Review: Bongo Joe and Sofa Records' third instalment of the Maghreb K7 Club Disco Single series dives deep into Algeria's vibrant 1980s scene, offering four tracks that shine a light on the region's overlooked gems. The A-side is led by two irresistible pop-boogie-funk tracks from Khaled Barkat: 'Galouli Enshara' and 'Zourini'. Self-taught and self-produced in 1983, Barkat's music was a hit at the time but got overshadowed by the rising tide of rai. His dynamic collaboration with Yazid Fentazi, Redouane Ayoub, and Mhenni Benlala resulted in a sound that blends infectious grooves with local flair. Now, for the first time, these tracks are on vinyl, offering fresh ears the chance to rediscover a key player in Algeria's pop history. Cheb Tati takes over on the B-side with 'Dub El Hammam', a heavyweight dub number that showcases his range as a rai vocalist. Tati was flown to London in 1989 to work with dub pioneer Denis Bovell, and this track is a standout from their sessions, merging the pulsating rhythms of reggae with a distinctly North African flavour. Closing out the release is the Kabyle band Asif, whose only known recording, 'Tafsut', serves as a fitting finale. Formed by three brothers in Lille during the late 70s, this beautifully crafted pop-boogie track captures the band's unique sound, bringing a sense of nostalgia and triumph to the collection.
Review: Much loved Michigan techno and ambient virtuoso John Beltran wraps up the so far so excellent Back to Bahia 7 series with the a final volume that proves to be the most dancefloor focussed offering yet. Leading with 'O Patio,' Beltran shows his class with a blend of jazz-funk and MPB that comes with a rather sunny Ibiza-inspired twist while echoing the vibes of Latin greats like Robson Jorge and Lincoln Olivetti. On the flip side, 'Belle Isle' is a perfect party anthem for those outdoor sessions - think beach gatherings or cookouts and you won't go wrong. This has been a brilliant series and while it's a shame it's over, this is a fitting way to end it.
Review: Celebrated composer, producer, techno talent and ambient craftsman John Beltran is a real Detroit don and now he is back on one of the city's own labels, Motor City Wine, with Volume 4 of Back To Bahia on 7". This one finds him going even deeper than before, starting with 'Laguna', which will soon uplift you with its Afro-Brazilian drums and live bass from James Simonson next to lush keys. 'Just Beyond The Sun' then gets fully Balearic with its mix of sultry trumpet, shuffling and Latin-tinged rhythms and wispy cosmic chords. A real delight.
Review: Bedroom beat producer Blank Check has teamed up with Honolulu's Aloha Got Soul and Tokyo's Grand Gallery for this majestic new six-song EP which comes on tidy 10" vinyl. It's mega limited with only 300 copies produced and it showcases loop-based music that evokes a floating sensation, which is reminiscent, say the accompanying notes, of Tommy Guerrero's world view. The instrumental sound features a dub-like quality that perfectly captures an urban mellow vibe that feels both original and authentic. Essentially it serves as a soundtrack to a short film that immerses you in atmospheric and cinematic soundscapes.
Review: If you've not found yourself enthralled by Bluey, the Australian animated kids series about the anthropomorphic six-year-old Blue Heeler puppy, Bluey, her family, curiosity, energy and imagination, then where have you been for the last seven years? Praised for its razor sharp depiction of modern family life in the Western world, it deftly straddles the line between children's TV and adult comedy, hitting both nails squarely on the head. In Rug Isand, Bluey and Bingo discover that a pack of felt tips can be anything - like a snake, or a campfire, or a banana. A perfect example of the creative minds of youth and heir ability to believe in things that grown ups might struggle with, the fact that Dad needs to engage his inner child and suspend disbelief before the episode ends speaks volumes. In musical terms, think fantastical, dreamy and typically witty instrumentation and spoken word, on record.
Brenda Boykin - "All The Time In The World" (4:05)
Step Three - "A Dream" (feat B More - instrumental) (5:51)
Review: This split release offers two laid-back tracks from the depths of Brazil. On the A-side, Brenda Boykin (a jazz vocalist with a rich, creative voice which was nominated for a BAMMY Award in 1997 for Best Vocalist) delivers a soulful cover of Louis Armstrong's seminal 'We Have All The Time in the World,' the theme for George Lazenby's one-time portrayal of James Bond as well as a real karaoke favourite. The B-side features Step Three's 'A Dream,' a funky instrumental track with B. More which became a dance floor favourite following its 1993 release. Pressed on red 7" wax, this one beautifully captures some timeless Brazilian rhythms.
Working On It (feat Rich Medina & Bembe Segue) (4:23)
Together (feat Vanessa Freeman) (3:51)
Never Gonna Leave (instrumental) (4:04)
Little Did I Know (Domu's dancefloor mix) (5:44)
Anybody Out There (Volcov remix) (6:36)
Review: Bread & Souls emerges as an exciting new venture from Italian music enthusiast Franco Fusari, who has enlisted the expertise of Mark de Clive-Lowe for this collaborative project. This latest release, Chapter 4, continues to explore diverse musical landscapes with contributions from a stellar lineup of artists including Bembe Segue, Vanessa Freeman, Paul Randolph, Rich Medina, and Tommaso Cappellato. The opening track, 'Working On It,' draws inspiration from bossa nova rhythms, featuring Rich Medina's introspective lyrics that delve into life's intricacies, complemented by Bembe Segue's rich vocal tones. Vanessa Freeman takes the spotlight on 'Together,' delivering an uplifting soulful house track that radiates timeless charm. Domu returns with a new remix of 'Little Did I Know,' this time infusing it with a broken beat twist that promises to energise the dancefloor. The final track, remixed by Neroli's Volcov, offers a 4/4-driven take on 'Anybody Out There,' catering to fans of rhythmic precision and groove.
Review: IRMA has assembled a trio of top remixers here to add their own spin to some fine originals from Bright Magnus. Up first is the LTJ Xperience remix of 'Jungle Corner' and it is a low slung and steamy funk number with loose shakes of a tambourine and languid bass riffs drawing you in. 'Selim/Miles' (DJ Rocca 606 remix) is a blend of smeared synths and woozy guitar riffs over more lush downtempo beats that make it perfect for the midnight hours. Last but not least is 'A Way' (DJ Rocca Black Satin remix) which is a more psychedelic sound thanks to the drawn-out synth percolations that stretch through the mix.
Review: James Alexander Bright's new sinle, Cool Cool, is a sonic kaleidoscope brimming with vibrant sounds and deep emotion. Bright's distinctive voice, reminiscent of Eddie Chacon, Beck or Michael McDonald, shines throughout. His multi-instrumental prowessiplaying guitar, bass, keys, and moreiadds layers of complexity to the record. Cool Cool illustrates Bright's evolving sound and unwavering creativity, making it a compelling addition to his diverse discography. The 'ECLA Beautiful dub' adds a great alternative version that provides a broken down moody version of the original to balance the 7". Both sides are excellent.
Review: Broken Keys is a multi-talented musician and producer based in Los Angeles. His cut 'Assorted Colors' has become a real underground house classic that now lands on wax for the first time as a special extended 12" remix that really locks you into the languid grooves. The legendary Galcher Lustwerk steps up to add his own distinctive take on the original and infuses it with a techy yet atmospheric groove. Broken Keys explores a different facet of his sound with three distinct cuts on the flip that range from blunted beats and sun-kissed Balearic to chilled-out future soul. They make for a diverse package perfect for the after-club or Sunday morning listening.
Review: This project stems from the mutual admiration between Daru Jones and Devonne "DJ" Harrison who, upon discovering their collaborations with Jack White, had the idea of blending rock with jazz. DJ Harrison's vintage keyboard skills and Daru's versatility made them perfect for such a rock-influenced project. Legendary guitarist Doyle Bramhall II, a longtime friend of Mr. Mandel, was ideal for the guitar role and after several years they finally got together to record this album in 2022. The result is a first 12" single, mastered at 45 rpm for exceptional sound. Here's hoping there will be more to come.
Review: The cultured creative minds of James Simonson and Blair French reunite for this new Realities Remix EP on MotorCity Wine which was, in original form, recorded by Simonson in hotel rooms across Europe and the Americas while touring with soul legend Bettye LaVette. As such it takes in myriad global influences as well as evocative field recordings which get reworked in style. Blair French adds his touch with three remixes, firstly the anthemic 'Realities (Projector Remix),' then the more dance-driven 'Elektronolux Overture (Sunday Remix)' and the lush and downtempo 'Hannah (Remix)' featuring violinist Sonia Lee. Two originals 'Realities' and 'Elektronolux Overture' also appear on vinyl for the first time and sound superb.
Review: Now working under the alias Balaphonic, long serving Manchester artist Danny Ward steers his ear for percussion into something warm, rhythmically rich and hypnotic. He opens with 'Sunflowers in Dub (Deep Summer Mix)', where sitar, harmonica and fluttering keys glide across a humid dubscape, then folds in sun-dappled samba on 'Disorganics (All Strings Mix)', all brushed guitars and delicate groove. 'Six Fingers' leans deeper into Afro-Cuban melancholy, while 'Udders' chops South American drums into psychedelic loops, teasing out low-end heft. A standout collaboration with Ocean Waves Brasil, 'Oxum' blends gentle acid with dreamy textures and Afro-Brazilian swing, before closer 'Bloco Manco' lets off the brakes-delay-lashed, bass-heavy and totally locked-in. It's music built for dancefloors, but with the patience and touch of a drummer who knows when to let things breathe.
Review: Mark Barrott's Everything Changes, Nothing Ends is a heartfelt journey through life, loss, and love. Released on Anjunadeep Reflections, the album follows his 2023 record Johatsu and sees Barrott channelling his grief into a meditative, moving collection of tracks. Written during his wife's illness, the album reflects the overwhelming sense of isolation and sorrow he felt following her passing in January 2023. "It became my way of coping," Barrott shares. "Coming back to an empty house after a day at the hospital, music was my only comfort." Across Everything Changes, Nothing Ends, Barrott weaves together orchestral, ambient, and jazz textures. Each track, like an audio diary, captures specific emotional moments from those final weeks. There's a tenderness to the arrangementsipeaks of intensity balanced by gentle, soothing passages. Far from simply wallowing in grief, the album embraces acceptance and gratitude, focusing on the beauty of life and its fleeting nature. The result is a deeply personal, genre-blurring record that showcases Barrott's unwavering creativity over a career spanning nearly four decades.
Fuoco Lento (with Bint Mbareh & Ottomani Parker) (3:58)
Cicadidae (4:26)
Presagio - He Thalassa He Kath'hemas (4:41)
Le Toille (XVII) (3:26)
Sticks And Stones (with Buster Woodruff-Bryant) (3:09)
A Juniper Tree Whose Roots Are Made Of Fire (with Bint Mbareh) (7:32)
Tu Estomago (XVI) (1:51)
In My Recurring Dream (Sekizinci Iblissin) (3:32)
Rinascita (with Yusuf Ahmed & Buster Woodruff-Bryant) (4:35)
Review: The debut album by Big Hands (aka Andrea Ottomani), is a deeply immersive and dream-born odyssey that blurs the boundaries between electronic and acoustic sound. Conceived during a stormy Mediterranean voyage and built from field recordings, tuned percussion and collaborations with a tight circle of musicians, Thauma is an emotional and textural triumph that takes in Palestinian artist Bint Mbareh’s haunting vocals and Buster Woodruff-Bryant’s serpentine sax lines. Each moment brings real spiritual depth while merging modular synths with bells, balafon and bamboo drums to evoke a mythic, place-bound nostalgia that is organic and otherworldly.
Review: Research Records once again hooks up with Melbourne's Big Yawn who return with fourth full-length NGBE. Known for their intricate rhythm sections, catchy basslines and playful sampling, the quartet delivers their most sophisticated work to date here on a record named after their cherished but lost warehouse space, the National Gallery of Brunswick East, where much of the album was recorded. It finds them exploring a diverse range of soundscapes with mutated drum 'n' bass, subtle grime, rap, and dub influences all enhanced with rich FX. The nine tracks also hint at a subtle evolution both in the studio and on stage as best highlighted by the collaboration '2Stroke' with Melbourne's Teether.
Review: Black Decelerant, a collaboration between Khari Lucas (Contour) and Omari Jazz, explores spiritual jazz through modern tones, weaving sonic reflections on Black existence, life and grief, expansion and constraint, and the personal versus the collective. Their eponymous debut album fosters a serene refuge amidst societal turbulence and aims to transcend fleeting moments. Conceived from an intuitive process, the album emerged from remote sessions spanning six months in 2020, bridging South Carolina and Oregon. Improvised instrumentals and sampled productions became conduits for their inner dialogues and offered solace during existential crises amid lockdowns and social unrest in the US.
Review: Pops Mohamed's Black Disco reissues from Afrodelic offer a rare glimpse into mid-1970s South African jazz fusion. The 1975 self-titled debut features Mohamed's cosmic organ, complemented by sax and flute maestro Basil Coetzee and bassist Sipho Gumede. Their interplay creates a blissful downtempo experience, highlighted by the innovative use of a drum machine and deeply immersive improvisation. The album's tranquil vibe and cosmic soundscapes showcase Mohamed's unique approach to chill-out jazz with spiritual undertones. The 1976 follow-up, Black Disco 3, continues this journey, with Peter Odendaal and Monty Weber adding to the ensemble. The album evolves the New Age lounge aesthetic into more adventurous jazz territory. "Spiritual Feeling" is reimagined as 'Spiritual Feeling Riding the Blue,' and the centerpiece, 'Dawn,' is a ten-minute, flute-driven exploration that underscores the band's evolving sound. Both albums are reissued internationally for the first time, meticulously sourced from the original analogue tapes, preserving the rich textures and innovative spirit of Mohamed's groundbreaking work.
Review: It's been a minute since we heard from Blackjoy, Jerome Caron's flagship project of mellow, jazz-minded compositions and beatdowns. His last long player Erotis dropped in 2010, no less. Now he returns on Les Rythmes Ruban with a sumptuous new excursion into downtempo pastures which picks up the thread of nostalgic French lounge refinement associated with acts like Air. Just soak up the melancholic chord progressions of 'Michel Chevalet' and you'll find yourself taken away to somewhere very pleasant indeed. There are sweet vocal cuts like 'Clouds' and much more besides on this rich and fulsome record from a seasoned pro.
Review: 20 years on from its initial release in 2004, Ninja Tune share the first ever reissue of Blockhead's Music By Cavelight. The New York-based alias of Tony Simon, this record is the quintessence of Ninja Tune's smoked-out trip-hop sound at the time, and for which Simon himself likewise came to be known. Recalling a time when instrumental beatsmiths were much likelier to consider their crafts artful enough to warrant calling their studios beat-smithies (as compared to the sadly throwaway feel of much instrumental hip-hop today), one can really hear the subtlety and care poured into each vignette here, our favourites among which are 'Bullfight In Ireland', 'Graveyard Hunt' and 'Bloop Bloop'; all play back like studies of a gritty, degage, sun-bathed vision of a bygone big smoke.
Review: Blockhead returns with a brilliant new album, weaving themes of death, afterlife and cyclical patterns through his signature sample-based sound. Known for his work with Aesop Rock and Ninja Tune, Blockhead has become a master at blending downtempo and upbeat styles across jazz, funk, blues and more. His ability to create expansive narratives without relying heavily on lyrics continues to thrill, using only a few vocal samples to guide the listener. The album explores life's natural endings with humor, irony and a touch of sarcasm, reflecting on the inevitable cycles that persist beyond individual experiences. Tracks like 'Earth's Farewell Tour' and 'They Got Therapy For That' offer introspection, while others, such as 'Dolphin Lundgren' and 'Burning Man in Tehran', provide joyful, quirky moments. Fans of Blockhead's work will appreciate the playful elements, with even a couple of tracks for the lovers. Not to be missed is the juxtaposition of Middle Eastern disco and festival vibes. The album is a perfect balance of humour and introspection as we reflect on cycles and endings.
Review: Munich-based classical guitarist and composer Jonathan Bockelmann made his mark in 2023 with his debut album Childish Mind. His journey into composition began with arrangements of pieces by Japanese maestro Ryuichi Sakamoto. These arrangements, which have previously been released digitally in three editions, are now available on vinyl for the first time. The record, presented in premium packaging with an embossed art print, showcases Sakamoto's diverse repertoire. It includes both lesser-known works like Suite for Krug and iconic masterpieces such as Bibo No Aozora. This release beautifully celebrates the timeless artistry of Sakamoto as reimagined through Bockelmann's exquisite guitar interpretations.
Review: Childhood friends and multi-instrumentalists Axel Concato and Barth Corbelet are the pair behind new duo Bolbec which debuts here with Victime De L'aube on Batov Records. Merging diverse musical influences-from spiritual jazz and folk to classical and electronic-they create an imaginary soundtrack akin to the works of Piero Piccioni and Michel Legrand. The album features the duo playing over a dozen instruments and all supported by the Nostalgia 77 rhythm section. The title, meaning "Victim of the Dawn," reflects the emotional journey from night to morning and the opening track 'Rue Nue' somas captures you. It hints at the album's mysterious tones, while 'Vengeance Tropicale' blends spirited jazz with joropo influences, 'Feuille D'orage' showcases bossa jazz, and "A L'instar Du Flair" offers a modal jazz journey reminiscent of Yusef Lateef.
Review: Grains is Boozoo Bajou's 2009 third album; marked out as the duo's most "organic" record, we hear the inimitable blends of Louisiana Cajun, Caribbean music and electronica, once again laid bare by the pioneering pairing of Peter Heider and Florian Seyberth. Still taking after their local Laurel Canyon as their muse, Heider and Seyberth crafted a lush yet ruddy record 15 years ago, relying on the bare ability to tenderise vocals and guitar, over and above any production trickery (though the record is relatively polished too). Grains heralds a predominantly trip hop direction when the beats aren't softened, with 'Signs' serving as the prime example.
(The Circle) Of Compassion (feat MidnightRoba) (8:10)
Our Cottage To Across The Stream (3:44)
Your Soul Is Perfect (Supreme Uniter) (feat Radha Botofasina) (7:49)
Review: Surya Botofasina's new album, Ashram Sun, follows his acclaimed debut Everyone's Children and marks his first major release since touring with Andre 3000 and contributing to New Blue Sun. This album is a tribute to Surya's spiritual and musical upbringing under Swamini Turiyasangitananda, also known as Alice Coltrane, at California's Sai Anantam Ashram. Ashram Sun is a profound work of spiritual jazz and it features close collaborators Carlos NiNo and Nate Mercereau with production by the prolific NiNo, whose vision is central to today's progressive jazz scene. This album is an immersive world of classy, spiritual and meditative jazz sound.
Review: Bremer/McCoy's latest offering, Kosmos, transcends mere musiciit's a serene voyage into a realm where time and space dissolve. Jonathan Bremer's resonant double bass and Morten McCoy's keys, intertwined with tape delay, weave a tapestry of ethereal melodies and contemplative rhythms. Named aptly for its expansive, dreamlike quality, Kosmos delves deep into landscapes, where words are unnecessary. Bremer/McCoy's approach, honed over 15 years of collaboration, blends airy improvisations with carefully crafted compositions. Each track unfolds like a silent conversation, where music becomes a universal language of connection. Their sound, evolved from dub roots, now resonates with a profound sense of freedom and tranquility. It's evident that Kosmos is more than an albumiit's a statement of harmony and introspection amid turbulent times. McCoy and Bremer's ability to channel emotions into musical narratives is profound; each song feels like a trip of discovery, unfolding organically yet purposefully. For fans of meditative jazz and those seeking solace in sound, Kosmos offers sheer sanctuary.
Review: Newly ordained keyboardist Volodja Brodsky, from Estonia, has described his music as an exploration of the transformative power of minimalism, the art form and compositional approach in which he is trained. Brodsky's second LP lacks the contextual elucidations that accompanied the first record that 2024, but we sense that this may be because the career ball is already rolling, and no further explanations may be needed for now. Raindrops is a precipitous record, as Brodsky wrenches piano and vibraphone motifs from romantic scale meanderings we didn't know possible; widescreen voicings and compound intervals help earmark these standout moments. Elsewhere, the mood is downcast, as on 'Fogbound Streets Of Maardu' or 'Raindrops'; the left hand basso is almost always moody in feel, while the right hand always produces tearful and romantic sound.
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.