Category: New Releases & Reviews

Alright, let’s dive into a bit of disco heaven with Kano’s “Can’t Hold Back (Your Loving)” Brian Tappert Rework. Now, when you’re dealing with a stone-cold classic like this, you tread carefully. Brian Tappert, bless his soulful fingers, clearly understood the assignment. This rework isn’t some ham-fisted attempt to drag a vintage masterpiece kicking and screaming into the 21st century. Instead, it’s a tasteful polish, a gentle nudge, a bit like giving your favourite leather jacket a fresh dose of conditioner. The original’s infectious energy, that Italo-disco magic brewed in the Milanese cauldron of Luciano Ninzatti, Stefano Pulga, and Matteo Bonsanto, is still front and centre. But now, it’s got a sheen, a subtle upgrade that makes it sound like it’s been sipping from the fountain of modern production techniques.

Think of it as a restoration, not a renovation. The bassline, that glorious, driving force that made hips swivel and glitter balls spin back in ’79, remains gloriously intact. The strings, those shimmering, otherworldly sounds that defined the era, still soar with their original majesty. What Tappert’s done is simply to tighten things up, add a bit of clarity, a touch of modern punch. It’s like finding a vintage car in pristine condition and simply giving it a fresh coat of wax. This rework isn’t about reinventing the wheel; it’s about making sure that wheel still spins as smoothly as it did back in its heyday, ready to ignite dancefloors with its timeless groove. It’s a testament to the enduring power of a classic, lovingly brought into the present without losing an ounce of its original charm.

It’s an absolute banger, go buy it now from wherever you get your music!

You can purchase it from Traxsource by clicking here

Jay Funk De-Luxe takes us straight back to the golden age of house music with “I Wanna Freak You.” This track is a masterclass in old-school vibes, channeling the infectious energy of late 80s and early 90s dance floors. The groove is relentless, driven by a pulsating bassline and crisp percussion that will have you moving from the first beat. Sampling Jodeci’s “Freek’n You,” creating a hypnotic and seductive atmosphere. This is a certified floor-filler, perfect for peak-time moments when you need to elevate the energy and get the crowd in a frenzy.

But “I Wanna Freak You” is more than just a dance floor weapon. It’s a testament to the enduring power of classic house music, a reminder of the timeless sounds that laid the foundation for the genre. With its infectious energy, expertly crafted production, and undeniable groove, this track is a must-have for any house music enthusiast. Whether you’re a seasoned veteran or a newcomer to the scene, this record will transport you back to the heyday of house music and leave you wanting more. So turn up the volume, let the rhythm take over, and prepare to be freaked!

You can buy I wanna freak u from all the usual places.

Mousse T’s “All I Want is the Bass”: A Deep-Groove Delight

Mousse T, the undisputed king of soulful, funky, banging house, has once again delivered a sonic masterpiece with “All I Want is the Bass.” This track is a testament to his ability to craft infectious grooves and soulful melodies that effortlessly transport listeners to a state of pure bliss.

The bassline, the undeniable star of the show, is a pulsating, deep-grooved monster that demands attention. It’s a relentless force that drives the track forward, propelling bodies to the dancefloor. The production is immaculate, with every element carefully balanced to create a rich and immersive listening experience. Mousse T’s signature touch is evident in the subtle nuances and attention to detail that elevate this track to new heights.

The drop, the breakdown, the bit in the middle that makes you throw your hands up in the air is just pure unadulterated joy, bassline, pianos, wailing woman. Its a throwback without sounding like a throwback, bringing that late 80s early 90s hedonistic joy of 4 to the floor right into the now.

“All I Want is the Bass” is more than just a song; it’s an invitation to lose yourself in the music. It’s the kind of track that can instantly transform any ordinary gathering into an unforgettable party. Whether you’re a seasoned house music aficionado or a casual listener, this track is guaranteed to ignite your soul and get your body moving.

Go buy it now here https://www.traxsource.com/track/12748254/all-i-want-is-the-bass-extended-mix

Carl The Jackal Unleashes a Summer Sonic Missile: In My Soul Review

Hold onto your pool floats, folks, because one of our own, Trax DJ Carl The Jackal has just dropped a summer anthem so potent it’s practically criminal. “In My Soul” isn’t just a song, it’s a full-on aural assault on your happy receptors, guaranteed to have you grinning like a loon and dancing like nobody’s watching (even if they totally are).

The bassline in this track burrows deeper than a beach bum after a free ice cream giveaway. It’s a relentless, pulsating groove that gets under your skin and refuses to let go. Then, just as you think things can’t get any more infectiously funky, a wailing female sample swoops in like a banshee on vacation. It’s a sound that could shatter glass or melt hearts, depending on your vibe.

But fear not, gentle listener, because the uplifting drum loop swoops in to save the day. It’s a relentless rhythm that practically begs you to move your feet. And just when you think you’ve reached peak dancefloor frenzy, Carl The Jackal throws in a series of risers that would make a rollercoaster operator blush. These things build and build, sending shivers down your spine and a primal urge to throw your hands skyward coursing through your veins.

“In My Soul” is more than just a collection of catchy elements, though. It’s a masterclass in building energy and keeping the party pumping. It’s the kind of track that soundtracks poolside lounging, late-night beach bonfires, and questionable dance moves at three AM. It’s sunshine in sonic form, a reminder that summer is all about letting loose and feeling the good vibes.

So crank up the volume, grab your dancing shoes, and prepare to have “In My Soul” burrow into your brain and take up permanent residence. This is a summer smash you won’t want to miss.

You can get it wherever you get your music from or check this link to do all the Spotify pre-save, Beatport etc crazy things!

Aural Assault or Audio Ambien?

Skantia’s latest sonic offering, “Yoyo Bop,” arrives with the subtlety of a jackhammer auditioning for a starring role in a Michael Bay film. Buckle up, music lovers (or should I say, brace yourselves?), because this track is about to take you on a thrilling journey…straight to the land of sonic oblivion.

The “hook,” if you can charitably call it that, sounds suspiciously like a malfunctioning smoke alarm possessed by a particularly vengeful gremlin. It’s the kind of repetitive noise you’d expect to find lurking in the bargain bin of free sound effect downloads, labeled ominously as “Presets of Pure Aural Agony.” This delightful sample is then looped into oblivion, a testament to the power of persistence (or perhaps just a severe lack of imagination).

The breakbeat, bless its nonexistent soul, is about as exciting as watching paint dry on a sloth’s back. It possesses all the rhythmic dynamism of a flatlining electrocardiogram. Frankly, I’d rather subject myself to the dulcet tones of white noise, or even the fascinating symphony of dust mites performing a synchronized tap dance on my carpet, than endure another second of this sonic torture.

“Yoyo Bop” is the musical equivalent of cut-and-paste gone rogue. It’s a Frankenstein’s monster of uninspired samples stitched together with all the finesse of a toddler wielding safety scissors. This aural assault is clearly aimed at listeners who’ve achieved a level of euphoria so profound they wouldn’t recognize Beethoven’s Fifth if it personally serenaded them with a kazoo.

So, is Yoyo Bop a masterpiece of electronic music pushing the boundaries of the genre? Or is it simply a sonic abomination fit only for inducing migraines in unsuspecting victims? You be the judge. Just remember, if you choose the latter, earplugs are highly recommended (and possibly mandatory for the sake of public safety).

If you want to buy it, somehow it’s in the Top 10, you can find it on Beatport.

Romeo Louisa – Move Me: Pure Groovy Bliss

If you’re looking for a garage track that injects sunshine straight into your soul, then look no further than Romeo Louisa’s “Move Me.” Forget the head-banging basslines of classic garage. This one’s all about pure, unadulterated groove.

We’re talking light and airy, with a melody that floats like a feather on a summer breeze. Don’t get me wrong, there’s still plenty of bounce in this number. It’s the kind of track that’ll have you bobbing your head and tapping your foot without even realizing it.

“Move Me” is perfect for those lazy summer afternoons, cruising with the windows down, or soundtracking a night of good vibes with friends. It’s a breath of fresh air in the garage scene, proving that the genre can be just as sweet as it is heavy.

You can buy Move Me here or wherever you get your tunes from

Jamiroquai’s “Space Cowboy” Gets a Galactic Glow-Up in Michael Gray’s “Good Vibe Zone Extended”

Jamiroquai’s “Space Cowboy” – a certified anthem – needs no introduction. It’s a timeless track, a sonic rocket ship that’s propelled countless dancefloors into orbit. But even legends can benefit from a fresh perspective, and that’s exactly what Michael Gray delivers with his “Good Vibe Zone Extended” remix.

For Jamiroquai purists (myself included!), the prospect of a remix can be a nerve-wracking proposition. Will it capture the original magic? Will it feel forced or unnecessary? Thankfully, Michael Gray understands the assignment. This isn’t a drastic overhaul; it’s a subtle sonic reimagining that elevates the existing brilliance.

Gray acts as our mission control, expertly guiding the track on a deeper dive into the “Good Vibe Zone.” The enveloping rhythm gets a touch tighter, pulling you even further into the groove. Nuances that shimmered in the original are now amplified, creating a more immersive soundscape. It’s like revisiting a familiar planet and discovering hidden wonders you missed on your first landing.

The true win here is how Gray preserves the core essence of “Space Cowboy.” Jamiroquai’s infectious energy remains intact, that signature swagger still shines through. This remix simply adds a layer of sonic polish, a touch of extra sparkle to an already dazzling piece of musical jewelry.

So, whether you’re a die-hard Jamiroquai fan or a new convert to the church of “Space Cowboy,” Michael Gray’s “Good Vibe Zone Extended” is a must-hear. It’s a testament to the power of a well-crafted remix, a reminder that even classics can benefit from a fresh coat of interstellar paint.

UTO Reignites the Flame with “When All You Want to Do is Be the Fire Part of Fire”

UTO is back, and this Parisian duo isn’t playing with matches anymore – they’re setting the whole damn dance floor ablaze. Remember their 2022 debut, “Touch the Lock”? A masterclass in old-school grooves, sticky hooks, and Y2K-era synth bops. It solidified them as the coolest kids (adults?) in the room, a breath of fresh air compared to the, ahem, “cultural blight” of indie sleaze.

But nostalgia isn’t their only weapon. UTO, the combined forces of Neysa May Barnett and Emile Larroche, are time-traveling sonic sorcerers. Their latest album, “When all you want to do is be the fire part of fire,” is a love letter to the past three decades of music, a masterfully curated playlist of sounds you know and crave, yet twisted into something entirely new.

Take “Napkin,” for example. It’s a kaleidoscopic banger built on the foundation of Lyn Collins’ legendary “Think (About It).” Think Screamadelica-era Primal Scream on a sugar rush – full-throttle synths and bass that throbs like a heartbeat.

But here’s the thing: UTO transcend mere “sampling.” They weave sonic tapestries, where each element plays its part in a dynamic conversation. “2MOONS” exemplifies this perfectly. It starts as a shuffling trip-hop oddity, then blossoms into a lush orchestral soundscape, complete with jangling acoustic chords that shimmer in the ether.

Familiar yet fresh, surreal yet sharp, intricate yet effortless – that’s the UTO magic. If you dig the playful experimentation of Magdalena Bay, the genre-bending brilliance of KNOWER, or the infectious grooves of Hot Chip, then “When all you want to do is be the fire part of fire” is your next sonic obsession. Just crank it up and prepare to be consumed by the flames.

My one and only complaint with this entire album is the title, its completely destroyed my lovely tiled images but then UTO seem to specialise in destroying genres and just producing memorable tunes.

You can buy When All You Want To Do Is Be The Fire Part Of The Fire – UTO here

Diane Birch Soars on “Flying on Abraham”: A No-Mess Flight of Classic Soul with Modern Flair

Diane Birch takes the controls on “Flying on Abraham,” a Bandcamp-exclusive album that bypasses the streaming wars for a more direct connection with her audience. This isn’t just about bypassing middlemen though; it’s about a return to a purer sound.

Birch, a pianist and singer-songwriter with a decade under her hiatus, acts as our pilot, guiding us through a smooth soundscape inspired by 70s AM radio. Think smoky soul, breezy jazz, and the rich textures of R&B and soft rock – a sonic palette that feels comfortably familiar yet avoids becoming a mere retro retread.

The secret weapon here might be Birch’s co-pilot, Paul Stacey (of Oasis and Noel Gallagher’s High Flying Birds). His production is clean and uncluttered, allowing Birch’s voice – as smooth as a perfectly-aged Cabernet – to take center stage. There’s a subtle swagger to her delivery, channeling the likes of Carly Simon without ever veering into full-blown impersonation.

Lyrically, Birch keeps things heartfelt and relatable. The opening track, “Wind Machine,” sets the tone with its melancholic charm: “November is comin’ on and the nights are getting longer/ Summer always deceives/ Little promises like the orange leaves.”

The journey continues with a pitstop at a virtual Hall & Oates concert on “Jukebox Johnny,” complete with a squelching guitar solo and an irresistibly catchy chorus. “Juno” takes a detour into dusky ballad territory, complete with a Pink Floyd-esque guitar solo, while “Boys on Canvas” throws a playful wink with its light funk groove.

The standout track, “Used to Lovin’ You,” shows Birch’s versatility. Think twilight hues and shimmering synth pads as she effortlessly shifts gears from morning oldies to the smooth jams of the 80s.

“Flying on Abraham” is a confident and graceful return for Diane Birch. It’s a welcome escape for those seeking a well-crafted dose of classic soul with a touch of modern flair, all delivered straight from the artist, with no messy distractions. This is a first-class listening experience, best enjoyed with good company and a glass of something smooth.

You can buy Flying on Abraham by Diane Birch here.

A Familiar Soaring, But Does It Take Flight?

Michael Gray takes to the skies with “Fly Away,” featuring the powerhouse vocals of Kimberly Brown and the uplifting harmonies of The Sultra Gospel Singers. The track, a rework of Secret Life’s club classic “As Always” (itself rooted in Stevie Wonder’s soulful ballad “As”), aims for a similar euphoric dancefloor experience.

However, the formula raises a question: does “Fly Away” recapture the magic, or simply echo a well-worn path? The answer might depend on your nostalgia levels.

Gray’s production is undeniably slick. A bouncy bassline propels the track forward, disco-infused flourishes add sparkle, and the gospel singers deliver their signature uplifting energy. It’s a familiar recipe, expertly executed.

Yet, here’s the rub: compared to Secret Life’s “As Always,” “Fly Away” feels a touch derivative. The original’s raw energy and sense of discovery are somewhat muted in this polished reimagining. While undeniably danceable, “Fly Away” doesn’t quite ignite the same spark.

For those yearning for a fresh take on the gospel-house fusion, “Fly Away” might leave you wanting. But for fans of the genre’s established sounds, it’s a competent, radio-friendly offering. Ultimately, “Fly Away” soars competently, but perhaps lacks the same audacious originality that made the tracks it references such enduring classics.

You can buy Fly Away on Traxsource or wherever you buy your music.