Birdz Fly The Coup (feat Phonte & Keisha Shontelle) (4:26)
U Wonderin (feat Rapper Big Pooh & Sean Price)
Out Of Town (feat LEGACY & Joe Scudda)
I Don't Know Why (feat Keisha Shontelle) (2:11)
Money Makes The World Go Round (feat Starang Wondah) (1:42)
Review: Great hip-hop has often been defined by collaboration and Chemistry by 9th Wonder and Buckshot is a testament to that. The album, released on June 21, 2005 through Duck Down Music as a part of the label's "Triple Threat Campaign", showcases the seamless synergy between 9th Wonder's soulful production and Buckshot's sharp lyricism. Each track shows off their undeniable chemistry, with smooth beats and introspective rhymes that captivate from start to finish as muse on everything from introspective reflections to social commentary, all with precision and depth. With its cohesive sound and thoughtful lyricism, Chemistry is a must-listen for fans of both artists and the genre as a whole.
Review: Know What I Mean? is a sublime collaboration between two jazz giants. Released in 1961, it showcases the unparalleled musical chemistry between Adderley's exuberant alto saxophone and Evans' masterful piano. With tracks like 'Waltz for Debby' and 'Elsa,' it blends lyrical melodies with inventive improvisation to mesmerise the mind while Adderley's dynamic energy contrasts beautifully with Evans' introspective style. That captivating interplay highlights the best of both musicians and means this album is a timeless gem in the jazz canon that is rightfully celebrated for its sophistication.
Garbology(gatefold coloured vinyl 2xLP + MP3 download code in spot-varnished sleeve (comes in different coloured vinyl, we cannot guarantee which one you will receive))
Review: Aesop Rock x Blockhead's Garbology album was a huge success and so it makes sense that the label now follows it up with a new issue of the instrumentals. It's a tidy package across four sides of coloured vinyl in a nice spot-varnished sleeve. Musically it is a brilliantly mixed bag that takes in myriad niche sounds and styles. The opener is a deep soul cut with pensive chords while 'Jazz Hands' (Instrumental) suspends you in swirling synths and spring-day optimism and 'Wolf Piss' (Instrumental) has heavier, darker beats and more menacing string sounds.
Review: Next up on Outer Place Records is the fifth installment coming from the vault of Meister Bert Ashra, a veteran from Berlin's '90s underground scene who is still active in the city today. His solo project B. Ashra has existed since 1993 as a live act, DJ, composer, sound designer and mastering engineer. He's been known to delve into ambient, experimental, soundscapes, trance and techno, as well as deep house and electronic jazz. Much of the aforementioned is explored on the Eyes In The Sky EP: from the deep 303 swing of 'Space Rock', the chill downtempo electronica of 'Give Me Contact', to the heady acid house of 'The End Of Rain' and the hypnotic techno of 'Sputnik'.
B-STOCK: Sleeve damaged and dirt on sleeve but otherwise in excellent condition
Space Rock (9:33)
Give Contact (5:57)
Deadline (7:50)
The End Of Rain (5:39)
Sputnik (9:16)
Eyes In The Sky (10:58)
Review: ***B-STOCK: Sleeve damaged and dirt on sleeve but otherwise in excellent condition***
Next up on Outer Place Records is the fifth installment coming from the vault of Meister Bert Ashra, a veteran from Berlin's '90s underground scene who is still active in the city today. His solo project B. Ashra has existed since 1993 as a live act, DJ, composer, sound designer and mastering engineer. He's been known to delve into ambient, experimental, soundscapes, trance and techno, as well as deep house and electronic jazz. Much of the aforementioned is explored on the Eyes In The Sky EP: from the deep 303 swing of 'Space Rock', the chill downtempo electronica of 'Give Me Contact', to the heady acid house of 'The End Of Rain' and the hypnotic techno of 'Sputnik'.
Review: Pink Siifu and Ahwlee are the rap, neo-soul and r&b duo B. Cool-AID and this is their new album on Lex. Leather Blvd is a woozy and lo-fi late-night trip through a range of narcotic atmospheres. The raps range from slurred and drenched in reverb to more crisp and well-defined as tracks range from short and sweet to epic and sprawling. There is a real intimacy to this record as well as a borrowing from jazz as these tracks unfurl and slowly make their way into your affections. It is another great coming together of this contemporary pair.
Review: Hardanger is a collaboration between Mariska Baars, Niki Jansen and Rutger Zuydervelt. Named after Jansen's Hardanger fiddle, the album expands on Baars and Zuydervelt's established chemistry after beginning as Jansen's improvisations with Baars adding vocals and guitar, all later shaped by Zuydervelt into two long-form tracks-one an electro-acoustic collage, the other more meditative. Baars blends ambient and folk and is known for collaborating with artists like Peter Broderick, while Jansen is a folk violinist and Zuydervel's prolific output as Machinefabriek is well worth checking as are his film scores and collabs as Piiptsjilling and Fean with Baars.
Circus II (feat Yusuke Sase & Weedie Braimah) (4:41)
88 (feat Bigyuki) (1:23)
Reprise (feat JK Kim) (1:09)
Review: Electric Rider marks a major release from saxophonist Tomoaki Baba, celebrated for his role in the Blue Giant soundtrack. A Berklee alum who's performed with Takuya Kuroda and 'J-Squad,' Baba teams up with co-producer BIGYUKI, blending saxophone, keyboards and drums in a tight trio format. The album's original compositions showcase Baba's skill and chemistry with BIGYUKI, featuring a vibrant fusion of jazz and contemporary influences. Involving guests like JK Kim on drums and ermhoi, Electric Rider is a powerful statement from one of Japan's most notable jazz talents.
Review: Byron Bay 60s-psych revivalists Babe Rainbow are the first band to be signed to King Gizzard & The Lizard Wizard's newly created p(doom) Records. When they announced this album at the end of 2024, with the release of single 'Like Cleopatra', it was the label's inauguration. The mystery in all of this, though, is how one earth does King Gizzard find the time to run a label when they release album as quickly as Mo Salah scores goals? Anyways, they clearly have a great ear as they've done the right thing in putting out this album of psychedelic acid pop, with its lysergic jams 80s synth-funk workouts. For all its nostalgia, there are parallels to more modern neo-psych bands that are really appealing, too. 'Aquarium Cowgirl' could have been a great release for the now disbanded London-based band Childhood, thanks to the reverb-y transcendental falsetto and floaty layers of dreamy guitar. Ultimately, this is a great, uplifting mood antidote to all the post-punk and shoegaze that's cornering the market at the moment.
Review: Live In Montreal documents a live performance by the towering rock titans Babe Ruth in April 1975, at which point the band consisted of a total of four out of its five original members. Formerly only available via internet archive sites or in inferior quality, this rather legendary concert brought with it a nigh demonic energy, with the English hard rockers laying down one of their best documented performances by way of gnarly vocal snarlage from lead singer Ellie Hope and prime shreddage from the likes of Bernie Marsden and Ray Knott. The band notably broke the USA and Canada; Live In Montreal is a testament to their popularity across the Atlantic, and hears a full-quality restoration of some heavy live renditions of such greats as 'Wells Fargo', 'Sad But Rich', 'Black Dog' and 'A Fistful Of Dollars'.
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