Review: Originating from Hameenlinna, Finland, the DJ and producer duo Tuure Tammi and Juha Sarkkola are The Blassics. What started as a small instrumental funk project has since grown into a nine-piece instrumental band and that aims to distil the energy of their live shows into equally captivating records. Their style harks back to rough original funk 7" and draws on Afrobeat and jazz. Breaks & Juicy Takes is their new LP and one with 11 brilliantly infectious blends of broken beat, dub and nu-jazz and it's a lively, vibrant blend of hooks, basslines and melodies that will never grow old.
Review: Top class New York producer Tony Simon has been delving into his archives to serve up reissues of a load of his most crucial albums. From the turn of the millennium onwards, he was a pivotal beat maker, joining the dots between instrumental hip-hop, trip hop, jazz, broken beat and downtempo in his own unique way. Downtown Science manages to be both organic and earthy yet synthetic and futuristic all at once, with real instrumentation and great vocal samples next to killer drums.
Review: Blockhead is New York producer Tony Simon, a revered talent who has put out a wealth of crucial albums. They are all getting reissue treatment now as some are almost 20 years old, but they have weathered that time well. Music By Cavelight is another of his masterful takes on broken beat and nu-jazz and this one comes on nice orange-marbled wax. It peaked at number 43 on the UK Independent Albums Chart back in 2004 when it first landed and it only came to be on Nina Tune after its original label stopped answering the artist's calls.
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: Polish experimentalists Bloto consider themselves indebted to the hip-hop and trip hop of the 90s, particularly the atmospheric cuts that stuck out of the ends of otherwise harder-hitting records. Staying true to the work ethic of the titans that preceded them, the band laid down three full-length records in 2020 before then jetting off on tour; only now in 2024 does Grzybnia follow as its the fourth prong on what was originally thought to be a trident. 'Grzybnia' is the Polish word for mycelium; this record is just as decidedly decompository in sound, its ad-hoc use of electronic and live drumming - wherever each might be needed best - sounding like the sinewy, by-any-means-necessary action of a fungal hypha, rootling deep into soils to unearth what might still lie dormant there. The live jazz, trip-hop and hip-hop admixture here is a real Frankenstein, 'Shiitake' standing out amongst the chitinous caps; Bloto consider it a response to an "unstable modern world that is breaking apart into pieces", and in which mycelium offers a powerful model of the potential resilience of life despite it.
Review: Sizzling-hot hip-hop duo Blue Lab Beats are on everybody's lips now, thanks at least in part to the announcement of their latest full-length album, Blue Eclipse. Heralding an exciting new era for the duo, these 12 songs reveal the depth and breadth of producer NK-OK, and multi-instrumentalist Mr DM's musical ambition. Throwing back to their debut EP 'Blue Skies', which even pre-dates their involvement with record labels, Blue Eclipse signals a circling back to their origins while also embracing the new; the pair's usual jazztronica remit is lent the utmost contemporary spin, with notes of drill, neoclassical, trap and Jersey bounce - all still prevalent styles - peeking through in these latest productions.
Review: Rug Island, pressed on sunset orange vinyl, is the latest musical adventure from Bluey, following the success of Dance Mode! and featuring 16 brand new tracks from the beloved series. Crafted by Joff Bush and the Bluey Music team, the album draws from episodes across seasons 1, 2, and 3, inviting listeners to explore the boundless imaginations of Bluey and Bingo. Inspired by the Rug Island episodeia whimsical place where children's fantasies come alive and adults reconnect with their inner childithis album brings that playful spirit to life. Highlighted singles include 'Octopus,' a dynamic rock collaboration with King Stingray, the lively 'Onesies,' and the fresh 'Bluey Theme Tune (Vocal Version).' Other standout tracks include the nostalgic 'Fairytale,' the sea shanty-inspired 'Explorers,' the energetic 'Muffin Drive,' and the tender 'Turtleboy.' The album sleeve features a scene from Rug Island, with a reverse side that connects to previous releases, forming a panoramic view of the Heeler family's home. Rug Island is a delightful addition to any Bluey fan's collection, full of joy and imagination.
Giorgio Tuma - "Through Your Hands Love Can Shine" (with Laetitia Sadier) (4:11)
Superimposers - "Seeing Is Believing" (4:05)
Cecilio & Kapano - "Someday" (3:35)
Teacher - "Can't Step Twice On The Same Piece Of Water" (6:19)
Kalima - "Shine" (Vibrazonic dub mix) (8:57)
The Haggis Horns - "The Traveller" (part 2) (8:25)
Review: A quarter of a century has passed since Jason Boardman and Moonboots threw their first 'anything goes' Balearic Sunday session. Aficionado, as the event became known, is now an institution in Manchester, making this celebratory compilation a special one. It boasts two previously unreleased cuts - J-Walk's sparkling 'Cool Bright Northern Morning' and a deep Begin remix of 'Alaska' by Canyons - with the rest of the 16-track set being made up of records that "mean a lot" to the two DJs and their audience. The selections are simply sublime, with our current picks of a very strong bunch including the neo-acoustic brilliance of Stanley Clarke's 'Desert Song', the turn-of-the-Millennium nu-Balearic excellence of Mudd's 'Summer in the Wood', and the baggy 'global beat' fun of 'Can't Step Twice (On The Same Piece of Water)(New Version)' by Teachers.
Review: The traditonal way to start a review of any Micko Westmoreland release - and with as is to point out that he's best known for playing Jack Fairey in the mock glam documentary Velvet Goldmine, but with a second strong album in his new, flanked -by-legends incarnation and some highly memorable video promos featuring a succession of alternativ ecomedy greats, that could well be changing. Expect spiky English podst-punk songwriting a la XTC or even Pulp, with recent singles 'Autosexual' and 'What's In A Name' (which includes guest vocals from Kevin Eldon numbering among the highligths.
Review: Mongolian hip-hop producer Bodikhuu has never been to Rio but this is his lovely letter to the city he has often dreamt of. He has a love of the great Joao Gilberto and armed with that and a worm out MPC he set to work, laying down tropical beats and sunny melodies. The result became an instant classic and spawned a number of tunes that went on to pick up more than a million streams. It's a record that excites the imagination as well as warming the soul and this version comes with superb original artwork designed by illustrator David Burnett on a lovely splatter-coloured vinyl inspired by its own cover.
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: Simon Greene aka. Bonobo is set to put forth yet another album from his own personal ether; 'Fragments' was born from actual sonic 'fragments' that were later repurposed into twelve full 'sonic affirmations'. A later escape into the wilds of California's deserts formed the bulk of this album's downtempo magnum opi; watch out for collabs with a foray of world-downtempo electronica acts including Jamila Woods, O'Flynn and Miguel Atwood-Ferguson. One of his most heartfelt albums, expect all from lilting future garage ('Rosewood') to rave-nostalgic slow builds.
Review: Simon Greene aka. Bonobo is set to put forth yet another album from his own personal ether; 'Fragments' was born from actual sonic 'fragments' that were later repurposed into twelve full 'sonic affirmations'. A later escape into the wilds of California's deserts formed the bulk of this album's downtempo magnum opi; watch out for collabs with a foray of world-downtempo electronica acts including Jamila Woods, O'Flynn and Miguel Atwood-Ferguson. One of his most heartfelt albums, expect all from lilting future garage ('Rosewood') to rave-nostalgic slow builds.
Benedict Cumberbatch - "Flat Of Angels" (part 3 - exclusive Spoken Word piece)
Review: Given his impeccable downtempo credentials, you'd expect Bonobo's Late Night Tales mix to be one of the finer installments in the series (and that's saying something). Predictably, it is. Sweet, sensual and atmospheric, with plenty of unlikely gems and forgotten classics for the heads to enjoy, it surprises and impresses with each successive track. This vinyl edition features 17 of the tracks unmixed (naturally) and lifts out many highlights. His own cover of Donovan's "Get Thy Bearings" is particularly revelatory - string drenched, hazy, atmospheric and, of course, immaculately produced - but there are many other gems. Check Darondo's classic heart breaker "Didn't I," the smoky reggae-soul of Nina Simone's "Baltimore", and the enveloping intimacy of Shlohmo's "Places". Do seek out Benny Cumberbatch's spoken word turn at the end too! (mp3 download code for the full release included).
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.
Review: Rome label Maledetta Discoteca Records encouraged a bunch of talented local musicians to get together and play live, embrace spontaneity and do their improvised best. What results is this new record, which is funk at its core, but which is coloured by so much more around the edges. Recorded in the historic Auditorium 900 studios with sound engineer Fabrizio Piccolo, the record takes in everything from 70s instrumentals to progressive funk, Hispanic rock and more with all manner of wah wah guitars, synths and organ bringing each groove to life in tiles fashion.
Rush Hour/Elegua (feat Kevin Haynes Grupo Elegua) (3:03)
Frontline (feat Kevin Haynes Grupo Elegua) (6:14)
Rye Lane Shuffle (4:25)
Drum Dance (4:55)
Axis Blue (5:05)
City Nocturne (feat Zara McFarlane) (4:39)
Waiting On The Night Bus (feat Terri Walker & Louis VI) (5:36)
Marooned In SE6 (feat Kevin Haynes Grupo Elegua) (4:49)
Ancestors (feat Kevin Haynes Grupo Elegua) (3:07)
Review: Moses Boyd is one of the driving faces behind the thrilling revelations in contemporary jazz in London in recent years. Back in 2015, he dropped Displaced Diaspora, a collection of music that was written during the same sessions that produced his hit Rye Lane Shuffle. The album features fellow pivotal nu-jazz peers in the British scene including Theon Cross, Nubya Garcia and Nathaniel Cross. It also showcases British soul vocalist Terri Walker at her best, saxophonist and Bata player Kevin Haynes with his Grupo Eleggua, and razor-sharp rapper Louis VI. Though jazz is the foundational sound, Yoruba chants, hip-hop and electronica are all mingled to make for a sonic stew that reflects the fresh and evolving sound of contemporary British music.
Review: Brainstory's sophomore album, Sounds Good, marks a significant evolution for the LA-based trio. From signing with Big Crown Records to navigating the challenges of COVID, they've honed their craft and tightened their sound. Produced by Leon Michels, the album showcases Brainstory's expanded brotherhood and their ability to blend genres seamlessly. Tracks like 'Nobody But You' and 'Peach Optimo' reveal new facets of their musical range, while 'Gift Of Life' delves into existential themes with haunting beauty. With contributions from Claire Cottrill on 'Hanging On,' and introspective tracks like 'Too Yung,' Brainstory delivers a deeply personal and musically rich experience. Sounds Good is not just an album title, but a testament to Brainstory's growth and the genuine bonds that fuel their artistry.
Review: Neville 'Breeze' McKeith is undoubtedly a legend of Black British music - albeit one not known to the majority of listeners. His CV is impressive; as well as being a founder member of jazz-funk outfit Light of the World, McKeith was also an integral member of Beggar & Co (known for disco hit '(Somebody) Help Me Out') and currently wields his guitar for The Brit-Funk Association. Unusually, this is only his second solo album, and arrives 41 years after his first. It acts as a showcase for his virtuoso guitar playing (he switches between lead, rhythm and acoustic guitar across the set), offering a mix of jazz-funk, fusion, contemporary jazz and soul songs and instrumentals. It's mostly new original material, but wisely McKeith has also included a handful of rather good interpretations of classic cuts.
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.
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