Back catalogue: Funk Soul & Jazz

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.

Review: Brazilian music legend Hyldon teams up with producer Adrian Younge for the 23rd edition of Jazz Is Dead. A psychedelic soul album reimagining the magic of Hyldon's 60s and 70s work through a modern lens, Hyldon's vivant vocals and poetic storytelling are paired with the rich analogue production that made Younge's name, honouring the past and yet still keeping things afresh. It also stands as one of the final recordings of the late Ivan "Mamao" Conti, the iconic Azymuth drummer and Hyldon's longtime collaborator. Fusing MPB, tropicalia, and Black American r&b, we're slack-jawed with awe at this spiritual, which elutes from the ethereal 'Olhos Castanhos' to the cosmo-funk of 'Viajante do Planeta Azul'.

Review: Brazilian vocalist, musician and producer Hyldon De Souza Silva teams up with Adrian Younge on a brand new psychedelic Latin soul album, infused with the golden spirit of jazz, honouring both Hyldon's 60s and 70s opuses and Younge's trademark analog productions. With late drummer Ivan "Mamao" Conti on percussion, this is yet another tribute to the "Black Rio" movement in Brazil, an intoxicating infusion of Brazilian MPB and Black American rhythm & blues. The effect is major yet seductive, riffing on insporations from Marvin Gaye to Tim Maya to flatten the embossed edges of bossa nova and erotic funk, with remarkably paced and measured drumming and swirling vocal lines.

Review: This unique album is a bold reimagining of the iconic sweet-soul group, spearheaded by Delfonics' lead vocalist William Hart and infused with Adrian Younge's unique, hip-hop-informed perspective. While the album features elements familiar to Delfonics fans, such as the electric sitar, french horn and lush string arrangements, Younge's approach departs from traditional production, offering a more experimental and idiosyncratic take on the genre. Drawing influence from the eccentric strains of soul and r&b adored by crate diggers, Younge's arrangementsiincorporating harpsichord, glockenspiel and electric sitariimbue the album with a sense of campy psychedelia, yet manage to avoid veering into kitsch. Hart's crystal-clear falsetto remains a cornerstone of the album, with his voice serving as a bridge between the past and Younge's modern vision. Though much of the album sees Hart performing solo, a departure from the layered harmonies of classic Delfonics, it feels organic and fitting for the material. The pairing of Hart's legendary voice with Younge's analog-driven production creates a sound that feels both nostalgic and fresh. Tracks like 'True Love' and 'Stand Up' show how much care has been given to allow the original beauty to the focal point. A genius blend of old-school soul and modern sensibilities.