Back in stock: Broken Beat/Nu Jazz

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: Amon Tobin's debut album under the Cujo alias is a sprawling, complex work that spans 21 tracks and blurs the lines between multiple genres. First released in the mid-90s, it introduced a unique blend of live instruments and innovative sampling that would go on to shape Tobin's entire career. This is first time all the tracks have been compiled together, providing a complete version of the album that had previously been scattered across different editions. From the moody, atmospheric 'Cat People' to the intricate jazz influences in 'The Brazilianaire', the album captures Tobin's knack for combining breakbeats with more experimental sounds. There's an almost cinematic quality to the compositions, with moments of ambient calm giving way to punchy, layered rhythms. The sheer variety of ideas packed into the album is remarkable, from the driving percussion of 'Traffic' to the rich, textural complexity of 'Cruzer.' Even now, nearly 30 years on, the album still feels fresh and ahead of its time, illustrating Tobin's pioneering approach to electronic music. This reissue is a fitting reminder of the innovative work that laid the foundation for a remarkable career.

Review: There is no stopping the prodigious producer Felipe Gordon who turns out huge amounts of work, without ever sacrificing artistry. He brings soul and jazz to his deep house sounds and this is the fourth time he has landed on Clone. 'Profundo' gets things underway with singing synths and shuffling deep beats, then 'Hold On' centres escapist and sunny melodies that take you to the Med. Elsewhere 'I Don't Know Why' brings spoken word vocals to lavish house and 'Takes Time' oozes sex appeal with its steamy sax notes and gentle piano tinkles. All of these cuts are laden with great musicality that puts many producers to shame.

Review: Eiko Ishibashi, best known for her acclaimed soundtrack work, returns to original composition with this album named in honour of the feminist-facing, heroine from ancient Greek tragedelian Sophocles' Oedipus Trilogy. It's a world of shimmering jazz harmonies, pulsating electronica and ghostly musique concrete, 'October' opening with a haunting, alluring melody and the disjointed rhythms of 'Coma' creating a sense of disorientation. 'Antigone', the centerpiece, builds to a powerful and unsettling climax, but there's more than chilling soundscapes as Ishibashi injects moments of surprising warmth and beauty, like the delicate interplay between acoustic and electronic elements in 'Nothing As'. Comparisons with her soundtrack work will be made, but - not unlike Antigone herself - this stands alone as a work of bravery and strength.

Review: Red Snapper return with Barb And Feather, celebrating 30 years since their debut album. Liquidising the band's signature jazz, funk, and electronic grooves into a prostrate puree of vivid, electronically augmentable sound, we once again hear Rich Thair, Ali Friend, Tom Challenger and new addition Tara Cunningham perform a brilliant post-punk-dub-disco dramaturge, mullioned at the midpoint by a cracking instrumental redo of David Bowie's 'Sound And Vision', upheld by a true Balearic trestle. The second half, on the other hand, hears a four-track collaboration with the legendary David Harrow, pushing Red Snapper ever further towards unsnapped chunks of dietetic punk-disco delight.

Review: This timely reissue features a curated selection of standout tracks from Seu Jorge's acclaimed 2002 debut album Carolina (which was originally titled Samba Esporte Fino). The release marked the beginning of Jorge's international fame and was quickly followed by acting roles in City of God and Wes Anderson's The Life Aquatic where his Portuguese covers of the late great David Bowie became iconic. The record was co-produced by Mario Caldato of the Beastie Boys association and mixes up samba, funk and jazz into a timeless sound full of colour and soul for the warmer months of the year. Tracks like the anthemic title song, the funk-tinged 'Mangueira' and the infectious 'Tu Queria' remain essential showcases Seu Jorge's effortless musical charisma.

Review: Mille Plateaux and Raster hero Andreas Tilliander meets Fire! Orchestra's Goran Kajfes somewhere deep - and we mean DEEP - in the jazz cosmos. The farthest reaches of a universe far, far away, but one that still seems to understand how joyful vast can sound when pierced by the haunting yet strangely alluring sound of brass. But simply defining this as jazz misses a point, then throws us well beyond the pale. In Cmin would be nothing without the electronic tricks and gadgetry that first made us feel as though we'd space-walked off the edge of the known galaxy, out past the Milky Way's stardust. Echoes, tape delays, things that add mood and timbre without necessarily shouting their presence. There's magic at work here. And, contrary to the 21st Century's obsession with under-the-hood, not knowing the how is the reason why you want this.

Review: Uhlmann Johnson Wilkes is the debut album from Gregory Uhlmann, Josh Johnson and Sam Wilkes, a collective of three versatile improvisers, arrangers and producers whose work spans jazz, rock and experimental. Across 11 instrumental tracks, they explore a jazz-informed take on progressive electro-acoustic chamber music that brings beauty, melody and rhythm to the fore. The record was conceived during live shows and a home session in Los Angeles and features Uhlmann's mournful fingerpicked guitar, Wilkes' bass chording and Johnson's effect-laden saxophone. Their arrangement-minded improvisation results in some nicely otherworldly textures as they push their instruments to create a spacious, lyrical sound.

Review: It's been a while since the last one but finally, the fourth volume of the Mighty Mellow collection is here. It is another delight from the editors of The Mood Mosaic series and this time out, they explore mushy funk and abstract jazz while featuring tracks from a diverse range of artists including Pete Jolly, Annette Peacock, Dusty Springfield and more. Across the four sides of vinyl are an eclectic mix of soulful grooves and experimental sounds that span genres and eras. It's largely laidback, gentle funk and jazz for those occasions when you want to kick back and get lost.