Back catalogue: Broken Beat/Nu Jazz/Nu Soul

Review: After a four-year hiatus, Urban Volcano Sounds returns with their eagerly awaited single, "Disco Taberna," released on 7" vinyl. Known for their Balearic crossover style, urban boogie influences, and elegant sound production, the track showcases their signature blend of lush strings and soulful melodies. "Disco Taberna" is a nod to the golden age of 70s disco, capturing the era's opulence with meticulous production. The track's lush arrangements and soaring strings reflect a deep respect for the classic disco era, while the urban boogie influences add a modern twist. The single's release follows the inclusion of their track "Ame no Uta" from their previous album "Blue Hour" in the "Tangent" compilation by Nick The Record & John Gomez, released by MR.BONGO in July. This feature has further cemented Urban Volcano Sounds' growing reputation, both in Japan and internationally. "Disco Taberna" not only reaffirms the group's commitment to high-quality sound but also highlights their evolving influence in the music scene. The single's blend of nostalgic and contemporary elements promises to captivate both longtime fans and new listeners alike.

Review: Do you know Utena, Fukuoka's hottest soul jazz band comprised of Yamagiwa Mai, Seigo Takeshita, and Toshiyuki Morishige? If you don't, now is the time to get familiar as they drop their debut 7" single on Exhume Exhume Production, which is a label helmed by DJ Horishi. This double A-side features a stunning reimagining of the Japanese classic 'Natsu Hikari ni' which was originally by Tasumiko Yamaga and is transformed with smoky, soulful jazz stylings. The flipside presents 'Moon,' an original track by vocalist KAYO and guitarist Soraha (aka KEIJI), which showcases the band's signature new soul sound.

Review: Uhlmann Johnson Wilkes is the debut album from Gregory Uhlmann, Josh Johnson and Sam Wilkes, a collective of three versatile improvisers, arrangers and producers whose work spans jazz, rock and experimental. Across 11 instrumental tracks, they explore a jazz-informed take on progressive electro-acoustic chamber music that brings beauty, melody and rhythm to the fore. The record was conceived during live shows and a home session in Los Angeles and features Uhlmann's mournful fingerpicked guitar, Wilkes' bass chording and Johnson's effect-laden saxophone. Their arrangement-minded improvisation results in some nicely otherworldly textures as they push their instruments to create a spacious, lyrical sound.

Review: Check classic dance music books of the 1990s - and even some later music texts, such as Richard King's The Lark Ascending - and you'll find plenty of praise for Ultramarine's work of the early 1990s, which added pastoral and folk-rock inspired sounds to the sample-heavy pulse of dance music. What you won't find is any reference to their final album of the decade, A User's Guide. Yet it may well be their best album. A conscious exploration of techno and IDM shot through with references to Detroit, Berlin and Sheffield (well, Warp Records at least), it reportedly took the duo almost two years to record. A largely unheralded British techno classic, it has been painstakingly remastered for this first ever vinyl reissue and boasts extensive contextualising liner notes from UK techno historian (and sometime Juno writer) Matt Anniss.

Review: Uncut Gems by Underground Canopy is a compelling fusion of modern jazz, hip-hop grooves, and urban sophistication, marking a significant release from the Paris-based band. This mixtape, originally released in 2022 and now available physically worldwide, highlights their year-long studio sessions. Each track is a testament to their experimental ethos with a blend of raw energy and spontaneous creativity. The album's strength lies in its authenticity and the collective spirit of the band members, evident in the richly textured compositions that evoke the spirit of artists like Bad Bad Not Good and Butcher Brown. Davor Gromilovic's artwork enhances the experience, visually complementing the project's heartfelt and innovative approach. For listeners attuned to the intersection of jazz and hip-hop, Uncut Gems is a refreshing exploration of musical boundaries, delivering moments that feel both familiar and boldly original. Not many albums have quite the mix of contemporary jazz and infused hip-hop that this release does.

Review: In 1981, Unity, a new South African band, were making waves with their album Erube Jambo. Produced by the team of Van Blerk/Roos & Greg Cutler, it features succulent voices and melodies, psychedelic Moog, Hohner clavinet and Fender Rhodes, all surrounded by Afro-folky guitars. Unity's journey began between 1972 and 1973 when Poy-Poy Makhubela appeared on four singles with The Young Movers, produced by David Thekwane. In 1975, Poy-Poy, as a lead guitarist, formed Unity with Jeff Radine (Fender Rhodes, Moog), George Legobye (bass), Edward Modiselle (percussion), and Robert Moema (drums). Most members came from The Sound Jaws, except Radine, who played with Rugare, Harari, Chicco, The Black Five, and Prince Nico. In 1978, after hearing Unity in a club, Mike Tswai joined as their manager. Poy-Poy's career has flourished, touring globally and collaborating with South African legends like Brenda Fassie, Don Laka, Blondie & Pappa, Dorothy Masuka, and Kwaito bands such as Alaska, Boom Shaka, and Trompies. Iinnovative spirit and enduring talent ahoy.