Back catalogue: All genres

Review: Mysticisms imprint strides purposefully into 2025 via a multi-artist extravaganza that touches on many of the label's regular musical themes. To kick things off, Utopia Records main man Alex Bradley offers up his take on Elements of Life's 1996 jam 'Are You With Me Love', reimagining it as a deep and spacey roller rich in languid trumpet motifs, metronomic synth bass and intergalactic pads, before Norwegian veteran Oyvind Morken asks 'How Bleep Is Your Love' via sprightly analogue synth sounds and jacking, sweat-soaked machine drums. Over on side B, Eirwud Mudwasser and Romansoff join forces on the deep, dubby, steel pan-sampling early morning tribalism of 'Cherrie', while N-Gynn treats us to a spot of deliciously deep acid house ('Es V edra TB Deluxe').

Review: Portugal has always had its own thriving scene right back to the days of 90s rave and techno. But in recent times it seems to be having a wider cultural impact with the arrival of plenty of great artists, labels, radio stations and collectives getting proper recognition across the global underground. Just over the Tagus river from Lisbon comes this new label oDYSea from the Caparica coast, and it's headed up by Penelope. GNMR's 'Zen' kicks off with cosmic tech and snappy kicks then Pakzad's 'I Could Never Imagine' is a mid-tempo and warped tech cut with hissing hi hats and psyched out colours. Eversines's 'Randomized Controlled Trial' is taught and trippy techno then Oscillator Man's 'Turning The Mix Up A Bit' is an acid-laced sleaze-fest.

Review: London imprint Original Gravity keeps the 7" heat coming with a two-part reimagining of the blues standard 'I Can't Keep From Crying Sometimes'. J Blue takes the A-side, laying down a smoky, melancholic vocal over a stripped-back hip-hop groove, bringing 60s soul pathos into sharp modern focus. It's the kind of cut that creeps up on you-restrained, ghostly, all mood. On the flip, the Original Gravity Allstars stretch things out dub-style with a Pt. 2 version, turning the track inside out into something moodier, heavier, and bass-led. Another strong entry in the label's ongoing campaign to bridge vintage sonics and contemporary pulse-perfect for deep selectors and collectors alike.

Review: Slovenia has been a hotspot of techno since the mid 90s. With its fourth release, Moving Pressure hands the reins to Slovenian producer Obscur, who delivers a sharp and distinctive EP that fits the label's ethos like a glove. His debut strikes a balance between minimalism and physical intensity, carving out a space that feels both hypnotic and visceral. 'F135' kicks off with a brooding atmosphere. Metallic percussion hisses and flexes around a pulse that feels alive, while distant vocals add a sense of alien unease. It is a dense, eerie opener with a beat that crushes forward. 'Soul Eater' follows with a deeper groove. It is rhythmically tight and subtly psychedelic, letting detail simmer below the surface rather than flash on top. On Side-B, 'Stockholm Syndrome' dials the pressure down but keeps the tension tight. Its dry rhythms and austere textures are playful in their restraint, letting negative space do the talking. 'Blasphemy' brings the heat back, adding sharp modulations and tightly coiled percussion that flirts with chaos but never loses form. A well -roduced techno EP that's a cut above the imitations.

Review: With more than two decades of output behind him, French producer Okain continues to carve his own path through the deeper ends of dance music. On this latest EP, he folds elements of acid, sci-fi and Goa trance into a rich and forward-moving four-tracker. The experience leans much more toward interstellar techno exploration. 'Acid Spin' kicks things off with propulsion. It's not overly fast, but the drive is undeniable. Electric squiggles and sharp synth lines dart across a steady rhythm, giving the track an urgent yet sleek atmosphere. 'EPR Paradox' is just as tightly produced, letting its groove build gradually with layers of texture and restraint. On the 2nd side, 'Wavefunction' drops into a swirling, cosmic descent. It feels like tumbling through a wormhole, where the lines between gravity and sound begin to blur. 'Computing Force' rounds off the journey with a deft hybrid of Goa trance energy and techno structure. The melodies shimmer with a nostalgic rave glow, yet everything remains clean, spacious, and functional. Altogether, the EP is a bold statement from a veteran still pushing boundaries. It's deep, physical, and built for futuristic dancefloors. This EP could change minds when it comes to what psy-trance is...

Review: Recorded live on September 10, 1993, for BBC Radio 1, this set strips back the studio polish in favour of raw, surging energy, breathing new life into core tracks from their Brown Album era. Their explosive 1993 John Peel session was a broadcast that captured the UK rave pioneers at their most visceral and unfiltered. The versions of 'Lush 3-1', 'Walk Now...' and 'Semi Detached' found here are looser, leaner and more urgent. 'Lush' in particular throbs with a relentless momentum, shedding its original texture in favor of a tougher, more improvised drive. It's a perfect showcase of Orbital's gift for live manipulation, transforming structured studio pieces into kinetic, spontaneous soundscapes. This reissue boasts newly commissioned artwork by Intro and aligns with the legacy of the Peel Sessions as a proving ground for boundary-pushing talent. Critics and longtime fans have praised the EP for its intensity and fluidity, supporting Orbital's status as live innovators. Radio Sessions is a nostalgic artifact and a reminder of how thrilling and forward-thinking Orbital's sound was.

Review: Swedish multi-instrumentalist Gustav Horneij, best known as OPE, finally lands on Jazzaggression with a new 10" release that showcases his singular approach to spiritual jazz and overdubbed improvisation. It's a new release composed entirely around bamboo flutes, but the instrumentation stretches far beyond i drums, bass, reeds, harp and subtle string textures are all played by Horneij himself, each part layered with a feel for groove and tone that's entirely unforced. Tracks like 'Instant' and 'Picante Beef' hit with warm, rolling basslines and smoky modal phrasing, while 'The Deepest Bowl' moves slower, drawing you in with flickers of flute and ambient space. 'Udon' is a clear standout, combining a floating top line with an earthy, locked-in rhythm section that could loop forever without tiring. Despite the solo setup, nothing feels precious or overcooked i the mood stays loose and tactile, like a small ensemble jamming in real time.

Review: Madrid's Oscar L and Sofia's Metodi Hristov come together for a heavyweight two-tracker that stretches the Drumcode sound between two distinct techno poles. 'Gravity' crashes in with brute-force energy: jagged hoovers, a fluttering chopped vocal, and thick industrial textures square up in a storm of distortion, like two machines locked in dissonant conversation. It's cinematic, dark, and demanding. 'Up & Down' keeps the pressure on, bursting forward with piston-fast percussion, cavernous reverbs and a flickering synth motif that teeters between menace and euphoria. A spoken male vocalistark and monotoneigrounds the track with a cold-eyed edge. Techno as terrain: Madrid's pulse meets Sofia's shadow.

Review: Image Recordings continues to establish itself in the techno world, this time with Other serving up some sounds that nod to the 90s but never get too slavish. 'By No Means' is one of those busy, jostling cuts that makes you wiggle ass, head and hips as you get lost in the looseness. 'Full Compliance' is a wonky one for the afters with bubbly bass, 'We Didn't Know' then strides on with loopy pads and cantering drums that exude a cool energy and 'It's Wicked' shuts down with more textured percussion and fractured vocals for a freaky finish.

Review: This new VA from the young Swiss label Covered compiles four forward-thinking artists pushing sonic boundaries in their own way but united by detailed sound design and refined instrumentation. Olivier Romero opens with bold, wave-driven rhythms while Luise brings intricate sequencing and crisp minimal percussion. Maik Yells follows with atmospheric depth built from lush pads and ghostly harmonies, weaving a moody narrative. OneKnock closes with a hypnotic blend of shifting rhythms and sub-heavy foundations. These tracks form a nice listen when played together and are rooted in rich texture, tone and subtle storytelling.

Review: As well as being a dance music figurehead. Paul Oakenfold is a devoted film buff who brought cinematic flair to his soundtrack for Dominic Sena's action-thriller Swordfish. Crafting a moody, high-tech sonic landscape and blending the tense energy of Dope Smugglaz's 'The Word (PMT Remix)' with the chill sunrise vibes of Lemon Jelly's 'Kneel Before Your God' and his own electro rework of 'Planet Rock' with Afrika Bambaataa, Oakenfold paints a vivid picture of early 2000s Los Angeles nightlife. Tracks like 'Stanley's Tune' and 'Password' evoke neon-lit scenes of decadence and danger. Subtle yet imaginative, this record rewards headphone listening for max impact.

Review: Time flies, and yet there's time enough yet for the albatross of Britpop to mantle its wings just one more time. With this Oasis throwback first released as a 15th anniversary retrospective, now in 2025 yet another 15 years has passed, in effect marking the band's pearl anniversary (but not the pearly gates just yet). The quadruple vinyl set lands just ahead of the band's upcoming Oasis Live '25 tour, which we're won't fall afoul of a dynamic pricing fiasco this time around! The band's entire chart-crushing run from debut single 'Supersonic' to swan song 'Falling Down' is traversed, gathering all 26 singles from their seven UK number one albums - Definitely Maybe, (What's The Story) Morning Glory?, Be Here Now - including standalone favourites 'Whatever' and 'Lord Don't Slow Me Down'.

Review: As they prepare to squabble, rock out and reprise their infamously hooky riffs at a series of sold-out reunion shows, Oasis have decided to reissue their official best-off collection, 2010's Time Flies...1994-2009. Now presented in remastered, souped-up form, the two-disc set showcases all 27 of their UK singles (including non-album cuts 'Whatever' and 'Lord Don't Slow Me Down') as well as a hidden bonus track ('Sunday Morning Call', which appears two minutes after the final cut on disc two). While plenty of high points and fan favourites are missing, it does a great job in reminding us that Oasis were, at their very best, an iconic indie-rock band - as highlights such as 'Supersonic', 'Cigarettes & Alcohol', 'Some Might Say' and the epic 'All Around The World' emphatically prove.

Review: Brit soul legend Omar's new work finds him in full command of his craft, gracefully vaulting through decades of soul, funk and jazz with a sound that feels both grounded in history and refreshingly modern. His collaborations - from Paul Weller's understated elegance to Giggs' streetwise energy - highlight his remarkable versatility, yet it's his own magnetic voice that pulls everything together. The arrangements are lush, rich with organic instrumentation and tinged with Caribbean warmth, offering a sound palette that's as riveting as it is all-consuming. Tracks like 'There's Much Love In The World' reflect the timeless optimism that runs through Omar's music, celebrating unity while reminding us of the power of soulful connection. Despite the star-studded line-up of guests, this release is unmistakably Omar's. His voice - distinctive and effortlessly smooth - remains at the heart of each song, whether he's trading verses with Raheem DeVaughn or harmonising with Ledisi's rich tones. The musical textures on display are just as varied, blending organic rhythms with electronic beats that never overwhelm the track's emotional core. Over time, Omar's musical approach has only become more layered and expansive, yet his unmistakable sound remains intactianchored in the originality that made him a key figure in modern soul and funk.

Review: UK soul hero Omar steps up with his ninth studio album, bringing the depth, clarity and control that have typified his uncompromising and deeply rooted musical journey. The songwriting is tight, the grooves are locked, and the arrangements leave space for the music to breathe. His voice is as expressive as ever i warm, precise, unmistakably his. There's a strong sense of shape to the album, from the clipped funk of 'Research' to the more open, reflective tone of 'There's Much Love in the World'. Strings, samples and live instrumentation all sit together naturally, with nothing overplayed or overstated. The ensemble guest appearances i India Arie, Giggs, Paul Weller, Raheem DeVaughn among them i add some masterful flourishes to an already engaging set. Always good to hear new music from the one like Omar, a man who will never be underrated by those in the know.

Review: ONEGRAM, the cult Japanese reggae band formed in 2011, is back with a new album that takes in everything from their genre-defying journey so far. Though known for blending reggae with lovers rock, they also fold in conscious vibes and disco grooves to their sodden and here the Tokyo-based outfit delivers ten tracks that reflect their unfiltered present. It's their first original album in five years following 2021's cover-focused Random Access Music and highlights include the soulful hit 'After the May Rain,' the groovy 'Crazy For You' (which even got praised by Incognito members) and a dreamy take on Bread & Butter's 1974 classic 'Pink Shadow.'. It's an honest, heartfelt and unmistakably ONEGRAM sound.

Review: Bill Orcutt's approach to the guitar feels less like playing and more like detonating: a flurry of stabbing phrases, mangled blues motifs and broken time signatures that teeter constantly on the edge of collapse. It's a sound he's refined over decades, from his early days in Miami's punk and noise scenes to his present-day experiments in live-coded digital abstraction. This new album, which features two versions of 'Anxiety of Symmetry', finds him at his most feral and funny in years i a twisted tribute to the clunky MIDI guitar presets of the 90s, rendered via his cracked-software experiments with two fifteen-minute compositions built from a single concept: six sung numbers, each mapped precisely to pitches in a major scale. These micro-phrases ('1-2', '1-2-3', and so on) repeat and multiply, creating swirling polymetric harmonies that flicker between gentle hypnosis and algorithmic overload. Female voices loop in cycles of uneven length, forming structures reminiscent of Glass's Einstein on the Beach, but without its theatricalityithis is music of obsession, not spectacle. The emotional register is unusually soft for Orcutt, but behind the surface calm lies a meticulous compulsion. In an essay of the same name, he aligns this method with "Just Right" OCD, proposing a feedback loop between mental fixation and machine logic. What emerges isn't ambient in any passive sense, but a kind of orderly unravelingicomposition as therapeutic ritual, echoing the recursive spirals of Hanne Darboven or the trance-state potential of counting itself.

Review: Italian pair Orion return with more of the by now signature warmth, this time on Dutch label Far Blue. Orion's deep passion for their craft shines through here with sumptuous sound designs and gooey grooves sinking you in deep. The EP opens with 'Her,' which is a whimsical, calming track filled with immersive percussion and uplifting grooves. Its slow, cosmic pace offers a reassuring sense of well-being that will create a moment of peace amidst the chaos of everyday life. The rest of the EP showcases their full range from the refracted melodies and booming kicks of 'Teen Dreams' to the skittish and light footed rhythms of 'Akkadian.'

Review: First put out in 1973, this jazz gem from Miyako ?tsuki makes a triumphant return after 50 years. Nihon Min'y?: Latin Feeling is a forward-thinking fusion of traditional Japanese folk songs and Latin jazz grooves that was recorded when ?tsuki was in her 20s and remains one of her most unique works. Backed by elite Japanese jazz musicians like flautist Akira Miyazawa and guitarist Sadayasu Nakamaru, the music transforms min'y? into vibrant, rhythm-driven pieces with arrangements by Akira Komachi. It's a rich cultural crossover that's both daring and elegant and this reissue includes two bonus tracks and a vintage-style obi.

Review: The Middle East has always invoked a sense of wonder and escapism, even if a singular tag for a vast and varied global region is an instant disservice. So it's not much of a surprise to find many countries currently in the throes of an explosive rediscovery of psychedelic sounds. Ouzo Bazooka is just one example of the kind of bands we're talking about. Originally solo project from Uri Brauner Kinrot - a musician, scientist and producer - the vehicle quickly grew into the fully fledged group we have loved over the last five albums and ten years, give or take. Widely considered pioneers of the burgeoning scene, Kapaim (Hebrew for 'palms') cements their status as a cut above most psyche rock bands anywhere on the planet. Informed by jazz, soul, blues, and indigenous musical traditions of the South Eastern Mediterranean, it's a smooth and intoxicating ride.