Back catalogue: Broken Beat/Nu Jazz/Nu Soul

Review: Polish producer Latarnik and American vocalist Anthony Mills collide on this new album for Polish label Astigmatic to explore lo-fi hip-hop, soul, dub and experimental electronics. Mills's falsetto vocal brings great Neo-soul warmth to Crack Rock with emotionally charged tones soaring over the production which ranges from sugary and 80s-tinged disco and boogie on 'Crack' to deep, seductive and gooey on 'Passive Lover' which is a more romantic sound. Latarnik's work is often minimal yet immersive which creates space for Mills' voice to shine and is delivered in equal parts spoken word, chant and soulful croon. The hypnotic, slow-burning soundscapes that result are both intimate and confrontational, ready to make you dance but also often just to feel. Unapologetically raw and deeply human, this one lingers long after the final track ends.

Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***


If you don't know (well, even if you do know it is still true), Californian multi-instrumentalist Brian Ellis is Egyptian Lover's keyboard player, and is also a member of Campus Christi with Peanut Butter Wolf. He steps out alone here with a new and outlier funk album that shows off his idiosyncratic style. It is a raw and dense sound that mixes up bold funk and gritty psychedelic soul while embracing the darker edges of both styles. Along the way, Ellis explores themes of truth, authenticity and the pitfalls of wealth while reflecting on the cost of giving away one's heart. Tracks like 'The Real Deal' and 'Money Drives Me Crazy 'capture these ideas with unfiltered emotion.

Review: London beatsmith and "city rivims" producer Footshooter is one of a small cadre of inner city artists whose work makes a point of fusing UK jazz, West Coast-ish hip-hop and UK dance production, all tied together by an experimental bow. His latest LP, The Oasis, unveils itself as an upended jazz and broken beat finesser, all while nailing a collaborative form, with studio-mates James Mollison (Ezra Collective), Natty Wylah and Brother Portrait all in tow. Where lead track 'Cycles' evolved from a simple loop, growing in depth and space, Mollison's saxophone brought appended magic; meanwhile, tracks like 'Boomerang' and 'Surrey Canal Road' underscore a mood of hyperlocal, industrial South London poignancy.

Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***


]Nathan Haines, the renowned New Zealand musician, unveils his 11th studio album, marking his first solo venture since 2014. Known for his talents of saxophone, flute, and composition across jazz, electronic and dance genres, Haines melds his signature jazz sound with vibrant electronic and disco influences on Notes. This labor of love began years ago in collaboration with the late UK producer Phil Asher, whose influence permeates the album despite his passing during its creation. Featuring guest vocalists like UK soul-diva Vanessa Freeman and emerging talents Ajuna Oakes, Ruby Cesan, La Coco, and EO, Notes showcases a diverse range of voices intertwined with Haines's own instrumental strength. With contributions from bassist Jkriv and electronic jazz innovator Mark de Clive-Lowe, alongside beats by Marc Mac and acoustic bass by his father Kevin, the album is full of spirit and musical evolution. Frank Booker's production on three tracks adds depth, while the acoustic rendition of Rare Silk's 'Storm,' featuring vocalist Rachel Clarke, stands out as a poignant artistic highlight.

Review: Galcher Lustwerk, the Cleveland-raised, NYC-based producer, has carved a unique lane in deep, low-key post-hip-house since his 2013 debut 100% Galcher. Through smoky, stream-of-consciousness vocals evincing an ability to both produce and locute, his work blends funk, rap and r&b into hypnotic club and after-hours four-scapes. On Information, his Ghostly International debut, Lustwerk refined his tech-noir house corner. Live drums and jazz sax added fresh texture, while Lust's trademark narrative cryptologes evoked dimly lit dives, fleeting encounters, and an all-round shadowiness. 'Cig Angel' and 'Another Story' pulse with the sonic linguals of mumble-core film and salivatory softened production, while 'I See A Dime' races forward with syncopated lyrics and daring bongos. True to an enciphered ethos, Lustwerk plays with perception: "Information doesn't equal knowledge."

Review: Lamunai Records present an 11-tracker spotlighting the more innovative currents permeating Indonesia's contemporary jazz landscape. Curated by Daniel Adisumarta, it recognises such standouts as Batavia Collective, We Are Neurotic, and Littlefingers, reflecting the diversity and depth of the archipelago's groove-driven output. The tightly woven breaks of Moon Pedestrian's 'Nothingness' contrast its offhand mood of spirituality, while Celetre's 'Mindspiel' presents a wonderstruck imaginarium of broken beaten woodwind jazz. As curator Chandra Drews puts it, "Indonesia's modern groove scene (is) filled with soaring breaks, introspective chord progressions, jaw-clenching grooves, and soul-soothing tones."

Review: Adrian Younge's latest in the Something About April series is a stunning analogue opus that blends a 30-piece orchestra with breakbeats, synth work and Brazilian psychedelia. It has reportedly been years in the making and is the culmination of Younge's sonic vision as well as being his most expansive and experimental work to date. Brazilian vocalists, fuzzed-out drums and lush orchestration evoke MPB greats like Verocai and Os Mutantes and hip-hop kings Wu-Tang in equal measure. Tracks like 'Nunca Estranhos' and 'Nossas Sombras' are richly cinematic and deeply soulful standouts. More than a closing chapter, this record cements Younge's legacy as a visionary composer.