The Scope: It seems that Alice Russell had enough left over from her pot of gold to put out a double remix album.

A whole bunch of credible musicians from different but similar genres have taken a crack at the tunes from Russell’s fourth album, Pot Of Gold. The sound of a double album devoted to remixes from just one album may sound tedious, but remember the success of Katalyst’s Agent Manipulated? The good thing is some tunes are remixed multiple times (Got The Hunger? five times alone), which allows you pick up on each artist’s interpretation. As the remixers do their thang, they all have full respect for the vocals of Alice, which generally appear in their entirety.  Everything else was fair game. Universe seemed to be the track that was ripe for Latin influenced alterations by Kid Gusto and GRC. Shawn Lee and Mr Scruff’s efforts were right on the money, as would be expected, with both working an uplifting, soulful angle. The most diverse remix was provided by the little known Emika, with her minimal, electro take of Hurry On Now. But I personally couldn’t go past the up-tempo funk of Llorca on Got The Hunger?

The Wrap:  Alice Russell is hot property at the moment and this project confirms that. The UK soul diva has a set of lungs that are up there with the likes of Sharon Jones and a sober Amy Winehouse. 

Col C

The Scope: Adelaide’s south has cooked up a seemingly never ending stream of hip hop talent, Red Whine – an alias of a better known artist – looks to serve up some tasty delights.

While the voice is instantly recognisable, as are those of the guests, the whole point of this release is to approach it without any preconceptions or with a type of music in mind. The Lost Files are a collection of hidden gems, the production and guests all delivering. Beat-wise this release is kept quite laid back with simple samples and drums layered well, a feat too many overlook in the pursuit of making something for the charts. Lyrically, somewhat surprisingly, is that there is quite a lot of variation. Although you could assume that it is a compilation, here it is the same core group of acts showing there are many strings to their proverbial bow, or perhaps more appropriately ways to tie their fat laces. Standout cuts come in the form of Think Again, The Truth and How It Began, although each track here is solid. I guess the only thing here that really lets the release down is that it’s not an album start to end, where the artist can really express themselves or themselves creatively. With some polished edges that a bigger studio could provide and a structure from start to end, a release from Red Whine could kick start a somewhat stuttering Adelaide scene, a scene in need of a kick from those on the next tier below the big stars.

The Wrap: An enjoyable romp through the hard drive of beats.

Shane Scott

The Scope: In the 10 years since their full-length release on Mo' Wax, these two have fingered many pies; now comes a delicious creation worth waiting for...

Labels, genres and categories. It can be a real chore to slap one of these things on an album because by doing so it creates an indelible idea of what a record is about, and it can alienate some listeners who have one impression, and attract others who have no business round these parts. So with this in mind, I have to give this fine slice of synth-pop-electro-tech-balaeric pie a glowing endorsement, as it is rich in texture, excessively morish, and with a decided hint of ‘yeah-ness’. To continue the pie analogy, this
album has layers to spare. Starting with Life's Swift Charger, with a bassline and vibe your hippie dad would totally dig on, this sets the mood with a great building quality and laid-back vocals. This melds into the next track; a gentle little number, not unlike those 'aaaahh' moments UNKLE do so well - which is no surprise as Pablo 
Clements (one-half of Psychonauts), has contributed to the output of the aforementioned. Anthemic folkish-sounds can be felt on Hips For Scotland, and the beats get a work-out here, as on the tribal throb of Hot Blood. Indie kids get a nod on Magnetic, but it's the mellower, more atmospheric moments, which really shine, such as Dream Chaser, sounding almost like Cliff Martinez in parts. In short, stylistically wildly varied; quality-wise; all top-notch.

The Wrap: Deserved of the understanding and appreciation of the discerning listener.

Texjah

The Scope: Music often finds a home in destinations, and as Holland moves into the limelight for cutting edge electronic music, Amsterdam’s leading events and festival platform, VOLTT, unleashes its first volume in a mix series compiled by the nations most revered and admired artists.

As the driving force of VOLTT, Bart Skils kicks off this new compilation series. For over a decade Skils has been Holland’s most respected house and techno artist becoming the unofficial ambassador for quality sounds and this mix is no exception. The mix represents not only the sounds of the amazing VOLTT parties but also those tracks that represent Bart’s own legendary performances. The mix transcends music from all walks of underground club life. Starting out deeper and soulful the mix builds to the bass driven tech house vibe that is sweeping up dancefloors across the globe, best typified here by Madskillz remix of Volta’s Tiramisu. Other highlights include Alex Cellar’s La Palma, current man of the moment Joris Voorn and his track Empty Trash whilst Skils’ own District One project provides Dubcrystal to the mix.

The Wrap: This is over an hour of solid underground grooves programmed and mixed to perfection by Skils, one that is a certainty to whip any discerning tech house fan into chin stroking frenzy.

Alex Mckenzie

The Scope: Can the queen of hip hop soul retain her crown in an era of contenders to her throne?

Despite the Auto-Tune flavours, it seems Mary J Blige will retain her crown with the lead off track and Akon helmed Tonight, which shows the 38-year-old matching the electro sheen of Rihanna. Then the classic ‘90s flavoured vocal hip hop of The One hits and this is a one-two punch of new R&B jiving with old. Soon it becomes apparent that Alicia Keys is now the queen as Mary unfortunately has hit middle age creatively. The beats on her ninth album are all mid-tempo, which can work if the singer has something to say, which you expect with the album title Stronger With Each Tear but this is not the case here – this is a pleasant album, one that won’t get Mary and new fans or lose her that Mary J Blige stronghold. There is nothing as clubby or urgent as her Dre produced Family Affair or, fuck, even the Diddy helmed Love @ 1st Sight and nothing as moving as No More Drama. When young female R&B artists such as Rihanna are making high art statements with their appearance and using producers such as Chase & Status to move forward creatively or Alicia Keys is out there being the strong female, you expect Mary to be the elder R&B presence lyrically. Unfortunately this isn’t the case here.

The Wrap: Continues the run of so/so albums from Ms Blige.

Jeff Spicoli

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