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Jayda G

Significant Changes

    Jayda G releases her debut album “Significant Changes” via Ninja Tune, having risen steadily through the dance music underground thanks to her infectious energy, vitality, rhythm and boundless enthusiasm. Musically it’s a blend of vintage drum machine funk drawing heavily on Chicago’s house blueprint - a natural progression from a string of EPs both solo and alongside her friend and mentor DJ Fett Burger (Sex Tags Mania), often appearing on the Freakout Cult label the two ran jointly until 2018 and most recently her newly minted JMG Recordings imprint. Also renowned for her high-energy performances as a DJ, the past 12 months have seen her play London’s formidable Printworks venue alongside the likes of Marcellus Pittman, Moodymann and Omar-S, be invited by The Black Madonna to play at her Warehouse Project takeover, and Berlin’s iconic Panorama Bar, as well as festival appearances at Field Day, Kala, Melt!, AVA and the xx’s Night And Day to name a few.

    “I’ve gone through some significant changes personally, in terms of growing up into the person that I am, my career just morphing to a place I never dreamed or imagined possible,” explains Jayda. “It’s about me understanding myself as an artist, understanding who that person is, and who I want that person to be, and taking more responsibility for the platform that I’ve been given.”

    In 2018 Jayda completed her Masters in Resource and Environmental Management specializing in environmental toxicology, wherein she specifically studied the effects of human activity on the Salish Sea killer whales (orcas) of Vancouver, in her native British Columbia. It was also the year that she finished recording her debut album as Jayda G: “Significant Changes”. The title of the album was the most used phrase in her final thesis and exemplifies how intertwined her work in science is with her work in music. “I’m trying to bring my two worlds together… to bridge the communication gap, engage people in a new way”, she explains. “I don’t know if people in the electronic music world will want to talk about the environment but I think I should try! I think it’s our duty to use a platform like this in a positive way, that’s our social responsibility."

    Additionally she will be hosting a series of intimate talks in London aimed at offering young scientists a platform to discuss their recent academic work as well as their personal journeys. Jayda’s aim is to try to bridge the communication gap between critical work in contemporary science and the wider public to promote a better understanding of science.

    “I just want people to feel not so hopeless… there's a lot of really depressing things going on, but people are doing good work out there and finding out really interesting stuff, so I just want people to be informed of those things, so that they feel inspired in whatever work that they do.”

    FORMAT INFORMATION

    2xLP includes MP3 Download Code.

    Jayda G & Alexa Dash

    Leave Room 2 Breathe



      FORMAT INFORMATION

      Ltd 12" Info: Limited edition white label.

      The Cinematic Orchestra are back with a definitive new album that explores a timeless question of vital importance in 2019 - what to believe? Founding member Jason Swinscoe and longtime partner Dominic Smith have enlisted album contributions from collaborators old and new: Moses Sumney, Roots Manuva, Heidi Vogel, Grey Reverend (vocalist on Bonobo’s 'First Fires’), Dorian Concept and Tawiah (Mark Ronson, Kindness). Miguel Atwood-Ferguson (Flying Lotus, Anderson Paak, Thundercat, Hiatus Kaiyote) features on strings and photographer and visual artist Brian “B+” Cross collaborated with Swinscoe and Smith on the album’s concept. The record was mixed by multiple Grammy winner Tom Elmhirst (David Bowie, Frank Ocean, Adele) in Jimi Hendrix’s legendary Electric Lady Studios. The album artwork comes courtesy of The Designers Republic™ (Aphex Twin).

      In 2019 it is easy to see the band’s influence, jazz is all around us, London and LA have recently produced scenes more prolific than anyone expected; Kamasi Washington has been nominated for both Grammy and Brit Awards, Sons Of Kemet a Mercury Prize, BADBADNOTGOOD provide jazz soundtracks to high fashion shows and Kendrick Lamar has put the jazz palette at the top of the charts. When The Cinematic Orchestra released their critically acclaimed debut album “Motion” it helped pave the way for this moment, incorporating as it did an interpretation that had been lacking in the oeuvre and encouraging a new generation of musicians to break rules. “To Believe” doesn’t shy away from this ethos - its articulation of the band’s unique sonic language, encompassing not only jazz but the sort of transcendental orchestration combined with the elegant electronics of artists like Ólafur Arnalds and Floating Points, artists they have helped forge a path for, has never been more cohesive and compelling.

      STAFF COMMENTS

      Barry says: From brittle, ambient electronics to soaring, progressive modern-classical touches, the Cinematic Orchestra have crafted a beautifully diverse collection here, wonderfully accentuated by a perfect choice of guest artists hand-picked to perfectly fit their chosen tracks. With moments of calm before frantic, busy instrumentation, this is an absorbing and beguiling listen from start to finish.

      FORMAT INFORMATION

      2xDeluxe LP Info: To Believe deluxe edition vinyl including 180g clear vinyl and 180g white vinyl housed in roughboard sleeve with black foil detail and glossy printed inners. Art and design by The Designers Republic. Download code included.

      2xLP Info: To Believe double 180g black vinyl housed in roughboard sleeve with glossy printed inner sleeves. Art and design by The Designers Republic. Download code included.

      BADBADNOTGOOD X Little Dragon

      Tried

      Canadian Jazz group BADBADNOTGOOD unite with Swedish electronic band Little Dragon for their beautiful and melancholic single, Tried.The single follows a myriad of successful collaborations from BADBADNOTGOOD with Kendrick Lamar, Kali Uchis, Snoop Dogg, Thundercat, Kaytranada, Charlotte Day Wilson and Sam Herring (Future Islands) and Little Dragon’s 2018 “Lover Chanting” EP.

      STAFF COMMENTS

      Millie says: BADBADNOTGOOD's new collaboration with Little Dragon demonstrates their mellow side of beautifully slowed-down jazz rhythm, matched with the sweet vocals of Little Dragon is a heavenly retreat for the ears.

      The Cinematic Orchestra

      A Caged Bird / Imitations Of Life

        Ninja Tune bring us the first new material from The Cinematic Orchestra in three years via a limited vinyl release of the Roots Manuva collaboration "A Caged Bird / Imitations Of Life". Claps and tambourines bring us into the room, where the downbeat ensemble gently tease out a skeletal fusion of thoughtful piano, solid percussion and moody electronics, made whole with Roots Manuva's philosophical flow and urgent strings. It's clear by now though that TCO don't trade in the linear, and soon enough the track explodes into syncopated drums, twinkling electronics and a drifting chorus, tugging every heartstring at once. Available on a limited vinyl with an instrumental and acapella on the flip, this is a welcome return for the electronic legends.


        Canada's art school technopop queen, Mlle Marie Davidson smashed it right out the park, off the charts and up yer ahem with her recent "Working Class Woman" LP, reframing Italo, proto-industrial and electro influences into the kind of sleek but slamming club cuts Miss Kittin used to cook up. The difference here though, is that where Kittin could often be accused of style over substance, Davidson packs her productions with pointed observations on club culture and more oblique critiques of the modern world. Darkly humorous, textured and taut, "Working Class Woman" was a big hit at Piccadilly HQ. 
        The ‘So Right’ EP includes an extended club version of the titular tickler and a heavyweight basement techno-meets-razor sharp electro via a bit of breakbeat remix by John Talabot. The EP also includes new track ‘La Ecstase’, a dark and deranged coldwave collaboration with Lamusa II which is accompanied by a slamming industrial remix by Silent Servant.


        Little Dragon back with a self-proclaimed dose of F U N: 'For all the lovers out there, chant along! Dance for peace and unity in this world of madness!' declare the band. Lead singer Yukimi Nagano adds that the EP is about, 'The force of love. Not only between two people but the force of love in this universe as the ultimate ecstasy. Whether that is while you’re dancing at a disco forgetting where you are or just staring at the moon on a clear night, it can be anything. A swim in the ocean, a glance at a stranger - it’s a personal individual thing. Call it what you want but we have all felt it. So, embrace the great mystery of everything that your brain can’t grasp and lose track in the most beautiful sense.'

        The story behind the track’s origins is as idiosyncratic and left-of-centre as you would expect from a band that have spent their career consistently playing by their own rules. 'It started with Fred searching for a wedding march inspired by a Swedish prog funk folk keyboardist called Merit Hemmingson', explain the band from their Gothenburg bunker. 'Erik got inspired by the track and started singing! After Erik wrote his vocal verses Yukimi got a bit worried about his lyrical abilities and stepped in to add her part on the song. Håkan flew to Germany to record a beautifully tuned clavinet. Once the clavinet was recorded Fred and Erik added their flavour with some drums and deep synth bass.'

        The ‘Lover Chanting’ EP showcases the forward-facing, pioneering spirit that has cemented Little Dragon’s status as one of the most universally adored outfits working today. From early collaborations with Gorillaz, SBTRKT, Kaytranada & Flume through to recent tracks with Faith Evans, Raphael Saadiq and the previously mentioned BADBADNOTGOOD and Vic Mensa collaborations earlier this summer, Little Dragon have continued to be at the forefront of the collective music consciousness, consistently inspiring existing icons alongside a whole new generation of emerging artists. The band have also continued a longstanding tradition of working with some of the most exciting creatives across the arts. Having collaborated extensively with IB Kamara (i-D, Dazed, Vogue) and David Uzochukwu (Dior, FKA Twigs, Nike) on previous album ‘Season High’, the band worked with exciting newcomer Vicki King on the imagery for the forthcoming campaign.


        STAFF COMMENTS

        Sil says: Good old sugar coated pop dressed with a chuggy house beat overriding it all over. Only Little Dragon can create it this nicely without being too cheesy. Superb!

        Marie Davidson

        Working Class Woman

        Marie Davidson’s new album turns the mirror on herself. "Working Class Woman” is the Montreal-based producer’s fourth and most self-reflective record: it’s a document of her state of mind, of operating within the spheres of dance music and club culture. Drawing on those experiences, as well as an array of writers, thinkers and filmmakers who’ve influenced her, Davidson’s response to such difficult moments is to explore her own reaction to them and poke fun. “It comes from my brain, through my own experiences: the suffering and the humour, the fun and the darkness to be Marie Davidson.” It’s an honest document of where she currently stands. As she puts it, “It’s an egotistical album – and I’m okay with that.”

        The sound of "Working Class Woman” is more direct than any of her previous outings. She still mines the same influences, from Italo Disco, to proto-industrial and electro, but leadens them with a gut-punching weight, making for a record that’s more visceral than any she’s released before. Industrial heaviness is balanced by Davidson’s spoken text – rather than spoken word, which she sees as a distinct tradition – dark, textured soundscapes are counterweighted by statements that carry a more darkly humourous edge than before, making observations on both aspects of club culture as well as more oblique critiques of the modern world. It’s something that’s encapsulated in the driving momentum of lead single ‘So Right’, which matches pared back lyrics with a melodic bassline and bright synths, her words sketching out a euphoric feeling that chimes with the music.

        Building on the dancefloor-minded trajectory charted by her previous record "Adieux Au Dancefloor” [Cititrax / Minimal Wave], which drew praise from the likes of Pitchfork (“a project that indicates exciting and near-exponential growth in her ability as a writer and producer”), The Fader and Resident Advisor, and opened up her sound to a new, wider audience, earning support from peers such as Nina Kraviz and Jessy Lanza. 


        British musician and producer Leon Vynehall is part of a vanguard of artists expanding the ambition of electronic music. Highly respected for his musical output, he has established himself as a genuine artist, releasing bodies of work that are layered with musicality and craftsmanship. Previous releases have consistently received critical acclaim. "Music For The Uninvited’ was widely praised and featured heavily on many of 2014’s Best Of Year polls including XLR8R (#3 album), DJ Mag (#3 album) and Mixmag (#6 album). Follow up "Rojus" (2016) received another long list of accolades including DJ Mag’s Album Of The Year. It also featured in Pitchfork’s Top 20 Best Electronic Albums Of 2016.

        "Nothing Is Still", released on Ninja Tune, sees the producer turn his hand to languid jazz meanderings, futuristic tropicalia and sun-baked downbeat. It's a slower and more deliberate operation than his frenetic, neon-tinged house music that's previously been his calling card. Here we find Leon in calm and sedate mood, rich in musicality and emotion and turning his back somewhat on the clubs and dancefloors occupied by the under 25s. 


        STAFF COMMENTS

        Matt says: Nice to see ol' Leon Vynehall spreading his musical wings here and offering up summat completely fresh. Ambient, jazz-tinged and most tropical, this is the producer taking a well deserved, horizontally-aligned rest; and we should all revel in its glory.

        FORMAT INFORMATION

        LP Info: Heavyweight vinyl.

        LP includes MP3 Download Code.

        Cocoa Sugar, announced in November 2017 that Young Fathers had a brand new album and it has been highly anticipated since. The trio – Alloysious Massaquoi, Graham ‘G’ Hastings and Kayus Bankole – marked the news by previewing a brand-new song, ‘Lord’ and a subsequent accompanying video. Just like their previous standalone 2017 single ‘Only God Knows’ (written for the Trainspotting T2 film and described by director Danny Boyle as “the heartbeat of the film”), ‘Lord’ provided an enticing glimpse of what to expect from Young Fathers’ third full album; something typically unique and exhilarating, but leaner, more muscular and self-assured than ever before. Cocoa Sugar sees Young Fathers operating with a newfound clarity and direction, and is without doubt their most confident and complete statement to date.

        STAFF COMMENTS

        Millie says: Long awaited but is now finally here, Cocoa Sugar is refreshingly original as their new sound is bold and irresistibly good.

        FORMAT INFORMATION

        CD Info: CD version housed in card wallet with a gloss laminate finish designed by Hingston Studio and photography by Julia Noni. Inner wallet also contains a lyric poster.

        Nabihah Iqbal

        Weighing Of The Heart

          The artist formerly known as synthwave sensation Throwing Shade steps out of the erm...shade and into the spotlight under her birth name Nabihah Iqbal. "Weighing Of The Heart" is a big statement in two ways: firstly because she’s taken her real name to stand proudly as a female British Asian artist making music and secondly, because she’s moved her music in a bolder, more expansive direction, with a greater focus on live instruments. Crunching percussion (think JAMC) lends the LP a lot of drive while spectral vocal fx and swirling guitars reference C86 indie and the psychedelic shimmer of shoegaze. 

          Bicep - the Belfast-born, London-based duo of Matt McBriar and Andy Ferguson are mainstays in the current dance music climate. Fresh off the back of groundbreaking live performances across the globe (notably Dekmantel but also here at MCR's Parklife) they now present their debut album - as it its taken them this long! First coming onto our radar in 2010, the pair have come a long way since the initial 'NY house revival' that set their careers alight after running a tastemaking blog - Feel My Bicep. The perfect summation of the duo’s career to date - "Bicep" is a sonic tour of their history touching the cornerstones of underground club culture. Matt and Andy have pulled off the rarest of feats, to make a singularly unique electronic record founded on the blueprint of classic house, techno, electro and Italo disco, but flipped and morphed into a fresh design bearing the unique Bicep sonic signature. It’s a perfectly succinct album: loose, raw and energetic enough for the dancefloor, yet refined, artfully composed and contemplative enough for home listening.



          FORMAT INFORMATION

          2xLtd LP Info: Debut album from Bicep on double heavyweight 180g black vinyl in a gatefold wallet with printed inners. Includes download code and 1 of 4 different front cover designs (selected at random).

          Remixes of tracks off The Invisible's "Patience" long player, released last year. The package includes a who's who of new musical talent, with Peckham's Chaos In The CBD and FYI Chris rubbing shoulders with Millionhand's owner Tee Mango and northern trio Darkstar. Up first, "Love Me Again" gets taken into broken beat territory by Chaos In The CBD. Sounding authentic as ever, with the soulful vocal fitting perfectly with the syncopated, warm beats and jazzy Rhodes licks. "So Well" gets fractured, pitched and re-arranged by Warp's Darkstar, providing a suitably angelic hybrid of electro-pop, glitch and techno across a succinct five minutes of post-pop brilliance. Flip the disc and we return to Peckham as Chris and Chris deliver a funky yet dreamy take of "Love Me Again", allowing an unhurried arrangement room to develop slowly but deliberately, shunting the trickski, shadowy grooves of previous releases for a more bright-eyed, optimistic outlook. Having only a couple of remixes under their belt previous to this, it's great to see the lads bring summat new to the table - top one! Finally Tee Mango takes time out from running a leading fashion brand to conjure up a shimmering slice of deep house majesty, transforming "K Town Sunset" and Connan Mockasin's melancholic delivery into a radiant, sunrise burner that should see a wealth of emotions pour out of anyone lucky enough to hear it play.



          For me, Actress exists in a sparsely populated world of pure muses. Throughout musical history you have people at the very forefront of a generation or culture. Artists who relate to a time and environment rather than appeal to specific genre constraints of an fleeting aspect of club culture. Artists who truly put 'art' before anything else - often challenging the norm and usually way ahead of what the general consensus then later terms as cool. I put Darren Cunningham in this class, alongside Bowie, Kate Bush, Prince, Jamal Moss, AFX, Burial and Madonna. A grand statement I know but as the esteemed producer reaches album number five his artistic focus and future vision is unrivalled. The simplest you could say about "AZD" is that it’s art - the unique creation of a unique mind. There will be few more distinctive, brilliant or visionary suites of music released in 2017. Shimmering through a holographic prism its opening trilogy of tracks shines with new industry and broken societies; mixing dissonance with rhythm unceremoniously. Side B twists and churns through a multitude of audio processes, the very fabric of time space audible as Actress switches our receptors onto maximum sensitivity; offering up two painfully current club cuts in the process ("X22RME" & "Runner"). As side C slide gracefully in with the neo-orchestration of "Falling Rizlas" Actress prepares us for the demonically epic "Dancing In The Smoke" which defies categorization entirely, spinning old school hip-hop vox through an audio spiralizer and swirling metallic washes. Side D opens with the alluring "There's An Angel In The Shower", fluttering electronics gentle serenading us through highly emotive micro-chords. Finally "Visa" sees the Actress depart us in spritely, mischievous form, playful arpeggios rambunctiously motoring away as Cunningham pours hot white noise and electromagnet shards over the recording medium. It's been another awe inspiring, and at time uneasy vision of the future and how it's gonna sound, but Actress welcomes in the new with a wry smile and comforting gaze.



          FORMAT INFORMATION

          2xColoured LP Info: Available to independent retailers as a deluxe 2LP edition pressed on clear vinyl and housed in a metallic silver bag outer sleeve.

          Nathan Fake has grown from his beginnings as an undeniably skilled, but relatively inoffensive purveyor of twee IDM (see the cutesy electronic rhythms and circuit-bent melodies of 'Drowning In A Sea Of Love') into a powerhouse of challenging electronics and innovative melodic constructions.

          The brash and stomping 'Feelings 1' could easily be stretched into a 6-minute long OPN track from his early catalog, but retains its impact and drive in part due to it's brevity, letting up after only a couple short minutes with a thematic segue into the thumping title track. Utilising his tried-and-tested technique of a filtered-out beginning into a revisitation of that theme, but injected with fiery percussion and swooning synthplay, Fake constructs a towering wall of chaotic arps and fizzling saturation, underpinned by distorted kick drums and dusty pads.

          'HoursDaysMonthsSeasons' is much more along the lines of Border Community heavy-hitters Holden or Luke Abbott, pitching tweeting modulars and syncopated throbs against a droning foundation of fire and brimstone. As with all of Fake's more recent work, this is a deep and rewarding experience, but gives as much as you do, revealing it's complexities through patence and perserverance. 

          Moving further along (we have convered the towering 'DEGREELESSNESS elsewhere), we move into ambient territory with 'SmallCityLights' which is a relaxing and much-needed respite (make use of it while you can) before the thudding dystopian sidechained duality of 'Radio Spiritworld'. Like a pack of robots fizzing and staggering towards a neon sun, we get chillwave guitars, industrial hammering and crackling electronic connections, coming together into a bracing mix of rampant retro-futurism and forward-thinking outsider 'tron.

          Providence is as contrary and (I imagine) divisive as anything Fake has accomplished thus far, founded upon his considerable talent for writing a dancefloor stomper, but abstracted into the outer realms of melodicism and rhythm. A challenging, towering behemoth of an album, that will confound and amaze in equal measure. 

          STAFF COMMENTS

          Barry says: Nathan Fake does OPN. Shimmering synths, soul-shaking drone and abstracted rhythms mashed together (amazingly) into a brittle and brutal amalgamation of conceptual genius and technical mastery. A++, Will listen again.

          Simon Green, aka Bonobo returns with his sixth album – the masterful, magisterial “Migration” – is a record which cements his place in the very highest echelons of electronic music and indeed, beyond. By turns lush, manic, beautiful, melancholy, joyful, packed with both emotion and technical skill, this is perhaps his most ambitious attempt yet to capture the very textures of human existence in his work, as Green says of the broad dynamics on the album, "Life has highs, lows, loud and quiet moments, beautiful ones and ugly ones. Music is a reflection of life."

          It is a theme with a personal as well as a sociological aspect to it. Last year, a close family member passed away. “My Family and I are all disbanded and spread to far corners of the earth,” explains Green, “In the end we did the funeral in Brighton. My own personal idea of identity, where I am from, and what home is, has played into this record and its migratory themes. Is home where you are or where you are from, when you move around?”

          It's tempting to relate Green's emotive aesthetic to his sense of dislocation. He grew up in rural Hampshire with a father heavily involved in the British folk scene. "We would have endless folk jams in the house. There would be random banjo and violin players crashing in the garage for the weekend.” Not that he was necessarily feeling his dad’s taste at the time: “I was a grubby little skater back then, listening to alt-rock, hardcore and hip hop”. But no doubt this phase was an early musical education, indeed Green started learning to play guitar, piano, 4-track tape recorders and effects pedals in this period, building up soundcscapes from an early age. His move to Brighton is also a key influence; his skill at drum programming harks back to his days DJing and producing in the small, musically fertile town. Under the initial guidance of Tru Thoughts' Rob Luis and at nights such as Phonic:hoop where he began to regularly play all-night DJ sets.

          STAFF COMMENTS

          Barry says: Has it really been almost 4 years since Bonobo's last full-length? Yes! yes it has, but the wait has been worth it. This is an altogether more soulful affair, still packed with the sort of downbeat rhythmic mastery you've come to expect but imbued with a melancholic and matured aura that only adds to mr Green's veritable mastery of his craft. A triumph.

          Letherette

          Last Night On The Planet

          Letherette return with their second album for Ninja Tune. Imbued with the duo’s signature warmth and distinctive swing, “Last Night On The Planet” is ten tracks deep and runs the gamut from hip-hop (featuring raps from Rejjie Snow and Stones Throw’s Pyramid Vritra), to straight-up four-to-the-floor house trax, uptempo ‘80s R&B-inspired dancefloor heaters, and deeper, introspective downtempo moments (blessed by Jed & Lucia of Ubiquity Records). With a wide range of RIYL artists including Lone, MCDE, Lapaluz and Flako, don't let the street ready rap of "Momma" lull you into thinking this is gonna be a straight up hip-hop LP. "Rich & Dan" displays Letherette's ear for a warbled, head twisting sound design. "Shanel" treads the electrofunk / boogie route that we've seen Letherette rock so well in the past while tracks ""Wootera" and "Bad Sign" display Letherette's love for a banging house beat. The speed in which Letherette changes style and direction through the album is striking if nothing else, not only displaying the varied production talents of this artist but also a lesson in how to structure an album in a dynamically pleasing fashion. Excellent stuff!

          Travis Stewaert aka Machinedrum returns with possibly his career-defining album. Written during the early stages of this year, which saw Steward move to California and start exploring esoteric and new age sounds. This concept of sound as a healer, or as a way of expanding our mind is something he's trying to carry throughout the execution of the album. From opener "Lapis", Machinedrum immediately grabs our attention - slowly an arpeggio ascending to heaven which, apparently building towards the mother of all drops, instead fades up and off into the ether. "Morphonogene" swiftly carries the listener into some skitty, future-proof beats backed by what will become the albums ident - pitched angel vox set to a half-tempo swagger. "Angel Speak" continues the theme with euphoric stabs building and rising before a huge snare roll signifies the drop into bass heavy wobble - the post-everything production ethos coming through strong on this number while MeLo-X offers understated, classy assistance.
          The music throughout is scintillating, stimulating and stylish; from the mind-candy riffs of "White Crown", the ecstatic d&b finale of "Do It 4 U" (featuring an absolute stand-out vox from singer-of-the-moment D∆WN). From the smile-inducing, melodic brilliance of "Colour Communicator" to the precision and build of "Dos Puertas" featuring Rihanna collaborator Kevin Hussein, one of those albums that displays perfectly what it sounds like to be alive RIGHT NOW, without a thought of looking backwards. There's a plethora of collaborations: the aforementioned MeLo-X; Jesse Boykins III offers a moment of astral r&b goodness on "Celestial Levels"; Rochelle Jordan provides the lift off as Machinedrum works the rhythm flips on "Tell U". There are also contributions from Ruckazoid, Roses Gabore and SK Simeon. It's a tour de force of future musica and we love it! Recommended. 


          STAFF COMMENTS

          Matt says: Thoroughly invigorating listen from Machinedrum, exploring new styles and sounds with ease and finesse. Perfect for anyone wanting a glimpse into the futuristic progression / hybrid of bass and pop music

          The Invisible

          Patience

          Listen to The Invisible’s new album, 'Patience', and what you will feel most strongly is the band’s sense of “joy and gratitude for being alive.” The experiences of Dave Okumu (guitar, vocals), Tom Herbert (bass & synthesizer) and Leo Taylor (drums) since the release of their last album, 'Rispah', both individually and collectively, mean that the group “have gained a deeper understanding of the value of life,” and a mission to communicate that to the listener. On 'Patience', they achieve these aims with a kind of effortless transcendence.

          From the opening bars of the wonderful “So Well”, (featuring their friend and collaborator Jessie Ware), the feeling of joy pervades the record. Although the group have worked on this record with Anna Calvi, Rosie Lowe, Connan Mockasin and Sam Shepherd (Floating Points) as well as Ware, the sense of collective excitement and pleasure in music-making is what holds sway. It’s an album which hints towards the London soul of Ware, but combines it with the experimentation of the LA beat scene (where Dave Okumu went to write many of the songs) and the raw funk of D’Angelo.

          Shortly before the release of Rispah (itself a heartfelt tribute to Okumu’s dead mother), Okumu was electrocuted while playing with the band onstage in Lagos, Nigeria. It’s possible that only the intervention of Herbert, who pulled his guitar off him, saved his life. This personal sense that the band have of deliverance has lead to Patience, not least their sense that they are “the luckiest men alive.”

          Joyous without losing any of its intelligence or compositional rigour, the record takes its title from an unfashionable but profound idea - that, if we want to solve problems we have to be prepared to work and to wait rather than expecting instant results. It was an idea clarified when Dave found himself playing in Paris only a week after the gun attacks which ripped through the city on November 13th 2015. On his way home he read an interview with the Canadian astronaut Chris Hadfield in which he talked about a realisation that could only have come to him in space: “What started seeping into me on...seeing all the ancient scars, was the incredible temporal patience of the world.”



          FORMAT INFORMATION

          Coloured LP includes MP3 Download Code.

          King Midas Sound / Fennesz

          Edition 1 - Instrumentals

          Ninja Tune keep the goodness coming with this collection of instrumental versions of the critically acclaimed "Edition 1" album. "Edition 1" is born from of a startling collaboration between The Bug’s Kevin Martin, singer / poet Roger Robinson, vocalist Kiki Hitomi and Austrian guitar virtuoso Fennesz. The first in a series of four collaborations between King Midas Sound and different artists, the album draws on the raw energy of The Bug’s 2014 album "Angels And Devils" with the experimental soundscapes of Fennesz’s 2001 album, "Endless Summer" and his more electronica-focused work on Touch.

          Deluxe heavyweight vinyl. Spot gloss pattern on HD matte sleeve. Artwork designed by Optigram.

          FORMAT INFORMATION

          LP includes MP3 Download Code.

          Seven Davis Jr releases his debut album 'Universes' via Ninja Tune – his most honest and heartfelt musical statement to date. Recorded in LA, San Francisco, Amsterdam and London, it’s a unique exploration of his musical landscape, traversing tempos and flipping styles with typical panache but always embedded in the bedrock of soul and funk.

          Born in Houston, Texas, before relocating to Northern California, Seven Davis Jr was raised on the classics - from Michael Jackson and Prince to Stevie Wonder and Aretha Franklin. He studied gospel and jazz singing, inspired by the likes of Frank Sinatra, Nat King Cole and Burt Bacharach. During his teenage years he discovered dance music, specifically house and jungle.

          SDJR’s early Bandcamp output was more closely aligned to Los Angeles’ vibrant left-leaning electronic underground. Nurtured by the Hit+Run crew, he owes his first official release to Kutmah (who bagged "Thanks" for his ‘Worldwide Family Vol.2’ compilation on Gilles Peterson’s Brownswood imprint in 2012). It was the only four-to-the-floor jam on an album curated by a DJ who is rarely drawn to that style and that fact alone is significant.

          When he’s making straight ahead house music, the swing is reminiscent of classic Todd Edwards and the drums bump ‘n’ shuffle like Tuff Jam and Derrick Carter. And the vocals… well at times it’s like he’s channeling the spirit of George Clinton, offset with the sweet character of Peven Everett - the perfect balance of rough and smooth - it’s that undeniable funk that hooks in the hip-hop fans, the cats that don’t generally mess with “house” music. "Good Vibes" (feat. Julio Bashmore) nails this dynamic in a whirlwind 3 mins 18 secs that recalls Daft Punk at their boisterous best - proof that sometimes all you need is a chopped-up disco loop and a hook.

          Elsewhere on "Universes" Seven brings a similar soulful energy that Moodymann or Theo Parrish purvey. "Sunday Morning" picks up where Seven’s "Wild Hearts" 12” left off, a mighty ditty with the cheeky mantra “I bet ya never had a love like this before?” sitting pretty upon bustling drums and bass punctuated with snatches of guitar. “It’s about having healthy confidence in yourself and what you can offer the world,” says Seven. There are more introspective moments on the record too – such as "Fighters" and "Afterlife" (feat. Kutmah) – that explore murkier downtempo depths.


          FORMAT INFORMATION

          2xLtd CD Info: Exclusive indies-only 2CD edition with an additional disc featuring bonus beats from Seven’s ‘Life In Deep Space’ poetry opus.

          Since April 2013 Bonobo has travelled 180,000 miles and played live to over 2 million people at 175 shows in 30 countries as part of the epic career-defining tour around his latest album ‘The North Borders’. To document and celebrate this feat in all its glory, Ninja Tune present ‘The North Borders Tour: Live’. This special live release celebrates the tour ahead of the final ‘The North Borders’ show at Alexandra Palace, London in November 2014.

          The album will be released as a deluxe CD and DVD set in deluxe packaging with a 72 page portrait sized hardback clothbound book in wibalin fine linen wrap with cyclus offset inner pages containing live photographs, Bonobo Instagram tour diary, anecdotes from Simon, the band and crew and a foreword by Gilles Peterson. The DVD contains 60 minutes of live footage taken at Pula Amphitheatre (a genuine Roman Amphitheatre and among the six largest surviving Roman arenas in the World) and The Roundhouse, interspersed with documentary footage and extras including photo gallery, extra videos and a time lapse video.

          The live LP / CD includes newly mixed and mastered recordings from seminal Bonobo shows including Pula Amphitheatre (Croatia - Dimensions Festival 2013), The Roundhouse (London 2013) and live radio sessions at Maida Vale (London), KEXP and KCRW (US).

          Evelyn Jane Mason and Jeremiah Klein met in Vancouver in 2011 and connected via a shared love of bass music, R&B and pop. Though their work is collaborative, Jeremiah leans towards production, with Evelyn providing startling vocals and frank lyrics. The results are enthrallingly hazy.

          Popping up two years ago in February 2012 with a staggeringly brilliant 12" via Canadian creative collective and imprint King Deluxe, FACT compared Evy Jane's "frozen pop futurism" to the likes of Clams Casino and The Weeknd, whilst Pitchfork simply labelled it "stunning," giving it a Best New Track feature. Newly signed to Ninja Tune, Evy Jane's Closer EP neatly rounds up the duo’s sonic excursions since their explosive debut.

          Inherently DIY, Evelyn and Jeremiah draw upon Vancouver's mystical aura to create a world that mirrors and magnifies it. From self-directed videos to hypnotic songwriting, Evy Jane is inspired by the hooks and melodies of R&B as much as the sub low shudder of the UK’s shifting bass music spectrum and the ebb and swell of tidal synth washes and grainy atmospherics.

          Title track "Closer" draws the listener into its swirling electronic textures, catchy melodies and bass. The effect is to be caught helpless in its current, and the combination with the song’s lyrical plea for further closeness is heady. ‘Nothing So Great’ is a simply magical combination of synths rising gradually from heavy to urgent with commanding vocals describing the dark aftermath of sex. "Sosoft" is future R&B that charts the fear and wonder of romance via fathoms-deep bass and utterly beguiling vocals, dark veins spreading through lullaby softness. Final track "Worry Heart" ventures into dubbier territory, a recollected vision of failed reassurance seeing Evelyn’s vocals soar: "You are so damn fair. With your anchors gone, you are floating too free".

          The beautiful 'Closer EP' vinyl format features artwork by the amazing Leif Podhajsky.


          It’s a new Mr. Scruff album and you know what to expect, right? We widdle on about sexy potatoes and bouncy bacteria offering you a cup of tea, you have a little chuckle and actually make a brew, you stick on the album and… hold on. Because you see, quietly and without a lot of fuss (cos that’s not the way the Stockport Strepsil rolls) Mr. Scruff aka Andy Carthy has been evolving and developing his music.

          So yeah, you can still count upon a shedload of gritty funk and stony soul (not sure where this metaphor’s going..?) but the new record displays a stripped back musicality, a depth that maybe hasn’t been there before. It’s been coming across his last few releases, but this is the most complete, sustained exploration of where his music is at right now. In Carthy’s own pithy words it’s “tougher, sparser, less samples, more bass. More vocals and collaborations and shorter tunes.”

          If this record proves anything, it’s that there’s more, much more to the work of Andy Carthy than dancefloor grooves and funny cartoons.

          Don’t worry though - it is still one sexy potato.


          FORMAT INFORMATION

          2xLP includes MP3 Download Code.

          If there's one thing occasionally lacking in the current crop of electronic wonders, it's fun. Fun is what sets Letherette apart, what makes them more than just another act in electronica, and what makes their self-titled debut a classic album. Letherette is, dare we say it, a classic of 'dance' music generally.

          The young duo from Wolverhampton have won hearts, minds and feet with four EPs, stunning remixes for Machinedrum and Bibio, and exuberant live shows. It's easy to see why they inspire such enthusiasm; they understand the cutting edge without feeling afraid to let themselves go, and their music is all the better for it. Letherette explores mood confidently, taking in introspective, melancholic moments as well as upbeat drive, and lending their debut extraordinary depth.

          If you're someone that wants to enjoy music as much as you admire it, Letherette will put a big, day-long smile on your face.


          'The North Borders’ is the eagerly anticipated fifth studio album from iconic Ninja Tune artist Bonobo, and features appearances from Erykah Badu, Grey Reverend, Szjerdene and Cornelia.

          Three years on from his breakthrough album 'Black Sands', 'The North Borders’ has kept to a similar widescreen electro-acoustic soundscape, providing us with another selection of upbeat downbeat gems. Opener 'First Fires' has the melancholy and post-dubstep clicks and blips of a James Blake production, given extra similarity by Grey Reverend's vocal. Bonobo has been playing with 2-step rhythms for a while now (check 'Black Sands' favourite 'Eyesdown'), and now with the UK garage revival in full swing, cuts like 'Emkay' and 'Know You' sound right on point for 2013. House cuts like 'Don't Wait' and 'Antenna' lead the way to an alternative dancefloor, while 'Cirrus' features a similar intricacy to Kieran Hebden's polyrhythmic creations. Star guest Erykah Badu adds typically sublime vox to string-laden wonky-hop cut 'Heaven For The Sinner', while upcoming singer Szjerdene is equally ear-catching on future R&B essentials 'Towers' and 'Transits'. 'Jets' expands on the kind of crackling atmospherics of a Burial production, adding lush strings and organic percussion. 'Sapphire' has a rolling dubstep rhythm, but with plucked harps and vocal samples sewn into the mix. Bonobo leaves us wanting more with the beatdown downbeat album closer 'Pieces', featuring sweet vocals by Cornelia and uplifting strings and woodwind.


          FORMAT INFORMATION

          2xLP includes MP3 Download Code.

          "Hexagonal crystals have a unique directionality," says Slugabed, "which must be aligned and oriented with Earth's spin axis for every crystal in the inner core." This idea led him to try a computational experiment. If all the crystals must point in the same direction, why not one big crystal?

          Could an iron ball 1,500 miles across be a single crystal? Unheard of until now, the idea has prompted realisation that the temperature-pressure extremes of the inner core offer ideal conditions for crystal growth. Slugabed's high-pressure laboratories have conducted numerous experiments to test these theories.

          The article "Time Team" is a concise documentation of these experiments.

          Greg Feldwick is 23 years old and from Bath. He makes noises as Slugabed. His first releases were on Stuff, Ramp and then Planet Mu but now he is signed to the mothership, Ninja Tune. His music is suffused with a unique mix of humour, next level production, dancefloor smarts and melancholic emotion. “Time Team” is his debut album and we think it’s a belter. The album opens with “New Worlds", a heroic trudge across a vast space landscape, followed by the single “Sex”, a place of wildly suggestive synth squelch. He then takes us deeper, delving into the disembodied anime of “All This Time” and on to “Moonbeam Rider” which combines digital lyncanthropy with a kind of deep funk groove that ought to come with a warning label. Along with the nervous squeals of "Travel Sweets" and the widescreen spangling of “Unicorn Suplex” this is a record that evokes a very particular, very peculiar, but never less than beautiful worldview. An album highlight is “Mountains Come of The Sky”, which has a wonderful rolling rhythm and uplifting vocal, whilst the synth melody goes stratospheric at the mid-point. “Grandma Paints Nice,” distills yet more warmth and emotion from supposedly synthetic sounds, and “Climbing A Tree” sounds like the slow and wonderful death of a computer clinging on to its last, implanted false memory. Crowning the album, electro jam "Earth Claps" takes you on a field trip to the very core of the earth, melts you down and spits you out of a volcano. Lastly, the mood of dislocated melancholy is pushed almost to a nervous breakdown on the closing track “It’s When The Future Falls Plop On Your Head”.

          Asked to explain “Time Team,” Feldwick responds that “it's to do with deep feelings about mostly inexpressible things.” It is indeed an album full of feeling and warmth and humor, a remarkable feat for a record composed mainly on synthesisers and drum machines. You will be hearing a lot more of Slugabed.

          Something witty about crystals or whatever nonsense we were banging on about earlier.


          In early 2011 Luke Vibert told Ninja Tune that he had just found some long-lost never heard before DATs dated 1995-1998 and titled "Back On Time".

          In 1996 Blue Angel Recordings an offshoot of the legendary Rising High label released the "Drum & Bass For Papa" album by Plug AKA West Country king of kitschtronica Luke Vibert, whom at that time had only released under his Wagon Christ moniker. The album remains to this day one of the acclaimed records to emerge from the buoyant and hugely influential electronic scene of the south-west in the 90s. Alongside people like Aphex Twin and Tom Middleton, Vibert filled cassettes with new tunes, hijacked the pirates and revelled in all that was original, twisted and like nothing else before.

          So a few years later and somewhat ahead of the curve, Vibert shook up D&B. Avant-jungle that wasn't made for the 'club', the album was an eccentric bolt from the blue, it shocked many of Vibert's contemporaries but went on to influence many, most notably Squarepusher.

          Until now Plug has yielded just one album - possibly only a humble man like Luke Vibert would have a whole album of top-quality electronic tracks just sat around for over 15 years and not release them. The 10 tracks on offer here include the proto-garage vocal stylings of "Feeling So Special", the demented circus-organs of "No Reality", the hilariously titled "Come On My Skeleton", the old-skool rinse out of "Mind Bending", the skewed bollywoodisms of "A Quick Plug for A New Shot" and all with impeccably produced jungle credentials as the bed.

          Sounding brand new as well as being a lost classic from a electronic icon, "Back On Time" is a release that anybody interested in the progression of dance music should be very curious to hear and enjoy.


          Drew Lustman aka FaltyDL releases his debut EP with Ninja Tune and it’s an absolute cracker. Over its four tracks he shows the range and grasp of rhythm, atmosphere and melody which have made him one of the most exciting producers in electronic music right now.

          Title track “Atlantis” is distinguished by a complex, swinging, relentlessly danceable beat, unfeasibly low bass hits and a melancholic tune which sits somewhere between Four Tet and classic rave. “Can’t Stop The Prophet” shows the DNA of Wagon Christ (an early influence) spliced with the sonics of post-dubstep and the restless energy of an ADHD toddler, ending with a first-love junglist wig-out. “My Light, My Love”, seemingly sampled and built out of the sonic spaces between notes and beats, is perhaps the deepest moment on an incredible EP, while “The Sale Ends” takes us once more back to the skipping feel of a fractured, interplanetary 2-step.

          FaltyDL is one of the hottest names in electronic music right now and the Atlantis EP shows why. Immersed in the old New York and Chicago sound yet creating a more subtle and ultimately futuristic mash-up of influences, Lustman takes his influences and makes them fresh. The sometime sushi-chef and now New York resident has been turning heads since 2008, when Mike Paradinas signed his US-ified versions of UK garage to Planet Mu and released it on an unsuspecting world. Since then, Lustman has looked to expand and evolve his signature sound over two albums, an EP and three singles for the label. In addition, he has released an Afro-beat-inspired 12”, "Mean Streets Pt 1" with Loefah’s Swamp81 label, a single on Ramp backed with a remix from Jamie XX, plus remixes of his own for the likes of Mount Kimbie, The XX, Scuba, Photek, Anthony Shake Shakir and others.


          With previous long players "Biscuits For Breakfast" and "Distance And Time" Fink has built up a reputation for quality understated singer-songwriting. New album "Sort Of Revolution" continues in the same style, forming a perfect trilogy of work. Although mostly acoustic, the album steers clear of folky trappings, opting instead for more of a downbeat style instead. It's an introspective, slightly brooding home-listening set.

          "Ninja Tuna" sees the triumphant aquatic-themed return of the reigning yet uncrowned world champion of fish-related cheekiness. Yes, Mr Scruff is back with a long player that's packed with pure funky loveliness from start to finish. The set opens with b-boy hip hop cut "Test The Sound" before heading straight into current single "Music Takes Me Up" featuring Alice Russell ("Donkey Ride" and "Kalimba" also feature), while other special guests include Roots Manuva, Quantic and Andreya Triana. As ever with a Scruff long player we get a nice mix of wobbly bass, funky breaks, jazzy grooves and soulful touches - sometimes all in the same song!

          FORMAT INFORMATION

          CD Info: CD comes in deluxe embossed fold out recycled cardboard sleeve.

          The Cinematic Orchestra

          Live At Royal Albert Hall

          On November 2nd 2007, Jason Swinscoe brought an enhanced line-up of the The Cinematic Orchestra, incorporating the 24 piece Heritage Orchestra, to the Royal Albert Hall and played a show to a sold-out crowd of more than 4000 people. With over 40 musicians onstage at times, Swinscoe and his colleagues used the show as a unique opportunity to open out his chamber pieces into intense, beautiful and exquisitely realised epics which left the huge audience baying for more. Featuring vocal contributions from Heidi Vogel, Lou Rhodes (formerly of Lamb) and Grey Reverend, plus the return of original member PC on turntables, an intense, beautiful night is captured here in all its glory. History as it's lived, human emotion, love and rapture. You can feel it in the hairs on the back of your neck.

          Over the last decade, The Herbaliser's Jake Wherry and Ollie Teeba have established themselves as one of the most innovative and reliable production duos to come out of the UK hip hop scene. This has been achieved, in part, by the kind of constant self-improvement which makes "Take London" their best album yet. You can hear it on the instrumental tracks on the record – the tender, angry "Song For Mary", electro-funk influenced "Gadget Funk", wah-guitared space funk of "Kittynapper" or chase scene jazz of "Geddim'" - where attention to detail and love of sixties soundtracks and library music are all mixed up with a dose of geezer front and b-boy charisma. Of course, The Herbaliser have also always had an eye for a killer vocal guest. Jean Grae (formerly known as What What) has been a long-time collaborator and here she contributes to four tracks, including the storming posse cut "Generals", "Twice Around" and moving "If You Close Your Eyes". The UK end is held up by Nottingham's Cappo (who has released material through Son and Zebra Traffic) and the one and only Roots Manuva. Then, just to finish off – and perhaps remind people how broad the duo's tastes are - there's a scintillating tribute to Serge Gainsbourg, "Serge", with a monologue from Katerine.

          The Herbaliser

          Something Wicked This Way Comes

          Combining live playing by the Easy Access Orchestra, studio trickery by Jake & Ollie with guest vocals from Dilated Peoples, MF Doom, Blade, Wildflower and Phi Life Cipher, this is a cinemtic hip hop tour de force!

          The Cinematic Orchestra

          Man With A Movie Camera

          Originally written for a one off live performance to accompany Dziga Vertov's classic 1929 Russian silent film 'Man With A Movie Camera', some of these tracks ("Evolution", "All Things"), and their 70s free-jazz inspired style went on to become the backbone of the "Everyday" sessions. Finally J Swinscoe and Co have gone into the studio and recorded the tracks (live) for this proper soundtrack LP.

          Dwight Trible & The Life Force Trio

          Love Is The Answer

          Over a remarkable career, this Los Angeles native has worked with everyone from Bobby Hutcherson and Charles Lloyd to Harry Belafonte. He is the vocalist with the Pharaoh Sanders Quartet and also the vocal director for the Horace Tapscott Pan Afrikan Peoples Arkestra, a Los Angeles institution with a history stretching back forty years and an active engagement in the city's Black community since the Watts Uprising. Enthused by the power of Trible's vision, Carlos Nino (one half of AmmonContact) started speaking to the new luminaries of the LA scene about collaborating with this elder statesman and before he knew it he had an album which combined sixties-inspired avant / spiritual jazz with the hottest beats the city had to offer. Sa-Ra Creative Partners, Madlib, Daedelus, members of Platinum Pied Pipers, Jay-Dee - wherever he went, Nino found only enthusiasm, and the project began to take shape. From "Equipoise", on which Sa-Ra revisit 80s synth funk and give it their signature loping twist, through "Freedom Dance" with its Stetsasonic-meets-Fela vibe, on into the sheer oddness of the Madlib-produced "Waves of Infinite Harmony", the more straight-up boombap of "The Tenth Jewel", and finally through a last third that probably peaks with the incantatory "Musician's Union" (by Ammoncontact) and the beautiful "Constellations" (which grew out of a piano loop contributed by Prefuse 73's Scott Herren to the Piano Overlord project), this is a record of pure sonic invention and all round goodness.

          FORMAT INFORMATION

          2xCD Info: CD includes the full album plus the instrumentals CD too.

          Ninja Tune were introduced to the work of DJ Kentaro through his success at the 2002 DMC World finals where the Japanese turntablist won outright to become World Champion with a set of pure innovation using not just hip hop, but also reggae, drum & bass, house and electro, in the process achieving the highest score ever in a DMC Final. As such he seemed the perfect DJ to choose to produce a mix of the Ninja back catalogue for the Japanese market. A box full of vinyl and CDs was sent off to him and he began piecing together a selection from Jaga, Wagon Christ, DJ Food, Coldcut, Pest, Funki Porcini, Herbaliser and DJ Vadim to create a truly masterful mix. The CD came out in Japan in December 2004 and has since sold 15,000 copies in the territory. However, word of Kentaro's lightning skills spread way beyond Japan and it was decided it was time to share his talents with the world. To this end, a DVD was commissioned which showcases much of what is special about Kentaro. A mixture of live footage and animation (some of it 'visuscratched' by Kentaro himself), this selection of short films will appeal to the turntablist community but, as you'd expect, would also work well as audiovisual fodder for any party.

          FORMAT INFORMATION

          2xCD Info: CD comes with bonus DVD.

          Solid Steel continues its purveyance of the art of the mixtape by asking Brighton's Bonobo to get working on those crossfaders like there's no tomorrow. Simon Green brings us the seventh in the series and it's time for the man to step and show us how he rocks it whilst out on DJ duties across the world. The mix kicks off with the custom built and exclusive "Solid Steel Intro" before flinging us into the sublime "Sandcastles" by Diesler on Tru Thoughts - the people that brought out the early Bonobo releases. The slept-on gem "Exploration" follows from Karminsky, heading into a slightly tinkered with version of "Pick Up" by the man himself, before staying at the business end of the M23 with south coast soldiers Flevans and Black Grass. By now the mood is well established – expertly chosen dusty breaks combined with funked up loops, syncopated horns and double bass cuts. The impossible to find and gorgeous "Hidden" by King Seven precedes a new track from Bonobo's forthcoming album. It's always great to have an exclusive but rarely do you get one of the jaw dropping beauty and quality of "Recurring". The mix wraps up with the beautifully mellow end section led out by Amon Tobin and completed by Savath & Savalas' godlike "Paths In Soft Focus" and Ninja's own Super Numeri, whose sixty year old harpist shows once again why he is the man!

          In "Sound Mirrors" Coldcut have made the best album of their long and illustrious career. Their production has never sounded better, their ideas have never been more varied or more interesting, they've never had such a great cast of guests and then integrated them into their sound so well. Dancehall-hip hop cut "True Skool" features Roots Manuva adding vocal weight, while the electroclash-edged "Just For The Kick" has eerie words from legendary singer-songwriter Annette Peacock. "Walk A Mile In My Shoes" features the legendary Robert Owens on an epic, building, hands in the air tune, while "Mr Nichols" combines a beautifully subtle piece of music with a superb, deadpan piece of writing from Saul Williams. Former Ninja Andrew Broder, aka Fog, offers wonky, melancholy lyrics over a faltering kitchen sink orchestra backing on "Whistle And A Prayer" and so it carries on, with the likes of Mpho Skeef, Dom Spitzer and Black American poet Amiri Baraka guest spotting later on.

          FORMAT INFORMATION

          2xLP Info: LP comes in die-cut sleeve.

          CD Info: CD comes in die-cut sleeve.

          The Herbaliser

          Remedies

          The debut LP from Ollie and Jake. It's got less vocals than later LPs, and is more hip hop breaks, samples amd jazzy flavours.

          The Cinematic Orchestra

          Every Day

          Mind blowing second LP (i'm not including the remixes set) from J Swinscoe and Co. They're joined on three tracks by vocalists Fontella Bass and Roots Manuva, the other four are lush sweeping fusions of 70s style cosmic jazz, dreamy downbeat and nu-jazz. Very special... definitely one of the LPs of 2002!

          Mr Scruff

          Keep It Unreal

          Scruff's debut for Ninja Tune, and it's just one of those essential LPs for fans of quirky, jazzy upbeat downbeat grooves. Includes the massive trad-jazz-house anthem (and advert favourite) "Get A Move On", as well as "Honeydew", "Jus Jus" with Roots Manuva and the silly "Shanty Town" and "Fish".

          A product of post-acid house Manchester, Mr Scruff is a complete one-off; a cheeky innovator. His debut album is a bold statement, distinctive and confident. "Keep It Unreal" oscillates wildly between opposing styles - one moment Scruff's in deep, down-tempo dinner jazz territory, the next he's in Coldcut mode, chopping out superb big beat breaks with naughty hooklines to get you pogoing. At one extreme is the wacko humour of Spandex Man, bolshi breakbeat and a hooky 1920s jazz loop that'll make you grin. And then there's the even more ridiculous "Shanty Town", with samples of a Jacknory story about a whale. At the other end of the scale, is Scruff's accomplished acid jazz - like the serene, trip-hoppy "Midnight Feast" or the smoothie cocktail number "Honeydew", with it's loungey female vocals. This man is out there, the Salvador Dali of beats and breaks.


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