Back catalogue: All genres

Review: The Reflex's multi-track re-edits are always on point, but those he's created for Salsoul Records have generally been impressive even by his high standards. This third double-pack of 'ReVisions' (as he calls them) contains two of his best Salsoul reworks yet: a thrillingly stretched-out take on Gazz's 'Sing Sing' that sees him cannily showcase some of the track's key elements in turn before unleashing the familiar bassline, breaks and vocals, and a fabulously spaced out 'Cosmic Dub' of Rafael Cameron's early electrofunk classic 'Boogie's Gonna Get Ya'. That too, has a big build, making the introduction of the bassline and Cameron's chorus vocals a genuinely breath-taking moment. The EP also contains a solid take on a lesser-celebrated Cameron tune, the more disco-fied 'All That's Good To Me', and a Tom Moulton-esque take on Edwin Birdsong's 'Win Tonight'.

Review: The Last Poets, pioneers of revolutionary spoken word and proto-rap, return with a powerful new album that blends their fiery lyricism with the infectious rhythms of Afrobeat. 'Africanism' sees the legendary duo, Abiodun Oyewole and Umar Bin Hassan, collaborating with a stellar cast of musicians, including the late Tony Allen, Prince Fatty, and members of Seun Kuti's Egypt 80. The result is a potent and timely exploration of social and political issues, delivered with the same raw energy and uncompromising spirit that has defined The Last Poets' music for over five decades. Abiodun revisits classics like 'When The Revolution Comes' and 'Gash Man', their messages of social justice and self-empowerment still burning bright. Umar's 'Niggers Are Scared Of Revolution' and 'Just Because' remain as potent and provocative as ever, their unflinching commentary on race and inequality cutting through the noise of contemporary discourse. The album's musical landscape is equally captivating, with Tony Allen's polyrhythmic drumming providing a driving force, complemented by the soulful melodies and intricate arrangements of the contributing musicians. A powerful reminder of the transformative power of music and spoken word.

Review: El Grupo Renacimiento, the brainchild of Colombia's Meridian Brothers, offers a fantastical journey into a surreal world where salsa meets Kafkaesque transformations. Led by the versatile musician Eblis Alvarez, Meridian Brothers have long blurred the lines between avant-garde experimentation and traditional Latin rhythms, including Colombia's cumbia. With El Grupo Renacimiento, Alvarez and his collaborators craft a whimsical playlist that touches on themes ranging from anti-police protest to addiction and broken love, each track infused with a surreal twist and paying homage to salsa's diverse subgenres. Songs like 'Triste Son' parody Cuban son with a cha-cha beat, while 'Poema del Salsero Resentido' forewarns of a rhythmic apocalypse. 'Metamorfosis' explores the theme of transhumanism with percussive intensity. Despite the album's tongue-in-cheek approach reminiscent of Latin Spinal Tap, the music remains tightly woven and playful. Released on the revived Ansonia label, marking its first new release in three decades, El Grupo Renacimiento is a delightful fusion of creativity and nostalgia, pushing musical boundaries while paying homage to salsa's rich heritage.

Review: This 1965 collaborative album brings together some of the international music world's finest talents. Featuring Nara Leao's soothing vocals, Edu Lobo's striking guitar and Tamba Trio's vibrant harmonies, 5 Na Bossa captures the essence of Brazilian bossa nova and jazz with a warm and sunny inflexion. With iconic tracks like 'Reza' and 'Zambi' bringing Latin jazz flair, and Edu Lobo's 'Estatuinha' offering more ruminative folk sounds, this is a brilliant album for those who like South American sounds in all their many guises. The album was recorded live at the Paramount Theater in Sao Paulo and is truly essential listening.