‘A stunning collection of songs, fusing her distinctive Malian sound and voice with elements of blues, folk and rock – resulting in a timeless body of work, free from borders and genres.
‘Written and recorded in the US during coronavirus lockdowns, the album is the latest chapter in an unparalleled musical epic which has seen an artist born in the poorest districts of Bamako, Mali, become the greatest and most influential African singer alive, as well as a powerful feminist icon.
‘Between the hometown pride exhibited in Wassulu Don, the quiet introspection of Degui N’Kelena, the amorous languor expressed on Kanou, the compassion in Demissimw and the sadness and frustration in Kêlê Magni, many emotions nourish this record, with common threads of courage and optimism woven throughout.’

An album of American standards… by Richard Rodgers, Charlie Parker, Jerome Kern, and others… plus one improvisation. With bandmates Matt Brewer on bass, and drummer Justin Brown, and guests including Ambrose Akinmusire, Joshua Redman, and Mark Turner.

‘Hamasyan puts so much emphasis on mood and melody that it’s easy to miss how virtuosic the playing is’ (DownBeat).
‘Tigran has found a way to keep improvisation fresh and lyrical. Other jazz musicians would be wise to take note’ (Guardian).
‘There are many brilliant and perfectly finished young jazz pianists around, but Hamasyan stands out because he has something important and urgent to say’ (Daily Telegraph).

“I love these compositions and melodies so much that, to me, it’s like Armenian folk music.  As an immigrant – an Armenian-American – I relate to these composers and musicians from various backgrounds who have that kind of history, a dark history, but managed to succeed in an embodiment of freedom. In that way, I feel like I want to be part of this, to find something in the tradition of where I came from.”

‘The culmination of all his efforts thus far to mimic a synthesizer and drum machine. This seemingly impossible feat challenges Julian to experiment and develop a musical language that bridges the gap between organic timbres and electronic music. When listening to Mux, one might simply forget that the seemingly electronic sounds are only constructed organically via hand movements.
‘This is Julian’s second outing for Marionette, following Sulla Pelle with Valentina Magaletti in 2019.’

‘First vinyl release of the breathtaking songs Patty Waters recorded in 1970 at the Coast Recordings studio, together with the unreleased single My One And Only Love, and a live session recorded at Lone Mountain College in 1974.
‘Here is the missing link between the two groundbreaking ESP LPs from the end of the 60s and the late-90s releases. Whereas PW’s debut album Sings concerned itself with themes of heartbreak, loneliness, and yearning, You Loved Me is abundant with love, joy, and togetherness. Whilst Patti’s songs cross spiritual jazz and US folk revivalism, Touched By Rodin is a brilliant extended showcase for the uneasy Cageian minimalism of her piano playing.’
Patty Waters… admired by Albert Ayler, Miles, Patti Smith, Yoko Ono…

Mats Gustafsson on alto, tenor, baritone, and bass saxophones, and flute, and Tony Lugo on drums and electronics… but playing separately from each other… then both of them devising a form of interactive exchange with a life of its own, as a third collaborator.
Mastered by Lasse Marhaug; artwork by Peter Brötzmann.
From a new Italian label to watch out for.
‘What the fuck is it?’, it wonders. ‘Interaction and FRICTION.’ ‘Play it loud.’

‘An unshackled mind melt of amorphous Berlin School electronics, glistening guitar tones, snatches of disembodied voices and rumblings of percussive melody… an invitation to introspection, turning sky-seeking kosmiche towards a resonant, contemplative core… too busy to be ambient, too zonked to be rock, instead resting on a modern psychedelic perch of its own somewhere in between.’

Legendary, occult musical reverie about the I Ching, psychedelically loaded with fuzz guitars, dirty percussion, Echoplex delay, and Ingmar Bergman, concocted by Italian artist Roberto Campadello and Brazilian guitarist Luis Carlini, leader of Rita Lee’s band Tutti Frutti. Originally released as a 10” in 1975, boxed with a game, candles and a magic mirror; now remastered from the original tapes, adding two tracks from a cassette-only release on the side. With a 24-page booklet containing rare graphics, photos, press clippings and Campadello’s artworks, besides extensive notes (including information about the celebrated Persona Bar which Campadello and Carmen Flores ran in the late 70s in São Paulo’s Bixiga neighbourhood); and the LP with the iconic cover as a poster.

A private press LP from early-eighties Youngstown, Ohio, featuring an absolutely killer Hammond B3 version of Chameleon, and an exceptionally funky The World Is A Ghetto, showcasing Lavorgna’s soulful saxophone, and more deep funk from David Thomas, on organ.

‘From 1971, the first LP the altoist self-produced for his own Altsax label; recorded in the Netherlands during Howard’s second stint in Europe, with an intriguing lineup including Misha Mengelberg and Han Bennink.
‘Howard’s saxophone work alternates between leading with passionate, lyrical lines and blending into the collective improvisation. The dynamic interplay, particularly between Mengelberg’s dissonant piano clusters and Bennink’s thunderous drumming, creates a vivid sound painting full of contrasting forms and colours. Patterns remains one of Howard’s most unique, visionary and celebrated recordings.’

Brecht Ameel playing prepared harmonium and celesta, alongside Kim Delcour modulating air and breath via various wind and reed instruments; joined by Will Guthrie on tuned and melodic percussion (timpani, glockenspiel, marimba, vibraphone), and Paul Garriau on hurdy-gurdy.
‘With a distinct rhythmic impetus and fluidity new to Razen, and characteristic freshness and playfulness, Regression relays between dire inhospitableness and refuge, abject sorrow and cosmic transcendence. It invokes mythology and superstition as keys to the primeval and the unknown.’