Four more contagiously skewed re-rubs from the mysterious maestros.
Mais Que Amor is a failsafe dancefloor re-animator, slinkily teasing out a screwed trap intro dotted with pitched vocals. Next level Next. Ride With Me is wild and bruk, with dirty south samples. Ize Kashmir keep things rolling for the heads-down crew on the flip, with its dank, bare-bones dub to close.

Chilled, elevated, hypnotic, move-on-up grooving, out of the Miami reggae underground.
“I know how / to milk a cow.”

Early-eighties UK roots fire originally rolling out of Peckham in South London, on the Kim label, by way of Jay Dees record shop in the High Street.
Both sides are deep, reverberating, hypnotic, zonked, dread, Wackies-style murder.

A fizzing, ranging showcase of six different Italian artists, in the third of this series.
A breakbeat symphony by Modes; swingeing Acid from Train To Eltanin; hybrid footwork by DJ Plant Texture. Nothus makes a belated series debut with some fiercely bottled d&b; Marco Segato is wildly live and direct; Soreab pounds together grime and rather grumpy samba.
Clear vinyl snazzily presented with a transparent matt graphic insert, in a plastic sleeve.
A tonic for the troops.

Barney ‘Blair’ Perry was the Blackbyrds’ guitarist for their first two albums. He wrote the mighty Walking In Rhythm. Here he is in 1978 with another killer piece of jazzed-up, how-we-roll, funky disco; massive on the two-step scene.

Six songs juxtaposing torrents of sliced and processed audio with the warmth of the human voice.
With Norah Jones, Josh Mease, Clare Manchon, Natalie Beridze, Pascal Le Boeuf, and Desmond White. 
‘Answers the question of what a collaboration between Björk and Venetian Snares would sound like, if both were more aware of the drawbacks of both diatonic tedium and ceaseless harmonic wasteland, respectively.’