Review: Kamaal Williams has described The Return, his now reissued debut solo album, as "a natural evolution from the Yussef Kamaal project". Yet while that was made in collaboration with drummer Yussef Kamaal and played around with jazz in its myriad forms, The Return sees the man sometimes known as Henry Wu stamp his own mark on proceedings. So while "visionary jazz" (as the press release puts it) is his aim, this manifests itself in a range of ways. Contrast, for example, the leisurely jazz-funk flex and stoned feel of opener "Salaam" with the more groove-driven, dancefloor vibes of "High Roller", where sinewy strings tumble down over hip-hop influenced live house beats, meandering Herbie Hancock style synths and a superb bassline.
Review: Eliphino continues to explore his emotionally charged, modern sound with this new mini LP for Secretsundaze. Following the trend laid out by his previous turns on Hypercolour, The Love Below and Meda Fury, he unfurls a richly harmonic sound that places emphasis on melodic progression to tell a particularly personal story, ranging from the emotive "Studio Time" to the crooked break-flecked "Old Lemons". "Second Sunday" flirts with electro and "Breaking Up Is Hard" veers towards jungle, but throughout Eliphino's personality binds the record together in fine style. Thoroughly contemporary and unbounded by genre restrictions, this is the sound of someone making the record they want to make.
Review: Perpetual Rhythms continue to offer up fresh variations on the deep house formula with this classy new drop from Taelue. Crooked electro experiment "The 4th Dimension" opens the record up to any number of possibilities, before the forthright pump of "Twin Flame" locks things into a haunting workout. "Rage Against Oppression" takes things in an angrier direction, all ragged and snarling production values with an acid-techno leaning. "A Bleak Moment" provides more space for exploration away from the floor, and then "The Sunken Place" sinks into sinister soundwaves driven by a nervy arpeggio. "Reflections" finishes the EP off with a trip into slow, spaced-out, acidic ambience.
Review: Two years on from their last outing of note - the deliciously melodic and atmospheric "Elephants EP" - PHCK returns to All Day I Dream with a surprise debut album. The German trio is in fine form throughout "More Than A Machine", effortlessly moving between the hazy, slow burn dreaminess of glassy-eyed opener "Heaven's Gate", the deep Afro-house shuffle of "Whiteout", the tech-tinged ambient house hypnotism of "A Flock", the chiming melodies and hushed grooves of "Harps" and the hard-to-pigeonhole flex of "Essential Return", where a metronomic drumbeat is overlaid with metallic Indonesian instrumentation and woozy freestyle vocals.