Back catalogue: All genres

Review: B2 Recordings is one of those labels that is deeply entrenched in proper house circles. Its latest comes from Begoa who keeps it nice and chill on 'I Won't Love You' (feat Mimi X FY). The drums are low-slung, the chords are breezy and warm. 'Bibi's Funk' then layers in some lively percussion that adds a nice texture to the swaggering, slo-mo grooves. 'Listen' picks up the pace with some electro-charged rhythms and corrugated bass funk and then 'Exiles' leaves you with another classy, spacious sound with persuasive claps and big splashy cymbals.

Review: The sign of a truly great artist is that you can put on one of their records from some 15 years ago, as well as one out next week, and not tell which is which. Mr Pittman is one of those - a Detroit flag bearer with a raw, otherworldly take on house and techno that always sounds futuristic. 'The Midwest Advocates Part One' first dropped back in 2007 and is being repressed now and is just as good as ever with ramshackle and dusty grooves, wonky synths and eerie textures all getting you into a trance and keeping you there. Both cuts on this are standouts in his impressive discography.

Review: Japanese DJ, producer and remixer Makoto Nakatani is the man behind the M-Scape alias, and he straddles genre borders with the four cuts he serves up for evergreen UK staple Local Talk. 'Urban Reconstruction' is propulsive deep house with Detroit-style hi-tek synth magic colouring the airwaves. 'I Do' is an ass-wiggling heater with stylised vocals and colourful melodic motifs triggered by the drums. 'Freedom' is all early Chicago jack, cowbells and sugary chord progressions, then 'Let The Drums Play' taps into sun-kissed London broken beat with cosmic melodies adding a futuristic twist. There are a lot of different moods touched up on with this EP and they are all high-class.

Review: Kicking of the fifth volume of Milan's Manzo Edits series after a hat-trick-and-more's worth of Afro-disco edits, we've now 'Rosy' on our ears, a bittersweet disco daydream fattened on swooning strings and lovesick charm. Things get steamier after the fact with 'Amare Moto', a slinky, mid-tempo grind laced with satin synths and late-night shimmer. Flip it over and you have 'You Have To Cry Tonight; tight Italo percs clutter in with big hair energy, and a bassline built for strutting. Closer 'Bring Me' dials up the absurdity: cowbells, yodels, and alpine mischief collide in a peak-time oddball rave.

Review: Two decades deep into his career and still pushing forward, this seasoned German DJ delivers something that feels both timeless and fresh. The original version of 'Kingston Riddim' is a smooth, sun-soaked affair. Drawing from island dub but built with a crisp, modern hand, the track is full of warm organic textures and laid-back swing. The chords are clean and expressive without feeling too polished. There's a breezy confidence to the groove that makes it feel effortless. It's the kind of track that could slip into any set and feel right at home. Sato's interpretation dives into deeper territory. The bass rolls in thick and heavy while the chords get more tangled and echo-laced. There's a submerged quality here, like the track has been dragged through deeper waters. It's moodier than the original but still carries that same rooted sense of rhythm. This is one of those rare records where both sides hit in different but equally effective ways.

Review: Hot on the heels of the release of Medlar's brilliant new album, Islands (a first solo set for 12 years, fact fans), Delusions of Grandeur has decided to deliver a swathe of club-ready remixes of key cuts. Predictably, the label has opted for an eclectic range of high-profile underground artists. Acid house revivalists Paranoid London step up first, re-framing 'Lub Interlude' as a dark, TB-303 fired chunk of electronic body music, before Crazy P's Ron Basejam turns 'Dot The T's', featuring rapper DeeVoNay, into a string-laden mutant electro shuffler. Over on side B, Josh Ludlow re-invents 'Atlantean' as an acid-flecked midtempo chugger, while Medlar himself delivers a gorgeous and colourful 'Sunset Dub' of 'Midnight Chicadas'.

Review: It seems as though Mike & Benney have come completely out of leftfield to drop this - details on the pair are exceedingly thin on the ground. That doesn't matter, though, cause this new EP is a big opening statement. 'Ready For Tonight?' It's thudding but well swung house with smart synth lines and a funky bassline, while 'What Can I Say?' Brings more kaleidoscopic colour and gurgling synths to a cruising groove. 'Les Oiseaux' has a militant snap to the drums that's softened by the gooey pads, and 'Bird Vocalization' is just that - found sounds that place you outdoors during a frenzied morning call.

Review: Veteran UK producer and onetime member of techno/electro legends The Advent returns with a versatile three-track offering on his own Phoenix G label. The release explores the intersections of dub, house and techno, showing MR G's knack for creating deep, emotive grooves. Over the 25 years he's been releasing music he's kept a signature style and this is no excepyion. Side-1 features 'Dust In The System: Tokyo Dub Plate', a jazzy, dub-infused tech-house track with a rich, atmospheric vibe. Its deep basslines and subtle swing make it both hypnotic and dancefloor-ready. Side-2 opens with 'Let's Do It', where acid-laced techno and house collide. With bold rave chords and a driving rhythm, this track packs an infectious energy that feels destined for peak-time moments. Closing the EP is 'Find Love (Ambient Space Tek)', a chord-heavy, dreamlike piece that leans into chill-out territory. Its ambient tones and ethereal textures provide a soothing contrast, ending the record on a reflective note. Another excellent album, functional yet soulful, in his impressive catalogue.

Review: Ambient Classics From Japan on Mukatsuku features two lush filled classics from the label Form@ Record label from the land of the rising sun....First up, Shuichiro Nakazawa under the guise of Modern Living from 1998 - initially taken from the CD only Art Form 2 compilation although it also popped up on Music From Memory's excellent Virtual Dreams collection - now gets a whole side on loud cut 180 gram vinyl to itself. On the flipside comes Virgo aka Yasutaka Sato with his gorgeous deep techno ambient gem 'System For Zodiac piece, taken from the Landform Code CD, of which only 30 copies were ever made and has never seen light of day to vinyl until now. No repress hand numbered to 300 copies and first 100 come with Japanese Origami paper crane + sticker.

Review: Celebrating 25 years of two of the most influential house labels around, this joint double-pack from London's R2 and Osunlade's Yoruba Records is a heavyweight offering that bridges soulful roots and dancefloor depth. Karizma's long-awaited 'Spirit' appears in multiple formsihis original gospel-powered burner, a Josh Milan remix (as Honeycomb), and a dub version featuring Nicholas Ryan Gant, all radiating righteous, late-night warmth. The second R2 cut, 'W!thout !t' is stripped and punchy, full of Karizma's trademark percussive invention. Yoruba's side sees Osunlade light up the system with 'Electricity' and 'Sumpin' Like Dis', both steeped in rhythm and spiritual uplift. Afefe Iku's '823' dives deep into his signature twilight textures, while Karizma's Baltimore remix of Mr. Flip's 'Drippin'' closes the set on a loose and funky high. It's a snapshot of two defining voices in house musicirich in groove, spirit and intention.

Review: Margaux Gazur has made her mark as a DJ with sets at places like Panorama Bar and Waking Life. Her debut album on Smallville is a deeply personal exploration of identity and sound that confirms she is just as good in the studio. The French-Vietnamese artist is now based in Berlin but draws from her time living in Vietnam and childhood recollections to craft nearly 70 minutes of immersive, organic electronica across Blurred Memories. Field recordings, traditional instruments and woozy textures blend with street rhythms from Hanoi to create rich, intimate soundscapes of the sort that are well suited to this label. Each track reveals delicate details such as mysterious voices and fragile glitches in the hypnotic grooves. Known for captivating sets at Panorama Bar, La Station, and Waking Life, Margaux offers a magical, emotionally resonant debut that invites listeners into her blurred sonic past.

Review: On his long-awaited debut, Osaka's Takuya Matsumoto draws a clear line between the tactile futurism of 90s IDM and the emotional depth of Detroit techno, finding beauty in grit and structure in chaos. There's a cinematic quality to the sequencing, from the shimmering opener 'Drifting On The Ocean' to the gnarled syncopations of 'Dril and Acid' and the broken funk of 'Fonseca'. But what makes this record truly sing is its refusal to sit still: 'Mini' dances with jazzy irreverence, while 'Triangles' feels like a dusted-off memory from a lost Rephlex archive. Matsumoto's palette is warm, spiky, and full of movementian album built not on pastiche but on devotion to groove and experimentation in equal measure. You hear shades of Underground Resistance's urgency, Mike Paradinas' off-grid detail, and Floating Points' melodic intricacy, but none of it feels borrowed. 'Traverse' and 'Mercy on the floor' close things with a spacious melancholy that lingers beyond the final fade. This is a conversation with dance music history, spoken fluently in rhythm and mood. A richly detailed, deeply personal statement from one of Japan's most quietly consistent producers.

Review: Trip-hop pioneers Morcheeba return in full force with a stunning 11th studio album, Escape The Chaos. Lead member Ross Godfrey says of the record: "this whole record is a process of trying to reconnect with what really matters, whether it's what in your heart, or with the world, putting your feet on grass and feeling the earth beneath you" says Ross Godfrey. Skye Edwards adds: "In a way, it's a homage to the thirty years of being in Morcheeba, which is 60% of my existence." Since forming in London in 1995, they've sold over 10 million albums, from their platinum-selling Big Calm to collaborations with David Byrne and film work with Steven Soderbergh; now 30 years in, their presence within trip-hop is felt again, with forerunning single 'We Live And Die' providing buzzing hugs of electric bass and clear, haute beats, as Edwards muses on the counterbalancing ups and downs of life.

Review: During interviews promoting their 11th album, Escape The Chaos, 90s trip-hop heavyweights Morcheeba have naturally been in a nostalgic and introspective mood; after all, it appears almost 30 years to the day from the release of the popular duo's debut single. Musically, it feels like a warming, string-laden, head-nodding blast from the past, with core members Skye Edwards and Ross Gordon being joined on the record by various musically gifted friends and family members. Fans will particularly love songs like 'We Live And Die', a John Barry Bond theme-esque exploration of their own undulating history, the rap-sporting mid-90s trip-hop blast of 'Peace of Me (featuring Oscar #Worldpeace)' and the languid, low-slung 'Call For Love', where Edwards is at her most lyrically alluring.

Review: Formed in 1995, Morcheeba - Skye Edwards and brothers Paul and Ross Godfrey - have spent nearly three decades darning their organic trip-hop to the wider global music fabric, with ear-catching success. The London trio are now raring to contrast their debut statements Fragments of Freedom (2000) and Charango (2002) with a stylistic evolution and a paean to human peace of mind. Escape The Chaos comes after many a solo project, film score, and lineup change, all of which have heard Morcheeba relocate themselves on the popular music map, with far-Eastern instrumental echoes and cinematic sublimes once again bridging divides between classic and contemporary trip hop.

Review: Horizon finds Matt Gold and Will Miller - respectively the guitarist behind Midnight Choir and the trumpeter/producer steering Resavoir - merging their shared love for Brazilian classics and Chicago's collaborative spirit into something slow-burning and broad-eyed. Orbiting nylon-string guitars and gradated with reeds, horns, strings and synths, 'Canopy' opens with bright chords and unfurls into shuffling groove and soprano sax; 'Diversey Beach', meanwhile, written during a whiteout, pairs NYC songwriter Mei Semones with a string section heard to drift like tidewater. Additions from Macie Stewart, Eddie Burns, Carter Lang and more hear the album bob through chamber jazz and dreamy orchestro-pop.

Review: A new collaborative release from Chicago-based musicians Will Miller aka Resavoir and Matt Gold finds two long-time friends turning their shared obsession with 60s and 70s Brazilian music into something glowing, spacious and gently psychedelic. Both seasoned producers - Miller with credits for SZA and Whitney, Gold known for work alongside Makaya McCraven - they trade virtuosity for vibe here. Tracks like 'Canopy' and 'Dewy' float past on brushed drums, weightless keys and muted trumpet lines, inviting you into a world that feels humid and soft-edged, like a Sao Paulo sunrise seen through Chicago smog. 'Zero Gravity' lives up to its name with glassy guitar runs and smeared synths, while 'Diversey Beach' could pass for a bossa nova daydream refracted through ambient jazz. Nothing here tries too hard and that's the point: it's music for breathing, for early mornings or long windows of time with nothing to do. A quietly dazzling listen from two players unbothered by hype, weaving warmth and clarity into something slow-burning and completely their own.