early eighties New York crossover funk like Monyaka, with clattering drums, rough rhythm guitar, party-down bass, burning horns and all-together-now singing.
Lovely music, beautifully presented in die-cut, silk-screened sleeves.
Excellent remixes by Burnt Friedman and Ricardo Villalobos: upfully clopping; deep and extended.
This deadly Berlin—New Jersey nexus back in action, reinforced by the mighty Shifted.
F Planet itself is an in-for-the-kill stomper, husky and frantic, its sizzling bass and clanky hats inexorably dissolving in a sulphuric alarm of distortion and haywire bleeps. Astral Pilot ties you into a swirl of frequencies, rhythms and mechanical growling, before finally disentangling itself into some kind of cosmic lift-off. On the flip, grimly tightening the bolts, setting the controls inwards, and darkening and thickening its atmospheres into a kind of gut-churning possession, Shifted makes F Planet all his own.
Bumpin’ citizen JFM knocks back some bleep before trumping his FXHEs with two sides of rough, get-loose house like we like it. Warmly recommended.
Stalag alert! With Ansel Collins, a killer Big Youth, and King Tubby.