Today Only: Broken Beat/Nu Jazz/Nu Soul sale vinyl

Review: Chet Faker is Nicholas James Murphy, a Melbourne born artist who has built up a small but well formed discography since 2012. It includes two albums, the latest of which was Hotel Surrendor on BMG in 2021. Tow of the jams format now get presser's dup to this fresh 7", one as a special Japanese version. 'Feel Good' is a balmy bit of broken beat, with funky bass riffs and aching vocals. 'Whatever Tomorrow' then places focus on a lone voice which conveys real pain until longing drums arrive next to big string chords.

Review: The esteemed Mr. Gary Davis is a disco funk pioneer who inspired countless hip-hop producers and MCs. This special, limited edition new full-length, Gary Davis vs Hip Hop, collects all the iconic tracks that most obviously wear that influence and inspiration on their sleeve. And the tracklist is a who's who of the greats in the game with names like J Dilla, M.F. DOOM, Styles P and Exile all featuring having sampled Gary's work. On the flipside of this record, you will find the original and sought-after sample songs that were made by Davis as well as some unreleased jams and instrumentals.

Review: A-grade record collector and accomplished DJ Degiheugi has toured with DJ Shadow, dropped plenty of great albums and is a master of smart sampling. Some of his earlier albums are in the process of being reissued at the moment and Aquilon is one of them. It has been remastered for the occasion and cut to translucent blue vinyl 17 years after it first arrived in 2005. It's a worldly mix of downtempo beats and hip-hop grooves with plenty of colour and vibrancy. Some cuts are all about the body-popping beats and others are real late-night mood-setters.

Review: Maverick Japanese producer Yasushi Ide's 2020 album Cosmic Suite was widely heralded and critically acclaimed. It now gets a welcome follow up with a second volume that features an a-list of international artists including Don Letts, Josh Milan, Japanese diva UA, Afrika Bambaataa and many more. As such all sorts of sounds from dub to house, broken beat to Afrobeat, freeform, jazz, post-punk and more feature. It is a future-facing collection of cuts all masterminded and conducted by Ide from his Grand Gallery HQ in Tokyo.

Review: Ishmael Ensemble's third album, Rituals, marks a major evolution for the Bristol-based group. While often associated with the 'new UK jazz' scene, their fusion of live instrumentation and electronic elements extends far beyond that label in truth and now this release pushes their sound further than ever. It blends spiritual jazz, dub, experimental, and electronic styles into powerful, swirling soundscapes that work as well on the head as they do heel. The tracks are more notably song-focused and accessible but still deal in a psychedelic mix of textures, colours, and moods. Rituals is a truly boundary-pushing work of great ambition and is this vital group's best work to date.

Review: Medline is on a mission to serve up his own fresh cover versions of well known tunes from the movies, library music vaults, jazz funk scenes and worldwide rare grooves. He is one man who plays flute, guitar, keyboard, pads, drums, percussions and violin and lays down each part of the tune and then puts them all together with some extra studio touches at a later date. He mixes the music himself so that it is live sounding and vibrant, and then shares it with the world. These latest two cuts are heavy Afrobeat gems with cosmic synth work, psyched-out melodies and jazz invention that makes them captivating in the extreme.

Review: Lorenzo Montana is an Italian soundtrack composer, sound engineer, and producer, with a prolific career spanning decades. Vion is his 29th full-length album, and marks his first solo effort for the Oakland-based emotive electronics outpost n5MD. Here Montana fleshes out the full possibilities gleanable from the use of drum brushes, diving into the wonderful world of jazz brush patterns, in order produce an electroacoustic record with a glistening ambient palette - whereas beforehand, the use of drum brushes might have otherwise felt mostly unfairly relegated to 'jazzy' electronic genres like broken beat. From 'Nympalidea' to 'Vilu', Montana's expert digital touch, and ear for texture, is heard and felt throughout, with the central brush patterns banking on their distinctive timbre to both stand out and yet also melt into the surrounding, progressive ambiance.