Review: Polish beatmaker Teielte unleashes his fourth studio album and it's another beguiling trip. Just as heavy on the emotions as it is on the beats and bass, Melancholizm brings the sadbois to the dance with its immersive chord changes, stuttering drum work and compelling waves of atmosphere and yearning sense of urgency. From the real heavyweight grizzles of 'Paresis' to the more languid, floating mood of 'Drunk Novice' to the more sensual RnB tones and textures of 'Experiencing' and the wall rattling drama of 'Oneness', Teielte tells a unique tale that captures the turbulence of the current times. Bring it in.
Review: Tenderlonious has been turning out a diverse range of brilliant sounds with all sorts of projects in the last few years from his band Ruby Rushton to classical music with Pakistani quartet Jaubi and even deep house and ambient when he goes solo. Here, four years after his On Flute mini-album back in 2016, he serves up another album of his signature flute-lead sounds on the 22a label with elements of Detroit house, p-funk, synth grooves and more all featuring. 'Isaac's Theme' is a gorgeously deep and reflective flute solo while 'Neptune's Mood' ride on a broken beat. 'Still Flute' is a brilliant jazzy house tribute, presumably, to the St Germain classic.
Review: Tenderlonoius has long been at the heart of the nu-jazz and broken beat sound that has proliferated over the last five for so years, as has his 22a label. They have both been prolific sources of new school sounds and old school influences and You Know I Care is another full length statement of skill from the man who has often worked in collaboration or with his Ruby Ruston band. It is a widescreen offering that ranges from brooding ballads to epic modal delights which will appeal to all sorts of jazz heads old and new. All the tunes are standards by some of Tender's favs including Jackie McClean, Clifford Jordan, Wayne Shorter and Duke Pearson.
Review: If you're not up for words like "lovely", "blissful" and "gliding" on record then this one may not be for you. Then again, we'd sooner recommend trying it on for size than skipping past outright, as Tennis prove themselves to be every bit as compelling and captivating as they are seemingly sitting - or more accurately lackadaisically couching out - on some fluffy cloud overhead.
It's perhaps unsurprising that Tennis is married couple Alaina Moore and Patrick Riley, who wrote the nine-tracker while doing what some couples fantasise about, and others think of with fear as to whether it would wind up with one of them killing the other. Four months is a long time to be at sea with your partner, but in this instance it seems to have only united them. Balladry but of particularly exceptional quality, it's hard not to feel jealous at the ties that clearly bind this wife-husband duo.
Review: A fresh record from interstellar voyager of cosmic soul Jimi Tenor, who finally lands his spaceship with perfectly balanced descent onto Timmion Records' landing pad. The first in an apparent series, the Finnish saxophonist and other-instrumentalist here delivers Is There Love In Outer Space?, a spaced-out album session recorded in collaboration with fellow virtuosi Cold Diamond and Mink. At once cosmically expansive and lounge-ifically chilled - a hard balance to strike - the album hears Tenor transcend the patent Sun Ra inspiration for something beyond. Whether by way of its wowwing surfy licks on both parts of 'Gaia Sunset', or the orbital funk of 'Orbital Telesto', we're sure Tenor's latest will both simultaneously uproot and relax even the most fierily grounded of souls.
Review: For the first time, experimental saxophonist and composer Jimi Tenor finds Norweigan dance powerhouse DJ Sotofett, both teaming up for a collaboration: 'No Warranty Dubs'. Completing the trifecta is Berlin ensemble Kabukabu, the five-piece Afro-jazz-funkers whose original recordings - many of which were overseen expertly by Tenor himself - now come redistilled through a dubwise filter paper. The loose-limbed, lackadaisical energy of Kabukabu's live instrumentation merge fully with Tenor's genre-blurring composites, as Sotofett recasts fifteen tracks into rhythm-driven, bass-heavy versions. The original free jazz and Afro-influenced elements remain present, but they here serve as rawer material for layered studio treatments, channelling echo-drenched edit work and hypnotic repetition, where nothing ever rests to the point of complacency.
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: He's taken his time, but finally Norwegian nu-disco legend Todd Terje has delivered a debut album befitting his immense talents. While there are plenty of examples of his vibrant, synth-heavy dancefloor style on It's Album Time - see "Delorean Dynamite", "Inspector Norse", "Strandbar" and the Lindstrom-ish grandiosity of "Oh Joy" - what really makes it such an essential set are the curious turns and oddball moments. Samba, jazz and easy listening get the Terje treatment on "Alfonso Muskedunder", "Leisure Suit Proben" and "Svensk Sas", while there's a welcome dose of wide-eyed Balearica on the tweaked "Swing Star" (one of a string of previously released cuts on the album). Most interesting of all, though, is "John & Mary", a woozy, Roxy Music style cover of a Robert Palmer classic featuring the effervescent Bryan Ferry.
Review: Terra Utopia returns to Emotional Response with a second release, a collection of ten tracks blending ambient textures, atmospheric rhythms and fluid drum & bass. French producer Benoit B revives this project after the success of the first Terra Utopia recordings, delivering another thoughtful exploration of soundscapes. Initially conceived as a short-lived project, the first Terra Utopia was recorded in two weeks during a spring in Athens, capturing a deeply personal sonic aesthetic. This second offering reflects an evolution in style while retaining its essence. Tracks unfold like snapshots of expansive skies, tranquil seas and warm summer days, creating a narrative of serene moments and astral imaginings. The beats feel crisp and purposeful, and every cut is crafted for both personal immersion and DJ functionality. A highlight is the collaboration with singer dvdv on 'Shadows Of Memories', where her ethereal vocals float over dreamlike instrumentation, offering an evocative, hypnotic centerpiece. Terra Utopia continues to conjure vivid sonic imagery with its latest chapter.
Review: The Original Jazz Classics series continues to uphold its legacy with the reissue of Clark Terry's seminal album, In Orbit. Originally recorded in New York in 1958 and featuring the legendary Thelonious Monk in his sole Riverside outing as a sideman, this album is a cornerstone of Terry's discography. Accompanied by Sam Jones on bass and Philly Joe Jones on drums, In Orbit features Terry's inept talents as a trumpeter and leader. This reissue, pressed on 180-gram vinyl at RTI, benefits from AAA lacquers meticulously cut from the original master tapes by Kevin Gray at Cohearent Audio. The packaging also features a high-quality Tip-On Jacket, reflecting the series' commitment to preserving the integrity of the original release, from cover art to liner notes. Since its inception in 1982, the Original Jazz Classics (OJC) series has been the benchmark for collectible jazz reissues. In Orbit is a prime album to reissue, offering a pristine listening experience that honors the timeless artistry of Clark Terry and his collaborators.
Review: Operating in the corner of electro where dystopian dreams (or should they be nightmares?) are made, TeslaSonic haven't forgotten how to keep things fun no matter how dark the vibe gets. Gianluca Bertasi keeps the project flying with this double LP drop on Libertine which has a nod to the likes of Maggotron in the nasty funk of opening track 'Ion Drive', while also knowing how to turn up the techno dial on the stiff and driving intensity of 'Poly Verisof'. These are tuned up, rough, ready and raucous electro cuts for those who like to have fun even as things get deadly serious.
Review: British library musician and composer Alan Tew has one of his many magnum opuses, Drama Suite Part II, reissued by KPM. With the label keen to flaunt its first edition's going rate on Discogs, Tew's follow-up to the first part is a holy grail for library music collectors, owing to its performative subtlety, breadth of mood, and doubtless bottling of several modish styles of the time: noir, dark jazz, explotiation theme music. The track 'Stonechange' in particular hears many coded rerubs, with many versions and sub-versions, as was of the factual, rationalistic and methodical approach to the library music of the 1970s and early 80s. It's also got an indelibly clean sound: as with all KPM reissues, the audio for Drama Suite Part II comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis.
Make Room (feat Spookybands - Rock version) (3:36)
Review: Tha Alkaholiks, often stylized as Tha Liks, are a West Coast hip-hop group known for their party-igniting lyrics, witty wordplay, and funky, jazz-infused beats. Formed in early-90s LA, E-Swift, J-Ro, and Tash would prove a gregarious group, making short work of charming scene and industry folk alike through various collabs, with such friends as fellow West Coast MC and mentor King Tee. 'Daaam!' stood out on the gang's second record Coast II Coast as one of its core hits, with vibey production by E-Swift contrasting twin moods of wellness and hardship. Now a full studio album takes the same name, while reimagining some 'Daaam!' alongside other classics such as 'Make Room', as well as securing several new songs. Hard-hitting, fun-loving.
Review: The always innovative Emma-Jean Thackray's second album continues her tradition of exploring the edges of standard genres with a bold exploration of grief, selfhood and resilience. Created entirely by Thackray in her South London flat, it meshes jazz, pop, soul, p-funk and grunge into a personal journey in which tracks like 'Wanna Die' contrast frenetic beats with raw emotion while tackling mental health with humour and vulnerability. Featuring collaborations with Reggie Watts and Kassa Overall, the album honours individuality and neurodivergence while processing profound loss and results in Thackray's most intimate and daring work to date-an honest, chaotic, and cathartic celebration of surviving and thriving through pain.
I've Been Waitin' For Tomorrow (All Of My Life) (5:42)
This Is The Day (4:45)
The Sinking Feeling (3:41)
Uncertain Smile (6:42)
The Twilight Hour (6:33)
Soul Mining (4:11)
Giant (9:29)
Review: It's hard to believe it is now a full decade since Detroit's Dez Andres blew up off the back of his classic house jam 'New For U.' He had of course been toiling away for years before that, recording with Moodyman and DJing for Slum Village amongst other things. Since then the music has kept coming - some of it hip-hop as DJ Dez, some of it house under this alias, and much of it a perfect fusion of the two. And that's what we get here on this new EP for Beretta Music - four lush deep house joints with his smooth signature drum loops and gloriously incidental melodies. The slower, funkier bounce of 'Back To Nature' is the EP highlight for us, but all four of these are a cut above, as per usual with Dez.
I've Been Waiting For Tomorrow (All Of My Life) (6:00)
True Happiness (This Way Lies) (4:41)
Uncertain Smile (9:09)
Lonely Planet (6:47)
Review: RECOMMENDED
There's always been an air of mystery about The The. Look through the band's history, which stretches wayyyyy back to the late-1970s, and the list of collaborators alone is enough to convince you they've been making moves in the right places for many, many years, striving to innovate and carve out their own space in the unarguably busy post punk landscape.
Everything Matt Johnson touches seems to turn to gold. Albeit a particularly scuzzy gold that exists solely in the darkest rooms of the least kept venues. Even on this accolade - a group getting a spot at The Royal Albert Hall is no mean feat - there's a sense of yellow-hued street lights and rain falling on concrete. But this is combined with a poetic element that's up there with the finest literary Romantics, and a commentary that will tell you all there is to tell.
Review: Thee Heart Tones hail from California and bring plenty of freshness to the modern soul scene with their debut album on the superb Big Crown label. Led by the vocals of 19-year-old Jazmine Alvarado, and produced by Leon Michels and Tommy Brenneck, this 14 track record marries teenage soul with modern production to craft infectious melodies and emotive ballads. Their cover of the classic 'Sabor A Mi' pays homage to their roots, while tracks like 'Need Something More' bring a Northern Soul vibe to the dancefloor. Forever and Ever is more than just an album - it's an example to the band's musical chemistry and their commitment to connecting audiences young and old with the soulful sounds of Chicano culture.
Review: Thee Marloes, hailing from Surabaya, Indonesia, blend their unique background with a soulful sound that's both familiar and distinct. Led by Natassya Sianturi's excellent vocals, with Sinatrya 'Raka' Dharaka on guitar and Tommy Satwick on drums, the trio combines soul, jazz, and pop with an Indonesian twist. Their debut album, Perak, released under Big Crown Records, features standout tracks like 'Midnight Hotline,' a punchy dancefloor hit, and 'Beri Cinta Waktu,' a soulful ballad in Indonesian. Songs like 'I Know' and 'Not Today' showcase their ability to craft heartfelt, relatable music. Thee Marloes' authentic sound and infectious energy ensure their music will remain a turntable staple, transcending language and cultural barriers.
Review: Those masters of the modern but classically inclined soul sound that we know as the Daptone label are back again, this time with a fantastic debut album from Thee Sacred Souls. This is a record that was produced by Daptone co-founder Gabriel Roth, and it is brilliantly warm and textured throughout. Mixing up 60s soul with 70s R&B, each performance is majestic with heart-aching vocals and longing rhythms powering it along. Chicano, Philly, Chicago, Memphis and Panama soul all colour the sound while the rawness and realness of the tunes connect deeply on many levels.
Review: Thee Sacred Souls return with their highly anticipated album Got A Story To Tell, a collection of 12 original songs full of their exquisite craftsmanship. The album, recorded and produced by Gabriel Roth at Penrose Recorders, captures the band's evolution through intense touring and creative growth. The lead single 'Lucid Girl' sets the stage, celebrating independent women with tough drums and bass, and a compelling narrative delivered by Josh Lane's pure tenor. Special guest Larry Rendon on saxophone adds a historic touch, linking the band's name to East LA's Thee Midniters. Tracks like 'Waiting On The Right Time' and 'One and the Same' explore themes of empathy and unity, blending slow-burning psychedelia with soul. The album's rich instrumentation, including strings, congas, and horns, creates a timeless sound that rewards repeated listens. Thee Sacred Souls have crafted an album that is both a nod to soul music's past and a statement for the present, ensuring their story continues to grow.
Review: The creation of Got A Story To Tell was a transformative journey for Thee Sacred Souls, recorded and produced at Daptone's Penrose Recorders by Gabriel Roth in Riverside, CA. Written amidst the whirlwind of their acclaimed 2022 album tour, the process tested and strengthened the band, leading to their most compelling songs yet. Founding members Alejandro Garcia, Salvador Samano, and Josh Lane crafted the album, enriched by a lineup of horn players, string artists, percussionists, organists, and background vocalists. Notably, Larry Rendon from Thee Midniters, an iconic East LA band, joined on saxophone, connecting the album to soul music's rich history. Got A Story To Tell resonates with a timeless quality, blending soul influences with a contemporary edge. Tracks like the empowering 'Lucid Girl,' driven by Garcia's potent drums and Samano's resonant bass, set a vibrant tone. The album unfolds with narratives and characters, from the psychedelic allure of 'Waiting On The Right Time' to the poignant plea for empathy in 'One and the Same.'
Review: Originally released on the Soweto label in 1976, this record is a rare gem that perfectly encapsulates the exciting energy of its era. Themba is the sole album from the South African group led by Baba "Themba" Mokoena, a recording that has a timeless blend of sophisticated improvisation and infectious groove. Mokoena, renowned for his guitar prowessifirst spotlighted on Dick Khoza's landmark Chapitaileads a skilled ensemble through a set of tracks that balance technical brilliance with undeniable danceability. The standout cut, 'Fana Fana', exemplifies this alchemy, featuring fluid saxophone melodies, crisp guitar riffs, nice flute solo and an energetic horn section. Throughout the album, the interplay between instruments shows the group's dynamic synergy, creating a sound both lush and immediate. The layered textures and lively rhythms invite listeners into a world brimming with cultural pride and musical ingenuity. Now reissued for the first time nearly 50 years later, Themba resonates with the same soulful vitality that made it a cornerstone of South African jazz. Remastered from the original master tapes under As-Shams Archive, this reissue ensures the album's brilliance continues to inspire new generations.
Midnight January 30th, The Mothership Comes For Mike (3:15)
Survivor Syndrome (We Did It For Mikey) (4:58)
Review: Farewell My Friend from Thes One is a tribute to the artist's late music partner Double K. As you'd expect, it is packed with real emotion and heart and layers up fresh beats with meaningful melodies across a superb selection of instrumentals. The track titles themselves tell the story of how the pair met and detail their journey as hip-hop outfit People under The Stairs. It's an album that is as good as any he has been involved with and is heartfelt throughout. Well worth checking for fans old or new.
Review: Tidiane Thiam's Africa Yontii speaks volumes beyond its melodic notes, conveying a powerful message of change and empowerment for Africa. Thiam's expressive guitar work serves as his voice, articulating the need for African agency and self-determination. Born in the Senegalese town of Podor, Thiam's compositions draw from his deep roots in Pulaar folk music, enriched by collaborations with hip-hop producer Ndiaye Moctar. In this album, Thiam addresses pressing issues facing Africa's youth and reflects on the challenges of leaving loved ones behind in pursuit of a brighter future. Despite grappling with heavy themes, his music radiates with love for his homeland and heritage. Africa Yontii boldly reclaims the narrative of "world music," placing African voices and perspectives at the forefront. Through soulful melodies and poignant lyrics, Thiam beckons Africa to seize its destiny and usher in a new era of change and progress.
Review: Originally released in 2002, this album remains one of Washington-based duo's most well-known albums, blending trip-hop, downtempo, and an eclectic mix of global influences. While it's often categorised as sophisticated lounge music, its world-fusion approach offers a real depth, from hypnotic opener 'Heaven's Gonna Burn Your Eyes', featuring Emiliana Torrini's airy vocals over a light, looping keyboard melody and deep bassline, onwards. The track's ethereal quality sets a contemplative tone and back s it up with dynamic shifts that make it equally as engaging. 'Facing East' brings in Middle Eastern violin phrases and tribal drums, adding a richer texture. Here, Thievery Corporation excels, weaving together global sounds into a flowing, immersive piece. Tracks like 'The Outernationalist' and 'Un Simple Histoire' fall into the duo's familiar patternipleasant but formulaic dub and bossa nova elements that, while polished, don't push boundaries. However, 'Meu Destino' and 'Exilo' set themselves apart thanks to the authentic performances from Patrick de Santo and Vernie Verla, allowing the music to breathe without overproduction. Helping to validate Thievery Corporation's signature sound, this is a beautifully produced work and somewhat of a landmark in the history of downtempo lounge-hop.
Review: It Takes a Thief, released in 2010, is Thievery Corporation's first "Best of" compilation, curated by Rob Garza and Eric Hilton. This album is an excellent entry point for newcomers and a treat for longtime fans. Featuring standout tracks like 'Lebanese Blonde, from the Grammy-winning Garden State soundtrack, and 'Sound the Alarm,' a funk-infused live show staple, the compilation captures the essence of the duo's eclectic sound. The album spans their rich career, blending dub, trip hop and world music influences.
Review: It Takes A Thief is the 2010 compilation from the electronic duo Thievery Corporation. Now reissued via Primary Wave, the album comes back again as a sore reminder of a rock-solidly wicked set of tracks, a collection specially selected by the dream team of Rob Garza and Eric Hilton for both longtime fans, and for music lovers who'd heard of Thievery Corporation but may have never listened to the band. It Takes a Thief features 'Lebanese Blonde,' the beautiful track notably used in the soundtrack to the controversial Zach Braff film Garden State, as well as 'Sound the Alarm', the funk-infused track that has since become a staple opening track for the band's live shows. Now released on vinyl for the first time, we're more than pumped to help get this one back in circulation.
Review: In 1970, soul icon Carla Thomas recorded a full album at Memphis' American Sound Studio for Stax Records. While two tracks were released as a single, the complete project was shelved and remained unreleased until it surfaced in a 2013 compilation. Now, 55 years later, the long-lost album finally sees its vinyl debut. Featuring songs penned by songwriting legends such as James Taylor, The Bee Gees and the duo Goffin and King, this record offers a long-overdue spotlight on a hidden gem from one of Stax's most beloved voices and captures a soulful moment in time that nearly slipped through the cracks.
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