Her first solo cello album, ‘a deep exploration of the inner worlds of tuning’, recorded in the Eglise du Saint-Esprit church in Paris by Kali Malone and Stephen O’Malley.
‘Railton’s explorations in harmony emerge from a focus on the physical qualities of intervallic and chordal sounds, their textural qualities, degrees of friction, and inner pulsations. Composing in the moment guided by resonances within the cello’s body, her own, and their shared vibrational space, Railton gives sounds what they ask for: sounds of pure texture manifesting as a move through temporal transparency, sounds of rough texture marking regions of dimensionally dense space. Railton’s creative and highly refined use of just intonation harmony deforms sound’s inner movements in ways that suggest a mode of listening that actively supplies imagery of sounds implied or completely absent rather than merely savouring those fully present. Railton calls it ‘sing-along music’.’

‘Renowned for his work on iconic Spaghetti Western scores with Ennio Morricone, and his groundbreaking contributions to library music, Alessandroni lavishes his other-worldly genius on this wonderful cocktail of an album, blending jazz, bossa and lounge, garnished with his signature wordless vocal arrangements and lush instrumentation. Featuring his remarkable talent on guitar, piano, and mandolincello, this album paints a vibrant portrait of 1970s cosmopolitan cool.’

The dub counterpart to his From One Extreme To The Other album.
Tormented, darkly mystical, and unmissable.

‘Wild ecstatic vocals, distorted electric guitars, rocket bass, and an amphetamine beat! Unlike anything else, this is THE high life music you’ve always wanted — ceremonial music played with abandon and extreme intent, honoring the living and dead alike.
‘In Toliara and its surrounding region, funerals, weddings, circumcisions and other rites of passage have been celebrated for decades in ceremonies called mandriampototse. During three and seven days, cigarettes, beer and toaky gasy (artisanal rum) are passed around while electric orchestras play on the same dirt floor as the dancing crowds and zebus. Locally and even nationally renowned bands play their own songs on makeshift instruments, blaring through patched-up amps and horn speakers hung in tamarind trees, projecting the music kilometers away. Lead guitarists and female lead singers are the central figures of tsapiky.
‘What results during these ceremonies is unclassifiable music of astonishing intensity and creativity, played by artists carving out their own path, indifferent to the standards of any other music industry: Malagasy, African or global.’

Luminous, intensely committed, magical spirit music from late-seventies Guadeloupe, rooted in brilliant gokwa drumming.
It opens with two instrumentals — Penn é Plézi was the theme tune for Radio Guadeloupe’s funeral notices from 1980 to 1992 —  before a call for cultural realignment. Then a three-part suite: Primyé Voyaj evokes the appalling tribulation of Africans deported as slaves to Guadeloupe; Dézyèm Voyaj addresses the Bumidom programme driving young Guadeloupeans towards the mirage of prosperity in sixties France; Twazyèm Voyaj closes the cycle with the emigrants’ return from Europe.
Deep, fabulous music.

Revered British jazz from 1969; the pianist leading a quartet featuring Harold McNair.
Originally out in 1969 on the Deram imprint which Decca set up for prog, new wave folk, and psych, Off Centre is obligingly eclectic. Cameron’s background in library and soundtrack music is opened up to the spirit of Roland Kirk. Best of several tasty modal numbers, the closer Troublemaker is a testifying rug-cutter, with a gritty flute solo by McNair.
Remastered at Abbey Road using the original tapes. New sleeve notes incorporate a recent interview with Cameron.

‘Tezeta were an experimental eight-piece instrumental group formed in Bristol back in 2014. The Ethiopiques series lit the fuse, but the project quickly gathered Afrobeat, prog, and improvisation into a beguiling mix — always evolving and resolving in different ways to what you might expect — with some thrilling ensemble playing rhythmically propelled by two drummers and a percussionist, and pianist Daniel Inzani’s evocative melodies at the centre. They had a cult following among other musicians and were known for wild group solo wig outs, virtuoso musicianship and creative use of unusual rhythm, harmony and melody. They toured across the UK at various venues and festivals including Glastonbury, Shambala and Green Man, before calling it a day in 2023. Seventh Place was originally a private press CDR, released in 2016; mainly sold at gigs.’

‘Absolutely gorgeous from start to finish’ (Deb Grant, BBC 6 Music). ‘Gorgeous mood music with more than a nod to Addis. Lovely tapestries and textures’ (Matt Temple, Matsuli Music).

‘Amazing! Like stumbling on a treasure-trove of unheard Charlie Patton and Blind Willie McTell 78s, but imbued with the spirit of Mahlathini and Ladysmith Black Mambazo,’ says Joe Boyd.

Classic kwaito by Professor Rhythm and friends, from 2001. That defining Jo’burg blend of hip-hop and house, but enlivened by a distinctive grab bag of fresh influences, and notably quirky and quick on its feet.

‘A kind of musical road movie, shifting gears through time, space, and reverie, with an itinerary and cast of characters looming in and out of focus. Post-punk chanson with an ear for micro-tonality. The balance of mutant music-boxes and dewy miniatures recalls otherworldly hits from Gareth Williams’ Flaming Tunes, The Residents, and the catchier corners of the Lovely Music catalogue.’