Back catalogue: All genres

Review: Charlie Charlie's 'Save Us' is a track brimming with raw emotion, and Mondag's remix feels like a perfect counterpart, bringing a subtle touch of melancholy with its soft saxophone solo. The track maintains its weight, but Mondag's approach gives it a dream-like quality, coaxing out the depths of its aching beauty. Bella Boo's edit brings a noticeable shift, tightening the rhythms and infusing the track with a sharper energy, but it never loses the soul of the original. Gerd Janson, meanwhile, offers an ambient version that feels like an entirely different experience - less immediate, but no less absorbing. On the other side, Hypernatural's remixes expand on the dreamlike, almost otherworldly feeling of the originals. Knightlife's take on 'Spirit Walk' stretches the song's already fluid nature, making it feel weightless, while Gerd Janson's remix of 'Stormfront' adds a darker, more reflective mood.

Review: INDEX:Records founder and self-styled 'DJ and sound engineer' Conna Haraway finally makes his vinyl bow following a couple of low-key cassette and digital download releases. According to the Sydney-based imprint handling the release, Theory Therapy, the wonderfully titled Spatial Fix was partially inspired by the Glasgow-based artist's 2024 tour of Japan and South Korea. You can hear that in the subtly far eastern melodies and ambient techno style textures of ten-minute opener 'Freon', whose grooves would undoubtedly have impressed the late Andrew Weatherall, and the hushed, semi-abstract, deeply layered wonder of 'Switchback'. Elsewhere, the stretched-out, immersive and meditative '1702' joins the dots between low-tempo ambient techno and dub techno, while 'Patent' is deep, otherworldly and suitably sub-heavy mutant dancehall.

Review: A record that explores deep, hypnotic rhythms with a strong tribal and mystical undercurrent, the latest Siamese Twins records pushes the boundaries of what is possibly in eastern influences underground techno. Side-1 opens with 'The Golden Triangle', an atmospheric introduction that feels cinematic, setting the stage with ambient textures before giving way to movement. 'Lens of Time' follows, locking into a deep, primal groove where rolling percussion and rich low-end create an entrancing effect. On Side-2 'Mekong' leans into tribal mysticism, blending ancient rhythmic patterns with a modern pulse. The production is detailed yet raw, drawing from rich percussive layers. 'Ruak' closes the EP with pulsating bass and deep, rolling rhythms, channeling Eastern influences into a hypnotic techno flow. A powerful release from Siamese Twins Records, driven by Sunju Hargun's distinct vision.

Review: Eric Hilton's latest release feels like stepping into a hazy, late-night reverie. The track unfolds with a subtle interplay of gently rolling beats and shimmering guitar tones, setting a mood that's as reflective as it is cinematic. Dreamlike vocal layers drift in and out, adding a human touch to an otherwise deeply atmospheric composition. There's a warmth here that recalls the golden era of downtempo, yet Hilton's refined production ensures it feels distinctly modern. It's music for quiet moments, crafted with a level of care and precision that speaks to Hilton's years of mastery in sculpting immersive soundscapes.

Review: A 7" that delivers a hypnotic fusion of dub, broken beat and experimental soundscaping, reinforcing the Trule label's reputation for pushing sonic boundaries. The trioiAllen Wootton, Susumu Mukai and Valentina Magalettiicraft a release that feels both deeply rooted in tradition and strikingly forward-thinking.
'Ambulance Dub' unfolds with cavernous echoes, weighty basslines and fractured rhythms, creating an atmosphere that feels almost otherworldly. Layers of percussive textures and swirling dissonance shape a track that constantly shifts yet remains immersive. On the flip side, 'The Bigger Tutti' refines this approach into a slick instrumental, nodding to the deep, textural brilliance of On-U Sound. The crisp production and rich dub aesthetics make it an ideal example of rhythmic experimentation.

Review: Insense Music Works finished off 2024 on a high by serving up this brilliant pair of wonky jazz sounds. Noriko Kose & Haruka Nakamura's 'I Miss You' pairs pensive piano playing with alluring vocal sounds and raw beats into something heady and beguiling that almost seems to shift space and time with its smeared designs. Joachim Kuhn's 'Housewife's Song' on the flip is a busier sound with mad jazz keys, cascading piano chords and a vibrant sense of energy that flourishes ever brighter as the track unfolds.

Review: Opal Sunn's 'Elastic' lands on Test Pressing Recordings as the first in a trilogy, bringing together Alex Kassian and Hiroaki Oba's knack for genre-blending electronic soundscapes. Known for their captivating live sets, they've crafted an EP that traverses moods and styles. The A-side opens with hypnotic deep trance, layering rich synth textures and rolling grooves. Over on the B-side, things get lush and atmospheric: one track dives into dub influences, saturated with warm basslines and echoing chords, while the final cut drifts into serene, ambient territory. It's an impressive start that shows their mastery of both rhythm and space.

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


The split 12" from East London's Portico Quartet and Polish pianist Hania Rani exemplifies how simple ideas can yield remarkable results. Each artist reworked the other's track, with impressive outcomes. Portico Quartet transforms Rani's 'Nest' into a dreamy, ethereal jazz piece, featuring undulating analogue synths, immersive chords, and floaty vocal samples carried by languid jazz drumming. Rani's take on Portico Quartet's 'With, Beside, Against' is even more striking. Her version, minimalistic and sparse, introduces twinkling piano motifs and her evocative vocals, creating a slowly unfolding, cinematic jazz experience. Both interpretations are nothing short of stunning.

Review: Passing Currents aims to stand out from the predictable by offering a deeply human touch in its music. This five-tracker backs that up by melding academic expertise with dancefloor intuition and the A-side features txted by Phil Moffa remixed by Yamaha DSP coder okpk after they met during doctoral studies, they flip technical mastery into bass-driven energy while Atrevido' fuses California warmth with analogue electro, Josh Dahlberg's rediscovered 2009 electro gem, 'Ass On The Floor', still bangs and Detroit's Kevin Reynolds delivers hypnotic grooves before Hazmat Live pushes boundaries with a sound rooted in soulful, experimental innovation.

Review: Since founding DiN in 1999, Ian Boddy has been driven by a passion for collaboration, particularly with artists connected to the pioneering German electronic scene of the 1970s. When a chance meeting with Harald Grosskopf at a Dutch music festival presented the opportunity to work together, Boddy eagerly embraced Grosskopf's ear; the latter's tutelage at the Berlin school spans decades, and he is most notably for his fellowship as a drummer with Klaus Schulze, whose influence looms large over Boddy's own work. But beyond percussion, Grosskopf's Synthesist album revealed his distinct melodic sensibilities, making him an ideal creative partner for Doppelganger. Blending Berlin-schooled sequencing with evocative grooves. Boddy's modular synth textures shine on tracks like 'Boulevard Horizon', while Grosskopf's rhythmic playfulness is evident in 'Livewire'.

Review: Back in the depths of the global Coronavirus pandemic, Nick Hoppner and Alex Kassian decided to join forces to record an album, one that would set aside their club credentials and instead focus on their collective love of krautrock, ambient and 'guitar-driven music'. The result is The Big Melt, the duo's first missive as H.A.N.K. Beginning with the immersive, enveloping sound world that is 'Cruise' - a slow-build, effects-laden dreamscape that offers nods to classic Tangerine Dream, shoegaze and 1990s ambient electronica - the album bobs along attractively, with exotic rhythms and intoxicated electronics ('A Useful Fever') sitting side by side with shuffling Balearic instrumentals ('Azul's Garden'), kosmiche epics ('Jag Aar Jag'), sitar-laden wonders ('While My Tar Gently Weeps'), and analogue-rich nods to Neu!, Can and Dunkelziffer ('No Harm').

Review: El Hardwick's sophomore album, Process of Elimination, explores illness as a pathway to personal and anti-capitalist transformation. Rooted in their experience of chronic illness after years of pushing their body beyond its limits, the album reflects Hardwick's journey toward healing through mysticism and natural remedies. Turning away from the need for a formal diagnosis, Hardwick embraced a process of self-rewilding, rejecting capitalism and gender norms to reconnect with their body and the earth. Musically, Process of Elimination combines lush, dubby soundscapes with cosmic experimentation. Tracks like Dual feature sparse synthesiser tones alongside woodwinds and double bass, creating a spacious environment for Hardwick's spoken-word reflections. Collaborations with musicians such as Alex McKenzie and Laura Misch bring a range of organic textures to the album, enhancing its sense of natural exploration. The album shifts between ambient meditations and more rhythmic moments, with highlights like 'Quantology' and the IDM-tinged 'How Do I Know...?' revealing a balance between introspection and forward momentum. Hardwick's process is further mirrored in their personal journey of coming out as trans non-binary, which they describe as another form of elimination, moving beyond binary definitions. Ultimately, Process of Elimination is a powerful reflection on healing, acceptance and the reclaiming of energy, inspired by thinkers like Silvia Federici and Donna Haraway, and enriched by contributions from London-based artists and friends.

Review: While former New Young Pony Club member (and sometime Hot Chip collaborator) has devoted much of her career to DJing, her occasional solo musical releases have always been strong. Her solo debut LP, 2021's Private Sunshine, was excellent, but if anything this belated sophomore effort is even better. The album's genius lies in its consistency and the first signs of a smart, stylish, trademark boogie and proto-house influenced synth-pop sound, with extra authenticity provided by clear sonic nods to classic 1980s cuts from NYC and beyond. She's always been a talent, but it feels like a genuine crossover moment could be upon us - helped, no doubt, by the quality of the sassy 'Frequency', slow-motion jam 'Stop The Rain' and future dancefloor anthem 'In My Heart'.

Review: Hankerers after 90s band musicians turned Y2K solo electronica artists will water at the mouth at the first play of this one. Her Space Holiday was the first-time solo alias of Marc Bianchi, the American indietronic musician known for his membership of the bands Indian Summer and Calm. Turning his hand to solo soundcraft at the turn of the millennium, and releasing under Skylab and Tiger Style - the latter of which saw to the release of the first edition of this record, albeit with a different sleeve design - Bianchi's solo output would echo the post-hardcore humours that characterised his group work, except for the fact that it would also somewhat electronify them into contrition, resulting in every logical conclusion from lasery broadcast neofolk ('Snakecharmer') to anxiolytic hyperballad emo ('Through The Eyes Of A Child').

Review: While awaiting the release of her album Pripyat, Catalan composer and producer Marina Herlop found herself feeling emotionally unmoored and uncertain about her music career. During this period, she visualised herself as a gardener tending to her inner landscape by expelling negative emotions through purple weeds. This imagery became the foundation of this record which is filled with her warmest, most positive sentiments. With experimental touches still present, Herlop's voice shines with hope and energy while weaving intricate acoustic instrumentation and electronic elements. Nekkuja is a celebration of perseverance and creativity that blends abstract sounds with themes of growth, light and renewal.

Review: Former Soup Dragons man Hifi Sean (real name Sean Dickson) seems to have found a musical soulmate in David McAlmont. The pair have already impressed via a pair of well-regarded albums and here drop a third collaborative full-length - barely six months after its predecessor, Daylight, appeared in stores. Designed as a kind of flip side to that set - a loosely conceptual musical night drive from dusk 'til dawn - Twilight cannily combines slow, soft-touch grooves, dreamy textures, bubbly electronics, strobe-lit synths and McAlmont's honeyed vocals to great effect. The plentiful highlights include Blessed Madonna collaboration 'The Comedown', the tactile bliss of 'Goodbye Drama Queen', the huggable wooziness of 'High With You' and the heartfelt sweep of 'Star'.

Review: Six months after dropping their second collaborative full-length excursion, Daylight, HiFi Sean and David McAlmont deliver the yang to that set's ying - the loosely conceptual dusk-til-dawn night drive that is Twilight. More synth-heavy and strobe-lit than its predecessor, the album sees the effortlessly soulful McAlmont add his honeyed vocals to backing tracks rich in soft-touch grooves, dreamy textures, bubbly electronics and strobe-lit melodic motifs. This limited, deluxe edition is the one to grab if you can; aside from being pressed to colourful purple vinyl, it also comes bundled with a single-track seven-inch flexi-disc (containing a fine alternate dub mix of 'Driftaway') and an autographed art print.

Review: WRWTFWW Records is back with a third collaboration with Japanese electronic, ambient and synth-pop group Interior. This time they reissue a forgotten 1989 solo gem by band member Daisuke Hinata that very much deserves more spotlight. Tarzanland captures the essence of late-'80s California with sun-soaked kanky? ongaku, minimalistic proto-chillwave and breezy synth melodies all washing over you in delightful fashion. Its lush soundscapes evoke the likes of Steve Winwood and Steely Dan as it is infused with nostalgia and serene electronic sounds. They make for a blissful journey through simple pleasures, where ocean waves and warm breezes empty your mind of all but the nicest of thoughts.

Review: Honesty's debut album, U R HERE, is a thrilling exploration of contemporary electronic music that defies easy categorisation. Formed by core members George Mitchell, Matt Peel, Josh Lewis, and Imi Holmes, the Leeds-based collective embodies the spirit of true collaboration, merging influences from UK bass, garage, shoegaze, and ambient styles into a seamless tapestry of sound. The first single 'Measure Me' alongside the evocative 'No Right 2 Love', delve into a dreamscape of lost connections and emotional turmoil, encouraging personal interpretation of its themes. As the band describes, creating this album felt like passing the aux cable at an afterparty, with each member contributing their unique influences while remaining unbound by genre constraints. U R HERE is a reflection of a world in flux, delivering an exhilarating and introspective take on club music that resonates deeply with the psychological landscape of modern life. With its vibrant soundscapes and fluid arrangements, this debut promises an exciting journey into self-acceptance and creative freedom. Available on gatefold clear vinyl with an indie-exclusive spot-varnished sleeve, U R HERE marks Honesty as a fresh force in the music scene, and their artistic evolution is just beginning.

Review: Marking the 25th anniversary of The Magnificent Tree, Belgian trio Hooverphonic release a special limited edition of their third album, available on translucent blue vinyl. This edition comes strictly limited to 1,000 numbered copies, each with a commemorative insert; its four core singles 'Mad About You', 'Vinegar & Salt', 'Out of Sight' and 'Jackie Cane' became career milestones for the ethereal band, clinging to the Flemish Ultratop 50 for 107 weeks as they continued to hone and plane their established blue noir, post-trip-hop sonic vernacular. Also marking their 30th anniversary as a band, The Magnificent Tree is probably the best touchstone to describe their coming of age, ripping up the the comparatively innocent sonic formula of Blue Wonder Power Milk.

Review: The exalted dream-pop-and-more duo of Nigel Yang and Jonnine Standish (HTRK) were originally a trio, with bassist Sean Stewart making up a third part of the Australian team's membership. Marry Me Tonight (2009) was as such the only album HTRK recorded from start to finish as a trio, as well as, coincidentally, being the only HTRK record to bear the co-productive stamp of Rowland S Howard (The Birthday Party). With the band racked by the devastation of both Stewart and Howard's deaths in the years after this album's release, HTRK's second LP is the last in an era: unlike their romantic recencies, early 'Hate Rock' was marked by enveloping blankets of industrial grunge-verb, with the instrumental shadow of post-rock looming larger, and with comparatively reticent and sparsely included vocal performances by Standish. Ghostly now reissue the record in what now functions as a compelling look back on HTRK's relatively steelier start.

Review: As they mark over two decades of collaboration, HTRK continue to thread past and present with a new, upcoming reissue of Rhinestones. First self-released in 2021, the album marked a stylistic turn for Standish and Yang, embracing a sparse and haunted approach to songwriting inspired by gothic country and Western folk minimalism, contrasting their earlier dub-punk dramatics. More emotionally forthright as their records go, it drifts over echoic acoustic textures, hushed vocals, and a characteristic metronomic pulse, conjuring a shadowy, intimate atmosphere. A landmark release epitomising their noted progression out from minimal-wave origins to "gentler, more inviting" territory, Rhinestones motivated a quiet resurgence for the band. This reissue follows the 2024 repress of their debut Marry Me Tonight and the collaborative 'String Of Hearts' EP, with reinterpretations from peers like Loraine James and Liars, reaffirming HTRK's strong creative orbit.