Review: Both of these funk gems are taken from a cult compilation Trans Groove Express, which explored the sounds of Express Records and was assembled by MURO. Fourth Wave now serve them up on a superb 7", starting with Maki Asakawa. 'Hohi Hitotsu' is a delightfully gentle and subtle dub with funky guitars adding movement while the sultry vocal soars. Yasuhiro Abe's 'Night Fish' is a brighter and more retro 80s soul and boogie sound with glowing chords and snappy hits. The Japanese language vocal is emotive enough to mean plenty without understanding the meaning of the words.
Review: Happiest of birthdays to Super Spicy who celebrate half a decade in the game with an EP of irresistible tunes. Phunque kicks the party off with an old school vibe that pairs a superb male vocal with crisp, effective drums. Bob Musella brings sample magic on 'Baby Hot Stuff' and Ysheso, Ralo keep the disco-tinged house feels flowing with a percussive monster. After the smoother sounds of Ghosts Of Venice, the flip side brings a trio of funked-up and guitar-laced house grooves that take it back to the glory days of New York.
David Twice & Fool Sentimental - "Vous Avez Dit Bizarre?" (4:45)
Disco Flegrei - "Hot" (7:45)
Disco Flegrei - "Titanesque" (with Francis Galio & Marco Silva) (5:10)
DJ Moar - "Feelings" (7:11)
HoldTight - "Legend" (3:37)
Yured Jones - "Far Away" (2:28)
Review: Fresh Sounds #000 is a new and unique series, limited and numbered to 150 examples thanks to the efforts of its parent company Ribo Cochlee. For the very first edition of the series, a mockley crew of newcomers come to the fore, be they DJ Moar, Disco Flegrei or Holdtight. Centring on woozy jazzdance and disco with an airily produced bent, the highlights on this one have to be Flegrei's 'Titamesque', which basks in a kind of sexy sophistry procured by the heady combination of live drums and a (we think) muted bass clarinet, and Yured Jones' 'Far Away', which breaks from the genre prescription for a more cinematic breakdown.
Review: Insense has put together a tidy 7" featuring a rendition of Pharoah Sanders' 'Moon Child' which was first specially crafted for the compilation album Incense Music for Bed Room. It is a lush and spiritual sound led by gorgeous wind instruments and fluttery melodies over gentle and persuasive rhythms. On the flip, Yoshiharu Takeda's 'Bliss Of Landing' is another escapist sound with more of the same. A lovely 45 rpm for those quiet moments.
The Great Marmalade Mama In The Sky (Yage remix) (5:15)
Wooden Ship (Yage remix) (5:37)
Review: This package of remixes of tunes from Translations is a real gem for lovers of Future Sound of London. plenty of familiar samples and textures are worked into the five Yage remixes as are cosmic overtones, sitars, drones, backward guitars and more. 'The Big Blue' is a woozy intergalactic sound on slow-mo beats, 'Requiem' is a worldly dub, 'The Lovers' has psyched-out lead riffs that bring prog energy and 'The Great Marmalade Mama In The Sky' has drunken tabla drums and mesmeric strings for a perfect retro-future comedown. 'Wooden Ship' is a spine-tingling sound with choral vocals bringing the celestial charm.
Review: The third volume in the Insense Music compilation series, Insense Music for Dining Room, deepens its exploration of ambient, jazz, chill-out and Balearic sounds, all of which are perfect for serene dining moments. Curated by Tohru Hashimoto with artwork by Jiro Fujita and mastering by Calm, who a key figure in Japan's music scene as well as a renowned Balearic boss, this 7" release shines from the off: side A features Yakenohara's subtle, exclusive take on Bill Evans's 'Peace Piece' which blends his genre-fluid skills as rapper, DJ and producer. Side B offers Noa Noa's warm tribute to Bobby Hutcherson's 'Montara,' a hip-hop sampling favourite. The release precedes a full compilation dropping this May.
Prof Jah Pinpin 4tet - "The Final Bird (Le Temps D'une Vie)" (3:18)
Review: There is scant little information out there about Yoanson & Karamie. What we do know is that they were young artists from the French African diaspora who met with Nessim Saroussi and his label Ness Music in the late 80s and were encouraged to record the music presented here. It is their only official EP and it is a brilliant mix of Afro-tropical percussions, disco, electro and vocals that call to mind the likes of Arthur Russell. Philippe de Lacroix-Herpin is the man festered here as Prof Jah Pinpin and he brings some of his signature saxophone brilliance to flipside jaunt 'The Final Bird (Le Temps D'une Vie)'.
Review: Berlin's Yoofee has been on a good run after reemerging back in 2021. He makes deeply atmospheric sounds that draw from dubstep, house and cosmic electronic music. The class Casa Voyager label snaps up him for some of that here and he opens with the fizzing pads and deep space ambiance of 'Lost Papers' all layered up over a hustling broken beat. 'I Know' is another jazzy broken beat wonder with chopped drums, keys, vocals and more all coalescing into something soulful in new ways. That superb vibe continues on the spacey flip side to mark what might be this artist's best work yet.
Review: Correcciones Calypso returns from a generous hiatus with the fourth edition of its acclaimed edit series, replete with four re-edits that veer from the subtle to the downright brazen. Thomass Jackson and INigo Vontier invite the French duo Youkounkoun to open proceedings with an insane early 80s edit full of big drums and exotic touches that's been blowing dancefloors all around the world for the past years - and definitely resides in the brazen category, despite a lot of work having gone into it. Olta Karawame make their debut on the series with a powerful, compact edit full of ballsy keyboard riffing and a military-sized kick drum that is guaranteed to have heads banging . To complete the release label bosses Thomass and INigo deliver edits of their own with their characteristic sound, giving this EP maximum a value for money factor and entertainment from start to finish.
Storm Before The Calm (feat Kaidi Akinnibi) (3:01)
Review: As fast-rising underground stars in their own right, you'd expect any collaborative album from soul-fired South London singer/songwriter/beat-maker Tom Misch and prolific jazz drummer Yussef Dayes (best known for his now long-running collaboration with Kamaal Williams) to be rather good. "What Kinda Music" is, with the pair mixing and mangling elements of soul, jazz-funk, electronica and jazz, a set that defies easy categorisation. Both musicians exceed themselves throughout, with tipsy electronics, sweeping strings, bass, effects-laden guitars, woozy synth lines and Misch's heartfelt, soul-flecked vocals offering a perfect foil for Dayes' loose-limbed, headline-grabbing drumming.
Review: Tatsuro Yamashita's It's a Poppin' Time is one of the many albums of his that are being reissued right now as part of a campaign focussing don his work for RCA. It arrives on nice heavy 180g vinyl and is the first of two live albums he put out. This one came in 1978 and an expanded remaster came in 2002. At the time he was an already established Japanese singer-songwriter and record producer who had very much helped to define the early city-pop sound that has endured to this day. He dropped a wealth of studio albums from the seventies onwards and as this one shows had more than enough skill to carry that magic over to the live arena.
Review: Acclaimed Japanese producer, singer and songwriter Tatsuro Yamashita is the man credited with laying the early foundations for the city-pop sound. He put out a great run of albums, live albums and compilations and many of them are now being reissued. This one is a great hits collection on heavyweight vinyl that came in 1982 and rounds up the many standout works of his early period. All the tracks have had a fresh mastering job for this release and so classics like 'Sweet & Dangerous Scent', 'Draw Ai Let's Kiss The Sun' and 'The Door Into Summer' all sound as good as ever.
Review: Jazz and soul flavours from Tatsuro Yamashita, the Japanese guitar megastar whose original covers releases are coveted all over the world. In turn, you reap what you sow; many of his originals are likewise the targets of covers artists, and this isn't the first time we've encountered his song 'Ride On Time'. Yamashita's sixth single, it's a popular myth that the track marked the very beginning of the genre 'city pop'; true or not, the accompanying tracks on this album version are equally as slick.
Review: Released in the wake of Tony Allen's death, Lagos Paris London is the latest full-length record by Foals' Yannis Philippakis in collaboration with the late great drumming legend. The Yannis And the Yaw project finally emerges after years of fan-teasers revealing Philippakis to have been working with the acclaimed Fela Kuti bandmate and Afrobeat pioneer in the studio; after Allen's death in 2023, the likes of 'Walk Through Fire' and 'Lagos Paris London' effortlessly blend the sounds of Afrobeat and post-punk, bridging the spirits of each while unexpectedly swerving from the duo's initial impulse to produce a nostalgic record.
Review: The EP Lagos Paris London by Yannis & The Yaw, featuring the late Tony Allen, is a testament to the powerful creative synergy between two musical luminaries. Initially envisioned as a nostalgic Afrobeat project, the collaboration took on a life of its own, weaving together elements of rock, funk, jazz, and dub in a dynamic fusion. Recorded over a series of sessions in a Paris studio, the music emerged organically from jams and loops, guided by the intuitive telepathy between Yannis Philippakis and Tony Allen. Joined by Allen's regular collaborators, the result is a collection of near-complete songs imbued with high-spirited, loose-grooved exuberance. Despite facing challenges such as scheduling issues and Covid restrictions, Yannis felt a deep obligation to complete the project in honor of Allen's memory and his desire to share the music with the world. Lagos Paris London serves as both a celebration of their friendship and a timeless testament to the enduring influence of Tony Allen's rhythmic talent.
Review: YASMIN's much loved A Scent Of Flowers album has more than stood the test of time which is why it is now being reissued for the first time. It features the 90s r&b classic 'Wanna Dance' which has long been a staple in many mixtapes and dance compilations. This edition also includes a cover of Roy Ayers' ubiquitous 'Everybody Loves The Sunshine' which was the second successful single on the album which was first released in 1993. It's back by Soulshock who is known for his work with 2Pac and Monica, and Cutfather, famous for remixing Mark Morrison's 'Return Of The Mack.' Elsewhere on the record are many more killers including covers of 'Best Of My Love' and Ray Charles' 'Let Me Take Over.'
Review: 'Sayonara Ha Syuppatsu No Kotoba' roughly translates as "Goodbye is the Word for Departure" and is a striking blend of Japanese indie and folk music. The album combines rich acoustic melodies with introspective lyrics to make for often poignant and nostalgic atmospheres with Yasuda's emotive voice at the heart of the sounds. The band's intricate instrumentation reveals more with each listen and the record explores themes of departure, self-reflection and the bittersweet nature of transitions. They might sound heavy but the delicate soundscapes also capture both moods of vulnerability and resilience which adds to the tender, affecting nature of the record.
Review: 'Only Love Remains' is Yemen Blues' boldest album to date and one that marks a departure from their previous releases. Created from finished compositions by vocalist Ravid Kahalani, the band spent two weeks in the studio with minimal ideas and simply allowed creativity to flow. The result is a powerful fusion of each member's unique cultural influences co-produced by bassist Shanir Ezra Blumenkranz. The album blends direct emotional connection with spiritual depth and so offers both enlightenment and questioning. Amid global political and cultural polarisation, Yemen Blues leads by example and makes for an inclusive celebration of unity and love through music.
Review: Famously self-taught musician Adrian Younge is at the forefront of modern soul music after starting as a hip-hop producer in 1998. He expanded his skills by learning multiple instruments and took inspiration from classic soul and Italian soundtracks before he self-released his debut album Venice Dawn, a moody, synth-heavy album blending Ennio Morricone's style with contemporary flair. His Something About April album followed years later and is a modern classic that merges psychedelic soul, cinematic instrumentals and hip-hop aesthetics while taking cues from greats of the genre like Wu-Tang Clan.
Review: Adrian Younge's Something About April II, originally from 2016, is a stunning evolution of his cinematic soul vision. Younge, who has long been devoted to blaxploitation-era sounds, expanded his palette here with richer songwriting and tighter arrangements. While rooted in the late 60s to early 70s soul aesthetic, the album always felt fresh and purposeful and still does almost a decade on for this reissue. Standouts like 'Sandrine' and duets with Laetitia Sadier and Bilal showcase his growth in composition and emotional depth and come with lush instrumentation from Fender Rhodes, vibraphone, and his custom Selene keyboard. Younge moved beyond homage with this work and into a world where he creates timeless originals and fully realised modern soul gems.
Review: Adrian Younge's latest in the Something About April series is a stunning analogue opus that blends a 30-piece orchestra with breakbeats, synth work and Brazilian psychedelia. It has reportedly been years in the making and is the culmination of Younge's sonic vision as well as being his most expansive and experimental work to date. Brazilian vocalists, fuzzed-out drums and lush orchestration evoke MPB greats like Verocai and Os Mutantes and hip-hop kings Wu-Tang in equal measure. Tracks like 'Nunca Estranhos' and 'Nossas Sombras' are richly cinematic and deeply soulful standouts. More than a closing chapter, this record cements Younge's legacy as a visionary composer.
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