Jam of the Week: Wreckvge – Witch Hunt (ft. PuroWuan)

Wreckvge, profile pic 2015 (604x340)This week’s jam very nearly wasn’t Halloween-themed. Finding newly released music tracks with a Halloween spin really shouldn’t be this difficult. They’re out there, as this week’s delectably dark track by Wreckvge and PuroWuan demonstrates. Continue reading

Jam of the Week: Mikoteau – Swayzae

Mikoteau - Swayzae (996x560)When a humdinger like ‘Swayzae’ comes along, the compulsion to know more about who made it, and what they might do next, can send you on a scavenger hunt across the wild, untamed corners of the web. If only I had such time when I came across this track by Mikoteau, the collective name for Mikkoh and Decoteau, two female DJ/producers from Atlanta. Continue reading

Replay: Ridge Racer (PSP)

Ridge Racer (PSP), Namco, asset 03 (1280x720)Publisher: Namco  Developer: Namco  Format: PSP  Release: 2004, 2005 (US, EU)

When it launched alongside Sony’s first handheld game system in December 2004, Ridge Racer for PSP was a game out of its time. It was Namco’s attempt to recreate the technological leap that the series had signalled a decade earlier on the original PlayStation. It was also the Japanese development team’s chance to push against the current in the globalised racing market and reclaim its relevance. And it was a proposal that simple, neatly executed ideas were the ones that would work best on Sony’s powerful handheld. Continue reading

Jam of the Week: Rye Rye – Keep Up

Rye Rye album 2012, crop (620x349)Calypso-flavoured swagger for the summer. That’s Rye Rye’s ‘Keep Up’ through and through. This Baltimore hip hop artist, whose colourful outfits often outdo many tropical birds, has the acid-tongued appeal of Azealia Banks or Nicki Minaj. And as well as working with MIA and Robyn, she’s also appeared in frat boy action flick, 21 Jump Street. Continue reading

Choice Cuts: S Club 7 – S Club

Polydor Records, 1999S Club 7, press photo 2002 - Don't Stop Movin' (1024x576)This month sees the return of a pop band that signifies my generation is now firmly in the category of ‘nostalgia marketing’ in the eyes of the music industry: S Club 7. The announcement last November that Tina Barrett, Paul Cattermole, Rachel Stevens, Jo O’Meara, Hannah Spearritt, Bradley McIntosh and Jon Lee would be returning – with a reunion performance on BBC Children in Need and a 2015 UK tour – sent ripples of ecstasy through my Facebook feed (occupied, as it is, nowadays by engagements, work outings and the occasional overboard night out). Continue reading

Jam of the Week: Snakehips – Overtime (ft. Sasha Keable)

Snakehips - Forever Pt II EP artwork (870x489)Just when you thought dance music had nowhere left to go after the likes of Disclosure, Gorgon City and Bondax had had their way with it, London duo, Snakehips, has a fresh take. Ripping and reconstituting vintage R&B grooves into warped combinations of boom bap and breakbeat is their game. They’re efforts to date include the cosmic ‘Days with You (feat. Sinead Harnett)’ and the sparky ‘On & On’, which have both been making the rounds on the club scene. Continue reading

Chic ft Nile Rodgers review – faultless enthusiasm from the hitmaker and co

Roundhouse, LondonChic, Nile Rodgers, Roundhouse, London, Mar 21, 2015, 01, by Aaron Lee (3264x1836)The secret to any good concert is not to peak too soon. But, in the case of Nile Rodgers and his crew of Chic enlistees, at their second Roundhouse show in two days, the vibe just kept on going. Continue reading

Choice Cuts: Chic – Real People

Atlantic Records, 1980
Chic - Nile Rodgers at Sonar 2014, Jun 14, 2014, by scannerFM (1000x563)The first total solar eclipse in the UK since 1999 took place on Friday. A significant event, I’m sure you’ll agree. And this rare celestial event will now be even more significant in the history of music, for it marks the release of Chic’s ‘I’ll Be There’, the first single from Nile Rodgers and Bernard Edwards’s defining dance group for 23 years.

So what better time to (re)introduce you to, Real People, Chic’s fourth LP, an album of exceptional sonic grooves and lyrical quality that goes largely overlooked, thanks to changing music tastes at the tail end of the 1970s. Continue reading