Sugar On My Blackbeans is the third release from Venezuelan-born, UK-based guitarist Aleph Aguiar. It follows on from Pataruco (2015) and Maku (2017). He has spent the intervening years working with Tony Kofi, Elton John and Georgia Cecile and served as the guitar and singing coach for Simon Bird for the 2014 The Inbetweeners 2 movie. Additionally, he has collaborated with numerous dance artists, composing music to accompany their choreography.
That varied background serves him well on this quintet album, as he brings an assortment of approaches to his tribute to the swinging Latin jazz of the 1960s across nine original compositions. Typically, that era would suggest a combination of saxophone and piano.
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My World Is the Sun, from Québécois vocalist and songwriter 
On his third Pyroclastic album, banjo and guitar terror 
Jazz legends Dave Holland and Norma Winstone, together with the versatile London Vocal Project, present 
Historic 4 hours of previously unissued 1959 live Art Pepper recorded at Vancouver, Canada’s legendary jazz club The Cellar.
On their debut album together, post-punk trio the Messthetics and saxophonist James Brandon Lewis arrived at the same point by following two different paths. Lewis, a player grounded in gospel and post-bop, grew increasingly adventurous in the years after delivering Divine Travels to Sony’s revived OKeh imprint in 2014.
One can almost imagine the hypothetical 2025 tour reviews: “To hear him in person, you would never imagine Milton Keanes must be pushing age 80. He zips across the keys with abandon like a man half that age, matched by his equally spry bandmates keeping up with every gallop. The trio continually whips up a storm, defying any age and fit for any time.”
Kaikō is the second album by 
On 21st December 2025, Swedish post-hardcore stalwarts Refused played their final gig in the group’s hometown of Umeå. A sweaty and teary affair, Refused unleashed a rolling broadside over a brisk 90 minutes, unfurling the entirety of the band’s dedication to weighty and outspoken hardcore in a fierce and conclusive salvo.
Does 50 minutes of heady and chaotic free jazz appeal to you? Good. 
There’s something electrifying about a record that feels forged in the cracks between shifts, under fluorescent lights, and in the ache of repetition. 
Guitarist and composer 
In every form of music there are the giants, the ones whose talent and ambition strut across the world stage, dazzling critical and commercial considerations alike.