Review: Quem E Quem is widely regarded as Joao Donato's finest work and a standout in the canon of Brazilian popular music, aka MPB. Blending American soul and jazz-funk influences with the gentle sway of samba and bossa nova, the album radiates warmth and subtle sophistication and Donato's tender vocals are framed by breezy flute passages, laid-back piano lines and guitar solos reminiscent of Pat Metheny. The result is a beautifully balanced collection of upbeat tracks and introspective moments with each evoking the tranquil pleasure of a sunset in a tropical paradise. Timeless and effortlessly charming, it remains a high point in Donato's enduring career.
Review: Go-to lo-fi from Grey October Sound, P-Vine's resident hip-hop group and collective vibe queller. Having built a steady beatmaking operation initially from Studio Ghibli thematics and other anime associations, the group now continue to turn their hand to originals, furthering your capacity to wind down after many a long, protracted cramming sesh. Whether flashcards, cats on laps and hot steaming cocoa are or aren't your thing, that's OK, because we can bet the dragging rhythms of 'Tokai', the desultory pocket piano missive '1000%', and/or the closing crepuscule 'DOWN TOWN' will be.
Review: Detroit dub techno don Luke Hess says that this is his "most eclectic and techno-driven album to date" and that it blends together his signature subterranean sounds with his indelible Motor City touch. It again works well on cultured dance floors but is also a deeply spiritual album that will have your mind wandering to some lovely places. From the opening moments of 'Dokimion' you're sunk into widescreen soundscapes that pair painterly synths with immersive low ends. Cuts like 'Stoicheo' bring serene melodies and closer 'Hiketeria' is a misty, foggy cut that oozes late-night intimacy.
Review: Buddy Holly defied rock star stereotypes with his Ivy League style and horn-rimmed glasses, yet his impact on music rivals legends like Elvis and Little Richard. This 20-track collection celebrates the legacy of Holly and The Crickets and takes in many of their most iconic hits like 'That'll Be the Day' and other gems released under his various different monikers. Despite his tragic death in 1959, Holly's brief yet brilliant career left an indelible mark on rock 'n' roll after he emerged by mixing up Texas country roots with r&b influences with great guided by producer Norman Petty. Holly's sound was both fresh and timeless, and this album proves what a pioneer he was.
Review: The story of Kool Keith's latest project is as peculiar and unpredictable as the man himself. For decades, he's thrived on the outskirts of hip-hop, carving out a singular lane where eccentricity, sci-fi alter egos and razor-sharp wordplay collide. If rap had its own multiverse, Keith would be one of its most elusive figuresidrifting between dimensions, reinventing himself with each new project, all while maintaining a presence that feels both legendary and underrated. His first full-length release since Black Elvis 2 reunites him with longtime collaborators and fresh voices alike. Hip-hop mainstays Tash (Tha Alkaholiks) and Marc Live (Analog Brothers/Black Elvis) bring their unmistakable styles to the mix, while rising talents like Dear Derrick and Yah Zillah add new energy. The production, handled by Grant Shapiro, is an exercise in classic boom bap craftsmanship: chunky drum loops, hypnotic samples and that signature off-kilter bounce that Keith navigates so well. If anything, this release reminds us that Keith exists in his own creative galaxy, unbothered by trends or mainstream validation. The lead single, 'Super Hits', arrives with a video directed by Wayne Campbell, a frequent collaborator known for his work with Benny The Butcher. The tracklist alone reads like a cryptic message from Keith's mind: 'Pierre 9', 'Body Rock', 'Pissing', 'Jim Kelly'ieach title a doorway into his endlessly surreal world. J-Styles and Steve "Steve B" Baughman shape the sonics into something urgent and tactile, where every drum hit and vocal nuance pops. Keith, as always, plays by his own rules. He's been doing it for so long that any attempt to pin him down feels futile. Instead, you just press play and let the madness unfold.
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