Review: Collecting together most of their 7" releases onto this, their first album, 45Trio's keyboardist Swing-O/45, bassist Sunapanng and drummer Masahiko Kubo provide fans with not only their sold-out singles on the same label but new tracks too. So, enjoy their version of Patrice Rushen's 'Remind Me' that pares back the original, sweetening further this already sweet composition by marrying Fender Rhodes with vocoder, or relish Irvine Weldon's 'I Love You', as the sensitive keyboard again takes centre stage. Get lost in Loose Ends' 'A Little Spice' which is fairly true to the original but more synthesised with a jazzy hip hop break and the jerky more downbeat version of Gary Davis' 2006 track 'Gee Dee' reflecting the trio's love of paying homage but creating a different and slower groove. On Bloom Music, a label under the Japanese Flower Records 'Soul Review' soulfully reviews Trio 45s work to date, a must for fans disappointed not to have got in quick enough when tracks were first available on 7" and also for those newly initiated. You're all in for a treat.
The Tree Knows Everything Revisited (feat Kirsty Hawkshaw) (8:04)
Circles Revisited (extended) (5:35)
Mother Earth Revisited (5:01)
Dirty Harry Revisited (5:34)
F-Jam Revisited (feat MC Conrad) (5:41)
Aromatherapy Revisited (6:57)
Review: The Colours Revisited red vinyl 3xLP is Adam F's tribute to his 1997 debut, a true masterpiece that bridged drum & bass with jazz, soul and British electronica. Realising the album's continued relevance (especially to younger audiences), Adam chose not just to remaster, but to fully reimagine it. Over two years he's restored vintage soundsidusting off his Fender Rhodes and inviting legendary jazz icons like Julian Joseph for live re-recordings. Familiar voices, including Kirsty Hawkshaw and the late MC Conrad, add a warm sense of nostalgia, whilst new musical solos give each track fresh resonance. A vivid revival of a foundational piece of UK music history.
Everything Moves In Slow Motion When I Think Of You (2:27)
Riptides (2:39)
The Ghost Who Never Moves (4:02)
Modern Monuments (3:34)
Soulmate From The Archive (2:09)
OK Corral (2:15)
Review: Lela Amparo's debut album for Past Inside The Present is a smooth fusion of ambient guitar, IDM, trip-hop rhythms, orchestral arrangements and poetic vocals that draw from her American Southwest roots, international travels, and life in Gothenburg, Sweden. Amparo crafts a raw, worldly sound from these inspirations and mixes cinematic grandeur with tender grace, gorgeous melodies and head-nodding drum programming. Highlights include 'Space Us Out' with its emotional beat and piano loop, and 'You Say You Love' which combines harp and choral voices. 'Rose & Honey' reflects on isolation in Tokyo, while 'Wrong Thing' offers a Burial-style rhythm. Keep Your Soul Young is all about finding home within yourself.
Review: Best known as - but not restricted to being - the singer from 1970s prog behemoths Yes, Jon Anderson embarked on an American tour in 2023 after the universally (by the band at least) despised Union album. This time he was not backed not by his famous bandmates but by The Band Geeks, a bunch of musicians who meticulously recreated the music of the greats of the 1970s. "They sound just like the classic Yes of the seventies," he commented at the time, "the Yes that I know and love." Therefore this live collection sees him employing his distinctive, almost unfeasibly high and pure tones to a number of classics from the band's earliest days, with 'Starship Trooper', 'Your Move - I've Seen All Good People', 'Yours Is No Disgrace' and the ever triumphant 'Close To The Edge' among the list of undeniable crowd pleasers. It may be two decades on from these songs' initial inception, but Anderson and the aforementioned Geeks do a pretty good job of rolling back the clock here.
Review: London-raised, Berlin-based singer Anika got her start in the industry releasing her debut album on Geoff Barrow of Portishead fame's Invada Records. And she's gone from strength-to-strength since, collaborating with Dave Clarke, Tricky and I Like Trains, to name a few. Now onto her third studio album - and second on the esteemed Sacred Bones label - she's crafted a sound that's steeped in reverb and acts like a voyage through alternate states. Despite having plenty of retro psychedelic appeal, she's ill afraid to bring us more into the present by evoking the neo-psychedelia scene. The tracks 'Walk Away' and 'One Way Ticket' remind us of the greatness of bands like Amber Arcades, Temples and Pinkunoizu. And vocally she's up there with Aldous Harding and Cate Le Bon, but a lot darker, brooding and ominous in her delivery.
Falling Feels Like Flying (feat Kabusa Oriental Choir) (5:19)
Don't Understand Ya (feat Tyler Daley) (3:38)
Bad Trip (2:17)
24 (Turn It Up) (feat Kurtis Wells) (5:51)
Can't Let It Go (feat Tyler Daley & 3DDY) (2:54)
Simple Rules (feat Kurtis Wells) (4:22)
Here For You (feat Leven Kali) (2:19)
Livin In A Dream (2:33)
Set It On Fire (4:37)
6 Am (6:21)
Review: ANOTR turn the page on a bold new chapter with their second album, now out via their No Art imprint. Stepping out from their club-rooted origins, the duo now embrace a genre-spanning sound, weaving through shimmering disco, hypnotic alt-soul, raw post-punk, kosmische, and uplifter indie dance. Ahead of a global tour, the duo took refuge in psychedelic retreats in Ibiza, LA and the Netherlands, channelling the freedom unlocked in the act of microdosing psilocybin mushrooms. The revelations hereinafter steered them to using live instrumentation, as well as their first ever recorded vocals on key tracks like 'Set It On Fire', 'Care For You', 'Bad Trip' and 'Living In A Dream.'
B-STOCK: Sleeve damaged but otherwise in excellent condition
Signals
Shadowspace
No Closer Than The Moon
Landfall
Zonal Prospect
Air Foundry
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
The Frequency Domain label has been quietly issuing some of the most compelling electronica of recent times, with a staggering cast of characters including Anthony Child, Bass Clef, Luke Sanger and more delivering more introspective, experimental material over the past couple of years. Now it's the turn of Apologist, a lesser-known project from Brendan Nelson which manifested in one 7" back in 2006. If you appreciate dreamy, slightly dubby electronics which move through different moods and scenes without getting you up off the sofa, this is the perfect trip. Many layered, richly rendered and full of grit and personality, it's the kind of record you'll discover new secrets in every time you visit.
The Only Solution I Have Found Is To Simply Jump Higher (4:30)
Still I Taste The Air (5:06)
Emley Lights Us Moor (feat Iceboy Violet) (2:59)
Tailwind (4:29)
If [redacted] Thinks He's Having This As A Remix He Can Frankly Do One (4:05)
Backsliding (2:54)
Review: In a world saturated with easily digestible sounds, aya's music is a welcome jolt to the system and the debut album from this Huddersfield-raised, London-based artist is a bold and uncompromising album that challenges norms, questions truths and celebrates the spectrum of queer experiences. Through a tapestry of fragmented sounds, distorted vocals and experimental electronic textures, aya crafts a deeply personal narrative that resonates with both vulnerability and defiance. Tracks like 'Somewhere Between The 8th And 9th Floor' and 'What If I Should Fall Asleep And Slip Under' delve into the depths of self-discovery, their introspective lyrics and haunting melodies capturing the uncertainties and anxieties of navigating a world that often feels hostile. 'Dis Yacky' and 'OoBrosThesis' inject a playful energy, their distorted vocals and tongue-in-cheek humor offering a counterpoint to the album's more introspective moments. 'Emley Lights Us Moor', featuring Iceboy Violet, is a standout, its ethereal vocals creating a sense of otherworldly beauty. Aya's refusal to shy away from difficult topics and her willingness to experiment with sound and language make this album a powerful and thought-provoking work that pushes the boundaries of electronic music and challenges listeners to confront their own preconceptions. It's a challenge to the often-limiting tropes of queer art.
B-STOCK: Sleeve damaged and dirt on sleeve but otherwise in excellent condition
Space Rock (9:33)
Give Contact (5:57)
Deadline (7:50)
The End Of Rain (5:39)
Sputnik (9:16)
Eyes In The Sky (10:58)
Review: ***B-STOCK: Sleeve damaged and dirt on sleeve but otherwise in excellent condition***
Next up on Outer Place Records is the fifth installment coming from the vault of Meister Bert Ashra, a veteran from Berlin's '90s underground scene who is still active in the city today. His solo project B. Ashra has existed since 1993 as a live act, DJ, composer, sound designer and mastering engineer. He's been known to delve into ambient, experimental, soundscapes, trance and techno, as well as deep house and electronic jazz. Much of the aforementioned is explored on the Eyes In The Sky EP: from the deep 303 swing of 'Space Rock', the chill downtempo electronica of 'Give Me Contact', to the heady acid house of 'The End Of Rain' and the hypnotic techno of 'Sputnik'.
Review: The new Bauhaus BBC Sessions release hears British goth pioneers Bauhaus at their most vital, documenting the three-year period that they swept the airwaves like vampire bats with a hearse's worth of recordings made for UK radio. Spanning early post-punk urgencies to the relatively more textured darkness of their later work, these sessions were recorded for shows hosted by John Peel and David Jensen, flapping through alternate takes of 'Double Dare', 'In the Flat Field', and 'Third Uncle'. Together with a recent vinyl reissue of a 1983 performance at the Old Vic in London, which snapped a shot of Bauhaus at the peak of their dramaturgic snarks, both releases provide a compelling, rough-edged, bouffant counterpart to their studio albums, before goth went bird's nest: Bauhaus live and direct, with all the mood, menace and momentum fully intact.
El Panquelero (feat Modero Madera - bonus track) (4:23)
Review: Ruben Blades is a singer but also a former Minister of Tourism of Panama, actor, activist and composer. He is a master of Latin jazz and for this album On Fotografias he reunites with the exceptional Roberto Delgado to continue a partnership that has defined his recent work. The Grammy and Latin Grammy-winning ensemble masterfully navigates an array of styles and bring fresh energy to eight of Blades' compositions. Their virtuosity shines through rich arrangements which are a colourful and sunny mix of salsa, jazz, and tropical rhythms with seamless precision. Blades' storytelling remains as compelling as ever as his lyrics are infused with nostalgia, social commentary and poetic depth.
Review: Fraud's third full-length of 2024 is another example to his unparalleled consistency in street rap. Partnering with producer Harry Fraud, the album marries Fraud's dynamic, loop-based production with Boldy's gritty, introspective lyricism. Fresh off the success of the The Alchemist and Nicholas Craven, The Bricktionary solidifies Boldy's legacy as a steady force in hip-hop, crafting vivid, haunting street tales with every verse. Fraud's production is a perfect match for Boldy's style, blending chipmunk soul, trap beats and atmospheric soul samples to create a backdrop that's both complex and accessible. Tracks like 'Shadowboxing' show Boldy's lyrical dexterity over airy, 1980s-inspired loops, while 'Speedy Gonzales' pulses with a bouncy drumbeat, driving the track forward with intensity. Guest features like Tee Grizzley on 'Cecil Fielder' and Benny the Butcher on 'Rabies' add flair to the album, but it's Boldy's nuanced storytelling that shines throughout. On tracks like 'Harvey Grant' and 'Fish Grease', Boldy reflects on his journey, blending the mundane with the profound as he recounts struggles and triumphs with masterful clarity. The Bricktionary proves that Boldy James, alongside Harry Fraud, remains a force in the game, offering yet another standout project in a year already brimming with stellar releases.
Review: A split release featuring two distinct yet complementary compositions by Francois J. Bonnet and Sarah Davachi. French composer Bonnet's 'Banshee' is a journey to the edges of the old world, where the boundaries between nature and human presence blur. Drawing on field recordings made in the Inner Hebrides, he weaves an aural tableau where the calls of seabirds intertwine with the mournful wail of the wind and the gentle lapping of water against the shore merges with the distant drone of a boat engine. The piece unfolds in seven interwoven movements, each capturing a different facet of the landscape's character. Meanwhile, Canadian artist Davachi's 'Basse Brevis' is a minimalist exploration of timbre, space and duration. Through subtle shifts in texture and harmony, Davachi creates a work that is both precise and evocative, its slowly evolving soundscapes inviting deep listening and contemplation. The piece's restrained yet poignant character creates a gentle tension, blurring the lines between instrumental and concrete approaches to sound. A compelling example of the power of sound to evoke place and emotion, offering two distinct yet complementary perspectives on the relationship between humans and the natural world.
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