Back catalogue:

Review: Percussionist and singer-songwriter Mami Kakudo returns with her latest album, Contact. A graduate of Tokyo University of the Arts' Department of Instrumental Music, Kakudo has gained recognition in Japan and internationally for her expressive use of marimba, percussion, voice and music boxes. Four years after her debut album, Oar (featuring covers of Maki Asakawa's 'My Friday' and Fishmans' 'Ikkareta Baby'), Contact showcases her signature sound again here in all its glory. Recorded with a talented ensemble-including Mugi Furukawa on guitar, Akita Goldman on bass, Wataru Mitsunaga on drums, and Yumiko Iwao on cello-Contact highlights Kakudo's ethereal voice, poetic lyrics and whimsical arrangements.

Review: Roc Marciano's latest release, Marciology, marks a bold evolution in his career, pushing the boundaries of his already legendary wordplay and production skills. Since his 2018 masterpiece KAOS with DJ Muggs, Marciano has steadily explored new creative directions, and Marciology sees him refining that approach. While albums like Marcielago and Mt. Marci showed flashes of brilliance, Marciology feels like the natural next step for an artist deeply in tune with his own craft. What sets Marciology apart is Marciano's emphasis on lyrical precision. He has always been a poet in hip-hop, but here, his verses feel like they've reached a new level of intricacy. Almost entirely self-produced, with a bit of help from The Alchemist and Animoss, the beats reflect Marciano's distinctive style, serving as the perfect canvas for his lyrical explorations. The tracks aren't just songs; they're layered poems, rich in imagery and wordplay. Tracks like 'Marciology', 'Goyard God', and 'Gold Crossbow' shine with their raw energy and tight rhymes. On 'Gold Crossbow', Marciano drops one of the album's most memorable lines: "ain't gon' even hold you / There's no room on the scrotum, you gotta keep it mobile." It's these kinds of quotable moments that remind listeners of Marciano's unmatched lyrical prowess. While some might find the album's second half slower, this pacing allows the listener to fully absorb the depth of Marciano's wordplay. Every line is carefully crafted, offering new layers of meaning on each listen. It's not just about hooks or catchy choruses; Marciology is a deeper journey into Roc Marciano's mind, a celebration of his unique ability to blend street narratives with poetic flair. This album cements Marciano's status as a hip-hop innovator, one who continues to inspire and influence the genre. Marciology may not be a straightforward collection of bangers, but it's an album that rewards repeated listening and showcases an artist still pushing his craft forward.

Review: Catch A Fire, Bob Marley and The Wailers' seminal first release on Island Records, universally regarded as the album that put reggae music on the global stage, is being re-issued via UMe on November 3 to celebrate the 50th Anniversary of its original release in 1973. The album features nine songs, two of which were written by Peter Tosh and the rest by Marley. 'Slave Driver', one of the most powerful tracks on the album, will be released as a single, accompanied by remarkable live performance footage recently unearthed from the legendary Edmonton show in England in 1973.

Review: Celebrating the extraordinary new biopic Bob Marley: One Love, Island/UMe releases a limited edition of Marley's timeless album Exodus. This version features the original album with an alternate cover, an exclusive 10" LP of rare bonus tracks and an essay by Jamaican music historian Herbie Miller, all encased in a gatefold design for the first time. Miller's liner notes illuminate Exodus as a profound document revealing Marley's contemplations, fears, and steadfast commitment to equity and spreading Rastafari spirituality globally. The alternate cover, designed by Marley's friend and creative director Neville Garrick, initially depicted a migrating bird symbolizing the parting of the Red Sea, with Marley and the Wailers under Haile Selassie's gaze. This original design is featured on the back of the new release. The bonus 10" LP includes dub versions of 'Exodus,' 'Jamming,' and 'Punky Reggae Party,' along with the rare track 'Roots,' making their vinyl debut after decades. These additions provide a deeper, immersive way to experience Marley's visionary artistry.

Review: The debut album Approach to Anima by Maya Ongaku landed originally in May 2023 but sold out quickly so is now being reissued. Initially available as a rare import, the album features Sonoda's fluid guitar and vocals, Takano's undulating bass, Ikeda's ethereal woodwinds and delicate synths and percussion to create a calm yet unsettling atmosphere. Tracks like 'Approach' and 'Water Dream' showcase their diverse influences by blending "Neo-Dada and Fluxus" with 1960s recording advancements. Based in serene Enoshima, the trio's music is free-spirited and reveals hidden depths and untamed vitality which reflect their ongoing creative journey.

Review: This extended triple vinyl edition of Batztoutai with Memorial Gadgets revives Merzbow's groundbreaking second vinyl release from 1986 in an all-new and special package. Widely regarded as one of the Japanese master's finest albums, this is its first-ever reissue on vinyl and the first release featuring the original recordings. The 1986 RRRec edition was a remix by the label, whereas this version presents the original tracks but also it includes bonus material from the same era to offer a definitive and immersive look at Merzbow's early work. Noise and experimental music fans, do not sniff at this one.

Review: Method Man's debut studio album dropped back in November 1994 on the cult Def Jam Recordings. It marked his first solo effort following Wu-Tang Clan's iconic Enter the Wu-Tang (36 Chambers) debut. The record introduced Method Man's gritty style and lyrical prowess to a wider audience. and Tical (The Bonus Joints) now comes on limited gatefold silver vinyl and complements the original release featuring B-sides and rare tracks from the deluxe edition's second disc. It's a deeper insight into his early artistry for fans old and new and underscores Method Man's influential role in shaping the Wu-Tang legacy and solidifying his own status as a standout solo artist.

Review: Moby's latest album, Always Centered at Night, is another excellent album that explores the ethereal landscapes of late 70s and early 80s New York, the artist drawing inspiration from his musical roots. Collaborating with a diverse array of vocalists, Moby crafts a strong set of tender yet defiant songs that defy commercial norms in favor of raw, personal expression. The album pulsates with emotional depth and atmospheric richness, pulling you into a world where vulnerability reigns supreme. From the breathless daydream of 'On Air,' featuring serpentwithfeet's soul-stirring vocals, to the haunting melancholy of 'Dark Days,' adorned with Lady Blackbird's jazzy soul, each track offers a glimpse into Moby's creative vision. What sets Always Centered at Night apart is its commitment to authenticity and artistic integrity. Moby encourages his collaborators to embrace their individuality, resulting in a collection of songs that defy conventions and resonate on a profound level. Whether it's the stirring rendition of Cream's 'We're Going Wrong' with Brie O'Banion or the powerful verses of 'Where Is Your Pride?' featuring Benjamin Zephaniah, each track leaves an indelible impression. Always Centered at Night is another great example at Moby's unyielding spirit of creative expression.

Review: Hudson Mohawke has always been a bit of a universe-builder, sonically speaking. Few dance music producers to emerge in the post-millennium period have created such a unique aural personality and carved out such an individual place for themselves. Despite giving us a number of incredible pieces of work over the years, Cry Sugar was in many ways the Scottish enigma's coming of age moment. Simultaneously smashing out hardcore, slomo UK breaks, weird-hop, freak&B, alternative-leaning EDM pop, soul, jazz, festival chart house, electronic sleaze and hyper emotional electronica overtures, the 2022 record was rightly tipped as one of the year's finest. And the perfect score to the tumultuous, chaotic and confusing times we woke up in at the time this one was being meticulously pieced together.

Review: Marisa Monte's influence remains unwavering, and her 2021 return with Portas reaffirmed her legendary status despite a decade-long hiatus. Her first album since O Que Voce Quer Saber de Verdade in 2011 effortlessly blends romantic pop with occasional forays into samba, as heard in 'Elegante Amanhecer.' Standout tracks include the wonderful 'Calma,' the beautifully arranged 'Espaconaves,' and the bright 'Sal.' 'Vagalumes' is a highlight, merging Spanish flamenco chords with Modernist Brazilian poetry. Monte's voice, soothing and natural, brings tranquility amid Brazil's ongoing challenges. Collaborators like Arnaldo Antunes, Nando Reis and newcomers like Silva contribute to the album's excellence. Monte's daughter Flor de Maria and samba-rock artist Seu Jorge join her on the hopeful 'Pra Melhorar.' Portas exudes grace, offering an almost escapist positivity. It's an album for both the pandemic era and a hopeful future, showcasing Monte's timeless appeal and elegant self-assurance.

Review: Renowned DJ and selector MURO is a Jedi-level compiler and this new collection of his delves into Victor's extensive archives to spotlight a world of Japanese jazz, fusion and AOR. It take sin plenty of internationally known names like Yasuko Agawa on the sunset sounds of 'L.A. Night', Sadistics who offers the more psyched out guitar leans of 'On the Seashore', Yuji Ohno's neo-Balaeric bliss-out 'The Dawn of Seychells' and Hiroshi Fukumura's soul soothing Ry Ayres-style melodies on 'White Clouds.' These are luxurious sounds and timeless tracks with MURO's signature funky perspective making this a brillaint choice for brighter, warmer days.

Review: Fourth Wave's latest compilation feels like a musical postcard from Japan's vibrant underground, gliding through genres with effortless charm. Mari Nakamoto's 'Day Dreaming' sets a tranquil mood with her airy vocals drifting over soft, dreamy instrumentals. Yudai Suzuki's 'Midnight Calling' brings smoky sax riffs and laid-back grooves, perfect for late-night introspection. Yasuhiro Abe's 'Night Fish' dives into psychedelic waters, swirling with hypnotic melodies and unpredictable rhythms. Maki Asakawa's 'Kohi Hitotsu' radiates raw emotion, her voice rich with longing. Yuji Ozeki's 'Futaribun No Yume' blends traditional Japanese sounds with modern electronics, crafting a sound both timeless and futuristic. Jin Kirigaya's 'Matenro Monogatari' closes the collection with cinematic depth, its sweeping arrangement lingering long after the final note.

Review: Hard to define, rule breaking and game-changing producer Theo Parrish is back with another of his challenging and superlative albums. This one - which naturally arrives on his own Sound Signature label - is a collaboration with Maurissa Rose that true sooth the soul. It s full of his usual deadly grooves, shamanistic percussive layers and jazz energies with plenty of his famous luscious, meditative loops. Add in the smooth vocals of Rose - which come in the form of a soulful stream of consciousness - and you have yet another unique album from this true maverick of the form.