Back in stock: Broken Beat/Nu Jazz

Review: Blockhead is New York producer Tony Simon, a revered talent who has put out a wealth of crucial albums. They are all getting reissue treatment now as some are almost 20 years old, but they have weathered that time well. Music By Cavelight is another of his masterful takes on broken beat and nu-jazz and this one comes on nice orange-marbled wax. It peaked at number 43 on the UK Independent Albums Chart back in 2004 when it first landed and it only came to be on Nina Tune after its original label stopped answering the artist's calls.

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: Marc Moulin's long career, establishing him as a pioneering figure in Belgium's music scene, continues its journey on this release, with tracks that weave together his signature blend of smooth jazz and downtempo rhythms. Beginning with the jazz-rock group Placebo in the 70s, Moulin later formed the electro-pop act Telex, which represented Belgium at Eurovision in 1980. As a solo artist, he merged jazz with electronic and downtempo sounds, collaborating with artists like Sparks and Lio. His production, marked by complex instrumentation and atmospheric depth, solidified his reputation as a key figure in both jazz and electronic music. Whether drawing from the cool jazz of the 60s or the laid-back grooves of 90s chillout, Moulin's music transcends genre boundaries. On this album, the music explores a subtle interplay of muted trumpets, congas, and guitars, blending sensual, smoky vocals with a deeply rhythmic pulse. There's an unmistakable touch of classic jazz, reminiscent of legends like Wes Montgomery and George Benson, while the rhythms pull you into a more contemporary space, aligning with the downtempo beats that were popular in the 90s. Tracks like 'Into The Dark' and 'What?' unfold with a breezy yet intricate sense of rhythm, offering both chilled vibes and moments of tension. 'Organ' offers a groove-heavy track, with its jazz roots merging seamlessly with a funk-infused, hypnotic backdrop. The bonus remixes serve as a fresh take on these original compositions. From the midnight mood of 'Organ (Cosmos Midnight Express Remix)' to the deeper house flavour of 'Into The Dark (Karma Fever Reminiscent Step Remix)', these remixes take the core of Moulin's vision and deepen it, offering something for both the jazz enthusiast and the dancefloor. This release crystalises a rich moment in Moulin's career as he updates the familiar jazz and downtempo idioms with the intricate, soulful grooves of funk and electronic experimentation, keeping his sound vital and relevant.

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: Thornato's Bennu album was first released in 2021 and proved a quick hit. Wonderwheel now reissues it on limited translucent blue vinyl which is as mesmerising as the fusion of global rhythms and electronic beats contained within. From the infectious opening and worldly grooves of 'Bennu' to the darker vocals and heavier drums of 'Rhinoceros', each track showcases Thornato's mastery of blending traditional instrumentation with modern production techniques. Standout cuts like 'Shu Swamp' seamlessly weave together influences from around the world with claps, xylophones, chanting vocals and shuffling rhythms that exude vibrant energy. A truly global blend of bass and beats this album will bring plenty of warmth into your life.

Review: Flying Lotus collaborator Thundercat returns to Brainfeeder with his first full album since 2013's superb Apocalypse. Presented over four coloured pieces of 10" vinyl, Drunk is a thrill-a-minute, mix-tape style trip through the multi-instrumentalist and beat-maker's various inspirations (think skewed hip-hop, jazz, soul, funk, left-of-centre electronica, and so on), all of which have been fused and mutated to fit his unique musical perspective. His high standing within the leffield hip-hop community has allowed Thundercat to snag some impressive guest stars, too, including Kendrick Lamarr, blue-eyed soul legend Michael McDonald, Kenny Loggins, Pharell and jazz man Kamasi Washington. Old pal Fly-Lo also lends a hand.

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: From pastoral 90s dance crossovers to left field analogue house mavericks and onto their current position as gifted, jazz-minded groove navigators, Ultramarine have never stood still over their long and winding career. At this point in time they slip into each new project with an ease and confidence which pours out of the music. On this new entry for Blackford Hill, they've chosen an unlikely muse in the Blackwater Estuary which runs into the sea just North of London. Quite whether you hear the undulating, tidal ebb and flow of large water masses in the music is subjective, but the mellifluous fusion of electronic and organic instrumentation is pure treasure for the ears, oozing warmth and full of charming surprises without ever sounding overwrought. By rights, Ultramarine should be considered a British cultural treasure and this album only confirms that fact.

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.