Still In Love (feat Navasha Daya - The Man 45 edit) (5:16)
Look Ahead (feat N'Dea Davenport - The Man 45 edit) (4:32)
Review: Second time around for Kyoto Jazz Massive man Shuya Okino's "Still in Love", a swelling, string-drenched slab of life-affirming disco-soul, featuring the fine vocals of sometime Fertile Ground chanteuse Navasha Daya. This version is not the same as the epic - and now insanely in-demand - original 2011 version, which came out on legendary Japanese label Especial. This time round, it's been given the seven-inch edit treatment by storied scalpel fiend Ryuhei The Man. His chops, nips and tucks are naturally well-judged, allowing the track's chunky, DJ-friendly drum breaks a chance to do their thing before dropping in Daya's vocal and Okino's stirring strings. It's a suitably respectful and on-point edit, as is the rework of original B-side "Look Ahead" featured on the flip.
Review: **Tracks 'Sixth Sequence' and 'Tenth Sequence' are bonus tracks & exclusive to the vinyl release only.**
Past Inside The Present is pleased to announce 'Wave Variations' which is a new mini-album by veteran ambient producer Dennis Huddleston AKA 36.
36 has often enjoyed exploring self-imposed restrictions, as it forces him to be creative, while allowing an inherently coherent sound between the different compositions. All the arrangements on Wave Variations use a limited pallete of mostly synth-based sounds, with particular focus on keys and melodies. Each track directly influenced the next one.
Dennis has kept almost every track around three minutes in length. He states, 'I feel like a lot of ambient music (including my own) is often unnecessarily long and these small vignettes work as a nice counter to that. Don't expect long build-ups or over-extended crescendos; These are short tracks that take you straight to Elysium and then dissolve into the ether.'
He further explains the output of Wave Variations, 'Ocean tides inspired the album. I think we've all felt that sense of longing and wonder while standing at the beach, staring at the waves and gazing into the endless horizon. I think it's something that transcends all generations of people. Like the waves, these tracks leave as quickly as they arrive. I feel it's one of the most minimal records I have made, with far fewer individual sound sources at my disposal. It keeps me on my toes and forces me to deeply explore the instruments I have available to me.'
This stripped-back sound gives the album a hypnotic quality to it. Like much of Dennis' work, there is a delicate balance between melancholic melodies and rich textures, resulting in an understated yet deeply exhilarating sound. Fans of emotional, melodic ambient music should find plenty to enjoy.
Review: There's been plenty of online chatter about the confrontational title of Omar-S's latest full-length outing, and arguably not enough focus on the music itself (or the fact that the guest list contains Rick Wilhite, Norm Talley and OB Ignitt for that matter). This is unfortunate, because as usual Alex 'Omar' Smith has hit the spot. The six untitled tracks are impressively varied, with Smith effortlessly moving between 21st century P-funk (track one), cowbell-powered deep house funk (track 2), sparse and synth-heavy acid house hypnotism (track three), disco-house jack (track four), sub-heavy Detroit-meets-Sheffield minimalism (track five) and sunrise-ready dancefloor dreaminess (track six).
Review: Acclaimed pianist Greg Foat is a mainstay of the current UK jazz revival thanks to works on Jazzman and Athens of the North. He draws on soul and library music for his inspiration and serves up lush symphonies that are rich in detail, layer and emotion. This new album, which makes use of pedal steel for the first time, goes even more widescreen in its approach and includes powerfully uplifting tracks like "Anticipation" as well as more sensual and slower groovers and languid movers like "Island Life." It is the sound of an artist and composer at the very peak of his powers.
Review: This release marks something of a departure for Athens of the North, a label predominantly known for reissuing ludicrously rare funk and soul sevens. For starters, it's a brand new album, written, performed and produced by jazzman Greg Foat and Warren Hampshire, who's best known for being a member of The Bees. Then there's what it sounds like. While there are nods to the organic, immaculately produced soul of Rotary Connection, for the most part Galaxies Like Grains of Sand is a luscious fusion of hazy, Cinematic Orchestra style jazz, folksy downtempo compositions, and the blissful, head-in-the-clouds bliss of new age influenced ambient. Surprising or not, it's an utterly beguiling album
Take What You Want (feat Ozzy Osbourne & Travis Scott) (3:57)
I'm Gonna Be (3:19)
Staring At The Sun (feat SZA) (2:44)
Sunflower (feat Swae Lee) (2:38)
Goodbyes (Young Thug) (2:54)
I Know (2:19)
Review: This third album from Post Malone was his second to top the Billboard 200 Chart. Once again it was defined by his melancholic style but was also filled with plenty of charm thanks to his versatile voice. His choruses once again shine through whether he's snarling and angry or more vulnerable and falsetto. Fans call it his best yet and the blend of genres he explores here certainly make that a fair shout. Add in the fact that Ozzy, La flame and SZA all feature and he might well have outdone himself.
Review: In honour of the Love Record Stores promotion Sam Shepherd has decided to offer up a new edition of his 2015 debut album as Floating Points, "Elaenia". While the bonus art prints included in the package are rather nice, it's the quality of the album - still one of his best solo releases, and that's saying something - that makes this edition a "must-have" for those who missed out first time around. Featuring a mixture of Tangerine Dream-inspired analogue synthesizer works, blissful ambient excursions, contemporary jazz compositions and hard-to-pigeonhole instrumentals that add deep electronic influences to this heady musical melting pot, it's an album that sounds as immersive, intoxicating and fresh on the 100th release as it does on the first. Basically, you need this in your life.
Review: Hania Rani's sophomore album, hybrid neo-classical/ambient work "Esja", was arguably one of the most criminally overlooked sets of 2019. We hope that the same fate does not befall this equally as impressive follow-up, which sees the Polish pianist and composer offer up a suite of ear-pleasing tracks built around cyclical piano movements, crackly field recordings, layered vocalisations, heaps of special effects and just the right amount of ambient textures. Highlights are plentiful, with our picks including stunning opener "Leaving", drowsy ambient-jazz masterpiece "Zero Hour", surprisingly upbeat electronica song "Home" and the creeping sadness and late-night paranoia of closing cut "Come Back Home".
Review: Although he's released a swathe of albums with his contemporary jazz ensemble and a quartet of collaborative sets alongside Warren Hampshire, "The Mage" actually marks Greg Foat's first solo full-length outing. It's been a long time coming but well worth the wait, as the talented pianist and producer works his way through an evocative set of tracks that variously touch on sax-laden funk breaks ("The Mage", "The High Priestess"), intergalactic synthesizer soundscapes ("Incantation"), slo-mo jazz-funk mood pieces (the spellbinding "The Magic Radish"), folksy ambient jazz ("Driftin'") and beautiful, pastoral pieces that recall Charles Stepney's work with Rotary Connection ("Endless Love", "Of My Hands"). The result is a fittingly brilliant album from one of British jazz's most talented participants.
Review: Mulatu Astatke is a legendary musician who is famous for his signature playing on the vibraphone. Here he blends his Ethio-jazz sounds with the Melbourne-based group Black Jesus Experience to serve up a mix of re-interpreted African folk songs and odes to his homeland. 'To Know Without Knowing' has a decidedly hip hop edge thanks to the vocal flow and 'Mascaram Setaba' is an Ethio classic. Another highlight is 'Living On Stolen Land' which is dedicated to the First Nations people of Australia and acknowledges the pain and injustice of them not being recognised as the traditional owners of Australia.
Nothing Travels Faster Than The Speed Of Light (4:25)
Please Don't Fuck Up My World (3:15)
Review: Like any good pop album, Lorely Rodriguez's third is a personal work that tells compelling stories, allowing fans to step into her world and gain a better understanding of who she is, and where she's coming from. It's also ridiculously catchy and packed with polished, single-worthy tracks that make you wonder how we've survived since her last effort. 'I'm Your Empress Of' is certainly a different beast to its predecessors, not least 2015's jarring noise-pop debut, 'Me'. Here things are more accessible and perfectly formed, hanging on immediate beats and a clubby vibe. But it's no less innovative, introducing everything from samples of Rodriquez's mother to fleeting moments of idle chatter. The end product is a real work of art that should - if all is right with the world - prove to everyone the lady in question is among our era's foremost pop innovators.
Review: Sax specialist Pete Wareham is back and in fine form here, with his MYD project proving once again that they are the most rambunctious, rowdy, party-starting and genre-smashing jazz-rock sextet out there. Packing more energy into this studio-recorded track list than most bands can summon on stage, opening with the ferocious and propellant 'Boot & Spleen', we begin with blood, sweat and tears en masse. From there it's very much a dancefloor affair - telling of Wareham's decision to lead this esteemed band of players beyond traditional jazz clubs and into non-seated rock venues. The plan worked, and in many ways this record distills the elements that got the troupe noticed in those spaces. 'This Is The Squeeze' is all stomping rhythm, while 'From The Mouth' is as close to garage as we've heard a brass-focused ensemble reach. Throw in the stoned groove of 'Don't Think Twice' and the deal is done. Recommended stuff.
Mystic Djim & The Spirits - "Yaounde Girls" (5:57)
Bill Loko - "Nen Lambo" (6:23)
Bernard Ntone - "Mussoloki" (4:21)
Pasteur Lappe - "Sanaga Calypso"
Eko - "M'ongele M'am"
Olinga Gaston - "Ngon Engap"
Emmanuel Kahe & Jeanette Kemogne - "Ye Medjuie"
Nkodo Si-Tony - "Mininga Meyong Mese"
Pasteur Lappe - "Sekele Movement"
Pat' Ndoye - "More Love"
Clement Djimogne - "Africa"
Review: Just when you think that the well of obscure music from around the world has run dry, Analog Africa returns to put the record straight. Pop-Makossa shines a light on a glorious but largely overlooked period in the story of Cameroonian makossa, when local musicians began to replace funk and highlife influences with the rubbery bass of classic disco and the sparkling synth flourishes and drum machines of electrofunk. The resultant compilation, which apparently took eight years to produce, is packed full of brilliant cuts, from the heavily-electronic jauntiness of Pasteur Lappe's "Sanaga Calypso" and horn-totin' Highlife-disco of Emmaniel Kahe and Jeanette Kemogne's "Ye Medjuie", to the dense, organ-laden wig out that is Clement Djimogne's "Africa".
Review: Venezuelan artist Alexander Molero took inspiration for this album from the way people imagine and eroticise worlds that are unknown to them. Using a Yamaha CS-60 Synthesizer, he set about contouring up the sort of sounds you'd expect to hear in the Amazonian jungle, and boy has he nailed it. From wispy insects to the sound of frogs, gently unfolding leaves to dewy forest mornings and slowing rising distant suns, it's all here in an album of endless discovery that takes you to another world and keeps you utterly mesmerised. It has a rich spirt and uplifting effect that keeps you coming back for more.
Review: Since parting company with DFA a decade ago, Gavin Russom's releases as Black Meteoric Star have become increasingly few and far between. "Disco", his third and arguably most expansive album to date under the alias, is therefore a more than welcome arrival. It's an impressive set, too, with Russom offering up a deliciously distorted, fuzzy and forthright mix of hazy, sound collage style interludes, throbbing new wave, tactile deep electro, razor sharp analogue jack-tracks, decidedly alien-sounding instrumentals, redlined EBM throb-jobs and clanking, lo-fi electro. It all sounds like it was recorded in a cement mixer using a particularly dusty collection of old synthesizers and drum machines, but that's no bad thing; in fact, it plays a big part in the album's undoubted lo-fi charm.
The Only One I Know (live At Chicago Metro 1991) (3:48)
Then (live At Chicago Metro 1991) (4:14)
Happen To Die (live At Chicago Metro 1991) (5:17)
White Shirt (live At Chicago Metro 1991) (3:39)
Indian Rope (live At Chicago Metro 1991) (6:18)
Opportunity (live At Chicago Metro 1991) (7:22)
Sproston Green (live At Chicago Metro 1991) (7:58)
Review: Between 10th and 11th, the second album by The Charlatans, was s certified classic at the time and has fared well over the years. Beggars Arkive's newly expanded reissue contains the original full length plus remastered tracks from the frequently bootlegged live show the band played in Chicago in 1991. It is a real Holy Grail amongst fans and next to the original record, which landed in 1992 with huge and standout singles like UK Top 20 hit "Weirdos" plus other singles "Tremolo Song" and "I Don't Want To See The Sights", it is a vital purchase for fans old and new.
Review: As part of his Gondwana label's 10th anniversary, masterful Manchester trumpeter and contemporary jazz trendsetter Matthew Halsall has put together a special deluxe edition of his beautiful "Colour Yes" album with thick reverse board sleeves, silver block letter foiling and two printed inner sleeves. First released in 2009, the album showcases Halsall's deeply emotive style across the 8 achingly good, supremely spiritual tracks that glow with gorgeous piano playing, gently lilting drums and his own fantastic leads.
Review: Analogical Force mark their 30th release with a bumper collection of electro remixes from some heavyweight names and like-minded friends. Across all 12 tracks, and six sides of vinyl., the label broadens its remit with various new electro perspectives making this their most vital offering to date. There is restless brilliance from Samuel Kerridge, brutal sound waves from Humanoid and superbly slick, funk and deep tackle from the one and only Radioactive Man. The ever excellent Plaid also serve up a raw highlight with their broken beat workout.
Vex Oh (feat Goldlink, Eight9fly & Ari Pensmith) (2:42)
Scared To Death (2:33)
Freefall (feat Durand Bernarr) (3:05)
Culture (feat Teedra Moses) (4:08)
The Worst In Me (feat Tinashe) (3:48)
September 21 (1:57)
Midsection (feat Pharrell Williams) (4:44)
Review: Canadian Kaytranda's second album from late 2019 was defined by its exceptional collaborations and high class sound. Iman Omari, Mick Jenkins, Estelle and many more contribute to what is a gloriously fun, accessible album that is all about making you dance. Snapping beats ride over bumping bass on "Taste", "10%" with Kali Uchis has three different betas going on and a cameo from Estelle on "Oh No" is first class. The whole record is sequinned lie a Dj set, with appropriate ups and downs, thrill and spills, all keeping you locked. party starting yet meaningful, Bubba is coherent record full of charm.
Review: What proportion of the rock 'n' roll pantheons Neil Young will occupy when he finally (God forbid) stables the Crazy Horse is anyone's guess, but you'd better believe it will be more than most artists. 'Homegrown', until now at least, was at risk of being missing from those chapters, which would have been a crying shame given it epitomises what a songwriting tour de force he was in the 1970s. There's a raw feel to the album that goes beyond the near-50-year-old born-on date, perhaps best encapsulated in the fact we open mid-note - the tape started rolling after the maestro began playing. At the time Young was reeling from a breakup, and eventually decided not to release the album at all due to its personal subject matter. Now ready to let the world in, it's quintessential Young but also one of the closest we've ever got to his soul, albeit retrospectively.
Review: Much has changed since we last hear from Gaston Arevalo back in 2013, when we were rather impressed by his "Rollin Ballads" album on Octav. Here the often-overlooked ambient producer delivers a fine belated sequel that was apparently designed as, "a themed albuk told through the lens of an expedition diary". In effect it's a kind of imaginary soundtrack, with Arevalo setting his impeccable musical movements - think colourful but enveloping ambient chords, swelling synth-strings, slow-burn electronic melodies and barely recognisable, processed guitar sounds - to atmospheric field recordings made in Patagonia. It's a stunning combination all told, with frequently emotive results.
Loleatta Holloway - "Mama Don't Papa Won't" (The Reflex Revision) (8:40)
Candido - "Dancin' & Prancin'" (The Reflex Revision) (8:11)
Skyy - "Let's Celebrate" (The Reflex Revision) (7:30)
Rafael Cameron - "Boogie's Gonna Get Ya" (The Reflex Revision) (7:53)
Review: London-based "multi-track edit" specialist the Reflex is the latest producer to have his way with gems from Salsoul's epic back catalogue. All four rubs are up to his usual high standard - he begins by dubbing out and rearranging "Mama Don't Papa Won't", a lesser-known Loleatta Holloway cut from the halcyon days of disco, before turning piano-and-percussion-heavy Candido favourite "Dancin' and Prancin'" into a sweaty, all-action extended workout. On the second record he heads towards boogie territory, giving Skyy's "Let's Celebrate" a sweet, synth-and-delay-laden makeover before making great use of the urgent, bass-heavy groove underpinning Rafael Cameron's brilliant "Boogie's Gonna Get Ya". Recommended.
Review: There's so much to talk about with any instalment in the Phoebe Bridgers saga, and her latest is no exception whatsoever. A voice that has slowly garnered a seriously strong following, winning her the label of 'cult superstar' from some critics, she hits us with another series of knockout emotional bodyblows here, delivered through heartfelt sincerity and conversational lyrics. At times opting for a grunge-y, garage rock feel ('Kyoto'), in other moments taking on a far more sombre and broken air ('Moon Song' is enough to crush anyone in earshot), no matter how striking and effective the sounds are her words are what really elevates Bridgers above many peers in the alt-songwriting scene. If that's even really a thing. Digressions aside, it's hard to describe just how adept she is at hitting nail on head with turns of phrases and observations. They move past us leaving what appears to be a flesh wound when we've actually been cut to the core. Stunning.
Review: Given The Primitive Painter would go on to become Alter Ego it should come as no surprise to anyone that this self titled debut from 1994 still sounds incredibly polished, and manages to hit a multitude of electronic notes in one very impressive swoop - some melancholic, some otherworldly, others punchy and direct. Re-releases like this are enough to convince even the most cynical first-pressing militants of the value in re-releasing. Why shouldn't a new generation of heads be won over by the beautiful acid ravescape painted by 'A Pagan Place', the slamming toybox percussion of 'Click Song', the emotionally charged euphoric downtempo joy of appropriately-titled 'Hope' or the retro futurism of electro-stepper 'Levitation'? As essential today as it would have been 25 years ago.
Review: This limited edition triple vinyl set is as killer as the samurais from which it takes its name. The music is culled from the popular amine series on Cartoon Network that mixes hip hop culture with Japanese samurai culture and more than a little dose of jazzy stylings. There are vocal boom-baps and journeying spy themes, deep late night cuts and harder hitting joints, all performed by Nujabes, Fat Jon, Force Of Nature & Illicit Tsuboi. The downtempo charms of "Just Forget" are awash with oriental keys, while "Ole" is soul licked and "World Without Worlds" is superbly lo-fi.