Review: Soul and jazz meet head to head on this new LP from Hot Casa, to truly bring the two genres into their natural alignment. Hola Adisa Farrar is a vocalist who hails from California via Jamaican roots, while Florian Pellissier brings though his Parisian jazz stronghold, and the pair lay down some unmissable Dingwalls-reminiscent gems. In fact, this is the perfect sort of album for those diggers looking for that perfect jazz-funk record, the one that slipped away; the drumming across all of the tracks is hypnotic but changes enough to retain that mysticism, the pianos glide over the melodies in a delicate but playful way, and Farrar's vocals are an utter beauty spilled all over the rhythm. A must have, and a warmly recommended album. Supported by Mukatsuku.
Review: The Blue Land is Matthieu Bordenave's follow-up to his ECM trio debut and sees the addition of British drummer James Maddren, enhancing the ensemble's airy textural canvas with a more urgent, animated feel. Pianist Florian Weber's improvisations set the tone, displaying inventive tension and release. Bordenave's saxophone weaves a lyrical narrative, punctuated by bassist Moret and Maddren's perceptively timed contributions. The album strikes a delicate balance between tonal and abstract elements, as heard on the ominous title track and the meditative 'Cyrus.' With nods to Coltrane's 'Compassion"'and Jarrett-like piano, the ensemble delivers an intriguing and collectively expressive set of chamber ensemble pieces.
Review: Berlin Atonal returned two years ago from a long hiatus, 23 years to be exact. After three tremendous festivals this decade, they now present us with their first recordings since 1984. These particular ones from the 2014 edition. Cabaret Voltaire (in this incarnation featuring only Richard H Kirk) was a true highlight and contributes "Microscopic Flesh Fragment" and "Universal Energy". One half of Demdike Stare Miles Whitaker went solo, presenting his truly unique take on techno, and the slow burning attitude of "Vagabond No. 7" is evidence of this. New Zealand's Fis also appears; rather uncategorisable as always on "Dist CL (Atonal Version)." On the third disc we have Northern Electronics main man and modern auteur Abdulla Rashim presenting two commissions from his captivating atmospheric set that year. Limited to 700 copies.
Review: Landmarks remains among one of the most eminent ambient albums of our time, and this isn't the first time it's been reissued since its first release in 2018 either. Something in the way the album presents itself, and was formed and marketed - the easygoing simplicity of the artists' real names Will Long and John Daniel; the inspiratory inputs of Peter Weir and Paul Theroux; the visionary character of its track titles, such as 'The signs are everywhere', 'Indistinguishable from magic' and 'S-shaped isthmus' - have all likely lent to its enduring success. However, all these factors are but mere orbital ejecta around its core appeal, which is the soul-quelling ambient music at its center. Only occasionally peppered with the odd bosomy vocal sample - through which allusions to innovation, exploration and the dangers of inner contemplative adventure are heard - we are once again reminded of the boundless wells of beauty unearthed by the Japan resident maestro of chill and the ambient verderer, in combo.
Gustav Brom Orchestra - "Calling Up The Rain" (5:32)
Frederic Rabold Crew - "Ride On" (3:28)
Stan Kenton & His Orchestra - "Samba De Haps" (3:56)
Larry Rose Band - "The Sand" (5:25)
Review: The concept behind this new collection on BBE is a simple but effective one: sommelier Frederic Beneix has picked out a selection of wines, and beat maker DJ Cam has dug deep to serve up some rare but fitting musical accompaniments that were produced in the same year. Wine4Melomanes, therefore, is a unique collection of sounds from all over Europe that connects the complexity and sensuality of a tipple with the rhythm and melody of a song. Most are lush and sophisticated jazz cuts that sound good whether you're drinking or not. Delicious.
Review: The vibrant Cuban music scene of the 1970s thrived with creativity, and FA-5's self-titled 1976 album perfectly captures that energy. Part of Mr Bongo's Cuban Classics series, the record blends Latin rock, funk, soul, disco, and Afro-Cuban rhythms into an eclectic and captivating sound. The funk-heavy opener, 'Muevete Con Las Fuerzas Del Corazon' features an infectious bassline, lively horns and drum breaks, setting the tone for a genre-hopping journey. With standout tracks like the Latin disco-funk 'Casa De Ladrillo' and a cover of Commodores' 'Brick House' this hidden gem, which was produced by Tony TaNo, is a must-have for both fans and collectors.
These Weeds - The Ones That Do The Impossible (7:06)
The Same Is Different Every Day (3:44)
Saturated Memory Of A Rooftop (6:01)
M Net 103's Impossible Turn (13:37)
Review: "Instead of escaping somewhere else, this time I want to be here." We're not 100% sure if that's Fabiano or E35 Netherlands quoted, and woe betide anyone who thinks they can interpret such cryptic (not to mention borrowed) quips without asking the person who said them what they meant. Nevertheless, Landmarks very quickly presents itself as an ambient beauty born of this planet and nowhere else. At times the sounds are challenging - heavily textured tracks rather than the lush dreamscapes we often associate with the rather reductive 'ambient' label. Sometimes things are quite eerie, like the disquiet that materialises around halfway through 'Flowers On The Hospital Grounds', and the dense static waves of 'Saturated Memory On A Rooftop'. At other moments, tones invoke the mystery of night skies over Earth, or the rhythm of a world filled with enough life to mean we're still finding new species today.
Review: Esteemed rock guitarist Andy Fairweather Low first came to prominence in 1967 with a cover version of 'Gin House Blues', Bessie Smith's 1928 original. He then went on to front the psychedelic rock band Amen Corner, marking a surprising shift in genre ambit. With the latter move rendering Low's early bluings relatively obscure, The Last Music Company gladly announce the early blues treads of this master musician's all-pervading influence on music, here with this new selected hits compilation. There are many collaborating musicians indebted to Low, and who yet owe him more than one drink: BB King, Van Morrison, Pete Townsend, Jimi Hendrix, Chris Rea and Kate Bush, to name a few. A longtime sideman in Eric Clapton's band, hence the title, it not only highlights his mastery of blues guitar, but also his under-recognition as a hidden, arch-musician, pillaring the notoriety of others.
Review: Fakear has stated that he has never worked as hard on anything as he has his new album Hypertalisman. It comes after years honing his craft but also after a period of reinvention HIs last album Talisman came exactly a year ago and since the he has returned to his roots, "without looking to the past with nostalgia or contempt; but rather by contemplating his past self with kindness." The resulting record is a magical mix of widescreen synth craft and elegant, suspensory grooves, glassy melodies and found sound percussions that enrich each track and give them life.
Review: We're pretty sure our catalogue is full of albums by The Fall which we describe in gushing terms. More fool us for using all the words before this re-issue of the band's seminal live record arrived, because it really is that good. Laid down at shows in Chicago, New York, San Francisco, Houston, and Memphis, to put things in no uncertain terms it bangs in the best possible way, offering the kind of unashamed gutter punk we find ourselves sorely lacking in most rock 'n' roll today.
Of course, back in 1982, when this first landed, critics were torn as to whether they wanted to demand more from Mark E. Smith, et al. And back then perhaps that was a valid point. Speaking in today's terms, though, A Part of America Therein 1981 represents a moment in time when authenticity was far more commonplace, and the impact of hearing that is nothing short of profound.
Mila Stands In A Meadow For The First Time Eating Strawberries (2:49)
Review: Drew Lustman's longstanding FaltyDL moniker makes a welcome return with a debut full length record for the eminent Central Processing Unit label. In The Wake Of Wolves deconstructs Lustman's usual rough dance sound for a less predictable album-length breakdown, retaining his usual arid textures while playing up the more sound-designed and maximalist ends of his craft. In the pithy words of CPU: "This could pass for Four Tet or even Hannah Diamond at points, the steady build of pulsing synths and looped vocals recalling a more mysterious version of the PC Music sound." Whether you totally agree, you'd have to agree FaltyDL has at least taken on something of their contemporary future-pop/digisonic aesthetic and incorporated it into his own; this is most evident on the glassy pirouettes and gladiate complexities of 'Minds Protection', or the tenebrous post-punk descensions of 'New Friends', or many maximized IDM trap-doors and toolroom hard-clips of 'Workout'.
Review: Craft Recordings get back on their curatorially expert business with this serious new reissue from Fania All Stars, the long out-of-print Latin-Soul-Rock. This eight-track gem from the 70s salsa ultragroup (literally; FAS consisted of over 25 members at the height of its fame), released via their own label in 1974, documents the moment at which over 40,000 salsa punters visited New York's Yankee Stadium to catch a glimpse of their talents, alongside a myriad of other Latin greats. Fania All Stars threw a curveball, however, by not only playing pure salsa but blending it with styles like funk and soul, thus sticking out from the crowd and adding a spicier punch. We welcome this record, out via Craft Latino, with alacrity, as it celebrates the 50th anniversary of this 'wow' moment, which deserves to be documented even if solely for its powers of FAS' fusional imagination.
Review: French musician Julienne Dessagne is behind Fantastic Twins and here presents a new album inspired by the Greek myth of Theseus and the Minotaur. Adapted from her composition for the dance piece Meandres, the record is a textural world of leftfield techno, kosmische influences and cinematic soundscapes across five tracks. Along the way, we're told the artist explores mythology and symbolism while drawing from opera, film scores and literary works. Her set up included modular synthesis and layered vocals which lend things a rather psychedelic edge next to the strikingly atmospheric synths and subtle sense of unpredictability.
Review: Hailing from Philadelphia, the Eraserhood Sound label has been fostering a particularly cosmic bend of synths and soul music which is primarily rounded out by their in-house band, Fantasy 15. Following a string of on-point singles, the group now coalesce for a hotly anticipated debut album which delivers on the promise of those early drops. Drop in on 'Ray Gun' and let the thick swathes of brain-tickling synths send you stratospheric - this is hot and heavy boogie colliding with the loftiest prog and coming up trumps. There is a luscious vocal cut featuring Kendra Morris, but primarily this is an instrumental trip to take you very far out indeed.
Review: Before his work became reduced to a fine slither and he shifted into experimental, concept-driven realms, Jan Jelinek dropped some of the finest early doors micro house as Farben. Originally released on Klang Elektronik and now reissued by Jelinek's own Faitiche label, Textstar is a masterpiece of glitchy sample-based electronics with a subtle, implied funk. In some ways the sound has dated - it's very much of the late 90s-early 00s era it was first crafted in. But it's a sound that still engrosses and intrigues, reveling in microscopic detail and subdued moods while retaining a groove that comes through the best on eternally magnificent cut 'Beautone'.
Review: Live At Roundhouse calls back to when New Zealand nu-dubbers Fat Freddy's Drop reserved their best tricks for London in the late 00s. Descending on time-honoured Camden venue the Roundhouse, the album captures the essence of one of their most renowned live sets, with energetic jamming seguing through seven original tune, showcasing their improv skills both as a band and as a dub production collective. The 15th anniversary edition here comes courtesy of Record Store Day and comes in an exclusive neon green sleeve.
Review: The limited edition deluxe double vinyl release of 'SLO MO' is here, featuring a stunning holographic overlay that matches the album's deep, immersive sound. Freddy's latest studio album is a nine-track journey packed with bass-heavy beats, offering both redemption and resolution. Described by Fitchie, the group's beatmaker, as "Afro rhythmic soul music," 'SLO MO' explores the rich intersection of Black music through a Polynesian lens. This strictly limited pressing is a celebration of rhythm, soul and culture, making it an essential pick-up for vinyl collectors and fans of bold, genre-defying sounds.
Review: Celebrated around the world for their contribution to the world of funk and disco, it all began for the Fat Back Band with the debut album Let's Do It Again which now gets reissued on South Bound. It has been out of print for many years and the reissue comes with the full cooperation of Fatback founder Bill Curtis. The album was recorded in 1972 at Blue Rock Studio in New York and includes originals like 'Street Dance' which became a Billboard R&B hit in 1973 plus 'Free Form', 'Take A Ride (On The Soul Train)' , 'Give Me One More Chance', 'Goin' To See My Baby' and the title track. It also comes with cover versions of some classics like Jimmy Webb's 'Wichita Lineman', 'Green Green Grass Of Home' and David Gates's 'Baby I'm A Want You'.
Review: Eglo come through with Yellow Memories, the long awaited debut album from Queen bee Fatima! First popping up on the label run by Alex Nut and Floating Points with a vocal contribution to Kleer by FunkinEven, Fatima's been an undeniably soulful presence on Eglo ever since and they've been teasing fans about the idea of a long player from the singer for what seems lie an aeon! Twelve tracks deep, Yellow Memories features button pushing credits from Eglo mainstays Floating Points and fLako along with Sound Signature boss man Theo Parrish, Sa Ra Creative Partners producer Computer Jay, Stones Throw artist (and Madlib's younger brother) Oh No and the wonderfully named Scoop DeVille. Fatima fans will recognise a few of the tracks on the album, with "Techno" and "Circle" issued last summer whilst the Family 12? released earlier this year featured the fLako produced cuts "La Neta" and "Family". Sink in and soak it up!
Review: This 12" reissue of Fats Gaines Band's 'Zorina' harks back to the group's clean, stark collective funk sound. The band was led by Fats Gaines, a jazz musician and orchestra leader who had a significant presence in the Bay Area music scene since the 1950s. Zorina, meanwhile, is a soul singer from Louisiana who joined the band as their vocalist. Eight tracks of smooth disco-funk careen across an expertly-mixed plane of stereo goodness, with tunes like 'Born To Dance', 'Sweet Freak' and 'For Your Love' sure to dazzle with their clean, synth-bass-heavy "owws".
Review: Fabrizio Fattori has been a deep cover hero in Italian dance music since the mid 80s, and while he may have shifted his attention to tribal house music in the 90s, this collection zeroes in on his earlier afro disco funk work, which drips with Balearic groove appeal. Collecting sought after records and other archival gems, this lengthy EP is a joyous, synthy excursion through sunny climes, from the MIDI brass and plastic slap bass of "Leg Pulling" to the intricate percussion and live sax of "Bara-Hum-Ba." This is a quintessential Best reissue - beautifully packaged, and putting super rare music back in the hands of the fans.
Grasslands (feat Mitchell Yoshida & John FM) (5:41)
Visions Of You (feat Mitchell Yoshida & John FM) (5:56)
Totall Recall (feat Mitchell Yoshida, John FM & Carla Azar) (2:29)
Car Dates (feat Tyesha Blount & Carla Azar) (4:22)
Slide (feat John FM, Mitchell Yoshida & Billy Lotion) (6:18)
Keeping Me (feat Mitchell Yoshida, John FM, Troialexis) (5:41)
Growing Old (feat Mitchell Yoshida, Amir Hasan) (6:02)
Morning Ride (feat Mitchell Yoshida) (5:35)
Selinho Na Calcinha (feat Alexia Bomtempo & Mauro Refosco) (11:53)
Saturn Eats His Young (feat Supercoolwicked) (3:57)
Review: If anything, the hugely prolific Motor City mainstay that is Omar S seems to be getting even more prolific as time goes on. His vast catalogue grows once more here with Fun House, which finds Alister Fawnwoda exploring a wide range of dance music styles alongside guests such as FXHE regular John F.M., plus Mitchell Yoshida, Super Cool Wired, Troi Alexis, Tyesha Blount and more, with all the production, lyrics and mixing taken care of by Omar S himself. The tracks range from seductive deep house to edgy mechanical techno, dubbed out downbeat joints and smooth electronic Detroit soul. It is yet another crucial chapter in the FXHE and Omar S story.
Don't Let My Marigolds Die (live In Studio) (2:14)
The Rooster (3:15)
Your Little Face (acoustic version) (2:15)
Filled With Wonder Once Again (Band version) (4:16)
How Long, How Long (Band version) (2:41)
Love Will Remain (Band version) (2:36)
Review: Good things from those who wait, someone should have definitely said at some point. For Bill Fay, who had both the privilege and the nightmare of being able to choose from some 40 years of material to put this together. Amazingly only his third LP, arriving 50 years after his debut, at 76-years-young he has clearly mastered the art of keeping things simple in order to be truly, staggeringly powerful. It's unforgettable stuff to say the least. Tender vocals, gentile guitar, delicate pianos and little more, aside from some incredibly evocative lyrics. Works such as "I Will Remain Here" and the title track summarise Fay in many ways. Songs about ancient, mysterious places and histories imagined and real, our poet-cum-troubadour acting as both guide and accomplice to the act of marvelling at it all. Records like this literally don't come along everyday, and we should treasure every moment of them.
Review: James Ruskin and Mark Broom return with a third installment of their wayward electronica project, The Fear Ratio. Far from the bruising techno they normally throw down, "They Can't Be Saved" is an introspective trip into the knotted realms of hip-hop influenced machine music produced down to the nth degree. The beats crunch hard and the atmospheres come shrouded in mystery, slotting in perfectly on the legendary Manchester label Skam. Both a wonderful revival of leftfield electronica and a vital, fresh approach, this third album is another triumphant one. Slap this one on and revel in the sound of two hugely accomplished producers cutting loose and having fun in the studio.
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