Back catalogue: All genres

Review: Brooklyn producer Gerard Young aka Ge-ology has always championed intricacy in his original house productions, preferring to survey and purpose-build from the ground up, not prefabricate. His Versions series through Hot Biscuit has been going since 2025, with a higher-than-usual number of deep cuts (usually six in total for each 12") all given names like "Extended FeelTheFire Mix", "From SideToSide", "CapricornTribe Mix" and "Raw Stripdown Version", evidencing a sense of literary licence and playing on otherwise boxed-in remix titling traditions. Janky sampled refuse of disco-soul and gospel replay over 'Keeep The Beat' like trash-humped radio components larked from wreckage - our fave track here by far.

Review: Chicagoan crate digger, DJ and producer Mark Grusane has long been regarded as one of the best re-editors in the business, with a long list of labels queuing up to put out his tried and tested reworks. Here be unveils a new project, The Tape Edits, in which he rearranges and revitalised cuts the old fashioned way - IE via the use of reel-to-reel tape, a scalpel and some sticky tape. There's plenty to admire across the six tracks stretched across two slabs of wax, from the high-tempo jazz-fusion-goes-disco hedonism of 'I Can't Come Down' and the killer-grooves-and-analogue synths flex of 'The Fever', to the low-slung disco-funk heaviness of 'Stomp The Floor' and the spacey disco-funk brilliance of closing cut 'Giving Nothing'.

Review: First dropped in 1985 on Italy's London Records Production, Superbowl aka 93rd Superbow is a high-energy Italo disco project from producers Gianfranco Bortolotti and Roberto Arduini. With its pounding basslines and vibrant synths unfurling into infectious melodies, this is the sort of tune that embodies the quintessential 80s Italian club sound-catchy, bright and built for the 'floor. This reissue stays true to the original with both 'Forever and a Day' on the A-side and its full vocal dub version, 'Forever and Two Days,' on the flip. It's a real piece of quality and authentic Italo magic that still hits the spot.

Review: Led by Edinburgh-born Los Angeles-based 90s superstar Shirley Manson, Garbage have emerged from dark, troubling times to present a new album. The follow up to 2021's No God No Masters was originally intended for release in 2023, but got put back, reportedly due to Manson's surgeries, writer's block and the death of her pet dog. Those who've kept patient, however, are in for a treat: it's a life-affirming record that stands tall in the transatlantic group's storied oeuvre. Ever the sharp critical thinker, the lyrics to lead single 'There's No Future In Optimism' remind us to grab life by the horns and feel unburned by darkness for a moment - it's a message we need from our popstars and it's a nice respite from the cranky punk music that's saturated our radio waves over the past few years.

Review: This is the first album in four years from Scot-fronted Los Angeles band Garbage and their eighth studio album total. The previous album, No Gods No Masters, delved into some heavy sociopolitical themes, which were given a lot of attention because it came out amid Covid. With this album, as the title gives away, there is a shift towards more positive thinking, even if some seriousness remains. The single 'There's No Future In Optimism' reminds us to grab life by the horns and feel unburned by darkness for a moment - Shirley Manson clearly remembering the joy of pop and the hope it can bring, despite geopolitical uncertainties. Sonically, they've crafted very powerful electronica-tinged rock, with a brilliant emphasis on rhythm, the joys of a well constructed beat and some gritty bass.

Review: The latest album from Chicago composer and improviser Ben LaMar Gay is his most fluid and assured to date. Backed by his long-time quartet of Tommaso Moretti, Matthew Davis and Will Faber, Yowzers ripples with rhythmic intuition and emotional weight, moving between playful sketches and hymn-like vignettes without ever breaking its spell. Tracks like 'the glorification of small victories' and 'I am (bells)' are recorded live, capturing the spatial intelligence of the group's shared language - an ensemble sound built through years on the road. 'for Breezy' and 'leave some for you' find Gay in a balladic register, unafraid of simplicity, while 'John, John Henry' retools folklore through polyrhythmic loops and group chant. The result is at once free and tightly woven - a folk-rooted sound that spirals into cosmic territory. Rob Frye's flute and a mini-choir add further texture, but it's Gay's ear for structure and storytelling that binds it all. These aren't just compositions but musical rituals, alive with history, invention and care. It's not jazz, not quite, not only - this is music that trusts its players as much as its audience, carrying old knowledge forward with lightness, humour and reverence. A quiet triumph.

Review: Ben LaMar Gay expands his musical lexicon with mala-morphemic glee on Yowzers, a wide-berthing new LP trading in exp points racked up as a soloist, bandleader, and key player in Chicago's music scene. Conscripting his long-running quartet (Tommaso Moretti, Matthew Davis, Will Faber) for dispatch on a new instrumental regiment, the record snaps the intimate language they've developed through years of live performance, captured here in a rare set of real-time recordings. As always, Gay pushes outward from folkloric roots, incorporating choir arrangements, in-studio experimentation, and contributions from frequent collaborators like Rob Frye and Ayanna Woods, be that through the looped minimalism of 'Yowzers' to the mournful swing of 'For Breezy' and the guttural blues of 'John, John Henry.'

Review: Ghostface came out swinging on Supreme Clientele, his second solo LP; with wild, free-associative flair - he was by then a standout MC even amid Wu-Tang's crowded barracks. Now. a decorated verbal bombardier, he earned the Killah badge with this one: built in close collaboration with RZA, who ammunised the record's beats while conscripting JuJu, The Hitmen, and Hassan on versal lookout duties, the album lands like a continuous reel of grainy street cinema, warped soul loops, and cryptic one-liners. Written largely after a trip to Africa and through a stint at New York prison Rikers Island, the album steps away from mafioso cliches and fixation on brands, folding in a looser, more surreal energy. Singles 'Apollo Kids' and 'Cherchez La Ghost' cut the ears with raw, slice-thru charm, but it's deep cuts like 'Nutmeg' that cement it as of the sharpest solo turns in the Wu-Tang catalogue.

Review: Conan Gray revisits the corvine world of his 2020 debut, with three new bonuses as well as new cover art hand-drawn by Gray himself. Among them is 'Bed Rest', a previously unreleased song written during the original album sessions: Gray describes it as a time capsulate presciently mirroring his present state of mind, five years on. Then there're the two live versions: 'Heather (Lost Verse Version)' and 'The Cut That Always Bleeds', both of which provide subtle indication of the upward trajectory, though its maximal vintage pop stylings are kept intact . Kid Krow originally marked Gray's shift from bedroom pop phenom to breakout singer-songwriter; now the expanded edition lands beside a digital release, with physical preorders closing the loop on the very record that launched his career into orbit.

Notes: ***B-STOCK: Dinked corners, but product is in excellent condition and in perfect working order***


The story is about Taina, a nine-year-old, Afro Boricua basketball novice growing up in Brooklyn during a pandemic who learns valuable life lessons from family, friends, and the community, both on and off the court. The narrative seamlessly weaves social-emotional learning with math, arts, social justice, identity, culture, and sports education, all in a fun (and at times goofy) manner!

-Written by Bobbito Garcia and illustrated by Estafania Rivera Cortes.
-58 large full colour printed pages (8.5" x 11"). Hardcover w/matte finish.
-Age range: 7+ and beyond.
-A helpful tool for social-emotional learning as well as math, social justice, identity, culture, and sports education.
-For any store that buys the book, Bobbito Garcia offers to do a personalized video drop to post on their socials and he'd repost it in his stories on IG. He would also add the store to the website of where people can go to buy the book locally (aimhighlittlegiant.com).

-"A brilliant, beautiful and spiritual basketball revelation disguised as a children's book."-Scoop Jackson, author of The Game Is Not A Game
-"A unique reframing of basketball delivered through New York City's diversity, geometry and spirituality."-Max Resetar, editor of SLAM MAGAZINE
-"Yet another achievement for the brilliant Bobbito Garcia who inspires the youth to championship heights! There is a giant in all of us."-Dan Klores, director of Basketball: A Love Story

"Bobbito Garcia's street-smart text and Estafania Rivera Cortes' starburst illustrations make for a buoyant, fun, and thoroughly modern experience. Call 'I got next' on AIM HIGH!" -Alexander Wolff, author of Big Game, Small World: A Basketball Adventure

"I've been documenting hip hop, sneaker, and basketball history in books, films, and magazines since the '80s, so imagine the thrill for me to finally write fiction, and especially for kids! The experience was liberating and allowed me to flex my experiences as a parent, which I haven't shared much of at all publicly. I truly hope the multiple communities I exist in have the opportunity to see themselves in the words and illustrations" -Bobbito Garcia

Brilliantly illustrated by Estefania Rivera Cortes, an artist based in San Juan, Puerto Rico with a compassion for social causes, Aim High, Little Giant, Aim High! is an unprecedented presentation of NYC's unique outdoor basketball culture, created for children of any background to enjoy. The book is published by We Are Little Giants, an independently Black and Puerto Rican owned business.