A Strong Move For Truth (feat Nadine Charles) (3:19)
Good Morning (feat Samii) (2:40)
Remini Dream (feat Ivana Santilli) (3:46)
I Don't Wanna Know (feat Obenewa) (3:21)
Unknown Faults (3:59)
Life Can Be Unreal (feat Sarina Leah) (3:26)
Too Much (feat Sharlene Hector) (1:58)
You Are Virgo (5:05)
Come Of Age (3:28)
Just Leave It (feat Lady Alma) (4:52)
Ogawa Okasan Said Just Play (4:45)
A Where Pringle Deh? (2:14)
My Standards Are (Not) Too High (8:40)
Review: In our eyes, 2000 Black lynchpin Dego can do no wrong. You'll therefore be unsurprised to hear that we're huge fans of the 4Hero founder member's latest solo album, a belated follow-up to 2015's "The More Things Stay The Same". It is, of course, superbly soulful, slicky produced and wonderfully paced, moving from the heady soul sweetness of "A Strong Move For Truth", to the deep jazz-funk/broken beat vibes of "My Standards Are (Not) Too High" via 12 other warm and seductive cuts of an equally high standard. Highlights include the summery bruk-soul bliss of "Remini Dream", the toasty boogie revivalism of "Unknown Faults" and the Clavinet-sporting brilliance of Lady Alma hook-up "Just Leave It".
Review: REPRESS ALERT: As far as collaborative delights go, this really takes the cake. Miami boogie wildcard Noel Williams, aka King Sporty, throwing it down heavy with legendary Jamaican reggae axe man Ernest Ranglin - as you might expect, the results are incendiary. "Soft Touch" has a hint of the cosmic about it as it romps through insanely catchy chorus chants, stirring brass stabs and Ranglin's sweet licks. "Keep On Dancing" has a more uptempo feel, "In The Rain" slips into a laid back reggae skank and "Be What You Want To Be" turns the vintage disco heat back up. Throughout this wonderful mini LP, the duo switch between each other's strengths and bring out the best in each other, like all good collaborations should.
Review: The latest volume in BBE's J Jazz Masterclass series is something of a stone-cold classic: then young Japanese pianist Makoto Terashita's 1983 album-length collaboration with legendary tenor saxophonist Harold Land. Somewhat surprisingly, this is the first time that the sought-after set has been reissued since, making it something of a must-have for serious jazz fans. Both players are clearly audible throughout the LP, with the accompanying bassist and drummer generally kept low in the mix. It's an approach that pays dividends from start to finish, with highlights including the poignant and picturesque "Dear Friends", the epic dancefloor flex of "Dragon Dance" and the raucous, high-octane thrills of "Crossing".
Review: For their latest deep dive into the world of little-known electronic gorgeousness, Holland's Music From Memory crew has taken a trawl through the impeccable and largely overlooked catalogue of Japanese ambient musician Toshifumi Hinata. The essential "Broken Relief" draws on material recorded by the musician between 1985 and 87, joining the dots between gentle beat-scapes, inspired new age soundscapes, warm ambient explorations and glassy-eyed instrumentals rich in fluid fretless bass, twinkling pianos, shuffling rhythms and chords so tactile you might want to go to bed with them. It's an inspired set all told, with an impressive number of highlights. These include the evocative piano lament "Ikoku No Onna Tachi", the spacey ambient swirl of "Colored Air", and the undeniably Balearic grooves of "Atarashii Yuhbokumin".
Review: Turning your hand to the catalogue of a jazz colossus like Yusef Lateef would be beyond most contemporary jazz musicians, but then Nat Birchall is currently one of the best saxophonists in the business. Alongside his quartet and with the aid of some unusual instruments from around the world - something Lateef was famously fond of doing - Birchall has delivered a set of covers that breathe breezy new life into some of the American multi-instrumentalist's most admired compositions whilst retaining some of the original flavour. Our favourites include the droning North African brilliance of "Mashariki", the sun-baked afternoon breeze of "Ringo Oiwake" and the piano-powered bliss of "Willow's Walk".
Review: God bless Metronomy. Pioneers of a dance-indie crossover that was less garish and day-glow hued than the Nu Rave movement dominant back then. Their sixth full-length comes in the 10th anniversary year of their first, and proves the band have grown and fine-tuned, rather than got lost and forgotten why they came out to begin with. Despite clear development, though, the spirit of that inaugural effort is still here, and arguably in more generous helpings than any outing between then and now. Equal parts playful and earnest, there's plenty here to fall in love with. Single-worthy outings like the bouncy, floor-filler "Salted Caramel Ice Cream" and the appropriately titled pairing "Wedding" and "Wedding Bells" are confident and big room sounding. "The Light" veers into dubbier, more introverted directions, whereas "Upset My Girlfriend" shows them at their most heart-achingly beautiful and human. Exquisite, as usual.
Review: It's been a long time between drinks for Chris Korda, a transgender artist and activist whose last releases of note came on famed electroclash label International Deejay Gigolo way back in 2004. New album "Akoko Ajeji" is very much a surprise return to action, though its melodious, ear-pleasing and accessible blend of house and techno drums, digital synthesizer sounds and cheery post synth-pop refrains is both striking and hugely addictive. Korda's compositions offer subtle nods towards various vintage house and techno styles - particularly turn-of-the-90s deep house and early Chicago jack - but never sound anything less than thrillingly DIY productions giddily made in back rooms and bedrooms over the last decade and a half.
Review: When the end days come and it's finally time to write the complete story of American rock 'n' roll, surely Pixies will get their own chapter. Legends of the grunge world, often known for a stylistic simplicity (quiet-LOUD anyone?) but unafraid to go out on a psychedelic limb when the moment suits, they've towered above the majority of acts for 28 years and, as "Beneath The Eyrie" proves, still have plenty to say. "In The Arms of Mrs Mark Of Cain" starts proceedings on a gothic-Western hybrid tip, setting things up perfectly for any song named "Graveyard Hill". Realistically when that track does arrive it switches the mood with a nod to the band's archetypal punk-infused sound, and that's precisely the point. Apparently betting the farm on this one, it's got everything from psych-folk to Tim Burton-ish ghoulish wit, making for the band's finest hour since their 2004 reformation.
Review: Half journeyman, half David Lynch bar scene, all twisted crooner-dom, and at least a little tongue in cheek, Mike Patton & Jean Claude Vannier are aiming straight for the alternatives with this 12-strong collection of bizarre ballads and obscure odes that will appeal to rarer tastebuds. There's the spoken word and strummed guitars guiding us through the various parts of "A Schoolgirl's Day". The Sinatra-does-sarcasm of closer "Pink & Bleue", and the way "Hungry Ghost" aurally recalls "Everybody Knows" by Leonard Cohen. Truly unique stuff, despite its debt of gratitude to troubadour totems, counterculture rock and The Rat Pack, it's as rooted in the 21st Century as anything you'll hear today. The production process involved two creators in two different parts of the world, Patton and band in L.A., Vannier with a full orchestra in Vienna. Not that you can tell considering how complete the record feels.
Review: Long before the electro revival sent producers scurrying into the studio to create their own Drexciya-inspired jams, Jeremiah R was ploughing his own intergalactic furrow for labels including Tabernacle, BAKK and Voodoo Gold. As this fine mini-album shows, he remains one of the most consistent electro producers in the business. The genius of "Tales From The Dark Reef" lies in the long-serving producer's ability to craft shimmering, sci-fi focused electronic music that takes the aesthetic appeal of the best electro records - the intergalactic aural textures, sci-fi intent, skittish rhythms and futuristic synthesizer sounds - and applies them to a variety of Detroit and Chicago-influenced grooves and soundscapes.
The Return (feat Thando, Jace XL, Alien, Whosane) (9:16)
Don't Give Up (feat Mandarin Dreams) (4:51)
Made Us Better (feat Blue Lab beats, Boadi, Lori) (8:35)
Review: After Sampa's magic debut album it makes sense she's been signed by Ninja Tune for a follow up. Once again here the Zambian-born Australian singer-songwriter and rapper is in excellent form, delivering slick, complex verses that she says are "the most me to date". Exploring notions of race and relationships, amongst other things, her voice is couched in gorgeous broken beat, hip hop and r&b production. Highlights are plentiful throughout - "OMG" is a funky afro beat, "Any Day" is neo soul in the mould of Erykah Badu and "Final Form" is a trumpet lead, warrior queen anthem to get your chest pumping. Essential.
Review: While he's continued to offer up occasional singles, Bonn-based producer Dominik Eulberg has not released an album for eight years. It's for this reason that "Mannigfaltig", the former Traum Schallplatten regular's new set, is big news. Interestingly, it's nowhere near as club-focused as you'd perhaps expect, with Eulberg combining his usual glitchy, tech-house influenced beats and sounds with a range of intricate electronic motifs, sumptuous melodies and atmospheric aural textures. There are one or two club cuts, of course, but majority of the tracks bob along at a more sedate pace, with Eulberg offering up cuts that draw influence from IDM and hazy electronica. As a result, it may well be his most coherent and "listenable" album to date.
Review: Early 80s new Wave pop outfit Haircut One Hundred are best known for their big single "Love Plus One" but this album proves they were more than one trick ponies. Infusing their pop, rock and synth sound with Conga, woodwind and Brazilian percussion leads to superbly colourful tracks that brim with sunshine. There's an upbeat and youthful innocence to "Favourite Shirts (Boy Meets Girl)" that is utterly infectious, while busier post punk funk like "Love Plus One" will get you on your toes even after all these years, and "Kingsize (You're My Little Steam Whistle)" gets all sexy with its lead sax and clattering steel drum tumbles.
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.
Cult Hero (Do You Wanna Touch Me) (with Simon Topping
Sly Is Watching
(Vi-Vi) Vicious Games (with Josh Caffe
Review: When it comes to jackin' Chicago style acid house revivalism, few can hold a candle to Paranoid London. As this long-awaited second album proves, the duo is the undisputed masters of sweaty, TB-303 driven jack-tracks and - as recent single "(Vi-Vi) Vicious Games" and LP opener "Starting Fights" prove - classic-sounding vocal cuts that recall the glory years of Fingers, Inc in the mid-to-late 1980s. Interestingly, "PL" boasts far more collaborations than we've seen from Paranoid London before, including a string of ragged club cuts blessed with evocative spoken word vocals, a thrusting acid throb-job with lead vocals by Simon Topping and a suitably twisted, machine-driven hook up with Arthur Baker and Alan Vega (the raw and weighty "Angel Of Hell").
Review: Music For Dreams' latest must-have compilation of obscure Balearic treats comes courtesy of noted digger Basso, a DJ, producer and re-editor who has previously released some killer scalpel jobs on Joe's Bakery and People Must Jam. You'll find one of his edits tucked away towards the end of the EP - a tidy extension of Wolfsmond's sun-kissed, Chris Rea-esque German language number "Fuhl Dich Frei" - alongside stunning selections that variously touch on stoned West Coast jazz-rock, new age, ambient, drowsy 80s pop, kosmiche and loved-up late night AOR shufflers. An inspired collection of pretty much unknown gems; what's not to like?
Review: BBE's second trawl through late 20th century deep Japanese jazz is every bit as eye opening and essential as its predecessor, which caused many hearts to flutter when it was released 18 months ago. From start to finish, we're treated to a righteous range of largely little-known tunes, from the spiraling, sun-kissed spirituality of Makoto Terashita Meets Harold Land's epic "Dragon Dance", and the funk-fuelled dancefloor jazz brilliance of Mabumi Yamaguchi Quartet's "Distant Thunder", to the smooth, snaking seductiveness of George Kawaguchi Big Four's "Vietnam" and the synthesizer jazz-funk insanity of Electro Keyboard Orchestra's "Mother Of The Future". A superb selection of genuinely off-kilter and life affirming Japanese gems that should be an essential purchase for both serious and casual jazz fans.
Ze Spirits Band - "Tucheza" (Esa extended mix) (5:00)
Nonku Phiri - "Sifo" (feat Dion Monti) (4:27)
Os Panteras - "Melo Do Anjo" (Outra edit) (4:54)
Pascal Latour - "Lague Yo" (Boulo edit) (5:58)
Masalo - "Yera" (feat Doussou Koulibaly) (6:24)
Esa - "Pantsula Traxx" (4:38)
Narchbeats - "Cheeks" (3:41)
DJ Spoko - "#Justsnares" (4:02)
Review: Inspired by his own experiences growing up in apartheid-era South Africa and his travels through music, Esa Williams has put together a compilation of contemporary electronic music from around the world. "Amandla: Music To The People" is well worth your attention and contains some genuine gems. Highlights come thick and fast throughout, from the percussive, chant-along sweatiness of Penny Penny's "Shilungu" and the loved-up, pitched-down dreaminess of Alaska's "Accuse (Instrumental)", to the sweet, life-affirming cheeriness of Os Panteras' "Melo Do Anjo (Outro Edit)" and the thrusting, Italo-disco style dancefloor masculinity of Masalo's "Yera". Esa's own late '80s style pitched-down South African house jam "Pantsula Traxx" is also superb.
Review: Considering their penchant for spinning yarns and the cinematographically-suited nature of much of their work, it's surprising "Days Of The Bagnold Summer" is only Belle & Sebastian's second shot at a movie score. The last was 2001's '"Storytelling", accompanying Todd Solondz's movie of the same name, and they certainly did a good job then. So, high expectations this time round. For those unfamiliar, their latest foray into the film world partners the directorial debut of Simon Bird, best known to many as one of "The Inbetweeners". The flick, an adaptation of Joff Winterhart's 2012 graphic novel, chronicles the life and times of a teenage metalhead and his single mother. The album perfectly accompanies but also contributes to that tale. Highly emotive instrumental tracks and classic B&S songs-proper, this OST is destined to go down well with the band's true believers.
Hardsoul - "Back Together" (feat Ron Carroll - Director's cut Classic club mix) (8:33)
Spencer Parker & Dan Beaumont - "The Look" (Director's cut Signature mix) (7:59)
Review: This second round-up of high quality tracks and remixes by Frankie Knuckles and Eric Kupper's Director's Cut project is as loved-up and action-packed as its predecessor. It begins with versions of the pair's re-recording of Knuckles' classics "Baby Wants To Ride" and "Let Yourself Go" (the latter a breezy and summery piano-house treat), before offering up a soulful singalong with Inaya Day and a stomping disco-house cover of Sylvester classic "You Make Me Feel (Mighty Real)". Record two offers up some of their hard-to-find remixes, with the pair's Lou Rawls revision and soaring version of Hardsoul and Ron Carroll's soulful house classic "Back Together" standing out.
Review: Claremont 56's latest must-have LP comes from an unexpected source: blue-eyed soul, AOR and soft rock loving Greek four-piece Sillyboy's Ghost Relatives. The good news is that "In A Small Place" is every bit as good as the title track, which Paul "Mudd" Murphy's label released earlier in the year. The album's main attractions are undoubtedly the bittersweet lyrics and hazy, lovelorn vocals of main man Sillyboy (real name Charalambos Kourtaras), though the musically evocative backing provided by his band mates is equally as impressive. Highlights include the Boz Scraggs-esque "Muscle Cars", the Steely Dan sing-along that is "High Life" and the gently reggae influenced lilt of "Favourite One". It's all pretty tidy.
Review: After a series of well received albums on 100% Silk and HNYTRX, Maya Bouldry-Morrison returns with her first album in two years, and the first on the T4T LUV NRG imprint she set up with life partner Eris Drew. It's a thrill-a-minute affair rooted in her love of turn-of-the-'90s rave culture, with the eight showcased tracks variously mixing elements of breakbeat hardcore, Belgian techno, dreamy deep house, ambient techno, ragging acid and the kind of psychedelic club fare that was once all the rage within California's LSD-fuelled free party scene. In fact, as a soundtrack to a full moon party on a remote "SoCal" beach, "Resonant Body" would sound phenomenal, with the inspired ambient number "My Body Is A Powerful" offering a fine accompaniment to the inevitable morning comedown.
Review: Francois J Bonnet (a composer and electroacoustic musician) and Stephen O'Malley (the main man of metal band Sunn O)))) come together here for their first collaborative album. It combines O'Malley's doom laden guitar work with Bonnet's compositional skills to make for a dynamic soundscape that has the sort of grand ambient architecture that places you right at the heart of it all. Dark yet inviting, it is noise that nurtures and comforts you despite its rather foreboding overtones. Orderly yet alien, desolate yet filled with human emotions, "Cylene" makes for a compelling listen.
Review: Few do funky soul jazz sessions as well as The New Mastersounds, who first formed in Leeds in 1999 and have gone on to be regulars at the Jazz Cafe as well as New Orleans' annual Jazz Fest. Late last year in Denver, the band linked up with vocalist Lamar Williams Jr (son of the late Allman Brothers bassist Lamar Williams) to record this high class album of soulful horns, live drums and heartfelt vocals, all finished off with percussion by Thievery Corporation's Jeff Franca. Digging deep into the history of funk while also looking to a new paradigm, "Shake It" is an album of feel-good emotions that make a lasting impression.
Review: Curiosities is the second album in the trilogy from in-demand New Zealand multi-instrumentalist and producer Lord Echo. Six years after initial release, this reissue sounds as vital as ever and is extra DJ-friendly given that it is spread across two slabs of wax. It covers plenty of ground from escapist tropical ambient to lovably lazy dubs via vivid disco-funk. Highlights come in the form of "Molten Lava" and its heart wrenching vocals and the gospel grooves of "The Creator Has A Master Plan". Winter might be fast approaching, but so long as you have sounds as warm and sunny as these around, summer will never feel too far away.
Review: Discerning diggers will know that an original copy of this funk soul gem from 1978 often fetch close to four figures. Initially released on a little known label in Mississippi, Acid Jazz now give it the proper reissue treatment. It is filled with passionate soul songs that stride forward with purpose and pride. "Let Me Be Your Lover" is the breakout single that will get most club plays, but the sliding hi hats and twangy bass of "Gonna Find A True Love" will also do plenty of damage. The version included here is slightly different to the single that was reissued earlier this year, but is well worthy of its inclusion.
Review: This cryptic debut from Belgian AIR LQD mixes up science fiction, social criticism and punk ethics into a futuristic sound world where urban decay and artificial intelligence have really taken hold. The brittle, icy electronics of these tracks reminds of Kassem Mosse's experimental lo-fi house work on Workshop. "Repeat Itself" is interspersed with dehumanised voices from a darkened dungeon and leads to some brilliantly unsettling sounds. Abrasive textures rub up next to looping echoes, crashing metal hits and rubbery bass. Though wholly unnatural, paranoid and occult, it all feels so damn right.
Review: The dusty-fingered diggers behind the BBE label have a reputation for unearthing obscure or unreleased gems, though we doubt that they've previously discovered anything quite as significant as this. Ebo Taylor, the undisputed king of Ghanaian "funky-highlife", recorded "Palaver" with his touring band way back in 1980, but for reasons the man himself can't even remember, Nigerian imprint Tabansi Records never got round to releasing it. That remains an odd decision, because "Palaver" shows Taylor at his very best, with the sax and trumpet-laden brilliance of "Make You No Mind" and the righteous, Afrobeat-influenced highlife brilliance of "Help Africa" being every bit as potent as the Ghanaian's most revered work.
Superdiscount Presents Air - "Soldissimo" (Etienne De Crecy remix) (5:26)
Guts - "What Is Love" (3:47)
Alex Gopher - "The Child" (radio edit) (3:39)
Kazam - "Swag On" (2:13)
Flume - "Holdin On" (2:32)
Chinese Man - "I've Got That Tune" (4:08)
Deluxe - "Pony" (3:27)
Fakear - "Morning In Japan" (3:06)
Bonobo - "Terrapin" (4:40)
Nightmares On Wax - "Les Nuits" (radio edit) (3:31)
Review: Thanks to Massive Attack's recent anniversary reissue of their touchstone "Mezzanine" album, trip-hop is back in the headlines. While we don't expect a full-blown revival just yet, it's always worth dipping into the style and its hazy, dub-flecked and sample-heavy sound. This triple-disc genre retrospective from Wagram should be an essential listen for both confirmed trip-hop heads and newcomers alike. It contains plenty of well-known classics - see the contributions from I Monster, Tricky, Smith & Mighty, Kid Loco, Moby, Boards of Canada, Kruder and Doefmeister, Tosca and Nightmares on Wax, for starters - as well as under-appreciated underground hits and lesser-celebrated selections (Sabres of Paradise's remix of Red Snapper's "Hotflush" being the undoubted highlight).