Back in stock: Balearic/Downtempo

Review: Amsterdam label Music from Memory are steadily becoming the most interesting archivally minded operation out there, with this retrospective of Mallorcan guitarist Joan Bibiloni following essential issues of work by Gigi Masin and Leon Lowman. On El Sur, MFM founders Tako Reyenga, Abel Nagenast and Jamie Tiller cast their gaze over Bibiloni's work from the more experimental era of his long career (he first released a single in 1967) selecting tracks from a six album run which commenced with the album Una Vida Llarga I Tranquila, originally released in 1984. It was during this time that Bibiloni began to compose with the assistance of tape loops, drum computers and synthesisers and these primitive experiments make for compelling listening across the ten tracks on El Sur.

Review: Following a run of superb collaborative releases - including sets created with Ana Stamp, Suzanne Kraft and his old pal Gigi Masin - Jonny Nash has finally got round to recording a new solo album. It's his first lone LP for four years and draws as much from his love of folk and acoustic music as the immersive sound worlds of ambience. As a result, his usual lilting, effects-laden guitar textures, stretched-out synthesiser chords and immersive electronic textures rub shoulders with finger-picked acoustic guitars, pedal steel-inspired motifs, strummed chords and echo and reverb-laden snippets of his own voice (a sonic ingredient he has not used for some time). The results are as magical and mesmerising as you'd expect, with Point of Entry crashing straight in to the list of Nash's strongest releases to date.

Review: On their debut album, 2016's the Tony Allen Experiments, Naples twosome Nu Guinea re-invented tracks by the legendary Afro-beat drummer as synth-heavy chunks of deep jazz-funk and nu-Balearica. For this follow-up - their first full length entirely made up of their own compositions - the duo serves up a set of jazz-funk, disco and boogie cuts rich in both their trademark colourful analogue synthesizer sounds and live instrumentation. It's a formula that guarantees a string of memorable highlights, from the sun-kissed peak-time brilliance of "Disco Sole" and rubbery, funk-fuelled "Je Vulesse" (a killer vocal number), to the wobbly downtempo trip of "A Voce E Napule" and Mizell Brothers fizz of closer "Parev Ajare", the album's most synthesizer-heavy cut.

Review: After a little trip away to European label Growing Bin, Santilli is back on home label Mad Habitat with a fine new four track EP. The Eora-based multi-instrumentalist is maybe best known as half of Angophora but when working alone he taps into the heritage of electro-acoustic greats like Steve Tibbetts. He always novels with each new release and finds and ever better balance of his own well-defined personal sound and new horizons. Guitar and synth are the backbone of this record with great embellishments from an array of idiophones and membranophones.