Review: Charlie Charlie's 'Save Us' is a track brimming with raw emotion, and Mondag's remix feels like a perfect counterpart, bringing a subtle touch of melancholy with its soft saxophone solo. The track maintains its weight, but Mondag's approach gives it a dream-like quality, coaxing out the depths of its aching beauty. Bella Boo's edit brings a noticeable shift, tightening the rhythms and infusing the track with a sharper energy, but it never loses the soul of the original. Gerd Janson, meanwhile, offers an ambient version that feels like an entirely different experience - less immediate, but no less absorbing. On the other side, Hypernatural's remixes expand on the dreamlike, almost otherworldly feeling of the originals. Knightlife's take on 'Spirit Walk' stretches the song's already fluid nature, making it feel weightless, while Gerd Janson's remix of 'Stormfront' adds a darker, more reflective mood.
Review: INDEX:Records founder and self-styled 'DJ and sound engineer' Conna Haraway finally makes his vinyl bow following a couple of low-key cassette and digital download releases. According to the Sydney-based imprint handling the release, Theory Therapy, the wonderfully titled Spatial Fix was partially inspired by the Glasgow-based artist's 2024 tour of Japan and South Korea. You can hear that in the subtly far eastern melodies and ambient techno style textures of ten-minute opener 'Freon', whose grooves would undoubtedly have impressed the late Andrew Weatherall, and the hushed, semi-abstract, deeply layered wonder of 'Switchback'. Elsewhere, the stretched-out, immersive and meditative '1702' joins the dots between low-tempo ambient techno and dub techno, while 'Patent' is deep, otherworldly and suitably sub-heavy mutant dancehall.
Review: A record that explores deep, hypnotic rhythms with a strong tribal and mystical undercurrent, the latest Siamese Twins records pushes the boundaries of what is possibly in eastern influences underground techno. Side-1 opens with 'The Golden Triangle', an atmospheric introduction that feels cinematic, setting the stage with ambient textures before giving way to movement. 'Lens of Time' follows, locking into a deep, primal groove where rolling percussion and rich low-end create an entrancing effect. On Side-2 'Mekong' leans into tribal mysticism, blending ancient rhythmic patterns with a modern pulse. The production is detailed yet raw, drawing from rich percussive layers. 'Ruak' closes the EP with pulsating bass and deep, rolling rhythms, channeling Eastern influences into a hypnotic techno flow. A powerful release from Siamese Twins Records, driven by Sunju Hargun's distinct vision.
Review: A 7" that delivers a hypnotic fusion of dub, broken beat and experimental soundscaping, reinforcing the Trule label's reputation for pushing sonic boundaries. The trioiAllen Wootton, Susumu Mukai and Valentina Magalettiicraft a release that feels both deeply rooted in tradition and strikingly forward-thinking.
'Ambulance Dub' unfolds with cavernous echoes, weighty basslines and fractured rhythms, creating an atmosphere that feels almost otherworldly. Layers of percussive textures and swirling dissonance shape a track that constantly shifts yet remains immersive. On the flip side, 'The Bigger Tutti' refines this approach into a slick instrumental, nodding to the deep, textural brilliance of On-U Sound. The crisp production and rich dub aesthetics make it an ideal example of rhythmic experimentation.
Review: Since founding DiN in 1999, Ian Boddy has been driven by a passion for collaboration, particularly with artists connected to the pioneering German electronic scene of the 1970s. When a chance meeting with Harald Grosskopf at a Dutch music festival presented the opportunity to work together, Boddy eagerly embraced Grosskopf's ear; the latter's tutelage at the Berlin school spans decades, and he is most notably for his fellowship as a drummer with Klaus Schulze, whose influence looms large over Boddy's own work. But beyond percussion, Grosskopf's Synthesist album revealed his distinct melodic sensibilities, making him an ideal creative partner for Doppelganger. Blending Berlin-schooled sequencing with evocative grooves. Boddy's modular synth textures shine on tracks like 'Boulevard Horizon', while Grosskopf's rhythmic playfulness is evident in 'Livewire'.
The Queer Art Of Slowness (feat Sasha Wilde) (2:48)
Dual (feat Alex McKenzie, Memory Play & Sasha Wilde) (4:36)
Quantology (2:02)
How Do I Know What I Want When Everybody Is Telling Me I Should Want What I Dont Have (feat Memory Play) (6:18)
Laying On The Floor Staring Up At Dust In The Air (1:31)
Breathing Room (feat Laura Misch) (3:57)
Language Couldn't Say (feat Laura Misch) (3:07)
Pataphysical (feat Laura Misch) (3:23)
Wildest Imagination (feat Laura Misch & Marysia Osu) (4:21)
Review: El Hardwick's sophomore album, Process of Elimination, explores illness as a pathway to personal and anti-capitalist transformation. Rooted in their experience of chronic illness after years of pushing their body beyond its limits, the album reflects Hardwick's journey toward healing through mysticism and natural remedies. Turning away from the need for a formal diagnosis, Hardwick embraced a process of self-rewilding, rejecting capitalism and gender norms to reconnect with their body and the earth. Musically, Process of Elimination combines lush, dubby soundscapes with cosmic experimentation. Tracks like Dual feature sparse synthesiser tones alongside woodwinds and double bass, creating a spacious environment for Hardwick's spoken-word reflections. Collaborations with musicians such as Alex McKenzie and Laura Misch bring a range of organic textures to the album, enhancing its sense of natural exploration. The album shifts between ambient meditations and more rhythmic moments, with highlights like 'Quantology' and the IDM-tinged 'How Do I Know...?' revealing a balance between introspection and forward momentum. Hardwick's process is further mirrored in their personal journey of coming out as trans non-binary, which they describe as another form of elimination, moving beyond binary definitions. Ultimately, Process of Elimination is a powerful reflection on healing, acceptance and the reclaiming of energy, inspired by thinkers like Silvia Federici and Donna Haraway, and enriched by contributions from London-based artists and friends.
Review: Upon its release in 1970, Donny Hathaway's latest album was met with critical acclaim but modest commercial success. The LP showcased Hathaway's extraordinary versatility, blending gospel, jazz, blues and soul into a cohesive whole. It was a rich tapestry of influences, marked by Hathaway's stunning vocal prowess and his ability to craft arrangements that felt both intricate and organic. The album also set the stage for his subsequent works, cementing Hathaway as one of the most important voices of his generation. Tracks like 'The Ghetto' and 'Tryin' Times' revealed his commitment to addressing social issues, while songs like 'Thank You Master' and 'Je Vous Aime' showcased his personal and spiritual depth. In the decades since its release, Everything Is Everything has grown in stature, celebrated as a cornerstone of soul music.
Review: When it comes to hunting the very of best library music cuts out there, De Wolfe's discography is likely the best place to start, and finish. The British music production company were the first to license such music exclusively for film and TV and thus single-handedly popularised the now DJ's favourite genre. Here on this reissue, Aussie producer, musician and double bassist Johnny Hawksworth (one of two famous library musician "hawks", only once removed from the perhaps more eminent Alan Hawkshaw), prizes open both falcon's eyes and auriculars: 'Bite Hard Breaks', the star, makes for an unfathomably cool piece for the playing of seductive games. Unsurprisingly, but with this fact not known to many, this record has been much sampled by hip-hop titans, from Beyonce to Drake to Jay Z to Madlib.
Review: Decca Records, a champion of British jazz and particularly the homegrown talent of the 50s, 60s and 70s, continues its exploration of those eras. Curated by Mark Baxter, this is the perfect entry point for those unfamiliar with the virtuoso saxophonist, flautist, vibraphonist and composer Hayes, gathering ten tracks originally recorded for the Fontana label between 1961 and 1969 and answering to the question "Where do I start with Tubby Hayes?" Hayes was a significant figure in British jazz, a multi-instrumentalist and composer whose work spanned various styles, from hard bop to modal jazz. This collection showcases the breadth of his talent, highlighting key moments from his prolific period with Fontana. It's a chance to hear Hayes at his peak, demonstrating his technical prowess and his distinctive musical voice. Here, seasoned jazz aficionados are offered a curated selection of familiar favorites, perhaps revealing new nuances with fresh ears. But its primary purpose is to introduce new listeners to Hayes's brilliance and by focusing on a specific era and label, the compilation offers a coherent taste of Hayes's evolution throughout the 60s
Review: US jazz drummer Roy Haynes' 1971 album was originally recorded in New York for Bob Shad's Mainstream Records. Wewantsounds has now secured the rights to a full reissue that is likely to ensure it connects with a new generation. The album features a stellar lineup with Hannibal Marvin Peterson, George Adams, Teruo Nakamura and Lawrence Killian blending jazz funk and spiritual jazz with Haynes' powerful drumming at the forefront. This is the the first vinyl release since 1971 and it retains the original gatefold artwork, plus first-generation photos, and also includes the bonus track 'Roy's Tune' and a two-page insert with new liner notes by Kevin Le Gendre.
Review: Finnish fusion five-piece the Heikki Sarmanto Quintet recorded and released their sole album, Counterbalance, way back in 1971. Brought together by bandleader and Rhodes electric piano wizard Heikki Sarmanto, the band burned brightly briefly before vanishing into obscurity. Svart Records has - wisely, given its cult status - decided to reissue the album, this time on translucent green vinyl and accompanied by extensive liner notes. It remains a unique and hugely enjoyable album that joins the dots between warm and largely laidback contemporary jazz, jazz-funk, more pastoral folk-jazz fusion, and more high-octane, spiritual jazz-inspired improvisations. It also boasts some genuinely life-affirming flute and guitar solos amongst the rubbery double bass, loose-limbed rhythms and Sarmanto's inspired keys-work.
Review: A rare reissue for one of the most sought-after records in Finnish jazz history: the sole studio album by electric piano wizard (and bandleader) Heikko Sarmanto's short-lived quintet. Recorded and first released by EMI Finland's jazz department in 1971, Counterbalance remains a unique and hugely enjoyable album that joins the dots between warm and largely laidback contemporary jazz, jazz-funk, more pastoral folk-jazz fusion, and more high-octane, spiritual jazz-inspired improvisations. It also boasts some genuinely life-affirming flute and guitar solos amongst the rubbery double bass, loose-limbed rhythms and Sarmanto's inspired keys-work. Helpfully, this edition also boasts an insert with extended liner notes telling the story of this inspired cult classic.
Review: World-renowned pianist Hiromi is a hugely prolific artist and Out There is her 13th studio album. Despite her output, she continues to show innovation while fusing jazz styles into her own sound. Here she is joined by her band Sonicwonder, featuring Adam O'Farrill on trumpet, Hadrien Feraud on bass and Gene Coye on drums. Together they deliver an electric and dynamic performance that pushes the boundaries of jazz while coming steeped in exceptional musicality and innovative approaches. Having performed at prestigious jazz festivals worldwide and received accolades from major outlets like the New York Times and NPR, Hiromi shows she is far from done yet with this double album.
Review: New Orleans brass band fixture The Hot 8 Brass Band unveil their latest record, in memory of Bennie Pete aka. "Big Tuba", the late co-founder and sousaphone player of the band. Having passed away on September 6, 2021, Pete was described as a "constant galvanising force", and this galvanic power is heard on full display here, as the top brass of the band are heard to collierly collude with many a New Orleands folk and hip-hop legend. Chief among the Hot 8's best characteristics are their incorporation of New Orleans bounce music (a local variation of hip-hop) into their brass-driven tracks and live shows; the sense of bustle, bombast and crowd commotion is heard here, reflecting the extent of the lives touched by Pete.
Review: As they mark over two decades of collaboration, HTRK continue to thread past and present with a new, upcoming reissue of Rhinestones. First self-released in 2021, the album marked a stylistic turn for Standish and Yang, embracing a sparse and haunted approach to songwriting inspired by gothic country and Western folk minimalism, contrasting their earlier dub-punk dramatics. More emotionally forthright as their records go, it drifts over echoic acoustic textures, hushed vocals, and a characteristic metronomic pulse, conjuring a shadowy, intimate atmosphere. A landmark release epitomising their noted progression out from minimal-wave origins to "gentler, more inviting" territory, Rhinestones motivated a quiet resurgence for the band. This reissue follows the 2024 repress of their debut Marry Me Tonight and the collaborative 'String Of Hearts' EP, with reinterpretations from peers like Loraine James and Liars, reaffirming HTRK's strong creative orbit.
Review: Featuring the vibraphonist in peak form while interpreting seven jazz standards with remarkable interplay, this newly reissued vinyl celebrates the album's 40th anniversary, bringing fresh attention to an overlooked gem. Hutcherson's quartetifeaturing pianist George Cables, bassist Herbie Lewis and legendary drummer Philly Joe Jonesidelivers a session filled with warmth and dynamic expression. The set kicks off with Thelonious Monk's 'I Mean You', immediately showing the group's cohesion. Hutcherson's phrasing on 'All Of You' is adventurous and his delicate touch on 'Spring Is Here' highlights his lyrical sensitivity. The brisk tempo of 'Star Eyes' adds energy, while 'If I Were A Bell' features an engaging solo introduction from Hutcherson. Cables shines on 'Summertime' and the album closes with an exhilarating take on 'Autumn Leaves'. Hutcherson's vibes function much like a lead horn, evoking the spirit of classic jazz quartets. Cables' piano work is exceptional and an intricate yet fluid accompaniment. Jones, whose drumming, delivers an impeccable performanceihis crisp, swinging touch is a masterclass. Overall, a very underrated a jazz album being reissued to a new generation is always a reason to celebrate.
Review: 1969 was the year of release of this one and only album by Japanese jazz pianist Hideo Ichikawa, vibraphonist Hiroshi Matsumoto, bassist Kunimitsu Inaba and drummer Motohiko Hino, all in collaboration. A one-off coming-together, it centred on the valerian vibes of Matsumoto, whose star instrument, the vibraphone, was bound to take centre stage for its comparative novelty, not to mention the fact that Matsumoto himself had been practicing before the others. An honorary work, this urbane masterpiece hears tasteful vibraphonic panning in full stereo, as blue passing notes collide with expert steel brushings and untied chord playing, resulting in a unique but salubrious listen.
Verao Na California (Summertime In California) (3:21)
Um Lugar Legal (2:41)
Nhanderuvucu (The Creator God) (3:03)
Review: Brazilian music legend Hyldon teams up with producer Adrian Younge for the 23rd edition of Jazz Is Dead. A psychedelic soul album reimagining the magic of Hyldon's 60s and 70s work through a modern lens, Hyldon's vivant vocals and poetic storytelling are paired with the rich analogue production that made Younge's name, honouring the past and yet still keeping things afresh. It also stands as one of the final recordings of the late Ivan "Mamao" Conti, the iconic Azymuth drummer and Hyldon's longtime collaborator. Fusing MPB, tropicalia, and Black American r&b, we're slack-jawed with awe at this spiritual, which elutes from the ethereal 'Olhos Castanhos' to the cosmo-funk of 'Viajante do Planeta Azul'.
Verao Na California (Summertime In California) (3:21)
Um Lugar Legal (2:41)
Nhanderuvucu (The Creator God) (3:03)
Review: Brazilian vocalist, musician and producer Hyldon De Souza Silva teams up with Adrian Younge on a brand new psychedelic Latin soul album, infused with the golden spirit of jazz, honouring both Hyldon's 60s and 70s opuses and Younge's trademark analog productions. With late drummer Ivan "Mamao" Conti on percussion, this is yet another tribute to the "Black Rio" movement in Brazil, an intoxicating infusion of Brazilian MPB and Black American rhythm & blues. The effect is major yet seductive, riffing on insporations from Marvin Gaye to Tim Maya to flatten the embossed edges of bossa nova and erotic funk, with remarkably paced and measured drumming and swirling vocal lines.
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