Back catalogue: Psych/Garage Rock

Review: Maestro Argentinian producer Kevin Fingier returns with a brand new 45 on his Finger Records imprint, this time lifting the curtain on Santa Fiebre, the newly tipped red-hot rhythm & soul outfit from Buenos Aires. Forged in the fire of the Argentinian capital comes this rip-roaring band, debuting a rootsy, double-clapping, firebrand form of Latin soul. Fingier's in-house production backs up the band's taseringly tasty performances, as 'That's Where We Go' is heard to riff highly on brasses and bombast, and 'Earthsplosion' predicts a future detonation beneath our shared subterranean mantle, producing a bubble-bursting, Hammong-hummingl, bongo-banging funk stank of cosmic proportions.

Review: Anyone who has followed Emotional Rescue knows it has always does a fine job of documenting pock punk and UK punk dub's early years, in this case showcasing the previously unheralded work of Skinbat Scramble, who emerged from the mundanity of the Home Counties to converge on London during the early 80s. Core members Mark Eason and Fergus Crockford were simultaneously inspired by the speedy punk thills of the Roxy Club and the Two Tone scene of ska and reggae which ran alongside it, as well as counter cultural heroes of the generation before like Gong and Velvet Underground. They got to work distilliing slow tempos, experimental sounds, dub and much more into leftfield rhythms, and while the likes of 'Basement Voltaire' - all echoing electronics, high frequency blips and merciless drum machines - or the Clash-in-dub workout 'North By Northwest' are rooted very much in the Cold War/Thatcher years, their individuality and experimental vibe mean they've endured remarkably well. Scramble to get yourself a copy.

Review: Dynamite Cuts lives up to its name once more by unearthing a deep funk treasure here, and they do the right thing and serve it up for the first time ever on its own 7". Sound Investment's 'Funky Skunk' is a raw and rhythm-heavy rarity previously confined to album-only status. It's bursting with tight grooves, gritty breaks and irresistible energy and is a dream for DJs, collectors and crate-diggers. On the B-side, 'Dirty Man' keeps the heat alive by delivering more deep-fried funk goodness. Both cuts showcase the band's raw musicianship and groove-driven spirit. Authentic funk vibes don't come much better than this.

Review: The tireless work of Funk Night continues here more steamy late-night sounds. This time it's Sunday Papers at the helm and first off comes 'Smoke.' It's a dense, busy cut with sleazy guitar riffs, plenty of sonic grit, raw, edgy drums and vocal stabs as well as some hints of psyched-out soul. On the flip, the rather horribly titled 'Greasy Meat Pocket' is actually a lovely sound with pensive piano chords and signature Hammond organ grooves that make for a nice late night jaunt.

Review: This is a special ivory white vinyl version of Zani Diabate's Super Djata Band is another essential release from Numero Group. The band was a leading force in Mali's music scene during the 1980s when they blended Wasulu hunter music, griot praises, Senufo dances, Fula and Mandingo tunes with Western psychedelia, blues, and Afrobeat. Their 1982 album captures Diabate's virtuosity and is a showcase of his mastery of the guitar through eight compelling tracks. The resulting album is a gold standard in world music that confirms Diabate's place among the legendary West African guitarists and illustrates his unique ability to fuse diverse musical traditions.

Review: Zani Diabate's Super Djata Band was a leading Malian orchestra in the 1980s. They were known for blending Wasulu hunter music, griot praises, Senufo dances and Fula and Mandingo repertoire with Western psychedelia, blues, and Afrobeat into their own unique forms. In 1982 their album cemented Diabate's place among legendary West African guitarists as he mesmerised listeners with eight vibrant compositions featuring plenty of his hypnotic guitar work. Now it gets reissued on Numero Group and the record solidifies his status as a mythic figure in West African music so for anyone with an appreciation of house styles it is a must.

Review: Israeli funk quartet Sababa 5 and Japanese singer-cum-bellydancer Yurika Hanashima join forces again on 'Kokoro', a combination of two song suites: four brand new concoctions and four beloved older tracks. Sababa 5's unique combination of Middle Eastern funk and Mediterranean rhythm makes a surprisingly sensational combination with Japanese Jazz-fusion sensibilities. Opening track 'Empty Hands' is a string-led proposition by Yurika: When your hands are empty, you hold everything you need. The guitars are expressive without overpowering Yurika's gentle vocals - it's the perfect track for a sunny drive home. The real selling point here is the clutch of tracks from Sababa and Yurika's storied past, namely 'Tokyo Midnights, a jangly, groove-filled song describing a smoke-filled, drink-fueled night through the capital. This version is pressed on classic black vinyl, but has been in high demand on the artist's own store - so act fast.

Review: Sandman Project's Royal Family EP blends West African rock psychedelia with Ethiopian jazz and is defined by its impressive improvisational vigour. Led by guitarist Tal Sandman from Tel Aviv's Jaffa, the instrumental group draws inspiration from Ethiopian jazz pioneers which is evident in tracks like 'Hamsa' with its evocative trumpet and moody Tezeta scale. Lead single 'Circles' exudes punk-like rawness with its gritty bass and driving rhythm. 'Savannah Trip' conjures Sun Ra in the Malian desert, offering atmospheric guitar explorations. Throughout all the cuts, Sandman Project's cinematic style invites listeners into a realm of playful melodies and mountainous textures.

Review: Kit Sebastian's upcoming album, New Internationale, set for release via Brainfeeder, marks a major step forward for the duo of Kit Martin and Merve Erdem. The lead single, 'Metropolis', blends Azerbaijani musical influences with Western funk grooves, using vintage synths and intricate choral textures. The track's samba-driven finale, complete with dual drum kits and processed horns and strings, creates a layered, cinematic soundscape. Lyrically, "Metropolis" explores the immigrant experience, delving into themes of identity, belonging, and artistic compromise in an unfamiliar world. Written while on tour, New Internationale features a rich tapestry of global instrumentsifrom Turkish clarinet to zither and harpsichordiwoven into a seamless mix of Anatolian psych, French pop, and Tropicalia. The album reflects Merve's personal journey navigating her Turkish heritage and Kit's eclectic musical influences, culminating in their most orchestrated work yet. It's a vivid exploration of multicultural identity, using lush, borderless soundscapes that bridge genres and histories, while pushing the boundaries of modern psychedelia and global fusion.

Review: Sessa's Grandeza, his debut album, marks a fresh, minimalist approach to modern Brazilian music. Released in 2019, the album blends the rich textures of Brazil's musical heritage with a stripped-back aesthetic. Sessa's songs, sung in Portuguese, evoke the sensual lyricism of Caetano Veloso and the melodic grace of Tom Jobim and Arthur Verocai. Yet, the music's sparse arrangement draws comparisons to Leonard Cohen's bareness, enriched by hints of tropicalia, psychedelia, and the spiritual jazz of Moondog and Pharoah Sanders. Grandeza is an intimate exploration of love, the human body, and the vibrant hues of Brazilian music. Recorded between Sao Paulo and New York City, the album's delicate production emphasises Sessa's deep connection to Brazil's musical tradition while pushing into new, understated territory. Sessa is an amazing songwriter, known for his enigmatic and sensuous style. With Grandeza, Sessa solidifies his place as one of Brazil's most promising voices, weaving together a timeless yet refreshingly modern sound.