Playwright Japan Vinyl & CDs

Review: The all-star team of the instrumental world, Polyplus, release a cover of 'Hi-Tech Jazz', a classic electronic jazz track and representative work of the project Galaxy 2 Galaxy, first put forth by Mad Mike's Underground Resistance. As for the choice of cover, the Tokyo jazzdance quartet have chosen well; while they've only gone and done it - reinterpreted Mike's timeless club masterpiece with a full band sound - they refuse to sacrifice any danceability or DJ mixability, doing full justice to the term "hi-tech" despite the freehanded naturalism. Also coming backed by the original B-sider 'Wake Me Up', 'Hi-Tech Jazz' heralds Polyplus' upcoming tenth anniversary album, Cosmic, as well as a jet-setting tour spanning Tokyo, Nagoya, Osaka and Fukuoka.

Review: Fresh from delivering killer dancefloor jazz covers of classics cuts by Galaxy 2 Galaxy and Avicii (really), Japanese trio Polyplus deliver a fine sequel to last year's Good Luck Sound Tracks EP. They go for the dancefloor jugular from the off, wrapping snaking sax solos, fuzzy guitar licks and elongated solos around a breathlessly rapid punk-funk groove on 'Massive', before fusing Brit-Funk and sweat-soaked jazz-rock on 'Speedy Gold'. This hybrid jazz-funk/rock sound continues on 'Ranki 2025' (whose heavy beats and memorable piano riffs nods to classic house). Elsewhere, 'Ocean Breeze' re-frames wide-eyed city-pop as jaunty jazz-funk and 'Natural Born' is a drum solo-sporting slab of jazz-rock/jazz-fusion insanity straight from the top drawer.

Review: What is "human nature"? Tokyo jazz trio Soundtype attempt to answer this near-impossible question on their expansive new album, serving an intentional crossing between genres, styles, and ultimately, interpersonal, intra-specific, human differences. Aiming for a sound that "transcends all boundaries", the implication is that human nature is itself an ultimately permeable concept. That, however, doesn't prevent the band defaulting to certain styles, which range from downbeat nu-jazz to clarinetting jungle to hip-hop via gospel. Remarkably clear, with crystalline production, the record shifts through talent-flaunting jazz and hip pop tidbits, culminating on a wonky, gaslamp-lit title track upon which singer Kotetsu and fellow jazzist Yota Miyazato pair up for a culminate, fulminatory Michael Jackson cover.