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Review: Hot on the heels of Blue Note's 2024 lineup announcement of their esteemed Tone Poet series - which reissues classic jazz albums for a contemporary audience hungry for audiophile quality editions - comes this eagerly-awaited new version of Anthony Williams' Life Time. A five-piece north star of free jazz and debut record by the expansive drummer, the album held a crucial repute throughout Williams' career as the inspirational namesake of his later band with John McLaughlin, the Tony Williams Lifetime Band. This one, however, pre-empts this movement and instead hears contributions from such greats as Richard Davis, Herbie Hancock and Ron Carter, riding high on the wave of divine-genius-by-proxy after already having performed with Miles Davis at the age of 18. Blast back to 1964 with this ideal free jazz intro.

Notes: Paper sleeves leave dust on the record and poly ethylene sleeves cling to the record. When removing the record from the sleeve, the poly ethylene generates a static charge which attracts the sleeve to the record and causes the dust caught between the sleeve and the record to scratch the record. The world famous Nagaoka Discfile no: 102 is anti-static and super slippery thus leaving the record completely unharmed.

Sold in packs of 50 sleeves

Review: Sensory Blending is a new collaborative album from Italian collective Aura Safari and Finnish musician Jimi Tenor, born from an impromptu studio session after a Hell Yeah party in Perugia. Despite never having met, their synergy results in a vibrant record brimming with musicality and indelible melodies. Tenor, a psychedelic space-jazz-funk virtuoso, joins forces with Aura Safari's skilled musicians, known for their label regularity and sublime Island Dreams album. From the seductive opener 'Bodily Synesthesia' to the dramatic finale 'Indigo,' Sensory Blending offers a seamless fusion of talents, hinting at potential live performances later this year.

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Review: Lynn Davis, known for her illustrious career as a backing vocalist and member of George Duke's band, continues her solo journey with 'Beautiful You, her second single. Following the success of her debut release, 'Come Over,' Davis showcases her vocal prowess and sensuality once again in this sophisticated r&b ballad with a touch of jazzy swing. In 'Beautiful You,' Davis sings of recognising the inner and outer beauty in her partner, expressing gratitude for finding someone who surpasses expectations. The song beautifully captures the feeling of discovering that something seemingly too good to be true is, in fact, real. With its soulful melodies and heartfelt lyrics, 'Beautiful You' is another standout track from Davis, reaffirming her talent as a solo artist.

Review: Popular Hull-based shoegaze quartet bdrmm are building up to their latest tour with the release of single 'Standard Tuning, arriving hot on the heels of their critically acclaimed second album, 'I Don't Know'. Written and recorded during those same sessions and very much similarly flavoured, it continues a fine vein of form right now, with high praise coming in from the likes of Rolling Stone and Consequence. This special 10" also comes with a remix of the live favourite 'Alps' by Ninja Tune/Cambria Instruments electronica specialist Nathan Fake.

Review: UK Northern soul-food wholesalers Kent Dance are experts in procuring and supplying and continue to stick their necks out in this regard with a brand new reissue of The Soul Children's 'Standing In The Safety Zone', backed up by Sylvia And The Blue Jays' 'Put Me In The Mood' on the flip. The former track is an androgyne vocal soul, car-stereo'ed burst of joy, on which, despite the overarching feel of ecstasy, we hear duetting singers Anita Louis' and John Colbert's lyrics sing of remaining in one's comfort zone, which depending on the interpretation could either be heard as sardonic or earnest. Sylvia and co.'s B-side sounds as great as ever, being the breathy, flirtatious number it always was, yet with its best elements fleshed out ever-further by this 7" pressing.

Review: Producer Soul Supreme is back with another 7" record, delivering two new phat'uns to that subsection of fans who prefer things on the wonkier side. Following earlier, acclaimed tributes the likes of A Tribe Called Quest, J Dilla and Mos Def, the new 'Dues and Don'ts' b/w 'Fraud Fades' 45 features two, all-original jazz-funk groovers by the Amsterdam-based keyboardist and producer. The former track burns slowly, carefully building up around a harpsichord improv, Herbie Hancock style, coming heavy-set by a thick and booming drum backing that soon enough late-blossoms into a cinematic, stringed soaring-on-high. The latter track pays complementary homage to the funk drum breaks of yore, with the central drum line around which the track is built echoing Serge Gainsbourg or Clyde Stubblefield, albeit making conspicuous its own electronically sequenced, not entirely live-performed, feel.

Review: The wonderful Mr K is back with more edit magic on his own Most Excellent label, this time adding his own spin to 'Wela Wela', a hard edge and raw funk cut from Black Blood, a band of musicians from central Africa but who were based in Belgium. This one was never a hit back in the day for some reason but is built on a killer groove that Mr K reworks and tweaks for more suitable dance floor deployment. It was formerly on his Grass Roots record but now makes its way to a handy 7". On the flip is 'Komi Ke Kenam (Fish & Funjee)' which has tough breaks and funk bass that will ensure 'floors get down and dirty.

Review: It All Comes Down to This is the album latest release from Manchester icons A Certain Ratio, and it's a record that is helmed by producer Dan Carey from Speedy Wunderground. Somewhat returning to their origins, the record presents ten concise tracks with a hint of the group's signature electronic flair. Notably, it's the first recording featuring the core trio of Jez Kerr, Martin Moscrop, and Donald Johnson, without any additional collaborators. From their celebrated 1982 album and right up to their dynamic last EP in 2023, this album shows the band's still evolving and still committed to new musical advancements. A testament to their enduring legacy, It All Comes Down to This solidifies A Certain Ratio's place among Manchester's finest.

Review: Ariana Grande's gorgeous Eternal Sunshine album radiates with shimmering pop perfection. Bursting with celestial melodies, lush production, and Grande's powerful vocals, it's an ethereal journey through love, loss, and self-discovery. From the dreamy allure of 'Sunset Serenade' to the introspective depth of 'Midnight Memories,' each track exudes true emotional resonance and sonic brilliance as Grande effortlessly navigates between vulnerability and empowerment to craft a deeply personal yet universally relatable record. With its seamless blend of r&b, pop, and electronic influences, this album solidifies Grande's status as a pop icon while offering listeners escape into a world of eternal bliss.

Review: Originally released in 1994 and now reissued in 2024, confirming the resurgence of interest in the classic jungle sound, 'Watch Out' is a hard-hitting jungle track with a relentless 'Amen' break, while 'Media' offers a more complex and atmospheric soundscape with a deep, broken bassline.. 'Watch Out' immediately grabs attention with its pounding bassline and heavy drums, the tribal percussion adding an exotic flavor, while the heavy Amen break provides the relentless drive that characterises jungle at its best. The track is relentless and hypnotic, perfectly capturing the energy of the early scene. 'Media,' in contrast, is a more experimental tune. The jungle breakbeats are present, but they are more subdued, providing a backdrop for the track's deep bass notes. Together, 'Watch Out' and 'Media' offer a snapshot of the golden era of jungle music. They are essential listening for anyone interested in the genre's roots and its continuing evolution.

Review: Fouk, the Dutch production duo based in Zeeland, Netherlands, presents their latest EP, 'Mirage,' on Heist Recordings. This EP is an excellent blend of deep house and disco elements, showcasing Fouk's signature sound. The title track, 'Mirage,' is a driving main floor masterpiece, featuring sweeping disco strings and a hypnotic groove. 'Coffee' exudes positive house vibes, while 'Tapioca' brings in Balearic influences and a beachy atmosphere. The Elisa Bee remix of 'Mirage' adds an upbeat twist, and 'Abalone' serves as a smooth and elegant outro. Throughout the EP, Foux demonstrates their versatility and expertise in crafting deep house tracks with a distinct disco flair.

Review: A live recording of The 1975's sold out show at Madison Square Garden on the 7th November 2022. Following up their latest full-length studio effort Being Funny In A Foreign Language, this live appearance captures the megaband in a different, candid light (sonically), though attendees would have reported a much different experience, with press rumours detailing a Matty Healy constantly beset by fidgeting, chain-smoking and offhand comments as to the then current state of things. All this painted an unfazed attitude, which actually served to help and not hinder the whopping performance; each of the band's hits cut ecstatically through the park.

Review: Peach Disc's label head Shanti Celeste welcomes her good friend Saoirse on board to care care of its 20th EP., Adn she does a fine job of keeping it fresh with a varied four tracker that starts with the intense loops and tribal percussion of 'Mangomouse'. Once the thudding kicks arrive and bring a subtle sense of funk to the dubby techno mood things really take off. 'Heated Cloud' is urgent, emotionally intense house a la Floorplan and 'Vampire Heart' pairs eerie synth twangs with an EBM style marching beat but more dubby low ends and 'Catfished' has muscular beats infused with paranoid vocals. 'Driver' is a final heavy but heartfelt cut with a real sense of purpose.

Review: Chaos In The CBD have quietly been building an impressive reputation for some time, with releases on Hot Haus, Amadeus and Needwant all hitting the spot. Here they transfer to Bradley Zero's Rhythm Section International with what's arguably their most mature and musically expansive EP to date. There's a decidedly dusty, eyes-closed deep house feel throughout, with hypnotic grooves laden with all manner of neat, often jazz inspired touches. This is perhaps most obvious on the St Germain style jazz-house goodness of "Observe" - all skipping cymbals, bouncy grooves and killer pianos - but can also be found on the deeper "Observe". It's there, too, on the lilting brilliance of "Midnight In Peckham" - think yearning trumpets and twinkling piano motifs - and the blissful "Luxury Motivation".

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Review: Japanese outfit Inokashira Rangers are the world's finest group of Hammond-heavy reggae cover version maestros. They turn their hands to a range of stone cold Western classics and always bring a little sense of fun to their versions. Here it is Nirvana's Smells 'Like Teen Spirit' which they tackle and it is a much loved cut that always sells out, so now gets a reissue. On the flip side is the equally brillaint but more comic 'Summer Madness' with its pillowy drums and liquid synths. A left of centre brace of tunes but essential none the less.

Review: Danny Krivit's officially sanctioned re-edits of Earth Wind & Fire's "Brazilian Rhyme" and "Runnin" have been sought-after since they first appeared on a Japan-only 12" back in 2004. In fact, such is demand that even later bootleg pressings now go for silly money online. As this reissue proves, though, they're arguably amongst Krivit's strongest scalpel works. Certainly, his three-minute revision of the always too short "Brazilian Rhyme" teases it out to just the right length, in the process delivering a sweltering, sing-along summer anthem. The flipside revision of the equally as summery "Runnin" is every bit as good, with Krivit making merry with the original's life-affirming scat vocals and killer piano solos.

Review: Desert funkers Khruangbin announce their latest album A La Sala, turning their efforts inward to a more personal recollection of childhood and origination, and to reach a firmer understanding of what exact influences made this troupe who they are today. In contrast to their last record Mordechai (2020), uniquely conceived as a party record from the jump of its making, A La Sala (translation: 'to the room') is the measured, self-reflective morning after; lead singles 'May Ninth' and 'A Love International' pare back the layers even further than we could imagine Khruangbin pulling otherwise, making for emotional ponderings of the external world, inextricably tied to the internal as it is.

Review: Razor-N-Tape's Family Affair series makes a welcome return here with a third great instalment. This series is something of an annual end-of-year tradition by now (OK, it's arriving a touch late) and this one hits as hard as any with five tracks taken from the full and standout compilation. It is two great remixes of classic RNT material that gets things underway with Ezel offering a dub of Cor.ece and Bruce Leroys sublime deep hose mix of Guinu, then JKriv's 'Better Than Her' is a fat bottomed bit of deep cut electro funk and elsewhere Kim Anh gets raw and cosmic, and Cody Currie's 'Ghost' is broken beat perfection.

Review: Prince Fatty's new independent record label Lovedub Limited kicks off with a super 7" from the man himself. It is in fact something of an homage to the 1970s jazz-funk of Lonnie Liston Smith but with some hefty dub and reggae treatment. Shniece Mcmenamin stars on vocals and brings plenty of summer soul to the groove which is also lit up with free-flying flute lines over steady reggae rhythms that will sink you in deep to Winston "Horseman" Williams and Carlton "Bubblers" Ogilvie's drums, organ and piano. On the flip is the dub with the iconic Liston-Smith melody leading you through a lazy afternoon in style.

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Review: Jalen Ngonda shares two 7"-incarnated selections from his debut album Come Around and Love Me. Anyone who has had the pleasure of seeing Jalen perform live knows that he is one of the most captivating performers on today's soul scene. His voice, equal parts raw feeling and elegance, exudes confidence and charm - disarming packed rooms of rowdy concert-goers, leaving them silent as they hold fast to every syllable sung. For his studio project, however, Ngonda and his team at Hive Mind Studios in Brooklyn developed skulful blends, heavy arrangements and introspective lyrics with a Motown sophistication, leaving the listener in a blissful wash of wonderment. Ngonda creates a classic approach that is rooted in the sounds of revered pioneers, without falling into imitation; most symptomatic of this is the beautiful cinematic soul echoer 'What Is Left To Do', a song sure to dazzle for years to come.

Review: 'Stereo Love' marked the debut single of Romanian DJ Edward Maya and Moldovan-Romanian producer Vika Jigulina and it came back in 2009 on Maya's album, The Stereo Love Show. The catchy refrain is sampled from 'Bayatilar,' a 1989 track by Azerbaijani composer Eldar Mansurov and it helped the song swiftly gain global popularity and go on to rule nightclub playlists across Europe. It soared to the pinnacle of eleven national music charts and its success earned it certifications such as 8× Platinum in Norway, 7× Platinum in Sweden, and Gold or higher in ten other countries. Grab it now on vinyl and pump the party once more with this Euro-dance gem.

Review: The Dust Donuts crew return with a reissue of another delicious 7"s of perfectly aged funk and hip hop sounds. Canadian-born, London-based DJ Jim Sharp was at the controls for this third volume and first up his edits 'Rubber Band.' It has big woodblock hits and brash horn leads with a percolating rhythm that rises and falls in dramatic and emotive fashion. The flip is an edit of a classic hip hop Joint, 'The Light', with the aching original vocal left in place next to lush piano chords and dusty golden era beats.

Review: Patrice Rushen's Remind Me: The Classic Elektra Recordings 1978-1984 celebrates the unmatched talent of a jazz and r&b legend whose influence extends far beyond her chart success. Rushen's songs, including hits like 'Forget Me Nots' and 'Haven't You Heard,' have left an indelible mark on popular music, with countless artists sampling her work. Despite facing criticism and lackluster label support, Rushen's crossover into sophisticated urban pop paved the way for future R&B and hip-hop hits. This compilation shows Rushen's talents as a musician and arranger, with her production providing the building blocks for decades of musical innovation. Tracks like 'Givin' It Up Is Givin' Up' and 'Remind Me' highlight Rushen's electrifying performances and innovative sound. Rushen's timeless music remains as relevant and influential as ever, cementing her status as a true icon of musical innovation and creativity.

Review: London never really came close to matchign Manchester in the baggy stakes, but Flowered Up's album A Life With Brian and its unique fusion of indie rock, dance, and psychedelic influences, is as close as it got. Originally released in 1991 and now reissued on limited orange vinyl, the classic 90s record is a vibrant exploration of youth culture and urban life in London with infectious grooves, catchy hooks, and anthemic choruses all present and correct and ready to deliver a dynamic and energetic listen. The album's title track stands out as a definitive highlight with its distinctive sound and lyrical depth, but really all of these tunes offer a nostalgic journey back to the early 90s and celebrates Flowered Up's enduring legacy.

Review: &Me and Black Coffee make for something of an Afro house dream team here. The latter has long been this sound's pin-up and has gone from playing in South African townships to producing with Beyonce and winning Grammy Awards over the last decade. Now deep in his latest Ibiza season, he unveils collaborative track 'The Rapture' (Pt III), a deep rolling cut with spine-tingling chords and a rich atmosphere. &ME then goes solo for 'LIFE', a shuffling percussive groove with spoken words and enchanting chords to make for a classy two-tracker.

Review: Digwah keeps it tough on this next drop on their own self-titled label. It's a ninth outing and in the time it has taken for those to come out, increasing numbers of people have been catching on to the label's work and making it a 'must check' in their mental lists. This one opens up with 'Couldnt Hate You' which has some Ian Brown vocals samples stitched into a glitchy and menacing beat. 'Open Ended' is just as twitchy and anxious with steely drums and brain frying synths all working hard to fire every synapse in your brain. Effective stuff.

Review: EYA's sister label Lonewolf celebrates 2 years of activity with a 3x 12"! The VA explores a wide range of electronic music styles...from ambient to techno,breaks,electro,acid and more! 'The Wolfpack'will be a must in every record bag and vinyl collection!Music by Innershades,Es-Q,Matthew Dexter,Dom,Zolaa,Intareality,Tadan,Paradise City Breakers,NND,Cool and Frank,Patient Better Drivers.

Review: From the early 1970s, Tim Maia released a string of superb albums that cemented his reputation as Brazilian music's most soulful artist - a guitarist and singer who created thrilling new musical hybrids that owed as much to U.S funk and soul as samba, bossa-nova and MPB. 1975's "Racional Volume 2", a hard-to-find set that's finally been reissued, is one of the best of Maia's key early albums. Rhythmically, the majority of the tracks feature typically shuffling South American rhythms, but the instrumentation and vocals above are far closer in tone to the sunnier, more horn-heavy end of the soul and funk spectrum (with some sweeping orchestration thrown in to add a touch of MPB class). It's a brilliant blend that guarantees good times from start to finish.

Review: Any new album from deep house pioneer and all-round legend Larry Heard is good news, but especially so when it's credited to his best-known and best-loved alias, Mr Fingers. Around The Sun Pt 1 is Heard's first album under the alias for four years and, unsurprisingly, it's as musically expansive, evocative, and atmospheric as they come. Naturally, it's rooted in the warming, dreamy, subtly jazz-flecked deep house style he's been tweaking and improving over decades, with occasional forays into sun-kissed downtempo grooves ('Touch The Sky'), angular acid tracks, Heard's take on dub house (the deliciously deep, micro-house influenced 'Marrakesh') and summery Balearic house ('Shimmer'). All in all, it's another masterpiece from deep house's most significant pioneer.

Review: Now announcing her latest album 30, it's been Adele's longest ever hiatus between albums. Biting back at media hype earlier this year, our worries that 30 would be a "drum and bass record to spite you", in Adele's own words, have been assuaged; its lead single 'Easy On Me' is rather a dramatic, roomy, noir piano ballad. And now that the tracklist has been revealed, we can expect more of the same - belting emotion is, of course, what Adele does best. Watch out for interluding and ending collabs with Erroll Garner and Chris Stapleton, as well as the intimately titled 'I Drink Wine'.

Review: REPRESS ALERT!: Nenor returns to Fossils after some big releases on the mighty fine likes of Moodymann's Mahogani, Defected and Strictly Rhythm. And another fine 12" it is too, crafted from his array of vintage samplers, odd bits of music-making gear, a coveted synth collection and a mix of samples and live instrumentation. There is a mix of dusty house drums and soulful sampling to the raw opener '17 Daze', 'It's A Deep Tune' is just that with its distant bird class, jungle toms and warped bass and 'Tough Decision' brings an epic soul sample over more stripped back but compelling house drums. 'Just The Way' closes with an r&b vocal or minimal yet warm drums. The variety on this EP makes it all the more standout.

Review: The Melvins, known for their unapologetically experimental and abrasive sound, continue their legacy of sonic exploration with Tarantula Heart, set for release via Ipecac Recordings. The album, featuring a five-track lineup, including the sprawling 19-minute opener 'Pain Equals Funny, which displays the band's penchant for pushing the boundaries of conventional music. One of the album's defining features is the incorporation of dual drum parts, with longtime Melvins drummer Dale Crover teaming up with Roy for an impressive display of rhythmic complexity. This collaboration adds a new dimension to the Melvins' sound, further solidifying their reputation as pioneers of unconventional music. Recorded, mixed, and co-produced by Toshi Kasai, a longtime collaborator of the band, Tarantula Heart adds to the album's eclectic sonic palette. While The Melvins may never achieve mainstream success due to their avant-garde approach, this album stands by their unwavering commitment to artistic integrity and innovation, making it a must-listen for fans of boundary-pushing music everywhere.

Review: Lol Hammond is a former member of Spiral Tribe and early live techno act The Drum Club who now makes music on his own as Wah Wah Planet. Back in 1990 is when he penned this fantastic five track Balearic house EP alongside Russell Crone and with female vocal contributions from Lucy Sian. It very much lay out an early blueprint for UK street soul and the opener on the A-side 'Jewel' explores a romantic theme with hooky pop lyrics. Things get more left of centre on the 'Love FXU' with three trips into a smoother sound world perfect for sun kissed island dancing and with influences ranging from early breakbeat and trip hop to elements of dancehall music.

Review: Fresh from delivering a fine album of drone and ambient excursions on his own Private Society imprint - the inspired Message To The Universe - Fred Peterkin returns to the dancefloor via a surprise outing on Synchrophone. As usual, what's on offer brilliantly blends deep house rhythms and textures with the kind of more spacey and dubbed-out elements more often heard in Detroit techno and hypnotic tech-house. A-side 'The Sound Exchange' is particularly potent, with Peterkin wrapping a typically tough-but-tactile groove in ghostly chords, hand percussion hits and echoing synth riffs. Over on side B, 'The Sonic Tour' is a brighter and more colourful riff on a similar sonic blueprint - albeit with deeper, heavier sub-bass and sustained synth strings - while 'The Kingdom' pairs a thickset groove with sweeping strings and twinkling pianos.

Review: Sizzling-hot hip-hop duo Blue Lab Beats are on everybody's lips now, thanks at least in part to the announcement of their latest full-length album, Blue Eclipse. Heralding an exciting new era for the duo, these 12 songs reveal the depth and breadth of producer NK-OK, and multi-instrumentalist Mr DM's musical ambition. Throwing back to their debut EP 'Blue Skies', which even pre-dates their involvement with record labels, Blue Eclipse signals a circling back to their origins while also embracing the new; the pair's usual jazztronica remit is lent the utmost contemporary spin, with notes of drill, neoclassical, trap and Jersey bounce - all still prevalent styles - peeking through in these latest productions.