Review: In celebration of 50 years in the performing arts, Idris Ackamoor presents Artistic Being for Record Store Day 2025-a powerful blend of jazz, spoken word and activism. Featuring the voices of acclaimed actor Danny Glover and stage legend Rhodessa Jones, this record captures highlights from the Underground Jazz Cabaret, which was performed during Black History Month 2024 at The Lab in San Francisco. Co-produced by Ackamoor's Cultural Odyssey, the release fuses poetic storytelling with evocative musical textures while reflecting on social justice, identity and resilience. Artistic Being is a profound statement from a visionary artist.
Review: Second time around for eccentric Sheffield trio The All Seeing I's sole full-length excursion, 1999's Pickled Eggs & Sherbert, which here lands on vinyl for the first time.The album, a celebration of Steel City creativity featuring cameos from Cocker, Tony Christie, Babybird and the Human League's Phil Oakey, is best remembered for hit singles 'The Beat Goes On', 'Walk Like a Panther' - lyrics reportedly penned by Jarvis Cocker - and 'The First Man in Space', but there are plenty more highlights amongst the unique blends of fractured dancehall rhythms, redlined electronica, oddball easy listening references, experimental d&b rhythms and genuine leftfield pop nous. For proof, check out blissful acapella number 'No Return' (where Lisa Millett plays a starring role), the breathless, bass-heavy house of 'Sweet Music', the weighty madness of 'I Walk' and the exotica-goes-big beat flex of 'Happy Birthday Nicola'.
Review: London-based DJ and composer/producer Phil Mison revisits his Ambala project with a fresh collection of immersive, sun-drenched soundscapes, weaving together breezy rhythms and luminous synth work. A defining force in Balearic music, Mison has long explored the genre in various guises, including Reverso 68 and Cantoma, the latter earning a place in chillout's informal "most revered albums" section. On this second Ambala release, he refines his approach, balancing crisp electronic foundations with warmer organics. A cast of collaborators from the Music For Dreams label join, including guitarist Santino Surfers (Jonas Krag), whose fluid solos range from sultry noir to Mediterranean reverie, composer Troels Hammer, and ambient producer The Swan And The Lake. The result is a dreamlike blend of melody and plunge-texture, perfect for late night reflection or hazy afternoons by the sea.
Review: Stockholm-based multi-instrumentalist and composer Art Longo impresses here with Echowah Island, a new album sure to wind its way into your affections. It was crafted over years in his home studio and is "psychotropical pop" drawing deep inspiration from late 80s music and dub. The album's lush soundscape evokes orange sunsets and ocean breezes and is layered with spring reverb, space echo and wah-wah effects that smooth out the edges as the steady pulse of vintage drum machines moves things on down low. A standout feature is Claudio Jonas, whose ethereal vocals recall classic French femme fatale singers of the 60s. Her poetic, kaleidoscopic lyrics add to a nostalgic dream world that gently bends reality and makes his both escapist and thought-provoking.
Review: Sensory Blending hears Finnish artist Jimi Tenor and Italian group Aura Safari team up for an impromptu studio shebang in Perugia, Italy, after Tenor's storied but clandestine performance at a Hell Yeah party. Despite no prior connection, the musicians quickly found common ground, forging a vivant fusion of jazz-funk, tropicalia and soul. Tenor's psychedelic style gelled Aura Safari's faster, intuited approach, resulting in such tracks as 'Bodily Synesthesia,' 'Bewitched By The Sea' and 'Lunar Wind', each of which connect seductive grooves and ghost noted keys. Possibly performed live at select events later in the year, the record is a perfect storm of recorded "live feel" Balearica.
Review: Bacao Rhythm & Steel Band, the enigmatic steel pan group from Hamburg, made waves in 2024 when their cover of 50 Cent's 'PIMP' was featured in the Oscar-winner film Anatomy Of A Fall. The track played a key role in the movie's success and led to the first-ever steel pans in the orchestra pit at the Academy Awards, further boosting the band's saliency. And yet despite global recognition, 'PIMP' is just a glimpse of their catalogue, which is already rather extensive. Since signing with Big Crown in 2014, Bacao've released four albums and numerous singles, and Big Crown Vaults Vol. 4 flaunts many of these dishings-out, with covers of Bob James' 'Nautilus', Khruangbin's 'Maria Tambien', and the uptempo original 'Kaiso Noir'. It serves as a tantalizing bud-whetter, too, before their oncoming fifth studio album.
Review: Now working under the alias Balaphonic, long serving Manchester artist Danny Ward steers his ear for percussion into something warm, rhythmically rich and hypnotic. He opens with 'Sunflowers in Dub (Deep Summer Mix)', where sitar, harmonica and fluttering keys glide across a humid dubscape, then folds in sun-dappled samba on 'Disorganics (All Strings Mix)', all brushed guitars and delicate groove. 'Six Fingers' leans deeper into Afro-Cuban melancholy, while 'Udders' chops South American drums into psychedelic loops, teasing out low-end heft. A standout collaboration with Ocean Waves Brasil, 'Oxum' blends gentle acid with dreamy textures and Afro-Brazilian swing, before closer 'Bloco Manco' lets off the brakes-delay-lashed, bass-heavy and totally locked-in. It's music built for dancefloors, but with the patience and touch of a drummer who knows when to let things breathe.
Blacker (The Marden Hill Sweet Green Jam mix) (4:39)
Jam Jah (5:16)
Divine Fact (Blacker 2)
(5:01)
Goodvibes Goodnight (3:28)
Anti-Gun Movement (3:08)
Review: The Ballistic Brothers were behind a great many infusion of breakbeat, jazz and Afro house during the 1990s, smashing onto the scene with the Junior Boy's Own twinkler of an EP, 'I'll Fly Away' (the lead track on which works just as easily at drum & bass speeds as it does at tapper-out tempos) as well as the complementary debut album, London Hooligan Soul. The Eccentric Afros were an early, assistive alias, used by an intermixing but not exhaustive list of some of the same producers involved in TBB before they assumed the latter name proper: Ashley Beedle, Rocky & Diesel (X-Press 2), Uschi Classen and Dave Hill. This second edition of "lost tape" reissues rediscovers some of the trio's best and most esoteric breaks-plates, which would've been heard on heavy rotation in the amalgamate days of the 90s London clubbing scene, yet not all of which have been put out properly until now.
Review: The new Bauhaus BBC Sessions release hears British goth pioneers Bauhaus at their most vital, documenting the three-year period that they swept the airwaves like vampire bats with a hearse's worth of recordings made for UK radio. Spanning early post-punk urgencies to the relatively more textured darkness of their later work, these sessions were recorded for shows hosted by John Peel and David Jensen, flapping through alternate takes of 'Double Dare', 'In the Flat Field', and 'Third Uncle'. Together with a recent vinyl reissue of a 1983 performance at the Old Vic in London, which snapped a shot of Bauhaus at the peak of their dramaturgic snarks, both releases provide a compelling, rough-edged, bouffant counterpart to their studio albums, before goth went bird's nest: Bauhaus live and direct, with all the mood, menace and momentum fully intact.
Review: Funky Kromong Vol. 2 builds on the success of its predecessor with another bold and bright selection of tracks by legendary Indonesian artist Benyamin Suaeb for Lamunai Records. This volume highlights Suaeb's genius for fusing traditional Betawi music with infectious funk grooves and witty satire. Tracks like 'Kompor Meleduk', 'Cong-Cong Balicong', and 'Koboi Ngungsi' capture his signature humour and cultural insight while offering fresh energy for new generations. The seamless blend of traditional and modern instruments results in a timeless soundscape that honours Indonesia's musical heritage. Vol. 2 is both a nostalgic tribute and a bold, joyful celebration of innovation.
Review: Billow Observatory returns to the fully ambient realms of their 2012 debut with a deeply introspective, percussion-free release that drifts through spectral soundscapes. Created by Jason Kolb and Jonas Munk, the duo's transatlantic collaboration has matured across four full-length albums marked by precision and emotional depth. Here, abandoning traditional structure, the album instead looks to harness the power of chance and randomness with shimmering guitar textures that crackle and dissolve like dust in water. It evokes a world slightly out of sync that is brooding, haunting and beautifully immersive while underlining their place as masters of refined, atmospheric ambient music.
Review: Over the past three years, Bo Rande and Tobias Wilner of Blue Foundation have shaped Close to the Knife into a mesmerising blend of dream pop, shoegaze and experimental electronics. The album deepens their signature atmospheric style with haunting vocals from Wilner and Nina Larsen plus guest appearances by Scarlet Rae, Helena Gao and Sonya Kitchell. Lush and melancholic in the extreme, the music evokes an introspective mood reminiscent of greats like The Fall. Contributions from Wang Wen's Xie Yugang and drummer Federico Ughi add richness to this deeply emotional and intricately produced journey through sound and feeling.
Review: After 2015, Bon Iver began to fuse ambient glitch with folk, a style which now reaches a head on his latest LP. It expands on 2024's taster EP 'SABLE' in the form of an 11-track sonic parable: waxing introspective on difficult themes such as memory and identity, 'THINGS BEHIND THINGS BEHIND THINGS' and 'S P E Y S I D E' indulge typographic play and fragmental lyrics, the latter especially paradigm-shifting in lyrical perspective. 'Awards Season', also, deals in the problematics of recognition, peeking behind and thus part-dissolving the veil of success in public life. With signature passion yet quarrelsomeness, Justin Vernon has crafted yet another glistening, glitching folk odyssey for us to enjoy.
Review: Broken English Club is the alias of techno veteran Oliver Ho and here he explores his signature industrial wave and post-punk sound with unflinching intensity as he lands on Dekmantel's UFO Series with Songs Of Love And Decay. It is a raw, brooding album dedicated to the late Juan Mendez aka Silent Servant with tracks like 'Crawling' and 'Death Cult' echoing his tribal techno roots. 'England Heretic' meanwhile channels eerie synthwave and Giallo vibes and 'Vessel Of Skin' delves into distortion-laced post-punk that contrasts with the stark futurism of 'Pacific Island Kill.' Ho blends cinematic textures with club energy throughout so makes for a dark, emotionally charged tribute that pushes beyond typical boundaries and is sure to resonate in the club.
Review: Brock Van Wey is bvdub, a towering ambient figure and venerated veteran who continues to find newness in his work. He's back on Past Inside The Present here with 13 (on vinyl for the first time) which, he says, "represent one edict or idea from chapter 13 of the Tao Te Ching" which are about putting focus on humility and freedom from desire as a way to lead a peaceful life. Flickering melodies and slowly shifting harmonies set the tone from the off with track two introducing pulsing keys and low-end distortion. Elsewhere, layers of propulsive patterns and dubby motifsweave together with soft distortion and tracks ten and 11 build to great intensity and the finale brings delicate strings. Listening is an easy way to ensure a peaceful escape
Review: Cassiano's Cuban Soul - 18 Kilates was first released in 1976 and is a landmark of Brazilian soul for the way it blends the groove of American r&b with native rhythms in a way few artists have matched. Long coveted by collectors, the album has achieved cult status and now returns remastered from the original tapes on 180g vinyl so it is sure to fly off the shelves. Cassiano's velvety vocals glide over lush, cinematic arrangements throughout and in doing so, evoke the grandeur of contemporaries like Tim Maia. From start to finish, this album is packed with depth, warmth and effortless cool, which makes it an essential listen for anyone who likes soul, samba and vintage Brazilian brilliance.
Maintaining My Peace (feat Novelist & Stephanie Cooke) (2:59)
Tears (feat Saucy Lady) (2:55)
Brain Gymnasium (3:28)
Wanna Tell Somebody (feat Josh Milan) (5:53)
Otaki (feat Finn Rees) (5:26)
Love Language (feat Nathan Haines) (4:35)
A Deeper Life (feat Isaac Aesili) (8:00)
More Time (feat Lee Pearson Jr Collective) (3:56)
Tongariro Crossing (feat Nathan Haines) (5:17)
Barefoot On The Tarmac (4:11)
Marlboro Sounds (6:03)
The Eternal Checkout (feat Cenk Esen) (5:36)
Review: Given that even their most dancefloor-focused tunes are remarkably deep, immersive and sonically detailed, you'd think that Chaos In The CBD's music would suit the album format - it's just that until now, they've not recorded a full-length. A Deeper Life, then, marks a big step forward in the Helliker-Hales brothers' career. Predictably, it's borderline brilliant. Made with the assistance of a cast of collaborators and guest performers (flautist Nathan Haines, boogie revivalist Saucy Lady and original NJ garage-house hero Josh Milan included), it sees the Kiwi duo sashay their way through enveloping, musically expansive cuts - many downtempo and home-listening focused - that variously mix and match elements of deep house, nu-jazz, dub, 80s soul, hip-hop, trip-hop, Latin soul and much more besides. A genuine triumph, even by their high standards.
Review: The Chicago Gangsters, a family-led group originally from Akron, Ohio, span multiple genres from gritty funk to smooth soul. Despite that name, their work largely embodied a mixture of raw disco grooves and emotive ballads. Their 1976 sophomore release, which includes a memorable rendition of Eugene McDaniel's 'Feel Like Making Love' and the title track 'Gangster Love,' stands as a key part of their legacy. This track, notably their first 12" single, hints at their influence in shaping the disco funk sound of the era. While they recorded under the Gold Plate label, they later transitioned to RCA and Heat, producing tracks that resonated across the decades, most famously sampled in LL Cool J's 'Mama Said Knock You Out.' Their energetic performances and varied discography left a lasting imprint on both the funk and early hip-hop scenes.
Hangin Your Life On The Wall (feat Ramblin Jack Elliott) (3:33)
The Randall Knife (5:31)
Review: A reissue of a 1995 release from Texas songwriting great Guy Clark, this one gets a new mix from original co-producer Miles Wilkinson, restoring warmth and space to ten gorgeously plainspoken tracks. Clark's delivery is unhurried and unadorned, leaning on lived-in detail and dry wit, whether on the fiddle-laced resolve of 'Stuff That Works', the aching 'The Randall Knife', or the breezy storytelling of 'Baby Took A Limo To Memphis'. Cameos from Ramblin' Jack Elliott, Emmylou Harris and Darrell Scott add gentle texture, while the arrangements remain spare and acoustic-led, grounded in Clark's dry baritone and fingerpicked guitar. A quietly luminous return to one of Americana's most humane voices.
Review: Dutch-born American jazz pianist and composer Gerald Clayton is back with a sixth album, his second on Blue Note. Ones & Twos is another exploration of jazz, hip-hop, neo-soul and raw improvisation that is all rooted in a deep conceptual framework. Featuring standout collaborators like Joel Ross, Elena Pinderhughes, Kendrick Scott and Kassa Overall, the album moves effortlessly from groove to abstraction and is inspired by turntablism, which is why Clayton created two sets of tracks that can play individually or simultaneously, blurring the line between harmony and dissonance. As rich as the sonics are, there is also real philosophical intent here, making it both a visceral and cerebral listen with layered commentary on collaboration, coexistence and creativity.
Review: The late great Cosmic AC's vast catalogue again yields some posthumous treasure with part two of the For Now album. It's another record that is as sophisticated as it is adventures with plenty of painstakingly crafted but effortless smooth breakbeats on 'Larvy' topped with pensive synths. Elsewhere there are logic-defying rhythm structures on 'Snood', hooky synth shimmers and more raw textures on 'Wisconsin Desert' and jazzy, cosmic motifs on the wonderful 'Setting Sun'. This is a high-class mini-album full of next-level sound designs and turbo-brain drum patterns. It makes for a compelling listen wherever you may be.
Review: Stanley Cowell, the Ohio-born pianist and co-founder of Strata-East Records, delivers a landmark solo recording that cements his reputation as one of jazz's most forward-thinking musicians. Recorded in 1974, this session finds him at a pivotal moment in his career, blending acoustic and electric piano to push the expressive boundaries of the instrument. Tracks like 'Equipoise' and 'Prayer of Peace' balance intricate phrasing with deep spiritual resonance, while 'Maimoun' channels his lifelong engagement with African and Eastern traditions. Both meditative and technically dazzling, this album remains a defining work in solo jazz pianoian essential document of Cowell's artistry and Strata-East's commitment to uncompromising musical vision.
Review: Polish producer Latarnik and American vocalist Anthony Mills collide on this new album for Polish label Astigmatic to explore lo-fi hip-hop, soul, dub and experimental electronics. Mills's falsetto vocal brings great Neo-soul warmth to Crack Rock with emotionally charged tones soaring over the production which ranges from sugary and 80s-tinged disco and boogie on 'Crack' to deep, seductive and gooey on 'Passive Lover' which is a more romantic sound. Latarnik's work is often minimal yet immersive which creates space for Mills' voice to shine and is delivered in equal parts spoken word, chant and soulful croon. The hypnotic, slow-burning soundscapes that result are both intimate and confrontational, ready to make you dance but also often just to feel. Unapologetically raw and deeply human, this one lingers long after the final track ends.
Review: As we hapless reviewers make our way through these five new experimental LPs by Current 93, we cannot help but feel increasing torment and terror at the figures portrayed on the front covers of each record: hand-painted by David Tibet himself (the artist has increasingly indulged such formal solo trend-buckings through his own Cashen's Gap imprint in recent years) they appear like sleep paralytic demons or the ghosts of cancelled English folk yore. All the records are apparently ritually connected to a recent string of live appearances between London and Hastings, and Tibet's penchant for demonologic peerage titles such as GreenSleeve Drakon and Gnostic Sketch - blurring a sense of self-referentiality and occult otherworldliness - leave us bewildered and slack-jawed.
Review: Dawn Yawns is one of five new 12" records released at the same time, documenting one or two - if not more - furtive live sets performed by Current 93 (David Tibet) between London and Hastings in early 2025. On this quintet of new transmissions, dream and daylight are heard in grisly merger, on the back of an umbral awakening from a polar slumber, where the blood moon never sets, known to C93 fans only as the "Menstrual Night". Be warned, however, these eerie recordings have a sure capacity to mark the soul in unprecedented ways.
Review: English experimental group, Current 93, was founded in 1982 by David Tibet and set out to explore industrial music with abrasive tape loops, droning noises and distorted vocals. As Real As ScareCrows is a haunting new chapter in Tibet's arcane vision, and it was released alongside four other LPs to mark recent Channellings in London and Hastings. Ritualistic and esoteric, the album feels like a spectral transmission or "ScareCrow scaring crows away after Menstrual Night," as Tibet describes it. It's a deeply unsettling and bleakly poetic work that is unmistakably C93 in its mood and mystique. Each copy includes a signed risograph print of Tibet's painting, making it as much an art object as a musical release. A beautifully eerie offering from one of Britain's most enduring and enigmatic cult acts.
Review: Another of five LPs by Current 93 (David Tibet) through his own audio-esoterica label Cashen's Gap, this brilliant yellow and green hued LP nods to the universally recognised colour of earth-ground wire, and comes in the wake of a recent two part set of "channellings" (live performances) in both London and Hastings. As ever, Tibet steers the dream ship through surreal poetics and creaking soundscapes, and offers us a risograph print of his artwork, titled MayBe Skeletal RainBow, or perhaps Building The RainBow PainBow Preparing For Menstrual Night (we're not sure).
Review: This early gem - in fact, it was the maestro's first ever 12" record - shows a masterful command of space and melody, spotlighting a warm, muted trumpet tone alongside a pared-down ensemble. Without a saxophone, the spotlight remains squarely on the lead, providing ample room for expansive solos and lyrical interpretations. Anchored by a stellar rhythm section featuring a buoyant bassist, impeccable pianist and dynamic drummer, the performances exude a relaxed yet precise energy. Highlights include a fresh, distinctive take on the Dizzy Gillespie classic 'A Night in Tunisia', where the group reimagines the piece with effortless ingenuity. Original compositions add further depth, with a witty riposte to a well-known standard and a contemplative piece that lingers in the listener's mind. A transitional moment for one of the all time greats, hinting at the greatness to come all the way back in 1955.
Review: Although he initially broke through decades ago as a talented keyboardist- a role he still performs alongside his work as a solo producer - Mark de Clive-Lowe has always been much more than a prodigious musician-for-hire. That was particularly evident on 2021's Hotel San Claudio album, a musical meeting of minds with Shigeto and Melanie Charles. It shines through loud and clear on Past Present (Tone Poems Through Time)', an inspired collection of 'tone poems' - musical pieces that draw direct inspiration from the landscape - created using an electric piano, an enormous list of mostly vintage synthesisers, and field recordings captured on a trip to his father's native Japan. Sitting somewhere between ambient jazz, the epic synth-scapes of Tangerine Dream and the most vivid movie soundtracks, Past Present is emotive, immersive and effortlessly evocative.
Intrusions Des Racketteurs Noirs Dans Les Maisons Closes De La Ficelle Et De L’Elegant (2:17)
L’Orgue De Migli (3:30)
Quand Les Amours Se Meuren (5:39)
La Scoumoune (Mixage Alternatif) (2:37)
L'Excommunie (Orgue De Barbarie 1) (1:47)
La Scoumoune (Generique Debut) (1:14)
Intrusions Des Racketteurs Noirs Dans Les Maisons Closes De La Ficelle Et De L’Elegant (version alternative) (2:56)
La Scoumoune (Maguette Trompette/Piano Bastringue) (1:01)
L'Excommunie (Orgue De Barbarie 2) (1:41)
La Scoumoune (Sortie De Prison) (2:20)
Pigalle 1944 (version Courte) (2:03)
La Scoumoune (Generique Fin) (2:38)
Kidzaballoon (Manuel Breton & Benjamin De Roubaix) - "La Scoumoune" (2:31)
Jean-Michel Bernard - "La Scoumoune" (Piano version) (3:22)
Alessandro Baldessari - "Intrusion Des Racketteurs" (3:27)
Beniamino De Roubai - "La Scoumoune" (5:41)
Review: Decca and CAM Sugar present the complete edition of Francois de Roubaix's historic La Scoumoune score, contracting unreleased tracks, demos, and alternate takes. The 1970 thriller, directed by Jose Giovanni and starring Jean-Paul Belmondo, witnesses a small-time crook entangle himself in a torrid torsion of crime and fate, themes mirrored in de Roubaix's palpating score. Roubaix blended barrel organs, synths and unconventional sounds like rattles and springs, inculcating in the viewer the thrill of the chase, while the formal strategy to use entirely different instruments for each track went on to nail its touchstone status. Now a well of versatility, it comes regularly sampled in hip-hop and electronica; remixes by Alessandro Baldessari, Jean-Michel Bernard, and Benjamin de Roubaix, doing justice to a record whose very being seems to beg out loud for the remixing.
Review: With 2021's Infinite Granite taking a sharp left turn into the realms of hazy, luscious dream-pop, eyes have been pointedly fixed on San Francisco blackgaze heroes Deafheaven ever since, with many of their fanbase pondering where to next? The answer is their highly anticipated sixth full-length, Lonely People With Power, which finally showcases the band freed from all creative restraint and audience expectation, marrying their equal and effortless understanding of black metal malevolence and shoegaze ethereality, even allowing frontman George Clarke to make full use of his recently discovered vocal range. Howling shrieks and delicate crooning weave around one another on the euphoric heft of 'Heathen', whereas 'Magnolia' offers up one of their most succinctly black metal cuts to date, radiating with the caustic aura of Emperor's more proggy latter-day output. Forgoing their usual post-rock penchant for a small number of tracks all clocking in at approximately ten minutes, the numerous cuts (12 in all, marking the most of any Deafheaven album to date) prioritise instantaneous delivery on their most sprawling and musically diverse collection yet, fusing their harshest and most accessible sonics into one monumental victory lap touching upon everything from black metal to shoegaze, dream-pop, thrash, post-rock, emo, screamo and post-punk.
Ronny Nyheim & DJ Sotofett - "Piezoelectric" (7:00)
LA 2000 & DJ Sotofett - "Dub Toner" (dub 1) (5:58)
DJ Sotofett - "My Spirit Is In Techno Music" (7:24)
DJ Sotofett - "Tommer Bliss" (feat LNS) (5:43)
LA 2000 - "Safety" (DJ Sotofett dubmix) (6:22)
LNS & DJ Sotofett - "909 Nite Stepper" (6:58)
Review: DJ Sotofett returns with a double 12" packed with eight hard-hitting, underground techno tracks. Featuring frequent collaborators LNS, L.A. 2000, Ronny Nyheim, and Zarate_Fix, this release is a direct nod to the no-nonsense techno nights at Berlin's iconic Tresor club, where Sotofett holds residency. Each track is crafted with pure dancefloor energy in mind, moving through dub-driven techno, acidic overtones, and percussive basslines, all delivered with a raw, uncompromising edge. WANIA mk1 is a masterclass in DJ-ready versatility, perfect for those who love their techno stripped back and potent. Standout cuts include the bombastic, percussion-heavy Preparation and the 909-vocoder-fuelled My Spirit Is In Techno Music, both of which exemplify the release's dedication to the underground essence of the genre. With alternative mixes from WANIA mk2 making an appearance, the album offers both continuity and innovation, keeping true techno fans hooked from start to finish. Sotofett's attention to detail in programming, mixing, and mastering is evident throughout, making this a must-have for DJs and clubbers who live and breathe the core of real, unfiltered techno music. WANIA mk1 isn't just an album; it's a statement for those who value authenticity in their club experience.
Parc De Belleville (feat Wilf Petherbridge) (4:13)
What You Saw (feat Ma Moyo & Mahon) (4:56)
Review: London beatsmith and "city rivims" producer Footshooter is one of a small cadre of inner city artists whose work makes a point of fusing UK jazz, West Coast-ish hip-hop and UK dance production, all tied together by an experimental bow. His latest LP, The Oasis, unveils itself as an upended jazz and broken beat finesser, all while nailing a collaborative form, with studio-mates James Mollison (Ezra Collective), Natty Wylah and Brother Portrait all in tow. Where lead track 'Cycles' evolved from a simple loop, growing in depth and space, Mollison's saxophone brought appended magic; meanwhile, tracks like 'Boomerang' and 'Surrey Canal Road' underscore a mood of hyperlocal, industrial South London poignancy.
Heartbreak (In A Really Good Way) (feat J Mahon) (3:12)
Caught In Your Web (feat Nicke Andersson) (2:14)
Swinging Party (feat J Mahon) (3:22)
Ride (5:01)
Maggot Brain (feat J Mahon) (4:03)
Common Stranger (feat Audrey Olleson) (4:27)
Review: Frank Popp Ensemble returns via its fourth studio album, recorded and produced in Spain throughout 2024. Known for their sleek combos of flared orchestration with retro soul motifs, Popp once again brings in a wide array of guest vocalists: Gerard Love, formerly of Teenage Fanclub, on the strings-laced rework of his own deep cut 'Save' from 2004; then Nicke Andersson (The Hellacopters, Entombed, Imperial State Electric) on 'Caught In A Web', a high-energy Northern soul workout reproduced in full Magic Touch style. An impeccably done cinematic indie soul rouser, wrestling the nubby essence of a sound to the ground.
Review: Since his debut with Schema Records in 2001, Gerardo Frisina has poured his soul into modernising styles such as Latin jazz, funk, and soul. In Sight Vol. 1 now introduces a fresh batch of such cosmo-futuristic moodsetters, continuing a trend that was first set in motion with his debut Moving Ahead (2020). Now the new album, preluded by singles 'Mindoro' and 'Desejar', hears seven tracks, including a cinematic bossa supernova 'O SoNho' as well as an exclusive cut from a rare and revered 10" deep cut from 2009. Frisina's attention to detail ensures the standout vibe of each composition, bringing a one-of-a-kind club-orientation to a rich atmospheric mantle.
Review: Serving as the follow up to 2022's critically acclaimed and super cheesy by design stadium-goth opus Impera, Swedish rock occultists Ghost make their grand return with sixth full-length Skeleta. The vision of Tobias Forge, renowned for his charismatic vocal cadence and immense range, but more so for his undertaking of different characters and monikers for each album cycle, the Papa Emeritus IV delving into empirical fallacies on their previous outing has been usurped by Papa V Perpetua, who promises to deliver his band of Nameless Ghouls' "most unflinchingly introspective work to date" while showcasing "distinct individual emotional vistas", touching on "demonic possessions" and the allure of succumbing to "dark forces". In other words, expect mammoth riffs, epic refrains, large doses of overt theatricality verging on camp, and on-the-nose song titles such as 'Satanized'.
Review: Ensemble Modern and experimental, Berlin-based music composer and sound artist Hainbach come together for Primer, an album sourced from their 2022 Checkpoint concert and reworked in the studio with bassist Paul Cannon. The record transforms their fine live performance into a rich, immersive home listening experience with Hainbach's signature use of nuclear research gear, tape loops and vintage electronics weaving haunting, ever-shifting textures throughout. As such the pieces pulse with a sonic spark that captures the spirit of experimentation and collaboration and is taps into plenty of avant-garde thinking in its approach to drone and ambient.
Review: Per Hammar and Berlin-based label Sushitech are a match made in heaven as both have long since proven their credential in the world of dub techno. As the label turns 20, it kicks off its year with an album that has been two years in the making and features a top-quality array of dub techno sounds. Malin Genie features on two of the more kicking and propulsive cuts, while Jannik Jivung adds an organic touch to two more. In between those sounds are percolating slow-mo jams like 'Representant Dubb' and more kinetic sounds like 'TX Files' with its fresh kicks and rolling bass.
Review: The now 20-year-strong Sushitech have been working on this one for two years and finally it drops - a new album from cultured dub techno don Per Hammar. This is a seriously deep journey into his signature sound that melds the genre's most classic side with a fresh modern twist. Cuts like 'Generation Drive' have a nice crisp sense of motion as well as lovely warped pads, while 'Juvial' brings a sense of curiousness with its undulating drums and bass. 'Defender' leans into sleek techno styles and will have you cruising in no time. An instant classic album, for sure.
Review: Russell Haswell brings Deep Time, marking his sixth release on Diagonal following a productive 2024, which included the 4x12" compilation 13, on top of a UK-wide tour. Deep Time spans a vast influential range, reflecting Haswell's diverse background in computer music, black metal, noise, techno, and improvisation. Deep Time explores all from geopolitical tension to the incomprehensible scale of time itself, drawing sublime inspiration from his solo trips to the Scottish Hebrides and the rock formations glimpsable there. Album highlight 'Unconformity' references James Hutton's geological discovery and its connection to the Earth's history, with typography for the album sleeve designed by MuirMcNeil.
Review: Upon its release in 1970, Donny Hathaway's latest album was met with critical acclaim but modest commercial success. The LP showcased Hathaway's extraordinary versatility, blending gospel, jazz, blues and soul into a cohesive whole. It was a rich tapestry of influences, marked by Hathaway's stunning vocal prowess and his ability to craft arrangements that felt both intricate and organic. The album also set the stage for his subsequent works, cementing Hathaway as one of the most important voices of his generation. Tracks like 'The Ghetto' and 'Tryin' Times' revealed his commitment to addressing social issues, while songs like 'Thank You Master' and 'Je Vous Aime' showcased his personal and spiritual depth. In the decades since its release, Everything Is Everything has grown in stature, celebrated as a cornerstone of soul music.
Review: Decca Records, a champion of British jazz and particularly the homegrown talent of the 50s, 60s and 70s, continues its exploration of those eras. Curated by Mark Baxter, this is the perfect entry point for those unfamiliar with the virtuoso saxophonist, flautist, vibraphonist and composer Hayes, gathering ten tracks originally recorded for the Fontana label between 1961 and 1969 and answering to the question "Where do I start with Tubby Hayes?" Hayes was a significant figure in British jazz, a multi-instrumentalist and composer whose work spanned various styles, from hard bop to modal jazz. This collection showcases the breadth of his talent, highlighting key moments from his prolific period with Fontana. It's a chance to hear Hayes at his peak, demonstrating his technical prowess and his distinctive musical voice. Here, seasoned jazz aficionados are offered a curated selection of familiar favorites, perhaps revealing new nuances with fresh ears. But its primary purpose is to introduce new listeners to Hayes's brilliance and by focusing on a specific era and label, the compilation offers a coherent taste of Hayes's evolution throughout the 60s
Review: Talk about appropriate names. There's something about Helen Island that sounds as though it has been cast adrift, washed up, and left to establish its own thing. The Parisian enigma's work feels ghostly, haunted by a past that has vanished into the ocean mist. Whether they'll ever be reunited is the real question, but mystery is the joy here. Whether it's at the uptempo, synth pop hued 'Hot Zone Regular Day', or the weird and wonderful psyche-electronica-field style 'Forever Starts Today', breathy samples on 'Indivisibl' or the innocent contemporary classical-cum-ambient plucked strings and keys of 'Restless Lovers' and 'Gore Lore', the whole thing is a strange and beguiling ride through the outer reaches of popular music.
Every Time We Live Together We Die A Bit More (3:36)
Out Of Sight (3:48)
Pink Fluffy Dinosaurs (3:50)
L'Odeur Animale (3:47)
Review: Marking the 25th anniversary of The Magnificent Tree, Belgian trio Hooverphonic release a special limited edition of their third album, available on translucent blue vinyl. This edition comes strictly limited to 1,000 numbered copies, each with a commemorative insert; its four core singles 'Mad About You', 'Vinegar & Salt', 'Out of Sight' and 'Jackie Cane' became career milestones for the ethereal band, clinging to the Flemish Ultratop 50 for 107 weeks as they continued to hone and plane their established blue noir, post-trip-hop sonic vernacular. Also marking their 30th anniversary as a band, The Magnificent Tree is probably the best touchstone to describe their coming of age, ripping up the the comparatively innocent sonic formula of Blue Wonder Power Milk.
Review: As they mark over two decades of collaboration, HTRK continue to thread past and present with a new, upcoming reissue of Rhinestones. First self-released in 2021, the album marked a stylistic turn for Standish and Yang, embracing a sparse and haunted approach to songwriting inspired by gothic country and Western folk minimalism, contrasting their earlier dub-punk dramatics. More emotionally forthright as their records go, it drifts over echoic acoustic textures, hushed vocals, and a characteristic metronomic pulse, conjuring a shadowy, intimate atmosphere. A landmark release epitomising their noted progression out from minimal-wave origins to "gentler, more inviting" territory, Rhinestones motivated a quiet resurgence for the band. This reissue follows the 2024 repress of their debut Marry Me Tonight and the collaborative 'String Of Hearts' EP, with reinterpretations from peers like Loraine James and Liars, reaffirming HTRK's strong creative orbit.
Review: Trumpeter Chris Ryan Williams and cellist Lester St. Louis form HxH (H by H) are a boundary-pushing electroacoustic duo who work with acoustic instruments and electronics in real-time. Their debut album, released on KMRU's label OFNOT captures their expansive, sculptural sound, and it is one rooted in jazz, noise, classical and Black experimental traditions. Drawing comparisons to Sun Ra or Laurel Halo, their music is fluid, unpredictable and emotionally resonant. Tracks like 'Pyrex Vision' and 'BEACH' showcase a dynamic interplay between form and freedom and are influenced by visual artists like Torkwase Dyson. HxH's sonic world is both daring and intimate and is an ever-shifting architecture of sound.
Review: Brazilian artist Hyldon's 1981 album 'Sabor De Amor' is a Latin classic that is well overdue this reissue by Jazzybelle Records. It was the fourth from the soul man, singer and instrumentalist who was, with equally celebrated peers Tim Maia and Cassiano, at the very heart of the Brazilian soul revolution of 70s. This may be his most consistent album with its more than accomplished backing by Azymuth musicians including Alexandre Malheiros on bass, drums from Ivan "Mamao" Conti and Hammond jams from Sergio Carvalho amongst others. The bass is funky, the arrangements are sophisticated and full of sun with noodling jazz melodies and Portuguese vocals all oozing summer magic. From mellow moments like the title cut to more dazzling and upbeat dancers like 'Amor Na Terra Do Berimbau' this isa joyous listen.
Review: Popularly known to fans as "Ice" - a rare case of hypocorism in colloquial fan band nicknaming - Strut Recordings document a rare record from the vaults of the luminary Lafayette Afro-Rock Band, one that is arguably the closest in their catalogue to the signature sound defining their earlier work. Marked by an especially complex funk rhythmology, this record was pressed contemporaneously with the infamous Soul Makossa and Malik sessions; but compared to their earlier works, Afro Agban pushes deeper into jazz-rock territory. 'Ozan Koukle' has espceially become a known but coveted missing link for turntable taxonomists, who'll thank their lucky stars for the fact that it is now available in full.
Review: The second album from Vijay Iyer and Wadada Leo Smith on ECM is a meditation on resilience, sorrow and the human condition. Across four expansive tracks on Defiant Life, Iyer's piano and Fender Rhodes intertwine with Smith's haunting trumpet to create a soundscape that's both urgent and serene. From the solemn depth of 'Sumud' to the shimmering melancholy of 'Floating River Requiem' and the radiant close of 'Procession: Defiant Life' notions of suffering, resistance and hope are explored. The record was recorded in Lugano and produced by Manfred Eicher. It's a deeply reflective work of emotional and spiritual resonance.
Review: Released in 2000, Poison is the third studio album by Swedish singer-songwriter Jay-Jay Johanson, having earned his place as a stalwart figure thanks to his melancholic vocals set to perspirant trip hop. From 'Believe in Us' to 'Colder,' not to mention the toxicologist's favourite 'Poison,' we're met again with Johanson's signature downtempos and experientially charged lyrics. Sophisticated atmospherics abound, bridging the all-to-intimate gap between sexuality and the unknown.
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