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Review: Based in London, UK, but originally hailing from Argentina, Malena Zavala is nothing if not disinterested in picking a style and sticking with it. Following on from her 2018 debut album, 'Aliso', 'La Yarara' again sees her combining some bold and often disparate genres, and playing with language - Spanish and English - to dazzling effect. The result being a record that's devastatingly effective and equally original. 'What If I' is a positive, upbeat and hypnotic pop lullaby. 'Compay' is saturated in a bluesy atmosphere, melding this with downtempo electronica. 'I'm Leaving Home' is a lackadaisical, whispered slice of reflective chill out. The title track is South American exoticism, canned and then opened on record. A huge talent diving deeper into sonic possibilities, and following what sounds good rather than familiar.
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Review: Album number six from the Ruffians certainly means business. Honest and painfully on-point in terms of overarching themes, its sonically highly polished and - while not a concept record - incredibly well conceived as a coherent whole. A rock 'n' roll offering that grabs your body to make it move while boring into your mind and soul to make you think and feel. Word on the street is this was some three years in the making, and it certainly feels like an un-rushed process will have led to this package. Tracks kick and punch in all the right places, but they never forget the need for balance, peaks and troughs. It's more than likely that you'll walk away from this with the scale of the anthems cemented to the mind, though, rather than the more tender moments. After all, it's a masterclass in major key melodies, and a striking example of the powerful effect those have on listeners.
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Review: Hands up all of those who expected UK garage legend MJ Cole's first album in 17 years to be an ambient set with neo-classical intentions. While on the surface it may seem like an odd move, he says that it has been "gestating" his "whole life", though in the end he apparently recorded it fairly quickly. Musically, it's well worth a listen, with Cole cannily combining sweeping strings, jazz style double bass, fluid piano solos, opaque ambient chords and very occasional rhythms to create compositions closer in tone to film soundtracks and conceptual neo-classical pieces than the sweaty, soul-fired club bangers he's long been renowned for. Judged purely on musical terms rather than his previous career, it's a hugely impressive achievement and well worth a listen.
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Cat: POB046 CD. Rel: 11 Oct 19
Folk/Americana
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Review: Tony Allen is on record as saying that The Source, his first album on iconic jazz label Blue Note, is the best recording he's made. Given his length of service and vast discography, that's a bold claim. Certainly, it's a fine album, with the legendary drummer and his selected musicians - mostly jazz players from Paris, plus a Cameroonian guitarist and previous Allen collaborator Damon Albarn on one cut - effortlessly blur the boundaries between Afrobeat and the kind of jazz pioneered by Allen's percussion heroes Art Blakey and Max Roach. It's a brilliant hybrid that fits Allen's unique style of drumming like a glove, and there's no doubt that the former Fela Kuti sticks-man is the real star of the show.
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Cat: WIGCD 339. Rel: 11 May 18
Indie/Alternative
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Review: Olden Yolk are fresh psychedelic pop-rock-folk and downbeat-pop duo Shane Butler and Caity Shaffer outta New York. Bringing together stomp boxing guitar rhythms with synthesized sounds, space echoes and other trippy textures, the band's work finds itself in a middle ground that's somewhere in the midst of The Go-Betweens or Yo La Tengo. "Living Theatre" presents the pair with their second album and it follows last year's self-titled LP, this time delivering hypnagogic folk and kosmische rhythms, expanding and refining Butler's work with former band Quilt. Our picks being the dreamy episode in "Meadowlands" and the shoegazing surf folk of "Grand Palais".
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Review: Over the last few weeks, Jazzman's ongoing "Holy Grail" reissue series has focused on obscure but in-demand albums from the Fable Records catalogue. The latest to get the deluxe reissue treatment is Steamheat's "Austin Funk", a 1975 set that's notably harder and funkier than the Texan label's usual jazz-funk fare. Of course, there are still plenty of jazz-funk flourishes to be found amongst the soulful vocals, crunchy clavinet lines, fast-tempo grooves and heady horn lines. Our picks include the low-down deep funk headiness of "Radiator", the fizzing brilliance of "Body Talk", the harmonic jazz guitar, horn and electronic piano solos of "Ghetto Tool" and the eyes-closed, in-the-zone madness of closing cut "Frozen Tundra Lady".
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Review: There have been plenty of column inches devoted to this collaborative debut album from hyped producer Kamaal Williams (AKA Rhythm Section International sort Henry Wu), and fast-rising Afrobeat drummer Yussef Dayes. With such raw talent to choose from, it's little surprise to find that Black Focus is as good as the critics claim. Their sound is distinctive: a London-centric take on jazz-funk that's loose, rich, organic and shot through with soul. Their major influences seem to be the work of West London broken beat pioneer Kaidi Tatham, and his inspiration, jazz-funk legend Herbie Hancock. These touchstones, combined with Dayes' brilliant drumming and Williams' superb synth solos and jammed-out Rhodes lines, makes Black Focus a hugely alluring set.
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Cat: FAT 975CD. Rel: 07 Apr 17
Indie/Alternative
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Review: Breaking from their exceptional soundtrack work of late, the infallible Scottish post-rock behemoth Mogwai have returned to the studio for their ninth full-length. 'Every Country's Sun' is a whirlwind album whose sheer impact hinges on its powerful use of contrast, most likely evident of their recent film and television score work. Passages of atmospheric calm give way to loud cascading floods of aggression without sounding trite, forced or clumsy, and a more polished use of electronics further accentuates the band's tonal variety. From the spatial futuristic opener 'Coolverine' to the album's grinding and mechanical climax, 'Every Country's Sun' feels like a score for a film not yet made, following all the highs, lows, twists and turns of narrative told by a band continuing to showcase their deft and controlled writing.
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Cat: 773775 5. Rel: 15 Mar 19
Broken Beat/Nu Jazz
Review: With their penchant for off-kilter psychedelic explorations, deep-rooted spiritual jazz excursions and cacophonous, otherworldly workouts, The Comet Is Coming is undoubtedly one of the most groundbreaking and essential jazz combos of recent times. It's for this reason that "Trust In The Lifeforce Of The Deep Mystery" - their first outing on legendary jazz label Impulse - feels like an event release. It is another stunning album, with the inspired trio flitting between sweaty, dancefloor-ready tracks soaked in psychedelic electronics and more melodious, laidback numbers that sail closer to traditional jazz pastures. Throughout, the level of imagination, creativity and uniqueness remains dizzyingly high.
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Review: London's krautrock, prog, electronica, free jazz and funk rock fusion specialist returns with his fourth full length for the mighty City Slang! "Depayse" remains fully laced with Ahmed Abdullahi Gallab's subtle Sudanese flair, singing praises and the word of love in "Everyone". The title track sees ambient jazz percussion give a giant runway for a massive guitar solo to take flight while album closer "Mango" delivers something of a West London-Caribbean vibe. In between is an album full of dips and climbs through the hill tops of a sunny afternoon somewhere in the feel-good malaise of Sinkane's multi-instrumental talents.
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Review: Roisin Murphy seems to be getting more prolific with age. It's less than a year since the release of the critically acclaimed off-pop thriller Hairless Toys, and the Irish artist and former Moloko singer is ready to release the follow-up. Where its predecessor was bold, brassy and cheery, Take Her Up To Monto is an altogether more atmospheric affair, arguably closer in feel to her work with Moloko during the late '90s and early 2000s. Musically intriguing and largely downtempo in tone, it sees Murphy taking her left-of-centre take on pop in eccentric and evocative new directions. Even the album's most obviously upbeat moments - such as the cheery "Romantic Comedy" - feature musical backdrops that bristle with leftfield ideas and fuzzy, off-kilter electronics.
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