Back catalogue: All genres

Review: The third volume of the Incense Music compilation series, Incense Music For Dining Room, curated by Toru Hashimoto (Suburbia), comes new iterated on a split 7". Carrying over its themes of fragrance and music, 'Flamenco Sketches', named and remixed after Miles Davis' classic jazz bit, brings an exquisite reed diffusion of live-feel beats and scooped-out bliss-sound. With cover art by Jiro Fujita (FJD) and mastering by Calm, a key figure in the Japanese jazz, chill-out, and Balearic scenes, the record promises serenity: DJ Mitsu the Beats ensures a quietly contented DJ's touch. Side B offers another lo-fi cover of 'Flamenco Sketches' by Nobuyuki Nakajima, lowering the pace to an unassuming, dozy, guitar-blessed tread.

Review: With an irresistible blend of broken beat and nu-jazz grooves, 'Chameleon' is a enjoyable smooth jazz gem driven by funky basslines, strings, lively percussive and catchy keys. The arrangement flows effortlessly, creating a sound both sophisticated and danceableia perfect balance of complexity and accessibility. Flipping to the B-side, 'Losalamitoslatinfunklovesong' takes a more laid-back approach. Led by a warm, soulful organ, the track exudes chill vibes with its subtle funk underpinnings and jazzy finesse. The addition of a vocoder adds a playful, retro-futuristic charm, rounding out a composition that's as soothing as it is engaging.

Review: New-gen rare groove band Nautilus, operating out of Japan, deliver their latest 7" record, 'Life'. Just two crisp, piquant, fresh, and bubbly uncorkings in sound - 'Life', featuring vocalist Emi Tawata, and the instrumental 'Master Blaster'- are here heard sprayed like buckshot across the stereo system. The former is a candid admission by Tawata of her fear of the dark and ghosts, one which compels the listener to ponder the song's spiritual metaphor - "I'd rather have a piece of toast, watch the evening news" being the lyric of note - while the latter is a comparatively muted four-to-the-floor funk inflammation, held together by a phat but tricksy drum line and overgirding Rhodes.

Review: Hey everybody, here's... Nautilus! This prolific contemporary jazz trio are at the top of their game. Regular contributors to their patrons Urban Discos and Oonops Drops, their repertoire extends to everything from full-length EPs' and albums' worths of original material to one-off guilty pleasure covers. This new rendition of Oasis' 'Wonderwall' definitely falls into the latter category. This slick new version abounds in gut-grasping major chords and spine-tingling drum brush caresses, and features passionately candid yet no less elegant vocals by Ray Yamaoda. On the B comes the comparatively funky knockout and jazz original, 'Through The Night'.

Review: Broken beat legends Nautilus return with a futuristic teaser for their upcoming 2026 studio album, and on this evidence, it's going to be superb. The first single reimagines a legendary anime soundtrack with their signature groove and features Japanese singer and sanshin virtuoso Anna Sato, whose vocals elevate the track to a new dimension. The release is completed by Berlin-based DJ and producer Delfonic, a well-known disco and house don and label head, renowned for his deep club remixes and praised by Gilles Peterson. Delfonic adds a magical touch with heavy beats that come with plenty of lavish synth work.

Review: Former Dope Jams record store legend and deep house devotee Anthony Nicholson has linked up with Swaylo for this new outing on the Bak Muzik label out of the US of A. It features two versions of the same tune, 'Love Take Over In Deep Dark Space,' starting with a vocal. It's a track that locks you into a deep mental state with its spiritual pads and open word musings, wispy chords and deft, airy drums. The instrumental dub mix is even more focused on the lushness of the rhythms and melodies. Sublime.

Review: Heavyweight sonic Afro-botics from Nikodemus, Barzo and Mr Doris on 7" wax. The trio team up here with Dinked Records for a double-bill 7" in veins of amapiano and broken beat, primed for crate sifters and floor ambulants alike. On the A, 'Want Some More' delivers Mr. Doris' signature blend of rhythmic muscle and Afro-Latin swang, while the flip flops Nickodemus with Barzo and Zongo Abongo for 'Show Your Power': a bold, percussive cut straddling broken beat, house, and ska. Somewhere between 126 and 128 BPM, both are utter floor finishers and could easily intro your next Afro-house set as they could provide it a sense of continuous, mid-set body.

Review: Mr. Bongo credit themselves with taking a selection of the most in-demand and asked-for titles in their Brazil '45s catalogue, lending them all a loving repress in due homage to the music of the nation. This time, they focus their energies on the synergy shared between the late composer and record producer Nonato Buzar and drummer Jose Roberto, both of whose contributions to the MPB canon are unmissable, referent sonic studs. Nonato's 'Cafua' is a powerful eurythmic, its strigiform vocals proving a suitable narcotic to offset to the track's otherwise restless horns and post-bossa-nova drum clacks, which hit like quick patterings against soft cartilage. Roberto's 'Crioula Multicolorida' is a more vintage recording, erstwhile bringing rare "samba rock" grooviness and reflective, call and response lyricisms to a redolent rhythm.

Review: Two years on from his last vinyl outing, the Feelings Worldwide released Rough Culture EP, Apricot Ballroom co-founder Nonna Fab pops up on I Travel To You, a Norwich-based imprint previously known for its on-point re-edits. 'We Still Out Here' is an original production, albeit one that seemingly makes extensive use of some rather tasty samples. Underpinned by a cowbell-heavy, Latin-tinged disco-meets-house beat, the track is funky as hell (thanks in part to the Sheffield producer's use of crunchy Clavinet licks and rubbery disco bass) and comes complete with some deliciously jazzy keys solos. It comes backed by two similarly superb remixes: a more loose-limbed, disco-focused revision by Bristol scene stalwart Admin and a stomping, synth bass-propelled revision by I Travel To You founder Comb.

Review: For sensitivity and naturalism in experimental music, Gosha Martynov & Natasha Sinyakova seize the crown with their new album Imena Rek. On their first foray into the physical, the duo expand the spectral ambience and medicated breaks of their earlier work with lithe touches of organic jazz and Cafe Del Mar cool, creating a complex assemblage of dreamy downbeat and emotive electronica that's entirely easy on the ears. The record is an ever-evolving, life-giving slough; we wade through many restorative swamps, each bearing its own sonic, ecosystemic character. The fen's mouth stretches open wide on 'Pozhaluysta', tempting the listener with an open-skied siren song set to skittish drum pats, while things grow hazier from 'Osvobodi Menia' and thereafter; the trip-hop influence is almost entirely naturalised, shedding the genre's usual rough-edged clicks and pops for a preferential sawn-off, willowy sound, that retains its smoothness even in moments of irresolution and tension, as on 'Rany'. And the slow mangrove whirl 'Iskra' really flaunts the pair's talents, with beautifully played pan flutes, and resonant silicate rustles, convoking a new hallowed ground; we wind up mentally clutching at damp mosses, imagining ourselves laid arrest in a sodden but warm bayou, as we're serenaded by two Armenian-American master musicians.

Review: Meshell Ndegeocello's album, No More Water: The Gospel of James Baldwin, is a powerful tribute to the renowned writer and activist, released on his centennial. This visionary work is a blend of musical genres, serving as both a musical experience and a platform for social change. Co-produced by Meshell and guitarist Chris Bruce, the album features collaborations with talented artists like Justin Hicks, Kenita Miller, and Abe Rounds. Additionally, spoken word performances by Staceyann Chin and Hilton Als add depth and meaning to the album. No More Water is a compelling and transformative listening experience that honors Baldwin's legacy and inspires reflection and action. A project that was nearly ten years in the making, all the ingredients are here to make this landmark release that is sure to go down in music history.

Review: After years spent working alongside a talented pool of jazz musicians as the Neue Grafik Ensemble, Fred N'Thepe has decided to go solo for the first time this decade. Dalston Tapes Vol 1 is, according to Rhythm Section International, a conscious attempt by the artists to return to his beat-making roots. It's an album, then, rooted in hip-hop mixtape culture, where vocal numbers featuring guest MCs sit side by side with rap-free "beats" - lusciously and impeccably crafted instrumentals in which warming bass guitar lines, deep electronic sub-bass, sparkling electronic motifs and choice samples cluster around loosely swung, MPC-driven beat patterns. It's a great collection all told, with nods towards club-ready broken beat and deep house sitting side by side with Dilla-esque workouts and references towards London's vibrant hip-hop and grime underground.

Review: This is the first pressing of Nickodemus' classic Sun People on translucent yellow vinyl and it comes from Wonderwheel. Originally released in 2009 by Thievery Corporation's Eighteenth Street Lounge label, the album features tracks inspired by Nickodemus' global travels and the people he met on the way. Known for his NYC summer soundtrack with Turntables On The Hudson and 20 years of worldwide tours, Nickodemus crafted songs for sun lovers and optimists here and as such listening toit leaves ou with a warming glow. Collaborators from Guinea, Colombia, Puerto Rico, Brazil, Romania, India, Turkey, the UK and NYC contribute to this vibrant album and make it a truly cultural affair with hits like 'N'dini,' 'Sun Children,' and 'The Love Feeling' all sounding great.

Review: A welcome reissue of Nightmares On Wax's now classic Late Night Tales curators' mix comp. First released in 2003, this new LP edition is naturally the unmixed version and demonstrates the timeless bleep-era dance selector's funkiest and hippest influences, all of which demonstrate that this is an artist whose love for music extends far beyond the popular; the likes of Cortex, Quincy Jones, Search, Dusty Springfield, Large Professor, and even Brian Blessed prove this to be a diggers' delight that goes well beyond your average postie's job-lot. Ending on two original numbers, too - 'Brothers On The Slide (Dub)' and 'The White City (Part 1)' - you can be sure that George Evelyn's talents don't extend just to the decks either, bringing an original organic hip-hop and electronic funk source to an otherwise madly layered set of sonic flavours.

Review: Embarking on a reissues campaign of lo-fi hip-hop pioneer Nujabes' earliest material, Hydeout Productions share a new edition of the storied producer's second record, Modal Soul. In contrast to his debut Metaphorical Music, Modal Soul is the full-length that really took the world by quiet storm. Laid down after both the solo debut and the release of two Samurai Champloo soundtracks, Modal Soul marked a return to source, and is another testament to what Nujabes did best. Most hip-hop fans will preconsciously, instantly recognise the central, flourishing piano movement of the opener 'Feather', which sticks to the four-bar formula whilst inviting fellow rappers Cise Starr and Akin to wax freely, the central theme being lightness of being: "drifting away like a feather in air / Letting my words take me away from the hurt and despair". The maudlin mood is kept throughout, with cumulative standouts such as 'Reflection Eternal' having also inscribed themselves in collective memory, and more swung experiments like 'Sea Of Cloud' showcasing Nujabes' slowly but surely disclosing a skilful abstraction of breakbeat roots.