Meditative, absorbing dance music in true Moritz style — at times seemingly transfixed by its own elements, and minimal almost to vanishing-point, but quickly back ticking, kicking and amassing.
Two sick techno killers, stalking the perimeters of noise; and generous excerpts from a soundtrack to Dreyer’s Vampyr, with Sun Ra in its marrow, alternately driving and motorik, off-the-wall, lost in space.
Stefan Schneider and Sven Kacirek’s scintillating recordings of the Mijikenda tribes, made in different spots in and around Mukunguni village, coastal Kenya: spiritual and healing music, and love-songs.
At last, a fresh delivery of open-hearted, bitter-sweet, mash-up postcards to the here and now, from young black London.
Proper Brit Pop.
Evoking his time with Count Ossie, four new grounation furies — hypnotic, thunderous, urgent, mystical — with dubwise repeta, funde and bass drums embedding the Light Of Saba man’s t-bone classicism.
Cold-sweat compounds of art-funk, baglama high-life and horrorama; Bullion reincarnated as replicant eighties soul-boy, blue-eyed amongst his synths and metal percussion.
At its darkest and most driving. The group is clear and unanimous — this is their best yet.
‘The bad influences’, from Bogota, with their third album for us: twenty-eight gorgeous variations of saudade, in a warmly acoustic, post-punk take on Tropicalismo — impromptu, snapshot and sublime.
Brand new recordings, this is majestic, surging, scintillating music — with swing, jump and shout, Sun Ra, Mingus and Gil Evans, Arab-Andalusian music, hip hop and New Orleans funk all coursing through.
‘An album of cathartic intimacy, built around electronic textures and sparse percussion, with White’s gently yielding, half-spoken vocals pitched pleasingly between Laurie Anderson and Joni Mitchell’ (Mojo).
‘Hair-raisingly good… incandescent’ (The Observer).
‘Inventive, fresh and melodic’ 4/5 (The Guardian); ‘bound to be underrated… impeccably edited and segued’ (The Onion); ‘may be the most forward-looking music you hear all year’ (Rolling Stone).
Two exclusives: Erykah Badu’s irresistible do-over of the euphoric album instrumental There, with Malian synth-freak Tidiane Seck; and a dub by Mark Ernestus. Lovely silk-screened sleeve.
Three deep funk instrumentals — HBE on the opener. Sound-wise, doubly lethal, as alive as vinyl gets. Silvered, silk-screened sleeve; limited.
Entirely exclusive music, unique to this release, with a radiant silk-screened sleeve: four from The Marble Downs sessions with Will Oldham, a Scott Walker to start; and a side of unaccompanied folk singing.
Murderous MMM disco-house — sharp and succinct, witty and hedonistic — fore-grounding the soulfulness of the Tshetsha’s singing. The OA is a cavernous, atmospheric, stately steppers.