Back catalogue: Hip Hop/R&B

Review: Conjunto Medialuna's latest album on Little Beat More is a direct trip to the heart of Bogota's rich cumbia scene. The record blends traditional rhythms with psychedelic influences driven by the Colombian accordion and ecstatic percussion that is so strongly associated with this style. These are two of the jams from it, but frankly you should also check out the full LP. It's a tribute to the guacharaca and the lively street parrandas where each song explores new interpretations of classic sounds. Featuring collaborations with N. Hardem, Mismo Perro, Son Rompe Pera, MC Hydro and Japanese-Latin percussionist Muupy, Noches de Medialuna, it transcends cultural boundaries and joins the dots between traditional and modern urban Latin music which is now so hugely popular around the world.

Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***


]Nathan Haines, the renowned New Zealand musician, unveils his 11th studio album, marking his first solo venture since 2014. Known for his talents of saxophone, flute, and composition across jazz, electronic and dance genres, Haines melds his signature jazz sound with vibrant electronic and disco influences on Notes. This labor of love began years ago in collaboration with the late UK producer Phil Asher, whose influence permeates the album despite his passing during its creation. Featuring guest vocalists like UK soul-diva Vanessa Freeman and emerging talents Ajuna Oakes, Ruby Cesan, La Coco, and EO, Notes showcases a diverse range of voices intertwined with Haines's own instrumental strength. With contributions from bassist Jkriv and electronic jazz innovator Mark de Clive-Lowe, alongside beats by Marc Mac and acoustic bass by his father Kevin, the album is full of spirit and musical evolution. Frank Booker's production on three tracks adds depth, while the acoustic rendition of Rare Silk's 'Storm,' featuring vocalist Rachel Clarke, stands out as a poignant artistic highlight.

Review: With this Unplugged album, American r&b and soul great Lauryn Hill veered away from the hip-hop influences of her groundbreaking debut The Miseducation of Lauryn Hill in 1998 to embrace a more stripped-down acoustic soul and folk sound. Humorously dubbing herself a 'hip-hop folk singer,' she adopted the role of a folk artist for the set and performed solo with just her acoustic guitar. Rather than revisiting her previous hits, Hill introduced entirely new material in a folk style, often taking time between songs to openly discuss her personal and artistic struggles and offered a raw and introspective glimpse into her journey.

Review: After a busy 2018, Da Buze Bruvaz emcee Him Lo is starting the new year strong with his first official solo project, and a fine one it is too. It shows that he is determined to prove he can stand alone, though he does team up with rising producer Giallo Point, who is revered for working with top dogs like SmooVth, Big Twins, Roc Marciano and more. Giallo crafts a lush yet gritty gangster soundtrack of dusty, hardcore loops that perfectly complements Him Lo's raw delivery. Stepping out from Da Buze Bruvaz without Clever 1, Him Lo showcases his real creative hunger and fine artistic versatility here on an album that is a grimy, unapologetic triumph.

Review: This long player by US outfit Hip Horns Brass Collective is a vibrant celebration of brass-driven music that mixes up traditional New Orleans jazz with modern funk, soul and hip-hop influences. This dynamic ensemble delivers electrifying arrangements and infectious grooves from front to back, all of which transport listeners to the lively streets of a second-line parade. Each track on Krewe showcases the group's masterful musicianship with bold horn lines, tight rhythms and an undeniable sense of joy. Perfectly balancing tradition with innovation, the album is great showcase of the power of brass music to uplift and energise.

Review: A great celebration of brass-driven music that mixes up traditional New Orleans jazz with modern funk, soul and hip-hop influences. This dynamic ensemble delivers electrifying arrangements and infectious grooves from front to back, all of which transport listeners to the lively streets of a second-line parade. Each track on Krewe showcases the group's masterful musicianship with bold horn lines, tight rhythms and an undeniable sense of joy. Perfectly balancing tradition with innovation, the album is a great showcase of the power of brass music to uplift and energise.

Review: Heels & Souls Recordings marks its tenth release with a reissue of Hot Slot Machine, the pioneering 1992 album by South African prodigy Makhosini Henry Xaba, also known as Joe Nina. Created when he was just 16, this six-track LP merges US and UK influencesihouse, hip-hop, soul and reggaeifiltered through a distinctly South African lens that set the stage for the emerging kwaito sound. Drawing inspiration from the bass-heavy rhythms of artists like Blackbox and Ten City, Hot Slot Machine goes beyond the bubblegum pop of the era, delivering a richer, synth-laden sonic landscape that resonated deeply with early 90s South African audiences. Tracks like 'Rhythm', 'Unchain My Heart' and 'Shake Ya Down' hit with chunky hip-house energy, while 'Lookin' Mix', 'I'll Be Ready' and 'Lovin' Mix' showcase a low-slung, infectious groove. The album, long lost to history, has been carefully remastered by Sean P and Justin Drake, who restored the tracks from surviving rips. Licensed from Gallo and featuring liner notes and unseen photos, Hot Slot Machine is a vital reissue that celebrates a crucial moment in South Africa's musical evolution.

Review: Celebrating the 30th anniversary of House of Pain's Same As It Ever Was, released in June 1994, a record which defied expectations by abandoning the formula that skyrocketed them to fame in favour of a grittier, more confrontational sound. When House of Painicomposed of Everlast (Erik Schrody), Danny Boy (Daniel O'Connor), and DJ Lethal (Leor Dimant)ifirst exploded onto the scene in 1992, their boisterous anthem 'Jump Around' and debut album House of Pain (Fine Malt Lyrics) garnered Platinum success. The group was known for embracing their Irish heritage and for their rough-and-tumble persona, being part of the larger Soul Assassins crew alongside Cypress Hill and Funkdoobiest. But for their second album, they chose a more unorthodox path. Instead of recycling their previous success, Same As It Ever Was presented a darker, moodier sonic palette, which can be heard in tracks like 'Who's the Man?'ia brooding reflection on criminal life that belied its placement in the soundtrack of a lighthearted comedy film. The track showed DJ Lethal's hollow, eerie production and Everlast's grim lyrics about the harsh realities of street life. The album opener, 'Back From the Dead', produced by Muggs and The Baka Boyz, immediately set the tone with gritty, aggressive production that made it clear House of Pain wasn't interested in rehashing their past. Everlast took the lead on the album, with his gruff delivery driving most of the tracks, and Danny Boy contributing sparingly. While the debut album leaned into their Irish pride, Same As It Ever Was abandoned much of that theme in favor of more introspective and hard-hitting lyricism. The album's first single, 'On Point', came closest to recapturing the energy of 'Jump Around', with its call-and-response hooks and funky horn samples, though it didn't reach the same level of mainstream appeal. Instead, tracks like 'Word Is Bond', which featured production from Diamond D, or the Muggs-produced 'Keep It Comin'' demonstrated the group's commitment to artistic integrity over commercial viability. Musically, Same As It Ever Was shared a similar haunting, dusty aesthetic with Cypress Hill's Black Sunday, thanks to Muggs' consistently gritty production. Songs like 'Running Up On Ya' and 'Over There Shit' emphasised resonant basslines and tough, breakneck rhythms, perfectly complementing Everlast's raw lyrical style. While the album didn't replicate the multi-Platinum success of their debut, it still went Gold, and has since gained recognition as an artistic triumph, celebrated for its bold departure from mainstream expectations.