Everyday (feat Reginald Omas & James Creole) (2:46)
Play This Game (Money) (1:53)
Cassava Pone (2:23)
We Can Change Now (feat Reginald Omas) (3:28)
The Thing (To Do) (1:41)
How I Do It (2:53)
Roots Now (feat Al Dobson Jr) (2:13)
Get You (I Say) (1:35)
Music Throughout The Night (2:44)
Hold You Down (feat Shepard Manyika) (2:07)
Latin Sisters (1:50)
Ancestral Rivers (2:20)
Phone Call Away (feat Reginald Omas) (1:52)
Real Diggers Only (1:14)
The Moon Revolution (0:40)
Review: Straight out of that bubbling South London jazz scene, Jeen Bassa comes correct with his debut solo album, rightfully landing on his natural home 22a. Anyone hip to the happenings on Tenderlonious' label should know the deal by now - Bassa much like his brothers Mo Kolours, Al Dobson Jr., Reginald Omas Mamode IV is gifted with that killer instinct for fresh approaches to beat science rooted in jazz culture but springing forth with restless, infectious energy. "Cassava Pone" is as cool headed and richly realised as you could hope, and there's a strong cast of guest spots from his nearest and dearest to further flesh out the sound. Perfect for summer months but with plenty to keep you cosy any time of year, this is a modern classic in the making.
Movement 2 - "Toto, I've A Feeling We're Not In Kansas Anymore" (6:03)
Movement 3 - Wherever Two Or More Are Gathered (8:24)
Movement 4 - Life In The Gravity Well (7:02)
Movement 5 - As The Earth Kissed The Moon (7:20)
Movement 6 - Something's Moving (7:35)
Review: Michael Stearns is perhaps less namechecked than many of the early ambient pioneers, but his expansive catalogue reaches back to 1977, when his first expansive synthesizer dreamscapes unfurled themselves on his own Continuum Montage label. Emotional Rescue have picked up on seminal 1981 album Planetary Unfolding, giving a much needed vinyl reissue to a classic slice of hyperboreal ambience spread across six long-form movements. Expansive, emotionally charged and constantly exploratory, this is deep space listening at its finest - an essential purchase for any lovers of truly classic, cosmic synthesizer music.
Review: Silent Season's mainstay artist Segue returns with a new album, following up on the well-received immersion of his 2016 LP "Over The Mountains" with further explorations in the hinterland between dub techno, ambient and a more pastoral kind of palette. It's a field he's well versed in, and one that typifies Silent Season's approach as well, but there's plenty of fresh ideas to latch onto here as Segue weaves gorgeous threads of melody around tactile, mossy beds of sound and understated grooves that carry you to far away, inviting places. Even the more pronounced dub techno stylings of "Mirage", for example, sound vibrant and invigorating in Segue's hands - another sterling album from an accomplished producer.
Review: Before becoming Belgian new beat and techno titans, Praga Khan and Chris Inger were collaborators in a new wave influenced band called Shakti. "Verboden Dromen" gathers together the best of the outfit's work recorded between 1987 and 1990, offering up tracks that join the dots between intoxicating synth-pop, moody new wave, hypnotic grooves and dark and sleazy dancefloor moments. All of the tracks have stood the test of time remarkably well, with highlights including the humid and exotic chug of "Kamasutra", the hallucination-inducing tropical fever of "Demonic Forces" and "Shanah", and the bustling, club-ready bounce of "The Awakening", which sounds like the Thompson Twins after one too many tabs of acid.
Festa Para Um Rei Negro (Samba Enredo Do Salgueiro/71) (3:42)
Selecao De Mangueira (4:57)
Refem Da Solidao (2:19)
Review: Little is known about DIla, a Brazilian singer who tragically died in a car crash weeks after the release of her self-titled debut album in 1971. All that remains is the album - here reissued for the first time by Far Out Recordings - and a handful of references in the Brazilian media to her tremendous talents. "DIla" is a sensationally good album; a wonderfully summery, sun-kissed and soulful collection of samba songs that veers from bluesy jazziness (see the laidback and smoky "O Morro Nao Tem Vez"), to sweaty, carnival-ready dancefloor workouts (the brilliant "Saberas"), via the attractive, horn-heavy jauntiness of "As Paredes Tem Ouvidos").
Review: Earthen Sea adds to the Kimochi Sound with a soulful examination of indistinct margins, suffused with dusky haze. It's a heady atmosphere and has a palpable heaviness throughout. Starting the record are the concrete reverberations of You Don't Never Know, followed by the murky ebb and flow of Fly. 13 Beat(less) is diffused ambience.
Shielding fittingly closes the record, and weaves Earthen Sea's many textures with intricate syncopation.
Review: Described in the accompanying press release as "the halfway point between Bollywood and Balearic", Rupa Biswas' 1982 debut "Disco Jazz" has long been a favourite of dusty-fingered diggers with a healthy bank balance and a penchant for the quirky. All four tracks are cheery, charming and superior to many "Bollywood disco" records produced in the same period. The sunny disco-boogie of "Moja Bhari Moja" is followed on side A by the delightfully eccentric, bass-powered AOR-disco/funk-rock fusion of "East West Shuffle" and the effortlessly Balearic cheeriness of "Aaj Shanibar". Best of all, though, is the exotic and intoxicating flipside cut "Ayee Morshume Be-Reham Duniya" which expertly joins the dots between cosmic rock and Balearic disco grooves for 16 spellbinding minutes.
Review: Astral Industries have shaped a sizable portion of their catalogue around the work of The Chi Factory, and so it continues with this release from core member of the Dutch group, Jacobus Derwort. "Bamboo Music" gathers together some of the music Derwort released on tape back in 1987 along with other unearthed curios, all stitched together into the mystical trip that defines all Chi Factory releases. This is Fourth World voyaging for the deep divers, an evocative delight from imagined lands steeped in organic warmth and cosmic mysticism, and we should be very thankful Astral are on hand to do the fine job of pressing it to wax, not least in those fantastic Theo Ellsworth sleeves.
Review: Some five years on from the release of his brilliant debut album, "Biology", Young Marco has finally got round to producing another full-length excursion. This one is similarly special and forms part of Island of the Gods' excellent "Island Explorer" series. It sees the colourful Dutch producer deliver a range of ambient and new age tracks that fuse his usual ear-catching electronics and 1980s synthesizer sounds with traditional Indonesian instrumentation recorded on a trip to the country a few years ago (one of his grandparents hails from the Asian nation, so it was a pilgrimage of sorts). It's all hugely atmospheric, evocative and entertaining, offering a humid but sparkling array of soundscapes that reminded us a little of Hanyo von Oosterom's work as Chi Factory.
Review: By the time they released "Amplified Heart" in 1994, Ben Watt and Tracey Thorn had spent a decade churning out admired but relatively commercially unsuccessful "lite-jazz" albums. Then, on the back of a string of on-point club remixes (Todd Terry's chart-topping version of "Missing" included), the set surprisingly became a runaway success. To celebrate the album's 25th birthday, "Amplified Heart" has been given the audiophile reissue treatment. It suits the album's gently breezy, emotion-rich feel, with Thorn's evocative, lovelorn vocals perfectly matching Watt's sunset-friendly blend of acoustic guitars, soft-touch double bass, trip-hop style beats and Balearic-minded electronics. It remains one of the duo's greatest albums and should be in every discerning listener's collection.
Review: Time marches relentlessly on as does the immortal sound of iconic Manchester band Joy Division. At the heart of Unknown Pleasures was the alarming vocal talent of Ian Curtis. His alien wails, echoed expressionistic vistas of urban alienation over No Wave tribal beats and Gothic guitar impressions. And despite the breathtaking intensity of the angular acid comedown "She's Lost Control", the soaringly depraved detachment of "New Dawn Fades" and the proto-slowcore "Candidate", opening track "Disorder" remained the piece years ahead of its time and most immediately enduring. This anniversary record arrives almost forty years to the day after it was originally released, splashed out on 180g ruby red vinyl with an alternative white sleeve to resemble the original and legendary cover design. Unquestionably authentic, Unknown Pleasures was a vision so uncompromising and haunting that each track was worth its length. This commemorative reissue, then, continues the celebration of one of the most important albums of our time as well as highlighting the record as a landmark in music-design crossover history.
Review: Like Delsin label mates Conforce and Claro Intelecto, veteran producer John Beltran seems incapable of producing duff albums. "Hallo Androiden", his first full length outing for two years, is another wonderfully atmospheric, melodic and emotive set that recalls the producer's impeccable 1990s output. The nine tracks are as lushly produced as you'd expect, with Beltran effortlessly drifting between eyes-closed ambient techno, lilting electronica, slowly shifting sunset soundscapes and the kind of grandiose, life affirming ambient compositions that have long been a feature of the veteran producer's work. As with much of his output, there are enough intricate details and emotion-stirring motifs to suggest that the album will sound just as good on the 50th listen as it does the first.
Curimao (Sons Onomatopaicos E Folk Da Guine) (6:48)
Solito (Solo De Balaue) (4:29)
Danado Cantador (Balaue, Orquestra E Declamacao) (A Fagner) (4:46)
Review: For the first in a series of must-have reissues of obscure Brazilian treats, Optimo Music and Selva Discos have joined forces to offer up a new pressing of Fernando Falcao's superb 1981 debut, "Memoria Das Aguas". The eight-track set has long been considered something of a slept-on and hard-to-find classic, with Falcao conjuring up an octet of tracks that brilliantly join the dots between neo-classical movements, dreamy, percussion-led soundscapes (see the sublime "Amanhecer Tabajara (A Alceu Valenca)"), spiraling big band Afro-Brazilian jazz ("Ladeira Dos Inocentes"), intoxicating classical-jazz fusion ("Revoada") and experimental, beat-free sound collages ("Mercado"). In a word: exceptional.
Review: With their penchant for off-kilter psychedelic explorations, deep-rooted spiritual jazz excursions and cacophonous, otherworldly workouts, The Comet Is Coming is undoubtedly one of the most groundbreaking and essential jazz combos of recent times. It's for this reason that "Trust In The Lifeforce Of The Deep Mystery" - their first outing on legendary jazz label Impulse - feels like an event release. It is another stunning album, with the inspired trio flitting between sweaty, dancefloor-ready tracks soaked in psychedelic electronics and more melodious, laidback numbers that sail closer to traditional jazz pastures. Throughout, the level of imagination, creativity and uniqueness remains dizzyingly high.
Review: Performed by an ensemble sporting an intriguing array of instruments (harp, bass clarinet, flute, violin, pedal steel, piano, synthesizer and vibraphone included), Jefre Cantu Ledesma's latest album is a wonderfully drowsy and evocative affair full of drifting ambient motifs, slowly shifting melodic movements and gentle, blink-and-you-miss-them solos. The scene is set magnificently by 21-minute opener "Palace of Time", where effects laden instrumental passages meander across the soundspace to the accompaniment of sporadic percussion and a lone, operatic voice. The aptly titled "Joy", with its haunting clarinet refrain and woozy vibraphone melodies, comes and goes all too quickly before "Tracing Back The Radiance" offers a triumphantly blissful conclusion to a brilliant and beguiling album.
Review: Many artists mellow with age. That's certainly the case with Sven Van Hees, a Belgian producer who started his career making tribal techno in the 1990s before slowly edging more towards a lazy, sun-kissed downtempo sound. It's that gorgeously warm and summery sound he explores on "Svensei", a veritable saucer-eyed stroll through languid Balearic beats, simmering slo-mo soul, gently jazzy grooves, tropical dub flavours and the kind of fragrant, thickset soundscapes that were once a staple of the mid '90s chill-out scene. In other words, it's the sort of toasty, mood-enhancing set that's capable of enhancing your mood even after the most testing of days.
Come Go With Me (Joaquin Joe Claussell Unofficial edits version) (5:48)
Review: Originally released in 1977 "Come Go with Me" is a song by R&B group Pockets, which charted reasonably high in various charts at the time. This issue features a respectful resplice by New York City's master of spiritual life music himself: Joaquin Joe Claussell. The original version on the A side is featured for your enjoyment - that's a given - and you can enjoy this timeless classic featuring producer Verdine White's amazing production.
Review: Alexandra Drewchin's work as Eartheater reached a wider audience when it landed on Pan last year via the head-spinning "IRISIRI" album. Now she returns to the label she first emerged on, Hausu Mountain, for a reissue of her 2015 album "Metalepsis". It's a surprisingly direct record, even as it swerves from folky incantations to pastoral techno ruminations across nine bold and distinctive tracks. Both ambitious in scope and focused in execution, it's a perfect companion piece to "IRISIRI" that points out the skill and versatility at the disposal of this most crucial of contemporary artists.
Review: Inspired by the slightly unlikely collision of the Thai music of the '70s and The Shadows, Khruangbin - the name means 'aeroplane' in Thailand - are purveyors of a deliriously mellow and beguiling form of jammed-out power-trio guitar music - far removed from standard notions of psych and dreampop, partly owing to its pan-global influences, its nonetheless both psychedelic and dreamy, not to mention possessed of an unhurried, reflective and spacious lilt that renders this Texan-London outfit a rare treat in an information-saturated age, taking on delicate soul and funk with exotic atmospheres and making the journey feel both blissful and effortless.
Archie Bell & The Drells - "Where Will You Go When The Party's Over" (A Tom Moulton mix) (9:06)
People's Choice - "Jam Jam Jam (All Night Long)" (A Tom Moulton mix) (7:42)
Teddy Pendergrass - "I Don't Love You Anymore" (A Tom Moulton mix) (8:46)
Lou Rawls - "See You When I Git There" (A Tom Moulton mix) (9:39)
Review: During the latter stages of the "Philly Soul" era, New York remixer Tom Moulton delivered a string of inspired, DJ friendly reworks for the Philadelphia International label. For proof, check this fine selection of classic Moulton mixes for the storied imprint. Check first his version of Archie Bell and the Drells' "Where Will You Go When The Party's Over", which he brilliantly teases out and increases in intensity over nine spellbinding minutes. The funkier flex of People's Choice's "Jam, Jam, Jam (All Night Long)" is a sweaty, low-down treat, while the Teddy Pendergrass rework is a soaring disco classic in the Philly Soul style. Best of all, though, is the string-drenched disco celebration that is his mix of Lou Rawls' "See You When I Git There".
Review: Once hailed by Pitchfork as "the noisiest pop music on the planet", Texan group Cherubs, with Immaculada High, continue their second wave after returning from a two-decade hiatus in 2014. It sees the three piece land on American metal and experimental label Relapse Records - think Mastodon and The Dillinger Escape Plan - with an album that brings a fresh, even a previously thought-lost '90s ethic back to alternative, distorted and noisy metal. This record is no final farewell type gig, with the essence and rawness of tracks like "Sooey Pig" and "Full Regalia" in all its anti-Americana charm shining through as something new. With the Texas-sized, psychedelic racket of Cherubs recorded and engineered by Erik Wofford (Explosions In The Sky, The Black Angels) an undeniable trippy element to the band's punk ethos wilfully resonates throughout, most distinctly in Kevin Whitley's LSD-laced vocals that add a warm colour to a wonderfully muddy mix of lo-fi, distorted post-rock. Get dirty.
Review: Southern California might be famous for its sunbaked landscapes and sunglasses-clad glitterati, but it's much easier to imagine Monarch beneath an open night sky in locations far removed from the materialism we might associate with the home of Hollywood. Their take on progressive rock is saturated in a cosmic psychedelia that becomes inescapable on this follow up to 2016's debut, "Two Isles". Starting as they mean to go on in terms of raw power, "Hanging By A Thread" opens the scoring with a huge wall of sound, nodding to post and math rock. "Pangea" swoons its way through two-minutes of crooning guitars before heavy, unfiltered crescendos of chords, cymbals and kick drums drop us into a track boasting real depth. "Felo De Se" closes us out on a hallucinatory trip through filtered vocals and staccato rhythms. In short, this is what you should be listening to.
Review: It's certainly not going to surprise any newcomers to Purple Pilgrims that this duo hail from the enchanted landscapes of New Zealand. A timeless sound pervades the work on their sophomore long form effort, befitting a corner of the world that's just far enough from the relentless hype machine of the music industry to allow for genuine individuality to shine through. At times tracks invoke images of endless, unspoilt landscapes where sirens lure us into painfully beautiful sonic worlds. Opener "How Long Is Too Long" is a case in point, along with the pained beauty of "Delphiniums In Harmony/Two Worlds Away" and "Ruinous Splendour". This Mortal Coil eat your heart out. In other moments, what's here gives more than a soft nod to the heyday of hypnotic, opiate rock 'n' roll; "Sensing Me" and "I'm Not Saying" were surely born in a time when free love really was free.