Review: Both of these funk gems are taken from a cult compilation Trans Groove Express, which explored the sounds of Express Records and was assembled by MURO. Fourth Wave now serve them up on a superb 7", starting with Maki Asakawa. 'Hohi Hitotsu' is a delightfully gentle and subtle dub with funky guitars adding movement while the sultry vocal soars. Yasuhiro Abe's 'Night Fish' is a brighter and more retro 80s soul and boogie sound with glowing chords and snappy hits. The Japanese language vocal is emotive enough to mean plenty without understanding the meaning of the words.
Review: Way beyond its New Beat roots, Boccaccio was one of Europe's most influential clubs and known for operating at the cutting edge of house, techno, acid and beyond, and for shaping a distinct sound that defined Sundays in rural Destelbergen. Curated by Olivier Pieters and Stefaan Vandenberghe, Boccaccio Life 1987-1993, released by Belgian label Music Man Records, captures the raw energy of a scene ahead of its time. Four VA Eps from it bring the tracks to wax and this one has four seminal US artists at their most visceral and impactful.
Review: The House Of Web is a new project that brings together music with a range of international origins across two EPs. They feature material originally by Takuya Sogimoto on this label in 2020 and 2022 as well as some unreleased cuts from 1994 and 1995. Dynamo Dreesen & Robotron go first as Dynatron ahead of a debut solo EP on SUED that is due soon. Then comes Dresvn aka Dynamo Dreesen & SVN, YPY aka Koshiro Hino from Osaka and a member of the Japanese band Goat, plus the next level beat maker A Made Up Sound. All four of these cuts offer superbly fresh takes on techno.
Review: Freerange's City To City series returns with its second edition, this time spotlighting Lisbon. Known for its stunning views, beautiful beaches and vibrant nightlife, perhaps one of the city's best-known hotspots is the iconic Lux Fragile, which has shaped the city's sound since the late 90s. Longtime resident DJs from Lisbon are now gaining global traction; to butterfly-net the essence of the coastal metropolis, this new mix LP hears six original tracks from local talents, chief among whom are Megatronic, progressor and ambassador for the city, and Yen Sung & Photonz, two names closely tied to the circuit's deeper-underground corners.A
Review: Yoi keep it fresh with a new 12" that comes on a rather nice picture disc. More importantly the music is of a quality that merits the extra attention on the packaging with four artists all coming through with compelling takes on minimal. Mariche's 'Haunted House' is awash with nice bubbly synth phrases that are full of colour and charm, then Sbruf's 'That Think' gets funked up and kinetic on lively drum programming with lots of hooky synth details and sci-fi flourishes. Watsche's 'Bsmtgrvs' is another glossy hyper-real sound with polished melodies and a restless sense of groove and Yogi P keeps it deep with the soulful pads of 'Vickies Groove.'
Review: Brian Dougans and Garry Cobain, the masterminds behind Future Sound of London, return with The Pulse EP Vol 3, a reissue of their classic work under various aliases on the Jumpin' & Pumpin' label. This highly anticipated 12" features tracks that showcase their 90s techno brilliance. Side-1 opens with Smart Systems' 'Tingler' (Four By Four mix), a dark, sinister track that channels Beltram's 'hover' sound into a hardcore rave anthem. Indo Tribe's 'Owl' (I Can See You mix) follows, hailed by fans as one of the greatest breakbeat hardcore tracks ever made, a retro-classic loaded with chunky, energetic beats and an unforgettable sample. Side-2 kicks off with Indo Tribe's 'Bite The Bullet Baby' (Jacques Reynoix mix), another gem that blends early 90s rave energy with a unique edge. The real highlight, however, is Yage's 'Calcium' (Elementary mix), which first appeared on Future Sound of London's Accelerator album. Even today, it sounds transcendental and timeless, its melodic piano lines and otherworldly ambiance continuing to win over listeners. This EP is a vital piece of underground rave history and an essential listen for fans of early techno and breakbeat hardcore.
David Twice & Fool Sentimental - "Vous Avez Dit Bizarre?" (4:45)
Disco Flegrei - "Hot" (7:45)
Disco Flegrei - "Titanesque" (with Francis Galio & Marco Silva) (5:10)
DJ Moar - "Feelings" (7:11)
HoldTight - "Legend" (3:37)
Yured Jones - "Far Away" (2:28)
Review: Fresh Sounds #000 is a new and unique series, limited and numbered to 150 examples thanks to the efforts of its parent company Ribo Cochlee. For the very first edition of the series, a mockley crew of newcomers come to the fore, be they DJ Moar, Disco Flegrei or Holdtight. Centring on woozy jazzdance and disco with an airily produced bent, the highlights on this one have to be Flegrei's 'Titamesque', which basks in a kind of sexy sophistry procured by the heady combination of live drums and a (we think) muted bass clarinet, and Yured Jones' 'Far Away', which breaks from the genre prescription for a more cinematic breakdown.
The Great Marmalade Mama In The Sky (Yage remix) (5:15)
Wooden Ship (Yage remix) (5:37)
Review: This package of remixes of tunes from Translations is a real gem for lovers of Future Sound of London. plenty of familiar samples and textures are worked into the five Yage remixes as are cosmic overtones, sitars, drones, backward guitars and more. 'The Big Blue' is a woozy intergalactic sound on slow-mo beats, 'Requiem' is a worldly dub, 'The Lovers' has psyched-out lead riffs that bring prog energy and 'The Great Marmalade Mama In The Sky' has drunken tabla drums and mesmeric strings for a perfect retro-future comedown. 'Wooden Ship' is a spine-tingling sound with choral vocals bringing the celestial charm.
Review: The third volume in the Insense Music compilation series, Insense Music for Dining Room, deepens its exploration of ambient, jazz, chill-out and Balearic sounds, all of which are perfect for serene dining moments. Curated by Tohru Hashimoto with artwork by Jiro Fujita and mastering by Calm, who a key figure in Japan's music scene as well as a renowned Balearic boss, this 7" release shines from the off: side A features Yakenohara's subtle, exclusive take on Bill Evans's 'Peace Piece' which blends his genre-fluid skills as rapper, DJ and producer. Side B offers Noa Noa's warm tribute to Bobby Hutcherson's 'Montara,' a hip-hop sampling favourite. The release precedes a full compilation dropping this May.
Review: When Tatsuro Yamashita first released 'Christmas Eve' in 1983, it didn't receive a huge amount of attention. It was only when the track was picked up for an advert in the late 80s that it caught on became a seasonal favourite in Japan, going on to become one of Yamashita's biggest hits. Now it's being repressed in this 40th anniversary commemorative edition right in time for the impending festive season, featuring a bonus version of the B-side version of 'White Christmas' recorded for the Happy Xmas Show. If you want a quintessential ingredient for the Japanese Christmas experience, look no further.
Review: TRMNL takes you to the end of the line once more with a barrage of high impact tech house from Yaya. Title cut 'Para Siempre' opens up this red slab of wax with irresistibly fulsome and bouncy kick drums under raw perc. 'Umbrella Corps' is another funky thumper with a smattering of congas and toms tumbling down loosely up top. It's a sweat inducing cut that will lock in any hungry crowd. On the flip is a tightly coiled and bubbly Fabe remix that is full of liquid synths and elastic bass and a Vito remix of 'Umbrella Corps' that is prickly, and kinetic future tech.
Review: After making his debut alongside Avangart Tabldot on Crib Records earlier in the year, Yet More - the chosen artistic alias of Paris-based Syrian-Iranian producer Teymour Khalatbari - has been handed a solo debut on Dixon and Ame's popular Innervisions imprint. It's an opportunity he's grasped with both hands. Check first the pleasingly heavyweight (and accurately titled) 'Bounce', where mutilated rap vocal samples, rave-igniting stabs and pots-and-pans percussion fills ride a tough, sub-heavy groove that sits somewhere between Kenny Dope and late 90s Danny Tenaglia. The Sound Factory/Twilo vibes continue on dark big room roller 'Tryna Jack My Style', while title track 'Back 2 Feelin' is a warming, dreamy and lusciously kaleidoscopic blend of shuffling breakbeats and sun-bright deep house nous. A wonderfully assured and impressive EP all told.
Sade - "Nothing Can Come Between Us" (2001 Tokyo House mix) (7:30)
Sade - "Love Is Found" (House dub) (6:18)
Jill Scott - "Think It Better" (dub Yinja re-edit) (6:36)
The Bongo Jam - "Love Disco Dub" (Yinja re-edit) (6:50)
Review: There will also be space in a real DJ set for a cheeky edit or playful mash up. This latest volume of just that from Yinja covers plenty of ground so is a brilliantly useful 12" to have in your bag for when you want to pump the party. First up, The Bongo Jam's 'Love Disco Dub' becomes a shuffling, vibey and deep cut soulful house sound, then Jill Scott's 'Think It Better' (dub Yinja re-edit) gets a late night make over for smooth sessions. On the flipside are two reworks of classic Sade tackle, and both come with signature r&b vocals and well worked drums.
Review: Yoo Doo Right's third album delivers a great blend of post-rock epics and emotionally charged sonic explorations. Opening with a droning guitar barrage, the album unfolds through mantra-like repetitions, abyssal tones and carefree saturation that all serve to cement their status as Montreal post-rock royalty. Inspired by themes of patience, art commodification, AI and unconditional love, this LP draws influence from Wes Montgomery, Rachmaninoff, Neurosis and Russian Circles and was written during a snowstorm retreat in early 2023 which meant the trio aimed for cinematic, experiential significance.
Review: The always busy Record Store Day 2024 release schedule has turned up another pearler here as Ann Young and Yuki Ohno Trio's 'Speak Low' gets a special reissue on 7" courtesy of Nippon Colombia. 'Speak Low' is a cut that showcases Young's expressive vocal style in all its glory as it implodes and explodes over 100-mile-an-hour double bass and light, airy triages, hi-hats and feathery drums. On the flip is another standout vocal jazz cut 'On Green Dolphin Street' that makes this an essential cop.
Review: Brownswood Recordings return to focus on Yussef Dayes and co. for their latest release. Live At Joshua Tree is Dayes' latest live album, capturing the jazz musician and drummer's stellar live performance while posted up slap-bang in the middle of Joshua Tree National Park in California, USA. With the music canopied by this natural desert amphitheater, the sound of the album is fittingly warm and dry, catching the tones of every instrumentalist to a muted, temperate T: there's bass from Rocco Palladino, sax by Malik Venna, keys by Elijah Fox and percs by Alexander Bourt. Make sure to catch the live video version of the album on YouTube.
Review: The celebration of this series continues with a reissue of the second installment of the legendary Christmas salsa album. Willie Colon and Hector Lavoe returned here to bring the unique sounds that made Volume I a Latin music classic. For this one, Colon and Lavoe were joined by renowned cuatro player Yomo Toro and legendary percussionists Milton Cardona and Jose Mangual Jr. Together, they crafted salsa versions of beloved Puerto Rican Christmas songs while mixing traditional musica jibara with Cuban guaguanco, son montuno and African-American jazz. It delivers on all fronts with vibrant, festive blends that bring real Puerto Rican authenticity to salsa fans worldwide.
Review: Pierre-Alexandre Busson, a producer known for his multifaceted talents in both music and photography, steps further into his Destiino alias with a darkly ambient collection that stretches across downbeat house, industrial electronica and melancholic disco. Having made his name in the world of French electro, Busson's transition to Destiino was marked by an exploration of improvised compositions following his participation in a sound installation at the 57th Venice Biennale in 2017. This shift from his previous styles allowed him to dive deeper into moody, atmospheric landscapes. The current project, released under CHLOE's Lumiere Noire imprint, comes as a continuation of this artistic exploration, breaking from the dancefloor-driven energy of his past work to embrace a more introspective and expansive approach. Opening with 'Yokohama,' Busson sets a pensive tone, layering soft synths over a minimalist beat. 'My Crush' follows with a reflective yet upbeat mood, while 'Somlake' (feat. Inigo Vontier) weaves light, meditative textures. 'Transe Has No Speed' dives into dense atmospherics and 'Imagery' introduces a rhythmic, bodily groove. The second side offers 'Musique Electronique Repetitive,' using looping motifs to create a trance effect, while 'La Houle' brings fluidity and 'Morning Routine' soothes with its gentle vibe. 'Pulsar' (feat. Inigo Vontier) pulses with cosmic rhythms, and 'No Pain' closes with a melancholy, reflective note.
Jiro Inagaki & Soul Media - "That's How I Feel" (3:38)
Soul Media - "Memory Lane" (4:23)
Jiro Inagaki & The All-Stars - "Barock" (3:06)
Jiro Inagaki & Aki & Big Soul Media - "Guru" (6:23)
Soul Media - "Painted Paradise" (6:44)
Jiro Inagaki & His Friends - "Express" (No SE version) (3:34)
Review: Japanese jazzmasuta Jiro Inagaki is graced by a stunning new tribute album via 180g, Legends, which celebrates his 90th birthday in 16-track compilation form. Made up entirely of works made between 1968 and 1980, and selected by DJ and producer Yusuke Ogawa, this is an album made almost entirely of Jiro's best-known instrumentals, not least a formerly unreleased version of the standout 'Express'. The recordings are impeccable, and this is a standard which does not waver over the entire 12-year period this LP spans.
Storm Before The Calm (feat Kaidi Akinnibi) (3:01)
Review: As fast-rising underground stars in their own right, you'd expect any collaborative album from soul-fired South London singer/songwriter/beat-maker Tom Misch and prolific jazz drummer Yussef Dayes (best known for his now long-running collaboration with Kamaal Williams) to be rather good. "What Kinda Music" is, with the pair mixing and mangling elements of soul, jazz-funk, electronica and jazz, a set that defies easy categorisation. Both musicians exceed themselves throughout, with tipsy electronics, sweeping strings, bass, effects-laden guitars, woozy synth lines and Misch's heartfelt, soul-flecked vocals offering a perfect foil for Dayes' loose-limbed, headline-grabbing drumming.
Review: In a collaboration for the ages, we hear German kosmische musician Hans-Joachim Roedelius (Cluster, Harmonia) team up with Japanese flutist Yuko Matsuzaki and Berlin Philharmonic analog musician sound engineer Onnen Bock for a nacreous improv blast. Spanning soft, pearly electronica and neoclassical, Moon Garden comprises five works, incorporating techniques and fragments of songs already released. A mythical aura unfurls through synth koto and organic harmonics; 'In The Forest Of Syrinx' establishes a singing bowled, new age aesthetic, segueing into the purely vocal threnody 'Sapphire Jellyfish'. Bridging electronic washes, piano and female vocals, this is a borderless soundscape of exciting proportions.
Get Fucked - "Time For A Quickee" (On The Kitchen Counter edit) (7:14)
Get Fucked - "Momentum" (The Smart Alex dub) (5:28)
Green Eyed Monster - "All Gone By" (6:07)
Strange Weather - "Infinite" (6:31)
Review: Laurant Webb, Dave Coker, Justin Bailey, and Dave Pine were the key figures behind Strange Weather Studios, which was a creative hub in Southeast London that helped shape the very early sound of tech house in the capital. Collaborating with friends and partners on several projects, they produced a number of influential records that defined the genre including under aliases such as Housey Doingz, 7th Voyage, and Space Bunny. This release on Sushitech, which always does a fine job of offering up the best tech house past and present, pays tribute to the studio and its collaborators with representative tracks carefully selected by Laurant Webb and label head Yossi Amoyal. Restored and remastered from rare DATs and pressed up to no fewer than six sides of vinyl, it's a great look at a significant moment in the evolution of tech house.
Get Fucked - "Time For A Quickee" (On The Kitchen Counter edit) (7:14)
Get Fucked - "Momentum" (The Smart Alex dub) (5:28)
Green Eyed Monster - "All Gone By" (6:07)
Strange Weather - "Infinite" (6:31)
Review: Working with various collaborators, Laurant Webb, Dave Coker, Justin Bailey, and Dave Pine produced influential records under aliases like Housey Doingz, 7th Voyage, and Space Bunny at the influential Strange Weather Studios. Those records very much helped to define the early days of the tech house genre. This Sushitech release comes on clear vinyl and honours their legacy, with tracks handpicked by Webb and label founder Yossi Amoyal. They have all been remastered from rare DATs and across three slabs of wax make for an essential deep dive into an important phase in the earliest days of tech house.
III: Remembrances (Three Pieces From Schindler's List) (6:22)
Highwood's Ghost (15:12)
Review: John Williams and Yo-Yo Ma have been creative and personal friends and collaborators for many decades now. Their fruitful partnership is revived here for a new recording for Sony Classical alongside the rightly venerated New York Philharmonic. The record features two concert works that the composer penned for the cellist with some extra inclusions taken from his famous film scores for movies such as Schindler's List, Lincoln, and Munich. There are also some guest appearances including Spanish guitarist Pablo Sainz-Villegas and harpist Jessica Zhou. A superb sounding and magnificently executed album for fans of classical music.
Michael Prophet - "Love & Unity" (extended mix) (6:27)
The Prophets - "Babylon A Fall" (extended mix) (5:56)
Yabby You - "This Economical Crisis" (2:31)
Yabby You & Trinity - "Gwaan & Lef' Me" (extended mix) (5:00)
Prophets All-Stars - "Love In Zimba" (3:21)
Yabby You - "Get Lost Babylon" (extended mix) (7:58)
The Prophets - "Blessed Are The Poor" (3:34)
King Tubby - "Love Of A Woman Dub" (4:43)
Yabby You & King Tubby - "Jah Mercies" (3:36)
Yabby You - "Dreadlocks Man" (3:42)
Review: Yabby You, aka Vivian Jackson, remains one of reggae's most iconic figures, known for crafting some of the genre's most enduring and sought-after roots recordings. This collection showcases his deep influence, bringing together ten of his best productions, with his Prophets vocal group and Michael Prophet leading the charge. The tracks here are enriched with extended mixes and dubs, courtesy of the legendary King Tubby. From the raw energy of the vocal performances to the dubwise arrangements, this release captures the spirit of reggae in its purest, most powerful form. A must-have for any serious reggae collector.
I'll Remember For Me, I'll Remember For You (2:02)
Done (Let's Get It) (2:53)
Ready Or Not (4:27)
Michin (3:34)
Away X5 (2:33)
Happy (3:58)
1 Thing To Smash (3:15)
Be Alone In This (2:46)
Review: We are still being treated to superb albums that were written during the Coronavirus pandemic lockdowns and this is one of them. It took shape across a two-year period in New York, Seoul, and London and finds the highly rated Yaeji looking closely at her relationship with anger. In something of a shift away from the sound of previous work, she brings in rock and hip-hop elements as well as her signature house style. The lyrics in English and Korean are dark and self-reflective, while the artist also employs live instrumentation for the first time. Guests include K Wata and Enayet, plus vocals from London's Loraine James and Baltimore's Nourished by Time.
Review: German musician Mary Yalex makes her debuts on A Strangely Isolated Place with a new album that offers up her vision of the future via a suite of lush ambient tunes. Yalex draws upon her day-to-day surroundings for inspiration and pairs soft melodies with vivid instrumentation. As the record unfolds, things get ever more future facing with darker moods and haunting vibes that tend toward dystopia. Her pristine synth work shines throughout the album and it all adds up to a thought-provoking listen as well las a notable label debut for Yalex.
Review: In 2002, the Japanese government recognized bamboo flute maestro Hozan Yamamoto as a "living national treasure". It was in honor of his lengthy career in music, and in particular the way he championed a traditional Japanese instrument even when he was turning his hand to Western music. "Beautiful Bamboo Flute", an album first released in 1971 and almost impossible to find since, is a superb example of this. It sees him deliver haunting, emotional and life-affirming solos over funky jazz, big band and fusion backing tracks that tend towards the fresh and funky. It's an unusual blend, but also an invigorating and exciting one.
Review: It's not hard to see just how ahead of their time Dumb Type were. And still are. Founded in Kyoto, Japan, in 1984, the artist collective looked to interpret and portray the changes they could see beginning to happen around them in society - specifically the start of the (information) technology age. Presenting work that took a dark and cynical view of the increasing importance and prevalence of equipment and digital in the every day, they do this though art exhibitions, performances and publications. Audiovisual installations have always been particularly prominent, and Every Dog Has His Day - one of two Dumb Theater albums previously only available on tape, now issued on vinyl for the first time - makes it clear music was never an afterthought. Credited to Toru Yamanaka, who wrote much of their heard work, and the late Teiji Furuhashi, who translated that onto stage, it's an avant garde essential.
SF (Dedicated To Verne) - A Song Of Escalators (Love & Sex) (5:16)
Quartet (6:43)
Sweet Home (9:15)
Review: Dumb Type Theater have been at the forefront of Japan's performance art landscape since 1984, although the years between then and now have seen some significant changes - culturally and in terms of the group. The death of Teiji Furuhashi, one of the central members, is just one example. A pivotal player in performances, he was often tasked with translating the instrumentation and arrangements of musician Toru Yamanaka into on-stage directions. Removed from that context, Yamanaka and Furuhashi's sounds still work incredibly well. There are aspects of Plan For Sleep that evoke the US avant garde of the time, perhaps reiterating the fact that the late-20th Century saw a closing of distances and a shared vision of where the future was heading among broad communities. Sound art, in the most musical and listenable sense.
Akira Yamaoka - "Whatever Choom, Like I Give A Sh*t" (1:25)
Marcin Przybylowicz & PT Adamczyk - "Run To The Edge" (2:58)
Dawid Podsiadlo - "Let You Down" (3:50)
Review: Akira Yamaoka, Marcin Przybylowicz and PT Adamczyk's original soundtrack for Cyberpunk: Edgerunners hears original OST numbers written for the award-winning anime series set within the futuristic dystopian world of Cyberpunk 2077, which originally spawned as the offshoot of the video game of the same name. Fitting for the music's breathy progressive house and electro oeuvre, which is interspersed with more traditional expressionist orchestral climaxes and builds, the Edgerunners series centres on a crack team of cyberpunk renegades, as they traverse the beastly underbelly of Night City, located in a futuristic vision of LA, navigating a world replete with corruption, gang violence, and cybernetic addiction. A note for fans: this vinyl edition includes unused, never-before-heard tracks composed by Yamaoka for Edgerunners, but which does not appear in the series.
Review: An overlooked spiritual classic in two parts, Yamash'ta & The Horizon were a one-off project consisting of a hat-trick of musicians seeking to perfect their craft. In 1971, Hideakira Sakurai, Masahiko Satoh, Stomu Yamash'ta and Takehisa Kosugi gathered in Japan to perform an invite-only concert to a handful of friends. Deep and distinctive electric shamishen becomes a sonic centrepiece over the course; handled by Sakurai, the sound is haunting, like a lone voice amidst a sea of percussive nymphs. Sloshing koto, percussion and eruptions of awe from the crowd all dominate the moments of downtime; a timeless snapshot of Fluxus Japan.
Review: Geinoh Yamashirogumi is the performer who brought to life the original soundtrack to the anime classic Akira. The original score was composed by Shoji Yamashiro. The movie is set in in 2019 Neo-Tokyo when the world is still recovering from World War III and teen delinquent Kaneda's biker gang roams the city when his friend Tetsuo is injured and taken to an army hospital. As Tetsuo's uncontrollable powers emerge, a fierce battle ensues between Kaneda, Kei, the army, and Tetsuo. The soundtrack captures the futurist drama with plenty of moving emotions.
Theme Of Lupin III, II (Blues Harp version) (2:03)
Happening 1 (3:28)
Theme Of Lupin III, II (Ending version) (1:13)
Afro Lupin '68 (instrumental version) (1:06)
Lightning Time & Lighting Time After (3:04)
Guitar Suspense (2:18)
Yeah! Lupin & Action Lupin (1:30)
Lyrical Disturbance (2:57)
Lupin Walkin' (TV original) (2:30)
Happening 2 (2:56)
Theme Of Lupin III, II (Ending instrumental version) (1:23)
Review: With roots that date back to 1967, when Weekly Manga Action magazine decided to take a punt on a new character, master thief Lupin III, grandson of gentleman robber Arsene Lupin, and his criminal gang, Takeo Yamashita and Otomo Yoshihide's collaborative soundtrack has cult status written all over it. While not made to accompany the core Lupin III series, the music here featured on the critically acclaimed Lupin Zero, a saga that takes us back to the early years of the protagonist - a young boy opening the door on a life of crime in mid-1960s Japan. On record, that sounds like a flamboyant and intoxicatingly heady brew of jazz, psychedelic rock, electronic experimentation and pure groove. As vivid as both the original printed cartoons and the subsequent screen adaptations that continued the legacy.
Review: Jazz and soul flavours from Tatsuro Yamashita, the Japanese guitar megastar whose original covers releases are coveted all over the world. In turn, you reap what you sow; many of his originals are likewise the targets of covers artists, and this isn't the first time we've encountered his song 'Ride On Time'. Yamashita's sixth single, it's a popular myth that the track marked the very beginning of the genre 'city pop'; true or not, the accompanying tracks on this album version are equally as slick.
Review: Acclaimed Japanese producer, singer and songwriter Tatsuro Yamashita is the man credited with laying the early foundations for the city-pop sound. He put out a great run of albums, live albums and compilations and many of them are now being reissued. This one is a great hits collection on heavyweight vinyl that came in 1982 and rounds up the many standout works of his early period. All the tracks have had a fresh mastering job for this release and so classics like 'Sweet & Dangerous Scent', 'Draw Ai Let's Kiss The Sun' and 'The Door Into Summer' all sound as good as ever.
Review: Unlike previous instalments in the 180g label's Wamono series, this isn't a compilation in the strictest sense of the term, but rather a retrospective. It showcases a range of killer jazz-funk and rare groove tunes recorded at Nippon Columbia studios in the mid 1970s by arranger Kiyoshi Yamaya, koto legend Toshiko Yonekawa and shakahuchi master Kifu Mitsuhashi. Highlights come thick and fast throughout, from the mellow, slow-burn lusciousness of 'Nanbu Ushioi-Uta' and the up-beat, guitar solo-laden brilliance of 'Hohai-Bushi', to the all-time Japanese jazz-funk classic that is 'Saitaro-Bushi' and the solo-laden brilliance of 'Asadoya Yunti', whose dazzling Fender Rhodes solos are reminiscent of the early '70s work of the late, great Billy Preston.
Review: Released in the wake of Tony Allen's death, Lagos Paris London is the latest full-length record by Foals' Yannis Philippakis in collaboration with the late great drumming legend. The Yannis And the Yaw project finally emerges after years of fan-teasers revealing Philippakis to have been working with the acclaimed Fela Kuti bandmate and Afrobeat pioneer in the studio; after Allen's death in 2023, the likes of 'Walk Through Fire' and 'Lagos Paris London' effortlessly blend the sounds of Afrobeat and post-punk, bridging the spirits of each while unexpectedly swerving from the duo's initial impulse to produce a nostalgic record.
Review: The EP Lagos Paris London by Yannis & The Yaw, featuring the late Tony Allen, is a testament to the powerful creative synergy between two musical luminaries. Initially envisioned as a nostalgic Afrobeat project, the collaboration took on a life of its own, weaving together elements of rock, funk, jazz, and dub in a dynamic fusion. Recorded over a series of sessions in a Paris studio, the music emerged organically from jams and loops, guided by the intuitive telepathy between Yannis Philippakis and Tony Allen. Joined by Allen's regular collaborators, the result is a collection of near-complete songs imbued with high-spirited, loose-grooved exuberance. Despite facing challenges such as scheduling issues and Covid restrictions, Yannis felt a deep obligation to complete the project in honor of Allen's memory and his desire to share the music with the world. Lagos Paris London serves as both a celebration of their friendship and a timeless testament to the enduring influence of Tony Allen's rhythmic talent.
Review: Having previously issued Akiko Yano's 1976 debut "Japanese Girl" - an eccentric set of East-West pop fusions marked out by the artist's distinctive vocals - Wewantsounds has returned to raid her vaults once more. "Iroha Ni Konpeitou" first appeared in 1977 and garnered great hype in Japan thanks to the success of its predecessor. It's a similarly eccentric but inspired set, with Yano confidently flitting between synthesizer-heavy instrumental soundscapes (see superb opener "Kawaji"), drowsy country-inspired songs ("A Long Wait"), seductive jazz-funk ("Hourou"), head-nodding reggae-boogie ("Hai Hai Gasa") and breathy, post-soul ballads ("On The Way Home", a song that boasts both pedal steel and synthesizers).
Review: Nilufer Yanya's third album, delves deep into introspective and existential themes, with its near title track and current single 'Method Actor' seeing Yanya exploring the parallels between method acting and musical performance, both of which involve channeling intense, life-defining memories to evoke genuine emotion. Collaborating closely with Wilma Archer, Yanya crafted My Method Actor in a cocoon of creativity, writing and recording in secluded sessions across London, Wales and Eastbourne, with results rich with comforting strings, skittering beats and soulful melodies. The album poses profound questions about identity and purpose, reflecting Yanya's journey through a transitional period in her life and career. Songs like 'Method Actor' and the earlier single 'Like I Say (I Runaway)' showcase Yanya's ability to weave contrasting textures and emotional depth into her music. Her lyrics, simultaneously specific and surreal, offer a glimpse into her process of self-discovery and problem-solving through songwriting. My Method Actor envelops listeners in a cinematic atmosphere, inviting them into Yanya's evolving world and offering a poignant exploration of the human experience.
Review: Where's My Utopia? is the highly anticipated follow up to Leeds post-punk darlings Yard Act's Mercury Prize-nominated debut LP The Overload, and continues their eccentric, whimsical and sobering assessment of life in modern day Britain with a cheeky smile plastered over decades of embittered rage. Following on from last year's bizarre Black Mirror-inspired eight-minute single 'The Trench Coat Museum', this sophomore effort succeeds at every turn a second album should. Linking up with Gorillaz' Remi Kabaka Jr to handle production, the move has led to a curious wading into influences that might have seemed obvious to outside ears, with a newfound embracing of new wave synth pop whilst tapping into the psychedelic sonic world and political ethos of Fela Kuti. Lyrically, taking the UK to further task for its endless shopping list of fuck ups, whilst also touching on their seemingly overnight ascension, and the irony that comes with being signed to a subsidiary of another monolithic, faceless corporation endorsing the myriad of issues completely at odds with the morals embedded into the Yard Act DNA, Where's My Utopia? sees the band beating everyone to the punch, both musically and topically.
Review: Where's My Utopia? is the follow up to the Leeds band's critically-acclaimed debut record The Overload, which arrived in January 2022. A co-production between Yard Act and Gorillaz member Remi Kabaka Jr., this latest album comes across as a meditation on the contemporary post-Fordist condition of the creative worker. Speaking about 'Dream Job', the band's James Smith said: "'Dream Job' feels like an apt introduction to the themes explored on Where's My Utopia? - though not all encompassing. In part I was scrutinising and mocking myself for being a moaning ungrateful little brat, whilst also trying to address how the music industry is this rather uncontrollable beast that hurtles forward unthinkingly, and every single person involved in it plays their part." Echoing the conflicted inner turmoil of reluctant bandleaders such as Mark E Smith of the Fall - "it's a constant battle" - and the sonic affect of Talking Heads, the album addresses a question central to our times: what do you do when everything you've ever wanted suddenly lands in your lap, but the questions still keep on coming? How do you handle fame and success, when your fans secretly resent the structures that elevated you to that status? Despite these contradictions, all this doesn't stop James Smith, Ryan Needham and Sam Shipstone from delivering a rip-roaring album as expected. If they can find the motivation to make such effective music despite their doubts (meditating on present conditions of poverty while keeping up a smile), then so, perhaps, can you.
Review: RECOMMENDED
The thing everyone needs to understand about the UK is the disparity between projected image and real life is almost as overwhelming as the rich-poor divide. On the one hand, there's posturing of pomp, pageantry, grandeur and decorum. Then you actually get here and realise there are really only two types of inhabitants of this island nation, and few of either have manners - those who only give a shit about themselves, and the often eccentric others who do want to help those they pass on the street.
Yard Act, arguably the best thing we've heard to come out of Leeds since the emergence of super-talented techno producer Happa, directly address the first category of British resident in this, their startlingly raw and delightfully off-centre debut album. From middle class trendies to Brexiteering belligerents, think Sleaford Mods providing a backing track to IDLES' observational poetry, with an added dose of Jarvis Cocker-esque theatrics, only less camp, much rawer.
En Csak Azt Csodalom (Lullaby For Katherine) (2:19)
Review: The music from Michael Ondaatje's Booker Prize and 12-Oscar-winning film encompasses the original score by Gabriel Yared with the haunting vocals of Marta Sebestyen and Fred Astaire. It is a story which has successfully made its mark on every medium that counts a - a classic to beat all classics. It's a cathartic journey that explores identity, fidelity, and fate amid the chaos of World War II. Shot against the majestic backdrop of the Northern Sahara and Italy, Yared's score blends Hungarian folk tunes, baroque themes, and romantic orchestration and mirrors the emotion of the film's characters without relying on visuals. Period tracks by Fred Astaire, Ella Fitzgerald and Benny Goodman complement the emotional depth of the story.
Review: YASMIN's much loved A Scent Of Flowers album has more than stood the test of time which is why it is now being reissued for the first time. It features the 90s r&b classic 'Wanna Dance' which has long been a staple in many mixtapes and dance compilations. This edition also includes a cover of Roy Ayers' ubiquitous 'Everybody Loves The Sunshine' which was the second successful single on the album which was first released in 1993. It's back by Soulshock who is known for his work with 2Pac and Monica, and Cutfather, famous for remixing Mark Morrison's 'Return Of The Mack.' Elsewhere on the record are many more killers including covers of 'Best Of My Love' and Ray Charles' 'Let Me Take Over.'
Review: 'Sayonara Ha Syuppatsu No Kotoba' roughly translates as "Goodbye is the Word for Departure" and is a striking blend of Japanese indie and folk music. The album combines rich acoustic melodies with introspective lyrics to make for often poignant and nostalgic atmospheres with Yasuda's emotive voice at the heart of the sounds. The band's intricate instrumentation reveals more with each listen and the record explores themes of departure, self-reflection and the bittersweet nature of transitions. They might sound heavy but the delicate soundscapes also capture both moods of vulnerability and resilience which adds to the tender, affecting nature of the record.
Review: Song of Island is a private press album that very few people knew about. It is the third long player from pianist Yasuhiro Kohno's trio (he started his career as a member of Japanese rocker Eikichi Yazawa's band) and was recorded live at the jazz club and live house 'Again' in August 1985. This is the first time the album has ever been reissued before and captures a special time in Japanese jazz when it was all about exemplary acoustics performed live by skilled musicians. There is one take on a classic jazz standard here as well as four original pieces.
Review: Originally released in 1982, Upstairs At Eric's marked the arrival of a duo as timeless as they were era defining, capable of capturing the very essence of an emerging, tech-driven music scene while also writing tracks that still sound incredible today. Many of which have been repurposed, sampled and remixed to the ends of the Earth and we're still not bored. Produced by the two band members, Alison Moyet and Vince Clarke, alongside Daniel Miller, boss of Mute Records, the legendary British label that first carried this, we shouldn't need to namedrop tracks here - Upstairs At Eric's is, frankly, the landmark synth-pop record. Just in case, though, think 'Don't Go', 'Goodbye 70s', and 'Only You'. And that's before we get into the lesser radio-played gems.
Spitting Off The Edge Of The World (feat Perfume Genius) (4:11)
Lovebomb (5:04)
Wolf (4:14)
Fleez (3:59)
Burning (4:03)
Blacktop (4:21)
Different Today (4:23)
Mars (1:56)
Review: Slowcore and dream pop collide on this latest LP from the Yeah Yeah Yeahs - 'Cool It Down' is their fifth studio album and a surprise return almost 10 years on from 2013's 'Mosquito'. Uniquely teased by the whispery lead single 'Spitting Off The Edge Of The World' - a hopeless anthem for those left behind, laying somewhere between the slowcore of Deathcrash and the indie dream dreamt by Band Of Horses - this one is a focused eight-tracker of enormously mournful proportions. It also contains a guest appearance by Perfume Genius.
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