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Few records make such an instant impression as 'home again', the debut album by michael kiwanuka. immersing the listener in a sound that is both modern and at the same time as familiar as the classics, it manages to strike the balance between being contemporary and somehow utterly timeless. for kiwanuka, key musical touchstones include marvin gaye, otis redding, bob dylan, paul simon, shuggie otis, roberta flack's first take, bill withers' live at carnegie hall and d'angelo's modern soul landmark voodoo. citing the latter album in particular as exhibit a in refuting suggestions that his listening tastes are rooted exclusively in the 1970s, kiwanuka calmly shrugs off any 'retro' accusations that might be levelled at his music. from the opening bars of the stirring 'tell me a tale', it is instantly clear that 'home again' is a very special album. while its more upbeat characteristics are embodied in the prince buster-like loping of the lovelorn but irresistibly catchy 'bones' and the rolling soul groove of 'i'll get along', elsewhere it proves itself to be a record of real stripped-down beauty. in 'i won't lie', with its gospel-infused echoes of the staples singers, kiwanuka offers something akin to a modern spiritual, while in 'rest' he turns in a tender love lullaby and in 'always waiting', he blends classical elements with the confessional intimacy of roberta flack.

Nigerian-born, London-based singer, songwriter, musician and producer Steven Bamidele presents his keenly anticipated sophomore album, 'THE CRASH!' – a sonically rich exploration of purpose, doubt and personal reckoning. Written against the backdrop of an ever-changing world, the album combines soul, rock, jazz, acoustic and electronic textures, along with daydream-esque storytelling for a thought-provoking journey in pursuit of something real in an age of hyper-curation and superficiality.

In rock-music mythos, the self-titled album is a line in the sand—typically signifying a reinvention, a reunion, or a return to roots. St. Paul & The Broken Bones, the sixth LP from Birmingham’s ever-evolving Southern-soul giants, is somehow all of these things at once—carrying forward the experimental spirit of their back-to-back heavyweights The Alien Coast and (2022) Angels in Science Fiction (2023), but with a warmer, more accessible vibe that recalls the fun, exuberance, and buoyancy of their breakout debut,
