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: 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.
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: Best known for being the backing band for countless soul singers - most notably Emilia Sisco, Willie West and Thee Baby Cuffs - Timmion Records regulars Cold Diamond & Mink have finally been given a chance to take centre stage. "Here Today, Gone Tomorrow" is the tight funk and soul combo's debut album and contains ten killer cuts from the Finnish combo in their usual jazz-flecked 1960s/early '70s funk and soul sound. Highlights are plentiful from start to finish, with the hazy bustle of "Remember Me", the super-sweet and glistening "Ain't That Love" and rush-inducing "This Is What Love Looks Like!" amongst our current favourites.
Review: Some 19 years after it first slipped out, Bonobo's fine debut album "Animal Magic" gets the reissue treatment, this time on tasty looking yellow vinyl. Simon Green's style has evolved considerably in the two decades that have passed since the album first hit stores, but his ability to craft gorgeous tunes has never changed. "Animal Magic" was more sample-heavy than his later work, with Green combining killer vocal and instrumental lifts with jazz-flecked basslines and woozy musical motifs of his own with punchy beats that variously doff a cap to hip-hop, downtempo grooves, trip-hop and nu-jazz. In other words, it's an evocative, soothing and hugely enjoyable sample patchwork that remains a laidback classic almost 20 years after he first made it.
Review: It's not that fans of King Gizzard never expected this from the band's 15th long form outing, but rather anyone who stumbled upon the alliterated outfit on their last offering - "Fishing For Fishes" - is likely to be dumbstruck. Forget the life-affirming blues hues of that record. "Infest The Rats' Nest" sees the band at their heaviest - they are barely audible here beneath the din and cacophony of thrash metal. Exploring Earth's fate in the age of environmental degradation and pollution through "Superbug"'s slow chug and low, bellowed chorus, the driving riffs of "Mars For The Rich", the intensity of "Perihelion" and the screeching chords of "Venusian 2", the album's 9 tracks are as legit as anything this sub-genre has thrown at us since inception in the 1980s. More astute fans will have heard nuances of this on 2017's LP, "Murder of the Universe" and various manic musical explosions in Gizzard's back catalogue. "Infest The Rats' Nest" is a constant barrage of unrelenting energy from start to finish, and quite possibly their strongest album yet.
Carlton Jumel Smith - "This Is What Love Looks Like" (3:47)
Jonny Benavidez - "Tell Me That You Love Me" (3:45)
Pratt & Moody - "Lost Lost Lost" (2:57)
Nicole Willis & The Soul Investigators - "Paint Me In A Corner" (3:52)
Ernie Hawks & The Soul Investigators - "The Scorpio Walk" (4:57)
Wanda Felicia - "Until You're Mine" (3:19)
Bobby Oroza - "This Love" (part 1) (3:57)
Bardo Martinez & The Soul Investigators - "Bad Education" (3:53)
Emilia Sisco - "Don't Believe You Like That" (3:45)
Willie West - "I'm Still A Man" (4:31)
Review: Destination Helsinki: Daptone dig deep into the vaults of their friends at Timmion Records. Heavily championed by the likes of Nicole Willis, it's one of the most influential funk labels to come out of Finland this century, and this collection brings some of the many highlights together. The syrupy falsettos of Jonny Benavidez, the yearning lament of Pratt & Moody, the sincerity of Wanda Felicia and of course the driving focus and funk power of the Soul Investigators. The list of talent on Timmion goes on and on and this is a great snapshot of what they offer. See you in detention.
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Review: London's contemporary jazz scene is so strong right now that there's not a week that passes without the release of a killer new album from one of its leading protagonists. The latest comes from Ezra Collective, which finally delivers its' debut album following a string of inspired live performances and a handful of must-have singles. Kicking off with a breezy chunk of hip-hop-jazz, "You Can't Steal My Joy" sees the hyped five-piece confidently bounce between intense, spiraling epics ("Why You Mad?"), reggae-influenced aural sunshine ("Red Whine"), polyrhythmic Afro-jazz ("Quest For Coin"), bespoke soul (Jorja Smith hook-up "Reason In Disguise"), live boom-bap hip-hop (Loyle Carner collaboration "What Am I To Do"), bustling Afro-Cuban jazz ("Chris & Jane"), picturesque piano pieces ("Philosopher II") and much more besides. As debuts go, it's mighty impressive.