Review: Long-established Italian producer Nicola Conte started working with jazz trombobist Gianluca Petrella back in 2017. In the years since, they've released a string of singles that fuse contemporary house sounds with the rhythms and musical styles of Africa. Here they present their collaborative debut album, People Need People, an effortlessly soulful affair that draws deeply on the pair's joint love of deep jazz-funk (see 'Hold On To Your Dreams') and the funk-fuelled goodness of Afrobeat ('Nigeria'). Throw in versions of those previously released singles (think 'African Spirits' and 'New World Shuffle' for starters), and you've got a highly entertaining full of high-quality musicianship and plenty of life-affirming melodic motifs.
Review: Gadiaga, a rising star in the UK music scene, brings a fresh and captivating blend of old-school jazz tradition and modern rootsy sounds in her latest release, All Black Everything. Drawing from her Senegalese, Gambian, and Malian heritage, Gadiaga's music resonates with authenticity and vitality. Influenced by legends like Betty Carter and Stevie Wonder, she crafts a unique style that captivates audiences and critics alike. Through her soulful voice and compelling lyrics, Gadiaga explores themes of individuality, struggle and empowerment. All Black Everything serves as a poignant expression of her personal journey, celebrating the strength found in embracing one's uniqueness. With appearances at renowned festivals and support from influential platforms like Jazz FM and BBC Radio, Gadiaga's star continues to rise, cementing her status as a significant new voice in contemporary music. This album is a big reason why and should win over any listener.
Review: Almost three decades on from their last release, Acid Jazz forefathers Galliano are back with news of their new LP Halfway Somewhere, released on Gilles Peterson's Brownswood Recordings. Led by lead single 'Circles Going Round The Sun', which proffers a watery, spiritual jazz-dance exposition through which the raspy vocal humours of the group's founder, Rob Gallagher, waxes poetic about the meaning of getting together for a boogie in the club. Where the somatic essence of the night might otherwise be resigned to experience alone, Galliano defy the unfortunate tendency for philistinism among dance music enjoyers in favour of a consistent spoken-word throughline; this is what the group have done since the 1980s, when they arrived as the first act on Gilles Peterson's Talkin' Loud label in 1990, with 'Welcome To The Story'. Their first full-length record to emerge since their first album, Live at The Liquid Room (Tokyo), released in 1997, Halfway Somewhere is a triumphant yet latent return for these essential players.
Review: Rob Gallagher and company make up Galliano, the trailblazing jazz and broken beat supergroup, active at least since 1997 andrenowned for their contribution to the musical landscape across the difficult-to-bridge gaps between music, fashion, spoken word and a concern for current affairs. Having staked their claim to their portion of the jazz and electronica pie as early as 1990, when they first appeared on the scene via Gilles Peterson's Talkin' Loud label, Galliano have gone down in memory as a pioneering acid hip-jazz act, "capturing a scene (then) built on re-invention", in the words of Brownswood. Now the five-piece collective once again moves at one, synergising over a nineteen-track opus, three decades on from their debut, recalling the (literal) quintessence of London's down-in-history acid jazz scene.
Review: Elliot Galvin is a leading figure in UK jazz with four solo albums that have topped year-end lists in respected media outlets. He is also a member of the Mercury-nominated Dinosaur and has collaborated with key jazz cats such as Shabaka Hutchings, Emma-Jean Thackray and Norma Winstone. Known for his improvisational prowess, his latest solo album taps into that skill once more and is an entirely improvised record that takes in quiet beauty like the opener, more theatric drama on 'Still Under Storms' and world jazz sounds on 'High & Wide'.
La Cumbia Me Esta Llamando (Kaidi Tatham remix) (5:04)
Together Is A Beautiful Place To Be (Nala Sinephro remix) (2:17)
The Message Continues (DJ Harrison remix) (2:57)
Inner Game (Blvck Spvde remix) (1:29)
Boundless Beings (Georgia Anne Muldrow remix) (3:04)
Stand With Each Other (KeiyaA remix) (3:19)
La Cumbia Me Esta Llamando (Suricata remix) (5:24)
Source (Dengue Dengue Dengue remix) (5:33)
Pace (Moses Boyd remix) (5:05)
Review: Nubya Garcia is one of the icons of the current, thriving jazz scene. Her album Source was a deserving Mercury Prize-nominee and here she reworks it through a series of new collars with the likes of DJ Harrison, Moses Boyd, Dengue Dengue Dengue and Georgia Anne Muldrow. Each of the new versions retains plenty of the soul and invention of the originals but adds in a range of other influences that take them in a more driving, groove-orientated direction. The results are stunning, with plenty of great options for DJs who like to play slow and sensuous. The Kaidi Tatham remix of 'La Cumbia Me Esta Llamando' is our personal pick.
We Walk In Gold (feat Georgia Anne Muldrow) (3:50)
Water's Path (3:56)
Clarity (6:10)
In Other Words, Living (4:02)
Clarity (Outerlude) (1:35)
Triumphance (5:37)
Triumphance (instrumental) (5:40)
Review: To red and black splatter vinyl comes Nubya Garcia's latest full-length record Odyssey, out of which which a nascent batch of volcanic red jazz, dub and hip-hop fusions effuse. Produced by Garcia in collaboration with London legend Kwes, Garcia returns with Joe Armon-Jones (keys), Daniel Casimir (bass) and Sam Jones (drums), also enlisting the aid of such featured guests as Esperanza Spalding and Georgia Anne Muldrow. Leading with the felsic dance that is 'The Seer', across which what sound to be microtonal saxophone improvisations move across dark interregnums and moodily rapacious razzes, the ensuing album is equally as explosive and never settles or sets, despite its molten presentation.
We Walk In Gold (feat Georgia Anne Muldrow) (3:48)
Water's Path (3:41)
Clarity (6:10)
In Other Words, Living (3:57)
Clarity (Outerlude) (1:35)
Triumphance (5:35)
Triumphance (Instrmental) (5:32)
Review: For every artist who reaches immense heights early into their career, a second album brings much anticipation, and the exceptional tenor saxophonist Nubya Garcia's Odyssey, is no exception. Musicians of the calibre of Garcia and her band have been honing their craft forever, and like this double album's name, all musically travel long and hard paths... Those that arrive at Garcia's deliciously distinct compositions on the legendary Concord Jazz record label, home of that other pioneer Esperanza Spalding, who guests on 'Dawn'. Garcia's luscious orchestrations fuse jazz with d&b, Latin, r&b, dub and beyond, in thoughtful syncopations and intriguing harmonics that speak of journeying. So, relish the funky intro of 'Set it Free' and Garcia's sultry tones with Richie's sweet and endearing siren-like vocals... On 'Seer' enjoy Garcia's precision, locked in heavenly reverbs and echoes playing off Jones' junglism and Armon-Jones' keys in a free jazz blast, and on 'Clarity' let Garcia, with her sisters-in-brass Maurice-Grey and Turton interweave Casimir's Bass in a luxurious cinematic embrace. Garcia with Kwes produce this adventure, one that undoubtedly will receive even more accolades. Odyssey, an album for lovers of all manifestations of jazz excellence to collect and treasure.
Review: You will always have a job second-guessing where The Gaslamp Killer might go next. This time, it is to a new collaborative album with Jason Wool. ANANDA find the pair cooking up 33 minutes of avant-garde experimental jazz underpinned by heavy bass and topped with plenty of sound design madness that calls to mind the likes of Stanley Clark, David Axelrod and Aphex Twin. The synapse firing collage of 'Chaos In The Brain' is a great example of the joys of this record - organic and synthetic, chaotic yet calm. It's a real treat.
Left & Right (feat Method Man & Redman - instrumental) (5:14)
Spanish Joint (instrumental) (3:35)
Sugah Momma (instrumental) (1:33)
Brown Sugar (instrumental) (3:08)
Me And Those Dreamin' Eyes Of Mine (instrumental) (4:07)
Cold World (interlude instrumental) (2:27)
Be Here (feat Raphael Saadiq - instrumental) (4:03)
Review: To commemorate the 20th anniversary of D'Angelo's iconic album Voodoo, Amerigo Gazaway had crafted a masterful tribute that reinterprets several standout tracks from the original. Utilising live instruments like electric guitar, synth bass, clavinet, organ and Rhodes, Gazaway breathes fresh life into these classic cuts while maintaining the essence of their grooves. The result is a woozy, silky update that melds elements of hip-hop, gospel, neo-soul and r&b, creating a rich tapestry of sound that honors the source material. With fourteen tracks, including both vocal and instrumental versions, this project captures the spirit of Voodoo while infusing it with new energy. A highlight of this release is the bonus track featuring Raphael Saadiq alongside D'Angelo on 'Be Here', which further emphasises the collaborative spirit of the genre. Gazaway's reimagining not only celebrates the timeless quality of Voodoo but also showcases his talent for blending classic sounds with contemporary influences, making this tribute a worthy addition to any music lover's collection.
Review: B-sides, Remixes, Rarities: Volume 3 & 4 is the second double LP in Amerigo's Soul Mates series and this one showcases 15 more superb tracks from his extensive catalogue. This compilation includes exciting mash-ups like Kendrick Lamar vs. Marvin Gaye, Dr. Dre vs. Curtis Mayfield, and Black Star vs. Aretha Franklin, among others. Each track highlights a masterful blending of iconic artists to create a unique listening experience that celebrates the intersections of hip-hop and soul and brings plenty of good times.
Review: The Doober, the latest instalment in the Music for Saxofone and Bass Guitar series by jazz duo Sam Gendel and Sam Wilkes, is a freewheeling listen through covers of songs by artists like Joni Mitchell, Judee Sill, and Sheryl Crow. Recorded live, the album captures the raw energy and spontaneity of their performances that feature Gendel's dynamic saxophone work and Wilkes' bouncing basslines. The duo's approach to covers is far from conventional, as they prioritise spacious textural exploration over faithful renditions. Tracks like 'Rugged Road' and 'The Circle Game' undergo radical transformations, evolving into wriggling, cartoonish masses and modal studies, respectively. Gendel and Wilkes playfully deconstruct each song, infusing them with their own cheeky sense of abandon. Despite their unconventional approach, the duo's chemistry shines through on every track, with each piece serving as a framed photo of outer space, presenting the infinite within a digestible container. The album's highlights include unexpected interpolations, such as a jazz rendition of Sheryl Crow's 'Tomorrow Never Dies' and a seamless transition from Miklos Rozsa's 'Love Theme (From Ben Hur)' into Chris Isaak's 'Wicked Game.'
Review: Stone's Throw has never really made any wrong moves in our opinion, and here the label puts its full force behind a deceptively powerful album. Taking us to places that are deeper than perhaps what the imprint is best known for, this is immersive, hypnotic, otherworldly stuff made from a variety of plugged in machines, analogue and otherwise, including a semi-modular synth. The result is a journey-style collection packed with atmosphere but one that's also painstakingly detailed and textured. Sound waves are rendered almost visible by the movements, drones, tracks and other pieces here, drum and effects machines producing the kind of noises that mesmerise and suck you in further as time passes. Tunes to get lost in, the only remaining question is whether anyone will ever want to return.
Review: Bebel Gilberto has put out several genre-bending albums is a truly gene-bending talent. The Grammy-nominated Brazilian singer-songwriter had her Joao album reissued in 2023 and now Agora is her first new music in six years. It finds her work with Thomas Bartlett who has worked with the likes of Sufjan Stevans and sees Gilberto reach all new heights. Her sultry and smoky Brazilian rhythms come embellished with plenty of catchy electronic beats and it carries on where much loved previous albums like Tudo, released in August 2015 on Sony, and her self titled album from 2004.
Review: Scott Gilmore's tracks are deceptively pared back. Putting an Arp Odyssey, Yamaha CS-01, Korg DW-8000, Hohner Pianet T, Roland TR 606, Roland SH 101, bamboo alto saxophone, clarinet, electric guitar and electric bass to very good use on this nine track Balearic-downtempo stunner, the tunes are easy to groove with yet subtly complex. They feel simple, but are incredibly detailed. Veering between a kind of synth-y smooth jazz, lounge, lofi electronica and sunset instrumental, Volume 01 is the proof after the promise of Gilmore's 2019 debut, Two Roomed Motel. Second album in and it's quite clear how talented the guy is. We just wish there was more information available for us to get to know him better with.
Review: The Gin Tonic Orchestra hail from Saint Etienne in the lower regions of France. They are a collective of music lovers with various different backgrounds that all feed into creating fresh new sounds. For proof look no fritters than this album, Shyance, which is their debut and is a perfect primer for anyone not familiar with the sounds. Elements of spiritual jazz, London broken beats, classic jazz-funk and new school fusions all feature here with some high-energy dance floor bangers like 'Rage Jaune' next to much more mellow offerings.
Review: Brooklyn-born, New Orleans-based multi-instrumentalist Gitkin delivers a rich fusion of global sounds on Golden Age, his latest ten-track album. Known for his guitar-driven style, Gitkin blends the rhythms of cumbia, North African, and Middle Eastern music, creating a sonic journey that feels both expansive and deeply rooted. As the frontman of The Pimps of Joytime, a staple in the festival circuit, his influence on the soul-funk scene is undeniable. From Bonnaroo to Electric Forest, Gitkin has built a reputation for electrifying live performances. Beyond his own projects, he's produced for artists like Corey Henry, Bernard Purdie and Cedric Burnside, whose Benton County Relic earned a Grammy nomination for Best Traditional Blues Album. With Golden Age, Gitkin further explores the intersections of global music traditions, weaving his soulful guitar into a captivating tapestry that speaks to his wide-ranging influences.
Endangered Black Woman (feat Andra Day & Staceyann Chin) (3:46)
Expectations (feat Baby Rose, Rapsody & James Poyser) (4:58)
All I Do (feat SiR, Bridget Kelly, song Bird) (6:52)
Aah Whoa (feat Muhsinah & Queen Sheba) (2:58)
I Want You (2:48)
Trade In Bars Yo (feat Herbie Hancock) (1:49)
DAF Fall Out (2:00)
Sunshine (1:52)
Liquid Swords (4:38)
DAF FTF (4:32)
Treal (feat Yasiin Bey) (7:21)
Cold (2:09)
Review: Given that he's spent much of the last decade producing other artists, recording collaborative sets and performing live, you could say that Robert Glasper's latest solo set - his first, by our calculation, since 2009 - is long overdue. Of course, while it may be his name on the cover, it's still a collaborative affair, with the assembled cast list including a wealth of musicians, rappers and singers from the worlds of jazz and hip-hop, including (deep breath) Bilal, Herbie Hancock, Yasiin Bley, Buddy and Terrace Martin. To fit everyone and everything in (one thing Glasper is not short of is great ideas), the GRAMMY-winning pianist has presented it as a non-stop mixtape. It's a format that allows his widescreen, eclectic vision to come to life.
Black Superhero (feat Killer Mike, BJ The Chicago Kid & Big KRIT) (5:51)
Shine (feat D Smoke & Tiffany Gouche) (6:26)
Why We Speak (feat Q Tip & Esperanza Spalding) (6:16)
Over (feat Yebba) (4:50)
Better Than I Imagined (feat HER & Meshell Ndegeocello) (4:55)
Everybody Wants To Rule The World (feat Lalah Hathaway & Common) (5:54)
Everybody Love (feat Musiq Soulchild & Posdnuos) (4:45)
It Don't Matter (feat Gregory Porter & Ledisi) (5:24)
Heaven's Here (feat Ant Clemons) (3:56)
Out Of My Hands (feat Jennifer Hudson) (5:33)
Forever (feat PJ Morton & India.Arie) (4:37)
Bright Lights (5:13)
Review: Robert Grasper very much announced his arrival on the world stage with Black Radio 1. And Black Radio 2 only took him into the stratosphere. Both records proved him to be a master of hip hop, broken beat and jazz and able to call upon some of the biggest names in those scene from Jill Scott to Erykah Badu. Both of those timeless records, as the title suggest, are steeped in Black music traditions and so is this third one. Here the award winning Glasper (nine Grammy nominations and four wins) works with modern greats such as Gregory Porter, Q Tip, BJ The Chicago Kid, Ty Dolla Sign and many more to cook up another powerful statement for these troubled times.
Maiden Votage/Everything In It's Right Place (9:08)
J Dillalude (5:38)
Silly Rabbit (5:04)
One For 'Grew (8:45)
Tribute (3:46)
Review: The accomplished and influential US jazz cat Robert Glasper has been involved with several of the genre's most essential projects over the last 15 or so years. His Black Radio albums are legendary and his work with Dinner Party is ever more celebrated. In My Element is one of his early works and now courtesy of Blue Note it gets its first-ever release on vinyl. It was a 2007 follow-up to his 2005 debut and marked him out as a rising star with bassist Vicente Archer and drummer Damion Reid alongside him and helping him to expand jazz's horizons. It also shows off his mad compositional skills and unique knack for harmony. A true modern classic.
God Rest Ye Merry Gentlemen/Carol Of The Bells (feat Cynthia Erivo) (4:57)
Make It Home (feat PJ Morton & Sevyn Streeter) (3:47)
Memories With Mama (feat Tarriona 'Tank' Ball) (3:30)
Joy To The World (feat Alex Isley) (5:21)
December (feat Andra Day) (4:54)
Little Drummer Boy (feat The Baylor Project) (6:42)
Have Yourself A Merry Little Christmas (feat Doobie Powell) (6:33)
Review: Whether you like it or not, the festive season is fast approaching which means we are starting to get a number of seasonal classic land, new and old. This one is a rather non-traditional holiday release that brings a weight and musical funkiness to a genre and time of year that is often seeped in campy or classic holiday motifs. It is the work of modern jazz heavyweight Robert Glasper and finds him working with a top list of frequent collaborators including PJ Morton, Sevyn Streeter, Cynthia Ervo, Tarriona Tank Ball, Alex Isley, Andra Day and The Baylor Project. It is a real joy to listen to and brings great warmth to the cosy months.
Review: This genuinely organic album, Godtet, recorded live in Studios 301, Alexandria, Sydney in 2016 is repressed for the first time in six years on the La Sape label. It celebrates the meditative potency of the (just over or under) two-minute track that begins, like 'Arp' or 'Hahahhaha', as ambient exploratory rhythmical waves leading into sounds to come. Like 'Hekkaz' where Tully Ryan and Dominic Kirk's percussive poundings and slappings pleasurably alert the listener to the more luxurious melodic mixture of Andrew Bruce's keys with Godrigues' lamenting guitar, playing harmonious echoey expressive beats. Here, one of the many stand out tracks 'Ensueo' is only matched by the even more groovy and halting 'Comedy', bassline by Jan Bangma. Recorded and produced by Godriguez and Jack Prest who also mixed and mastered this conceptual adventure into the world of rhythm and reverb where John Martyn meets Alfa Mist, Godtet lovingly foregrounds each band member's singularity, culminating in the exceptional self-titled final piece. A must for those who love a late-night listening session over and over again.
Review: Before landing a privileged spot on the legendary Blue Note label, Manchester's GoGo Penguin had released a string of LPs, through Gondwana Records, that have become notoriously difficult to find. Moreover, they are respected by the very best of the contemporary DJs, including Worldwide FM's ever-present Gilles Peterson. This deluxe edition of V2.0, the ensemble's second studio album, will provide you both with a decently-priced copy of the vinyl edition, along with plenty of added bonus takes and interludes that were missing from the original cut. Thanks to subtle waves of electronica and improvisation, GoGo Penguin are putting the "contemporary" into jazz and, along with that, providing us with an LP that is changing conceptions of the genre for younger audiences.
Review: It has only taken two albums for Chris Illingworth, Nick Blacka, and Rob Turner to land with an LP on the legendary Blue Note label, but they've done it, and they've done it in fine style. Moreover, it's also a bold move from Blue Note, who only usually steer away from pure jazz for the likes of Madlib and co, but in hindsight, the Gogo Penguin trio have what it takes to be remembered as fine producers of beat-driven free jazz. Mixing up elements of nu-soul, together with broken beat and classic jazz, the trio's music is wild and diverse, and fully representative of the label's vision and charisma. Also, it's exactly the sort of thing that Gilles Peterson is in to, so sit back, relax, and let Man Made Object take you away.
Review: Capturing GoGo Penguin at a pivotal moment, From The North showcases the trio's ongoing musical evolution and is a minimal masterpiece. This limited-edition vinyl features re-arranged tracks from their EP Between Two Waves and latest album Everything Is Going to Be OK and it was recorded at Old Granada Studios in Manchester, a venue that has played a key part in their musical journey. Originally formed in 2012, the trio's emotive, break-beat minimalist style garnered critical acclaim from the off. With nominations for the Mercury Music Prize and a signing to Blue Note Records, they've released a string of celebrated albums that has backed up that early hype and now, with XXIM Records, they embark on a new chapter, blending ambient sounds with their signature style to great effect.
Review: Oumuamua is the new album from Golden Mean, who might have impressed you as much as they impressed us with their first EP Through Walls. This outing London's vital Jazz Re:freshed finds drummer Jamie Murray join the group made up of Tom Driessler (who has played with Yussef Kamaal), Luke Wynter and Lyle Barton. Between them they serve up a scintillating trip to the stars on soaring melodies and driving grooves that take cues from scenes like prog-rock, jazz and plenty in between. Though retro synths appear, it is a forward thinking sound full of busy solo improvisation that fits in with the greats of the genre from the 70s onwards.
Review: Chilly Gonzales' Gonzo offers an autobiographical dive into his rich, storied and accomplished career. While previous works showcased his musical depth, Gonzo explores some intriguing spoken-word sections and lyrics which are self-aggrandising and self-indulgent but always with a knowing irony. The opening track features Gonzales referring to himself as "Chilly G" in a way that is playful and songs like 'Surfing the Crowd' blend awkward nerd rap and poetry, while his witty lyrics add weight to the strong instrumental foundation. Packed with bright moments, Gonzales is in fine form here with a new type of work that is as interesting as his many other albums.
Review: Felipe Gordon kicks off the new Wide Awake album with Errare Humanum Est, a second conceptual album that runs a gamut of deep house sounds. The title comes from the Latin proverb 'To err is human' which is an inspiration for Gordon who leaves the mistakes in his music. It was written in his home studio in Bogota at the end of 2022 and the start of 2023 and finds him re-visit some forgotten musical sketches to rework them and cook up a long and absorbing listen that really makes use of the long player format.
This Is For Your Blue Soul (feat Made In M) (2:32)
Espina Santa (2:09)
Review: With his new album, the lauded Bogota producer Felipe Gordon assembles a collection of tender, ponderous hip-hop instrumentals inspired by 'the melancholy of a period of his life and the emotions that come with it.' While this cryptic insight could relate to a gamut of emotions from heartache to loneliness, the album's 11 tracks, including collaborations with lo-fi beats kingpins Saib and Made In M, among others, channel a timeless nostalgia which is immediately relatable. Fusing the instantly recognisable jazz lollop of many of today's 'beats to study and chill to' school with Tame Impala-esque jangle guitars and reverb clouds, Gordon delivers an anthology which truly does what it says on the tin. Turn Off, Tune In, Drop Out!
Review: There is no stopping the prodigious producer Felipe Gordon who turns out huge amounts of work, without ever sacrificing artistry. He brings soul and jazz to his deep house sounds and this is the fourth time he has landed on Clone. 'Profundo' gets things underway with singing synths and shuffling deep beats, then 'Hold On' centres escapist and sunny melodies that take you to the Med. Elsewhere 'I Don't Know Why' brings spoken word vocals to lavish house and 'Takes Time' oozes sex appeal with its steamy sax notes and gentle piano tinkles. All of these cuts are laden with great musicality that puts many producers to shame.
Review: On The Inside is the debut album from acclaimed Leeds dark jazz and funk trio, Gotts Street Park. A genre-hopping odyssey with silky production and an impressive set of guest collaborators, the album is an intended sonic diary of everything their relationship as a band encompasses, both as collaborators and close friends. Following up their more studio-oriented compendiums 'Volume One' and 'Volume Two', this album is more of a personal invitation into their own practice space, though it also does just as well to channel original Motown influences and provide ample space for featuring artists Rosie Lowe, Pip Millet and ENNY to flourish.
Wrapped In Gentleness (Kiki's Delivery Service) (3:05)
The Bygone Days (Porco Rosso) (2:44)
One Summer's Day (Spirited Away) (3:24)
A Town With An Ocean View (Kiki’s Delivery Service) (3:48)
The Path Of Wind (My Neighbor Totoro) (2:32)
Nausicaa Requiem (Nausicaa Of The Valley Of The Wind) (2:16)
The Princess Mononoke (The Princess Mononoke) (2:40)
The Legend Of Ashitaka (The Princess Mononoke) (2:42)
The Sixth Station (Spirited Away) (2:42)
Carrying You (Castle In The Sky) (4:21)
Review: Grey October Sound's latest offering blends lo-fi hip-hop with the timeless allure of Ghibli's iconic soundtracks. The album reinterprets beloved melodies with smooth, chilled-out beats and warm, atmospheric production. Tracks like 'The Bygone Days' and 'One Summer's Day' breathe new life into these classic tunes, making them feel both nostalgic and contemporary. The integration of lo-fi textures creates a soothing backdrop, perfect for unwinding or studying. This release successfully bridges the gap between two worlds, bringing a fresh, relaxed vibe to Ghibli's unforgettable music.
Review: Grey October Sound, known for their standout lo-fi hip-hop compilations like Timeless and The Cave, has gained traction in Japan and beyond. Their popular series like Lo-Fi Ghibli and Lo-fi City Popicovering iconic Studio Ghibli tracks and beloved city pop hitsihas cemented their place in the lo-fi scene. Now, they team up with Salad Days, Europe's top lo-fi/chill pop label, for a highly anticipated collaboration. This new compilation features digital lo-fi favourites from artists such as ENRA, Lenny Loops, Slowheal, and Eugenio Izzi. The visual aesthetic, including cover art, comes from celebrated illustrator Rika Nagatani, the creative force behind Lo-Fi Ghibli, adding another layer of charm to the release.
Review: Despite his considerable contributions to drum & bass over many decades as a DJ, producer and promoter Grooverider has released only one solo artist album and that is 1998's Mysteries Of Funk which now turns 25 years old. Produced in conjunction with Optical, it gets a special, limited edition anniversary reissue across six sides of vinyl including standout singles 'Rainbows of Colour' and 'Where's Jack The Ripper.' It came a decade or so after Grooverider established himself alongside long time partner Fabio with sets at the UK's best illegal raves before then starting their own seminal Rage night at Heaven.
The New Mastersounds - "Give Me A Minute" (LP- part 1)
Renegades Of Jazz - "Magic Touch" (feat Alexia Coley)
The King Rooster - "Smudgin'"
Diazpora - "Raw Meat"
Sir Ali Bengali - "ABX"
Diazpora - "Song 2" (feat Nora Kinga Becker)
Mothergroove - "Bastard"
Wake&Bake! - "Soul Woman"
The Inmates - "Bread & Water"
The New Mastersounds - "Give Me A Minute" (part 2)
Wake&Bake! - "PartyStarter" (7") (2:56)
Wake&Bake! - "Soul Woman" (3:04)
Review: The wonderful Our Label Records Vol. 1 celebrated two decades of rare funk 45s from the imprint's storied history and it now gets reissued for avid collectors and DJs who missed out first time around. Founded in 2005 by brothers Tom and Gu in London, the label soon got international acclaim by distributing tracks worldwide and establishing a niche for uptempo funk and soulful grooves. The compilation features hits like The New Mastersounds' 'Give Me A Minute Pt. 1 & Pt. 2' and Diazpora's 'Song 2'. With contributions from Mothergroove, Sir Ali Bengali, and Renegades Of Jazz, plus an exclusive track by The King Rooster, this release is vital to all proper funk heads.
Review: Tommy Guerrero's sublime debut album Loose Grooves And Bastard Blues carved out his name as a musician, and followed hot on the heels of an already established skateboarding career. It's not often we can name an artist whose talents lend just as well to the axe as they do to the deck, but it's plain to see on this insouciant jazz/bossa nova collection: Guerrero is one dextrous bloke. With the skate career held firmly in mind, we can easily imagine these numbers as the backing cuts to a fish-eyed trickstyle video; it's a great testament to the pure joy of music-making too, with Guerrero insisting: "it was never meant to be released. I was just recording for the fun of it - still my fave. Oh so naive!"
Review: Guitarist, composer and skateboarder Tommy Guerrero hears several of his earliest albums reissued now via Be With, of which 2008's Return Of The Bastard was his fifth. Still evidently deep in the throes of recording for the pure fun of it, this fifteen-track album reflects a pure lyricless enjoyment that few other of Guerrero's contemporaries could ever hope to share. Perhaps it's the meditative truck of his earlier skate career that course-corrected his frame of mind to pure creative meditativeness; here driving noisy drum machines, lightly-amped two-tones, the occasional kalimba and faint vocals all collide for the perfect accompaniment to an implied visual narrative.
Review: The glorious new album Amen represents something of a big evolution in Joy Guidry's capacity to fully capture and express a sound and concept. The spine-tingling, spiritual and beautiful record transitions from stirring, powerful jazz and gospel compositions to ambient tracks that keep you afloat amongst the stars. Each one serves as a truly profound statement of communal healing and peace. There are also some fantastic contributions from Niecy Blues, Kalia Vandever, Tyrone Allen, and Jessie Cox, all of whom help Amen to showcase Guidry's artistic growth and ability to blend genres to create a cohesive and impactful musical experience.
Review: Big Crown Records presents Dave Guy's debut album Ruby. Riffing on the vapour trails emitted from past collaborations with the likes of Amy Winehouse, Lizzo, Pharrell, and Sharon Jones - and last but not least, a former membership of The Roots - Guy's solo output is a testament to his fine skill as a blissful soul producer and composer. An homage to his home parish of Queens, New York, this record was recorded in the bottomless sonic quarry that is the Diamond Mine studio. Through anthemic trumpet lines, boxy but punchy hip-hop backings, two-chord guitar lilts and triplet-time detours, Guy weaves a intricate instrumental tapestry replete with double-folded hems and flourishing handwoven cadences, one that would surely make Arachne blush.
Review: These are two serious legends right here: Madlib the extraordinary beatmaker behind countless seminal albums and collabs and Guilty Simpson the man who has voiced just as many classic records of his own. This limited edition gold vinyl double album version of Before The Verdict: Madlib Medicine Show #1 is considered a prelude to this pair's collaborative album O.J. and has a mix of original cuts as well as remixes from Simpson's own solo debut album Ode to the Ghetto. It's as real and raw as rap gets and features two brief guest appearances from J Dilla and MED.
Gaoule Mizik - "A Ka Titine" (Kay Suzuki Gwoka dub) (7:38)
Broki - "Es Que Lo Es" (Kay Suzuki remix) (6:32)
Blackbush Orchestra - "Sortez Les Filles" (Kay Suzuki remix) (6:25)
Sunlightsquare - "Oyelo" (Kay Suzuki By The Sea mix) (6:35)
Review: A rare new V/A record from the diggers deific over at Time Capsule - Kay Suzuki and company - whose focus on reissues has thus far formed a dense but not unbraveable thicket of drummy disco, city pop, reggae and international rerubs. Formed out of the East London party scene centring on Brilliant Corners and Beauty & The Beat, this four-track haul of Choice Remixes is a surely credible little curation. Suzuki lends four flips to the record - first of Gaoule Mizik's 'A Ka Titine' from 2022, which reappears with expository force, providing a banging re-bake of the Guadeloupean gwoka original. The theme continues on a version of Broki's 'Es Que Lo Es', which veers Latin minimalia, before slowing to a chuggy pace on 'Sortez Les Filles', before a final, synthy piano duet leaves the proceedings on a piquant hurrah, 'Oyelo'.
Review: Disco creator T-Groove has received high praise on both the domestic Japanese and international scene. What better motive, then, to trade on his newly gilded name than to pair up with street drummer George Kano for a transformative set of grooves, in the form of 'Let Me Ride', 'Midnight Lady' and ensuing tracks? That's just what T-Groove has done on his latest record here for P-Vine, incorporating a fusion-like style exquisitely crossing between jazz, rock, Latin and quiet storm. A testament to the chemistry shared between T-Groove and Kano - drummer-and-producer-dyad extraordinaires - this is a well-cooked slice of late night urban fusion and groove.
Review: Mille Plateaux and Raster hero Andreas Tilliander meets Fire! Orchestra's Goran Kajfes somewhere deep - and we mean DEEP - in the jazz cosmos. The farthest reaches of a universe far, far away, but one that still seems to understand how joyful vast can sound when pierced by the haunting yet strangely alluring sound of brass. But simply defining this as jazz misses a point, then throws us well beyond the pale. In Cmin would be nothing without the electronic tricks and gadgetry that first made us feel as though we'd space-walked off the edge of the known galaxy, out past the Milky Way's stardust. Echoes, tape delays, things that add mood and timbre without necessarily shouting their presence. There's magic at work here. And, contrary to the 21st Century's obsession with under-the-hood, not knowing the how is the reason why you want this.
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