Back catalogue: All genres

Review: Deeper shades of a finely sifted pedigree. Irish label Appian Sounds, helmed up by Al Blayney, champion only winnowed techno sounds, not threshed. A welcome international team huddle in, with these six artists from locales as far-flung as Amsterdam and Valencia contributing the likes of 'Tsuneo' and 'Persist'. The tunes verge melodic as they move through and beyond jankiness, distending die-cut acids and subtly synthetic humanisations, especially in the percussion department. 'Fuego' is the zen roshi's choice, its gaffered, glass-smithed pads topping off a naturalistic percussive surging forward, one best experienced with your eyes closed.

Review: Granada's Cosmic Tribe know the definition of "electro" in its broadest sense; their new Xtrictly Electro comp keeps the dystopian sound endemic to the genre's most present incarnation, but refuses to restrict itself to one tempo: the standard 130-ish that has sadly infected the otherwise genius genre as a necessity. An international splinter cell of spec-ops and mercenaries are recalled from retirement here, as we hear Calagad 13, Nachtwald, EC13 and many more mechanoid ilk lay down all manner of slick utilities, making up a morbid multi-tool. 5zyl brings further lasery Lithuanian steeze on 'Vilnius Bass', whilst Spectrums Data Forces betrays the existence of a sinister corporate entity, whose business model works towards the object of instilling 'Darkness In My Head' through giant, killer mozzy basses.

Review: Menacing EBM and dark synth billows from a Netherlands hinterland; our heralds speak of an esoteric encampment by the name of Espectro Oculto, said to be the remote incantators of an unstoppable curse in sound. Six shadowy emissaries have been sent to spread the pestilence; Trenton Chase, Martial Canterel, DJ Nephil, Exhausted Modern, Fragedis and Happy707. Clearly, the faction have recruited only the best, trusted and yet most nefarious of spies from as far-flung regions as Czechia and Argentina in the administering of such a sordid sonic plague. We're left most quivery at the centrifugal doom drones of Exhausted Modern's 'Fear Of Focus', across whose breakdown banshees are heard wailing and snarling, and Fragedis' 'Landing In Reality', a lo-fi techno freakout and sonochemical anomaly, channeling militant two-way radio samples and hellish FM synthesis.

Review: Since emerging from Thessaloniki's underbelly in the mid-2010s, Endlec has carved out a reputation for punishing, no-frills techno rooted in the discipline of the 90s. A regular on Mord and MindTrip, he's long been a reliable source of dancefloor artilleryibut this one marks a shift. Self-released on his Renegade Methodz imprint, this debut album spans a full decade of experience, pulling together tracks made between late 2023 and October 2024. 'Omicron' and 'Clockmaker' are classic Endlecirelentless and tactileiwhile 'Sunday To Monday' and 'In Negative' draw from a deeper well, brushing up against melody and restraint. 'Mechanizer' grooves with mechanical tension, and 'No Return' rides a punishing loop without ever losing momentum. More refined than anything he's done before, it's a brutalist record with emotional depth, capturing an artist at a point of hard-won maturity.

Review: EC Underground is back with more inquisitors of low-end heavy sounds on Bass Scene Investigation vol 1 and again digs deep into the worlds of electro, techno, breakbeat and IDM. The compilation kicks off with the skittish percussive patterns of Illektrolab's 'Making Heads Dip', then heads into moody ground with ADJ, Pablo Funk brings some menacing synth work and Errorbeauty gets all weird and trippy with some mad electronics. Francois Dillinger offers a dystopian electro sound full of irresistibly jacked-up drums. A fine investigation indeed.

Review: Ehua treads into new territory with her debut full-length, Panta Rei, arriving via 3024 after an extended period of experimentation and self-reflection. Over 18 months, the London producer and DJ - originally from Italy - fused deep bass mutations with live percussion, acoustic textures, and, for the first time, her own voice. The result is a humanistic record, with glassy sonic abstractions, vocal reversions and rhythmic interruptions serving plenty space for intimacy and contrast. Ahead of a launch party scheduled in South London on April 24th, hosted by 3024 and Planet Wax, the likes of 'White', 'Bumju' and 'Albicocca' are propulsive, driving integrators of brain and body, perfect for imminent deployment in the divey New Cross establishment.

Review: A standout 1958-1959 recording by Johnny Hodges, Side by Side marked his continued solo work after taking the bold decision to leave the legendary Duke Ellington Orchestra. This album harks back to the small-group sessions of the 1930s but with a twist as Ellington's absence on several tracks meant Billy Strayhorn stepped in on piano. Joining Hodges are jazz legends like Jo Jones, Roy Eldridge and Harry 'Sweets' Edison, who all add colour to the varied collection, which has been newly remastered for Verve's Acoustic Sounds Series. As a follow-up to 1959's Back to Back: Duke Ellington and Johnny Hodges Play the Blues, it is another gem from the noted alto saxophonist.

Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***


If you don't know (well, even if you do know it is still true), Californian multi-instrumentalist Brian Ellis is Egyptian Lover's keyboard player, and is also a member of Campus Christi with Peanut Butter Wolf. He steps out alone here with a new and outlier funk album that shows off his idiosyncratic style. It is a raw and dense sound that mixes up bold funk and gritty psychedelic soul while embracing the darker edges of both styles. Along the way, Ellis explores themes of truth, authenticity and the pitfalls of wealth while reflecting on the cost of giving away one's heart. Tracks like 'The Real Deal' and 'Money Drives Me Crazy 'capture these ideas with unfiltered emotion.

Review: Benjamin Epps sharpens his craft with L'enfant sacre de Bellevue, the successor to La grande desillusion, amounting to the second of two records to excavate the French rapper's history and personal growth through self-reflective, fine-tipped lyricism. This is a record driven by ambition and vulnerability, tracing the contours of personal struggle, pride, and purpose; Epps balances tight productions with a fierce bravado, one not considered counter to introspection or emotive soul-bearing. Epps operates with clarity and control, further solidifying his status as one of the most technically gifted voices in French hip-hop today.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


On Cartao Postal, Evinha offers a deep, evocative collection of tracks that manage to both mesmerize and transport. The Sao Paulo-born singer weaves in elements of MPB, samba, and bossa nova with a natural ease, the rhythms flowing like a gentle tide. Her voice feels at home in every corner of the record, whether exploring soulful melodies or swaying in more jazzy moments. The understated orchestration brings warmth without overwhelming, keeping Evinha's storytelling centre stage. This is a release where every note feels purposeful, quietly drawing you into its layered beauty.

Review: The Butcher Basement is a reimagined and blood-soaked rebirth of Extermination Dismemberment's 2010 debut album, which is dripping with gore and heavy with brutality. The wholly re-recorded release captures the grotesque atmosphere of its original conference but with added detail worked into the sounds. With these revamped compositions of fresh material rooted in their early style, plus sharpened production, these metal sounds hit harder than ever and thrive in morbid theatrics. Rather than just a simple reissue, The Butcher Basement is a whole new resurrection.

Review: Ensemble Modern and experimental, Berlin-based music composer and sound artist Hainbach come together for Primer, an album sourced from their 2022 Checkpoint concert and reworked in the studio with bassist Paul Cannon. The record transforms their fine live performance into a rich, immersive home listening experience with Hainbach's signature use of nuclear research gear, tape loops and vintage electronics weaving haunting, ever-shifting textures throughout. As such the pieces pulse with a sonic spark that captures the spirit of experimentation and collaboration and is taps into plenty of avant-garde thinking in its approach to drone and ambient.

Review: In celebration of Arvo Part's 90th year, his latest release showcases the Estonian composer's continued exploration of minimalist, spiritually charged sound . Part's work has always sought to blend the sacred with the secular, and this collection of new renditions brings forward the timeless resonance of his choral and orchestral compositions. Opening with 'Littlemore Tractus,' based on John Henry Newman's reflections, the piece sets the tone of quiet, introspective change that permeates the entire work. His music, a dialogue between sound and silence, invites profound contemplation, with the Tallinn Chamber Orchestra and the Estonian Philharmonic Chamber Choir under Tonu Kaljuste's direction offering nuanced, deeply attentive performances. Compositions like 'Vater unser,' showcase Part's ability to transform liturgical text into transcendent musical experience. There's an undeniable spiritual gravity in pieces such as 'Cantique des degres' and 'Sequentia,' where strings and vocals weave in delicate yet forceful patterns, revealing a steady undercurrent of renewal. The rich textures in these works evoke both a longing for and a reconciliation with the past, capturing Part's life-long exploration of sacred music's dialogue with the world. The album culminates with 'Vater unser,' an evocative reworking that brings together choir, strings, and piano, offering a meditative close to an album that is as much about reflection as it is about the continued forward momentum of Part's artistry. Recorded in Tallinn's Methodist Church, this latest chapter is a continuation of the Part-Eicher partnership that has defined so much of his career, expanding the legacy of albums like Tabula rasa and reinforcing Part's place as one of the most significant voices in contemporary classical music of the 20th and 21st centuries.

Review: Espen Berg's Maetrix captures the pianist and composer at a bold creative high, as he upscales his craft, this time working with the celebrated Trondheim Jazz Orchestra. Originally premiered to a full ovation at the 2017 Molde International Jazz Festival, this six-part suite finally sees release, recorded between Oslo's Rainbow Studio and Ora Studio in Trondheim. Berg furthers his rep for rhythmic complexity and emotive depth to a 14-piece ensemble featuring standout artists Daniel Herskedal, Rob Waring, and Hayden Powell, while vocalists Kirsti Huke and Sissel Vera Pettersen ensure a graceful vocal topline. Echoes of Pat Metheny and Kenneth Dahl Knudsen waft through the compositions, but Maetrix stands firmly in Berg's own voice, radiating the sense of a collaborative effort years in the making.