Back catalogue: All genres

Review: Steve Von Till concludes his ambitious Harvestman Triptych series with a deep exploration into folklore, ancient landscapes, and sonic experimentation on Triptych. Woven from two decades of home recordings, this final installment channels primal energies and lost traditions through a psychedelic, multi-layered soundscape. Von Till's psych-folk core is joined by elements of drone, sludge, and electronic noise, with notable guest contributions from The Bug, Wayne Adams (Petbrick), Douglas Leal (Deafkids), and others. Tracks like 'Herne's Oak' pulse with seismic bass, while 'Clouds Are Relatives' and 'Cumha Uisdean' resonate with haunting melodies. The album's dense layers evoke forgotten times, blending myth and music into a hypnotic reverie. Hablak's glyph-style artwork, continuing from Parts One and Two, complements the sonic journey with its mysterious, ancient symbolism. Triptych serves as a fitting, visionary conclusion to Von Till's projectian immersive, mind-bending journey through a soundscape rooted in the echoes of ancient civilizations. A truly remarkable end to a unique trilogy.

Review: Masterful curator Paul Hillery returns with another essential instalment in this wonderful BBE series. Volume 3 continues his tradition of unearthing rare, high-quality tracks so it is a perfect companion to his Children of the Sun trilogy. This one spans funky folk, jazzy AOR, lo-fi dub and DIY folktronica and includes numerous gems like Sheila Chandra's ethereal vocals and Tim Green's euphoric grooves, a playful vibe from Gil De Ray on 'Something About Nothing' and plenty more besides. With extensive sleeve notes, this is a deep sonic journey that also cements the man behind it as an expert archivist.

Review: Haruomi Hosono of Yellow Magic Orchestra infamy gets a Stones Throw "reworks-reissue" of his landmark debut solo record Hosono House, this time under the name Hosono House Revisited. Not a reissue per se but rather an exemplary case of an "interpretations" LP - in which favourite adjacent artists and contemporaries choose their favourite track from a given artist's discography, and do their best to capture their own subjective recorded responses to the song as they know it best - this version sees several musicians from the Stones Throw roster and beyond offer up their own interpretations of Hosono's songs. Leading the charge is John Carroll Kirby's 'Fuku Wa Uchi Oni Wa Soto', a mixable, much funkier and bubblegum-gobbed version of the originally kalimba-led, totally live-recorded track.