»Celestial Vibration«, the 1978 debut of New-York based zither player Laaraji, is being reissued.

In the 1980s, Carla dal Forno’s debut-style on »You Know What It’s Like« would have been labelled as »sound of Berlin«.

This record wants to be conquered: On »Disclosure«, his latest album on Honest Jon’s, Kassem Mosse is concealing the groove.

On »Color«, Katie Gately demonstrates how to put seemingly chaotic sounds and vocals into the right mixing ratio.

This is what Ibiza could sound like again if it was cleaned from shattered glass and vomit.

A homeless person falls into a mind-expanding bubble bath. That’s where the journey begins.

Between ecstasy and depression: Danny Brown’s »Atrocity Exhibition« is an excellent record.

More melodies, more blood, more pop: On her latest record, Jenny Hval is taking it easy, which is becoming to her music.

Ka’s music would fit much better into MoMa than the works of his very famous hood-neighbor.

Believe the Hype! Jordan Rakei’s debut »Cloak« is the finest post-Dilla-Jazz, paired with ghostly Soul.

As a musical statement »Ultra« by Zomby is so clearly articulated, that it could once again be the start of something new.

As Zov Zov, Oliver Ho and Tommy Gillard occupy themselves with abstract sound experiments on »The Sacred Pornography Of God«.

Annika Henderson’s voice. It’s a voice that enchants you through not telling you why it is enchanting.

Under the name of Blood Orange, Devonté Hynes is presenting his third record »Freetown Sound« as a sample-based mixtape.

Vigorous rhymed storytelling in tangible pictures, also with pulled down trousers; Atmosphere sings the »Fishing Blues«.

Igor Tipora has appeared out of nowhere and puts you on your couch with goosebumps. It took a Philip Lauer to make »Dwams« become the uber-hit it is.

On his solo debut »Tense Nature«, Brian Case is going for repetition. The fragmented character of the 12 tracks is not without poetry.

With their new LP »IV«, BBNG (BadBadNotGood) are proving the critics wrong: their instrumental hip hop has defeated the alleged elevator-jazz.

It’s a record that sure stands out in the flood of re-issues: raw Afro-funk, far away from African utopias, no oasis to be seen.

Lesbian sex in the Middle Ages – the b-movie »Les Démons« from 1972 was on fire. However, Jean-Bernard Raiteaux‘ freshly released soundtrack smolders all the finer.

Five years after »Blood Pressures«, the Kills are back and on »Ash & Dice« they sound as minimalistic and raw as ever.

Not only with their new album chant Idris Ackamoor & The Pyramids »We Be All Africans«. They have been legends since 40 years.

There is freedom in the confusion: With »The Yard Work Simulator«, Max Graef and Glenn Astro are celebrating their joint debut in album-length.

Buchla? Complicated! Suzanna Ciani mastered the synthesizer 40 years ago, like »Buchla Concerts 1975« proves impressively.

The label Staubgold assembles songs by Vivien Goldman on »Resolutionary (Songs 1979-1982)«.

He’s probably be the most famous jazz singer of our time. But is it really jazz? His late record »Take Me To The Alley« gives a clear answer.

Super Mama Djombo served as one of the most important voices of Portugal’s Carnation Revolution in 1974. Revolution hardly ever sounds as danceable as this one.

For Jessy Lanza it means all or nothing, but in the meantime everything meets nothing on »Oh No«. Her second album is a radical record.

On Ash Koosha’s »I AKA I«, ambient meets glitch, musique concrete meets beat-tape and your head meets an adventure. Is this IDM 2.0?

Antony Hegarty has put together his/their first album as Anohni with Hudson Mohawke and Oneohtrix Point Never.

On »55«, the Bacao Rhythm & Steel Band shows how good Steel Drum-Funk can function with Hip-Hop elements.

The end of WU LYF was the beginning of LUH for Ellery Roberts. Together with Ebony Hoorn he now presents »Spiritual Songs For Lovers Sing«.

The label Dark Entries revives the forgotten and unnoticed music of the 1980’s.

Dwarfs Of East Agouza are Maurice Louca, Sam Shalabi and Alan Bishop. On »Bes«, they are working on the frayed edges of African music.

Stonemason or ballet dancer? Andy Stott is himself still unsure. One can hear that on the album. It however only harms its vigour.

The compilation »Wake Up You! The Rise And Fall Of Nigerian Rock, 1972-1977« confirms a stereotypical image – but has much more to offer.

In Ghana the so called »Kologo« music is ever-present. Arnold de Boer from The Ex now brings this great music into our living room.

J Dilla’s »The Diary«, originally planned for 2002, can’t quite be described as another classic. Still, it’s well recommendable.

Özedemir Erdoğan’s »Jazz Session« gives us a good idea of the great things waiting to be explored in the field of Turkish music.

With »Cap De Bonne Esperance«, the jazzmen of the Florian Pellissier Quintet have captured the spirit of classic Hardbop.

Allegedly lost music from Africa is often found and compiled these days. The music on »Cant’ You Hear Me?« is different.