Back catalogue: Broken Beat/Nu Jazz/Nu Soul

Review: Pierre Bastien has a strong team record of interesting collaborations. He's done stuff with fashion designer and scent mogul Issey Miyake, legendary singer and composer Robert Wyatt, and the enigmatic electronic producer and reality-shifter Aphex Twin, releasing no less than three full length records on the latter's landmark label, Rephlex. "A mad musical scientist", the Guardian once quipped, and C(or)N(e)T doesn't break from that tradition. Instead, it offers some of the most abstract and strange, beguiling and fascinating sounds we've heard in a while. At least a few of which have been made on self-made, bespoke pieces of equipment. At a push, you might label this jazz, for the simple fact it's so free-form and avant-garde. Realistically, though, it sounds like the noises that might happen if someone attempted to tame a pack of rogue electronic hubbub-chatting things in a vaguely structured way. "Thank fuck for Pierre Bastien", the Quietus once said. We happily concur.

Review: For those familiar with manchester sax player Birchall's previous forays into dub, this album offers a deep dive into the analogue 70s Jamaican dubbing techniques that have defined the genre, paying homage to the trailblazers like King Tubby and Errol Thompson. The source material is heavily percussive, resulting in a collection of dynamic, dubby drum workouts that seamlessly blend live drumming in the Count Ossie style with drum machines that recall Lee Perry's experimental approach. A highly anticipated dub companion to Nat Birchall's acclaimed Dimension of the Drums LP, this continues in a similar spirit of the previous. Drawing inspiration from classic dub albums like Keith Hudson's Pick A Dub and Winston Edwards' King Tubby Meets The Upsetter at the Grass Roots of Dub, Birchall reimagines the tracks with roots dub precision, incorporating fresh horn lines and hand drums to enhance the album's authentic, organic vibe. The LP includes two distinct mixes of a new rhythm track that wasn't part of the original album, adding an extra layer of excitement for listeners. Birchall once again handles all aspects of the albumiplaying instruments, recording, mixing and masteringiensuring a deeply personal touch in every track. All in total, eight tracks of instrumental dub bliss that transport you back to the golden era of reggae's most inventive sound.

Review: Moses Boyd is one of the driving faces behind the thrilling revelations in contemporary jazz in London in recent years. Back in 2015, he dropped Displaced Diaspora, a collection of music that was written during the same sessions that produced his hit Rye Lane Shuffle. The album features fellow pivotal nu-jazz peers in the British scene including Theon Cross, Nubya Garcia and Nathaniel Cross. It also showcases British soul vocalist Terri Walker at her best, saxophonist and Bata player Kevin Haynes with his Grupo Eleggua, and razor-sharp rapper Louis VI. Though jazz is the foundational sound, Yoruba chants, hip-hop and electronica are all mingled to make for a sonic stew that reflects the fresh and evolving sound of contemporary British music.

Review: Virginia collective Butcher Brown flaunt their lapidary, multifaceted flair for transversal jazz on their new album for Concord Jazz, via a seamless blend of funk, r&b, soul, bossa nova and much, much else. Through the collective persona of Butcher Brown - an imagined philosopher jazzmaster king, whose grasp of music is said to owe much to legacies of garage punk and jazz funk - the smooth quintet say this "joint" was recorded with the intention of recreating the kind of music one might find oneself dancing to in a club in New York and the UK, attesting all of the band members' compounded skills as music producers. Chopping up samples whilst performing on the fly, the record takes its name from the fact that all members were "pulling samples from across the Atlantic", building their grooves around them.