Review: Collecting together most of their 7" releases onto this, their first album, 45Trio's keyboardist Swing-O/45, bassist Sunapanng and drummer Masahiko Kubo provide fans with not only their sold-out singles on the same label but new tracks too. So, enjoy their version of Patrice Rushen's 'Remind Me' that pares back the original, sweetening further this already sweet composition by marrying Fender Rhodes with vocoder, or relish Irvine Weldon's 'I Love You', as the sensitive keyboard again takes centre stage. Get lost in Loose Ends' 'A Little Spice' which is fairly true to the original but more synthesised with a jazzy hip hop break and the jerky more downbeat version of Gary Davis' 2006 track 'Gee Dee' reflecting the trio's love of paying homage but creating a different and slower groove. On Bloom Music, a label under the Japanese Flower Records 'Soul Review' soulfully reviews Trio 45s work to date, a must for fans disappointed not to have got in quick enough when tracks were first available on 7" and also for those newly initiated. You're all in for a treat.
Review: Matt Stockham Brown steps into the spotlight with 6161, his self-titled debut on Bristol's Severn Songs. Brown is already known for his drumming prowess and has earned real acclaim for winning a Montreux Jazz Festival award, as well as recording with Run Logan Run and getting great reviews for his work with Daniel Inzani. His resume includes collaborations with Massive Attack, Gregory Porter and This Is The Kit but with 6161, Brown showcases his vision beyond percussion. He heads into jazz, experimental textures and dynamic groove making in a way that marks a bold step forward without losing sight of his signature sound.
That's Love (feat Mac Miller & Heather Victoria) (3:22)
A Star U R (feat Terrace Martin, Problem & GQ) (4:12)
Make It Big (feat Big Remo - 9thmatic remix) (4:07)
Review: The long-awaited vinyl reissue of 9th Wonder's landmark 2011 album is finally here. This record was the first full-length project to truly spotlight the Grammy-winning producer's signature soulful beats, a sound that left an undeniable mark on both the underground and mainstream scenes. A key figure in putting North Carolina on the map in hip-hop, 9th Wonder's production style, rich with warmth and emotion, became instantly recognisable as a result. Recommended.
Review: With summer gone, this album is the perfect soundtrack to remind you of the warmer season. It's a lush blend of tropical disco grooves, deep house, Balearic vibes, smooth jazz and Mediterranean cool for sipping cocktails and dreaming of a blissful escape. Each track features dreamy textures, fresh rhythms, shimmering chords and rich melodies enhanced by delightful percussive details. It's a majestic work by A Vision Of Panorama with a carefree atmosphere.
The Tree Knows Everything Revisited (feat Kirsty Hawkshaw) (8:04)
Circles Revisited (extended) (5:35)
Mother Earth Revisited (5:01)
Dirty Harry Revisited (5:34)
F-Jam Revisited (feat MC Conrad) (5:41)
Aromatherapy Revisited (6:57)
Review: Colours Revisited isn't just a nod to Adam F's 1997 Colours but a wholly reconstructed journey that blends the echoes of late 90s drum and bass with new layers of live instrumentation. Rather than dusting off the original, Adam F digs deep, pairing soulful grooves with UK jazz virtuoso Julian Joseph's keys and the rich textures of re-recorded vocals by Kirsty Hawkshaw. A standout, 'Metropolis' channels the Metalheadz-issued original's punch with a vivid, rhythmic pulse, while 'Music in My Mind' echoes Herbie Hancock's influence. The album pulses with both reverence and reinvention, casting classic tracks in a fresh sonic space where analogue warmth meets carefully layered modernity. This is Colours, all brilliantly retold for a new era.
Review: When keyboardist Thomas Jonsson, guitarist and bassist oMar Gudjonsson, saxophonist oSkar Gudjonsson and drummer Magnus Trygvason Eliassen take the stage, they channel the raw resilience of Northern Europe's islanders who have endured long, icy winters for centuries. Their energy transcends genres and has proven to captivate jazz enthusiasts, rock fans and ravers alike. This primal, non-verbal expression predates language yet remains deeply contemporary by blending cosmic vastness with free imagination and profound mysticism. Their music is a convergence of timeless human impulses and fresh creativity. It's challenging but hugely rewarding.
Zameen (feat Marc Anthony Thompson C/O Chocolate Genuis Encorporated) (4:09)
Raat Ki Rani (6:11)
Saaqi (feat Vjay Iyer) (6:11)
Bolo Na (feat Moor Mother & Joel Ross) (6:05)
Last Night (feat Cautious Clay, Kaki King & Maeve Gilchrist - reprise) (4:50)
Review: Arooj Aftab's Night Reign is a stunning trip into the depths of the night, where inspiration thrives. Departing from themes of loss in her previous work, Aftab crafts an album rich with renewal and romance. Collaborations with artists like Cautious Clay and Moor Mother add layers to the lush soundscape, creating a cinematic experience. Each track, from the haunting 'Autumn Leaves' to the soulful 'Bolo Na,' weaves together to form a narrative of surrender and transformation. Aftab's voice, accompanied by intricate instrumentation, guides listeners through the darkness, offering moments of introspection and possibility. Night Train is a chance to throw yourself into the beauty and mystery of deep music, emerging renewed and transformed.
Zameen (feat Marc Anthony Thompson C/O Chocolate Genuis Encorporated) (4:09)
Raat Ki Rani (6:11)
Saaqi (feat Vjay Iyer) (6:11)
Bolo Na (feat Moor Mother & Joel Ross) (6:05)
Last Night (feat Cautious Clay, Kaki King & Maeve Gilchrist - reprise) (4:50)
Review: Arooj Aftab's Night Reign is a stunning trip into the depths of the night, where inspiration thrives. Departing from themes of loss in her previous work, Aftab crafts an album rich with renewal and romance. Collaborations with artists like Cautious Clay and Moor Mother add layers to the lush soundscape, creating a cinematic experience. Each track, from the haunting 'Autumn Leaves' to the soulful 'Bolo Na,' weaves together to form a narrative of surrender and transformation. Aftab's voice, accompanied by intricate instrumentation, guides listeners through the darkness, offering moments of introspection and possibility. Night Train is a chance to throw yourself into the beauty and mystery of deep music, emerging renewed and transformed.
Review: Alfa Mist and Amika Quartet share a new ennead of never-heard-before tracks, alongside a few expansions on earlier releases: Recurring. An eternal return of saintly jazz and storytelling hip-hop, the record comes hot on the heels of Mist's recent Variables LP (2023) and the Manchester quartet's Amika's earlier 'Exist' release from earlier in 2024. The latter group have toured extensively with Alfa Mist in recent years, and the new live record notably foreruns its full release with a new exclusive, 'Checkpoint (Violence)', on which Mist not only drums, but at the same time MCs, with verve and flair. Here Mist concept-checks everything from modern-day apartheid to astrology (and exasperations thereof - "don't ask me your starsign"). Amika, meanwhile, embellish each mix with searing string arcos and long fibrous tugs, which seem, ironically, to assure us about the future, though they do lend the songs a demure mood: "don't fret".
Somewhere To Be (feat Andy Cooper & Marietta Smith) (3:22)
Ever Been (3:36)
Review: Freak The Speaker marks a vibrant evolution in The Allergies' sound, showcasing their deep-rooted love for diverse musical styles. Producers Moneyshot and Rackabeat have upped the ante, delivering their biggest beats yet and enlisting an array of talented MCs and vocalists to bring their vision to life. Afrobeat star K.O.G. injects energy into the lively 'Koliko,' while Ohmega Watts delivers sharp, impactful verses on the hard-hitting 'No Flash.' UK rappers Dr Syntax and Skunkadelic trade dynamic bars over booming 808s on 'My Own Way,' and Dynamite MC shines on the soulful, infectious 'One Time.' Fans of The Allergies' signature funky, sample-heavy production won't be disappointed. Tracks like 'Let Me Hear You Say' channel vintage roller disco vibes, while 'Knock Me Off My Feet' is a 60s soul-inspired banger that's already garnered praise. Andy Cooper of Ugly Duckling brings his trademark flair to his features, complemented by the lively contributions of saxophonist James Morton and soulful singer Marietta Smith. Freak The Speaker is a celebration of music's global diversity, wrapped in The Allergies' unmistakable style.
Are We There Yet (feat West Felton , Howard Wazeerud-Din II, Malik Alston) (5:31)
Boom Bap Jazz 7 (feat Dave MCmurry, Takashi Iio, Malik Alston) (2:55)
We Have Been Assimilated (feat Malik Alston, Dave Mcmurry & The Black Light Collective - Malik Linwood mix) (3:58)
Vampires (feat Elmus, Allan Barnes, Cen Dervin, Craig Huckaby - Malik Afro remix) (7:58)
Shine (instrumental) (5:59)
The Doctor (feat Zacland) (7:06)
Soul Guitar Love (feat Gabe Gonzalez & Bubz Fiddler & Malik Alston) (4:16)
We Can Make It Through (feat Doc Link, LaRonn Dolley, Malik Alston) (3:05)
Review: Truth Manifest Records proudly presents Beyond Jazz Volume 2, the next instalment in this futuristic four-part series. Produced by Malik Alston and distributed by Mother Tongue, this vinyl release takes listeners on a journey to the edge of their senses. With its blend of live instrumentation and a hip-hop foundation, the album morphs into an Afro-Cuban, up-tempo dance jazz banger. Poetry interweaves throughout, reflecting urban realities while reminding us that through struggle comes victory. This record captures the essence of boom bap jazz, offering a funky jazz groove that lets your spirit shine. A must-have for any jazz lover.
Review: Oren Ambarchi and Eric Thielemans' latest collaboration emerges from a recorded performance in Poitiers, France, in November 2023, showcasing their extraordinary duo chemistry. The single continuous performance, spanning over 45 minutes, encapsulates their shared language and willingness to push boundaries, blending meditative calm with unexpected melodic and rhythmic moments. 'Kind Regards' (Beginning) opens with Thielemans' entrancing tom patterns, which provide a steady undercurrent for Ambarchi's guitar, transformed into swirling tones by a Leslie speaker. As the music unfolds, it moves between introspective calm and more forceful bursts of energy, with Ambarchi's guitar eventually taking on an electric organ-like quality, echoing the soulful depth of Alice Coltrane. Later, 'Kind Regards' (Conclusion) takes on a more jazz-oriented direction, as Thielemans' delicate rhythmic shifts showcase his mastery of accents and cymbal work. Ambarchi counters this with jittery delayed tones, and a more active use of his fretboard, weaving through dissonant harmonics before concluding with a massive, yet detailed, climax of distorted guitar and crashing cymbals. The performance, free from any flashy tricks or filler, draws power from the deep intuition between the two musicians, and their shared commitment to exploring the limits of their instruments.
Review: London Fields by Ambient Jazz Ensemble, the project of composer Colin Baldry, explores the musical tapestry of London through a soulful and cinematic lens. While the name suggests ambient jazz, the album is more an orchestral soul journey, drawing inspiration from Marvin Gaye, Curtis Mayfield and the urban sounds of Moses Boyd and Steam Down. Tracks like 'Signature' kick off with a contemporary groove courtesy of Baldry's son, Sam, while Lynsey Ward's vocals on 'Locked' provide a powerful, emotional core. Throughout the album, lush orchestrationifeaturing the Adderbury Ensemble and saxophonist Ollie Westonicreates an expansive, atmospheric sound. The title track's late sax solo surprises amidst carefully composed arrangements. Instrumental tracks, such as 'Standing On The Edge of the World', are reflective pauses, though at times they feel secondary to the vocal pieces. The album crescendos with the dramatic 'London Fields' and 'When The Dust Settle', capturing the vastness of the city. London Fields impresses with its emotional depth and epic scale, delivering a rich, evocative soundscape that blurs the lines between jazz, soul, and orchestral music.
Eden With The Invisible Session (with The Invisible Session - TIS version) (4:02)
Etna (with The Invisible Session) (4:05)
Call (with The Invisible Session) (4:13)
Eden (3:57)
Noir (2:50)
Review: ANAN is a project by DJs Roberto Agosta and Massimo Napoli and it takes its name from their surnames, repeated twice. Their new album is inspired by jazz, 70s psychedelia, Afrobeat, cumbia and soul and was recorded in a space in Catania, Sicily, where they melded those inspirations into a versatile and innovative sound. The session musicians manage to really lay down some deep melodies to give the album a live session feel. Tracks like 'Eden' and 'Naif' combine cinematic jazz with African influences, while 'Eros' blends Ethiopian and Indian cultures. 'Mind' offers a hypnotic cumbia and 'Etna' evokes spiritual psychedelia. The album includes also collaborations with The Invisible Session which take things to even higher spiritual planes.
Review: The mighty Dez Andres has hooked up with Parisian digger Victor Kiswell for a sublime new double album on Spot Lite that finds a perfect sweet spot between both men's sound. It stems from a party that explores Arabic grooves from Northern Africa and the Middle East and pairs that with low slung deep house beats and hip-hop inspired joints. It's woozy and warm, packed with killer melodies and hooky riffs and is right up there with some of Dez's best work. Highlights include the likes of 'Grand Meze In Gemmayze' with its dusty beats and 'Bounce The Casbah' with Middle Eastern guitars that ring out with great soul.
Review: This renowned hip-hop producer (and also half of Atmosphere) is a founding member of Rhymesayers Entertainment. His decades-spanning career includes work with MF DOOM, Brother Ali, Murs and more after he was raised in a military family with a deep love for records. Ant's eclectic influences shine in Collection of Sounds, a four-volume instrumental series that his instalment three here and has been carefully curated from his vast archive. It mixes up intimate, haunting tracks with expansive, venue-filling beats. Some compositions invite vocalists yet remain deeply personal and overall, rather than reinventing things, Ant reconfigures his past while staying true to his artistic roots.
Review: Ant's Collection of Sounds Vol. 1 offers a profound exploration of his vast musical expertise. As a cornerstone of Atmosphere and Rhymesayers Entertainment, Ant's latest project delves into his deep archive of unreleased material, presenting a sonic journey that's both intimate and expansive. The album masterfully balances moods, from the eerie closeness of 'Bar One' to the wide-open, atmospheric '4-Track Beyond Beat 1996.' Ant's ability to craft beats that invite exploration is evident throughout, with tracks practically begging for lyrical accompaniment. Yet, he resists the urge to overcomplicate, keeping the focus on the purity of the instrumentals. Collection of Sounds isn't just a showcase of technical skill; it's a reflection of Ant's artistic evolution, blending past influences with fresh ideas. The vinyl's packaging adds a tactile dimension to the experience, featuring a custom green record housed in a beautifully designed jacket with artwork by ZooDeville and Saber. This first volume has Ant's enduring creativity on full display with top notch hip-hop production.
Review: Legendary producer Ant, who you will most likely know for his work with Atmosphere, showcases his talent once more here with Collection of Sounds: Vol. 4. This release highlights his years of dedication to his craft and is a great mix of fresh ideas with his signature style. While previous volumes explored hip-hop, funk and reggae, Vol. 4 introduces rock-inspired elements such as wailing guitars, though it still maintains a firm foundation in hip-hop. Tracks like 'Hearing In Dark Colors' and 'Created With a Heavy Brush' display his mastery of diverse styles while 'Day After 2010' offers an unexpected vibe that helps confirm Ant's status in the scene.
Shohjo-Tai & Red Bus St Project - "Electric City" (5:22)
Ishida-Express I - "China Romance" (4:42)
Dianne Mower - "The Secret Sign" (3:56)
Jocelyn Mocka - "Doudou" (BNF edit) (4:13)
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
Is there any more revered digger than Antal, the rush Hour label boss? he has made that label and shop famous around the world for its great and eclectic taste. He has also reinvigorated the catalogues of numerous artists thanks to playing their tunes in his expansive sets so whenever he serves up a comp it's pretty much a buy on sight. Beyond Spec & Time Volume 2 jin the Japanese label of the same names one such example - it's full of broken beat and jazzy treasure that is invigorates the soul and more than makes you want to dance.
Review: Stones Throw has tapped up the brilliant psychedelic jazz group Apifera for a second album to follow on from the greatness of their debut. That once came back in 2021 in the form of Overstand, which was a widescreen and cultural mix of all manner of weird and wonderful sounds. Now, Keep Teh Outside Open builds on that and finds keyboardist Yuval Havkin and Nitai Hershkovits, drummer Amir Bresler and bassist Yonatan Albalak all colliding Israeli folk, Afrobeat, post-rock and jazz into richly colourful and absorbing sound worlds full of lush broken beat grooves.
Review: Freestyle Records reissues The Apples Kings a full decade and a half after its first release. This version has been fully remastered and re-cut for an even more dynamic sound to remind why the landmark album was so special. It was a first for the band who crafted it with specific collaborators in mind and worked with funk legend Fred Wesley and Israeli world music icon Shlomo Bar In fusing elements of The JB's funky foundations, soul, dub, and Middle Eastern influences, they cooked up a genre-defying mix filtered through The Apples' unique decks-horns-bass-drums lineup. These unmistakable, floor-shaking grooves are just as potent today as they were in 2010.
Review: "Danama" is a Bambara word meaning "trustworthy" that reflects the essence of Arat Kilo's fifth album, which was recorded in Spring 2024. The album embodies optimism, collective strength and cultural blending, while advocating confidence during these times which are so marred by wars, nationalism and environmental crises. Arat Kilo is France's leading Ethio-jazz ensemble and they take a fresh approach by experimenting with sound production by adding new instruments like synths, bass clarinet and Malian n'goni, alongside their signature grooves. These tunes are influenced by genres like Jersey club and 2-step and merge with Ethiopian jazz and global rhythms. Mamani Keita's poignant lyrics and social critique from Mike Ladd make this a resounding call for hope and unity.
Review: Bralan Arias' latest unfolds with an effortless ease, blending electronic rhythms with organic soul and jazz influences. 'Childhood' opens the album with a warm, steady pulse, immediately grounding the listener in Arias' signature styleigroovy yet meditative. 'Life Is Like Jamming' follows with a playful, laid-back vibe, the rhythm section driving the track forward while intricate percussion adds texture. The track 'Noir Bogota' brings in a darker tone, underscored by jazzy chords and syncopated beats. Throughout, Arias moves between deep, soulful melodies and playful rhythms, offering a cohesive and engaging listen. 'Come Mornin' (featuring Sandra St. Victor)' stands out with its infectious energy, while 'Nothing But The Music' provides a reflective, rhythmic journey. LTDBLBL 017 offers a fusion of past and present, delivering a sophisticated blend of house, funk, and soul.
Review: Jazz maestro and Ezra Collective founding member Joe Armon-Jones presents his most ambitious solo project to date, released on his own fledgling imprint Aquarii Records. After a six-year gap since his last solo album, Turn To Clear View, Armon-Jones has spent his time touring, building a studio, and collaborating with icons of UK jazz, including Liam Bailey, Fatima, Prince Fatty, and Mala over a string of politically-charged EPs. Now All The Quiet promises an august jazz opera in two parts, and so coming complete with an interval, crossing twixt jazz, funk, dub, hip hop, and soul, the album is entirely written, produced, and mixed by Armon-Jones himself, and manifests as the first of a two-part album, featuring guests Nubya Garcia, Oscar Jerome, and Goya Gumbani.
Review: Aron and the Jeri Jeri Band's debut album Dama Begga Nibi (I Want To Go Home) is a dynamic fusion of Senegalese tradition and global influences. Founded by Berlin-based composer Aron Ottignon and Senegalese griot Bakane Seck, the album blends Mbalax, jazz, afrobeats, reggae and electronic sounds, reflecting the rich interplay of cultures in today's music scene. The title track, 'Dama Begga Nibi;, opens with Pape Diouf's evocative vocals and a poignant longing for home amid lockdown isolation. 'Sunugal', with Ale Mboup's expressive voice and a children's choir, underscores the central role of music in Senegalese culture with a heartfelt homage to the country's traditions. Tracks like 'Mama Djuma' and 'Teddoungal' bring funk, soul, and rhythm that invite movement, while 'Bongo Boys' and 'Jeri Jeri' deliver pulsating electronic beats ideal for lively settings. 'The Return Of The Golden Egg' in particular is very exciting with its blend of pop, rhythm and blues, Calypso and the unique electronic sounds. The album closes with 'Strange People', featuring Aicha's stunning vocals recorded by the Saloum River, providing a serene conclusion. Dama Begga Nibi beautifully illustrates the seamless blend of historical and contemporary influences, celebrating both tradition and modernity.
Review: Campania-based combo Asakaira has delivered a genuinely brilliant debut album here. Rooted in improvisation and the collective's combined love of jazz, Afrobeat, jazz-funk, hip-hop and the Afro-cosmic sounds that have long been a staple of Italy's underground music culture, the album's six original tracks (the seventh is an alternate 'Night' take on the jaunty, energetic and percussive 'Skijii') bristle with imagination and inventiveness. For proof, check the tropical disco delights of 'Night Tales', the head-nodding hip-hop-jazz of 'Chatting With You' and the dubby jazz-not-jazz shuffle of 'Moon Phases', a track that just intensifies and gets bigger as it progresses.
Review: After receiving a Swedish GRAMMY nomination for her 2023 album Be Free and maintaining a busy tour schedule, trombonist, songwriter and producer Ebba decided to try and challenge jazz's rigid boundaries for her next project. The result is When You Know, a smoky, melancholic brew that swirls jazz, alternative r&b, indie, hip-hop and ambient sounds into something pleasingly fresh. Co-produced with Berlin-based producer Lucy Liebe, the album was recorded in a cabin outside her hometown during the harsh winter and reflects Ebba's direct, driven nature. It often moves into avant-garde territory but the vocal work on cuts like 'Did I Go?' mean it always makes and emotional impact, while lush beats on 'Open Your Eyes ' are perfect for summer and 'What I Want' is devastatingly intimate and honest.
Review: Described as a "deeply personal and a reflection of the journeys I've taken-both literal and musical," by its creator, veteran producer Brian d'Souza, Auntie Flo's latest travels from Nairobi to Mexico City, Havana and Waiheke Island and celebrates migration, freedom, and connection. Free is certainly the word you'd used to describe his groovy, instinctual but hard to classify sound, fusing the electronic with the organic on the sound palate and utilising everything from loose deep house grooving to Afrobeat, jazz and most things in between. From the YMO-esque 'Nighthawk' to the lush, jittery synthpop of 'Bird's Eye View', the juddering groove of 'Walk DF' - imagine Kraftwerk with an African lilt to the rhythm section - it's varied, quality-packed and transformative.
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: At the start of 2024, BADBADNOTGOOD channeled their renewed creative energy into the Mid Spiral series. Fresh off a string of international tour dates and collaborations with artists like Daniel Caesar, Charlotte Day Wilson, and Turnstile, the Canadian trio - Al Sow, Chester Hansen, and Leland Whitty - returned to the studio with a vibrant sense of purpose. Joined by touring member Felix Fox-Pappas and key Toronto jazz musicians Kaelin Murphy, Juan Carlos Medrano, and LA's Tyler Lott, they embarked on an intensive recording session at Valentine Studios in Los Angeles. The result is the Mid Spiral series, initially released digitally in three parts - Chaos, Order, and Growth - and now available as a double LP and CD. These suites mark a return to their instrumental jazz roots while seamlessly blending elements of hip-hop, neo-soul, psychedelic and funk.
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 Ballistic Brothers are back with another reissued nine-track dose of bare but big breaks belligerents. This cult '90s supergroup emerged from the steaming manhole covers of the London hip-hop underground - as the saying goes, "if you were part of any clubbing tribe in the early/mid 90s, you will have danced to the Ballistic Brothers". Made up of Darren Rock, Darren House, Ashley Beadle, David Hill and Uschi Classen, the bulk of their fame wafted forth from a swathe of surreptitious vinyl releases that took the record-digging community by storm at the time, yet which also invited much speculation as to their original membership (the wonders of the internet weren't so readily available back then). A variegated selection of tracks culled from many a different EP, we're compelled to recall a golden time when breakbeats weren't so brash, and in fact served as rhythmic accompaniments to a set of otherwise beauteous atmospheres. Cases in point include 'Save The Children', which combine trippy pan-pipes and funky organ with a theme of charitable concern, and 'Blacker 94 EQ', which impresses us yet more with its acid jazz breakouts and electric piano solo and which makes stark use of the suspenseful string line endemic to the sound.
Review: Acid jazz pioneer - and "acid jazz" coiner (!) - Chris Bangs returns with a brand new album for 2024, 'Dream World', which follows on from his early 2023 release 'Firebird'. Corralling his friends - Argentine keyboardist Luciano De La Rosa, Italian Massimo Morganti on trombone, Chile's Juan Pi Salvo on trumpet, and Fabio Tiralongo on sax - together for a supergrouped set of nine Bangers, Dream World hears the artist transcend borders in a mondialised fashion, in doing so paying homage to many of his inspirational greats such as the Mizell Brothers, Wayne Henderson and George Duke, whom together produced the joint groundwork for the latter-day genre.
Review: Mark Barrott's Everything Changes, Nothing Ends is a heartfelt journey through life, loss, and love. Released on Anjunadeep Reflections, the album follows his 2023 record Johatsu and sees Barrott channelling his grief into a meditative, moving collection of tracks. Written during his wife's illness, the album reflects the overwhelming sense of isolation and sorrow he felt following her passing in January 2023. "It became my way of coping," Barrott shares. "Coming back to an empty house after a day at the hospital, music was my only comfort." Across Everything Changes, Nothing Ends, Barrott weaves together orchestral, ambient, and jazz textures. Each track, like an audio diary, captures specific emotional moments from those final weeks. There's a tenderness to the arrangementsipeaks of intensity balanced by gentle, soothing passages. Far from simply wallowing in grief, the album embraces acceptance and gratitude, focusing on the beauty of life and its fleeting nature. The result is a deeply personal, genre-blurring record that showcases Barrott's unwavering creativity over a career spanning nearly four decades.
Review: Pierre Bastien has a strong team record of interesting collaborations. He's done stuff with fashion designer and scent mogul Issey Miyake, legendary singer and composer Robert Wyatt, and the enigmatic electronic producer and reality-shifter Aphex Twin, releasing no less than three full length records on the latter's landmark label, Rephlex. "A mad musical scientist", the Guardian once quipped, and C(or)N(e)T doesn't break from that tradition. Instead, it offers some of the most abstract and strange, beguiling and fascinating sounds we've heard in a while. At least a few of which have been made on self-made, bespoke pieces of equipment. At a push, you might label this jazz, for the simple fact it's so free-form and avant-garde. Realistically, though, it sounds like the noises that might happen if someone attempted to tame a pack of rogue electronic hubbub-chatting things in a vaguely structured way. "Thank fuck for Pierre Bastien", the Quietus once said. We happily concur.
Atwater Basketball Association File No 172-C (1:27)
Heart Attack Man (live) (2:04)
The Maestro (live) (3:12)
Mullet Head (2:54)
Sure Shot (European B-Boy instrumental) (2:56)
Review: Beastie Boys' classic 1994 album, Ill Communication, is getting a special deluxe edition reissue on vinyl to celebrate its 30th anniversary. The remastered 3xLP set resurrects a rare version initially released as a limited run in 2009 that includes 12 bonus tracks - rarities, a live version of Check Your Head's 'The Maestro,' B-sides, and remixes - all adding to what is already a spectacularly varied and wonderfully sprawling album. Ill Communication was the fourth studio album by the New York-based hip-hop ensemble, featuring hit singles like 'Sabotage' and 'Get It Together.' This reissue follows recent re-releases of other Beastie Boys' albums, including Hello, Nasty and Check Your Head and further highlights the group's 'giants of the 90s' status.
Review: A long-standing figure on the London jazz scene, trumpeter Harry Beckett kept his music fresh over a long career, and none more so than on his debut On-U Sound release in 2008 produced by Adrian Sherwood, which invites reggae and dance music influences to happily live alongside his modal jazz flavours. Now reissued posthumously, The Modern Sound Of Harry Beckett tracks the legacy of this contemporary jazz eminent, who passed away in 2010. Beckett channels both his Caribbean roots and trumpeting abilities, offering a novel confounding of sparse, skittish beats verging on digidub, with spryly slick soundings of the horn. Made up of isolated recordings laid down by Beckett, and then celebratedly combined with dancehall and dub movements afterwards, our fave has to be the unabashedly dubstep godsend, 'Like You Didn't Know', which spreads Beckett's horns out to virtuosic effect, against a wickedly womping wash.
Review: Bruno Berle's No Reino Dos Afetos is a stunning example of modern Brazilian pop, blending heartfelt emotion with a wide range of musical influences. Hailing from Maceio, Berle brings the warmth and beauty of his coastal home into every corner of this album. Released in a vibrant blue vinyl repress in 2024, the album is a journey through soft, intimate compositions that explore love, tenderness, and beauty. Berle's smooth, golden voice is the heart of the record, effortlessly gliding over songs like 'Quero Dizer', where the mix of lo-fi production, kalimba, and guitar creates an irresistible, laid-back groove. His raw emotional power shines in tracks like 'O Nome Do Meu Amor', an acoustic tearjerker brimming with sincerity. Berle's versatility is clear, moving from indie rock on 'E Preciso Ter Amor' to the sun-soaked soul of Joao Menezes's 'Ate Meu Violao', which opens the album with a nostalgic touch of 70s MPB. His take on West African highlife in 'Som Nyame' adds even more richness to the mix. Every note feels personal, capturing both simplicity and depth. This album solidifies Berle as one of Brazil's most exciting young talents.
Review: Research Records once again hooks up with Melbourne's Big Yawn who return with fourth full-length NGBE. Known for their intricate rhythm sections, catchy basslines and playful sampling, the quartet delivers their most sophisticated work to date here on a record named after their cherished but lost warehouse space, the National Gallery of Brunswick East, where much of the album was recorded. It finds them exploring a diverse range of soundscapes with mutated drum 'n' bass, subtle grime, rap, and dub influences all enhanced with rich FX. The nine tracks also hint at a subtle evolution both in the studio and on stage as best highlighted by the collaboration '2Stroke' with Melbourne's Teether.
Review: For those familiar with manchester sax player Birchall's previous forays into dub, this album offers a deep dive into the analogue 70s Jamaican dubbing techniques that have defined the genre, paying homage to the trailblazers like King Tubby and Errol Thompson. The source material is heavily percussive, resulting in a collection of dynamic, dubby drum workouts that seamlessly blend live drumming in the Count Ossie style with drum machines that recall Lee Perry's experimental approach. A highly anticipated dub companion to Nat Birchall's acclaimed Dimension of the Drums LP, this continues in a similar spirit of the previous. Drawing inspiration from classic dub albums like Keith Hudson's Pick A Dub and Winston Edwards' King Tubby Meets The Upsetter at the Grass Roots of Dub, Birchall reimagines the tracks with roots dub precision, incorporating fresh horn lines and hand drums to enhance the album's authentic, organic vibe. The LP includes two distinct mixes of a new rhythm track that wasn't part of the original album, adding an extra layer of excitement for listeners. Birchall once again handles all aspects of the albumiplaying instruments, recording, mixing and masteringiensuring a deeply personal touch in every track. All in total, eight tracks of instrumental dub bliss that transport you back to the golden era of reggae's most inventive sound.
Review: Black Decelerant, a collaboration between Khari Lucas (Contour) and Omari Jazz, explores spiritual jazz through modern tones, weaving sonic reflections on Black existence, life and grief, expansion and constraint, and the personal versus the collective. Their eponymous debut album fosters a serene refuge amidst societal turbulence and aims to transcend fleeting moments. Conceived from an intuitive process, the album emerged from remote sessions spanning six months in 2020, bridging South Carolina and Oregon. Improvised instrumentals and sampled productions became conduits for their inner dialogues and offered solace during existential crises amid lockdowns and social unrest in the US.
Review: It's been a minute since we heard from Blackjoy, Jerome Caron's flagship project of mellow, jazz-minded compositions and beatdowns. His last long player Erotis dropped in 2010, no less. Now he returns on Les Rythmes Ruban with a sumptuous new excursion into downtempo pastures which picks up the thread of nostalgic French lounge refinement associated with acts like Air. Just soak up the melancholic chord progressions of 'Michel Chevalet' and you'll find yourself taken away to somewhere very pleasant indeed. There are sweet vocal cuts like 'Clouds' and much more besides on this rich and fulsome record from a seasoned pro.
Review: Originating from Hameenlinna, Finland, the DJ and producer duo Tuure Tammi and Juha Sarkkola are The Blassics. What started as a small instrumental funk project has since grown into a nine-piece instrumental band and that aims to distil the energy of their live shows into equally captivating records. Their style harks back to rough original funk 7" and draws on Afrobeat and jazz. Breaks & Juicy Takes is their new LP and one with 11 brilliantly infectious blends of broken beat, dub and nu-jazz and it's a lively, vibrant blend of hooks, basslines and melodies that will never grow old.
Review: 20 years on from its initial release in 2004, Ninja Tune share the first ever reissue of Blockhead's Music By Cavelight. The New York-based alias of Tony Simon, this record is the quintessence of Ninja Tune's smoked-out trip-hop sound at the time, and for which Simon himself likewise came to be known. Recalling a time when instrumental beatsmiths were much likelier to consider their crafts artful enough to warrant calling their studios beat-smithies (as compared to the sadly throwaway feel of much instrumental hip-hop today), one can really hear the subtlety and care poured into each vignette here, our favourites among which are 'Bullfight In Ireland', 'Graveyard Hunt' and 'Bloop Bloop'; all play back like studies of a gritty, degage, sun-bathed vision of a bygone big smoke.
Review: Blockhead returns with a brilliant new album, weaving themes of death, afterlife and cyclical patterns through his signature sample-based sound. Known for his work with Aesop Rock and Ninja Tune, Blockhead has become a master at blending downtempo and upbeat styles across jazz, funk, blues and more. His ability to create expansive narratives without relying heavily on lyrics continues to thrill, using only a few vocal samples to guide the listener. The album explores life's natural endings with humor, irony and a touch of sarcasm, reflecting on the inevitable cycles that persist beyond individual experiences. Tracks like 'Earth's Farewell Tour' and 'They Got Therapy For That' offer introspection, while others, such as 'Dolphin Lundgren' and 'Burning Man in Tehran', provide joyful, quirky moments. Fans of Blockhead's work will appreciate the playful elements, with even a couple of tracks for the lovers. Not to be missed is the juxtaposition of Middle Eastern disco and festival vibes. The album is a perfect balance of humour and introspection as we reflect on cycles and endings.
Review: Polish experimentalists Bloto consider themselves indebted to the hip-hop and trip hop of the 90s, particularly the atmospheric cuts that stuck out of the ends of otherwise harder-hitting records. Staying true to the work ethic of the titans that preceded them, the band laid down three full-length records in 2020 before then jetting off on tour; only now in 2024 does Grzybnia follow as its the fourth prong on what was originally thought to be a trident. 'Grzybnia' is the Polish word for mycelium; this record is just as decidedly decompository in sound, its ad-hoc use of electronic and live drumming - wherever each might be needed best - sounding like the sinewy, by-any-means-necessary action of a fungal hypha, rootling deep into soils to unearth what might still lie dormant there. The live jazz, trip-hop and hip-hop admixture here is a real Frankenstein, 'Shiitake' standing out amongst the chitinous caps; Bloto consider it a response to an "unstable modern world that is breaking apart into pieces", and in which mycelium offers a powerful model of the potential resilience of life despite it.
Review: Rug Island, pressed on sunset orange vinyl, is the latest musical adventure from Bluey, following the success of Dance Mode! and featuring 16 brand new tracks from the beloved series. Crafted by Joff Bush and the Bluey Music team, the album draws from episodes across seasons 1, 2, and 3, inviting listeners to explore the boundless imaginations of Bluey and Bingo. Inspired by the Rug Island episodeia whimsical place where children's fantasies come alive and adults reconnect with their inner childithis album brings that playful spirit to life. Highlighted singles include 'Octopus,' a dynamic rock collaboration with King Stingray, the lively 'Onesies,' and the fresh 'Bluey Theme Tune (Vocal Version).' Other standout tracks include the nostalgic 'Fairytale,' the sea shanty-inspired 'Explorers,' the energetic 'Muffin Drive,' and the tender 'Turtleboy.' The album sleeve features a scene from Rug Island, with a reverse side that connects to previous releases, forming a panoramic view of the Heeler family's home. Rug Island is a delightful addition to any Bluey fan's collection, full of joy and imagination.
Review: Mongolian hip-hop producer Bodikhuu has never been to Rio but this is his lovely letter to the city he has often dreamt of. He has a love of the great Joao Gilberto and armed with that and a worm out MPC he set to work, laying down tropical beats and sunny melodies. The result became an instant classic and spawned a number of tunes that went on to pick up more than a million streams. It's a record that excites the imagination as well as warming the soul and this version comes with superb original artwork designed by illustrator David Burnett on a lovely splatter-coloured vinyl inspired by its own cover.
Review: Childhood friends and multi-instrumentalists Axel Concato and Barth Corbelet are the pair behind new duo Bolbec which debuts here with Victime De L'aube on Batov Records. Merging diverse musical influences-from spiritual jazz and folk to classical and electronic-they create an imaginary soundtrack akin to the works of Piero Piccioni and Michel Legrand. The album features the duo playing over a dozen instruments and all supported by the Nostalgia 77 rhythm section. The title, meaning "Victim of the Dawn," reflects the emotional journey from night to morning and the opening track 'Rue Nue' somas captures you. It hints at the album's mysterious tones, while 'Vengeance Tropicale' blends spirited jazz with joropo influences, 'Feuille D'orage' showcases bossa jazz, and "A L'instar Du Flair" offers a modal jazz journey reminiscent of Yusef Lateef.
Review: Grains is Boozoo Bajou's 2009 third album; marked out as the duo's most "organic" record, we hear the inimitable blends of Louisiana Cajun, Caribbean music and electronica, once again laid bare by the pioneering pairing of Peter Heider and Florian Seyberth. Still taking after their local Laurel Canyon as their muse, Heider and Seyberth crafted a lush yet ruddy record 15 years ago, relying on the bare ability to tenderise vocals and guitar, over and above any production trickery (though the record is relatively polished too). Grains heralds a predominantly trip hop direction when the beats aren't softened, with 'Signs' serving as the prime example.
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