YOSHINORI HAYASHI 黑胶唱片和CD

Review: Sometime Going Good and Jin Records producer Yoshinori Hayashi re-surfaces on Disco Halal, a label befitting his maverick, impossible-to-pigeonhole talents. Uncountable Set is predictably eccentric, with Hayashi laying down a quartet of muddy, otherworldly cuts that gleefully stick two fingers up at neat categorization. Check, for example, the rhythmic sample soup this is "Palanquin Bearing Monkey" - think spacey, jazz-funk synth doodles, handclap-based rhythms and all manner of woozy, cut and paste samples - the out-there afro-jazz of "Stepping on Dewdrops" and the frankly nightmarish closer "Chember", a fiendishly freaky weird-out that peppers a slipped jazz rhythm with cut-up choral samples and cement mixer percussion hits.

Review: This time last year, Japanese producer Yoshinori Hayashi made his debut on Going Good, delivering an entertaining selection of hard-to-define cuts, experiments and abstract compositions. Here he resurfaces, marking the debut of new label Jinn with more impossible-to-pigeonhole antics in the shape of a trio of tracks that are meant to be consumed in one continuous listening session. Jinn describe them as a "visually evocative journey through ambiguous collages of distorted broken-beat tropes and far-east soundscapes". On the flip, DJ Sotofett has delivered an epic, 12-minute rework featuring additional violin, and the Norwegian eccentric's usual analogue textures and dub basslines. Excellent.

Review: Yoshinori Hayashi should be a familiar name to those who follow Going Good's podcast series. The Tokyo-based DJ/producer's contribution remains one of the series' most magical moments. Here, he graduates to the label proper, delivering a debut 12" single packed full of thrillingly loose, languid and organic deep house gems. Seemingly as influenced by experimental jazz-funk and vintage ambient house and tried-and-tested dancefloor grooves, there's an intricacy and oddity to Hayashi's tracks that make them little less than essential. Opener "Gecko" is a hazy downtempo delight, while bongo-laden, lo-fi deep houser "Madame Moo" comes smothered in seagull samples and humid synthesizer lines. Best of all, though, is "A Castle", a delay-laden saunter through jazz-funk/deep house/soundtrack fusion.

Review: REPRESS ALERT: Gravity Graffiti has been doing great things with its series of split 12"s already, but now the Italian label goes one better for its tenth release with this mighty double pack of heavy hitters. First up is the ever-untouchable Yoshinori Hayashi, who gets as straight up as he possibly could with the freaky house burner "Dissociative." Telephones is feeling particularly dubbed out and groovy on "Kalimbalimbo", while DB.Source and Riccardo Schiro take things strung out and textural on "Montevago". Dynamo Dreesen is in rave mode for the pepped up and delightfully weird "Reactivate", leaving the final side to Oyvind Morken & Kaman Leung's chugging "Tunnel Visjon" and the rubbery side swipes of Acidboychair's "The End (At Any Speed)".