Back catalogue:

Review: Jamaican singer Dennis Brown's 1984 cut 'Right Fight' finally lands on 7", joined here by a dubwise version from the in-house We The People Band. Originally buried on the Love's Gotta Hold On Me LP and a now-scarce 12", it's one of those righteous, rootsy calls to arms that Brown delivered so effortlessly at his peak. His vocal glides over a tense but propulsive groove, bolstered by horns and a chugging rhythm section, while the lyrics advocate moral clarity in the face of pressure. Flip it and the band's instrumental version runs wild: militant and heavyweight, full of reverb-splashed snares, spectral brass and stripped-back pressure. Produced by The Mighty Two (Joe Gibbs and Errol Thompson), this pairing reflects a moment in mid-80s Jamaican production where the energy of roots still collided with dancefloor sensibility. Essential for selectors with a deeper box.

Review: This heavyweight 12" delivers fresh French-produced roots reggae straight out of the unlikely region of Brittany in the North West. It unites the talents of producers William Spring and Arthur Dub Dealer with sought-after Jamaican vocalist Aza Lineage and results in 'Give Thanks For Life,' a spiritually charged anthem carried by Aza's commanding, conscious delivery over a deep, meditative rhythm. William Spring serves up his own riddim, and the B-side offers a delicious dub version from Dub Dealing that strips the rhythm back and recooks it with echo-drenched finesse. Benyah's 'Badman Horns' is tipped with some ska-adjacent brass to make for a meeting of modern roots energy with enduring messages of uplift.

Review: After Robert Grey's 1990 exit, Wire morphed into WIR, a project designed to wrap up their Mute Records contract with a stripped-down, sequencer-led approach. Graham Lewis took lead vocals while the band reworked their own back catalogue. A chance to reflect on what had been, as opposed to what was yet to be, WIR's lifespan was brief, with only a handful of shows and two conceptual events dubbed I Saw You In Clapham (April 1992) and Vienna (February 1993) rolled into the ensuing campaign. On the Vienna trip, they recorded a sprawling 25-minute session for Austria's ORF, curated by Peter Rehberg of MEGO fame, released by Touch in 1996. This 2025 remaster adds a fresh take on their darkest pop moment, 'So & Slow', reimagined in a live-inspired arrangement with a nod to Taylor Swift's re-recording style.

Review: There are immersive experiences that inspire artists to do great things. Then there's Aboutface heading to the Wampis Territory, in the Peruvian Amazon, to live with the local community, learn a little of how they live and their relationship with the Lungs of the Planet, capturing field recordings collaboratively with those people, and trying to articulate their world through an electronic-organic deep dive album. After you've got over the jealousy about how life-changing that trip was, let's focus on the fundamentals. This is seriously escapist stuff that seems to have been made using every root, branch, and animal encountered during those weeks. The synthesised elements are audible, but take a backseat to what was and is actually there. Or here. Quite unlike anything we've heard this year, it's a stunning way to raise awareness and support for Indigenous-led conservation and initiatives trying to stop illegal deforestation and ecocide.

Review: Welsh harpist Amanda Whiting returns with a luminous new release on First Word, distilling a full spectrum of mood and meaning across six tracks. Known for her delicate command of space and melody she's joined here by collaborators like Alice Russell, Faye Houston, Aidan Thorne and Jon Reynoldsieach adding textural depth to Whiting's expansive vision. The opener 'Contented' is a warm breath of spiritual jazz, anchored by glistening harp and Faye's radiant vocals, while 'What Is It We Need?' pairs Alice Russell's soul-stirring delivery with upright bass and brushed drums. 'Intent' subtly flirts with jungle rhythms, a tempo lift that doesn't break the EP's introspective gaze. Elsewhere, 'It Could Be' is drenched in strings and light-touch percussion, perfect for golden-hour listening. It all closes on 'Moving On', a serene ambient fade that leaves room for reflection. Though classically trained, Whiting's output feels unbound by traditionicinematic yet grounded, with a quietly radical force. Thematically focused on womanhood, visibility and transformation, this EP is as confident as it is graceful. A compact but commanding work from one of the UK's most distinctive instrumental voices.

Review: Released way back in October 2001, the Harry Potter and the Philosopher's Stone soundtrack became an instant classic. It was composed and conducted by the legendary John Williams and features iconic themes like 'Hedwig's Theme' and introduces multiple character and setting motifs that shaped the musical identity of the series. Many of these leitmotifs returned in Chamber of Secrets and beyond, with 'Hedwig's Theme' becoming the franchise's signature melody and appearing in all eight films plus the Fantastic Beasts spinoff. The score earned Williams an Academy Award nomination and was certified gold in both Canada and Japan. It's a magical, enduring piece of cinematic music history.

Review: Wire's formative late-70s run gets the 7" treatment with Nine Sevens, a box of nine vinyl singles spanning 1977 to 1980. Remastered from original analogues, the set pulls together six Harvest-era sides, one from Rough Trade, an unreleased 1980 session, plus the hard-to-find 154 bonus EP - all wrapped in replica artwork and housed in a sharp Bruce Gilbert-designed box. We follow Wire's rapid evolution from clipped punk minimalism into stranger, shiftier terrains, where terse, abrasive, and knowingly off-centre master-demos abrade the ears like rusty scalers. Each 7" sees a staggered digital release, but these tracks won't be lumped into any retrospective, making this the only way to get the full physical set.