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: Hailing from Atlanta, Andre 3000 continues to redefine the contours of musical experimentation with his latest sonic offerings. On 'Moving Day', a piece first showcased in last year's short film documenting his recent work, the OutKast veteran trades in his usual genre-defying flow for the smooth, ambient tones of a cosmic flute. The track unfolds like a slow-motion dream, where the melodies drift in and out of focus, capturing the disorienting yet soothing experience of moving through transitions. Then comes the reversed version, 'Day Moving', which inverts the gentle flow of the original, adding an unsettling, almost ghostly quality as the music warps and loops. The third track, 'Tunnels of Egypt', brings in an unexpectedly grounded yet still vast atmosphere, with its deep, resonant percussion and sparse instrumentation evoking a journey through both time and space. Andre's recent forays into the abstract have seen him abandon his commercial past in favour of an introspective exploration that challenges both him and his audience. Across these three tracks, he once again demonstrates his ability to balance complexity with restraint, creating something both otherworldly and deeply personal.
Review: Black Loops directs a welters' worth of experience into Always Moving, his debut full-length for Freerange. Far beyond club tools, this is a sensitive elusion of watery neo soul instrumentation and distant broken beat jazz, and we're not surprised in this breath to learn of Black Loops' own background as a drummer. Nor is it any wonder either that such auteur's disco house regals such as Harvey Sutherland, Byron The Aquarius and Berlin vocalist Marlena Dae all appear on the record, through 'CDMX' to the ever so eerie, Erie-downstream deep house of 'Detroit Love Letter'. 'Electrical And LSD' takes after such influences as Metro Area's disco house shimmer, while tracks like 'Pleasure Ride' and 'Good Bye Berlin' further locks down the abiding nighttime tension - that least comparable part of his sound.
Review: Prolific Italian maestro Black Loops returns to Freerange with Always Moving, a debut album steeped in high-grade dance heritage. Drawing on over a decade of production, he moves beyond club tools to something more personal and musical, with guest appearances from Harvey Sutherland, Byron the Aquarius and Marlena Dae. Rooted in funk, soul and 90s grooves, these are rich, warm tracks with fully authentic swing i with much of the percussion played live by the artist himself. The result is fluid and human, from the broken beats of 'CDMX' to the shimmering chords of 'Detroit Love Letter'. Marlena Dae adds her touch to several standouts, including the disco-leaning 'Electrical' and hazy deep house of 'Pleasure Ride'. Even at its most downtempo, like the closing 'Good Bye Berlin', the album stays focused and melodic. A confident and expressive full-length that shows how far Black Loops has come while hinting at where he might head next.
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.
Maintaining My Peace (feat Novelist & Stephanie Cooke) (2:59)
Tears (feat Saucy Lady) (2:59)
Brain Gymnasium (3:30)
Wanna Tell Somebody (feat Josh Milan) (5:52)
Otaki (feat Finn Rees) (5:26)
Love Language (feat Nathan Haines) (4:36)
A Deeper Life (feat Isaac Aesili) (7:59)
More Time (feat Lee Pearson Jr Collective) (3:56)
Tongariro Crossing (feat Nathan Haines) (5:17)
Barefoot On The Tarmac (4:12)
Marlboro Sounds (6:02)
The Eternal Checkout (feat Cenk Esen) (5:34)
Review: Fraternal duo Chaos In The CBD open the latest chapter on a roundly impressive musical career, calling on an ensemble cast of creative collaborators to contribute to their debut long-player, 'A Deeper Life'. Louis and Ben 'Beans' Helliker-Hales have been on a non-stop roll since they began releasing music under the Chaos In The CBD moniker just over a decade ago. Recently adding a Fabric Presents compilation to their hefty singles catalogue, the siblings step up with arguably their most outstanding work to date. The likes of Blaze's Josh Milan, saxophonist Nathan Haines, longtime collaborator Isaac Aesili, and UK grime MC Novelist are just some of those drafted to embellish productions that range from head-nodding Balearic to the duo's more familiar dusty house thrust. Vast in scope, the collection drifts through all manner of sounds and styles, held together by a coherent production aesthetic and a gorgeously limber live musicality on display throughout. Highlights include the street soul swagger of 'Tears' (featuring Beantown disco queen, Saucy Lady), the searing soul of 'Wanna Tell Somebody', and the bittersweet deep house magnetism of 'Otaki'. All told, this is nothing short of brilliant work, arguably representing a coming of age as Chaos In The CBD simultaneously pay homage to their eclectic roots and transcend the floor-focused nature of the bulk of their previous output. Highly recommended.
Review: NRG 4 is the latest instalment in drummer and producer Chiminyo's boundary-pushing series and it captures the raw improvisational spirit of London's jazz-adjacent underground.The album is a communal outpouring of pure energy that was recorded live at the iconic Ronnie Scott's with no rules, no scripts, just spontaneous creativity and featuring a powerhouse ensemble including James Akers, Marysia Osu, Daniel Casimir, Lyle Barton and Tile Gichigi-Lipere. The set moves between frenzied burners like 'Levitate' and serene pieces like 'Sonder.' With surprise guests like BAELY and Regis Molina, NRG 4 is a genre-defying celebration of live collaboration and musical intuition that's electric, ephemeral and deeply alive.
Review: Paper Can't Wrap Fire is the third album from Melbourne/Naarm multi-instrumentalist Don Glori, and it is a rich mix of jazz, soul, funk and R&B, but also marks a bold evolution in the artist's own songwriting. The title is based on a Chinese proverb about truth and underpins reflective tracks like the soulful 'Brown Eyes,' satirical 'Disaster,' and introspective 'Flicker' Recorded in Naarm with friends and past bandmates, these sparkling sounds are brimful of the sort of life-affirming harmonies and dynamic musical interplay that makes you smile broadly, while the heartfelt lyrics make this town mark. Influences from the likes Azymuth, SAULT, and Jordan Rakei are all clear, but Don Glori crafts his own take on those sounds that speaks to both emotion and intellect.
Review: The third album from Melbourne/Naarm multi-instrumentalist Don Glori merges jazz, soul, funk and r&b and marks a confident leap forward in his songwriting journey. Anchored by a Chinese proverb about truth, Paper Can't Wrap Fire explores themes of honesty and introspection across standout tracks like the silky 'Brown Eyes,' the sharp-witted 'Disaster' and the meditative 'Flicker.' It was recorded with close friends and longtime collaborators and radiates warmth, spontaneity and rich musical chemistry. While nodding to influences like Azymuth, SAULT, and Jordan Rakei, Don Glori delivers a sound entirely his own and it is wonderfully intimate.
Grey October Sound & Monbee - "Fly-Day China Tow" (2:27)
Grey October Sound & Achamico - "Plastic Love" (4:57)
Grey October Sound & Monbee - "Mayonaka No Door - Stay With Me" (3:17)
Grey October Sound & Judo125 - "Tokai" (2:54)
Grey October Sound & Esu - "Anohi Ni Kaeritai" (2:19)
Grey October Sound & Lo Film Creation - "Kanashimi-Ga-Tomaranai" (4:15)
Grey October Sound & Esu - "Kimi Wa 1000%" (4:56)
Grey October Sound & Judo125 - "Amaku Kiken Na Kaori" (3:05)
Grey October Sound & The Sidewinder - "Mr Summertime" (2:28)
Grey October Sound & Kimono Boyz - "Down Town" (4:05)
Grey October Sound & Judo125 - "Mayonaka No Door - Stay With Me" (version) (4:07)
Review: Following the success of Lo-Fi Ghibli in 2022, underground hip-hop head Grey October Sound is back with a new cover album that finds him reimagining iconic Japanese city-pop tracks through lo-fi hip-hop. It is another gem from P-VINE that features laid-back reinterpretations of classics such as Miki Matsubara's 'Mayonaka no Door,' Yasuha's 'Fly-Day Chinatown,' and Taeko Onuki's 'Tokai' alongside songs by Tatsuro Yamashita, Mariya Takeuchi and Yumi Arai. It's. Lush world of carefully hinted at nostalgic melodies with relaxed beats soothing mind, body and soul, all with a lo-fi and retro city-pop charm.
Grey October Sound, Transparent - "Track 5" (5:39)
Grey October Sound, Judo125 - "Track 6" (3:18)
Grey October Sound, Crystique - "Track 7" (5:23)
Grey October Sound, 57th - "Track 8" (2:52)
Grey October Sound, COCO - "Track 9" (2:24)
Grey October Sound, MONBEE - "Track 10" (3:31)
Review: Go-to lo-fi from Grey October Sound, P-Vine's resident hip-hop group and collective vibe queller. Having built a steady beatmaking operation initially from Studio Ghibli thematics and other anime associations, the group now continue to turn their hand to originals, furthering your capacity to wind down after many a long, protracted cramming sesh. Whether flashcards, cats on laps and hot steaming cocoa are or aren't your thing, that's OK, because we can bet the dragging rhythms of 'Tokai', the desultory pocket piano missive '1000%', and/or the closing crepuscule 'DOWN TOWN' will be.
B-STOCK: Sleeve damaged but otherwise in excellent condition
Abandon (3:55)
Naked To The Light (4:14)
Late Night Drive (4:43)
Sick Eros (4:07)
Belleville (2:21)
Sweat, Tears Or The Sea (2:42)
Atlas (6:45)
Reading The Air (5:30)
You Burn Me (1:12)
Earthbound (4:08)
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
The fourth ever solo studio album from the acclaimed electronic artist and composer Laurel Halo, Atlas is intended to guide the listener through their own subconscious mind, coming as an intense sequence of soaring ambiences and beatless jazz montages. Finding its footing in instrumental improvisation by Halo herself, plus featuring artists Coby Sey, James Underwood and Lucy Railton - and then blowing any assumptive connotation with jazz out of the park with its subtly effected vocal processing and electronic tinkerings and washes thereafter - fans can be sure that this is not going to be your stock experimental affair.
Review: Celebrate 20 years of In Between with In Between Revisited: Jazzanova Live, a vibrant reimagining of Jazzanova's smashing debut. Recorded at Little Big Beat Studios, this intimate session fuses the original album's sample-driven roots with the real-deal energy of live musicianship. Tracks like 'That Night', 'No Use', and 'Days To Come' take on new life, blending jazz, soul, and electronic elements in a seamless, unforgettable performance. Though it was originally a studio creation, In Between helped define the genre of nu-jazz upon its 2002 release, where nu-jazz itself always invites live-lounge rejigging. With the Jazzanova Live Band, formed in 2008 and honed over 15 years of touring, the group finally brings a long-plotted album to the stage. The performance is here captured on analogue tape with stellar musicians and vocalists, reinventing, yet at the same time devoting itself to, a classic.
Review: Let The Light will be KAMM's final album - and its most poignant - as it is a tribute to late member Alland Byallo, a beloved name in the underground who suddenly passed in 2023. Surviving members Marc Barrite aka Dave Aju, Kenneth Scott and Marc Smith dip into new sounds here, including jazz, psych funk, soul, golden-era hip-hop and textured electronics, and work them all into a heartfelt final statement that does a fine job of honouring Byallo's creative spirit with real emotional depth and warmth. From the serpentine tones of opener through the bossa-infused boom-bap of 'No Deal', the politically charged jazz burner 'Your Honour' and the sleek electro rhythms of 'How Long?', the album traverses plenty of ground. It also features Byallo's artwork and closes with a chorus of loved ones that makes it all the more poignant.
Experimental (feat Brian Smokey Williams - album vocal mix)
The Midnight Hour
Knights (Ext Time Traveler mix)
Overdrive (album mix)
The Project
Good Timing (feat Big Mel)
Spirits (album mix)
Beyond
Review: Vick Lavander is a name that has always been a byword for deep house quality. His sound is couched in a classic template but comes with subtle tweaks and plenty of its own musical character. BEYOND is a bumper collection of beats which proves just that. There are silky and cosmically minded sounds like 'Time & Time Again' next to subtly jazzy dancers like 'Sunset BLVD' and dubby, elegant grooves like the life-affirming 'Grace'. The pace picks up with joints like 'Knights' but never at the expense of atmosphere and slows right down with swab-tinged downbeat delights like 'Good Timing'. A magnificently rich work.
Review: Carpet of Fallen Leaves serves as the luminous introduction to Eddie Marcon, a folk-pop project from Eddie Corman and Jules Marcon. The collection takes in more than two decades of intimate, self-released recordings that all bring fragile beauty and melodic grace from Japan's underground psych-folk scene. Gentle guitar, soft organ and deft bass interlace with pristine vibraphone, flute and pedal steel sounds to form sparse and spare yet intricate arrangements. Collaborators like Ikuro Takahashi and Shintaro Sakamoto add their own contributions, and so songs shimmer with a real emotional depth and Eastern charm. Highlights like 'Tora To Lion' and 'Shoujo' inspire quiet wonder while capturing fleeting moments of everyday life with a real tenderness and elegance.
Review: London-based New Zealander Arjuna Oakes impresses hugely with this debut album, a contemporary soul and jazz fusion, global folk, electronica and post-rock motifs all woven in. Like any good LP, While I'm Distracted is a deeply personal journey exploring common themes of vulnerability, identity and hope in a world shaped by ever-more existential angst and social media stress. We're told that Arjuna approached this full-length album like a filmmaker crafting a feature and aiming to evoke emotion over concept. Performing vocals, piano, synths and arranging strings himself, he also leads a talented ensemble of collaborators who help him on this emotional odyssey.
Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***
The new album by Quantic - aka. multi instrumentalist, DJ, composer and producer Will Holland - is in many ways an evolution. Now twenty years into his career, Dancing While Falling is the British-born, New York-based artist's most live sounding, euphoric and, in his own words, grown-up release to date. Capturing the beginnings of every good person's revelatory movement from an individual to a collective spirit, Holland originally began the album in his Brooklyn studio, before realising that he didn't just want to make a record that reflected his 'singular pandemic wormhole', but rather one that tapped into the essential togetherness of the human condition. So too does this record explore themes of connection felt through, and made more intense by, the antagonistic bouts of loneliness that characterised COVID-19. Influenced by legendary artists in the scene like Bohannon and Larry Levan, Quantic wanted to make a disco -eaning album at first; "I'm really interested in Latin music and Afro Caribbean rhythms and I think there's a really amazing point in history where the emergence of those rhythms and its combination with American soul sparked what we now know as disco," he says. This PIAS extended edition comes one year on from its initial 2023 release, Quantic here expands on his work by adding a ream of extended versions.
Review: Dean Josiah Cover AKA Info's Sault collective has been one of the success stories of the last few years - a hard-to-pigeonhole outfit that manages to knock out inspired albums at a rate of knots. Their latest full-length, '11', is another brilliant and must-check excursion. Largely lo-fi, languid and laidback, it delivers a particularly loose and lo-fi take on soul - blessed with their usual nods to Afrobeat and soundsystem culture - whose instrumentation is deliberately sparse and laidback (think bass guitar, drums and guitar). The results are rarely less than impeccable, with the collective's vocals (both female and male singers feature) rising above vintage-sounding grooves and arrangements that variously doff a cap to Sly Stone, Cymande and - on the drowsy, warming and synth-sporting 'Higher' - the more tactile end of British 80s soul.
Review: Originally released in 2002, this album remains one of Washington-based duo's most well-known albums, blending trip-hop, downtempo, and an eclectic mix of global influences. While it's often categorised as sophisticated lounge music, its world-fusion approach offers a real depth, from hypnotic opener 'Heaven's Gonna Burn Your Eyes', featuring Emiliana Torrini's airy vocals over a light, looping keyboard melody and deep bassline, onwards. The track's ethereal quality sets a contemplative tone and back s it up with dynamic shifts that make it equally as engaging. 'Facing East' brings in Middle Eastern violin phrases and tribal drums, adding a richer texture. Here, Thievery Corporation excels, weaving together global sounds into a flowing, immersive piece. Tracks like 'The Outernationalist' and 'Un Simple Histoire' fall into the duo's familiar patternipleasant but formulaic dub and bossa nova elements that, while polished, don't push boundaries. However, 'Meu Destino' and 'Exilo' set themselves apart thanks to the authentic performances from Patrick de Santo and Vernie Verla, allowing the music to breathe without overproduction. Helping to validate Thievery Corporation's signature sound, this is a beautifully produced work and somewhat of a landmark in the history of downtempo lounge-hop.
Review: Glasgow's Rebecca Vasmant is back with a sophomore album that comes through a new partnership between Women In Jazz, New Soil, and Marathon Music Group. Building on the acclaim of With Love From Glasgow, the bold Who We Are Becoming is another expansive vision for contemporary jazz in which Vasmant leads a 25-piece ensemble. Across the music, she explores themes of identity, growth and femininity and brings traditional jazz tropes up to date with modern textures. Featuring returning collaborators and new voices like Repeat Beat Poet and flautist GOkU, this record marks the first time Vasmant has included her own vocals, which deepens the personal resonance of the powerful sounds.
Review: North London musician Sam Beste is the creative force behind Vernon Spring, a long, carefully fangled project intersecting jazz, soul, ambient and experimental music. Pulling on a string of recording artistic greatness, part-inherited from his dad's record collection which packed Thelonious Monk and D'Angelo, Beste soon found himself in the world of the studio, working with the likes of Amy Winehouse, Kano, Gabriels and Joy Crookes. The Vernon Spring is his own claim to individuation, and the new LP follows twelve elegant songs, considering values of family loyalty and global responsibility in uncertain times, as they clash and harmonise in unpredictable step. Piano, electro-acoustics, spoken word and tactile ambient careens underlie the record, and features from Max Porter, Aden and Iko Niche help curate an equipoised, grounded mental mood.
Review: Ben Westbeech returns with his first solo full-length since 2011's There's More To Life Than This, marking a new chapter in a varied career as a singer-songwriter, DJ, hit producer and curator. The Glitterbox release hears Westbeech step back from the mic to focus fully on production and arrangement, bringing together a cast of musicians to channel a message of self-empowerment and inner peace, through pristine delays, diachronic desert grooves and a freed disco-bedience. Joined by fellows RAHH, Dames Browbn and Obi Franky, Westbeech's latest is a full-length ode to changing times and inner openness.
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