Ogun

Selfless is an exploration of catharsis and the escape from entrapments of subjectivity and solipsism, guided by Cousin’s renunciation of any ‘original’ playing or recording of his own, while celebrating intimate community and inter-subjectivity through solicitation of private voice recordings from close friends: Natalie Reid recites her own poem on the hypnotic “Observer (Natalie’s Song)”; Ogun Afariogun (aka Tide Jewel) contributed a freestyle rap recorded and sent by phone on “Yung Wether (Ogun’s Song)”; Ayuko Goto (aka Noah) provided a sound file of whispers for “Empathy (Ayuko’s Song)”; “Dissociation (Kyla’s Song)” is entirely constructed of vocals by Kyla Brooks (aka Nag). The rest of the album’s 12 songs explore a gamut of strategies ranging from the textural, beatless, Satie-inflected opener “Song Siènne” to the pulsing ambient-industrial techno of “Cinema Without People” and “Abjection”, and the kinetic, deconstructed IDM-electronica of “Aesthetics Of Disappearance” and “Agnosia”.

The Italian guitarist and bandleader Nicola Conte has recorded his first album for the legendary, recently re-established MPS records. Conte has brought with him his cosmic-cosmopolitan ensemble of stars which includes trumpeter Theo Croker, saxophonists Logan Richardson and Magnus Lindgren, and singer Zara McFarlane. For the most part recorded in Bari, Italy and Johannesburg, South Africa, it is a sensitive work of art that crosses the border between soul and spiritual Afro-jazz.Nicola Conte has cast his vision of cosmic jazz into a seamless tonal design – without restricting his players' freedom, leaving them open to the influences of the diverse cultures.

Elton is a central figure both in the development of the British jazz scene through the '70s and beyond, and in the rock scene at the time. Known to wider audiences through his connection to the Soft Machine, his sinuous, post-Coltrane lines on alto and the rare saxello appear in many progressive contexts in the period. His compositions were strong too, reflecting an interest in melody and lyricism, and this band is a showcase for the strength of his music. It also demonstrates Elton's abilities as an arranger - the unusual line up extracts gold from these already fine pieces in it's ensemble sonorities. Of course, the band is top-notch, featuring the finest UK saxists of the time, with a wonderful rhythm section. Tony Levin in particular is an undersung hero of the drums.

Take a look outside your window. We’re living through a particularly bleak paradigm, with ominous political shifts occurring around the globe. It’s time for a rallying war-cry, to tap into the power of our ancestors, to learn the wisdoms taught by history and its recurring patterns. It’s time to acknowledge the power of women, to burn with the fire of a banshee wail, to taste the energy of revolution and feel the inspiration of generations of resistance. And that’s where ASCEND, the second album by insurrectionary heavy rock trio Vodun, comes in. Ten slabs of ground-flattening, groove-inflected rock power, driven by the afro-inspired dervish drums of Zel Kaute (interpreting the spirits of Ogoun), the roaring, fierce chromium guitars of Linz Hamilton (The Marassa), and fronted by the fire-breathing howl of frontwoman Chantal Brown (Oya), delivering you the truth of generations with a drive and focus that can’t be matched.