Review: Beastie Boy Mike D Edit has decided to rework Malian artists Idrissa Soumaoro and L'Eclipse De L'I.J.A. and their track 'Nissodia' - from the 1978 album Le Tioko-Tioko - for this new one on Brighton label Mr Bongo, the second time it has landed on the label, having previously been on The Original Sound Of Mali in 2017 Both tunes are pumping, full flavour Afro jams with screeching melodies and big, jangling, angular guitars all powered by funky beats. Each one is guaranteed to light up any cultured dancefloor.
Review: It would seem we're back on the Christmas card list... 2000 Black supergroup comprising the likes of Dego, Mensah and original Bugz members Lord and Tatham have been slowly ramping up their releases again and this year has seen their largest output yet. Following "Two Way Here One Way Go", "Simmering" proffers three more sublime and silky instrumentals from deeply decorated foursome. "Simmering" is a tight jazz funk jam with a sprung guitar groove spine and a blissful switch into soothing flutes midway, "Private Life" flips for a sunnyside digidub, all spacious and rippling with its breezy keys while "Climb The Sun" brings us back to the funk root note but with rising synth insistency that's bruk to the bone. Simmering now, boiling tomorrow...
Review: Pierre Bastien has a strong team record of interesting collaborations. He's done stuff with fashion designer and scent mogul Issey Miyake, legendary singer and composer Robert Wyatt, and the enigmatic electronic producer and reality-shifter Aphex Twin, releasing no less than three full length records on the latter's landmark label, Rephlex. "A mad musical scientist", the Guardian once quipped, and C(or)N(e)T doesn't break from that tradition. Instead, it offers some of the most abstract and strange, beguiling and fascinating sounds we've heard in a while. At least a few of which have been made on self-made, bespoke pieces of equipment. At a push, you might label this jazz, for the simple fact it's so free-form and avant-garde. Realistically, though, it sounds like the noises that might happen if someone attempted to tame a pack of rogue electronic hubbub-chatting things in a vaguely structured way. "Thank fuck for Pierre Bastien", the Quietus once said. We happily concur.
Review: Polish producer Latarnik and American vocalist Anthony Mills collide on this new album for Polish label Astigmatic to explore lo-fi hip-hop, soul, dub and experimental electronics. Mills's falsetto vocal brings great Neo-soul warmth to Crack Rock with emotionally charged tones soaring over the production which ranges from sugary and 80s-tinged disco and boogie on 'Crack' to deep, seductive and gooey on 'Passive Lover' which is a more romantic sound. Latarnik's work is often minimal yet immersive which creates space for Mills' voice to shine and is delivered in equal parts spoken word, chant and soulful croon. The hypnotic, slow-burning soundscapes that result are both intimate and confrontational, ready to make you dance but also often just to feel. Unapologetically raw and deeply human, this one lingers long after the final track ends.
Dark As (feat The Maghreban & Tamar Collocutor) (4:52)
Tea Leaf Dancers (feat Vince Vella) (3:51)
The Volume Of The Light (feat Jessica Lauren) (4:43)
Review: London spiritual jazz man Emanative is drummer and producer Nick Woodmansey. He has put out some well received albums on Brownswood, The Steve Reid Foundation and Jazzman Records and also tries his hand - successfully - at electronic music. Vocalist Liz Elensky has been part of the project since 2006 and this album finds the duo head in a new direction that delves deep into electronic sounds but with soulful jazz vibrations and contributions from the likes of Rocketnumbernine, The Maghreban and Khalab & Jesica Lauren amongst others. It results in an album that is as alluring as it is inventive.
Review: Ice's early work captures a pivotal moment in funk's evolution, weaving together taut grooves and vibrant African-inspired rhythms. Recorded during the band's formative years, the music brims with raw energy and creative ambition. Polished basslines drive the tracks, while percussion bursts with a vitality that speaks to their Parisian influences at the time. Horn stabs and tightly wound guitar lines add layers of complexity, and the occasional vocal inflection injects a sense of urgency. With each listen, the production reveals new texturesismall details that elevate the record beyond its era.
Review: Popularly known to fans as "Ice" - a rare case of hypocorism in colloquial fan band nicknaming - Strut Recordings document a rare record from the vaults of the luminary Lafayette Afro-Rock Band, one that is arguably the closest in their catalogue to the signature sound defining their earlier work. Marked by an especially complex funk rhythmology, this record was pressed contemporaneously with the infamous Soul Makossa and Malik sessions; but compared to their earlier works, Afro Agban pushes deeper into jazz-rock territory. 'Ozan Koukle' has espceially become a known but coveted missing link for turntable taxonomists, who'll thank their lucky stars for the fact that it is now available in full.
Review: Insane boogie fire from Rio circa 82; both Robson Jorge and Lincoln Olivetti were already decorated before they joined forces, but this one took both of their reputations and amplified them beyond expectation. Their one and only album, it's loaded with soul and funk from every corner of Brazil's sexy city and brought together with beautiful attention to detail; the gradual vocal breakdowns, rude synths and lavish instrumental sections, key cuts such as the Wonder-level "Aleluia", the jazz slides and glides of "Pret-A-Porter" and the sexy 80s electro boogie "Squash" will still completely flip any party 35 years later. Stunning.
Review: Ultra lo-fi stereo funkage from L'Eclair, the latest signage to Swiss label Rock This Town. 'Cruise Control' is a muddy and smoggy six-track instrumental disco-funk EP, with seven members laying down parts on wah-wah, space horn, and synth. It sounds as if a mega-talented disco troupe were performing in the next building, but they could only be heard through thick insulation or some kind of muffling foam. The tone is ultimately pleasing, blurry and cloudlike, as if this were disco beamed to us from heaven as opposed to the material world. The softest cuts, such as 'Safari In D', are our highlights.
Ignore The Man To Your Right (feat Homeboy Sandman) (2:54)
Taken By The Night (3:19)
The Damning (part 3) (1:58)
The Lineup (2:07)
Kicking Glass (2:01)
Kind Of Like Life (2:33)
Revenge & Escape (part 4) (1:29)
I Was Invisible Nothing (3:01)
Death Valley (2:26)
Starry Eyed Balcony Walkers (3:44)
Macabre (part 5) (1:36)
Review: The Night Took Us In Like Family is the first collaborative album from American producer L'Orange and cultured rapper Jeremiah Jae. The Mellow Music label originally released it back in 2015 and it performed well with some fine guest appearances from Gift of Gab and Homebody Sandman. The album is rife with beautiful storytelling from Jae who delivers his ideas in a gangsta rap style but the first-rate beats are more soulful, giving rise to a style the pair called 'noir hop'. They are louche, lo-fi and drawn from the golden era of boom-bap with plenty of smart samples.
Review: La Clave's self-titled album from 1973 is a refreshing mix of Latin rhythms and the vibrant sounds of the city of San Francisco. Formed by nine musicians from Mexico, Panama, Cuba and Puerto Rico with Benny Velarde at the helm, the group blended their rich cultural backgrounds with the soulful and experimental music scene of the Bay Area during that period. This unique mix created a joyful, energetic sound that still lures you in to this day, which is why this mini-classic gets reissued as part of the Verve By Request series.
Review: La Retreta Mayor hail from Venezuela and includes members such as trumpeters Lewis Vargas and Jose Diaz, saxophonists Nelson Hernandez, Benjamin Brea and Rolando Barbosa on trombone amongst others. This self titled album is the only one the short-lived outfit ever released and it came in 1976. It's a fine fusion of jazz and funk with plenty of Latin flair and rich percussive layers, lead wind instruments and danceable disco grooves that bring real colour and vitality to the dance floor. Originals are hard to find and expensive so this is a timely reissue.
Review: Across a run of three outstanding EPs since 2017, Yazmin Lacey has slowly and steadily brought her cool and assured strain of neo soul into earshot, regularly popping up on festival line-ups and aligned with a resurgent UK jazz scene. Now we finally get to hear her stretch out on an album which takes its inspiration from the raw honesty of voice notes as a means of communication. Teaming up with the likes of Craigie Dodds, JD.REID, Melo-Zed and executive producer Dave Okumu, she's more than delivered on her promise with an outstanding, deep and nuanced album that hits true from the first beat to the last breath.
Not For You (feat Alyssa Marie & Jack Tyson-Charles) (3:17)
Browsing YouTube (2:40)
Go Free (3:51)
Review: Lack of Afro has spent two years battling addiction and a marriage breakdown, but is now back with a new album that very much finds him in superlative form. Square One comes on his own label, Bastion Music, this September and was written with inspiration found during a trip to the United States to produce in the famous FAME Studios at Muscle Shoals. What results is an album full of light, hope and optimism that the good times will return. The outputting of love and devotion comes with big horns and organs, plenty of heart swelling emotion and much more.
Review: Steve Lacy is an LA-based songwriter best known as guitarist for The Internet as well as producing for Kendrick Lamar amongst others. After releasing his debut solo album Apollo XXI in 2019, he returns with a sophomore effort which expands on his broad-reaching vision of psychedelic soul. Like a modern day Shuggie Otis he knows how to bridge the gap between disparate musical camps, displaying a powerful pop instinct while keeping things kinked and quirky throughout. Lead single 'Bad Habit' is a sweet, sentimental anthem that should appeal to all and sundry, and it's a perfect gateway into an album brimming with future classics.
Review: In October 2024 Lady Blackbird, producer and guitarist Chris Seefried, Foundation Music label head and A&R Ross Allen and Blackbird's travelling band of Kenneth Crouch (keys), Tamar Barzilay (drums) and Johnny Flaughers (bass) took a break from extensively touring her prior album, Black Acid Soul, to lay down several tracks in Los Angeles. Decamping for a week-long recording session in the legendary recording studio complex East West, the fable goes that an uninterrupted spate of session magic ensued, out from which five acid jazz and soul bursters sprang forth. A curt selection of just five tracks, of which there were many more recorded during the LA session, the likes of 'Purify', 'It Must Be Love' and 'When The Game Is Played On You' span the whole gamut of modern soul, from the bright to the bare-bones but beguiling.
Review: Slang Spirituals is soul singer and producer Lady Blackbird's latest full-length album, following up the EP of the same name released earlier in 2024. A collaborative wall of sound, scaled in collaboration with producer and guitarist Chris Seefried - as well as her very own, devoted session musical retinue, consisting of Kenneth Crouch (Keys), Tamar Barzilay (drums) and Johnny Flaughers (bass) - this bright, yet equally, extimately melancholic record is a twin paean to two superficially opposed themes: soul-purgation and soul-complication. 'Let Not' and 'Purify' make up the former front face, heliolatrically facing up to the brighter sides of life with yellowed guitar fuzzes and boundless vocals, while B-siders 'Whatever His Name' and 'When The Game Is Played On You' prefer to explore the darker side of the moon, deploying various mellotrons, pump organs and cross-sticks to acoustically muse on the inverse pains that are betrayal, longing, and graft.
Review: Strut proudly presents the first official remastered reissue of Lafayette Afro Rock Band's funk/Afro classic, Soul Makossa from 1973. Originally known as the Bobby Boyd Congress, the seven-member Afro-American ensemble relocated from the U.S. to France in 1971. After lead singer Bobby Boyd returned to the US, the group rebranded as Ice and collaborated with producer Pierre Jaubert, whose credits included work with Charles Mingus and John Lee Hooker. Inspired by Motown's work ethic, Jaubert initiated daily rehearsals, leading to the band's unique sound. Immersed in Paris's African-dominated Barbesse district and frequently performing with Cameroonian composer Manu Dibango, the group evolved into Lafayette Afro Rock Band, embracing a heavier, more intricate Afro-funk style. Their debut album, Soul Makossa, featured a dynamic rendition of Dibango's classic, alongside the intense break of 'Hihache' and the infectious 'Nicky.' This meticulously crafted remaster by The Carvery from the original tapes includes the full original artwork, celebrating an iconic album's legacy.
Review: Strut proudly presents the first official remastered reissue of Lafayette Afro Rock Band's elusive funk/Afro original album, 'Malik,' originally released in 1974, on Limited Edition coloured vinyl. In 1971, the seven-member Afro-American ensemble, initially known as the Bobby Boyd Congress, moved from the U.S. to France. Bandleader Frank Abel recalls, With lead singer Bobby Boyd's return to the US, the group rebranded as Ice and collaborated with independent producer Pierre Jaubert, who had worked with legends like Charles Mingus and Archie Shepp. Inspired by Motown's work ethic, Jaubert initiated regular rehearsals with Ice. The band, immersed in Paris's African-dominated Barbes district, began infusing African elements into their music, often performing with Cameroonian composer Manu Dibango. As the Lafayette Afro Rock Band, they shifted to predominantly instrumental compositions with a dense Afro-funk sound. Their debut as Lafayette included 'Soul Makossa' and the impactful break in 'Hihache.' A year later, 'Malik' refined their sound with tracks like the percussive 'Conga,' atmospheric 'Djungi,' and robust 'Darkest Light.' Though initially limited in impact, 'Malik' gained appreciation as hip-hop culture flourished in the 80s, becoming a rich source of samples. This remastered reissue, crafted by The Carvery from the original tapes, has the full album and original artwork.
Review: On Good Together, Lake Street Dive embraces a renewed sense of purpose and focus on unity amidst social divisions. Described as "joyful rebellion", the album blends energetic, danceable sounds with a defiant, principled message that makes a long-lasting impression. "There's so much pain and division but living in anger isn't sustainable," drummer Mike Calabrese explains adding, "Joy is a powerful way to sustain yourself, and we wanted to remind people of that." The album he has made with his bandmates was produced by Grammy-winner Mike Elizondo and is the first time they collaborated on songwriting from the start. In turn, this expanded their creative range and has brought a new depth to their sound.
Review: Lakeside's Fantastic Voyage dates back to 1980 and is also the name of the number one hit the Dayton, Ohio group had in 1981. The song topped the r&b chart and marked their one and only ever entry on the Billboard Hot 100, peaking at number 55. Sample hounds may know that hip-hop star Coolio used parts of this song for his own hit of the same name in 1994. The rest of the tunes are just as much a great and funky fusion of soul, disco and r&b with great vocal harmonies, guttural male growls and infectious drums.
Review: Lakeside - perhaps the unsung counterparts to Kool & The Gang (though they were just as great) - are routinely hailed as one of the earliest purveyors of funk-disco in its entirety, and we can more than believe that when taking in their fifth album from 1981, Your Wish Is My Command. Hugely ahead of its time, the production on this album is unmatched, with bombshell beats and ultrafilterswept synths making for unparalleledly glitzy backdrops for the Ohio nine-piece's watertight ows and yowzas. Our faves from this classic have to be 'Something About That Woman' and 'The Songwriter', the beats on which land like shoulder-slaps. Also, notably, this album features a rare hidden rerub of the Beatles' 'I Want To Hold Your Hand', which sets total fire to the original.
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