Expert dubs by Prince Jammy.

With guests Kit Downes on hammond organ, and cellist Lucy Railton.
Jazz album of the month, in The Guardian: ‘an unusual path, combining spellbinding singing with wayward improv… Speak Low II foregrounds Cadotsch’s crystal-clear lyricism more than its predecessor without ever cramping the freedoms of her classy improvising partners. She brings a graceful accessibility to a personal and ingeniously offbeat setup.’

Startling, brilliant, minimalist experiments for percussion and electronics. Issued by Ayna as a tiny private pressing in 1972; re-mastered now from EM’s own master-tapes. Daring fun; warmly recommended.

His third LP, fronting a septet in 1996. The women’s extra percussion keeps things bubbling; and AACM stalwart Shelton Salley brings a new edginess, on guitar.
Try the Latin groove of the opener, Psalm 37.

Lovely record. An intimate, unshowy, reaching blend of British folk and minimalism in the tradition of Robert Wyatt solo; quietly co-mingling Henry Flynt and Ivor Cutler, Eastern outernationalism and Radio art. Beautifully presented, too; in a die-cut, inside-out sleeve, with a poster. Check it out!

‘New, cool, melodic, funky pop from Japan. Six irresistible new songs from veteran members of 90s Tokyo underground pop bands like Love Tambourines, Arch and Bridge, with roots in 80s dance music, the funkier elements of post-punk and the Factory Records roster, and groups like Young Marble Giants and Weekend.’

Inimitably mixed by King Tubby; The Aggrovators on top form, likewise; rocking horns.
With an excellent Temps, and three lovely Chicago Soul covers. Nobody does reggae-soul better than Delroy.
Aka Sings For I & I.

Six tracks spanning infectious Polish disco (Karolak and Korzyński), bustling break-heavy jazz from the Polski Jazz Ensemble and Russki Yahilevich, heartwarming spiritual jazz from Hungary’s Binder Quintet (featuring John Tchicai)... and Alojz Bouda’s oddball Slovakian synth banger, Random.

Eight charged, intimate meditations by Julie Normal and Olivier Demeaux, playing a rickety ondes Martenot and an old church harmonium.
Gripping, detailed, stately improvisation — a bit like the ùrlars in classical bagpipe music — which nervily mixes the sternly doom-laden with precarious, other-worldly wonderment.
(The ondes Martenot is an amazing twentieth-century instrument — beloved by Messiaen, for example, and Varese. The theme-song of Star Trek is a vocal forgery of its sound. ‘J’aime cette fragilité qui côtoie la capacité de te décoller le tympan sur certaines fréquences inopinément,’ says Julie. ‘Je tiens une bombe dans les mains. J’aime son instabilité, son humanité.’)
Wood, breath, blood, eggshells… on the night of a purple moon.
Very warmly recommended.

The king of acid-fuzz guitar presents a barbed bouquet of classic psych covers — The Stooges, Hendrix, Pink Floyd, MC5, Jefferson Airplane and co — with killer, piercing fuzz-wah guitar and bizarre software-generated vocals. ‘One of the finest acid-punk shredders to ever walk the planet, Munehiro Narita gives these time-honored psych rock classics a serious kick in the ass, in the most bizarre and Japanese of musical settings’ (Steve Krakow, Galactic Zoo). ‘Munehiro Narita (High Rise et al) bleeds all over a series of massively re-wired cover versions of classic psych while computer generated little girl vocals relocate the whole damn thing in another future altogether’ (David Keenan).