Back catalogue: All genres

Review: Esuoh Limited's third outing takes the form of another various artists offering, and it explores an on-point mix of garage, house and tech. Ale Castro gets things underway with the bubbly bass motifs and retro stabs of 'IDWTAD' with a vocal refrain repeating the line 'I don't want to talk about drugs'. Hurlee's 'Spectral Echoes' is a super breezy house cruiser with sugar chords and more widescreen smears adding the oil to the drums while a simple, effective vocal hook brings the soul. There is a darker, more heads down energy to Housewife's 'Jus A Lil Bit' then Midas Field's 'Groover' brings class, jazzy magic and plenty of fist pumping fun.

Review: Swedish producers Alexander Johansson & Mattias Fridell get back to the drafting board - Blueprint Records - for a third release, following their 2023 EP 'Geometriska Strukturer' and the 'Marvatten' EP the year before. Active collaborators since the early 2000s, the pair have steadily contributed their precision-honed techno to labels such as Symbolism, Audio Assault, ARMS, XXX Records and H. Productions, alongside their own imprint, Lomsk, since 2022. Their latest 'Bentik Zone' comprises three hot, mode-choked techno tesla coils, themed after the topical Benthic zone: the lowest level of a body of water such as an ocean, lake or stream, where deep-sea crustacean dwellers known as benthos lurk.

Review: Chicago's Tied label rolls out a 17th release as good as all the previous ones, this time with a four-track various artists EP that showcases emerging talents from deep, spacey electronic realms. Just_Me's 'Laser Brane' launches the journey with electro-funk propulsion, while Lumieux's 'In Your Space... It's Me In Space' drifts into cosmic grooves and ambient textures. On the B-side, Constratti's meticulously crafted 'Bind' delivers intricate synth delays and solid rhythms that capture the feeling of interstellar motion. Label head Max Jacobson and 97 Till close with 'Orion,' a break-infused and celestial house cut built for late-night floors.

Review: You thought you knew UK garage, but you didn't know Chris Mack. First released in 1998 on the very same label on which it comes out now - Old Soul - 'Set It Off' is a phenomenal primer on how little effort it truly requires to make a rager of a 2-step garage track. Though it first appeared on the scene as a B-side, it brings an extra slaparound, A-face fodder to it. Ever-so-slight reverb on drums contrast the song's otherwise un-messed-with mix, which retroactively makes us balk in the face of the comparatively overproduced nu-garage we often hear today. The original dub strips things down even further, allowing a bodying reverb on the "here we go" vox to interline seamlessly with the jazz stingers.

Review: Copenhagen's Main Phase continues his ascent in the bass world with a new EP that fuses UK influences and Euro house into four club-ready tracks that again embody his genre-blending style. Effortlessly ranging from UKG and speed garage to dubstep and jungle, he brings a fresh energy with a subtle nostalgic undercurrent. As co-founder of ATW Records alongside Interplanetary Criminal, he's helped shape the new wave of UK-inspired sounds with past releases on Hardline Sounds, Locked On and ec2a. This time out he offers the elastic bump of 'Playa Hataz', the chord-laced shuffle of 'Bring It Back' and vamping new school garage funk of 'Bumpa Riddim' which has been a big one for Burnski. 'Until The AM' closes with a proggy hurry.

Review: The Instinct train rolls on with more of its signature and explosive garage goodness. Label head Burnski invites Mattik to take charge of this one and he comes good from the off. 'Bubble' has an impossibly naughty low-end oscillation, watery bass sounds and crispy 2-step percussion all designed to get top lips curled and floors bumping. 'Systemattik' is another smart garage workout with ragga vocals, snappy drum programming and warped synth stabs. 'Active' keeps things bumping with a retro UKG flavour and 'Megatone Saxon (Manchester Massive)' (feat TG) shuts down with irresistible rhythms and old school synth motifs as well as some rudeboy bars. Perfect.

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


The genre-defining deep house label Kaoz Theory headed up by the one and only Kerri Chandler has a real doozy on its hands here with the talented Devon Miles bring his Afro soul and acoustic guitar skills to a pair of new singles. 'Beautifull' appears twice on the A-side, one as a vocal mix by Kerri with skipping Afro house rhythms and gorgeous melodies next to jazzy horns, and another as an instrumental. The same tune comes three more times on the flip with Opolopo remixing and adding some extra weight for the club. The more meandering original is the one brave DJs go for despite its lack of rooted groove.

Review: Finnish duo Morphology, long celebrated for redefining electro over the past two decades, return with another sharp addition to their already stellar catalogue. Having released close to 30 EPs, this latest 12" shows they're still pushing the boundaries of futuristic techno without losing their edge. Side-A opens with 'Track 1' a burst of alien electro breaks that drifts into eerie territory, setting a dark, atmospheric tone. 'Track 2' follows with icy, crisp broken beats riding a relentless acid groove, expertly balancing cold precision with infectious energy. Flipping over to Side-B, 'Track 3' launches into a spacey, funk-laden trip, pairing a killer beat with a beautifully crafted melody that feels like an interstellar voyage. Finally, 'Track 4' closes the EP with an absolute highlight i a funky, acid-driven groove that channels the spirit of early Aphex Twin while still sounding distinctly their own. This EP is another feather in the cap for the duo, exploring the impact point where techno and electro collide.

Review: While he's not put out many re-edits of late, Luke Una has serious scalpel-job pedigree. Back in the 2000s, he and then DJ partner Justin Crawford released a series of largely disco-focused edit EPs on the hush-hush Electrik Souls series. Here he returns to the format with the first in a series of reworks focused on his popular, dusty-fingered E Soul Cultura project. He begins by teasing out and lightly toughening up a killer Caribbean cut from the 1990s, Ella Andall's 'My Spirit Is Music' - an insanely rare and hard to find number that the Sheffield-born DJ has naturally tweaked sensitively. Elsewhere, he emphasises the 'proto-house dub' feel of Slick Mission's early UK house number 'Time's Up', before going even dubbed-out and more percussive on Manu Dibango's lesser-known cover of Latin disco classic 'Jingo'.

Review: Miami-born and raised, synth-pop duo Magdalena Bay relocated to Los Angeles and have been blazing a trail with their self-produced music towards the top of the pop world. To celebrate the beguiling aura of their second album, released in August 2024, there's a limited repress of it in a stunning yet chaotic and artsy clear blue. Stacked with bangers, including the ethereal disco single 'Image' and the cosmic electropop epic 'Death & Romance' - which recalls Destiny's Child as much as it does Jean Michel Jarre - Magdalena Bay are clearly brimming with ideas. That they then know how to package these ideas with a cohesive visual aesthetic helps them hugely on their way and at the pace they're going creatively, there's seemingly a glorious road ahead.

Review: Lazaro Pla AKA Manteca is undoubtedly a Cuban musical legend - even if the bongo maestro only recorded a handful of albums as featured artist and bandleader. 1978's Rito Y Sabor, a percussive masterpiece made up almost entirely of drums, timbales and bass, is the most celebrated of these - and in general, one of the hardest to find. Created by Pla and a handful of musicians, it delivers an enticing mix of infectious Afro-Cuban grooves, sweat-soaked percussion solos, bold basslines and occasional (and often mixed-down) piano motifs. Highlights include Latin jazz dancefloor bombs 'Casas De Manteca' and 'Afro Funky', and the Incredible Bongo Band style brilliance of 'Abacua'.

Review: Carpet of Fallen Leaves serves as the luminous introduction to Eddie Marcon, a folk-pop project from Eddie Corman and Jules Marcon. The collection takes in more than two decades of intimate, self-released recordings that all bring fragile beauty and melodic grace from Japan's underground psych-folk scene. Gentle guitar, soft organ and deft bass interlace with pristine vibraphone, flute and pedal steel sounds to form sparse and spare yet intricate arrangements. Collaborators like Ikuro Takahashi and Shintaro Sakamoto add their own contributions, and so songs shimmer with a real emotional depth and Eastern charm. Highlights like 'Tora To Lion' and 'Shoujo' inspire quiet wonder while capturing fleeting moments of everyday life with a real tenderness and elegance.

Review: This electrifying 1973 live broadcast captures Bob Marley & The Wailers during their US tour supporting the Burnin' album. Originally aired on KSAN-FM, the set showcases the legendary lineup of Bob Marley, Peter Tosh, Aston "Familyman" Barrett, Carlton Barrett, Earl "Wire" Lindo and Joe Higgs, all of whom were at the peak of their powers. The album takes in standout cuts from Burnin', including unforgettable contributions from Tosh and the performance follows their short-lived stint touring with Sly & The Family Stone. It's an unfiltered, visceral document of reggae history in the making that reflects the Wailers' seismic impact just before they exploded into international stardom.

Review: Jamaican singer Clive Matthews has enjoyed a stop-start career, with relatively brief periods of activity in the 70s, 80s and early 2000s followed by a late blossoming over the last decade - a career bump provided by the backing of Spanish roots reggae outfit A-Lone Productions. They're at the controls again on Matthews' second album, Going Home, which marks the Trenchtown-born artist's first full length for seven years. Rooted in his love of roots reggae albums of the 1970s, but with occasional updated instrumentation, it's a classic-sounding set that provides a perfect platform for Matthews' conscious lyrics and honeyed, effortlessly soulful voice. The results are undeniably impressive, with our current favourites including 'Yes I Do', 'Ancient Lion', dancefloor-ready title track 'Going Home' and the pleasingly jaunty 'Reggae Music'.

Review: Welsh noise-rock royalty Mclusky make their decrepit return on their majorly anticipated fourth album The World Is Still Here & So Are We, marking their first full-length in over two decades, following on from 2004's The Difference Between Me & You Is That I'm Not On Fire. While the Cardiff legends have reformed for brief reunion runs in the past, this time they seriously mean it, revealing their first taste of new material in 19 years through their 2023 EP Unpopular Parts Of A Pig, with the title-track and 'The Digger You Deep' both announced to be featured on their (at the time) as-of-yet unannounced comeback record. Arriving courtesy of Ipecac Recordings, the outsider-rock label ran by vocal absurdist Mike Patton (Faith No More, Tomahawk, Mr. Bungle) and working in the past with the late, great Steve Albini, with the band even supporting for Shellac one fateful night in London's Scala, the chaotic noise-merchants haven't lost one tooth of their bite or snarky cynicism during their long respite, made abundantly clear on blistering lead single 'Way Of The Exploding Dickhead'.

Review: Cardiff noise-rock legends Mclusky make their long-awaited return with the highly anticipated The World Is Still Here & So Are We. Serving as their fourth full-length and first since 2004's The Difference Between Me & You Is That I'm Not On Fire, the album comes following numerous sparse reunion shows and tours since their initial disbandment two decades prior. First revealed through the release of the Unpopular Parts Of A Pig EP during the latter half of 2023, which would mark their first newly recorded output in 19 years, both the title-track as well as 'The Digger You Deep' were said to be the first tastes of their fourth LP, now making good on that promise with a release set for distribution via Ipecac Recordings, the label of musical absurdist Mike Patton (Faith No More, Mr. Bungle). Having worked in the past with the late, great Steve Albini, even opening for Shellac one fateful evening in London's Scala, the iconic noise-merchants seemingly haven't lost an iota of their bite or shitheaded cynicism during their time away, evidenced as such as in the blistering lead single 'Way Of The Exploding Dickhead'.

Review: Veteran Wackie's artist and reggae don Coozie Mellers returns with a fresh ten-track long player that bridges the label's deep roots heritage with modern reggae sensibilities. It blends crisp digital rhythms with heartfelt lovers' rock and roots textures and features the standout track 'You Move', which was previously released as a 10" single in 2015. Mellers' vocals are beautifully soulful and glide over the smart dubwise arrangements and bring a mix of both warmth and grit, with jams like 'Special Friend' unfurling slowly and seductively and 'Your Love Is Dangerous' being sentimental heart swellers.

Review: Originally released in 1984, No Remorse would serve as a compilation album from London's homegrown metal legends Motorhead, marking the end of their time on Bronze Records. Following the departure of Brian "Robbo" Robertson and drummer Phil "Philthy Animal" Taylor after 1983's Another Perfect Day, this would spell the end of the classic trio line-up which had already been shaken by the replacement of "Fast" Eddie Clarke by Robertson following 1982's fan favourite Iron Fist. According to Lemmy, the label were unhappy with his own personnel changes, lacking confidence in a new lineup they hadn't heard themselves, while once they announced news of a greatest hits-style compilation, the gravel-throated vocalist/bassist surmised it as "readying the death knell" for the group, hence his insistence on including new material as well as compiling the tracklist. Marking the first recordings from the next era of Motorhead featuring Lemmy alongside Phil Campbell, Wurzel, and Pete Gill, the band would enter London's Britannia Row Studios for a week in May 1984 to bang out their contributions - 'Snaggletooth', 'Steal Your Face', 'Locomotive', and most notably, 'Killed by Death', while the collection boasts all of their past iterations' essential bangers up until this point such as 'Ace Of Spades', 'Overkill' and '(We Are) The Road Crew'.

Review: After 2024's 'The Stranger', a new, impressionistic techno-electronica record from Oscar Mulero betrays in the Madrid artist an honest naivete, as titular techno cosmic impressions contrast a homespun, motion-blurred front cover. Can we hear the wood for the trees? 'New Horizons' and 'Invisible Star' would certainly seem to suggest not. We're always in the thick of it, even as intergalactic wow-signal comms traverse repetitive aeons, light-year, and as we travel further and further 'Outside The Time Zone', further and 'Further Away'. A cool, armrest-clenching continuation from the Spanish fave.

Review: Origin of Symmetry is still the most cherished Muse album by most fans and this live performance of their festival set at Bizarre Festival in Germany captures the Devon rock trio playing songs from it before it was released. The singles 'Plug In Baby' and 'New Born' are on here, as are their debut album Showbiz's best songs 'Muscle Museum' and 'Sunburn. It's truly a mouth watering setlist that makes it understandable how they went from the moderately sized band they were then to one of the biggest bands in the world.