Review: Insense has put together a tidy 7" featuring a rendition of Pharoah Sanders' 'Moon Child' which was first specially crafted for the compilation album Incense Music for Bed Room. It is a lush and spiritual sound led by gorgeous wind instruments and fluttery melodies over gentle and persuasive rhythms. On the flip, Yoshiharu Takeda's 'Bliss Of Landing' is another escapist sound with more of the same. A lovely 45 rpm for those quiet moments.
The Great Marmalade Mama In The Sky (Yage remix) (5:15)
Wooden Ship (Yage remix) (5:37)
Review: This package of remixes of tunes from Translations is a real gem for lovers of Future Sound of London. plenty of familiar samples and textures are worked into the five Yage remixes as are cosmic overtones, sitars, drones, backward guitars and more. 'The Big Blue' is a woozy intergalactic sound on slow-mo beats, 'Requiem' is a worldly dub, 'The Lovers' has psyched-out lead riffs that bring prog energy and 'The Great Marmalade Mama In The Sky' has drunken tabla drums and mesmeric strings for a perfect retro-future comedown. 'Wooden Ship' is a spine-tingling sound with choral vocals bringing the celestial charm.
Review: The third volume in the Insense Music compilation series, Insense Music for Dining Room, deepens its exploration of ambient, jazz, chill-out and Balearic sounds, all of which are perfect for serene dining moments. Curated by Tohru Hashimoto with artwork by Jiro Fujita and mastering by Calm, who a key figure in Japan's music scene as well as a renowned Balearic boss, this 7" release shines from the off: side A features Yakenohara's subtle, exclusive take on Bill Evans's 'Peace Piece' which blends his genre-fluid skills as rapper, DJ and producer. Side B offers Noa Noa's warm tribute to Bobby Hutcherson's 'Montara,' a hip-hop sampling favourite. The release precedes a full compilation dropping this May.
Prof Jah Pinpin 4tet - "The Final Bird (Le Temps D'une Vie)" (3:18)
Review: There is scant little information out there about Yoanson & Karamie. What we do know is that they were young artists from the French African diaspora who met with Nessim Saroussi and his label Ness Music in the late 80s and were encouraged to record the music presented here. It is their only official EP and it is a brilliant mix of Afro-tropical percussions, disco, electro and vocals that call to mind the likes of Arthur Russell. Philippe de Lacroix-Herpin is the man festered here as Prof Jah Pinpin and he brings some of his signature saxophone brilliance to flipside jaunt 'The Final Bird (Le Temps D'une Vie)'.
Review: The Yoruba Singers reinterpreted Guyana folk music and infused it with Afro-roots and culture on this double A-side 7". Now for the first time every it gets reissued on vinyl. This release came a year after the group's debut album Ojinga's Own and were recorded in Barbados and released on the Green Shrimp label. They were big regional has with dancers lapping the grooves throughout the Caribbean and South America. The sounds are said to be the building blocks for what went on to become known as the Champeta Criolla sound in the Caribbean coast of Colombia.
Review: Correcciones Calypso returns from a generous hiatus with the fourth edition of its acclaimed edit series, replete with four re-edits that veer from the subtle to the downright brazen. Thomass Jackson and INigo Vontier invite the French duo Youkounkoun to open proceedings with an insane early 80s edit full of big drums and exotic touches that's been blowing dancefloors all around the world for the past years - and definitely resides in the brazen category, despite a lot of work having gone into it. Olta Karawame make their debut on the series with a powerful, compact edit full of ballsy keyboard riffing and a military-sized kick drum that is guaranteed to have heads banging . To complete the release label bosses Thomass and INigo deliver edits of their own with their characteristic sound, giving this EP maximum a value for money factor and entertainment from start to finish.
Review: A genre-defying exploration of industrial, noise and breakbeat influences. With a strong vocal presence and a deep understanding of break-based rhythms, YSSUE creates a unique sonic landscape that challenges conventions. Side-1 opens with 'Count 7/8', blending acoustic and synthetic sounds in a way that feels both experimental and grounded. The track's rhythmic complexity and textural depth set the tone for the rest of the album. 'Wherever' follows, merging jungle breakbeats with industrial intensity, while maintaining a catchy, accessible edge that will appeal to fans of both genres. The title track, 'Human Nature', stands out with its gritty, downtempo atmosphere. Reminiscent of Massive Attack's Mezzanine, the track's production is dark and atmospheric, layering dub elements with a subtle, edgy intensity that captures the essence of the human condition. Side-2 opens with 'No Cops In Paradise', where dub meets breakcore in a clash of electronics, creating a chaotic yet controlled rhythm. 'Hefty Dub' closes the album with a tribute to dub, offering a deep, immersive groove that wraps up the journey with a satisfying, bass-heavy finish. Human Nature is a bold, boundary-pushing record that successfully fuses disparate influences into something entirely fresh.
Review: The celebration of this series continues with a reissue of the second installment of the legendary Christmas salsa album. Willie Colon and Hector Lavoe returned here to bring the unique sounds that made Volume I a Latin music classic. For this one, Colon and Lavoe were joined by renowned cuatro player Yomo Toro and legendary percussionists Milton Cardona and Jose Mangual Jr. Together, they crafted salsa versions of beloved Puerto Rican Christmas songs while mixing traditional musica jibara with Cuban guaguanco, son montuno and African-American jazz. It delivers on all fronts with vibrant, festive blends that bring real Puerto Rican authenticity to salsa fans worldwide.
Review: Pierre-Alexandre Busson, a producer known for his multifaceted talents in both music and photography, steps further into his Destiino alias with a darkly ambient collection that stretches across downbeat house, industrial electronica and melancholic disco. Having made his name in the world of French electro, Busson's transition to Destiino was marked by an exploration of improvised compositions following his participation in a sound installation at the 57th Venice Biennale in 2017. This shift from his previous styles allowed him to dive deeper into moody, atmospheric landscapes. The current project, released under CHLOE's Lumiere Noire imprint, comes as a continuation of this artistic exploration, breaking from the dancefloor-driven energy of his past work to embrace a more introspective and expansive approach. Opening with 'Yokohama,' Busson sets a pensive tone, layering soft synths over a minimalist beat. 'My Crush' follows with a reflective yet upbeat mood, while 'Somlake' (feat. Inigo Vontier) weaves light, meditative textures. 'Transe Has No Speed' dives into dense atmospherics and 'Imagery' introduces a rhythmic, bodily groove. The second side offers 'Musique Electronique Repetitive,' using looping motifs to create a trance effect, while 'La Houle' brings fluidity and 'Morning Routine' soothes with its gentle vibe. 'Pulsar' (feat. Inigo Vontier) pulses with cosmic rhythms, and 'No Pain' closes with a melancholy, reflective note.
Review: Israeli funk quartet Sababa 5 and Japanese singer-cum-bellydancer Yurika Hanashima join forces again on 'Kokoro', a combination of two song suites: four brand new concoctions and four beloved older tracks. Sababa 5's unique combination of Middle Eastern funk and Mediterranean rhythm makes a surprisingly sensational combination with Japanese Jazz-fusion sensibilities. Opening track 'Empty Hands' is a string-led proposition by Yurika: When your hands are empty, you hold everything you need. The guitars are expressive without overpowering Yurika's gentle vocals - it's the perfect track for a sunny drive home. The real selling point here is the clutch of tracks from Sababa and Yurika's storied past, namely 'Tokyo Midnights, a jangly, groove-filled song describing a smoke-filled, drink-fueled night through the capital. This version is pressed on classic black vinyl, but has been in high demand on the artist's own store - so act fast.
Review: In 2002, the Japanese government recognized bamboo flute maestro Hozan Yamamoto as a "living national treasure". It was in honor of his lengthy career in music, and in particular the way he championed a traditional Japanese instrument even when he was turning his hand to Western music. "Beautiful Bamboo Flute", an album first released in 1971 and almost impossible to find since, is a superb example of this. It sees him deliver haunting, emotional and life-affirming solos over funky jazz, big band and fusion backing tracks that tend towards the fresh and funky. It's an unusual blend, but also an invigorating and exciting one.
Winds Over The Neo-tokyo (Makoto Kubota remix) (3:45)
Dolls' Polyphony (Makoto Kubota remix) (4:01)
Exodus From The Underground Fortress (Makoto Kubota remix) (3:25)
Illusion (Makoto Kubota remix) (2:55)
Mutation (Makoto Kubota remix) (4:18)
Requiem (part 1 - Makoto Kubota remix) (5:59)
Tetsuo (Makoto Kubota remix) (3:21)
Shohmyoh (Makoto Kubota remix) (2:38)
Requiem (part 2 - Makoto Kubota remix) (4:05)
Winds Over The Neo-Tokyo (Yasuharu Konishi remix) (5:02)
Dolls' Polyphony (Yasuharu Konishi remix) (6:36)
Requiem (Yasuharu Konishi remix) (7:48)
Kaneda (Kuniaki Haishima remix) (3:43)
Shohmyoh (Kuniaki Haishima remix) (8:49)
Illusion (Kuniaki Haishima remix) (3:48)
Review: Re-rendered in a stunning full-length form, the groundbreaking soundtrack to the 1988 anime film Akira is here remixed in full by individual members of Geinoh Yamashirogumi, the elusive Japanese music collective behind the original Akira OST. Founded in 1974 by musician and agricultural scientist Tsutomu Ohashi, Geinoh Yamashirogumi still to this day adhere to a loose ecology, comprising hundreds of people with different occupations. Recreating folk music along modern dance musical and electronic lines - terraformed folktronica, if you will - the original Akira soundtrack was innovative, drawing on such Japanese folk musics as gamelan and noh while merging them into. Spawning many later remixes across electronica and dance music, this fresh remix record is fully overseen by director Katsuhiro Otomo and tracks larger-than-life remixes from Makoto Kubota, Kuniaki Haishima and Yasuharu Konishi, ragtag but chosen members of Geinoh Yamashirogumi.
Review: 'Only Love Remains' is Yemen Blues' boldest album to date and one that marks a departure from their previous releases. Created from finished compositions by vocalist Ravid Kahalani, the band spent two weeks in the studio with minimal ideas and simply allowed creativity to flow. The result is a powerful fusion of each member's unique cultural influences co-produced by bassist Shanir Ezra Blumenkranz. The album blends direct emotional connection with spiritual depth and so offers both enlightenment and questioning. Amid global political and cultural polarisation, Yemen Blues leads by example and makes for an inclusive celebration of unity and love through music.
Who Swallowed The Chimes At The Random Place (5:06)
If I Drink This Potion (2:15)
1,2,3 Soleil (2:40)
Maxilogue: Potion, Materials (4:30)
Poly Juice (3:37)
The Sublime Embrace - Losing Our Way Is Not Wrong (4:01)
Review: Yetsuby is a solo project of South Korean artist Yejin Jang and a prolific one at that with six albums, seven EPs, and numerous singles to her name since 2019. Her recent album My Star, My Planet Earth won "Best Electronic Album of 2023" at the Korean Music Awards and now the NTS host follows up with a debut on Seb Wilblood's All My Thoughts label, which is a heartfelt mini album that explores deep emotions with real sonic alchemy. The six tracks range from the mesmerising opener 'Who Swallowed the Chimes at the Random Place' to the soothing 'The Sublime Embrace - Losing Our Way Is Not Wrong'. Both blend intricate rhythms with lush vocals and elegant brass to create celestial, immersive sound worlds.
Review: Berlin-based Turkish singer and multi-instrumentalist Derya Yildirim fronts Grup Simsek - a psych-pop delight which channels the unmistakable lilt of Anatolian musical tradition. After releasing the first instalment last year, the band return to deliver the second half of their double album DOST. In the interim since that first half dropped they've recorded a BBC Radio 6 Music session, been featured all over the place and played internationally. The release of DOST 2 should cement their ascendance in a swirl of 70s informed funk driven by Yildirim's enchanting vocals and the fluid grooves of her backing band.
Review: Although born and raised in Holland, the duo behind the Yin Yin project "make music for an imaginary tropical Island" based "somewhere between the Netherlands and South East Asia". It's an apt description of their undeniably humid, wide-eyed style, which variously combines elements of surf-rock, dub, psychedelia, ambient, electronica, spaced-out synth-pop and various traditional South East Asian musical tropes. It's a style that makes this long promised debut album a unique, distinctive and hugely vibrant listening experience. While inventive and colourful, their music is also largely dancefloor friendly and highly addictive. In other words, this is one debut album that's well worth picking up.
Review: Although born and raised in Holland, the duo behind the Yin Yin project "make music for an imaginary tropical Island" based "somewhere between the Netherlands and South East Asia". It's an apt description of their undeniably humid, wide-eyed style, which variously combines elements of surf-rock, dub, psychedelia, ambient, electronica, spaced-out synth-pop and various traditional South East Asian musical tropes. It's a style that makes this long promised debut album a unique, distinctive and hugely vibrant listening experience. While inventive and colourful, their music is also largely dancefloor friendly and highly addictive. In other words, this is one debut album that's well worth picking up.
Review: Shinichiro Yokota's legendary discography finally arrives on vinyl with The Pitstop Box, featuring 24 essential and exclusive tracks. Originally available only in Japan via Far East Recording, this long-awaited collection highlights Yokota's signature blend of funk, hip-hop, electronic and Japanese influences. It features house classics like 'Right Here Right Now' and 'Night Drive', plus a cover of Haruomi Hosono's 'Simoon' and a collaboration with Soichi Terada that is packed with signature melodic sugariness. Inspired by his love for sports cars, The Pitstop Box is a brilliant overview of one of house music's finest talents..
Review: Yomm's upcoming EP showcases a unique blend of City-Pop with diverse influences, solidifying her as a standout figure in the contemporary music scene. This six-track collection includes the pre-release singles 'Hatsukoi,' 'Alice,' 'Miraco feat. Layone,' and 'Saratto Patto Pitto,' alongside two new tracks: 'Hon de Yomitake,' penned and arranged by Kiseru's Gobun Tsujimura, and 'Scramble - Tokyo,' written and composed by yomm herself. A new project by Korean singer-songwriter and model Choi Jung-yoon, Yomm has quickly gained attention since its launch in April, with contributions from notable artists like Shota Araya (formerly of yonawo), Motoi Kawabe (Mitsume) and Jin Ono. The EP showcases yomm's ability to blend City-Pop with modern elements, creating a sound that feels both nostalgic and innovative. With its eclectic mix of styles and top-tier collaborations, this EP is set to be a refreshing addition to the evolving City-Pop genre.
We use cookies to personalise content and ads, to provide social media features and to analyse our traffic. We also share information about your use of our site with our social media, advertising and analytics partners who may combine it with other information that you've provided to them or that they've collected from your use of their services.